Miniature Painter Research Articles

Miniatura důstojníka 8. pěšího pluku rakouské armády. Nová akvizice Národního muzea od Patrizia Kettnera z roku 1836

The article explores a signed and dated portrait miniature of an officer by the painter Patrizio Kittner (1809–1900) from Brno, which was previously unknown. The aim of the text is to present Kittner’s portrait miniature through formal, stylistic and contextual analysis. The introduction focuses on the forgotten miniature painter’s personality, his artistic background, and his work for commissioners among the Moravian aristocracy and leading industrialists. It then proceeds with a formal description of the portrait miniature, its condition having been carefully assessed after the National Museum’s restorer removed the painting from its frame and disassembled the entire miniature into its individual components. This is followed by an analysis of Kittner’s painting style, which was examined using two portable microscopes: Dino-Lite type AM4115ZT for normal light images and Dino-Lite type AD4113T-12V for infrared images. Signed portrait miniatures from the Moravian Gallery in Brno served as adequate comparative ma­terial. The text then discusses the context of the work’s creation and identifies Kittner’s commissioners from the ranks of the Austrian army, evaluating the soldier’s rank and classification. The analyses indicate that Kittner’s miniature has been preserved in good technical condition. It is not substantially damaged, but it has undergone previous restoration, as indicated by the retouching on the right part of the man’s chest and in the upper right corner. This is an example of Kittner’s high-quality work, where the painter followed the Viennese portrait style of Moritz Michael Daffinger, known as the Daffinger School. In Kittner’s case, the clear influence of Viennese miniature production is demonstrated primarily through the painting style charac­terised by intersecting brushstrokes and the use of organic dye to depict skin tone. The article concludes by cautiously identifying the depicted figure as Anton Hahn, a lieutenant of the 8th Infantry Regiment of the Austrian Army.

Some Unique Colophon-Exemplares in Armenian Manuscripts

The purpose of this article is to specify a very important feature of the colophons in the Armenian manuscripts - their exemplary character. The objective of the work is to present the importance of colophon-exemplares in codicology. The work is written applying the historical-comparative and comparative methods. The results of the research show that though colophons are mostly written in colophon-patterns, there are colophon-exemplares of a complete colophon too. There is a typical colophon-exemplar in the Ms. 2335 of Matenadaran (M, Jerusalem, 1476), and there are examples of inscriptions-colophons: a colophon for writing on a fountain and on a cup in the Ms. M 3461 (Tʻokhatʻ, 1662). Comparing the information of the colophons written in the same colophon-exemplar of the manuscripts M 3633, 5664, 6059, 8454, 8578, we clarified the "kinship" connections of those manuscripts. We also found out the place of writing of the Ms. M 8578 (Moks province), as well as who the scribe Sargis was. He is Sargis Hizantsʻi, the brother of the famous miniature painter Martiros Hizantsʻi from Hizan province. In other words, due to collecting and classifying colophons written on the basis of the same colophon-exemplar, it is possible to find out not only various data concerning the circumstances of the origin of those manuscripts, but also to solve various codicological issues.

Drones & Cultural Aesthetic

Initially trained as a miniature painter at the National College of Arts, Lahore, Pakistan, the author has aggressively combined new media and conceptual work with her traditional practice. The work is intended to shed light on the complexity of acculturation, politics, and power. This visual essay documents and describes Chishty’s projects such as Drone Art Series and other works specifically related to Pakistan’s border relations with countries like India, China, and Afghanistan. The artist will share her inspiration and motivation behind the projects developed since 2011, including paintings, installations, and collaborative projects.

