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Devon House is the place in central Kingston, Jamaica where everyone goes to get ice cream and stroll the lush, beautiful grounds. A restaurant operates in the house and hosts special events especially weddings.
Devon House, built in 1881, is the former residence of George Stiebel (1820–1896), Jamaica's first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica. He was appointed as the Custos, a high civic post, of St. Andrew. His residence has been restored and is operated as a house museum and National Heritage Site.
—from Wikipedia
Das private Eisenbahnverkehrsunternehmen Lokomotion hat insgesamt 5 Lokomotiven der Traxx-Baureihe 186 (186 440 – 186 444) im Bestand.
Während 186 443 und 444 ein besonderes Zebradesign erhalten haben kommen 186 440 - 186 442 im klassischen Erscheinungsbild mit einheitlich blauen Streifen daher.
Am 13.02.2017 war 186 440 mit einem fotogen gemischten KLV (paneuropa, Walter, Gruber, Stiebel Eltron) vom Brenner kommend talwärts in Richtung Inntal und weiter nach Münc hen unterwegs, hier an bekannter Stelle bei St. Jodok.
If there are actually secret floral meanings revealed in the "language of flowers," then it's no surprise that there's a similar "language of fruit," as illustrated on this early twentieth-century postcard.
So be careful how you distribute your fruit! You could convey an unintended message—"I love you" (apple) "with all my heart" (banana)—and you may receive an unexpected response—"I do not love you" (lemon) and "I cannot see you again" (medlar).
There's no name, address, or message on the other side of this unused postcard, but "Mother" is written below "Currants - Remember me" on the front.
For other potentially awkward communication schemes, see Stamp Flirtation Postcard, 1909 and Window Signaling Card.
The Language of Fruit
Apple - I love you.
Pear - Do not forget me.
Plums - Please write soon.
Cherries - I cherish you.
Currants - Remember me.
Strawberries - I mourn your absence.
Gooseberries - When can I see you again?
Walnuts - In thoughts with you.
Melon - Come soon.
Bananas - With all my heart.
Orange - I am faithful to you.
Lemon - I do not love you.
Raspberry - Be kind and sweet.
Medlar - I cannot see you again.
Apricots - Be true to me.
Peach - You are my peach.
Pineapple - I cannot come.
Grapes - I am dying with love.
Printed on the back of this postcard:
Alfred Stiebel & Co., London EC. The '"Alpha" Series No. 8535. Processed in Switzerland. The "Alpha" Postcard.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Swedish postcard by Förlag Nordisk Konst, Stockholm, no. 1096/3. Photo: Skandia Film. Gösta Ekman and Violet Molitor in the comedy Gyurkovicsarna/Lieutenant Tophat (John W. Brunius, 1920).
The plot evolves in Hungary. Mr (Julius Hälsig) and Mrs (Gucken Cederborg) Gyurkovics have a dozen children of whom the oldest, the twins Géza (Ekman) and Bandi (Nils Asther), just prepare for their matriculation exam. When graduation day arrives, Géza refuses to come but is taken by force by the principal's attendant. When father Gyurkovics dies later, Bandi takes over the estate while Géza becomes an officer aspirant in the nearby garrison city. Géza soon meets an angry colonel (Emil Stiebel) who puts him in his place. He goes to the restaurant and chases out all other guests with his dragon saber, for which he is arrested. Once out again, he immediately begins to make boys' streaks, is discovered by the colonel and is chased around the regiments building. He takes a refuge in a room where it appears that, at the top, the colonel's young daughter, Jutka (Violet Molitor), is sleeping. When the customary ball takes place in Baja, Géza awakens by continuously dancing with Jutka. The colonel orders a lieutenant to make sure the couple is divorced. The lieutenant executes the order such that Géza challenges him to a duel. None of them, however, are particularly keen to hurt the other and no accident occurs.
After a while Géza becomes under-lieutenant. He wins at card games and gets permission to visit a seaside resort, where he meets a general, a minister, and Freiherr Hetvics-Janky (Henrik Ljunberg). The Freiherr's wife (Pauline Brunius) is unhappily married and wants to provoke her husband to get a divorce. She immediately appeals to Géza and suggests that he will abduct her, as he would like to do. Meanwhile, Mother Gyurkovic sends son Bandi to the garrison city to keep an eye on Géza. Bandi meets Jutka and sweet love arises between them. Géza and the Freiherr's wife make a compromising train journey. Her husband, the field-marshall, meets them on their trip, behaves extremely favorably to Géza and refuses to be provoked. Thus, Géza avoids all obligations versus the intriguing Freiherr's wife. There will be a wedding between Bandi and Jutka. Among the wedding guests there is Géza, who is happy to have failed to marry.
Gyurkovicsarna was a film adaptation of the novel "A Gyurkovics-fiúk' by author Ferenc Herczeg. It starred Gösta Ekman and Pauline Brunius in the lead role. Ekman and Brunius also wrote the script. Exteriors were shot in Kalrberg and Falsterbo near Stockhlm and Mölle, Skane, while interiors were shot at the Skandia studios in Stockholm. The film premiered in 20 September 1920 simultaneously at the cinemas Victoria in Göteborg, Skandiabiografen in Norrköping, Skandia in Västerås and the Sture-Teatern in Stockholm . The full film can be seen on the Swedish Wikipedia page: sv.wikipedia.org/wiki/Gyurkovicsarna
Gösta Ekman (1890–1938) was the first real star of the Swedish theater. His boyish good looks attracted both sexes, helping to create a massive cult following, and elevating him to the status of a living legend. Combined with a beautiful voice, and a powerful stage and screen presence, Ekman was able to captivate his audiences.
Taken 23/01/23 in Brighton's North Street; According to Wikipedia the "... Wright StreetDeck is an integral double-deck bus manufactured by Wrightbus, with a Daimler OM934 diesel engine …". The first examples were delivered to Brighton, who followed up with two further batches. No. 828 is from the 2017 SK17/SK67 batch and is allocated to Whitehawk and branded for Route 7.
Again as per Wikipedia ".... Brighton & Hove was established in 1884 as Brighton, Hove and Preston United Omnibus Company. In 1916, Thomas Tilling took over the company and replaced all its remaining horse buses with motor buses. In November 1935 it was formed as the Brighton Hove and District Omnibus Company. In January 1969 it merged with Southdown Motor Services as a subsidiary of the National Bus Company. In January 1985 in preparation for privatisation, Brighton & Hove was separated from Southdown. In May 1987 it was sold in a management buyout. In November 1993 Brighton & Hove was sold to the Go-Ahead Group."
Brighton and Hove allocate names to virtually all their fleet and clicking on to the bus name on the following website gives biographies of those so honoured:
“Richard Addinsell
Connections with Brighton and Hove : British film composer Richard Addinsell lived at Chichester Terrace in Brighton between 1960 and his death here in 1977. Addinsell was one of the leading composers of music for British films from the 1930s to late 1950s. His most famous work is the Warsaw Concerto, written for the wartime film Dangerous Moonlight. His other scores include Fire over England, Goodbye Mr Chips, Blythe Spirit, Scrooge and The Prince and the Showgirl. He wrote almost 50 in total. For many years he was also comedienne Joyce Grenfell's main writing partner and created many of the songs she performed in her West End revues and TV shows. He was a close part of the whole Noel Coward/Clemence Dane set of the time .His partner was one of the most famous fashion designers in the 1940s and 1950s, Victor Stiebel, and they lived in Brighton together. A blue plaque was added to their Kemp Town home in 2007.”
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Standing Virgin and Child
Attributed to Niclaus Gerhaert von Leiden
Active 1460-73
Probably Vienna, about 1470
Boxwood
Purchase, The Cloisters collection and Lila Acheson Wallace Gift, 1996
former owners: Baron Anselm von Rothschild, Vienna (1803-1874); Baron Nathaniel von Rothschild, Vienna; Alphonse de Rothschild; Rosenberg and Stiebel, New York (until 1948); Julius Wilhelm Bohler, Munich (d. 1967); Julius Harry Bohler, Munich (d. 1979); Marion Bohler-Eitle, Munich (d.1991); Florian Eitle, Starnberg
Niclaus Gerhaert, a seminal artist of the generation preceding Albrecht Durer's, presumably was born in Leiden and was active in Strasbourg and Vienna, as well as several cities in between. Only three signed works are known and a mere four others, including this sculpture, have been seriously thought to be by Gerhaert's hand.
This statuette expresses a combined sense of drama, monumentality, and elegance through the extraordinarily accomplished carving of the fine grained wood. The rythm and balance of the complex drapery folds are counterpoised by the fine linear details and textural contrasts. Among the naturalistic details that subtly enhance the total form is the delicate manner in which the Virgin's fingertips press into the chubby flesh of the child. Intended as an object of private devotion and continuing a long tradition in the use of boxwood for this purpose, it may well have been commissioned by a member of the imperial court in Vienna. The dark base with the fictive Durer monogram and date on the back is of later date. Both arms of the child and the section of drapery held in his left hand are replacements.
Mural by Hebru Brantley seen at 1401 North Milwaukee Avenue at Wood Street in the Wicker Park area of Chicago, Illinois. Painted as a replacement for a mural that was painted over by city workers. Robert Stiebel, owner of the building, arranged for Brantley to paint a new mural along the wall of the building.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Swedish postcard by Forlag Nordisk Konst, Stockholm, no. 1096/1. Photo: Skandia Film. Gösta Ekman in the comedy Gyurkovicsarna/Lieutenant Tophat (John W. Brunius, 1920).
