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Albania
Tirana
Just one short day in Tirana before going home.
National Historical Museum was inaugurated on October 28, 1981. As the most important museum in Albania, National Historical Museum aims to provide knowledge and appreciation of Albania’s history to the local, national and international public. It also aims to encourage dialogue among citizens about the Albanian past, present and future. For this purpose, it preserves and studies material and immaterial evidence of Albania’s historical and cultural heritage, which are communicated and introduced in an environment that promotes education. It also organizes and enables activities that support its vision and mission. The building of National Historical Museum has a total area of 27,000 m2; it has an exhibition area of 18,000 m2 and a total volume of 81,000 m3. There are about 6,200 objects in the museum’s premises, which belong to a relatively long period of time, beginning back to the IV millennium BC until the second half of the 20th century. There are around 3100 exhibited objects. The rest of the objects are in funds. Currently, the National Historical Museum has seven pavilions: Antiquity, with 585 objects; The Middle Ages, with 217 objects; Iconography, with 90 objects (of which 70 are icons and 20 are liturgical church objects); National Renaissance, with 230 objects; Independence, with 142 objects and so on. A working group was dedicated to the design and content of the National Historical Museum, composed of the best specialists of museology, archaeology, history, ethnography, visual art and restoration. The working group is led by distinguished personalities, such as Gani Strazimiri, Koço Miho, Besim Daja, Skënder Luarasi, Valentina Pistoli, Sami Pashallari, Ilia Papanikolla, Robert Kota, Latif Lazimi, Guri Pani, Maksim Mitrojorgji, Magdalena Furxhiu, Odhise Paskali, Kristaq Rama, Shaban Hadëri, Foto Stamo, Fatmir Haxhiu, Guri Madhi, Ndreçi Plasari, Stefanaq Pollo, Kristo Frashëri, Selim Islami, Kleanthi Dede, Ballkize Haxhihyseni, Taqi Miho and many others. The National Historical Museum is a scientific research institution. In addition to the pavilions, the museum also has archive and laboratory environments, temporary exhibitions halls and conference rooms.
January 12, 2016- STUDY TIME! Wow is this how it feels to have your photo done before noon....I kinda like this feeling :) This was suppose to be a really quick shot because I need to catch up with all my studies. I am taking a course to become a certified equine massage therapist. Well wouldn't you know it though after setting up the tripod and trying several angles, this photo actually was harder that I anticipated. I love how I am surrounded with all my study material and little things (like Danbo) that make me happy. ODC Surrounded. Well now I am going to go on with my day. OH some exciting news my friend Ryan who had the brain surgery is on his way home today! YAY!
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a somewhat accidental shot that changed my entire life.
andrew flintoff clean bowled by danish kineria. pakistan vs england cricket series 2005.
it's amazing how just one photo leads you towards a whole career. passion and craze got left way behind as any two very small words, to describe what photography is for me. it's far more than anything what sanity or even insanity can explain. i should have been a computer god, a search engine expert and a top notch i.t. professional ..... or maybe i should have been a certified chartered accountant ...... had not one but two careers sacrificed over my 'wild-and-free-like-a-stallion-and-dont-give-a-damn' approach towards life........but nay ...... or maybe someone with a steady solid regular income and repute. but no........ i am now a professional sports photographer, a wannabe fashion photographer, a commerical photographer in the making , a bridal photographer at a very small income level and an amateur willing to click just about anything under the sky. it's taken me bizzare amount of patience, zero income for months and months and months ......... innumerable hours of fighting extreme depressions that i'll never be a good photographer or make it to the mainstream even if i do survive a bit .... financial instability that drives me bonkers .... no respect amongst relatives (who avoided me untill i made it to beijing olympics) ...... and zero rishtay for marriage because who'd wanna marry a bloody 'fotograafer' ......... and fighting extremest levels of loneliness & those never-leaving haunting pyscho childhood memories...... but despite all this i still make 100% of my income from photography (doesnt matter how much amount it maybe). i am not a natural born artist. ok i've read books and techniques on internet and used some common sense to try and understand what photography is. i do think i know how to 'basically' operate a camera but i seriously doubt i know anything about photography.
i'm absolutely fine with being abnormal. and given that i'm mostly self-trained and self-motivated (of course thanx to all those books and study material i found on the internet, without which i'd have learned nothing) and that i've come a long long way in these past 3 years (seems just like 3 seconds right now) ...... but my committment, resolve and extreme hard work has only gotten me so far ...... only this far ..........what's next ?
It took me more effort than usual, because I had only a nearly-thumbnail photograph at my disposal. Great study-material on "how to draw a hand with a lighter" :)
This is a recent thread at www.typophile.com
Okay, the person posting the thread made the basic mistake of putting his request for advice in very basic form. By not providing much detail he also left himself wide open. On most other forums this wouldn't cause too many problems or get too many snarky repsonses, but at typophile a particularly repellant form of post-modern cynicism prevails and continues to victimize innocent newcomers like Johnny from Dublin.
This thread is a typical example of how incivility at Typophile unfolds. It makes good study material for those of us trying to civilize the internet. Here's a list of things the typophiles got wrong:
* Nobody said "Hello and welcome to Typophile!" Why not? is what I want to know. Are they so up themselves that they can't get it together to treat others as they would expect others to trreat them? Yes! They are self-absorbed.
