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Date: May 6, 2018
Ark Dive
Sunabe Seawall
Chatan-cho
Okinawa Prefecture
Japan
Depth 40 feet or 12 meters of depth under water
Strapped a GoPro Hero 4 to my Nauticam rig. Exiting after the dive. We came across some explore divers before we finally made it to the chain.
#underwater #gopro #underwater #scuba #fish #food #okinawa #japan #nature #sea #okinawanature #sea #ocean #naturetherapy #therapy #wildlife #pacific #southchinasea #okinawaprefecture #ryukyuislands #islands #bestshots #fishofokinawa #fish #photography #sealife #yeahiknowshawnmiller #famillerized #diveteammiller #dtm #ryukyu #ryukyuislands #southchinasea #pacificocean #seacreature #seamonster #deepseadiver #seacreature #underwatercreature #underwateralien #closeup #organicstructure #organicphotography #organic #underwaterart #1st wife #water #volcanicrock #coral #underwaterworld #Naturephotography #art #artphotography #SCUBA #reef #coral #benthic #shorediving #shore #coralreef #animal #conservation #conservationphotography #nature #naturesbest #bestdivespotsinokinawa #bestdivespot #divingandjiving #jiving #diving #marinelife #pacific #reeflife #aquatic #aquaticart #aquaticphotography #sealife #sealifecamera #oceanlife #oceancreature #outdoors #close-up #biology #zoology #saltwater #salt #asia #travel #divers #dives #deepdive #tropical #tropicalfish #unterwasser #bts #beneaththesea #openwater #openwatershooting #openocean #opensea #uwphoto #uwfoto #marine #subaquatic #digitalcamera #dslr #blackfingrouper #underwatermacro #uwmacro #closeup #detail #macro #close-up #teleconverter #tc #tc-20e #tc-20eii #teleconversion #YSD2 #seaandsea #D850 #Nikon #Nikkor #105mm #nauticam #Gobe #sola3800 #sola500 #gobe500 #NA-D850 #lightandMotion #Sola #lumens #45degreeviewfinder #viewfinder #fiberoptic #bts #beneaththesea #sola1200 #sola3800 #gobe500
📆 2019-04-22 - Korkula (Croàcia) - Photo:©️J.Arnau/ @atelierphoto.cat -🔛: @fujifilmxworld_es - ⚪️🔵🔴 - 🔛 L'enllaç a les fotos ho podeu veure a la bio. El enlace a todas las fotos en la bio. Link to all photos in the bio. -
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1910 S 1038 KinNanBudbc
"Otto Uhlir"
6553 Phot SMS KaiserinE Photos Otto Uhlir - taken during the visit of the ship SMS Kaiserin Elisabeth Lohans Apostel des Buddha Nanking Positiv SW China (Land) Aufnahmeort: Nanjing 南京 Nánjīng (alte Transkr.: Nanking) date • 20-27/01 1909 Nanking. or • 24-28/05 1905 Shiakwan Nanking. or • 8-10/06 1901 Nanking.
The Latest Blog - "I loathe Narcissism but I approve of Vanity."
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This cute old couple seem to be in to Apple gadgets. The lady is using both an iPad Mini and an iPhone, the guy is using an iPad Mini.
Oatmeal date balls
Visit www.lelivingandco.blogspot.ca for more info!
Please credit me (Lelivingandco) for the photograph and link to my blog : lelivingandco.blogspot.ca
my new favorite dress.
i think i will attempt to wear it all weekend, and see what happens.
the boy flies back to nyc to record for a month at 6:00 monday morning. we went out for dinner and ice cream tonight. now he's packing, and i'm pretending that he's just playing a game where he sees how many of his things will fit in a suit case at once.
dress: new favorite thrifted quarter find. (tucson of course :)
under-skirt: vintage from brooklyn.
belt: thrifted in brooklyn
shoes: never-worn vintage granny shoes from tucson goodwill!!
Simurg - Picnic Date is now on sale...
Marketplace: marketplace.secondlife.com/s/Simurg-Picnic-Date-PG/26803212
mainstore: Taxi: SIMURG Mainstore
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PictionID:44400243 - Title:Atlas Details: FA Transformer Date: 12/22/1967 - Catalog:14_011269 - Filename:14_011269.TIF - - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
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Bright sunshine on a beautiful Autumn day persuaded me to drive to Fraserburgh and re visit its magnificent fishing harbour for the first time in a few months, hence today Tuesday 13th November 2018 I visited and captured as many trawlers and scenes that I could, I had a great couple of hours.
Fraserburgh Harbour is situated in Aberdeenshire in the North East corner of Scotland and is ideally positioned for the fishing grounds of the North and East of Scotland, as well as being in close proximity to the North Sea oil and gas fields and the emerging offshore renewables market. The location also makes it well placed for trade with Scandinavia and the Baltic sea ports.
