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73 articles
Exhibition Review
The Farrell Centre, Newcastle upon Tyne
07/2023 | 1444 | 165
Pages: 797–799
related names
Reviewer:
Harrison, Ewan (Harrison, Ewan)
Subjects
artists:
dates:
Reviewed Items
subjects:
More With Less: Reimagining Architecture in a Changing World, 22nd April–10th September 2023. | :
subjects:
The Farrell Centre, Newcastle upon Tyne From 22nd April | :
Illustrations
Attributed works:
23. The Farrell Centre, Newcastle upon Tyne, 2023. (Photograph Jill Tate).
Attributed works:
24. Installation view of Liberate/ insulate, by Dress for the Weather, at the Farrell Centre, Newcastle upon Tyne, 2023. (Photograph Jill Tate).
Attributed works:
25. Installation view of Luxurious thrift, by Office S&M, at the Farrell Centre, Newcastle upon Tyne, 2023. (Photograph Jill Tate).
Book Review
Fifty English Steeples: The Finest Medieval Parish Church Towers and Spires in England. By Julian Flannery
02/2019 | 1391 | 161
Pages: 166
Article
Sir Christopher Wren’s failed project for a crossing tower and spire at Westminster Abbey, 1713–25
01/2019 | 1390 | 161
Pages: 44-57
related names
Author:
Higgott, Gordon (Higgott, Gordon)
Subjects
art literature:
places:
Illustrations
Attributed works:
1. Model of the crossing with Wren’s project for a tower and spire, from the north west, by Elizabeth Gregory (as head carpenter). 1714–16. Oak and pearwood, 240 by 116 by 85.5 cm. (© The Dean and Chapter of Westminster).
Attributed works:
10. The south-west crossing pier of Westminster Abbey, from the south-east gallery. (Photograph Lisa Stein).
Attributed works:
11. The easternmost bay on the north side of the nave, showing distortion of the crossing pier at the level of the aisle vaults. (Photograph the author).
Attributed works:
12. Plan of the tower of the model at four levels, with Wren’s proposal for strengthening the crossing piers at bottom left, by William Dickinson. c.1714. Pen and brown ink over graphite with grey wash on paper, 33.9 by 39 cm. (The Bodleian Libraries, The University of Oxford, Gough Maps 23, fol.46(b)).
Attributed works:
13. Detail of a survey plan of a crossing pier, by William Dickinson. 1713. Pen and brown ink over graphite with black wash on paper, 20.1 by 31.7 cm. (The Bodleian Libraries, The University of Oxford, Gough Maps 23, fol.24v; photograph the author).
Attributed works:
14. Copy of a diagram by Wren of an aisle and crossing pier, by ‘Mr Gayfere’. c.1715–c.1735. Pen and brown ink on paper, 15.2 by 9 cm. (© The Dean and Chapter of Westminster; WAM 66895*).
Attributed works:
15. Detail of Westminster Abbey from St James’s Park, by William Lodge, printed by Pierce Tempest. 1680s. Etching, 13 by 25.5 cm. (The Bodleian Libraries, The University of Oxford, Gough Maps 23, fol.46v.(d); photograph the author).
Attributed works:
16. Detail of a copy of Wren’s Figure II in his Tract II (1710–30), showing a pier and a half-arch, with their centres of gravity, in Christopher Wren Jr’s manuscript for Parentalia. 1741. Pen and brown ink on paper, 32.7 by 18.6 cm. (© The Royal Society, London; MS 249, fol.483).
Attributed works:
18. Elevation of the proposed tower and spire over a section through the crossing, by William Dickinson. Late 1722 or 1723. With notes and sketched additions by Nicholas Hawksmoor, c.1723. Grey wash over graphite, with grey and brown ink on paper, 72.8 by 21.6 cm. (© The Dean and Chapter of Westminster; WAM (P) 913).
Attributed works:
19. Long section through the Abbey showing proposals for an octagonal dome over the crossing (with alternatives in a half-plan, top left), and the west towers, by Nicholas Hawksmoor. May 1724. Pen and brown ink with grey wash over graphite on paper, 52.2 by 107.5 cm. (© The Dean and Chapter of Westminster; WAM (P) 910).
Attributed works:
2. The north prospect of Westminster Abbey, by Wenceslaus Hollar. 1654. Etching, 21.7 by 32.8 cm. (© The Dean and Chapter of Westminster; Langley Coll I, i (1)).
Attributed works:
20. Detail of a plan of the crossing, choir and sanctuary (with north at the bottom), showing Hawksmoor’s proposal for enlarging the crossing piers, by William Dickinson. June 1724. Pen and brown ink over graphite, with brown, grey and yellow-ochre wash on paper, 49.5 by 54.6 cm. (The Bodleian Libraries, The University of Oxford, Gough Maps 23, fol.24).