* Assumption of bad faith. Bad faith was assumed at the outset. If I were to list all of it by example I would have to quote at least half the text on the thread.
* 'All students who come to typophile want us to do their homework for them'. It does happen quite regularly. Lazy students post threads literally designed to get typophiles to do their research for them (the students). That was not clearly the case with this thread however.
* Use of snarky language and perjorative terms. The thread is bursting with snarky language used in cynically disrespectful tones.
* Inability to admit fault.
The user Aluminium writes off the snarkiness as a tit-for-tat phenomenon by saying "Tip: The quality of answers typically reflects the quality of the question." He also says, "I am amazed that the recent crop of students on these forums have no idea how to interact with people online." Well, really Darrel, to an outsider it appears to be typophilers who have no idea how to interact with people online. Spot Darrel's error? He considers an eye for an eye to be fair play. If he and other typohpilers were really fair and reasonable they would overlook mistakes made by newcomers and use them as an excuse to be snarky in reply. In other words, Turn the other cheek, Darrel. You have so much to learn from Christians.
The user BlueStreak: Ramelton, you and the NOLA students are learning that you have to take some lumps if you want to play with the big boys. And Mr. Grumpleton hasn’t even popped in here to give his thoughts yet. BlueStreak can't admit Typophile.com is an impolite and uncivil community, so he writes the snarky behaviour down as par for the course. Just listen to his condescending choice of words: "...if you want to play with the big boys." Great! Talk down to him Dan. That will really help (not).
By "Mr. Grumpleton" BlueStreak probably means me. Note his use of ad hominen mud-slinging, calling a person by a perjorative name, a.k.a name-calling. Like most other typohpilers, BlueStreak can't take criticism. Criticize these peeple and they go strait into denial. The denial phase is often vehement too.
And cop some of DavidR: When I was a student, there was no Internet. Just libraries and people. And still, we had to write essays and make research. I guess technology creates lazyness. He makes a bad assumption there, and assumption of bad faith, and he can't spell "laziness" but I'll let him off because English isn't David's native toungue.
With this kind of thing going on all the time, it isn't hard to understand why I retired from typophile.
Text continued from Page 2SR
SPECIAL REPORT: WHAT WENT WRONG
FAILURE OF DESIGN AND DISCIPLINE
JEFF LEEN, STEPHEN K. DOIG and LISA GETTER Herald Staff Writers
Section: SPECIAL SECTION
Edition: FINAL
Page: 3SR
-- lasting up to 15 or 20 seconds and cutting tiny swaths roughly 50 feet wide and 200 feet long.
"We don't want people to think that the whole area was swept by 175 mile per hour winds," Black said. "It's just in the streaks where you get winds that high."
From the peak wind, scientists like Black are able to calculate an equivalent maximum sustained wind in Naranja Lakes of above 133 miles per hour. A fatal design flaw compounded the wind's havoc for much of Naranja Lakes: missing were vertical steel rods that would have greatly strengthened hundreds of concrete-block condo units.
Another of the high-damage areas, the section off Old Cutler Road, was near the high point of the 16-foot storm surge that hit Dade County, where the storm's winds hit South Florida's coastline with their greatest energy. The highest confirmed wind reading occurred here -- 177 mph for 2.5 seconds -- just before the anemometer atop a 33-foot pole collapsed at a private home near SW 162 Street and 85th Court.
The Old Cutler Road area, like most of the region in the storm's eyewall path -- the swath of South Florida that took the hardest hit -- was rated F-1, peak winds up to 151 mph and sustained winds equivalent to 97 to 114 mph.
COUNTRY WALK
Why was Country Walk devastated, while some nearby homes weren't?
But in devastated Country Walk, the winds were even weaker, rated F-0 by the scientists: sustained from 64 to 96 and gusts to 127 mph.
Yet here the damage was the second greatest of any area in South Dade, according to the computer analysis.
Why?
Some residents looked at Country Walk after the storm and immediately thought the houses, nearly all of which had extensive roof damage, had been hit by tornadoes. But the NOAA scientists, who are experts at spotting the paths of tornadoes in wreckage, found no such evidence.
"In a tornado, these kind of houses would just be flattened," Black said. "If there had been any tornado features here, you would see some kind of departure, some curvature to the debris paths. What you should be able to see is a curved path of destruction, and the debris from the houses flung out at an angle from the wind."
Since Country Walk is largely a collection of wood-frame houses, some have speculated that the destruction there came, if not from a tornado, then from hard wind hitting weak wood.
The NOAA scientists who visited Country Walk did not see any evidence of extremely high wind like the streaks that devastated Naranja Lakes, though an unconfirmed anemometer report of 144 miles per hour did emerge from the area after the storm.
Black carefully studied an aerial photograph of Country Walk and estimated the peak winds at no higher than 100 to 110.
"There are some older Florida-style houses in that area out there that are just as exposed as Country Walk," Black said. "And they're not totally devastated like Country Walk was."