Love Among the Archives: Writing the Lives of Sir George Scharf, Victorian Bachelor by Helena Michie and Robyn Warhol

Reviewed by: Love Among the Archives: Writing the Lives of Sir George Scharf, Victorian Bachelor by Helena Michie and Robyn Warhol Amanda Kotch (bio) Helena Michie and Robyn Warhol. Love Among the Archives: Writing the Lives of Sir George Scharf, Victorian Bachelor. Edinburgh UP, 2015, 246 pp. ISBN 978-147440662, $34.95. who is sir george scharf? On a bad day, for Victorianists Helena Michie and Robyn Warhol, he is "the most boring man in the world" (6). For the rest of us—a group that may include scholars of Victorian literature and culture, historians, art critics, archivists, and avid readers of biography and biographical metafiction—he is the first director of London's National Portrait Gallery (NPG). Does this titled position, which led to Scharf being appointed a Commander of the Most Excellent Order of the British Empire, differentiating him from his father George Scharf, the German immigrant artist whose vocation the NPG website lists as "miniature painter, draughtsman and lithographer," make Sir George any less boring? Possibly. Although the biography of such a person may be categorized as niche, there are a number of reasons to write a life of Sir George Scharf. Michie and Warhol mention some of these, including Scharf's contributions to portrait identification and display techniques, for example. But out of the authors' self-professed limitations of training—both are literary critics—comes something more ambitious and expansive. Despite its entrenchment in Victorian literary scholarship, Love Among the Archives belongs to the ever-expanding category of experimental life writing, distinguished by the refusal of prescriptive narratives and the embrace of narrative twists, turns, and surprises. Michie and Warhol's book neatly undresses three characteristic plots in nineteenth-century fiction—the romance plot, the family [End Page 517] romance, and the search for vocation—as the plots enable and inform their experience of working with Scharf's archive. Although the specific application of these plots will be most interesting to scholars of nineteenth-century literature, those reading and working more broadly in the field of biography will appreciate the book's attention to everyday details that might otherwise fall into obscurity, resisting narrative altogether. A torn piece of waistcoat, a blotch on a letter, a meticulously preserved set of dinner menus—these things all come to life and have their place in the authors' search for a subject who refuses complete knowability. Love Among the Archives deftly employs three temporal modes to bring Scharf's experiences to life: story time, discourse time, and archive time (52). A story, as Michie and Warhol point out, links events through causation, and Scharf's diaries seldom provide evidence for why certain entries appear side by side, and even less evidence for what Scharf might have been feeling when he recorded them. Story time, as such, follows the narrative(s) that the authors have imagined and constructed for Scharf, based on what they intuit from their own experiences with his papers; it is not linear or chronological. Those needing a more organized chronology can look to the vita provided before the preface, which is divided into the seven decades of Scharf's life (as with the book as a whole, the vita does not end with Scharf's death, but unlike the book, the vita ends with the relocation of the NPG collection to its current space, and thus asserts Scharf's professional legacy). The vita merges Michie and Warhol's story time observations with events that might structure a more chronologically driven account of Scharf's life, such as Charles Dickens's private visit to the NPG in 1861. Next to events such as these are story time occurrences like "the piano wars," a set of occasions where Scharf attempts to drown out a neighbor's loud piano-playing with noisemaking of his own. Reading the vita emphasizes how story time events signify within the archivists' reconstruction of Scharf's Victorian bachelor world, rather than on their own terms—on Scharf's terms, that is. Discourse time refers to recursive moments in Scharf's diaries and letters, including daily records, mentions of memorial anniversaries, and summaries of annual expenditures and professional accomplishments. The third category, archive time, encompasses...