Mr (Julius Hälsig) and Mrs (Gucken Cederborg) Gyurkovics have a dozen children of whom the oldest, the twins Géza (Ekman) and Bandi (Nils Asther), just prepare for their matriculation exam. When graduation day arrives, Géza refuses to come but is taken by force by the principal's attendant. When father Gyurkovics dies later, Bandi takes over the estate while Géza becomes an officer aspirant in the nearby garrison city. Géza soon meets an angry colonel (Emil Stiebel) who puts him in his place. He goes to the restaurant and chases out all other guests with his dragon saber, for which he is arrested. Once out again, he immediately begins to make boys' streaks, is discovered by the colonel and is chased around the regiments building. He takes a refuge in a room where it appears that, at the top, the colonel's young daughter, Jutka (Violet Molitor), is sleeping. When the customary ball takes place in Baja, Géza awakens by continuously dancing with Jutka. The colonel orders a lieutenant to make sure the couple is divorced. The lieutenant executes the order such that Géza challenges him to a duel. None of them, however, are particularly keen to hurt the other and no accident occurs.
After a while Géza becomes under-lieutenant. He wins at card games and gets permission to visit a seaside resort, where he meets a general, a minister, and Freiherr Hetvics-Janky (Henrik Ljunberg). The Freiherr's wife (Pauline Brunius) is unhappily married and wants to provoke her husband to get a divorce. She immediately appeals to Géza and suggests that he will abduct her, as he would like to do. Meanwhile, Mother Gyurkovic sends son Bandi to the garrison city to keep an eye on Géza. Bandi meets Jutka and sweet love arises between them. Géza and the Freiherr's wife make a compromising train journey. Her husband, the field-marshall, meets them on their trip, behaves extremely favorably to Géza and refuses to be provoked. Thus, Géza avoids all obligations versus the intriguing Freiherr's wife. There will be a wedding between Bandi and Jutka. Among the wedding guests there is Géza, who is happy to have failed to marry.
Gyurkovicsarna was a film adaptation of the novel "A Gyurkovics-fiúk' by author Ferenc Herczeg. It starred Gösta Ekman and Pauline Brunius in the lead role. Ekman and Brunius also wrote the script. Exteriors were shot in Kalrberg and Falsterbo near Stockhlm and Mölle, Skane, while interiors were shot at the Skandia studios in Stockholm. The film premiered in 20 September 1920 simultaneously at the cinemas Victoria in Göteborg, Skandiabiografen in Norrköping, Skandia in Västerås and the Sture-Teatern in Stockholm . The full film can be seen on the Swedish Wikipedia page: sv.wikipedia.org/wiki/Gyurkovicsarna
Gösta Ekman (1890–1938) was the first real star of the Swedish theater. His boyish good looks attracted both sexes, helping to create a massive cult following, and elevating him to the status of a living legend. Combined with a beautiful voice, and a powerful stage and screen presence, Ekman was able to captivate his audiences.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Saints Michael and Francis
www.metmuseum.org/art/collection/search/436802
Artist:Juan de Flandes (Netherlandish, active by 1496–died 1519 Palencia)
Date:ca. 1505–9
Medium:Oil on wood, gold ground
Dimensions:Overall, with added strips at right and bottom, 36 7/8 x 34 1/4 in. (93.7 x 87 cm); painted surface 35 3/8 x 32 3/4 in. (89.9 x 83.2 cm)
Classification:Paintings
Credit Line:Purchase, Mary Wetmore Shively Bequest, in memory of her husband, Henry L. Shively, M.D., 1958
Accession Number:58.132
On view at The Met Fifth Avenue in Gallery 640
This panel was originally part of a large Spanish altarpiece. The artist has placed both figures within niches, but in contrast to the frontal, ascetic image of Saint Francis, who is neatly contained within the shallow space, Michael extends beyond his niche. Stabbing the dragon at his feet, the archangel gazes earthward at the apocalyptic vision—a walled, smoking city—that is reflected in his decorative shield. This latter detail still hints at Juan de Flandes’s Netherlandish origin. The introduction of a gold background and the broad painting technique, however, reveal his efforts to adapt his style to Spanish taste.
Catalogue Entry
Forthcoming
Signatures, Inscriptions, and Markings
Inscription: Inscribed (below figures): SANT:MIGVEL; Sant:francisco:
Provenance
Sir Frederick Lucas Cook, Doughty House, Richmond, Surrey (by 1908–d. 1920); Sir Herbert Frederick Cook, Doughty House (1920–d. 1939); Sir Francis Ferdinand Maurice Cook, Doughty House (1939–54); [Rosenberg and Stiebel, Inc. New York, 1954–1958; sold to MMA]
Exhibition History
London. Burlington Fine Arts Club. "Exhibition," 1908, no. 1 (as early Spanish, or perhaps Portuguese, School, about 1480, lent by Sir Frederick Cook).
London. Grafton Galleries. "Exhibition of Spanish Old Masters," October 1913–January 1914, no. 16 (as early Spanish School, about 1480, lent by Sir Frederick Cook, Bart.).
Sheffield. Graves Art Gallery. "Loan Exhibition of Primitive and Early Renaissance paintings (1350–1550) from the Cook collection," October 19–November 16, 1946, no. 38 (as by Juan de Flandes, lent by Sir Francis Cook, Bart).
New York. The Metropolitan Museum of Art. "From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art," September 22, 1998–February 21, 1999, no. 86.
References
Emile Bertaux. "Correspondence d'Angleterre: L'exposition espagnole de Londres." Gazette des beaux-arts, 4th ser., 11 (1914), p. 252, attributes this panel to Juan de Flandes; mentions it as a recent purchase of Sir Francis Cook.
Maurice W. Brockwell in A Catalogue of the Paintings at Doughty House, Richmond, & Elsewhere in the Collection of Sir Frederick Cook, Bt., visconde de Monserrate. Ed. Sir Herbert Frederick Cook. Vol. 3, London, 1915, pp. 124, 126, no. 490, ill., attributes it to Juan de Flandes and dates it about 1480.
José Moreno Villa. "Un pintor de la Reina Católica." Boletín de la Sociedad Española de Excursiones 25 (December 1917), pp. 276, 278–80, ill., as by Juan de Flandes, from the same period as his predella panels at the chapel of the University of Salamanca.
[Friedrich] Winkler in Allgemeines Lexikon der bildenden Künstler. Ed. Hans Vollmer. Vol. 19, Leipzig, 1926, p. 279, ascribes it to Juan de Flandes.
Max J. Friedländer. "Juan de Flandes." Der Cicerone 22 (1930), p. 4, ill. p. 2.
Francisco Javier Sánchez Cantón. "El retablo de la Reina Católica." Archivo español de arte y arqueología 6 (1930), p. 113, attributes it to Juan and suggests it may be part of the series of saints in Queen Isabella's oratory.
Chandler Rathfon Post. A History of Spanish Painting. Vol. 4, The Hispano-Flemish Style in Northwestern Spain. Cambridge, Mass., 1933, part 1, pp. 41, 48, attributes it to Juan de Flandes and suggests that the composition of Saint Michael was inspired by Martin Scholgauer's engraving of the subject .
J. V. L. Brans. Isabel la Católica y el arte hispano-flamenco. Madrid, 1952, p. 93 n. 43.
Juan Antonio Gaya Nuño. La pintura española fuera de España. Madrid, 1958, p. 147, no. 746.
Colin Eisler. "Juan de Flandes's Saint Michael and Saint Francis." Metropolitan Museum of Art Bulletin 18 (December 1959), pp. 128–37, ill. (overall and details), dates it on stylistic grounds to the artist's middle period, between 1505 and 1509; rejects the hypothesis that the panel was once a part of the retable in Queen Isabella's oratory [see Ref. Sánchez Cantón 1930] and agrees with Haverkamp-Begemann [see Ref. 1959] that our picture may have been a part of the retable for the university chapel in Salamanca; notes that of the four narrow blue borders surrounding the picture those at the bottom and the right and their supporting strips of wood are recent additions, suggesting that our panel was probably sawn away from the lowermost pictorial register of a retablo, forming the left section of a series of saints standing in a gilded arcade; relates the reflections of fortifications on the shield of Saint Michael to Juan's Netherlandish heritage; observes that the depiction of Saint Michael with pale blue alb, rather than body armor, stresses the purely ceremonial nature of his combat with evil.
"Review of the Year 1958–59." Metropolitan Museum of Art Bulletin 18 (October 1959), pp. 37, 40, ill., note the curious lack of violence in the scene in which Saint Michael transfixes the writhing dragon with a thin, almost insubstantial lance; suggest that the saint's shield reflects the depths of Hell.
Jan V. L. Brans. Vlaamse schilders in dienst der koningen van Spanje. Louvain, 1959, p. 191 n. 58.
Elisa Bermejo. Juan de Flandes. Madrid, 1962, pp. 31–32, 44, no. 44, pl. 44, dates it between 1505–1509, during Juan's stay in Salamanca.
Jacqueline Folie. "Les oeuvres authentifiées des primitifs flamands." Institut Royal du Patrimoine Artistique Bulletin 6 (1963), p. 241 n. 2.
Ignace Vandevivere. La cathédrale de Palencia et l'église paroissiale de Cervera de Pisuerga [Les primitifs flamands I. Corpus de la peinture des anciens pays-bas méridionaux au quinzième siècle, vol. 10]. Brussels, 1967, pp. 43–44, 46, 51, lists it as a shutter fragment from the altarpiece of the University of Salamanca; suggests eschatological significance for the reflection on Saint Michael's shield and compares it with reflections in several other paintings by the artist.