The Herald hired an engineer, Eugenio Santiago, to inspect four houses in Country Walk. He found them especially ill- equipped to fight off the hurricane. The weak point was the "storm bracing" -- two-by-fours that strengthen the gable ends, the sides at either end of a pitched roof that provide an extremely exposed flat face to the wind.
A chronic lack of bracing allowed head-on and suction winds to rip apart the towering gable ends in Country Walk. The few braces found were often sloppily attached. Entire rows of nails missed trusses on the roofs.
Despite mounting evidence of structural weakness, others continue to blame the wind. They point to the severe damage to Homestead Air Force Base and the Turkey Point nuclear power plant, as well as the reinforced concrete utility poles that broke in the storm.
"In some cases, the wind was so bad, even if the house was built perfectly it would be the same result," said Roberto Pineiro, Dade's chief building inspector. "You see outside Country Walk huge Florida Power & Light poles snapped in half. That's reality. That's for everyone to see."
But tall and slender light poles are exposed to higher winds than houses, and they lack the ability to efficiently distribute wind forces throughout their structure, like houses do.
MAKING HOUSES SOLID
Study: Materials to strengthen houses would have cost $200 to $300
Built correctly, lower-profile houses can resist high wind forces, as box-like concrete-block-style 1960-era houses demonstrated all over South Dade after Andrew.
"What you've got to do is transmit those forces into the ground," said Crane Miller, a Washington lawyer who did a study of Hurricane Hugo for NOAA. "The only way to do it is to make sure everything is tied securely together. It is easy.
"To me, the catastrophe is the materials you would need to strengthen those houses would have cost about $200 to $300 per building and are insignificant in the total capital cost."
The Air Force base and Turkey Point also have much higher wind profiles than houses. And they were exposed to the full force of unobstructed winds along the coastline.
Most houses further inland faced weaker winds because wind generates friction and slows down after it hits land. Open fields and lakes might allow the wind to speed up a bit, but trees slow it down.
"Having trees in the neighborhood creates a little boundary layer," Black said. "It's like having a shock absorber for the wind."
Country Walk was perched at the edge of open fields, but it was also thick with trees. And the computer analysis shows that the interior areas of Country Walk fared just as badly as the edges that were more exposed to the wind.
Some comparisons are worthwhile to put Country Walk in context.
In the computer analysis, 18 Country Walk subdivisions and condos encompassing 936 units were rated 98.2 percent uninhabitable with 90 percent of the inspections completed. South Miami Heights Manor, a subdivision of 765 concrete-block houses built in the early 1960s, was only 2.5 percent uninhabitable with 68 percent inspected. And the NOAA scientist rated the wind higher in South Miami Heights.
Another comparison lies in the number of destroyed houses per subdivision. A house was rated destroyed if the damage was so extensive that the remnants had to be bulldozed and the house totally rebuilt.
The two-square-mile area containing Naranja Lakes, an area known as "Ground Zero" centered roughly on Southwest 280th Street and 145th Avenue, had the most destroyed houses -- 368.
The square mile containing most of Country Walk had 70 destroyed houses -- by far the most of any area north of Southwest 260th Street.
South Miami Heights Manor had six.
The large uninhabitable area off Old Cutler Road, where the homes were built in the early 1970s and are assessed at about $170,000, had only three destroyed houses.
NARANJA LAKES
3 died here, but damage was much lighter at nearby Sunny Haven
Naranja Lakes had by far the worst damage of any area in South Dade. It was the site of both the worst wind and perhaps the worst design flaw, according to an engineer hired by The Herald to study the hurricane damage.
Naranja Lakes was built in the early 1970s by a Mafia- associated builder who put up concrete-block condominiums with large, overhanging flat roofs. The one-ton concrete tie- beams that braced the walls and connected the roofs to the houses were not anchored to the foundation by vertical steel rods.
The result: the normally wind-resistant concrete-box design became a deathtrap. When the wind streaks hit Naranja Lakes, the roofs took off, tie beams in tow, like flying wings. Three people died as the heavy beams toppled walls and drove through roofs like giant javelins.
One subdivision near Naranja Lakes fared much better: Sunny Haven, a late-1950s development of 99 houses with an average assessed value of $29,000. Barely 1,000 feet from the utter devastation of Ground Zero, Sunny Haven rated only 26 percent uninhabitable.
"They're all very small houses with pitches about what they're supposed to be in Dade County, as opposed to the large, flat roofs of Naranja Lakes," Black said. "I don't see any reason why those places didn't experience the same kind of winds that Naranja Lakes did."
Black, the NOAA scientest, has studied several concrete- block houses that lost their roofs and tie-beams in similar ways during Andrew. The common link: none had vertical steel holding the tie-beams down.
"All the houses that I've looked at that were destroyed had that problem," Black said. "It appears that no matter how high these winds were, a lot of these houses would have survived if they had these vertical columns."
County-wide, flying concrete tie-beams were a relatively small problem, restricted to Naranja Lakes and a few isolated areas.
The bigger problems were the smaller-scale failures that proliferated in Country Walk and other neighborhoods in weaker winds zones: garage and double doors that blew in and staples and gables that gave way.
"Those shingles are stapled on with a staple that didn't hold," said Marks, the engineer. "The felt that was stapled on didn't hold. The (particle board) and the plywood didn't hold."