The Port caters and provides facilities for:
Safe Berthing with a 24 hour advisory service
Fishing, Cargo, Oil Related, Offshore Renewables and Ship Repair
Fuel, water, electricity, Stevedores available as required
Extensive local supply chain
Haulage - UK and Worldwide
Fraserburgh Harbour Commissioners are committed to providing first class services to the fishing fleet. This commitment has been demonstrated over the years through deepening projects which have provided safe berthing facilities and two of the most up to date fish markets in the UK. Both markets, which are completely chilled, are capable of maintaining a temperature of +1ºC allowing landings of fish and nephrops over a 24 hour period, five days per week with the fish being kept in prime condition for the sales that take place at a later period. The markets cover 3100 square metres and can handle 6,000 boxes of fish daily. The very successful summer and autumn squid fishery takes place a few miles from the port and vessels often choose to land through Fraserburgh Fishmarket. A Wi-Fi internet connection was recently installed in the market and is available for all users.
The harbour houses a number of full time crab fishermen who operate throughout the year. The vast majority of crab landed is trucked to markets in England with the balance processed locally. Many of these smaller vessels also take part in the seasonal mackerel fishery with line mackerel also being landed and sold through the Fishmarket.
Fraserburgh Harbour is also home to a number of the large pelagic fishing vessels who class Fraserburgh Harbour as their “home” port. These vessels can be seen moored in the Balaclava basin between fishing seasons for mackerel, herring, blue whiting etc. The harbour and bay are designated and approved pelagic landing areas seeing large quantities of herring and mackerel landed during the season with demand coming from local processors as well as continental buyers. Catches can be landed direct into the Lunar Freezing factory, one of the most up to date and modernised processing factory in the country, which is located alongside the pier in the Balaclava Harbour. These catches can be landed either by lorry or by pipeline on specific berths straight into the factory.
The Harbour offers fresh water, shore power, waste disposal, oil reception facilities, etc all essential services for the fishing fleet.
Information on these can be obtained from the Harbour Office or from the Marine Watchtower.
Google and Wiki have the folowing info on this fine town.
Fraserburgh (/ˈfreɪzərbrə/; Scots: The Broch or Faithlie, Scottish Gaelic: A' Bhruaich) is a town in Aberdeenshire, Scotland with a population recorded in the 2001 Census at 12,454 and estimated at 12,630 in 2006.
It lies at the far northeast corner of Aberdeenshire, about 40 miles (64 km) north of Aberdeen, and 17 miles (27 km) north of Peterhead. It is the biggest shellfish port in Europe, landing over 12,000 tonnes in 2008, and is also a major white fish port and busy commercial harbour.
History
The name of the town means, literally, 'burgh of Fraser', after the Fraser family that bought the lands of Philorth in 1504 and thereafter brought about major improvement due to investment over the next century. Fraserburgh became a burgh of barony in 1546. By 1570, the Fraser family had built a castle (Fraserburgh Castle) at Kinnaird's Head and within a year the area church was built. By the 1590s the area known as Faithlie was developing a small harbour.
In 1592, Faithlie was renamed Fraserburgh by a charter of the Crown under King James VI. Sir Alexander Fraser was given permission to improve and govern the town as Lord Saltoun. At present this title is still in existence and is held by Flora Fraser, 20th Lady Saltoun and head of Clan Fraser. The Royal Charter also gave permission to build a college and university in Fraserburgh allowing the Lord Saltoun to appoint a rector, a principal, a sub-principal, and all the professors for teaching the different sciences.
A grant from the Scottish Parliament in 1595 allowed the first college building to be erected by Alexander Fraser, and in 1597 the General Assembly of the Church of Scotland recommended the Rev. Charles Ferme, then minister at the Old Parish, to be its first (and only) principal.
In 1601, Fraserburgh became a burgh of regality. The college, however, closed only a decade or so after Ferme's arrest on the orders of James VI for taking part in the 1605 General Assembly, being used again only for a short time in 1647 when King's College, Aberdeen temporarily relocated owing to an outbreak of plague. A plaque commemorating its existence may be seen on the exterior wall of the remains of the Alexandra Hotel in College Bounds.
Fraserburgh thereafter remained relatively quiet until 1787 when Fraserburgh Castle was converted to Kinnaird Head Lighthouse, Scotland's first mainland lighthouse. In 1803, the original 1571 church building was replaced and enlarged to seat 1000 people. The Auld Kirk was to be the standing authority in the town up until the 1840s.
The Statistical Account on the Parish of Fraserburgh, written between 1791–1799 (probably 1791) by Rev. Alexander Simpson of the Old Parish Church, shows that the population of Fraserburgh was growing with peaks due to seasonal employment. He records a population of about 2000 in 1780 of whom only 1000 resided in the town.
There was an additional population of 200 in the village of Broadsea. He makes a point of the arrival of Dr. Webster in Fraserburgh in 1755 claiming that the population then only stood at 1682. By the time the account was written the population had increased by 518 souls since 1755. Rev. Simpson also gives accounts of deaths, births and marriages. Between 1784-1791, he claims to have an average of 37 baptisms, 14 marriages and 19 deaths per year. The statistical account mentions activities with the harbour. He describes the harbour as small but good, telling that it had the capability to take vessels with '200 tons burden' at the time the account was written.