Ann Tzeutschler Lurie. "Birth and Naming of Saint John the Baptist, Attributed to Juan de Flandes: A Newly Discovered Panel from a Hypothetical Altarpiece." Bulletin of the Cleveland Museum of Art 63 (May 1976), pp. 123, 133 n. 5, ill. (detail of the reflection in Saint Michael's shield).
Jan Bialostocki. "Man and Mirror in Painting: Reality and Transience." Studies in Late Medieval and Renaissance Painting in Honor of Millard Meiss. Ed. Irving Lavin and John Plummer. New York, 1977, vol. 1, p. 64; vol. 2, ill. p. 24, figs. 3, 4 (overall and detail), notes that while the group of the Archangel and the dragon is detached from its original context, the Last Judgment, the reflection on the shield depicts Hell, seen through the iron bars of its famous gate.
Elisa Bermejo and Javier Portús. Los genios de la pintura española. Madrid, 1984, pp. 88–89, no. 25, ill., date it 1505–7.
Ignace Vandevivere. Juan de Flandes. Exh. cat., Memlingmuseum. Bruges, 1985, pp. 66–67, mentions it in relation to a bust-length fragmentary panel of Saint Andrew (Museo Provincial, Salamanca), which she believes is from the same altarpiece at the university chapel in Salamanca; cites archival evidence, according to which that altarpiece was completed on July 10, 1507, although the following year Juan made some improvements on it.
Ignace Vandevivere. Juan de Flandes. Exh. cat., Museo Nacional del Prado. [Madrid], 1986, p. 87.
Introduction by James Snyder in The Metropolitan Museum of Art: The Renaissance in the North. New York, 1987, pp. 12, 42–43, ill. (color).
Elisa Bermejo and Javier Portús. Juan de Flandes. Madrid, 1988, pp. 88–89, colorpl. 25.
Elisa Bermejo. "Novedades sobre Juan de Flandes, el Maestro de la Leyenda de la Magdalena y Jan de Beer." Archivo español de arte 61 (July–September 1988), p. 232.
Jan Bialostocki. "Man and Mirror in Painting: Reality and Transience." The Message of Images: Studies in the History of Art. Vienna, 1988, p. 97, ill. (overall and detail of shield), notes that while the group of the Archangel and the dragon is detached from its original context—the Last Judgment—the reflection on the shield depicts hell, seen through the ron bars of its famous gate .
Introduction by Walter A. Liedtke in Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America. Antwerp, 1992, p. 345, no. 302, ill.
Paul Eeckhout in Les primitifs flamands et leur temps. Ed. Brigitte de Patoul and Roger van Schoute. Louvain-la-Neuve, 1994, p. 581, mentions it in relation to Memling's introduction of the mixture of sculpture, monochrome, and figures from life.
Della Clason Sperling in From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art. Ed. Maryan W. Ainsworth and Keith Christiansen. Exh. cat., The Metropolitan Museum of Art. New York, 1998, pp. 26, 330–31, 397, no. 86, ill. (color), dates the picture about 1505–9; suggests that it could have belonged to a colonnade of saints in niches surrounding a narrative scene; notes that the bluish green border, which surrounds the gold is not original.
Pilar Silva Maroto. Juan de Flandes. Salamanca, 2006.
Maryan W. Ainsworth. "Juan de Flandes, Chameleon Painter." Invention: Northern Renaissance Studies in Honor of Molly Faries. Ed. Julien Chapuis. Turnhout, Belgium, 2008, pp. 105, 111, 113, 115, 117, 123 n. 20, colorpl. 20 (overall), figs. 2, 5 (infrared reflectogram detail), of the three paintings by Juan de Flandes in the Museum's collection considers it the example "that most clearly reflects the style and technique of his adopted Spanish home"; notes that the "deeply saturated colors, imperceptible brushwork, and multiple thin glazes" that derive from his Netherlandish training have been replaced with relatively subdued, opaque color, and a broader handling that provides his figures with greater monumentality; doubts our panel belonged to the altarpiece commissioned in 1505 for Salamanca University, but judging from its figure style, technique, and handling believes it was part of a similar altarpiece produced about 1505.
Timeline of Art History (2000-present)
MetPublications
European Paintings in The Metropolitan Museum of Art by Artists Born before 1865: A Summary Catalogue
From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art
The Metropolitan Museum of Art. Vol. 5, The Renaissance in the North
The Fieldgate Street Great Synagogue, Fieldgate Street, Whitechapel, London, England, UK. In the heart of the old Jewish East End of London this is one of the few active synagogues left in the area. It is a typical stiebel - Yiddish for 'small room' - and was established in 1899. In 1950 it was rebuilt after damage caused by a German air raid during WWII. The synagogue is dwarfed by a nearby mosque and is completely surrounded by an Islamic Centre.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
www.metmuseum.org/art/collection/search/436039 The Martyrdom of Saint Barbara
Artist:Lucas Cranach the Elder (German, Kronach 1472–1553 Weimar)
Date:ca. 1510
Medium:Oil on linden
Dimensions:Overall 60 3/8 x 54 1/4 in. (153.4 x 137.8 cm); painted surface 59 3/8 x 53 1/8 in. (150.8 x 134.9 cm)
Classification:Paintings
Credit Line:Rogers Fund, 1957
Accession Number:57.22
On view at The Met Fifth Avenue in Gallery 643
According to legend, Saint Barbara was executed by her heathen father, Dioscorus, when she refused to recant her Christian faith. Luxuriously dressed, she seems here to calmly accept her fate as she kneels before Dioscorus, who raises his sword to behead her. The four sinister-looking witnesses may be the Roman authorities who had tortured her in an attempt to persuade her to sacrifice to pagan gods, and who later sentenced her to death.
The coat of arms indicates that Cranach painted this panel for a member of the Rem family, who were wealthy merchants in Augsburg.
Catalogue Entry
Der Heiligen Leben (Lives of the Saints) tells the story of Barbara, who was locked away in a tower by her heathen father, Dioscorus, to protect her from avid suitors. During her father’s absence, Barbara had a third window installed in the tower and was baptized. When she later explained to her father that the three windows represented the Trinity, Dioscorus flew into a rage and with sword drawn prepared to kill her. Barbara fled to a cave in a mountain, but was betrayed by a shepherd and, subsequently, delivered by her father to a judge, who had her tortured for refusing to recant her Christianity, and, finally, sentenced her to decapitation. Dioscorus led her up a mountain and cut off her head; on his way back down, he was struck by lightning and burned to death. Barbara became the patron saint of those threatened by sudden death, especially miners (because of her refuge in a cave) and artillerymen (referring to the lightning episode). Because of the tower where she was confined, Barbara is also the patron saint of architects and masons.
The original coat of arms in the lower right hand corner is that of the Rem family, who were merchants in Augsburg and worked in the Welser-Vöhlin, Höchstetter, and Fugger Gesellschaften. This was a large family of whom the best known is Lucas Rem (1481–1541), due to the fact that he left a diary covering the years 1494–1541. Although it is tempting to identify Lucas Rem as the one who commissioned this work, this cannot be established with certainty. The other works that were commissioned by him, including one painting by Quentin Metsys and three by Joachim Patinir, all carry Lucas’s personal motto—"Istz gvot so gebs Got" (All good things come from God)—which is absent in the MMA painting. Equally uncertain is why Lucas Rem would have commissioned a Martyrdom of Saint Barbara, although he was related to two Barbaras by marriage through his wife Anna Ehem (1500–1575). If the painting originally had wings, forming a triptych, these might offer further clues about the commission, but no clear candidates have survived. Two smaller workshop copies of the MMA painting testify to the popularity of the image.
The painting was first mentioned in 1844 by Karl August Gottlob Sturm when it was in the Schlosskirche at Goseck (southwest of Leipzig), but the subject matter was misidentified as the Sacrifice of Jephthah’s Daughter. In 1851 Christian Schuchardt correctly identified the episode from the legend of Saint Barbara, and considered it a product of the Cranach workshop, based on the artist’s woodcut of the same subject dating from around 1509. In the first lengthy discussion of the panel, Lepsius (1855) revealed that it had been attached to the ceiling (or high up on the wall) of the Goseck parish church, after which it was bought by Count von Zech-Burkersrode and transferred to the Goseck Schlosskirche. Based on the identification of the Rem coat of arms at the lower right, Lepsius supposed that the painting originally hung in the Rem home in Augsburg and that it was likely painted by a Swabian rather than a Saxon artist. Thereafter, there continued to be varied opinions about the attribution as well as the subject matter of the painting, until in 1956 Ernst Buchner affirmed the attribution to Lucas Cranach the Elder himself and dated it around 1509–15, proposing that Cranach received the commission from Lucas Rem during his trip to the Netherlands in 1508. Modern scholarship concerning the work has vacillated between those who consider it by a talented student (Schade 1980 and Erichsen 1994) and those who support the attribution to Lucas Cranach the Elder (Koepplin 1976 and Friedlӓnder and Rosenberg 1978). Friedlӓnder and Rosenberg dated the painting to about 1510, pointing out the similarity to Cranach's Fourteen Helpers in Need (Marienkirche, Torgau), generally dated between 1505 and 1509.
The comparison of the underdrawing of heads in the MMA and Torgau paintings shows a reliance on short, curved strokes—sometimes seemingly randomly applied—to express facial features and folds of garments. These characteristics are also evident in the drawings attributed to Cranach of around the same time, especially the Beheading of Saint Barbara of about 1513 (Nasjonalgalleriet, Oslo), Saint Anthony in a Niche of about 1509–10 (Fogg Art Museum, Cambridge, Mass.), and Samson Fighting the Lion of about 1509–10 (Kupferstichkabinett, Dresden). This suggests that the Saint Barbara can be dated around 1510, at a moment when Cranach was both looking to further streamline his methods of painting—in particular the patterns of draperies and armor—and was influenced by the painting practices elsewhere in developing the facial types and expressions in his paintings.