When the shingles, felt and particle board or plywood went, the roof went. When the roof went, the house became uninhabitable. And the high-pitched gable ends that were all the architectural rage in the 1980s helped the roofs go.
"The lack of understanding of how to build a gable caused as much damage as the staple problem," Marks said.
At the heart of the roof failures was confusion among truss manufacturers, architects and contractors about who was responsible for the complex engineering involved in bracing the gable ends.
"If you look at the building code, it's deficient," Dade Building and Zoning Chief Carlos Bonzon said. "It's not clear who's responsible. The engineer for the truss manufacturer or the architect of record?"
Bonzon admitted that his building inspectors had to rely on the contractors to build the gable ends correctly because the inspectors "didn't have training in wind-resistant construction. There is a deficiency in all levels in wind-resistant construction."
UNMISTAKABLE LESSON
Scientist: Damage was 'proportional to the kind of construction used'
The Country Walk area provides one of the starkest contrasts in the entire hurricane-ravaged landscape. Seen from an aerial photograph, like the one on the cover of this special section, the lesson is unmistakable. The aerial shows five neighborhoods, all constructed differently.
"The damage is directly proportional to the kind of construction used," said Black. "It was astounding for me to see that."
The northernmost neighborhood in the photograph, Country Walk Section 2, was the hardest hit area of Country Walk. The 184-home development, built in the early 1980s, had 100 percent of its inspected homes rated uninhabitable and 33 houses destroyed.
But the destruction immediately south of it was even worse. Here, the Dadeland Mobile Home Park, was a shredded mass of total devastation.
Next to the park, Roger Homes, a 38-home development put up in the late 1980s, was also heavily damaged, 100 percent uninhabitable.
Below the park, Mediterranea, a 111-home subdivision built in the late 1980s, was rated 99 percent uninhabitable. It did poorly, but not quite as badly as Country Walk.
Next to Mediterranea and about a third of a mile south of Country Walk sits a success story: The 71-home Munne Estates project, built in 1989 and 1990.
The red-tiled-roofed, concrete block houses look almost pristine in the aerial photograph.
"Maybe the storm went around my project," said Raul Munne, 51. "Either that or we did something right."
He did a lot right. In stunning contrast with the surrounding subdivisions, nearly all of the roofs held on the $80,000 to $95,000 Munne homes. Munne built his roofs with plywood, not the weaker particle board, and he used thicker plywood than the code allowed. Then he used nails driven in by hand, not staples, to hold it down.
"Munne should definitely get credit for building good houses," said Dawn Mareno, a resident of Munne Estates. "All we lost were tiles."
LONG DRY SPELL
Avino: Long spell between storms helped foster complacency
How did things get so bad that homes built with pride and craftsmanship can become a cause for celebration -- instead of the rightful expectation of any home buyer?
Many blame the long dry spell between serious hurricanes in South Florida. By the 1980s, builders could put up houses with no memory of what it is like to be tested by 120 mile per hour winds.
"I think people got very complacent," said Santiago, the veteran engineer hired by The Herald. "People were just
oblivious to things, as if they thought we never were going to have a hurricane in this area."
"Without a doubt, complacency plays a role in it," said County Manager Joaquin Avino, who ran Dade's Building and Zoning Department in the early 1980s. "Look back in the '60s, '50s, and 40s. Materials tended to be heavier."
Adds Flesner: "I think it's just the cost pressure that builders find themselves under. I think you see it more with the large tract builder. If they can save $100 to $200 a house, that's big dollars when you're putting up a lot of houses."
To save money, builders pushed for the acceptance of cheaper materials, like staples, thinner plywood and particle board. The 1980s homes that did so poorly in the hurricane were built during a period when the South Florida Building Code was weakened to allow for the inferior materials and techniques.
"To reduce costs and maximize profits, they were able to get certain building materials approved by using attorneys," said Andrew Allocco, an engineer who inspects homes for prospective buyers.
The Herald found that Dade's builders had a considerable influence in the department that inspected them. At the height of the building boom, the building industry contributed one of every three dollars to Metro commission campaigns.
"Lo and behold, the argument that these contractors and developers used will work in the long run against them," Allocco said. "They had to prove to the board (of Rules and Appeals) that products would withstand a hurricane. Lo and behold, they didn't."
The board was warned twice -- in 1983 and again by roofers in 1984 -- that staples weren't working, but did nothing to change the code.
INSPECTIONS
System broke down as new construction proliferated
At the same time that the building materials were becoming cheaper and construction was increasing, the county's building inspection system was failing to enforce the South Florida Building Code. Through overwork, oversight or outright corruption, county building inspectors allowed the flaws to proliferate.
The number of inspectors did not keep up with the pace of construction. Inspectors were pressured to perform up to four times the number of inspections that could properly be done in a day. A computer analysis of building inspections revealed 194 times since 1987 in which inspectors were sent out on more than 50 inspections in one day, more than double the 20 inspection- limit recommended by a grand jury.
"It's one of the toughest codes, but so what if you don't enforce it or if people don't build to it," said lawyer Miller.
State Farm's Flesner concurs: "There are things in the code that need to be fixed. But the bigger concern is enforcement."