The account also mentions that Fraserburgh had tried and succeeded in shipbuilding especially after 1784. His account finishes speaking of a proposed enlargement of the harbour. He claims that the local people would willingly donate what they could afford but only if additional funding was provided by the Government and Royal Burghs.
The second statistical account, written as a follow up to the first of the 1790s, was written in January 1840 by Rev. John Cumming. He records population in 1791 as 2215 growing to only 2271 by 1811, but increasing massively to 2954 by 1831. He considered the herring fishing, which intensified in 1815, to be the most important reason for this population boom. By 1840 he writes that seamen were marrying early with 86 marriages and 60 births in the parish in the space of one year. On top of this increased population, he explains that the herring season seen an additional 1200 people working in the Parish. There is also mention of the prosperity of this trade bringing about an increase in general wealth with a change in both dress and diet. Cumming also records 37 illegitimate children from 1837–1840 although he keeps no record of death.
The prosperity of the economy also brought about improvement within the town with a considerable amount of new houses being built in the town. The people were gaining from the herring industry as in real terms rent fell by 6% from 1815 to 1840. Lord Saltoun was described as the predominant land owner earning £2266,13s,4d in rents.
This period also saw the extension of the harbour with a northern pier of 300 yards built between 1807–1812 and, in 1818, a southern pier built by Act of Parliament. Cumming states that no less than £30,000 was spent developing the harbour between 1807 and 1840 by which time the harbour held eight vessels of 45–155 tons and 220 boats of the herring fishery.
A railway station opened in 1865 and trains operated to Aberdeen via Maud and Dyce, as well as a short branch line to St. Combs. It was, however, closed to passengers in 1965 as part of the Beeching cuts, though freight trains continued to operate until 1979, after which the station site was redeveloped. Currently, the closest operating station is Inverurie, 56 km (35 miles) away.
Climate[
Fraserburgh has a marine climate heavily influenced by its proximity to the sea. As such summer highs and winter lows are heavily moderated, with very mild winter temperatures for a location so far north. The differences between seasons are very narrow as a result, with February averaging highs of 6.7 °C (44.1 °F) and August 17.2 °C (63.0 °F).[6] As a result of its marine influence, there is significant seasonal lag, with September being milder than June and October has slightly milder nights than May, in spite of a massive difference of daylight. The climate is overcast and wet with 1351.8 hours of sunshine. Temperature extremes have ranged from 26.6.C (July 1995) down to -14.4.C (February 1991) 747.7 millimetres (29.44 in) of precipitation per annum.
She is tender, sweet, and beautiful!
I decided to keep her name, her rosy cheeks and round face, she is like sweet apple!
Thank you so very much, Bianca to let me adopt her!
A fun shoot for a Save the Date card for Kristi and AJ's upcoming wedding.
Post processing by Kristi L
Cape Town, South Africa
Sir Joshua Reynolds
West Building, Main Floor—Gallery 59
•Date: 1784
•Medium: Oil on Canvas
•Dimensions:
oOverall: 91.6 × 76.4 cm (36 1/16 × 30 1/16 in.)
oFramed: 108 × 93.7 × 5.7 cm (42½ × 36⅞ × 2¼ in.)
•Credit Line: Andrew W. Mellon Collection
•Accession Number: 1942.8.21
•Artists/Makers:
oPainter: Gilbert Stuart: American, 1755-1828
Provenance
Commissioned by John Boydell [1719-1804], London; probably inherited by his nephew and business partner, Josiah Boydell [1752-1817], London. Possibly sold by an unidentified consigner at (Greenwood & Co., London, 3 April 1806, no. 49) and (Greenwood & Co., London, 21 May 1807, no. 40), purchaser not recorded.[1] Murrough O’Brien, 5th Earl of Inchiquin and 1st Marquis of Thomond [d. 1808];[2] by descent to his nephew, James O’Brien, 7th Earl of Inchiquin and 3rd Marquis of Thomond [1769-1855], Bath.[3] (T.H. Robinson, London, and M. Knoedler & Co., New York), October 1919; sold 11 December 1919 to Thomas B. Clarke [1848-1931], New York;[4] his estate; sold as part of the Clarke collection on 29 January 1936, through (M. Knoedler & Co., New York) to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1942 to NGA.
[1]The Index of Paintings Sold in the British Isles during the Nineteenth Century, Burton B. Fredericksen, ed. (Santa Barbara, California and Oxford, England, 1990), 2: 951, as “Stuart, An Original Protrait of Sir Joshua Reynolds,” consigned by “a gentleman,” and as “G. Stuart, A Portrait of Sir Joshua Reynolds.” Only the second price is recorded, with some question, as three pounds, six pence. Since this is a very small price for a full-size portrait, perhaps these sales are instead for the “Small head, Sir Joshua Reynolds, sketch” attributed to Sturart that was sold at Christie’s on 5 February 1818 by a Mr. Rising, with a small head of the Marquis of Landsown, also attributed to Stuart. The pair went for five guineas. (Information courtesy of The Getty Provenance Index, 7 April 1992).