[2012; adapted from Ainsworth 2013]
Technical Notes
The linden panel is composed of ten horizontally oriented boards. It has been thinned to 1.1 centimeters and cradled. Thinning exposed insect channels on the reverse. The left, right, and bottom edges have unpainted borders, approximately 1.2 centimeters wide, that have been filled and overpainted. Along the top, the paint extends to the edge of the panel, and a black border, approximately 1 centimeter wide, has been painted over the image. The panel was prepared with a white ground followed by a thin white priming that likely contains lead white, the application of which resulted in an uneven, patchy radio-opacity consistent with patterns seen in x-radiographs of many paintings produced in Cranach’s workshop.
The painting is generally in very good condition. There are tiny losses along the wood grain over much of the surface. Losses throughout the dark green garment worn by the figure with hands clasped in front of his chest have been considerably restored; the lighter passages, in particular, appear quite broken up. Judging from the patchy appearance of the garment, a final green glaze may have been partially removed in this passage and may remain in a fragmentarystate, primarily in the deepest shadows. The green tassel hanging from Dioscorus’s knee armor, however, remains in good condition.
Infrared reflectography revealed bold contours and parallel hatching executed with a brush in a liquid medium. Some facial features were shifted slightly in the final painted image: the profile of Dioscorus’s right cheek and forehead was moved to the left, the gaze of the bare-headed man was shifted away from Barbara, and the nose of the figure at the far left was elongated.
The painting does not rely heavily on the shorthand techniques formalized in Cranach’s later works. Although details are built up in an economical fashion, forms are created with blending and transitional tones. Generally, the image is begun with a flat or slightly modulated midtone that is then enhanced with blended darks and more graphic highlights in one to three colors. One of the most skillfully painted passages, in which the fluency of application is clearly apparent, is the skirt of Dioscorus’s armor. Translucent ocher establishes the base tone of the garment, with opaque gray shadows blended in to create volume. Arcing wet-in-wet brushstrokes in pink and yellow form the highlights. The black overlaid pattern is not altered to follow the folds of the garment, but relies instead on shading in the underlying layers to describe volume. Unlike most areas of the painting, the rocky ledge at the right is executed in a fairly loose manner, with brushy scumbles laid over brown and gray translucent tones. Thickly applied stippled paint was used for the lichen growing on the rocks and trees.
[2013; adapted from German Paintings catalogue]
Provenance
parish church, Goseck, near Naumburg (sold to Zech-Burkersroda); Grafen von Zech-Burkersroda, chapel of Schloß Goseck, Goseck (possibly from 1840, definitely by 1844); by descent in the Zech-Burkersroda family, Schloß Goseck, later Munich (until 1956; sold by Margarethe Gräfin von Zech-Burkersroda or her sister-in-law, Baronin Elisabeth Gräfin von Zech-Burkersroda, to Böhler); [Böhler, Munich, from 1956]; [Hougershofer, Zurich; sold to Rosenberg & Stiebel]; [Rosenberg & Stiebel, New York, until 1957; sold to MMA]
References
E. A. Sturm. Goseck und seine Umgebungen. Naumburg, 1844, p. ? [see Ref. Lepsius 1855], as "The Sacrifice of Jephtha's Daughter," in the Schlosskirche; describes it as being seven feet high and about the same width.
Christian Schuchardt. Lucas Cranach des Aeltern: Leben und Werke. Vol. 2, Leipzig, 1851, p. 68, no. 314, lists it in the Schlosskirche of Goseck as "The Beheading of Saint Barbara," but does not mention a coat of arms; compares it with Cranach's woodcut of the subject [see Notes], and tentatively ascribes it to Cranach's workshop or to a follower, finding that the handling is not accomplished enough for the master; mentions that the picture had been damaged and was restored.
Friedrich Eduard Keller. Der Regierungsbezirk Merseburg. Magdeburg, 1853, p. 361, as "The Sacrifice of Jephtha's Daughter," probably by Michael Wolgemut, in the Goseck Schlosskirche; notes that it was recently restored.
Karl Peter Lepsius. Kleine Schriften: Beiträge zur thüringisch-sächsischen Geschichte und deutschen Kunst- und Altertumskunde. Ed. A. Schulz. Vol. 3, Magdeburg, 1855, pp. 149–57, comments on its recently cleaned and restored state, identifying the subject as the beheading of Saint Barbara; finds the work in the character of the school of Cranach, ascribing it to an unknown Swabian, not Saxon, master; identifies the arms at lower right as those of the Rehm family of Augsburg and, based on this, invents a possible early provenance for the picture; notes that the painting was transferred by the Graf von Zech-Burkersroda from the Dorfkirche of Goseck to its Schlosskirche.
Karl August Gottlob Sturm. Geschichte und Beschreibung der ehemaligen Grafschaft und Benediktinerabtei Goseck. Weissenfels, 1861, p. 113, again identifies the subject as the sacrifice of Jephtha's daughter and calls it probably by Wolgemut; notes that the Graf von Zech-Burkersroda bought it for 100 Taler twenty years ago and had it restored in Dresden.
M. B. Lindau. Lucas Cranach: Ein Lebensbild aus dem Zeitalter der Reformation. Leipzig, 1883, p. 242, calls the woodcut a study for the painting, which he considers a production of Cranach's workshop or possibly of a follower; finds the painting similar in style to the wings of the altarpiece in the east choir of Naumburg cathedral.
Heinrich Bergner. Beschreibende Darstellung der älteren Bau- und Kunstdenkmäler der Provinz Sachsen. Vol. 27, Kreis Querfurt. Halle, 1909, pp. 125–26, no. 2, lists it in the Schlosskirche as "The Execution of Saint Catherine" by Lucas Cranach, repeating Lepsius's identification of the Rehm arms [see Ref. 1855]; states that it was purchased for the Schlosskirche by Zech-Burkersroda in about 1840.
Friedrich Hoppe. "Goseck." Heimatkalender für die Stadt- und Landkreise Weissenfels und Zeitz 6 (1930), p. 99, mentions it as a large painting of an Old Testament scene in the Sclosskirche, formerly in the Dorfkirche, which had come from a patrician family in Augsburg.
"Additions to the Collections." Metropolitan Museum of Art Bulletin 16 (October 1957), p. 63, ill. p. 42, as "The Martyrdom of Saint Barbara," by Lucas Cranach the Elder.
Jakob Rosenberg. Die Zeichnungen Lucas Cranachs D. Ä. Berlin, 1960, p. 35, under no. A7, mentions it in connection with the drawing of the same subject in the Städelsches Kunstinstitut, Frankfurt, which he calls a copy by a student of Cranach.
Werner Schade. "Maler aus dem Umkreis Cranachs." Lucas Cranach, 1472–1553: Ein grosser Maler in bewegter Zeit. Exh. cat., Schloßmuseum. Weimar, 1972, pp. 149–50, states that it seems to be an outstanding work by an older Cranach student.
Dieter Koepplin and Tilman Falk. Lukas Cranach: Gemälde, Zeichnungen, Druckgraphik. Exh. cat., Kunstmuseum Basel. Vol. 2, Basel, 1976, pp. 550, 552, under no. 413, Koepplin describes it as similar in character to Cranach's woodcut of the subject and is inclined to ascribe it to Cranach himself, noting that the original wings (lost) would have better framed the composition; sees the drawing in Frankfurt as a copy after a compositional sketch by Cranach; suggests that Schuchardt [see Ref. 1851] may have been looking at the smaller copy after the MMA picture [see Notes].
Max J. Friedländer and Jakob Rosenberg. The Paintings of Lucas Cranach. rev. ed. Ithaca, N.Y., 1978, p. 72, no. 21, ill., date it about 1510 and ascribe it to Cranach; state that it belongs to the stylistic phase of the artist's "Fourteen Helpers in Need" (Marienkirche, Torgau, Germany), which they date about 1507; mistakenly call the family whose coat of arms appears in the lower right Rehn rather than Rehm.
Werner Schade. Cranach: A Family of Master Painters. New York, 1980, pp. 46, 382 n. 274 [German ed., "Die Malerfamilie Cranach," Dresden, 1974, pp. 46, 382 n. 274], calls it a good school work.
Introduction by James Snyder in The Metropolitan Museum of Art: The Renaissance in the North. New York, 1987, pp. 15, 106, colorpl. 74, as by Cranach; dates it about 1510–15.
Élie Faure et al. Lukas Cranach: "le corps divinisé," le début du maniérisme, 1472–1553. Paris, 1993, p. 95, ill. p. 77 (color detail), dates it about 1510.
Johannes Erichsen in Lucas Cranach: Eine Maler-Unternehmer aus Franken. Exh. cat., Festung Rosenberg, Kronach. Augsburg, 1994, pp. 181, 185 n. 8, refers to it as a product of Cranach's workshop; suggests that an engraving (fig. A122) of the same subject by Master MZ served as a model for the MMA painting.
Portraits and Other Recent Acquisitions. Exh. cat., New York Lawrence Steigrad Fine Arts. [New York], [2009], unpaginated, under no. 1, discuss our painting in relation to the workshop copy in the Guccione collection until 2007 [see Notes].
Karen E. Thomas in German Paintings in The Metropolitan Museum of Art, 1350–1600. New Haven, 2013, p. 12.
Maryan W. Ainsworth in German Paintings in The Metropolitan Museum of Art, 1350–1600. New Haven, 2013, pp. 5, 47–51, 284–85, no. 9, ill. (color) and fig. 44 (infrared reflectogram detail).