Autoportreti zadarskog bilježnika Ilije iz 14. stoljeća

Notarski znakovi kao ovjera privatnopravnih javnih isprava pojavljuju se u Dalmaciji od 12. stoljeća, a tijekom kasnog srednjeg vijeka postaju obvezni dio službenih isprava koje su pisane na pergameni za same stranke. Redovito su grafičkog karaktera, manje ili više razrađeni crteži dekorativnih motiva uz eventualno uplitanje slova, ali bez ikakvih figuralnih sadržaja. Među najrazličitijim formama notarskih znakova sačuvanih u fondovima hrvatskih arhiva posebnu pažnju privlači onaj splitskog kanonika i zadarskog bilježnika Ilije, koji je umjesto jednostavnog grafičkog znaka u tu svrhu koristio prikaz poprsja mlađeg muškarca, za koji se s dosta razloga može pretpostaviti da je predstavljao njegov autoportret. Do sada je poznato preko pedeset sačuvanih Ilijinih notarskih znakova, no može se pretpostaviti da ih je tijekom više od dva desetljeća notarske karijere Ilija izradio preko tisuću.U pitanju su crteži sasvim skromnih dimenzija (u prosjeku 3 x 1,5 cm), koji, po svemu sudeći, nisu bili plod nekakve "umjetničke" ambicije, čak i kada bismo takvu terminologiju mogli primjeniti na onodobnu likovnu produkciju. Zacijelo Ilija, poput mnogih ljudi od pera, jednostavno nije mogao odoljeti nagonu za crtanjem, pa je dio te svoje sklonosti i vještine na osebujan način ugradio u posao kojim se bavio. Tijekom vremena, u rasponu od dvadesetak godina, prikazani lik je doživljavao određene promjene. Započevši s relativno realističnim i dosta preciznim prikazom, u drugoj je fazi Ilija pojednostavnio crtež i pojačao karikaturalne elemente, da bi u trećoj dijelom stilizirao i unificirao svoj znak. U osnovi, njegovi su crteži bliži formi karikature nego reprezentativnom likovnom izrazu, ali upravo stoga i daleko slobodniji od normi kojima se nužno podvrgavalo profesionalno, a osobito monumentalno slikarstvo 14. stoljeća. Unatoč tome što dijelom posjeduju ponešto bezvremenski karakter, svojim likovnim karakteristikama upućuju i na određeno poznavanje formalnog jezika reprezentativnog slikarstva. Vješto baratanje linijom i lakoća s kojom Ilija minimumom izražajnih sredstava ocrtava ne samo portretne nego i psihološke odlike prikazanog lika, u osnovi su tekovina gotičke likovne kulture.Forma autoportreta, premda, barem na deklarativnoj razini odsutna iz srednjovjekovnog monumentalnog slikarstva, prisutna je, premda u vrlo rijetkim i pojedinačnim slučajevima, u srednjovjekovnom slikarstvu minijatura (npr. autoportreti Sv. Dunstana, pisara Vigila, slikara Hildebertusa i njegova pomoćnika Everwinusa, fra Rufillusa, redovnice Gude, minijaturiste Matthewa Parisa, te iluminatora Richarda de Montbaston i njegove žene Jeanne). Ipak, malobrojnost, ali i vremenska i prostorna (dijelom i kulturološka) udaljenost navedenih primjera, otežava prosudbu mjesta Ilijinih autoportreta u okviru nekog šireg konteksta. No u svakom slučaju, grupa od pedesetak autoportreta iz 14. stoljeća, bez obzira na njihove dimenzije i karakter, predstavlja svojevrsni fenomen u okvirima europske likovne kulture. Pritom čak i nije toliko riječ o likovnoj kvaliteti samih crteža, koja doista nije velika, koliko o mogućem bogatstvu oblika vizualne komunikacije u onodobnoj Dalmaciji.

Drawing in the Digital Field

This article investigates miniature painter Shahzia Sikander's work in animation. It begins by providing background on Sikander's earlier animation work since 2001 and by exploring the use of sound, image, and digital technology in these works. These animations are made from many small drawings, which are scanned and digitally altered. The article then focuses on The Last Post (2010), which marked a radical departure in the artist's animation practice. The Last Post deals with the history of colonial struggle and the legacy of the British East India Company in South and East Asia.

Tra storia e leggenda. Indagini sul network artistico tra Sofonisba Anguissola, Giulio Clovio e Levina Teerlinc

