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Here's the shot Alan captured of my camera taking this shot of Walt and Mickey. There's nothing like that time after park close in the hub to have that unique opportunity and honor to capture Walt and Mickey sans guests. I hope I did him and Mickey proud both in this shot and my service to them. =)
First lady Kim Keon Hee attends G7 Hiroshima Summit Partners’ Program at Shukkeien in Hiroshima, Japan on May 21, 2023.
May 21, 2023
Hiroshima, Japan
Office of the President
Official Photographer : Shin Yugyeong
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김건희 여사, G7 정상회의 공식 배우자 프로그램 참석
2023-05-21
히로시마 평화기념공원
대한민국 대통령실
신유경
플리커 채널 'Republic of Korea'에 게재되는 대한민국정부 사진은 올바른 저작권 이름 (촬영자 / 상기 명기된 기관)으로 표기한 이후 보도 혹은 공익목적으로 사용하실 수 있습니다.
의미를 왜곡하는 맥락에서 사진을 게시하고 재판매, 부분 복제, 변조 또는 다른 이미지에 통합하는 것과 같은 사진의 모든 수정, 자료를 제3자에게 제공하는 것은 대한민국정부(운영자/저작권자)의 명시적인 허가 없이 금지됩니다.
Consultants often get paid after a month of candidate’s joining and if a candidate leaves the job all their efforts and time goes to waste. Aasaanjobs realizes how precious your time is, so being their recruitment partner will be a profitable solution to this problem. Aasaanjobs’ recruitment partners get paid for every valid interview. This is a good opportunity for you all, so be Aasaanjobs’ recruitment partner and encash your time and efforts which you put for sourcing every candidate.
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Grateful this week for my running partners in life. When I can't run - or do anything, they stand beside me and LOVE. When one of us aren't even there, or don't know we need someone to walk for us, we are there, walking together...usually with laughter in the air. When all we can do is lay, we rejoice that we get to lay together. We surround each other with a cone of silence. We protect each other, and we forgive each other, and we love. My friends - they add color and adventure and life to my life - and I am eternally grateful for every single one of them!
I had this camera since 2005. I had never seen anyone using a cheaper or older DSLR camera than mine in HK(but I am proud of it). It never failed me until three weeks ago. I took it to the Nikon dealer to fix it. They told me that it would be too expensive. So I must retire it now.
Coincidently, Nikon releases the new D300s on the same week. I am thinking of getting it. I can also wait until October when the new D700 arrives.
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.
Webb Hubbell, a former law partner of Hillary's, had an affair behind the scenes and produced Chelsea.
That is why the Clintons have kept her under wraps, and why Hillary gives Bill an adultery pass.
Chelsea's features are UNMISTAKEABLE. The fat face, Those fat lips, Their eyes, Big forehead and Similar nose.
Check out the animated superimposed gif.
I looked back over some of my images from the Oct 2011 Trip and found that I missed a few on my 1st edit. These were processed using Lightroom and Nik Color Efex 4. I wish my photoshop skills were better so i could remove the man and the stroller on the right hand side.
The Partners statue in front of Sleeping Beauty Castle all decked out for the Disneyland Resort Diamond Celebration.
The London NYC (formerly RIHGA Royal
151 W. 54th St.,
New York, NY 10019
Bay windows and turrets at top provide the decorative touches for the pencil thin building.
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In 1981, landowner Sol Goldman(said to be New York City's largest private landlord in the mid-1980s) planned a 32-story apartment house on the site across the street from the New York Hilton. He was unable to get the project off the ground. Goldman brought in William Zeckendorf Jr. (a developer in the 770-room Holiday Inn Crowne Plaza on Broadway, between 48th and 49th Streets,) and Kumagai Gumi of Tokyo as partners in the mid 1980s.
They had architect Frank Williams design a 45-story building with a hotel on the upper floors and an office building on the lower floors. They could not find a tenant to sign on for the lower floors.
The group decided then to put the hotel on the bottom floors and apartments on top. This concept proved to complex for the site size to accommodate separate lobbies and elevators.