Timeline of Art History (2000-present)
Timelines
Central Europe (including Germany), 1400–1600 A.D.
MetPublications
Art of the Classical World in The Metropolitan Museum of Art: Greece, Cyprus, Etruria, Rome
Etruscan Art in The Metropolitan Museum
European Paintings in The Metropolitan Museum of Art by Artists Born before 1865: A Summary Catalogue
German Paintings in The Metropolitan Museum of Art, 1350–1600
The James F. Ballard Collection of Oriental Rugs
Lucas Cranach's Saint Maurice The Metropolitan Museum of Art Bulletin, v. 72, no. 4 (Spring, 2015)
Masterpieces from the Department of Islamic Art in The Metropolitan Museum of Art
The Metropolitan Museum of Art. Vol. 5, The Renaissance in the North
"Some Notes on Parrying Daggers and Poniards": Metropolitan Museum Journal, v. 12 (1977)
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Brian Duffy (British, 1933-2010)
Jean Shrimpton with Cat for Vogue Magazine, 1961
Gelatin silver 10-5/8 x 7 inches (27.0 x 17.8 cm)
Dated and annotated by an unknown hand in pencil verso.
PROVENANCE:
Chris Beetles Limited, London.
Jeffrey M. Kaplan, Washington, D.C. (acquired directly from the above in 2009).
EXHIBITED:
"Duffy," Chris Beetles Gallery, London, October - November, 2009, exhibition no. 24.
The inventive and innovative photographer Brian Duffy shot some of the best known pictures of the Swinging Sixties for magazines such as Vogue, Queen, Town and Nova in Britain, and Elle in France, and became as infamous as his friends and contemporaries David Bailey and Terence Donovan. His dynamic style of fashion photography and his playful portraits of Michael Caine, John Lennon and Harold Wilson leapt off the pages and embodied the free spirit of the era. In the 1970s, this irreverent, occasionally cantankerous character, moved into advertising and devised intriguing, effective and memorable posters and full-page ads for Benson & Hedges cigarettes and Smirnoff vodka, as well as the striking cover for David Bowie's first chart-topping album, Aladdin Sane.
Yet, at the end of 1979, something seemed to snap in Duffy when he walked into his studio and was told by an assistant that they had run out of toilet paper. "I realised I was chairman, CEO and senior stockholder of my business and I was now responsible for toilet paper," he later reflected. "Ninety-nine per cent of my work was advertising and crap. The people who were hiring me I didn't like. Keeping a civil tongue up the rectum of a society that keeps you paid is an art which I was devoid of. I had nothing more to say in photographs. I'd taken all the snaps I needed to take. Maybe I didn't think I was good enough."
Whatever triggered this breakdown, it resulted in Duffy sending his staff home and attempting to burn boxes of his negatives in the garden. A neighbour objected to the acrid, black smoke and called the council who sent round an official to put a stop to this act of lunacy. This fortuitous intervention meant that, even though Duffy stopped working as a photographer and spent the last three decades of his life restoring furniture, his son Chris could eventually catalogue the remaining negatives and talk his father into agreeing to his first exhibition, held at the Chris Beetles Gallery in London last autumn. Earlier this year, Duffy was also the subject of a BBC4 documentary, The Man Who Shot The Sixties, which reunited him with the actress Joanna Lumley, a favourite model of his in his heyday, and Lord Puttnam, the film producer who had been his agent between 1966 and 1969.
Duffy was born to Irish parents in north London in 1933. The family moved to East Ham and remained there throughout the Second World War. After two attempts at evacuating him and his two brothers and sister – another sister died of meningitis aged three – his mother resolved that they would not be separated again. He became an unruly child and troublesome teenager, cutting school and running amok on bomb sites, until an attempt at social engineering by teachers at a progressive school in South Kensington introduced him to the opera, ballet and art galleries. In 1950, he enrolled at St Martins School of Art to study painting, but soon switched to dress design because of the added attraction, as he recalled, of "a lot of good-looking girls doing it."
After graduating he began working as an assistant designer at Susan Small Dresses and at Victor Stiebel. In 1955 he was offered an apprenticeship with the Balenciaga haute couture house in Paris but turned it down as his soon-to-be-wife June was pregnant with Chris, their first child. Instead, he freelanced for Harper's Bazaar as a fashion illustrator and then decided to take up photography "as an easy way to make money." He assisted Adrian Flowers and in 1957 bluffed his way through an interview with Audrey Withers, the formidable Vogue editor.
"The arrogance!" he admitted. "I showed them a bunch of off-the-wall snaps I had, including one of a glass eye with a snail on it. I don't know how I had the nerve."
While shooting Otto Klemperer for his first Vogue assignment, he forgot to take the lens cap off his Leica camera but the boys in the dark room spoiled the film accidentally on purpose and he photographed the German conductor again during rehearsals and got away with it. Duffy stayed at Vogue for six years, and photographed the leading fashion models of the day, Jean Shrimpton, Jennifer Hocking and Pauline Stone. He encouraged them to drink or sing and often preferred the streets to the more formal environment of the studio.
Dubbed the Black Trinity or the Terrible Trio, Bailey, Donovan and Duffy enjoyed a healthy rivalry and brought a sense of fun and irrevence to what had been a staid provision. Indeed, they shook up the world of fashion and publishing nearly as much as the Beatles and the Rolling Stones revolutionised the music industry. Duffy had an uncanny eye for detail and the unusual, as well as a knack for solving technical problems which made him stand out in the pre-Photoshop era. He was also something of an enfant terrible and a mischief-maker, and illustrated a Nova article entitled "How To Undress For Your Husband" with a series of photos of Amanda Lear, a model whose true gender was the object of much speculation.
From 1964, Duffy freelanced for a host of magazines like Glamour and Esquire in the US as well as the Daily Telegraph, The Times and The Observer newspapers. In particular, he was celebrated for his black and white portraits of such well-known figures of the sixties as Jane Birkin, William Burroughs, Sammy Davis Jnr, Charlton Heston, Christine Keeler, Reggie Kray, Sidney Poitier, Nina Simone, Terence Stamp and Keith Waterhouse. In 1965, he shot his first Pirelli Calendar in Monaco and went to Mexico to document the filming of Louis Malle's madcap comedy-adventure Viva Maria! starring Brigitte Bardot and Jeanne Moreau.
Duffy developed an interest in film and started a production company with the novelist Len Deighton. In 1968, they produced an adaptation of Deighton's crime caper Only When I Larf, directed by Basil Dearden and starring Richard Attenborough and David Hemmings. After seeing a performance of Oh! What A Lovely War at the Theatre Royal, Stratford East, Duffy convinced Bailey to invest in a film version of Joan Littlewood's anti-war musical. However, Deighton, who wrote the screenplay, had his name taken off the credits, and Duffy dismissed the 1969 film, Attenborough's directorial debut, and its cast – including John Mills, John Gielgud, Laurence Olivier, Michael Redgrave, Maggie Smith and Susannah York – as the work of "a gang of luvvies."
Diplomacy was never Duffy's forte, and he famously fell out with the British pop artist Allen Jones over the 1973 Pirelli calendar they collaborated on. However, the mixture of techniques employed for that project inspired the powerful and distinctive cover of Bowie's Aladdin Sane. "Tony DeFries, his [then] manager, wanted to make the most expensive cover you could possibly get a record company to pay for," Duffy recalled. "He couldn't have come to be a better con artist than my good self. Dye transfer is a genius method of being able to spend the most amount of money to get reproduction from a colour transparency on to a piece of paper. And we went to Switzerland, the most expensive place to get a plate made. Bowie was interested in the Elvis ring which had the letters TCB [taking care of business] as well as the lightning flash. I drew the design on his face. We used lipstick to fill in the red. To me, it [the cover] was competent, very competent, but I wouldn't take it much beyond that."
Bowie hired Duffy again to help create the covers of two of his subsequent albums; 1979's Lodger, with the British pop artist Derek Boshier, and Scary Monsters (And Super Creeps), with the British graphic designer and painter Edward Bell, the following year.
By then, the photographer and his Duffy Design Concepts company had become over-reliant on commercial clients and, even if his eye-catching, playful, surreal campaigns for Smirnoff and Benson & Hedges – the golden cigarette packet as mousetrap, in a bird cage or inside a bird's egg – won awards, he grew tired of the medium and the sycophants and quit in spectacular fashion with the attempted burning of his negatives.
Duffy brought the same single-mindedness and perfectionism to restoring antiques in his workshop in Camden. This line of work continued the family tradition since his father, who had spent time in prison for his IRA activities, had been a cabinet-maker. Duffy also lectured for the British Antique Furniture Restorers' Association. He died of pulmonary fibrosis.
"I never wanted to be famous," Duffy said in the BBC documentary. "Artists are always talking drivel, including moi, because the work is the statement." When asked how he'd like to be remembered in the annals of photography, he replied: "He wasn't as steady as a tripod."
The memorial to 40 Royal Marine Commando who were based in and around Shanklin in the Second World War and trained in Shanklin Chine.
This photo has become my unexpected hit on Flickr, with someone visiting it nearly every day, mostly through search engine look-ups. I am proud and delighted to think that in some small way I may have helped someone connected to this Regiment or area remember those who gave their lives in the service of this country.
You may be interested in the Flickr photograph groups listed to the right which contain related photographs.
More detail on the monument can be found at www.isle-of-wight-memorials.org.uk/others/shanklinchinerm... to whom I am indebted for the use of their list of names noted below.
