New Book | Burlington House
Available from Distributed Art Publishers (DAP) . . .
Nicholas Savage, Burlington House: The Architectural History of the Home of the Royal Academy of Arts (London: Royal Academy of Arts, 2018), 368 pages, ISBN: 978-1910350805, £60 / $75.
On Charles II’s restoration to the throne in 1660, four of his supporters were provided with plots of land in a leafy suburb of London, on which to build their extravagant town palaces. The only one to survive—built for the poet and courtier Sir John Denham (1615–1669) and now situated in the heart of Piccadilly—became the home of the Royal Academy of Arts, its exhibitions and its Schools.
This significant study charts the history of the estate through its many owners, including the 3rd Earl of Burlington (1694–1753), who gave the house not only its name but also its influential character and distinctive architecture, which remains an unparalleled example of the Palladian style in England. Nicholas Savage’s thorough research studies 350 years of social and architectural history, as well as revealing the next phase in the life of the estate, with the joining up of Burlington House and James Pennethorne’s nineteenth-century neo-classical building that was constructed in its garden. This link opens up Burlington House as never before in a breath-taking redevelopment led by Sir David Chipperfield to celebrate the institution’s 250th anniversary.
The architectural historian Nicholas Savage is former Head of Collections at the Royal Academy of Arts and co-author of Genius and Ambition: The Royal Academy of Arts, London, 1768–1918 (RA Publications, 2015).
C O N T E N T S
Preface
1 Sir John Denham
2 The Earls of Burlington and Cork
3 The Cavendish Family
4 Her Majesty’s Office of Works
5 Royal Academy of Arts
Notes
Selected Bibliography and Further Reading
Photographic Acknowledgments
Index
The French Porcelain Society Journal 7 (2018)
Image from the front cover: Vase ‘Théricléen’, formerly with gilt-bronze handles, hard-paste porcelain, painted in enamel colours and gilt. The side of the rim bears the Sèvres factory mark for 1844 and a printed label lettered “Given by His Majesty King Louis Philippe First, King of the French, to Wm. Standish Standish, ESQ., September 1844.” 51cm high, including an ormolu base 2.8cm high (The Bowes Museum, Barnard Castle, 1995.33).
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Copies can be ordered from the Society’s website:
Diana Davis, Oliver Fairclough and John Whitehead, eds., French Porcelain in the Nineteenth Century, 1789–1918: Makers, Markets and Museums. The French Porcelain Society Journal 7 (2018), 282 pages, £20 UK, £30 overseas.
The French Porcelain Society is delighted to announce the publication of its new journal French Porcelain in the Nineteenth Century, 1789–1918: Makers, Markets and Museums. Dedicated to the porcelain specialist Anthony du Boulay, the journal has been edited by Diana Davis, Oliver Fairclough and John Whitehead. Thirteen peer-reviewed articles, fully illustrated in colour and black and white, cover, among much else, topics such as porcelain made in the service of the French Revolution, the formation of outstanding British collections of French porcelain by George Watson-Taylor and Lady Dorothy Nevill, the influence of the historian Baron Jean-Charles Davillier, the growth of the new museums and the role of the dealer in decorative art. Towering over the whole is Alexandre Brongniart, with articles on the Expositions des Produits de l’Industrie française and his influence on the ceramics collection at the little-known Museum of Practical Geology in London’s Jermyn Street. Other contributions discuss technical advances at the Sèvres manufactory during the nineteenth century, Paris porcelain, nostalgia for ‘vieux Sèvres’ and ‘vieux Saxe’ in France, a ceramics conundrum of grand vases, a royal gift from Louis Philippe to the Standish family, and, leading into the twentieth century, the ceramics of Seraphim Soudbinine.
C O N T E N T S
• Tom Stammers, Historian, Patriot and Paragon of Taste: Baron Jean-Charles Davillier (1823–83) and the Study of Ceramics in Nineteenth-Century France
• Iris Moon, Mirabeau in Biscuit: Political Reputations and the Changing Aesthetics of Porcelain during the French Revolution
• Antoine d’Albis, Les progrès techniques à Sèvres au XIXe siècle
• Elodie Goëssant, Imitator or Connoisseur? A Study of the Sèvres Porcelain Collection of George Watson Taylor, Esq., MP (1771–1841)
• Tamara Préaud with Aileen Dawson, Alexandre Brongniart and the Expositions des Produits de l’industrie française, 1819–44
• Susan Newell, Alexandre Brongniart, Museological Muse? Reflections on Brongniart’s Influence on the Formation of the Ceramics Collection at London’s Museum of Practical Geology, c. 1850
• Howard Coutts, Louis Philippe’s Gifts of Sèvres Porcelain to the Standish Family of Duxbury Hall, Lancashire, and Cocken Hall, County Durham
• Régine de Plinval de Guillebon, De la Porcelaine fabriquée à Paris à la Porcelaine décorée à Paris Evolution pendant la première moitié du XIXe siècle
• Audrey Gay-Mazuel, Nostalgie pour le ‘vieux Sèvres’ et le ‘vieux Saxe’: Les lignes rocailles de la porcelaine de Paris au XIXe siècle
• Caroline McCaffrey-Howarth, Reclaiming Her Scandalous Past: Lady Dorothy Nevill (1826–1913) as a Collector of Sèvres Porcelain
• Diana Davis, From Private to Public: A Dihl and Guérhard ‘Sabines’ Vase
• Bet McCleod and John Whitehead, A Grand Confusion of Sèvres Vases
• Ekaterina Khmelnitskaya, Seraphin Soudbinine: From Rodin’s Assistant to Ceramic Artist
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