[2]Jane Stuart, “The Youth of Gilbert Stuart,” Scribner’s Monthly 13, no. 5 (March 1877), 644 recorded that “Lord Inchiquin” paid 250 guineas for her father’s portrait of Reynolds. It has been assumed that this was the 5th Earl, whose wife was Mary Palmer [d. 1820], Reynolds niece and heiress. On the Earls of Inchiquin see Burke’s Genealogical and Heraldic History of the Peerage, Baronetage and Knightage, 104th ed., London, 1967, 1325-1330.
[3]According to Knoedler’s records (letter from Melissa De Medeiros, librarian, 5 June 1992, NGA curatorial file), the portrait was from the estate of James O’Brien, the 3rd and last marquis of Thomond, and “the present Lord Inchiquin is unable to say when the picture left the family.” Henry William Beechey, ed., The Literary Works of Sir Joshua Reynolds, First President of the Royal Academy, rev. ed., 2 vols., London, 1855, 300, records the portrait and reproduces an engraving of it as his frontispieces, but he does not record any owner after Boydell.
[4]Knoedler purchased a joint share from T.H. Robinson in October 1919 and sold the painting to Clarke in December. The name of the seller and the date of purchase are recorded in a copy of Portraits by Early American Painters of the Seventeenth, Eighteenth and Nineteenth Centuries Collected by Thomas B. Clarke, (Exh. cat., Philadelphia Museum of Art, 1928) annotated with information from files of M. Knoedler & Co., NY (copy in NGA curatorial records and in NGA library).
Associated Names
•Boydell, John
•Boydell, Josiah
•Clarke, Thomas Benedict
•Greenwood & Co.
•Greenwood & Co.
•Knoedler & Company, M.
•Knoedler & Company, M.
•Mellon Educational and Charitable Trust, The A.W.
•O’Brien, 5th Earl Inchiquin, Murrough
•O’Brien, 7th Earl Inchiquin, James
•Robinson, T.H.
Exhibition History
•1786—John Boydell’s Gallery, London, 1786.
•1792—Possibly Boydell’s Shakespeare Gallery, London, 1792-1802.
•1922—Portraits Painted in Europe by Early American Artists, The Union League Club, New York, January 1922, no. 1.
•1928—Portraits by Early American Artists of the Seventeenth, Eighteenth and Nineteenth Centuries, Collected by Thomas B. Clarke, Philadelphia Museum of Art, 1928-1931, unnumbered and unpaginated catalogue.
•1944—Gilbert Stuart: Portraits Lent by the National Gallery of Art, Washington, D.C., Virginia Museum of Fine Arts, Richmond, 1944-1945, no. 1.
•1967—Gilbert Stuart, Portraitist of the Young Republic, National Gallery of Art; Museum of Art, Rhode Island School of Design, Providence, 1967, no. 12.
•2004—Gilbert Stuart, The Metropolitan Museum of Art, New York; National Gallery of Art (for the National Portrait Gallery), Washington, D.C., 2004-2005, no. 14, repro.
Bibliography
•1784—Sir Joshua Reynolds’ Diary, 1784, at the Royal Academy of Arts, London
•1786—”Fabius.” “The Arts. No. II. Alderman Boydell’s Gallery.” The Morning Post, and Daily Advertiser. 14 November 1786: 2.
•1792—Felton, Samuel. Testimonies to the Genius and Memory of Sir Joshua Reynolds. London, 1792: 67.
•1804—”Monthly Retrospect of the Fine Arts.” Monthly Magazine; or British Register 17 (1 July 1804): 595.
•1855—Beechy, Henry William, ed. The Literary Works of Sir Joshua Renolds, First President of the Royal Academy. Rev. ed., 2 vols. London, 1855:1:frontispiece, engraving by E. Scriven, 300.
•1865—Leslie, Charles Robert and Tom Taylor. Life and Times of Sir Joshua Reynolds, with Notices of some of his Contemporaries. 2 vols. London, 1865:2:468
•1869—Dunlap, William. A History of the Rise and Progress of The Arts of Design in the United States. 2 vols. Reprinted in 3. New York, 1969 (1834): 1:184, 219.
•1877—Stuart, Jane. “The Youth of Gilbert Stuart.” Scribner’s Monthly 13, no. 5 (March 1877):644
•1879—Mason, George C. The Life and Works of Gilbert Stuart. New York, 1879: 248.
•1880—MFA 1880, 52, no. 508
•1913—Strickland, Walter G. A Dictionary of Irish Artists. 2 vols. Dublin and London, 1913: 2:416
•1922—Sherman, Frederick Fairchild. “Current Comment: Exhibitions.” ArtAm 10, no. 3 (April, 1922):139 repro., 143-144.
•1926—Park 1926, 641-642, no. 702, repro.
•1928—Portraits by Early American Artists of the Seventeenth, Eighteenth and Nineteenth Centuries, Collected by Thomas B. Clarke. Exh. cat. Philadelphia Museum of Art, 1928, unnumbered.