Those remembered:
Name Rank Area lost (note that medals are noted between rank and area)
ALEXANDER J M Marine France
ALTRINGHAM R L Marine Italy
ANDREWS C Marine At Sea
ANSON H R J Marine At Sea
APPLEBY W T Marine At sea
BAIN J S Company Sergeant Major Albania
BARRINGTON W H Marine Italy
BASHAM C E Marine At Sea
BATES G H Marine Yugoslavia
BEESLEY J Sergeant France
BISHOP A Marine Sicily
BLAKE A H Cpl Italy
BLUCK J A Marine Italy
BONE P J Corporal Yugoslavia
BOOTHROYD G Marine At Sea
BRADLEY W J Marine At Sea
BREMNER A Marine Italy
BROWN J Marine Italy
BROWN S T F Marine North Africa
BROWNBRIDGE R W Marine At Sea
BRYCE W Marine Yugoslavia
BURFITT H T Marine Italy
BURGESS F E G Marine Italy
BUSTARD L M Marine Italy
CALLOW A J Marine France
CAPES E A Lance Corporal Italy
CATTERALL J Marine France
CHAPMAN C C Marine At Sea
CHIVERALL R S Lieutenant Italy
COCKITT H Marine Italy
COLBY G D Lance Corporal Italy
COMYN A D Captain France
COOMBER A W G Marine Italy
COOMBES P L Marine Italy
COOPER B A Lieutenant Italy
COPE H J Marine Italy
CORCORAN J E B Corporal Italy
CORNISH A H Colour Sergeant At Sea
CRADDOCK W H C Corporal Italy
CRAIG J H Marine Italy
CROSS L Lieutenant Italy
DAY A E Marine Italy
DAY R Marine Italy
DENMARK R M Marine Italy
DIXON D G Corporal At Sea
DOWSON H Marine Sicily
DUERDEN A Corporal France
DUTTON C L Lieutenant Yugoslavia
EDWARDS M A Marine At Sea
EPHRAUMS M J Capt MC Italy
EVANS G A Marine Italy
EVERALL H J Corporal France
FALLAS R S Lance Corporal At Sea
FANTHAM M Marine Italy
FARRELL R Marine At Sea
FINCH E E Sergeant Italy
FISHER J Sergreant Italy
FISK G E Marine At Sea
FOSTER R T Lance Corporal Italy
FRANKLIN L H Marine Sicily
GALE H E D Surgeon Lieutenant RNVR France
GANNER J M Marine Italy
GEE D P Marine Yugoslavia
GORRIE W Y Marine Italy
GOTTS E W Marine France
GRANT-DALTON H W F Captain At Sea
GREY T P Corporal Italy
GRIFFIN P Marine Italy
GUINAN H W Marine UK
HADFIELD R W Marine Italy
HAMSTEAD E O Marine Italy
HARVEY L GL Corporal Yugoslavia
HARVEY W J A Colour Sergeant Italy
HARWOOD F C W Colour Sergeant France
HASTINGS F R Colour Sergeant Italy
HAYS R Marine Italy
HEATH A S Corporal France
HEBDEN R Marine At Sea
HENDERSON A W Sergeant At Sea
HERD A F Marine At Sea
HERMAN D A Marine Italy
HERYET G W Corporal Italy
HEWSON W B Marine At Sea
HILDRETH H L Marine At Sea
HILES W J Captain Albania
HILL R Marine At Sea
HILL B G Lieutenant Yugoslavia
HILL H W Sergeant Italy
HOBBS V F Marine Italy
HOPPER N C Marine Yugoslavia
HUBBARD G R Marine Italy
HUMPHRIES H Marine At Sea
HUMPHRIES J Marine Chzech'vakia
HURST J Marine Italy
HUTCHINSON J Marine At Sea
JACKSON T Lance Corporal Italy
JAGGARD P Marine Italy
JAMES R K Marine At Sea
JAMES G H Lance orporal Italy
JEFFERS M Marine At Sea
JONES J Marine Sicily
KELLEY J F Marine At Sea
KENDRICK R Marine Italy
KENNY H Marine Italy
KILBRIDE J Corporal At Sea
KLINCKE E S Marine Italy
LAGOR R A Marine At Sea
LAIDLAW I D Captain Yugoslavia
LEDBURY D R N Marine At Sea
LEONARD T Marine Greece
LITTLE W A Marine Italy
LONGLAND N H Lieutenant taly
MacINSTRY J Marine France
MacPHERSON M S Captain Albania
MALCOLM G Company Sergeant Major MM Italy
MANNERS J C Lieutenant Colonel DSO Yugoslavia
MANT F H G Company Sergeant Major Italy
MARCO P D Colour Sergeant Italy
MARSHALL L G B Captain MC & Bar Italy
MATTHEWS F G Corporal Italy
McDONALD N Corporal France
McDOWELL E Marine At Sea
McGEE J C Marine At Sea
McGLASHON D P Marine Italy
McKENNA G Corporal Greece
METCALF R H Corporal At Sea
MILO F C Marine At Sea
MOLE G E Lance Corporal RAMC Italy
MOODY E J Marine Italy
MORGAN K W Marine UK
MORGAN H W Lance Corporal France
MULVEY T Marine Italy
MUSGROVE D J Marine Italy
NASH A Marine Italy
NASH T Marine At Sea
NIGHTINGALE J Marine Italy
NORTHERN S B Marine France
NUNN S D Marine At Sea
OBORN A R Marine At Sea
O'BRIEN E S Marine At Sea
OCKWELL C T Marine Italy
ORMAN P W Marine France
OVER D G Lieutenant France
PAIN L J Marine Italy
PALMER J Marine At Sea
PANTER H D Marine At Sea
PARKER R S Marine At Sea
PAYNE G Marine At Sea
PEGRUM J D G Lieutenant Italy
PEMBER H D H A Marine At Sea
PHILLIPPS J P Lieutenant Colonel France
PICKERING A G Marine Yugoslavia
PINCHER R Marine Albania
PITT E A Corporal Italy
PLATT J H Marine Italy
PORTER E W Marine Italy
PORTER N M Major Italy
POWELL W W A Marine France
PRATT G S Marine Albania
RHODES W H Marine France
RICHMOND J A Marine At Sea
RIDDLE A H I Marine France
RUTTER R Marine Italy
SALAMAN H L Marine At Sea
SALT J V Marine Albania
SAUNDERS R T C Marine At Sea
SCOTT W J Sergeant Italy
SEABROOK J J L Marine At Sea
SHOCKLEY H W Marine At Sea
SHORT D L W N Lance Corporal Yugoslavia
SIMMONDS J F Corporal At Sea
SIMPSON S Marine Italy
SINGLETON R B Marine France
SPENCER F Marine Sicily
St ANGE W J Marine Albania
STIEBEL J E Captain Sicily
SUTCLIFFE K G Lance Corporal Italy
SWAN L V Sergeant Italy
SWATTON V Corporal DSM At Sea
SWIFT H Marine Italy
TACK R E Marine Italy
TARRANT K A Marine Yugoslavia
THOMSON I H Marine Sicily
THOMSON R Coproral At Sea
THORPE T E Corporal France
TOES F Corporal Italy
TOWERS J Marine Italy
TRASK W A H Lieutenant At Sea
TRUMP W C Marine At Sea
TURNER A J Marine Sicily
TURNER R C Marine At Sea
TURRELL J E Marine Italy
TWIDALE T Marine At Sea
WAKEFIELD J H Marine At Sea
WALKER P E Marine France
WALLACE G P Marine Italy
WARD G Marine Italy
WEBSTER T H Marine Sicily
WEDGEWOOD P N Lieutenant taly
WELLS P V A Lance Corporal Italy (also part of 10 Commando)
WHITE C H P Corporal Italy
WIGMORE H A Marine France
WILSON D J Marine At Sea
WISE A Marine Sicily
WOOD A Marine At Sea
WOOD R F Marine Yugoslavia
WOODALL J W Corporal Italy
WRIGHTSON A J Marine N Africa
Charles Sweeny, a wealthy businessman living in London, began recruiting American citizens to fight as a US volunteer detachment in the French Air Force, echoing the Lafayette Escadrille of World War I. Following the Fall of France in 1940, a dozen of these recruits joined the RAF.
On 21 February 1933, and after converting to his Roman Catholic faith, Margaret married Charles Sweeny at the Brompton Oratory, London. Their wedding party comprised eight adult bridesmaids (Pamela Nicholl, Molly Vaughan, Angela Brett, The Hon. Sheila Berry, Baba Beaton, Dawn Gold, Jeanne Stourton and Lady Bridgett Paulett) and the groom's brother, Robert Sweeny, as best man. Such had been the publicity surrounding her Norman Hartnell wedding dress, that the traffic in Knightsbridge was blocked for three hours. For the rest of her life, she was associated with glamour and elegance, being a firm client of both Hartnell and Victor Stiebel in London before and after the war. She had three children with Charles Sweeny: a daughter, who was stillborn at eight months in late 1933; another daughter, Frances Helen (born 1937, she married Charles Manners, 10th Duke of Rutland), and a son, Brian Charles (born 1940). The Sweenys divorced in 1947.
In 1943, Margaret Sweeny had a near fatal fall down a lift shaft while visiting her chiropodist on Bond Street. "I fell forty feet to the bottom of the lift shaft", she later recalled. "The only thing that saved me was the lift cable, which broke my fall. I must have clutched at it, for it was later found that all my finger nails were torn off. I apparently fell on to my knees and cracked the back of my head against the wall". After her recovery, Sweeny's friends noted that not only had she lost all sense of taste and smell due to nerve damage, she also had become sexually voracious. As she once reportedly said, "Go to bed early and often". Given her numerous earlier romantic escapades, including an affair with the married Prince George, Duke of Kent, in her youth, this may have been a change in degree rather than predisposition.
