Over the centuries, the Salzburg prince archbishops collected a voluminous treasury of paintings and the graphic arts, furniture and porcelain, minerals, weapons and coins, books and sculptures. Much of this was created especially for Salzburg. The Salzburg prince archbishops assigned renowned artists with commissions for ivory carvings, rock crystal and ibex horn artefacts, goldsmith’s art and paintings—all these objects belonged to the inventory of the court treasure chamber and enhanced prestige. The rulers of the time naturally saw themselves as personal owners of these riches; thus, it frequently occurred in case of war that all treasures were conveyed to the next residence. The exhibits tell their own stories and raise questions: what significance did they originally have, what was their origin, or how did they end up in Salzburg? The exhibition Treasure House Salzburg in the Kunsthalle in the basement of the Neue Residenz is designed to awaken in visitors a historical awareness for the former riches and status of Salzburg within Europe.
A Century of Shoes celebrates the visual splendour and dramatic forms of a century of shoes from the opulent and extravagant Georgian era. From the fanciful footwear of the wealthiest to the functional mules of the down at heel, this new exhibition reveals the fashion and function of Georgian footwear.
For the wealthiest in society shoes were the ultimate fashion statement and accessory. Often luxurious and flamboyant in design, they showcased exquisite materials and craftsmanship which transformed them from being mere functional items into aesthetic objects of desire. Shoes, then as they do today, reflected the style, personality, gender and class of the individual who wore them. Spanning a century of fashion with over hundred shoes on display, A Century of Shoes: The Rise and Fall of the Georgian Heel celebrates the Georgians’ love affair with ‘heels’—charting the evolutions which took place in their design, the monumental shifts which took place in their manufacture and sale, and the crucial role they played amongst Britain’s shoe-obsessed elite as symbols of the wearer’s exquisite tastes and superior social rank.
The excesses of George IV, his debts, and the huge sums that he expended on his wardrobe are legendary. It is, therefore, strange that the man who was the Prince’s tailor for over thirty-two years, and his principal tailor for over half of that time, should have been named, and then only in passing, in just two other books. Louis Bazalgette (1750–1830) has been a shadowy figure until now; the relationship between the two men was discreet and almost clandestine. This biography presents a detailed picture of an extraordinary man, of humble origins, whose influence on tailoring, and upon the Prince himself, must have been far-reaching. This fascinating story presents a new angle on Georgian and Regency life, as seen through the eyes of a little French tailor who by his own efforts became a wealthy propertied merchant. There is also a great deal of information on tailoring of the period. Some of Louis Bazalgette’s descendants also enter the story. His eldest son Joseph William Bazalgette, R.N, served with distinction during the Napoleonic Wars, and his grandson of the same name was a noted civil engineer. The author is Louis’s great-great-great-great-grandson.
This study day will comprise a morning lecture by Michael Phillips, who will discuss Blake’s ground-breaking print techniques, followed by lunch (for those attending the full day) and an afternoon demonstration of the full-scale reproduction of Blake’s wooden printing press that is currently located in the exhibition gallery at Gainsborough’s House. Attendees will have the rare opportunity to use the press to make a print from a choice of copper plates.
This book discusses memorials—stained glass windows, church, cemetery and public monuments—commemorating British seafarers, shipbuilders and victims of shipwreck from the sixteenth century to the present. Examples have been chosen mainly from Great Britain and Ireland with a few from wider afield. They include important works by major British artists as well as more modest productions by anonymous carvers. The book retells the dramatic stories behind them, illustrating significant social and cultural changes in Britain’s relationship to the sea. Memorials vividly illustrate the hazards of seagoing life and the impact these had both upon the family of the deceased and the general public. The book has a cultural historical focus. Each chapter includes case studies of both high status and popular memorials, showing how iconography such as the depiction of the wrecked ship was widely transmitted. The book covers both naval and commercial aspects of seafaring and includes memorials to naval officers, merchants, explorers, fishermen, leisure sailors, victims of shipwrecks and lifesavers, with around 100 illustrations of memorials. Published in association with the National Maritime Museum, Greenwich.
• Genevieve Warwick and Richard Taws, “After Prometheus: Art and Technology in Early Modern Europe,” pp. 198–209.
Die Graphische Sammlung des Germanischen Nationalmuseums bewahrt rund 130 niederländische Zeichnungen des 15. bis einschließlich 18. Jahrhunderts, die durch Ankäufe, Schenkungen und Vermächtnisse in den Jahren 1858 bis 1982 erworben wurden. Hierzu zählen Werke von Jan Breughel d.J., Philips Koninck oder Bartholomeus Spranger, aber auch Arbeiten von weniger bekannten und anonymen Meistern. In dem vorliegenden Bestandskatalog sind die niederländischen Zeichnungen nun erstmals in ihrer Gesamtheit wissenschaftlich bearbeitet, mit Provenienzangaben sowie den technischen und bibliographischen Daten dokumentiert und farbig abgebildet. Den Katalog ergänzen Textbeiträge zur Sammlungsgeschichte niederländischer Kunst am Germanischen Nationalmuseum sowie zu den Funktionen niederländischer Zeichnungen.
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