•1932—Whitley 1932, 46-47, 55-56
•1949—Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 133, repro.
•1959—Mount, Charles Merril. “A Hidden Treasure in Britain.” The Art Quarterly 22, no. 3 (Autumn, 1959): 220, 223
•1964—Mount 1964, 90, 362
•1970—American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 104, repro.
•1974—Bruntjen, Hermann Arnold. John Boydell (1719-1804): A Study of Art Patronage and Publishing in Georgian London. Ann Arbor, Michigan, 1974:28-29, 36, 58, 63
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: 382, color repro.
•1980—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 233, repro.
•1981—Williams, William James. A Heritage of American Paintings from the National Gallery of Art. New York, 1981: color repro. 50, 62.
•1984—Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 378, no. 534, color repro.
•1985—Bruntjen, Sven H. A. John Boydell (1719-1804): A Study of Art Patronage and Publishing in Georgian London. New York and London, 1985: 28-29. 36, 58, 63.
•1986—McLanathan, Richard. Gilbert Stuart. New York, 1986:51, 54, color repro.
•1990—Harris, Eileen. “Robert Adam’s Ornament for Alderman Boydell’s Picture Frames.” Furniture History: The Journal of the Furniture History Society. 26 (1990): 93-96, figs. 1-3
•1992—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 346, repro.
•1993—Rather, Susan. “Stuart and Reynolds: A Portrait of Challenge.” Eighteenth-Century Studies 27, no. 1 (Fall 1993): 61-84.
•1995—Miles, Ellen G. American Paintings of the Eighteenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1995: 172-177, color repro. 175.
•2000—Kirsh, Andrea, and Rustin S. Levenson. Seeing Through Paintings: Physical Examination in Art Historical Studies. Materials and Meaning in the Fine Arts 1. New Haven, 2000: 262.
•2016—Rather, Susan. The American School: Artists and Status in the Late Colonial and Early National Era. New Haven, 2016: 172-174, color fig. 128.
From American Paintings of the Eighteenth Century:
1942.8.21 (574)
Sir Joshua Reynolds
•1784
•Oil on canvas, 91.6 × 76.4 (36 1/16 × 30 1/16)
•Andrew W. Mellon Collection
Technical Notes
The primary support is a mediumweight, plain-weave fabric with a vertical seam 4.5 cm from the left side. A second, almost identical fabric is stretched beneath this support. Both the added strip and the lining appear to be original to the painting, as only one set of tack holes is found in the fabric, which has its original tacking margins. The four-member mortise-and-tenon, keyed stretcher also appears to be original. The thin, grayish white ground extends over the edges of the fabric, indicating that the canvas was prepared before stretching. The ground color contributes generally to the tonality in the more thinly painted passages in the hair, scroll, and column. In the more thickly painted coat, face, and hands, the ground is visible around the eyes and in the sitter’s left hand.
A mild, retouched abrasion is in the more thinly painted passages, with an untouched area of abrasion in the sitter’s left hand. Heavy retouching is evident in the areas of abrasion in the jacket. The varnish is a somewhat discolored, thick, and uneven glossy layer of natural resin.
Provenance
Commissioned by John Boydell [1719-1804], London; probably inherited by his nephew and business partner Josiah Boydell [1752-1817], London. Possibly sold by an unidentified consignor at (Greenwood & Co., London, 3 April 1806, no. 49) and (Greenwood & Co., London, 21 May 1807, no. 40), purchaser not recorded.1 Murrough O’Brien, 5th Earl of Inchiquin and 1st Marquis of Thomond [d. 1808];2 by descent to his nephew James O’Brien, 7th Earl of Inchiquin and 3rd Marquis of Thomond [1769-1855], Bath.3 (T.H. Robinson, London, and M. Knoedler & Co., New York), October 1919; sold 11 December 1919 to Thomas B. Clarke [1848-1931], New York;4 his estate; sold as part of the Clarke collection on 29 January 1936, through (M. Knoedler & Co., New York), to The A.W. Mellon Educational and Charitable Trust, Pittsburgh.
Exhibited
John Boydell’s Gallery, London, 1786. Possibly at Boydell’s Shakespeare Gallery, London 1792-1802. Union League Club, January 1922, no. 1. Philadelphia 1928, unnumbered. Richmond 1944-1945, no. 1. Gilbert Stuart, NGA; RISD; PAFA, 1967, no. 12.