Grand juries exposed inspectors who didn't get up on roofs and took time off work to go to a bowling alley. A 1986 police investigation found widespread bribery of inspectors.
"I had a concern about whether or not they were doing a totally honest job in the field," said Ray Goode, who was Dade's county manager in the 1970s.
"Always in the back of your mind you worry because you have this small army of people out in the field every day checking houses. Do you know or not know if someone is giving them an envelope? Or passing along a case of Coors?"
Sergio Pereira, Metro's manager from 1986 until 1988, said it was impossible for inspectors to spot every construction problem.
"That's very hard to police," Pereira said. "I don't think you can blame government for it. When you had the kind of building boom you had, what are you going to do? Leave an inspector at the building site forever?"
After Andrew, Metro-Dade officials swiftly took action in what was in effect a telling admission of the deep flaws in the system.
In short order, the county banned staples and particle board and required building inspectors to start checking whether gable-ended roofs are properly braced.
Nonetheless, the county can only do so much.
"I do believe inspection is the second line of defense in this industry," said Ronald Zollo, an engineering professor at the University of Miami. "You may blame it all you want, but it's supposed to be built right in the first place."
Herald Staff Writers Luis Feldstein Soto and Don Finefrock contributed to this report.
Copyright 1992 Miami Herald
Harald Sohlberg (Norwegian - 1869 - !935)
Winter Night in the Mountains (1914)
Harald Sohlberg discovered the motif for ”Winter Night in the Mountains” during an Easter skiing trip. He created many sketches and different versions of the motif before this famous painting was completed.
Sohlberg made his first sketch for the painting on the train home from the skiing trip in 1899. The final version was not completed until 1914.
This would emerge as the most important motif of Sohlberg’s career. After his first trip, he returned to the mountains in Rondane several times to be near the source of his inspiration. He also took photographs that he used as study material. Sohlberg worked on depicting the mountains in Rondane for 15 years, resulting in several paintings, a number of drawings and a popular print.
A snow-covered palace
In most of the versions Sohlberg produced of Rondane, the mountains resemble a snow-covered palace, and there is no sign of human activity. A few exceptions are versions with a cabin and some skiers. In the final, and largest, version the snow-covered mountains tower in a nocturnal landscape. Stars can be glimpsed in the murky sky, and in the foreground the bushes and trees display their dark, naked winter silhouettes. Almost like a stage curtain, they are gathered on each side of the picture, drawing us into the cold, blue realm of winter. Sohlberg was intent on ensuring that the foreground was not too dense and overcrowded: “It must not give a desolate and wild effect. Because this is where the night and anxiety of the picture should reside.”
This painting is Harald Sohlberg’s most significant work, and although it was executed rather late in relation to the golden age of symbolism, it perhaps represents the pinnacle of symbolist landscapes in Norway. It was first shown at the 1914 Jubilee Exhibition commemorating the centennial of the Norwegian Constitution. The following year it was purchased by J.B. Stang, who donated it to the National Gallery in 1918.
In 1995 the painting was chosen as “Norway’s national painting” in a public vote sponsored by the Norwegian Broadcasting Corporation. In 2005 the Sohlbergplassen lookout point, on the Atnsjøen lake, was incorporated as a stop along one of Norway’s National Tourist Routes.
On the train home from Ronda for Easter, Sohlberg made the first sketch for what would become his masterpiece. To develop the subject, he returned to Ronda twice. Pencil and water color sketches photos and several painted sketches eventually culminated in the large version here, from 1914. In a letter, Sohlberg compares the experience of the mountains to 'a mass in a mighty cathedral'. The painting was shown for the first time at ehe Jubilee Exhibition in Kristiana (Oslo) in 1914. At the World Exhibition in San Francisco in 1915 it received an honorary award.
______________________________________________
www.visitoslo.com/en/articles/national-museum/
On 11 June 2022 the new National Museum opened in Oslo. This is the largest museum in the Nordics. The new museum now consists of the collections of the former National Gallery, the Museum of Contemporary Art, and the Norwegian Museum of Decorative Arts and Design.
The new museum has a permanent exhibition of about 6 500 objects. Design, arts and crafts, fine art as well as contemporary art will be exhibited alongside each other. As such, the permanent exhibition highlights interesting connections between different collections that previously have been on show at three different museums. Additionally, audiences will be able to see the most famous paintings by the Norwegian painter Edvard Munch, including The Scream (1893) and Madonna (1894).
The building was designed by Kleihues + Schuwerk Gesellschaft von Architekten, with emphasis on dignity and longevity over sensationalist architecture. Great care was given to achieve a balance with the museum’s surroundings and the existing monuments in the area, such as Oslo City Hall and Akershus Fortress.
The most eye-catching feature of the new museum is the large, illuminated exhibition hall on top of the building. It will be used for temporary exhibitions.
The rooftop terrace offers a unique view of the inner Oslo fjord. The square in front of the main entrance has become an urban meeting place, with benches and a café that invites you in to take a rest.
www.nasjonalmuseet.no/en/visit/locations/the-national-mus...
news.artnet.com/opinion/new-national-museum-norway-2129606
www.forbes.com/sites/davidnikel/2022/06/14/what-to-expect...