The article explores the relation between two miniature painters: the Croatian Giulio Clovio and the Fleming Levina Teerlinc. The starting point of this research is a letter written in the 1540s, which is written by Annibal Caro in name of Giulio Clovio. The letter is addressed to a young nameless female miniature painter. This female miniature painter can be identified as Levina Teerlinc because of a corresponding characteristics and profile. The focal point of this letter is an exchange of self-portraits between Clovio and the female painter. Proof that it is Levina Teerlinc who sends Clovio her self-portrait is to be found in the testament of the Croatian artist, that reminds «il ritratto di Livinia meniatrice» or «the portrait of Livinia miniature painter». Historiography connected the event to the portrait of Giulio Clovio, painted by the hand of Sofonisba Anguissola. In this portrait the Croatian is depicted with a portrait miniature in his hand. Federico Zeri, owner of the portrait until 1998, believed that the miniature portrayed Levina Teerlinc. This present article argues that the miniature is a self-portrait of Sofonisba Anguissola. Evidence for this can be found in another portrait of this painter of Cremona. In the portrait of her master Bernardino Campi, Anguissola depicts Campi in the action of painting her portrait, which essentially is a self-portrait. In both paintings, the master paints a portrait of his pupil Sofonsiba: Bernardino Campi is her master for painting, while Giulio Clovio is her master for miniature painting. Clovio, just like Campi, is depicted in the act of painting, with the brush in his hand and his eye focussed on the viewer. Further, the article describes exhaustively the provenance of the portrait of Clovio. It particularly emphasises the typology of headgear the miniature painter wears and compares it with a similar sample worn by a contemporary Englishman. Finally, this study proposes to give some answers to unresolved questions about the relationship between Clovio and Levina. The article individuates Francisco de Holanda as an intermediary between the two. Further, it rectifies the birth and wedding date of Levina and confirms her absence in Flanders even before her English period. This means that it cannot be excluded that Levina Teerlinc spent a period in Italy around the 1540s and that she might have been a student of Giulio Clovio.

A passion for portraits: Elizabeth Cay's pastels

Elizabeth Cay (1771–1831), the grandmother of the Scottish physicist James Clerk Maxwell (1831–1879), was a talented amateur pastellist; several of her pastel portraits survive as does her set of pastels. She studied with Archibald Skirving (1749–1819), a Scottish miniature painter who later in life turned to larger-scale portraiture in pastel and served as drawing master to the Edinburgh elite. Cay's pastels are not fabricated sticks but consist of powdered pigment housed in various glass and ceramic containers and were apparently applied by stumps, still in her workbox, or brushes. The Cay color samples were identified by spectrographic analysis, polarized light microscopy, and microchemical tests which, in addition, indicated that a number of pigment mixtures present gave specific hues in keeping with earlier treatise accounts of the preparation of a pastel gamut for practical use. Elizabeth Cay's pastel workbox may be rare surviving evidence of one way, more common that we appreciate today, in which amateurs, and perhaps professionals, practiced pastel painting.

GEORGE AUGUSTUS SALA: A VISUAL APPRENTICESHIP

This article traces Sala’s journey from childhood blindness through to the restoration of his sight and his immersion into the expanding nineteenth-century illustrative world as an engraver, illustrator and scene painter and to his eventual rejection of the visual for the written word. Using Paul de Man’s definition of modernity – that it involves ‘a freshness of perception that results from a slate wiped clear’ and that the human figures ‘that epitomise modernity are defined by experiences such as childhood or convalescence’ – the chapter will argue that Sala’s relationship to print culture was affected by this loss of sight and on its restoration he was endowed with a fresher, more modern and dynamic way of observing Victorian culture. The chapter goes on to work through Sala’s inner ideological struggle between pen and pencil, an ideological struggle that was mirrored within wider Victorian culture.It will highlight the influence that Sala’s early reading of the Illustrated London News and Punch had on his relationship to the visual and to his later satirical writing style. His early meetings with Charles Dickens and Mark Lemon, and his apprenticeship to the miniature painter Carl Schiller are highlighted, as is his illustrative work for The Man in the Moon, which led to his satirical attack on the Punch brotherhood, A Word with Punch. Sala’s work for The Lady’s Newspaper is discussed and the way this influenced his passion for clothes and clothing, as is his work for penny dreadfuls with their emphasis on sensation. His work for these two very different productions underlines his ability to transcend high and low culture.