Gilbert Stuart painted this portrait of sixty-one-year-old Sir Joshua Reynolds (1723-1792), the celebrated English painter and president of the Royal Academy of Arts, in July 1784. It is one of fifteen portraits of painters and engravers commissioned from Stuart by John Boydell, the London print publisher, of the men associated with his commercial success. In addition to Reynolds, Stuart painted portraits of John Singleton Copley (National Portrait Gallery, London), Benjamin West (National Portrait Gallery, London), Ozias Humphrey (Wadsworth Atheneum, Hartford), William Miller, and Richard Patón, and engravers James Heath (Wadsworth Atheneum, Hartford), William Woollett (Tate Gallery, London), John Hall (National Portrait Gallery, London), Johann Gottlieb Facius, Georg Sigmund Facius, John Browne, and Richard Earlom, as well as Boydell and his nephew and partner Josiah Boydell.5 He completed the portraits of Copley, Heath, and Josiah Boydell by 3 April 1784, when Robert Adam, the Scottish architect, designed an elaborate frame that positioned the portraits as a group above Copley’s history painting The Death of Major Peirson (1782-1784, Tate Gallery, London).6 Boydell had commissioned the Death of Peirson and had employed Heath as its engraver. He exhibited these paintings at 28 Haymarket, London, before moving them to the gallery in his print shop at 90 Cheapside.7 On 12 June, Robert Adam designed a second grouping of a number of circular, oval, and rectangular frames on one wall, perhaps for the display of some of Stuart’s fifteen portraits with other, horizontal works.8
Reynolds sat for his portrait that July. He listed the sittings in his pocket diary : on 23 July, “9½ Mr. Stewart” (fractions indicate the half-hour), and on 28 and 30 July, also at half past nine.9 A month later, on 27 August, “Mr. Stewart” had a final appointment at nine o’clock.10 The result shows Reynolds in a black suit, white shirt, and powdered gray wig. His cheeks are ruddy and his wig frizzy, in a natural style. Seated in an upholstered chair, Reynolds rests his hands in his lap as he holds a gold snuffbox in his left hand. Between the thumb and index finger of his right hand he takes a pinch of snuff. On a red-draped table beside him are rolled sheets of paper; a column and a red curtain fill the background.11 Stuart’s technique, with its loose, dry brushwork, is similar to that in his full-length of The Skater (Portrait of William Grant of 1782 [1950. 18.1] and his portrait of Sir John Dick of 1783 [1954.1.10], English works that mark the artist’s transition from the more evenly painted colonial American manner to his later fully calligraphic style. This transitional quality can be seen in his modeling of Reynolds’ face, where hatched brushwork defines the features, the shadows, and the wig, while a more thickly applied paint layer depicts the skin. The looser brushwork was undoubtedly a conscious imitation of Reynolds’ own technique.
In this portrait, Reynolds appears slightly older than in his self-portrait in academic robes with the bust of Michelangelo (c. 1780, Royal Academy of Arts, London). Instead, he more closely resembles his self-portrait of about 1789 (Royal Collection, London).12 Despite this similarity, Sir Joshua remarked about Stuart’s painting, according to American painter Charles Fraser, that “if that was like him, he did not know his own appearance.”13 As Susan Rather indicates in her close reading of the portrait, Reynolds no doubt was referring to the characterization. As she aptly points out, the two men, one a young artist and the other the most admired British portrait painter of the time, shared the habit of taking snuff. She suggests that Reynolds might have though the gesture of taking snuff was inappropriate for his portrait. Through this response to the portrait, however, she interprets Stuart as satirizing Reynolds “by coded references to his deafness and irascibility, while overtly presenting the Royal Academy president in a manner that Reynolds, in his public addresses on art, condemned.”14 The gesture of pinching snuff might, on the other hand, be seen as an early example of Stuart’s exceptional gift of interpreting personality through the choice of a characteristic pose, in this case, one with which he was very familiar.
Stuart’s series of artists’ portraits was completed by the fall of 1786, when it was exhibited at Boydell’s gallery at 90 Cheapside. Among the many visitors who saw the portraits there was Sophie de la Roche, a young traveler to London who noted in her journal on 28 September 1786 that Boydell’s second floor exhibition room was “devoted to works by native artists, and contains portraits of famous English painters, especially engravers.”15 “Fabius” wrote a more detailed description for the 14 November issue of the Morning Post, and Daily Advertiser. “The inner room is now furnishing wholly with modern paintings—around it on the top are portraits of the most eminent English artists, whose works have been purchased, and engraved from by the Alderman, or of engravers, whom he hath at different times employed to engrave for him—They are strong likenesses, and by Stuart.” A writer for the London Monthly Magazine; or British Register later wrote about the group of portraits when remarking on the generally commonplace appearance of the artists of his time in their portraits, compared to the distinguished air of Van Dyck’s portraits of seventeenth-century painters.