Attributed works:
21. The Abbey from the north, showing the first of three alternatives for the lantern and cupola, and a proposal for the west towers, by Nicholas Hawksmoor and Thomas Hinton. 1725–26. Pen and brown ink over grey wash and graphite on paper, 51 by 70.1 cm. (© The Dean and Chapter of Westminster; WAM, Hawksmoor 4A).
Attributed works:
22. The west front of Westminster Abbey, showing the towers built to Hawksmoor’s design, 1735–45. (Photograph the author).
Attributed works:
3. Survey plan of Westminster Abbey (with north at the bottom), by James Broughton. c.1697–c.1705. Pen and brown ink shaded in black and grey wash over graphite on paper, 53.5 by 74.8 cm. (© The Dean and Chapter of Westminster; WAM (P) 915).
Attributed works:
4. Sectional model of one bay of the choir and cloister, by Elizabeth Gregory (as head carpenter), 1710. Oak and pearwood, 72.9 by 83.7 by 16.2 cm. (© The Dean and Chapter of Westminster).
Attributed works:
5. Elevation (with alternatives) of the proposed tower and spire, with the gable of the north transept front, and attached plan, by William Dickinson. September and December 1722. Pen and brown ink over graphite, with grey and brown wash on paper, 104 by 38.2 cm. (© The Dean and Chapter of Westminster; WAM (P) 907, 907A).
Attributed works:
6. Detail of the model in Fig.1, showing the vault over the crossing. (© The Dean and Chapter of Westminster).
Attributed works:
7. The quire of Westminster Abbey from the west. c.1700. Canvas, 153 by 129 cm. (© The Dean and Chapter of Westminster; WA 1775).
Attributed works:
8. Plan of the vault for the crossing lantern, by Nicholas Hawksmoor. 1726–27. Pen and brown ink, with yellow ochre and grey wash over graphite on paper, 47.5 by 35 cm. (© The Dean and Chapter of Westminster).
Attributed works:
9. The north transept front and the crossing lantern of Westminster Abbey. (Photograph the author).
Western art unattributed:
17. The north-east prospect of Beverley Minster, published by H. Overton and J. Hoole (London) and G. Feraby (Hull). c.1717. Engraving, 48.5 by 56.7 cm. (The Bodleian Libraries, The University of Oxford, Gough Maps 35, fol.2).
Article
The design of New Court at St John’s College, Cambridge
10/2018 | 1387 | 160
Pages: 840-849
related names
Author:
Salmon, Frank (Salmon, Frank)
Subjects
Illustrations
Attributed works:
10. Detail of a design for the south elevation of New Court, by Thomas Rickman and Henry Hutchinson. November 1826. Pen and ink on paper, 62 by 108 cm. (By permission of the Master and Fellows of St John’s College, Cambridge, SJCA/MPSC4/4)
Attributed works:
11. The Bridge of Sighs, viewed westward from the Third Court loggia, St John’s College, Cambridge, by Thomas Rickman and Henry Hutchinson. 1827–31. (Photograph © Tim Rawle)
Attributed works:
12. Detail of Fig.10, showing the design for an iron Bridge of Sighs.
Attributed works:
13. The New Court ‘Bridge Passage’, St John’s College, Cambridge, viewed westward towards the cloister with the entrance to A Staircase on the right, by Thomas Rickman and Henry Hutchinson. 1827–31. (Photograph Tim Rawle).
Attributed works:
14. Detail of Fig.2, digitally rendered to show the building as it would have appeared if built in red brick.
Attributed works:
2. South front of New Court, St John’s College, Cambridge, by Thomas Rickman and Henry Hutchinson. 1827–31. (Photograph © Tim Rawle).
Attributed works:
3. Perspective view of a design for New Court from the south-east, by John Clement Mead. October 1824. Pen, ink and wash on paper, 68 by 124 cm. (By permission of the Master and Fellows of St John’s College, Cambridge, SJCA/MPSC2/10).
Attributed works:
4. Detail of a design for the east elevation of New Court, by John Clement Mead. October 1824. Pen, ink and wash on paper, 70 by 98 cm. (By permission of the Master and Fellows of St John’s College, Cambridge, SJCA/MPSC2/5).
Attributed works:
5. The Shrewsbury Tower gatehouse in Second Court, St John’s College, Cambridge, by Ralph Symons and Gilbert Wigge. 1598–1602. (Photograph © Tim Rawle).
Attributed works:
6. Detail of a design for the south elevation of New Court, by John Clement Mead. October 1824. Ink and wash on paper, 70 by 98 cm. (By permission of the Master and Fellows of St John’s College, Cambridge, SJCA/MPSC2/2).
Attributed works:
7. South side of Second Court, St John’s College, Cambridge, by Ralph Symons and Gilbert Wigge. 1598–1602. (Photograph © Tim Rawle).