Brookwood Cemetery
The memorial to 40 Royal Marine Commando who were based in and around Shanklin in the Second World War and trained in Shanklin Chine.
The version 1 of this photo has become my unexpected hit on Flickr, with someone visiting it nearly every day, mostly through search engine look-ups. I am proud and delighted to think that in some small way I may have helped someone connected to this Regiment or area remember those who gave their lives in the service of this country.
You may be interested in the Flickr photograph groups listed to the right which contain related photographs.
This image added to give a second view of the memorial.
More detail on the monument can be found at www.isle-of-wight-memorials.org.uk/others/shanklinchinerm... to whom I am indebted for the use of their list of names noted below.
Those remembered:
Name Rank Area lost (note that medals are noted between rank and area)
ALEXANDER J M Marine France
ALTRINGHAM R L Marine Italy
ANDREWS C Marine At Sea
ANSON H R J Marine At Sea
APPLEBY W T Marine At sea
BAIN J S Company Sergeant Major Albania
BARRINGTON W H Marine Italy
BASHAM C E Marine At Sea
BATES G H Marine Yugoslavia
BEESLEY J Sergeant France
BISHOP A Marine Sicily
BLAKE A H Cpl Italy
BLUCK J A Marine Italy
BONE P J Corporal Yugoslavia
BOOTHROYD G Marine At Sea
BRADLEY W J Marine At Sea
BREMNER A Marine Italy
BROWN J Marine Italy
BROWN S T F Marine North Africa
BROWNBRIDGE R W Marine At Sea
BRYCE W Marine Yugoslavia
BURFITT H T Marine Italy
BURGESS F E G Marine Italy
BUSTARD L M Marine Italy
CALLOW A J Marine France
CAPES E A Lance Corporal Italy
CATTERALL J Marine France
CHAPMAN C C Marine At Sea
CHIVERALL R S Lieutenant Italy
COCKITT H Marine Italy
COLBY G D Lance Corporal Italy
COMYN A D Captain France
COOMBER A W G Marine Italy
COOMBES P L Marine Italy
COOPER B A Lieutenant Italy
COPE H J Marine Italy
CORCORAN J E B Corporal Italy
CORNISH A H Colour Sergeant At Sea
CRADDOCK W H C Corporal Italy
CRAIG J H Marine Italy
CROSS L Lieutenant Italy
DAY A E Marine Italy
DAY R Marine Italy
DENMARK R M Marine Italy
DIXON D G Corporal At Sea
DOWSON H Marine Sicily
DUERDEN A Corporal France
DUTTON C L Lieutenant Yugoslavia
EDWARDS M A Marine At Sea
EPHRAUMS M J Capt MC Italy
EVANS G A Marine Italy
EVERALL H J Corporal France
FALLAS R S Lance Corporal At Sea
FANTHAM M Marine Italy
FARRELL R Marine At Sea
FINCH E E Sergeant Italy
FISHER J Sergreant Italy
FISK G E Marine At Sea
FOSTER R T Lance Corporal Italy
FRANKLIN L H Marine Sicily
GALE H E D Surgeon Lieutenant RNVR France
GANNER J M Marine Italy
GEE D P Marine Yugoslavia
GORRIE W Y Marine Italy
GOTTS E W Marine France
GRANT-DALTON H W F Captain At Sea
GREY T P Corporal Italy
GRIFFIN P Marine Italy
GUINAN H W Marine UK
HADFIELD R W Marine Italy
HAMSTEAD E O Marine Italy
HARVEY L GL Corporal Yugoslavia
HARVEY W J A Colour Sergeant Italy
HARWOOD F C W Colour Sergeant France
HASTINGS F R Colour Sergeant Italy
HAYS R Marine Italy
HEATH A S Corporal France
HEBDEN R Marine At Sea
HENDERSON A W Sergeant At Sea
HERD A F Marine At Sea
HERMAN D A Marine Italy
HERYET G W Corporal Italy
HEWSON W B Marine At Sea
HILDRETH H L Marine At Sea
HILES W J Captain Albania
HILL R Marine At Sea
HILL B G Lieutenant Yugoslavia
HILL H W Sergeant Italy
HOBBS V F Marine Italy
HOPPER N C Marine Yugoslavia
HUBBARD G R Marine Italy
HUMPHRIES H Marine At Sea
HUMPHRIES J Marine Chzech'vakia
HURST J Marine Italy
HUTCHINSON J Marine At Sea
JACKSON T Lance Corporal Italy
JAGGARD P Marine Italy
JAMES R K Marine At Sea
JAMES G H Lance orporal Italy
JEFFERS M Marine At Sea
JONES J Marine Sicily
KELLEY J F Marine At Sea
KENDRICK R Marine Italy
KENNY H Marine Italy
KILBRIDE J Corporal At Sea
KLINCKE E S Marine Italy
LAGOR R A Marine At Sea
LAIDLAW I D Captain Yugoslavia
LEDBURY D R N Marine At Sea
LEONARD T Marine Greece
LITTLE W A Marine Italy
LONGLAND N H Lieutenant taly
MacINSTRY J Marine France
MacPHERSON M S Captain Albania
MALCOLM G Company Sergeant Major MM Italy
MANNERS J C Lieutenant Colonel DSO Yugoslavia
MANT F H G Company Sergeant Major Italy
MARCO P D Colour Sergeant Italy
MARSHALL L G B Captain MC & Bar Italy
MATTHEWS F G Corporal Italy
McDONALD N Corporal France
McDOWELL E Marine At Sea
McGEE J C Marine At Sea
McGLASHON D P Marine Italy
McKENNA G Corporal Greece
METCALF R H Corporal At Sea
MILO F C Marine At Sea
MOLE G E Lance Corporal RAMC Italy
MOODY E J Marine Italy
MORGAN K W Marine UK
MORGAN H W Lance Corporal France
MULVEY T Marine Italy
MUSGROVE D J Marine Italy
NASH A Marine Italy
NASH T Marine At Sea
NIGHTINGALE J Marine Italy
NORTHERN S B Marine France
NUNN S D Marine At Sea
OBORN A R Marine At Sea
O'BRIEN E S Marine At Sea
OCKWELL C T Marine Italy
ORMAN P W Marine France
OVER D G Lieutenant France
PAIN L J Marine Italy
PALMER J Marine At Sea
PANTER H D Marine At Sea
PARKER R S Marine At Sea
PAYNE G Marine At Sea
PEGRUM J D G Lieutenant Italy
PEMBER H D H A Marine At Sea
PHILLIPPS J P Lieutenant Colonel France
PICKERING A G Marine Yugoslavia
PINCHER R Marine Albania
PITT E A Corporal Italy
PLATT J H Marine Italy
PORTER E W Marine Italy
PORTER N M Major Italy
POWELL W W A Marine France
PRATT G S Marine Albania
RHODES W H Marine France
RICHMOND J A Marine At Sea
RIDDLE A H I Marine France
RUTTER R Marine Italy
SALAMAN H L Marine At Sea
SALT J V Marine Albania
SAUNDERS R T C Marine At Sea
SCOTT W J Sergeant Italy
SEABROOK J J L Marine At Sea
SHOCKLEY H W Marine At Sea
SHORT D L W N Lance Corporal Yugoslavia
SIMMONDS J F Corporal At Sea
SIMPSON S Marine Italy
SINGLETON R B Marine France
SPENCER F Marine Sicily
St ANGE W J Marine Albania
STIEBEL J E Captain Sicily
SUTCLIFFE K G Lance Corporal Italy
SWAN L V Sergeant Italy
SWATTON V Corporal DSM At Sea
SWIFT H Marine Italy
TACK R E Marine Italy
TARRANT K A Marine Yugoslavia
THOMSON I H Marine Sicily
THOMSON R Coproral At Sea
THORPE T E Corporal France
TOES F Corporal Italy
TOWERS J Marine Italy
TRASK W A H Lieutenant At Sea
TRUMP W C Marine At Sea
TURNER A J Marine Sicily
TURNER R C Marine At Sea
TURRELL J E Marine Italy
TWIDALE T Marine At Sea
WAKEFIELD J H Marine At Sea
WALKER P E Marine France
WALLACE G P Marine Italy
WARD G Marine Italy
WEBSTER T H Marine Sicily
WEDGEWOOD P N Lieutenant taly
WELLS P V A Lance Corporal Italy (also part of 10 Commando)
WHITE C H P Corporal Italy
WIGMORE H A Marine France
WILSON D J Marine At Sea
WISE A Marine Sicily
WOOD A Marine At Sea
WOOD R F Marine Yugoslavia
WOODALL J W Corporal Italy
WRIGHTSON A J Marine N Africa
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Erected
by the
Woman's Health
Protective
Association
of New York City
to commemorate
its twenty-fifth
year of activity
on behalf of
the public health.
1884 - 1909
Mary E. Trautmann, President
Esther Herrman
Francis Stiebel
Helene S. Bell
Anna C. Holt
See also:
www.nycgovparks.org/parks/riversidepark/highlights/12750
For an October 1908 announcement of the May 6, 1909 dedication of the fountain, see:
“Last stop ‘Little Gujarat’: tracking South African Indian writers on the Grey Street trail in Durban”, by Lindy Stiebel on 10 November.
More at ccrri.ukzn.ac.za
The lady is lovely in an embroidered silk taffeta evening gown by Victor Stiebel. The date is February, 1960.