Very different are the portraits of the painters of the present day. A large number of them sat to Gilbert Stuart the American, who painted them for Alderman Boydell; they were afterwards shown at his gallery. They were all strong resemblances, but a set of more uninteresting, vapid countenances it is not easy to imagine; neither dignity, elevation nor grace appear in any of them; and had not the catalogue given their names they might have passed for a company of cheesemongers or grocers. The late President of the Royal Academy [Reynolds] was depicted with a wig that was as tight and close as a hackney coachman’s caxon, and in the act of taking a pinch of snuff. The present President [West] and many others were delineated as smug upon the mart as so many mercers or haberdashers of small wares, all of which originated in the bad taste of the sitters.16
The commission for this series of artists’ portraits predates by two years Boydell’s announcement in December 1786 of plans for a collection of paintings by English artists on subjects from Shakespeare. He intended to commission the series and to offer two sizes of engravings for public subscription. By the time the Shakespeare Gallery opened at 52 Pall Mall in 1789, thirty-four of the paintings were completed.17 Boydell moved Stuart’s portrait of Reynolds there by 1792, when Samuel Felton, the author of Testimonials to the Genius and Memory of Sir Joshua Reynolds (London, 1792), listed a number of portraits and self-portraits of Reynolds, including one “in Mr. Boydell’s Shakespeare Gallery, among those of the other painters who are now engaged in painting scenes for Mr. Boydell’s edition of that poet.” Felton declared the Boydell portrait “undoubtedly the best painted Head of Sir Joshua,” thinking it was a self-portrait.18 That he was referring to Stuart’s portrait is confirmed by an engraving of it by Johann and Georg Facius that Boydell published in 1802. Crediting Stuart as the painter, it is inscribed “From the Original Picture in the Shakespeare Gallery.”19 The Shakespeare Gallery project went bankrupt in 1804, and Boydell offered the collection for sale by lottery to raise funds to repay extensive loans. His Plan of the Shakespeare Lottery lists sixty-two prizes, the last being the entire contents of the Shakespeare Gallery. The lottery was held on 28 January 1805.20 None of Stuart’s portraits was included, however. The most likely scenario is that they remained at the print gallery at 90 Cheapside, which became the property of Boydell’s nephew Josiah after Boydell’s death in 1804.21 In 1825 Henry Graves acquired the holdings of the Boydell firm when he, Francis Graham Moon, and J. Boys purchased the company’s stock and leasehold and changed the firm’s name to Moon, Boys and Graves.22 Three of the Stuart portraits—those of John Hall and Benjamin West (National Portrait Gallery, London) and James Heath (Wadsworth Atheneum, Hartford)—can be traced to Henry Graves and Company, the successor firm of Moon, Boys and Graves.23
Charles Bestland (b. 1764?) copied the portrait in miniature.24
EGM
Notes
1.Fredericksen 2:951, as “Stuart, An Original Portrait of Sir Joshua Reynolds,” consigned by “a gentleman,” and as “G. Stuart, A Portrait of Sir Joshua Reynolds.” Only the second price is recorded, with some question, as three pounds, six pence. Since this is a very small price for a full-size portrait, perhaps these sales are instead for the “Small head, Sir Joshua Reynolds, sketch” attributed to Stuart that was sold at Christie’s on 5 February 1818 by a Mr. Rising, with a small head of the Marquis of Lansdowne, also attributed to Stuart. The pair went for five guineas. (Information courtesy of the Getty Provenance Index, 7 April 1992.)
2.Stuart 1877, 644, recorded that “Lord Inchiquin” paid 250 guineas for her father’s portrait of Reynolds. It has been assumed that this was the 5th earl, whose wife was Mary Palmer [d. 1820], Reynolds’ niece and heiress. On the Earls of Inchiquin see Burke 1967, 1325-1330.
3.According to Knoedler’s records (letter from Melissa De Medeiros, librarian, 5 June 1992; NGA), the portrait was from the estate of James O’Brien, the 3rd and last Marquis of Thomond, and “the present Lord Inchiquin is unable to say when the picture left the family.” Beechey 1855, 300, records the portrait and reproduces an engraving of it as his frontispiece, but he does not record any owner after Boydell.
4.Knoedler purchased a joint share from T.H. Robinson in October 1919 and sold the painting to Clarke in December. The name of the seller and the date of purchase are recorded in an annotated copy of Clarke 1928 in the NGA library.
5.Whitley 1932, 55, lists the portraits without giving his source. It may have been the catalogue to which the anonymous author in Monthly Magazine 1804 referred; no copy has been located. On the portrait of West see Walker 1985,11543-544; 2 :pl. 1352. A portrait at the Holburne of Menstrie Museum, Bath, has been identified as that of Josiah Boydell, but the identity is open to some question. Many of the portraits are unlocated today.
6.Harris 1990, 93, and fig. 1 (Sir John Soane’s Museum, London); this reference courtesy of Jacob Simon, National Portrait Gallery, London.
7.Prown 1966, 2:307.
8.Harris 1990, 94 and fig. 3, dated 12 June 1784 (Sir John Soane’s Museum).
9.Reynolds’ pocket ledger for 1784, Royal Academy of Arts, London. The entries are also cited in Leslie and Taylor 1865, 2:468, and in Whitley 1932, 46.
10.Mount 1959, 223, proposed without documentation that the August appointment was for Stuart to finish a copy of one of Reynolds’ self-portraits (the attribution of the copy to Stuart is Mount’s). Stuart has also been credited, without apparent documentation, with the copy of a Reynolds self-portrait that was exhibited at the Maryland Historical Society in 1853 and is now in the Charles J.M. Eaton Collection, Peabody Institute, Baltimore. See Peabody Institute 1949, 19; Yarnall and Gerdts 1986,3418.