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This is all the materials I use for my Book of Mormon scripture study. I use a different notebook and manual for the Old Testament.
I get so much more out of studying and pondering things this way.
You can view this picture full sized, if you're curious to read some of the words closer.
Fireground - Greater Manchester's firefighting story
The Museum tells the story of firefighting, particularly in the Greater Manchester region. The area has played a significant role in the story of fire brigades and fire engineering. Manchester formed England’s first municipal fire service in 1826, whilst the country’s earliest motorised fire engine was delivered to Eccles in 1901.
Pioneering and innovative chief fire officers such as Alfred Tozer and George Parker in Manchester, John Eccles of Rochdale and Albert Bentley in Salford helped forge the reputation of our local fire brigades through their revolutionary measures and technical skills. In later years, the Greater Manchester Fire Service (now Greater Manchester Fire and Rescue Service) continued these traditions through its high-level safety campaigning and proud operational record.
Over the past 200 years, our local fire services have had to deal with every type of incident, from house fires to cotton mill blazes, from all kinds of industrial fires to major ship, road, rail and aircraft incidents, as well as two world wars and terrorist incidents of national significance.
The area was also noted as an important centre of manufacture for fire engines, fire hose and equipment. Companies such as William Rose, John Morris and Mather & Platt achieved universal success in their particular fields.
Twenty-five larger exhibits make up the appliance fleet, supported by many other items of firefighting equipment, uniforms, models, medals and insignia, paintings, curios and other objects. The Museum also holds several items related to the famous Tozer family of fire chiefs.
Originally opened in 1983 as the Brigade Museum of Greater Manchester County Fire Service, the Museum has operated as an independent, charitable trust since 2010. Through a unique Partnership Agreement, the Museum Trust retains its close ties with Greater Manchester Fire and Rescue Service, which is a major stakeholder and corporate member and which provides an annual support grant to the Museum.
The Museum is affiliated to Fire Heritage Network UK (FHNUK), the Association of Independent Museums and the Historic Commercial Vehicle Society. The Museum also serves as the head office for FHNUK and its Curator is currently Secretary of the Network.
In 2010, the Museum was awarded full accreditation from Visit England under the VAQAS (Visitor Attraction Quality Assurance Scheme) arrangements and in 2014 was awarded the Quality Badge of the Council for Learning Outside the Classroom.
The Museum offers educational visits for pupils and students of all ages from reception to A-level. Regular topics include The Great Fire of London, People Who Help Us, Victorians, Uniforms and The Blitz. Please visit Our Education Services pages for further details of how to arrange a visit, plus study material and summaries of the topics we can cover.
U.S. Army Africa Command Surgeon Office's Maj. Lee Clark huddles with Mauritanian Medical Services soldiers during a military medical exchange in Nouakchott, Jan. 19, 2011.
U.S. Army Africa photo by Maj. Lee Clark
Three Soldiers from 3rd Medical Command (Deployment Support), based in Atlanta, Ga., conducted military medical exchanges with approximately 25 soldiers of the Mauritanian Medical Services in Nouakchott, Mauritania, Jan. 10-20.
Two weeklong sessions focused on medical evacuation techniques, and field sanitation and preventive medicine, said Lt. Col. Tim Doherty. The Mauritanian participants included physicians, nurses, planners and medics, he said.
Doherty and Master Sgt. Sheri Murphy began the exchange with a comprehensive overview of casualty evacuation, examining scenarios from a hypothetical point of injury to ferrying the injured to an established field facility. Both the Mauritanian and American teams presented their overview of operations for discussion, he said.
“I was really impressed by the representatives from Mauritania,” said Doherty. “They were engaged, and they retained and sought to apply the information from day to day, incorporating discussion points from previous lectures.”
The Mauritanians engaged their American guests in an open discussion of lessons learned from recent contingency operations, said Doherty. The 3rd MDSC Soldiers provided the Mauritanians with resource materials in both English and Arabic. Class sessions were facilitated by translators, he said.
Maj. Michael Fuller joined Doherty for presentations on field sanitation and preventative medicine. Fuller and Doherty conducted a series of open forum discussions and slide presentations to familiarize their Mauritanian peers with an oversight of the U.S. military approach to preventive medicine and field sanitation risk reduction strategies.
The bottom line of both endeavors is to ensure that soldiers remain as healthy as possible in a field environment, said Doherty. Again, the U.S. team was able to provide study materials in both English and Arabic for their hosts to use as a reference resource for further education and training.
Maj. Lee Clark of the U.S. Army Africa Command Surgeon’s Office also participated in discussions with representatives of the Mauritanian Military’s Medical Department to assess possibilities for future engagement opportunities.
“The Mauritanian physicians are eager to engage with the U.S. military. They have a unique medical system, in which the hospitals are military-run, but are open to the civilian population. They are eager to participate in our ophthalmology medical readiness training exercise program, since cataracts and eye pathology pose a major concern,” Kelly said.
This was the first medical engagement of its sort conducted by the U.S. Army Africa Command Surgeon’s Office, he said.
“They are also interested in a trauma-surgery traveling contact team visit focused toward their providers,” he said.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official YouTube video channel: www.youtube.com/usarmyafrica
Camels in the desert north of Nouakchott, Mauritania, January 2011.