The group consulted with Charles A. Bell, a hotel consultant and former Hilton International executive, who advised an all-suite concept – to avoid head to head competition with the New York Hilton across the street.
The Zeckendorf Company's partners in the $120 million project are Sol Goldman, the Manhattan investor and developer; Edward Lewis of Lewis & Brener, a hotel brokerage firm, and the Kumagai Gumi Company, Japanese contractors.
Zeckendorf enticed the SARA Group, a division of Swedish conglomerate, Procordia A.B. to operate the proposed hotel and make a significant financial commitment. It was to be called the Royal Concordia.
In 1986 Karl Hofer was named the pre-opening General Manager and Mal Seymourian named Director of Marketing. They convinced the developers to axe the health club and swimming pool designed for the top of the hotel – their position being visitors to New York did not come to swim.
The architect Frank Williams decided to use bay windows instead of standard windows. The NY Times quoted Williams ‘‘the new windows softened the building's surface and added another dimension to the view from inside the rooms,'' he said. ''The new design gives the building a romantic classical look that I think is reminiscent of the classical skyscrapers of the 1920's and 30's.''
Birch Coffey Design Associates (known for cruise ship interiors) was selected as the interior designer. He used light-colored, relatively monochromatic schemes, instead of heavy patterns and dark colors.
The 54 story hotel with a rose-beige brick and granite facade and was designed by Frank Williams and Associates, and the interior by Birch Coffey Design Associates.
Upon opening in 1990 the smallest suites - 572 square feet - with a separate living room had a rate of $260 to $390.00. Two bedroom suites with 720 square feet fetched $450.00 to $700.00.
The New York Times reported just before the 1990 opening the hotel known as the Royal Concordia was taken over by a Japanese chain, Royal Hotel Ltd. of Osaka. The new name - RIHGA Royal - is an acronym of Royal International Hotel Group and Associates.
The RIHGA Royal Hotel Group operates today in Japan with 10 hotels, its flagship is in Osaka. The first RIHGA Royal Hotel opened as the Hotel New Osaka on January 16, 1935, the city's first world-class hotel.
In March 2001, the RIHGA Royal Hotel was purchased by Thayer Hotel Investors III with $135 million in first mortgage financing provided by German-based DePfa Bank (later known as Aareal Bank AG). The hotel was unencumbered by a hotel management company or a hotel flag. Thayer Hotel Investors III was formed in 2000 and acquired two hotels during 2001, the RIHGA Royal in New York City and the Grande Lakes Resort in Orlando.
Thayer planned to spend $10 million renovating the hotel and change the name to J.W. Marriott New York Hotel.
Thayer Hotel Investors re-named the 500-suite luxury hotel - J.W. Marriott New York Hotel - and the property was expected to serve as a flagship for the JW chain in the U.S.
Executive Chef Jose Velez and chef de cuisine Andy Arndt worked the acclaimed Halcyon Restaurant at the RIHGA Royal Hotel from 2001-2004. During this period the Halcyon received some of its best critical reviews since the opening in 1990.
Thayer commenced a phased renovation in 2001 of the first 100 of the 504 luxury suites, the restaurant, lounge, meeting and banquet areas, business center, and fitness room included new finishes, FF&E, and ADA accessibility upgrading. The renovation was completed in October 2002 without interruption of the hotel’s operation.
Loyal guests of the hotel were not pleased with Thayer's dropping the RIHGA Royal name. Thayer quietly re-named the hotel - The RIHGA Royal - a JW Marriot Hotel.
Thayer Lodging Group missed the June 2004 payment on the hotel's $135 million first mortgage. Some say Thayer defaulted as a result of weak revenues caused in part by branding issues over the past few years.
The Institutional Investor reported in August 2004 that Dallas-based Highgate Holdings backed off its plans to acquire the RIHGA Royal, a JW Marriott Hotel.
Highgate had agreed to pay approximately $220 million for the hotel, which owner Thayer Lodging acquired in April 2001 for $193 million. Highgate had planned to convert a portion of the property to luxury condominiums. Highgate’s due diligence determined it could not make the deal work.