Boiserie from the Hôtel Lauzun
•Date: ca. 1770, with one modern panel
•Culture: French, Paris
•Medium: Carved and painted oak
•Dimensions:
oHeight: 323½ (821.7)
oWidth: 323½ (821.7)
oDepth: 195¾ in. (497.2 cm)
•Classification: Woodwork
•Credit Line: Purchase, Mr. and Mrs. Charles Wrightsman Gift, 1976
•Accession Number: 1976.91.1
On view at The Met Fifth Avenue in Gallery 523.
The design of this Neoclassical paneling incorporates fluted pilasters crowned with Corinthian capitals and three sets of double doors that alternate with carved panels. The latter are embellished below with symmetrical arabesques and vases in low relief and with graceful swags at the top, but they all differ slightly from each other. No eighteenth-century provenance has been discovered for this woodwork, but by 1874 it had been installed in the first-floor (American second floor) gallery of the Hôtel de Lauzun, a seventeenth-century residence on the Île Saint-Louis in Paris. The house was then occupied by the baron Jérôme-Frédéric Pichon (1812-1896), a well-known collector and bibliophile. Stripped to its bare oak and stained a dark shade of brown, the paneling lined the walls of his library. With its four large windows overlooking the quay and the river Seine, this room was the setting for eccentric parties at which Pichon entertained literary contemporaries such as Charles Baudelaire and Théophile Gautier. The paneling remained in place until the baron’s grandson, Louis Pichon, acquired the hôtel in 1905. Having a stricter aesthetic sense and a desire to restore the seventeenth-century appearance of the gallery, he dismantled and sold the boiserie. It arrived at the Museum in 1976. When microscopic analysis revealed little about the original paint below the stain, the woodwork was repainted in a monochrome gray-green distemper to harmonize with the three grisaille overdoors, which have been associated with the paneling but did not originally belong to it. Showing children representing spring, summer, and winter, they are duplicates of the overdoors representing the four seasons painted about 1787 by Piat Joseph Sauvage (1744-1818) for Queen Marie-Antoinette’s dairy at Rambouillet.
Provenance
Baron Frédéric-Jérôme Pichon; [B. Fabre et Fils, 1976; sold to MMA]
Timeline of Art History
•Timelines
oFrance, 1600-1800 A.D.
MetPublications
•The Wrightsman Galleries for French Decorative Arts, The Metropolitan Museum of Art
•Masterpieces of The Metropolitan Museum of Art
•A Guide to the Wrightsman Galleries at The Metropolitan Museum of Art
Chimneypiece
•Date: ca. 1770
•Culture: French
•Medium: Carrara marble
•Dimensions:
oOverall (Marble mantlepiece, confirmed): 48 (Height) × 75⅜ in. (Width) (121.9 × 191.5 cm);
oOverall (Size of fireplace opening, confirmed): 39⅛ (Height) × 59 in. (Width) (99.4 × 149.9 cm);
oOverall (Iron fire back and sides, confirmed): 33 (Height) × 45½ (Width) × 23¼ in. (Depth) (83.8 × 115.6 × 59.1 cm)
•Classification: Sculpture-Architectural
•Credit Line: Purchase, Mr. and Mrs. Charles Wrightsman Gift, 1976
•Accession Number: 1976.91.2
On view at The Met Fifth Avenue in Gallery 523.
Acquired in the late nineteenth century by Baron Frédéric-Jérôme Pichon (1812-1896), the original provenance of this oak paneling is not known. The baron, a well-known Parisian bibliophile and collector, incorporated the paneling, stripped of its original paint, into the large library that he installed on the first floor of his Paris residence, the Hôtel Lauzun, at 17, quai d’Anjou, on the Ile Saint-Louis. Dating from about 1770, the paneling was not in keeping with the seventeenth-century décor of the Hôtel Lauzun and was dismantled and sold in about 1906.
The three grisaille overdoor paintings in the style of Piat-Joseph Sauvage (1744-1818), the Carrara marble chimneypiece, and its framed overmantel mirror are contemporary with, but not original to, the room. Lacking evidence of the original paint color and finish, a glue-based distemper was chosen for the woodwork in this room in accordance with eighteenth-century techniques.
Provenance
[B. Fabre et Fils, 1976; sold to MMA]
Timeline of Art History
•Timelines
oFrance, 1600-1800 A.D.
MetPublications
•Masterpieces of The Metropolitan Museum of Art
•A Guide to the Wrightsman Galleries at The Metropolitan Museum of Art
Fire Screen (Écran) (part of a set)
•Maker: Jean-Baptiste-Claude Sené (1748-1803)
•Maker: Painted and Gilded by Louis-François Chatard (ca. 1749-1819)
•Date:1788
•Culture: French, Paris
•Medium: Carved, painted and gilded walnut; modern cotton twill with silk embroidery
•Dimensions:
oHeight: 44¼ (112.4 cm.)
oWidth: 27¾ (70.5 cm.)
oDepth (Base) 17 in. (43.2 cm.)
•Classification: Woodwork-Furniture
•Credit Line: Gift of Ann Payne Blumenthal, 1941
•Accession Number: 41.205.3a, b
On view at The Met Fifth Avenue in Gallery 523.
In 1785 Louis XVI purchased the Château de Saint Cloud (fig. 49) in Marie Antoinette’s name from the duc d’Orléans. The château, situated on a hillside overlooking the Seine not far from Paris, became the queen’s favorite summer residence. Built in the sixteenth century and rebuilt during the seventeenth, the palace was in need of renovation. The architect Richard Mique (1728-1794) enlarged and altered it, and appropriate furnishings were ordered for the queen’s apartment.
Many pieces of furniture were commissioned from Jean-Baptiste-Claude Sene (1748-1803), a member of an important dynasty of Parisian chair makers who received a royal appointment in 1784. Sene provided a set of seat furniture for the queen’s dressing room, called her cabinet particulier ox cabinet de toilette that is described in the 1789 inventory of Saint Cloud. The daybed, the bergère (a comfortable chair upholstered between the arms and the seat), and the fire screen from the set are now in the Museum’s collections (figs. 50?57). They were the gift of Ann Payne Blumenthal, the second wife of George Blumenthal. The painted and gilt frame of the low daybed (fig. 50) is embellished with floral motifs. Six short tapering and fluted legs surmounted by Ionic capitals support the piece. The front stiles of the head- and footboard, which are of equal height, are carved with female half-figures wearing Egyptian headdresses (fig. 51). The bergère (fig. 52), which has a medallion with Marie Antoinette’s initials on its top rail (fig. 53), is decorated in a similar manner. A decade before Napoleon’s North African campaign was to inspire the fashion known as égyptomanie, the queen appears to have had a taste for ornament derived from ancient Egyptian art. Seated classical female figures, rather than Egyptian caryatids, decorate the feet of the fire screen (figs. 54, 55), and a woman who once held a cornucopia reclines on its top. The carver is not known, but Louis-François Chatard (ca. 1749-1819) was responsible for painting and gilding the frames.
According to the 1789 inventory the set was originally upholstered in a white-twilled cotton with rows of individual flowers embroidered by the queen herself. When the three pieces came to the Museum in 1941 only the fire screen’s show cover (fig. 56) had survived. Although the cotton ground is much discolored, Marie Antoinette’s interlaced initials, composed of blossoms embroidered in satin stitch, are in remarkably good condition (see fig. 57).
Provenance
Marie Antoinette, Queen of France, Cabinet de Toilette, Palace of Saint-Cloud, France (by 1788); Marquis de Casaux (until 1923; sale, Hôtel Drout, Paris, December 21, 1923, no. A); George and Florence Blumenthal, New York (from 1923); Ann Payne Blumenthal (until 1941; to MMA)
Timeline of Art History
•Essays
oEmpire Style, 1800-1815
oFrench Furniture in the Eighteenth Century: Seat Furniture
oThe Golden Age of French Furniture in the Eighteenth Century
oThe Neoclassical Temple
•Timelines
oFrance, 1600-1800 A.D.
Pair of Andirons
•Date: ca. 1785
•Culture: French
•Medium: Gilt bronze
•Dimensions:
oEach: 18½ (Height) × 19½ (Width) × 7¼ in. (Depth) (47 × 49.5 × 18.4 cm)
•Classification: Metalwork-Gilt Bronze
•Credit Line: Purchase, Mr. and Mrs. Charles Wrightsman Gift, 1972
•Accession Number: 1972.199.1, .2
On view at The Met Fifth Avenue in Gallery 523.
Provenance
Albert and Clara Blum, New York; [Stiebel Ltd., New York, until 1972; sold to MMA]
Timeline of Art History
•Timelines
oFrance, 1600-1800 A.D.
Eighteen-Light Chandelier
•Date: ca. 1790
•Culture: French
•Medium: Gilt bronze, rock crystal
•Dimensions:
oHeight: 58 in. (147.3 cm)
oDiameter: 37½ in. (95.3 cm)
•Classification: Metalwork-Gilt Bronze
•Credit Line: Gift of Mr. and Mrs. Charles Wrightsman, 1971
•Accession Number: 1971.206.43
On view at The Met Fifth Avenue in Gallery 523.
Provenance
[René Weiller, through Rosenberg & Stiebel, sold to Wrightsman (1968)]; Mr. and Mrs. Charles Wrightsman, New York (until 1971; to MMA)
Timeline of Art History
•Timelines
oFrance, 1600-1800 A.D.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Devon House, Kingston, Jamaica
Devon House, built in 1881, is the former residence of George Stiebel, Jamaica’s first black millionaire, in St. Andrew. He gained his wealth in Venezuela and returned to Jamaica.
Devon House, one of the most visited locations in Jamaica, built in 1881 by George Stiebel, Jamaica's first black millionaire who was also of partial Jewish heritage. Kingston, Jamaica, West Indies. See www.yardflex.com/archives/002281.html