11.Stuart widened the canvas of the portrait from the standard kit-cat proportions of 91.4 by 71 cm (36 by 28 inches) by adding a 5~cm (2-inch) strip of canvas on the left, which did not change the composition appreciably. It may have been done in keeping with its setting in Boydell’s gallery.
12.Penny 1986, 287-288, no. 116, repro., and 320-322, no. 149, repro.
13.Dunlap 1834, 1:184, quoting Fraser, who added that the remark “was certainly not made in the spirit of his usual courtesy.”
14.Rather 1993, 63-65.
15.Her description of BoydelPs shop is quoted in Bruntjen 1985, 28-29, from Sophie in London (London, 1933), 237-239.
16.Monthly Magazine 1804, 595, quoted by Rather 1993, 63.
17.Friedman 1976, 3, 71-73.
18.Felton 1792, 67; Whitley 1932, 47.
19.See Park 1926, 642; an example of the engraving is in the NGA curatorial file. Another engraving by E. Scriven is listed in O’Donoghue 1906, 3 (1912): 564.
20.For an example of the Plan, published in London on 5 April 1804, see the scrapbook collection of Press Cuttings 3 : 815-81 8. William Tassie, a gem engraver, won the lot that included the Shakespeare paintings, which he sold at Christie’s, 17-20 May 1805. The catalogue is discussed in Fredericksen 1:52; the paintings are indexed under Boydell’s name and listed by the name of each artist.
21.Boydell also acquired Copley’s Death of Major Peirson, which he sold at Christie’s on 8 March 1806, lot 98; it was bought in and sold to Copley; Prown 1966, 2:440, and Fredericksen 2:264.
22.Bruntjen 1985, 242-243; on the history of this firm see also Graves 1897, 143-148 (the author was the son of Henry Graves), and the entry on Henry Graves (1806-1892) in DNB 22 (supplement), 771-772.
23.Information on the provenance of these portraits is courtesy of Jacob Simon, Keeper of i8th Century Portraits, National Portrait Gallery, London, and Elizabeth Mankin Kornhauser, curator of American Art, Wadsworth Atheneum, Hartford.
24.Foskett 1972, 1:163.
References
•1786—”Fabius.” “The Arts. No. II. Alderman Boydell’s Gallery.” Morning Post, and Daily Advertiser. 14 November: 2.
•1792—Felton : 67.
•1804—Monthly Magazine : 595 .
•1834—Dunlap: 1:184, 219.
•1855—Beechey: 1:300, and frontispiece engraving by E. Scriven.
•1865—Leslie and Taylor: 2:468.
•1877—Stuart: 644.
•1879—Mason: 248.
•1880—MFA: 52.no. 508.
•1913—Strickland: 2:416.
•1922—Sherman: 139 repro., 143-144.
•1926—Park: 641-642, no. 702, repro.
•1932—Whitley: 46-47, 55-56.
•1959—Mount: 220, 223.
•1964—Mount: 90, 362.
•1981—Williams: 62, color repro. 50.
•1984—Walker: 378, no. 534, color repro.
•1985—Bruntjen: 28-29, 36, 58, 63.
•1986—McLanathan: 51 , color repro. 54.
•1990—Harris: 93-96 and figs. 1-3.
•1993—Rather: 61-84.
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Date : 01/05/1996
Lieu : Gare de Valognes (France)
Opérateur : SNCF
Matériel : T2000
Support : Diapositive - Fuji
Description : Un des derniers trains assurés en RTG marque l'arrêt en gare de Valognes. Le train 3305 à destination de Cherbourg est assuré avec la rame 2035.
Ma Page Facebook | Mon Blog | Le Train Monochrome
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Date: 05/01/1996
Place: Valognes station (France)
Company: SNCF
Rolling stock: T2000
Support: Fuji slide
Description: One of the very last turbine train stops in Valognes station. Train 3305 to Cherbourg is don with the T2035 unit.
BOX DATE: 2001
MANUFACTURER: Mattel
MISSING ITEMS: Shoes, binoculars, 2 tickets
PERSONAL FUN FACT written by my sister: This is one of our favorite outfits we have for guy dolls. I mean, it's so trendy. The shirt is totally like something Shelly would wear. Actually, I remember her using this shirt on my Cool Tops Kevin doll when we were kids when he was playing Francie aka Sarah's brother "Charlie." (Kevin also played Pet Pals Skipper's boyfriend Fred and Riley's (Fashion Pajamas Ashley) boyfriend Ivan.) I think Kevin wore these as Ivan too...I used this a lot on guy dolls too. This is one of our most played with outfits purely because we like the shirt so much. Mostly, I think of it as belonging to Chandler, my 1992 My First Ken doll. I don't know if I got this shirt around the time I started playing with him most of the time as my main character instead of Leroy (Water Jewel Magic Aladdin). I don't remember Leroy really wearing it, so it's possible I only got it after he was phased out of our stories for Chandler (who unlike Leroy had a lot of guy doll friends). It is also probable that I had it well before Chandler but, as it's not Leroy's kind of top--wrong cut and color scheme--I didn't play with it much until Chandler came along.