U.S. Army Africa photo by Maj. Lee Clark
Three Soldiers from 3rd Medical Command (Deployment Support), based in Atlanta, Ga., conducted military medical exchanges with approximately 25 soldiers of the Mauritanian Medical Services in Nouakchott, Mauritania, Jan. 10-20.
Two weeklong sessions focused on medical evacuation techniques, and field sanitation and preventive medicine, said Lt. Col. Tim Doherty. The Mauritanian participants included physicians, nurses, planners and medics, he said.
Doherty and Master Sgt. Sheri Murphy began the exchange with a comprehensive overview of casualty evacuation, examining scenarios from a hypothetical point of injury to ferrying the injured to an established field facility. Both the Mauritanian and American teams presented their overview of operations for discussion, he said.
“I was really impressed by the representatives from Mauritania,” said Doherty. “They were engaged, and they retained and sought to apply the information from day to day, incorporating discussion points from previous lectures.”
The Mauritanians engaged their American guests in an open discussion of lessons learned from recent contingency operations, said Doherty. The 3rd MDSC Soldiers provided the Mauritanians with resource materials in both English and Arabic. Class sessions were facilitated by translators, he said.
Maj. Michael Fuller joined Doherty for presentations on field sanitation and preventative medicine. Fuller and Doherty conducted a series of open forum discussions and slide presentations to familiarize their Mauritanian peers with an oversight of the U.S. military approach to preventive medicine and field sanitation risk reduction strategies.
The bottom line of both endeavors is to ensure that soldiers remain as healthy as possible in a field environment, said Doherty. Again, the U.S. team was able to provide study materials in both English and Arabic for their hosts to use as a reference resource for further education and training.
Maj. Lee Clark of the U.S. Army Africa Command Surgeon’s Office also participated in discussions with representatives of the Mauritanian Military’s Medical Department to assess possibilities for future engagement opportunities.
“The Mauritanian physicians are eager to engage with the U.S. military. They have a unique medical system, in which the hospitals are military-run, but are open to the civilian population. They are eager to participate in our ophthalmology medical readiness training exercise program, since cataracts and eye pathology pose a major concern,” Kelly said.
This was the first medical engagement of its sort conducted by the U.S. Army Africa Command Surgeon’s Office, he said.
“They are also interested in a trauma-surgery traveling contact team visit focused toward their providers,” he said.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official YouTube video channel: www.youtube.com/usarmyafrica
IFS Batch of 2005, the Media proclaimed her as Mizoram’s greatest Pride when it comes to the Indian Civil Service, making a new earth shattering NATIONAL RECORD in the Indian Foreign Service (IFS) by bagging BOTH the two most prestigious IFS Award recently, namely, the Ambassador Bimal Sanyal Memorial Gold Medal for the Best Officer Trainee and the Ambassador Bimal Sanyal Memorial Silver Medal for the Best Dissertation. Nobody in Indian history has ever received both awards before!!! She was deservingly declared as The Best Probationer of 2005 Batch of IFS Officers.
On her first UPSC attempt in 2003, she made it to IA&AS (Indian Audits and Accounts Service). She wrote the exam again in 2004 and got into IRS (Indian Revenue Service)! But again, she decided to aim even higher and wrote the exam again in 2005. She made it to IFS (Indian Foreign Service)!!!
She’s always been my inspiration and role model when it comes to the civil service exam. Apart from that, she’s also my role model when it comes to leading a devoted life. She’s selfless, cheerful, and always ready to help out anyone. If there is one true example of “What goes around comes around”, then she is it. Good things come to those who are pure at heart. Amen!
In spite of her hectic schedule (she’s flying to South Korea next week for her new posting), she managed to find time to meet me (surprise surprise, she’s even a regular reader of my blog!). She even agreed to do an interview!
Some of you may be familiar with my style of interview. I’ve interviewed Mizo celebrities like Jenny (Former World Boxing Champion) and Zonunsangi (Zonet TV anchor) before. I like adding a lot of humor and good clean fun to my interviews. The Print media and other professionals have interviewed such personalities before, so I don’t want my questions to sound redundant. Hence I ask them questions that others wouldn’t have asked before. Some people strangely considered that as an insult and that I am making fun of people we should be proud of. That is not the case. I have the utmost respect for such people. It’s just that, when I add the “zing” in my questions, I bring out the “fun” in them. If you can’t stand such sense of humor, then with all due respect, I wouldn’t recommend you to read this post.
The interview was a great success. Muanpuii was sporty as usual, laughing out a lot and blushing sometimes, but nevertheless, answered every question.
We picked her up from JNU and proceeded to CP for the interview. We had a small problem initially with the interview venue, because it was Sunday AND Friendship Day, so all the hangout places like CCD, KFC, McDonalds, Pizza Hut, Costa’s etc were all jam packed. We finally found a good place at Baskin Robins.
The interview:
What subjects did you take for the UPSC 2005?
I took Public Administration and Anthropology.
How many hours did you use to study?
Well… ummm… I never used to time myself but let’s say… approximately 8 hours a day. That was for around 6 months until the Prelims exam. After that, for the Mains exam, there were so many different coaching classes I go to that there was hardly any time to study at all! That hectic lifestyle went on for around 5 months until the Mains exam.