Attributed works:
8. Detail of a design for the south elevation of New Court, St John’s College, Cambridge, by Arthur Browne. April–September 1825. Pen, ink and grey wash on card, 22 by 55 cm. (By permission of the Master and Fellows of St John’s College, Cambridge, SJCA/MPSC3/3).
Attributed works:
9. Detail of a plan of a design for New Court, by Arthur Browne. April–September 1825. Pen, ink and wash on card, 22 by 56 cm. (By permission of the Master and Fellows of St John’s College, Cambridge, SJCA/MPSC3/2).
Western art unattributed:
1. New Court and the Bridge of Sighs, St John’s College, Cambridge, viewed from the Kitchen Bridge to the south-east. Mid-nineteenth century. Engraving, 8.5 by 13.5 cm. (Private collection).
Article
Ferdinando Fuga’s proposals for displaying relics in S. Maria Maggiore, Rome
08/2018 | 1385 | 160
Pages: 646-653
related names
Author:
Spila, Alessandro (Spila, Alessandro)
Subjects
places:
Illustrations
Attributed works:
1. Design for a reliquary platform for the nave of S. Maria Maggiore, Rome, by the workshop of Ferdinando Fuga. c.1745. Pen with pink and grey watercolour on paper, 37.6 by 22.7 cm. (Instituto Nazionale di Archeologia e Storia dell’Arte (INASA) Rome, Roma XI 38, II.2).
Attributed works:
10. Elevation of the façade of the Sforza Chapel, S. Maria Maggiore, Rome, by the workshop of Ferdinando Fuga. c.1745. Pen with light blue and grey watercolour on paper, 25.7 by 32.5 cm. (Cooper Hewitt Smithsonian Design Museum, New York, 1901-39-2140).
Attributed works:
11. The Chapel of the Crucifix, S. Maria Maggiore, Rome. (Photograph the author).
Attributed works:
2. Designs for a reliquary platform for the nave of S. Maria Maggiore, Rome, by the workshop of Ferdinando Fuga. c.1745. Pen with pink and grey watercolour on paper, 48.5 by 36.5 cm. (INASA, Rome, Roma XI 38, II.5).
Attributed works:
3. Elevation of the south aisle of S. Maria Maggiore, Rome, by the workshop of Ferdinando Fuga. c.1745. Brown ink with blue and grey watercolour on paper, 48.3 by 74.1 cm. (INASA, Rome, Roma XI 46, II.7).
Attributed works:
4. Cross-section of the nave and aisles of S. Maria Maggiore, Rome, from P. de Angelis: Basilicae S. Mariae Maioris de Urbe a Liberio papa I usque ad Paulum V. Pont. Max., Rome 1621, p.99. Etching, 38.4 by 25.2 cm.
Attributed works:
5. Reliquary altar in the choir of S. Maria Maggiore, from P. de Angelis: Basilicae S. Mariae Maioris de Urbe a Liberio papa I usque ad Paulum V. Pont. Max., Rome 1621, p.85. Etching, 38.4 by 25.2 cm.
Attributed works:
6. Plan of S. Maria Maggiore, Rome, from P. de Angelis: Basilicae S. Mariae Maioris de Urbe a Liberio papa I usque ad Paulum V. Pont. Max., Rome 1621, p.56. Etching, 56.5 by 37.5 cm.
Attributed works:
7. S. Maria Maggiore, Rome, photographed in 1925. (Photograph Ludwig Preiss; private collection; © Look and Learn / Bridgeman Images).
Attributed works:
8. Interior of S. Maria Maggiore, Rome, looking west, photographed in 1925. (Photograph Ludwig Preiss; private collection; © Look and Learn / Bridgeman Images).
Attributed works:
9. Plan of part of the nave and aisles of S. Maria Maggiore, Rome, by the workshop of Ferdinando Fuga. c.1745. Brown ink with pink and grey watercolour on paper. 49 by 73.5 cm. (INASA, Rome, Roma XI 46, II.4).
Article
The Paston prospective
07/2018 | 1384 | 160
Pages: 536-544
related names
Author:
Jervis, Simon (Jervis, Simon; J., S.; J., S. S.)
Subjects
art literature:
collectors and dealers:
dates:
Illustrations
Attributed works:
10. Charles I, Henrietta Maria and Charles II when Prince of Wales, dining in public, by Gerrit Houckgeest. 1635. Panel, 63.2 by 92.4 cm. (The Royal Collection; © H.M. Queen Elizabeth II).
Attributed works:
2. Oxnead Hall, by John Adey Repton. c.1843. Pen and ink and watercolour, 19.5 by 29 cm. (Nicholas Poole-Wilson).
Attributed works:
5. Frontispiece of Le Jardin de la Noblesse Françoise, by Abraham Bosse. Etching, 14.7 by 9.3 cm. (British Museum, London).