Monstrosities: Bodies and British Romanticism (review)

Reviewed by: Monstrosities: Bodies and British Romanticism Jeffrey Longacre Youngquist, Paul . 2003. Monstrosities: Bodies and British Romanticism. Minneapolis: University of Minnesota Press. $59.95 hc. $19.95 sc. xxxi + 224 pp. "The monstrosities of Romanticism," writes Paul Youngquist in his introduction to Monstrosities: Bodies and British Romanticism, "trouble the matter of normality" (2003, xxix). And troubling—or problematizing—the matter of normality, specifically as normality works as a regulator function for conceptions of embodiment, is precisely Youngquist's aim. His decision to focus his study on the British Romantic period is no arbitrary decision either, as he notes that it "coincides with the cultural consolidation of a "proper body" (xv). Working from the intersection of Judith Butler's ideas on individual agency and embodiment as performance and Michel Foucault's theory that "liberal society operates by means of a dispersed network of regulatory norms that discipline bodies toward the end of a socially serviceable docility" (xv), Youngquist probes the tensions between regulatory norms and the subversive monsters that haunt them. He provides an interesting and useful dissection of the Romantic origins of the "proper body" and how deviations from this norm—monstrosities—always return, like Frankenstein's creature, to challenge the political discourses that define, regulate, and enforce normality. Youngquist states a twofold purpose in writing this book: "first to examine further the emergence of the proper body as a regulatory norm, and second to show how monstrosities of various kinds become occasions for advancing, resisting, or transforming its operations in British culture of the late eighteenth and early nineteenth centuries" (xxx). He divides his book into three parts: "Incorporations," "Habituations," and "Appropriations." Part I sets the theoretical, cultural, and historical groundwork for the book by defining and examining the norm of the proper body and then presenting several examples of deviances which haunt the stability and power of this cultural norm. Part II consists of two chapters juxtaposing divergent reactions to opium and addiction, first in the case of Samuel Taylor Coleridge, who represents the repentant addict, and then in the case of Thomas De Quincy, who represents an apologist for addiction. In Part III, Youngquist concludes his study with two chapters on the rise of institutional appropriation of the flesh and its cultural ramifications. [End Page 229] Chapter 1 examines how the norm of the "proper body" came into being in the first place through the rise of anatomical science, especially in the work of the surgeon John Hunter, and the materialist ideology of John Locke, culminating in polarized reactions to the French revolution; ultimately represented on the ultra-conservative side by Edmund Burke and on the radically liberal side by Thomas Paine. "Between them," writes Youngquist, "Burke and Paine consolidate the force of the proper body as a cultural norm" (2003, 26). The proper body is what's at stake in the paranoid climate of 1790s England, dominating political and cultural discourses of the time. Revolutionary France represents the monstrous deviation from this norm, the horrific other, threatening to infect England's "healthy" body like a disease. Youngquist's analysis of the confluence of medicine and politics during this period is one of the strengths of his book. In the next chapter, Youngquist considers, "the fate of monstrosities in liberal society," where only proper bodies matter (2003, 28). This eclectic chapter moves from a discussion of William Wordsworth, to Daniel Lambert, the 700-plus pound man, to Sarah Biffin, the armless miniature painter, finally cohering a bit around Youngquist's analysis of the carnivalesque atmosphere of Bartholomew Fair, "a space of deviance, a collective social practice that for a few days each year challenged the normative force of the proper body" (45). It culminates in a brief, obligatory for monstrosity studies, snippet on Frankenstein. On the other hand, chapter 3, entitled "Possessing Beauty," is one of the strongest chapters in the book. In it Youngquist examines the confluence of anatomy, anthropology, and aesthetics, noting how "[b]eauty converges with civility to race the proper body" (64). Comparing the institutionalization of aesthetics from Immanuel Kant to Joshua Reynolds with contemporary studies of racial anatomy, such as Charles White's An Account of the Regular Gradation in Man (1799...

La collection de Michel Bégon : l’apport du peintre d’histoire naturelle Claude Aubriet

Michel Bégon’s collection and Claude Aubriet’s contribution to natural history. Michel Bégon (1638-1710), a navy paymaster of Louis XIV in La Rochelle, was at the start of a collection composed of medals, books, objets d’art, works by famous painters and curiosities of Nature. To illustrate his collections of insects and birds, he employed the miniature painter Claude Aubriet (c. 1665-1742), in charge, on the other hand, of the king’s vellums. A careful study of the entomological and ornithological plates by Aubriet shows that he greatlv borrowed from former artists such as Maria Sibylla Merian or Johann Walter. This article is concerned with the problem of the role of the artist, as regards his relationship with the scientist or the collector of curiosa.