Lehman Brothers has been assisting Thayer Lodging for a possible sale and provided a $45 million mezzanine loan. Some speculated that Thayer might hand the keys to hotel to Lehman.
In March 2005 Blackstone Real Estate Group Acquired the RIHGA Royal for $193,000,000 from Lehman Brothers. ($381,000 per room).
On June 18, 2005, Blackstone severed the hotel's affiliation with J.W. Marriott Hotel Company and began operating as an independent hotel - The RIHGA Royal.
Blackstone appointed its affiliate Luxury Resort to operate the hotel. Luxury Resorts (LXR) was formed in 2005 when Blackstone split Wyndham Resorts and kept the Luxury Hotels and launched an IPO for Wyndham.
In a November 2005 press release LXR Luxury Resorts announced the complete redesign, refurbishment and repositioning of two of its properties, the RIHGA Royal Hotel in New York City and the Bel Age in West Hollywood, California, into The London NYC and The London LA respectively.
LXR Luxury Resorts contracted David Collins to transform the interiors of all guest rooms and public spaces and contracted with Chef Gordon Ramsay planning restaurants in both locations.
Jean-Jacques Pergant, Co-President, LXR Luxury Resorts, expects the London NYC to create a new standard for modern luxury.
David Collins was expected to create the unique DNA of what will become the London brand. His quote in the press release “Everything from the furniture to the lighting will create an entirely new spin on the hotels.” Collins plans to hand pick all the elements for guest bathrooms - glass tiles, marble surfaces, and porcelain fixtures with modern stainless steel fittings, linens and amenities.
The London NYC restaurant will offer Gordon Ramsay’s concept from his three-Michelin-star restaurant in London’s Chelsea. It will have around 45 seats and operate under chef de cuisine Markus Glocker. Glocker worked in the Chicago kitchen of Charlie Trotter’s for two years.
A Real Deal article states Blackstone sued Sol Goldman estate in August 2011 over a default notice the Goldman family filed against Blackstone due to 36 alleged violations at the London NYC hotel at 151 West 54th Street. The Real Deal article states Blackstone claims that most of the violations have been fixed and that it is waiting for paperwork from the Department of Buildings to fix nine other violations.
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Ammunition is organized, May 22, while soldiers from the Georgia Nations Guard and soldiers from the Georgian military train together on mid-range weapons and machine guns at Exercise Noble Partner 16. The day consisted of the partner nations working together at the range to enhance battlefield interoperability of each other’s weapon systems, which include U.S. and Georgian mid-range rifles and the U.S. 240B machine gun. Exercise Noble Partner 16 is a Georgian and U.S. military training exercise taking place at Vaziani Training Area, Georgia, May 11 to 26, 2016. This exercise is a critical part of Georgia’s training for its contribution of a light infantry company to the NATO Response Force (NRF) and enhances Georgian territorial self-defense capability. (Photo by Sgt. Daniel Cole, U.S. Army Europe Public Affairs)
The Partners statue in front of Sleeping Beauty Castle all decked out for the Disneyland Resort Diamond Celebration.
Well that's what Chelsey calls her friend Kerri! Here they are ripping material to be made into quilts at their DAC. The EasyStand Evolv Shadow Tray makes it a lot easier.
Our first time showing the BluePoint to the people that matter the most: friends, family, partners, ...
My Iplehouse Oscar was purchased as part of a group order that I headed, which included a second doll for one partner and clothes for another
Meet my Partner Rene. World Renown Jumproper extraordinaire! This woman can get a 3 year to do double dutch, She holds world records for speed jumping, but mostly, she just makes jumping rope look easy. It's anything but, however, she manages to pull off the most difficult of tricks with this exact smile on her face! That's show"woman"ship! Check out her blog at www.Learntojumprope.com This was lit with a single beauty dish boomed overhead with Einstein 640. Fill is with a large silver reflector below. No background light or rim lights. Background is a white seamless and I just love how it's a nice gradient grey. It's also great to have a strobe which allows you to shoot at 2.8 as this photo is.