Attributed works:
6. Hortvs Pembrochianvs (The garden of Wilton House, seen from the house), by Isaac de Caus. Etched c.1640, edition of 1654. Etching, 41.7 by 52.3 cm. (British Museum, London).
Attributed works:
7. Fountain formerly at Oxnead, by John Cleghorn after John Adey Repton. 1844. Wood engraving, 7.3 by 7.8 cm., from The Gentleman’s Magazine 21 (1844), p.21.
Attributed works:
8. A Garden and Princely Villa, for Coelum Britannicum, Scene 5, by Inigo Jones and/or Edward Pearce. 1634. Pen and brown ink over graphite, 43.7 by 56.5 cm. (The Trustees of the Chatsworth Settlement; Bridgeman Images).
Western art unattributed:
1. Detail of Fig.4.
Western art unattributed:
3. Detail of Fig.4 showing the escutcheon with the coat of arms of Paston and Hewitt impaled.
Western art unattributed:
4. The Paston prospective. c.1640. Canvas, 117 by 164 cm. (Private collection).
Western art unattributed:
9. Detail of Fig.4, showing figures here identified as William Paston and Margaret Hewitt.
Book Review
Plaster Monuments: Architecture and the Power of Reproduction. By Mari Lending
07/2018 | 1384 | 160
Pages: 610-611
related names
Reviewer:
Wells, Matthew (Wells, Matthew)
Subjects
places:
Illustrations
Western art unattributed:
6. The twelth-century gallery in the Musée de sculpture comparée, Paris. A cast of the Erechtheion caryatid from the British Museum, London, is juxtaposed with the ‘smiling angel’ from Reims Cathedral. From P. F. J. Marcou, Album du Musée de Sculpture Comparée, vol. 2 (Paris, 1897).
Article
The kingdom of a mistress to the Sun King: Madame de Montespan’s apartment at Saint-Germain-en-Laye
04/2018 | 1381 | 160
Pages: 299-304
related names
Author:
Faisant, Étienne (Faisant, Étienne)
Subjects
art literature:
dates:
Illustrations
Attributed works:
1. Elevation of Madame de Montespan’s alcove bedchamber and grand cabinet at Saint-Germain-en-Laye, here attributed to François d’Orbay and Nicolas Loir. 1673. Ink, wash and watercolour on paper, 25 by 61.5 cm. (Archives nationales, Paris).
Attributed works:
3. Plan of Madame de Montespan’s alcove bedchamber, cabinets and small bedroom at Saint-Germain-en-Laye, with added sketches for ceiling paintings, here attributed to François d’Orbay and Nicolas Loir. 1673. Ink, wash and watercolour on paper, 54 by 59.5 cm. (Archives nationales, Paris).
Attributed works:
4. Detail of Fig.1.
Attributed works:
6. Madame de Montespan’s apartment at Saint-Germain-en-Laye. A: antechamber; B: bedchamber; C: Grand Cabinet; D: Petit Cabinet; E: small bedroom; F: secondary areas; 1: courtyard. Plan by the author.
Western art unattributed:
2. Plan of the first floor of the Château-Vieux, Saint-Germain-en-Laye, by an anonymous artist. c.1681. Ink and wash on paper, 48 by 75 cm. (Archives départementales des Yvelines, Montigny-le-Bretonneux, 7 Q 1.14). Madame de Montespan’s apartment is in the southern range, at the top centre of this plan; see Fig.6.
Western art unattributed:
5. A bed, probably from the Trianon de Porcelaine, by an anonymous artist. c.1687. Grey ink with grey and red wash, heightened with gold, on paper, 41 by 28 cm. (Nationalmuseum, Stockholm, THC 1063).
Western art unattributed:
7. Portrait miniature of a lady, probably Madame de Montespan, in a rich interior. France, 1690. Gouache on vellum heightened with gold and silver, 27.5 by 47.5 cm. (Victoria and Albert Museum, London).
Book Review
Art, Music and Spectacle in the Age of Rubens, by A.C. Knaap and M.C.J. Putnam
02/2017 | 1367 | 159
Pages: 136-137
related names
Reviewer:
Martin, Gregory (Martin, Gregory)
Subjects
dates:
places:
Illustrations
Attributed works:
64. The wind gods, detail from Neptune calming the Tempest on the Stage of Welcome, by Theodoor van Thulden after Rubens (From J.C. Gevartius: Pompa Introitus Ferdinandi Austriaci Hispaniarum infantis..., Antwerp 1641)
Publication Received
Damascus tiles. Mamluk and Ottoman architectural ceramics from Syria. By Arthur Millner
06/2016 | 1359 | 158
Pages: 467-467
related names
Reviewer:
Rogers, J. M. (Rogers, J. M.; Rogers, John Michael; Rogers, Michael)
Subjects
dates:
places:
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