The Dead Bride

The Dead Bride Robin Jaffee Frank (bio) Figures Click for larger view View full resolution Figure 1. P. R. Vallée (France; active U.S. 1803–1815), Harriet Mackie (The Dead Bride) (1788–1804), probably 1804, watercolor on ivory; verso, plaited hair, 2H x 2 in. (6.4 x 5.1 cm) oval, Signed l.l. in graphite: Vallée, Mabel Brady Garvan Collection, Yale University Art Gallery, 1936.300. Portrait miniatures are among the most personal forms of artistic expression, and few offer deeper insight into American private life than Vallée’s The Dead Bride (figure 1). It conveys, in a different way than texts, how much our understanding of death and our relationship to those who have died has changed over time. Painted in watercolor on ivory and housed in a rose-gold locket, this portrait would have been worn close to the heart and looked at in private, as one would approach a secret. Through the commissioning of this token small enough to hold in the palm of one’s hand, someone in Charleston, South Carolina in 1804 acquired a visible past —a tangible link with a teenaged girl both loved and mourned. By reconstructing as far as possible the history of her life and death, we restore to this miniature its power to suggest the intimate communion between the self and another. 1 The miniaturist’s name has traditionally been given as Jean François de Vallée, supposedly a textile manufacturer who corresponded with Thomas Jefferson, but no documentary evidence supports this. However, advertisements in the local press reveal that between 1803 and 1806 one P.R. Vallée did work in Charleston, and his technical virtuosity reveals him to have been a mature miniaturist when he arrived there. 2 He announced in the Times: “Mr. P. Vallée, Miniature Painter, LATELY arrived from Paris, offers his services to the Ladies and Gentlemen of this City, in the line of his profession; he warrants the most correct LIKENESS.” 3 Vallée’s likeness of Harriet Mackie was taken from her corpse, dressed in a white empire bridal gown, with a veil and garland of white roses crowning her head. Painting the dead cannot be easy. Vallée might have secured Harriet’s slack jaw with a strap and continued to work as decomposition set in. It was rare for a miniaturist to depict the dead with closed eyes, as Vallée did. Usually the eyes were open, so that the memory of the living person could be preserved. The decision to leave Harriet’s long-lashed lids closed and record her pallor reveals a need to remember not only the features of a living person, but to fix them in death. Vallée’s image likens death to a blissful sleep, recalling recumbent or reclining mortuary statues from the Middle Ages to the present day. Harriet’s repose suggests the words used by Christ when raising the daughter of Jairus from the dead: Dormit, non est mortua. The serenity of Harriet’s expression, the comfortable pillow behind her head, and the hint of domestic furniture at the lower left envision sleep as a state of transition between home as protective haven in life and heaven as protective home in the afterlife. Later in the century, this idea of a domesticated heaven would serve as comfort in popular images and consolatory poetry. For the wearer [End Page 69] of this locket, the visual metaphor suggests the place the deceased occupied in the mourner’s mind, asleep until they meet again at home in heaven. Harriet followed the English bridal custom of wearing roses in her hair; 4 however, her bridal garland could also be interpreted as a funeral chaplet, a symbol used in ancient times and revived in Revolutionary France, which was given as an offering by the bereaved to the deceased in funerary monuments. 5 Here, the chaplet symbolizes the perpetuation of Harriet’s memory by the person who commissioned this miniature. It also serves as a traditional token of her purity; in Shakespeare’s Hamlet, Ophelia was buried wearing her virgin’s garland. 6 Harriet’s chaplet is adorned with roses; stylized roses...

『海の老人』の図像成立をめぐって

The purpose of this paper is to examine the inconsistency between the story of Sindbad the Sailor and the illustration of the Old Man of the Sea. This miniature, which is supposed to depict the Old Man of the Sea and Sindbad the Sallor, does not belong to the manuscript on the so-called “The Arabian Nights (Alf Layla wa-Layla)”, but is an astrological work by Abü Mâ'shar al-Balkhî kept in the Bodleian Library in Oxford (Ms. Or. 133). This manuscript Kitâb al-Bulhân, which was copied in 1399, consists of 176 folios with 83 miniatures, and the illustrations were painted during the reign of the last ruler of the Jalâyrid dynasty, Ahamad ibn Uways (ruled 1382-1410). These miniatures could be classified into six parts according to their contents, and the illustration in question belongs to the legendary part. However, it has no text but only the inscription “shaykh al-bahr (the old man of the sea) wa…”. Therefore, T. W. Aronld and the author of the monograph Il Kitâb al-Bulhân di Oxford, Stefano Carboni insisted that the story of Sindbad the Sailor lies in the background of this illustration.It is indeed that several miniatures in the part originated in the legend of Sindbad the Sailor or Sindbad cycle, however, the figure of the old man is definitely inconsistent with the story. The lower half of his body was depicted fish-tailed. To conclude the story, he would need his own strong legs. The same type of the illustration can be recognized in MS. suppl. turc 242 (fol. 79v.) kept in Bibliothèque Nationale in Paris.From the aspect of literary history, it is clear that the fabulous monster the Old Man of thd Sea originated as a Persian (or Indian) monster Duwâl-Pâ. Lane, one of the translators of “The Arabian Nights”, argued that this fabulous monster was inspired from an orangoutan, or as the curious island people mentioned in Kitâb 'Ajâ'ib al-Makhlûqât by Qazwînî, thus, the name the Old Man of the Sea itself was not so important.From the view point of art history, the figures of these monsters were completely different from that of the Old Man of the Sea on Or. 133.Tracing the term to its origin, as M. Gerhardt mentioned, it seemed to be derived from the Greek, halios gerôn. Consequently, the study of the history of the illustrations of halios gerôn made it clear that the miniature painter who depicted the folio referred to the traditional figure of the Old Man of the Sea which had been spread all over the Mediterranean world since ancient time.

Mayall's life-size portrait of George Peabody

Abstract The miniature painter's occupation is nearly gone, and we may perhaps see the second-rate portrait painter also superseded, and the same negative made to print pictures for the walls of town-hall or mansion, or for the album in the lady's boudoir.

Ary Scheffer, een Nederlandse Fransman

Ary Scheffer, een Nederlandse Fransman

Carl Frederick Abel Pantin, 1899-1967

Carl Frederick Abel Pantin was born at Blackheath on 30 March 1899, being the second of the three children of Herbert and Emilie Pantin. The eldest child was a daughter Elfriede May and the youngest, born in 1902, was William Abel, mediaeval and ecclesiastical historian and Fellow of Oriel College, Oxford, to whom I am indebted for the following information on family background. Herbert Pantin was the director of a family firm founded by his great- grandfather at the end of the eighteenth century which specialized at first in timber importing and box making and later in machinery. Carl himself became a director of the firm and ultimately its Chairman. His father, a charming and cultivated person, had a strong sense of history and loyalty to his family firm, and this Carl inherited. His mother, whose maiden name was Emilie Juanita Abel, was of German extraction. Her ancestors for several generations going back to the seventeenth century were typical examples of the talented middle-class families who flourished in the small German grand-ducal courts of the eighteenth century. They were mostly musicians with an occasional court miniature painter or court gardener. The best known was Karl Friedrich Abel (1725-1787), a pupil of John Sebastian Bach, who came to England and joined forces with Bach’s son, J. C. Bach. He was a friend of Gainsborough who twice painted him.

Pierre Signac i Hedvig Eleonoras tjänst

Summary The miniature and enamel painter Pierre Signac, who was born and educated in France, spent the greater part of his life in Sweden. With Count Magnus Gabriel de la Gardie as intermediary he was employed as court miniature painter by Queen Christina in 1647. After the abdication of the Queen in 1654 he served Karl Gustav until the King's death in 1660, whereafter he remained court miniature painter to the Dowager Queen Hedvig Eleonora. Pierre Signac died in 1684. The Dowager Queen's accounts show that Signac was employ‐ed to execute portraits in miniature and enamel, designed to be mounted in lockets, rings, brooches, bracelets etc. Among the works still preserved which the artist painted for Hedvig Eleonora, some are of special interest. In St. Annen Museum in Lübeck there is a portrait of the Queen as widow. She is here pictured in a very individual and expressive way. It corresponds in certain respects with a portrait in whole figure of the Queen by Abraham Wuchters at Gripsholm. At Frede‐riksborg Castle in Denmark can be found a miniature of the same type by Signac. Of another type, and closely related to the dowager portrait by David Klöcker Ehrenstrahl, is a small enamel portrait in grisaille. Of this there are several specimens. Another work by Signac, done for Hedvig Eleo‐nora, is a collection of miniature portraits in the National‐museum in Helsinki. The portraits were painted at different times and depict members of the Swedish and Danish Royal Houses as well as princes and princesses of several German courts. The German royalties were painted in 1665 while the artist travelled abroad. These miniatures, which together con‐stitute a genealogical table, were probably the Dowager Queen's wedding gift in 1680 to Karl XI and his bride, the Danish princess Ulrika Eleonora.

Jefferson's Earliest Note to Maria Cosway With Some New Facts and Conjectures on His Broken Wrist

*The editorial procedure of the monumental edition of The Papers of Thomasr Jefferson, now being prepared at Princeton by Julian P. Boyd, Editor, and Lyman H. Butterfield and Mina R. Bryan, Assistant Editors, calls for the annotation of various Jefferson letters and documents so as to clarify personal, political, and literary allusions. There are natural and physical limits to the amount of annotation feasible, but the Editors plan to go as far as possible in approaching these limits for the convenience of the scholar and the general reader. In the case of certain letters and documents of particular significance or of a controversial nature, an adequate commentary would require many pages of fact and hypothesis. The Editors have therefore decided, in many such cases, to prepare short articles and to encourage other scholars to prepare such extended commentary on documents of this type with the hope that they can be published in scholarly journals. Such manuscripts will be annotated in The Papers of Thomas Jefferson merely with a footnote summary of the conclusions reached in these extended comments. This account by Mr. Butterfield and Mr. Rice of the Jefferson-Cosway note is one of the first of the articles to be published under this policy. Mr. Rice is the representative in France of the Editorial Board. 1 It was located by Mr. Felix Ansermoz-Dubois, who, with the kind permission of the owner, transmitted a photostat to Mr. Rice. Mr. Geigy-Hagenbach states that he acquired the letter about thirty years ago from a dealer no longer in business. It is probably the first of two Jefferson items recorded in A. J. Herbert, Autograph Prices Current, London, V (August, i919, to July, i92i, inclusive), io6, described as follows: JEFFERSON, Thomas.-A. L. i p. 8vo, to Mrs. Maria Cosway, the miniature painter, and endorsed by her as written with his left hand.-Signature, right-hand, with two portraits. These two items were sold, June 2, i92i, to Rimell for JI/5s, at Puttick & Simpson's sale of the library of Sir John Arthur Brooke, Bart. No other Jefferson or Cosway manuscripts are recorded for this sale. Probably the second of the two items, the Jefferson signature, is the one reproduced in Album von Handschriften Beriihmter Persdnlichkeiten vom Mittellter bis zur Neuzeit, Herausgegeben von K. Geigy-Hagenbach, Verlag Rudolf Geering, Buchantiquariat (Basel, I925), 39.

Burman, Miniature Painter

Burman, Miniature Painter Get access Benjamin Walker Benjamin Walker 1Marston Green, Birmingham Search for other works by this author on: Oxford Academic Google Scholar Notes and Queries, Volume CLXX, Issue may09, 9 May 1936, Page 338, https://doi.org/10.1093/nq/CLXX.may09.338c Published: 09 May 1936

Burman, miniature painter

Burman, miniature painter Get access H. B. H. B. Search for other works by this author on: Oxford Academic Google Scholar Notes and Queries, Volume CLXX, Issue apr18, 18 April 1936, Page 283, https://doi.org/10.1093/nq/CLXX.apr18.283 Published: 18 April 1936