Is it true that you used to wrap your study materials in a transparent polythene bag and read them while taking a shower? (yeah it was really hard trying to keep a straight face while asking this question).
NO!!!! (laughs out loud)… but… (gives a silly grin) sometimes I read while washing my clothes!
Oh! And how long do you wash in between, say two chapters?
(laughs out again) it was never like that…
Ok maybe it’s easier to answer this way. How much do you read while washing a blouse?
(giggles) well… two A4 size study materials…
And jeans? How much do you study while washing jeans?
(laughs again) I need both hands to wash my jeans, so I don’t read anything then.
So you’re saying jeans is bad, and that if we want to become like you we shouldn’t wear jeans…
Yes… NO!!! I mean… what? You can wear what you want… I’m just saying…
That we cannot read anything while washing jeans.
Yes.
So we shouldn’t wear jeans if we want to read.
Yes... NO!!! Aaaargh. I’m going to kill you!!!
(After 2 minutes of uncontrollable laughter and a chase inside Baskin Robins that cannot be mentioned here…)
Apart from all the studies then and the work now, how is your romance life?
(blushes) romance? Ummm…… uhhh…. It’s like the waves (shows the up and down action of waves and then laughs out loud. I was biting my lips not to laugh too. After sometime she became serious) Well… seriously speaking, you know me personally. There had never been such waves in my life so far. And I haven’t found Mr. Right yet, but yeah I have my fair share of suitors (smiles).
That’s not surprising. You’ve got the looks and the brains. Right now you’re the most eligible woman in Mizoram.
Yeah rightttt….
Seriously! And just to give some chance to your ardent fans, what would be the minimum criteria or eligibility for somebody to woo you?
(giggles) comon! You don’t expect me to reveal that (giggles again).
Be a sport please (smiles) Just give us 4-5 points on what you see in a future life partner.
ummm… (smiles) well.. first and foremost, he should be a man of God. And then after that, he should have brains, obviously. Thirdly… he should have a great sense of humor. And last point… ummm… he must be polished.
Polished? As in…
Polished as in… you know… polished.
As in Cherry Blossom polish?
(laughs out again) NO! I mean polished as in, refined, well mannered… someone who opens the door for me…
So basically you mean a door man?
(laughs and punches me) You…. You….
And moving on to my next question…. (yeah I was enjoying it!) lets talk about your new posting. Where in South Korea?
It’s in the capital Seoul (she pronounced it “Soul”).
Oh! It’s pronounced “Soul”? I always used to say “C-OL”.
The “e” is silent.
Ok. Thanx for letting me know. And what’s the language called?
Korean.
Script?
Hangeul (han-gul)
Currency?
Won.
What’s the equivalent of Won in Indian rupee?
1 rupee would equal to around 20 Won. But the cost of living is much much higher than here in India.
Which side of the road do the people drive over there?
They drive on the left side of the road.
Ah. So it is a former British colony?
No. But it was once under the Japanese. Even today, there is quite a strong Anti-Japan sentiment among the general population because of its violent history.
Uhuh… and what about Korean movies which are a big craze among the Mizos. You watch Korean movies?
Not that much. But I’ve seen two Korean movies recently and I really love them.
What are they?
“A moment to remember” and “Spring Summer Fall Winter... and Spring”.
Source amazon.com
Well, will you send us Korean movies from Korea?
Of course! That I definitely will do!
Thank you, thank you. Now coming to your posting, what exactly is your designation? Imagine you are explaining that to a layman.
Well, I will be working as “3rd secretary” when I join the Indian Embassy over there. The hierarchy is usually like this: Ambassador followed by Counselor, followed by 2nd Secretary, followed by 3rd Secretary. Since the Counselor is not there, I will be third in command at the Indian Embassy.
That’s so cool! And will you be staying at the Indian Embassy?
(laughs out again) No, it’s not like that. It’s similar to the fact that politicians don’t live in the Parliament House here in India. They just go there for work. Similarly, we will be going to the Embassy on a daily basis for work, but our residence is outside the Embassy premises.
Oh! Ok. And what about diplomatic immunity? Do you have it, and do you mind explaining it briefly to us?
Yes, I do have diplomatic immunity. Diplomatic immunity is that special privilege we diplomats have at a foreign soil, in which we cannot be tried for any case at a foreign Court. But we can be deported back to our country and tried there.
Uh huh. And what about North Korea. Do you have diplomatic immunity over there?
As a diplomat, yes something like that… but the situation at North is more complicated because of the obvious reasons. Plus I need to be assigned to the Embassy over there and all other red tapes and bureaucracy etc. I can’t just explain the situation just like that, plus it will not be a wise move to make to talk about any of our foreign affairs relationship…
Yes yes I completely understand. So let’s not talk about sensitive information anymore. Instead let’s discuss about your romance life again (grins).
Noooo… (buries face with her hands).
Oh comon! This is what most Mizo bachelors would want to know! (Points at my friend Tawia) Imagine he is one of your suitors (Tawia nearly gets a heart attack). What are the ten questions you would ask him?
Ten???? That’s too much!!!
Just ten. The first ten questions at the top of your head. Remember it’s all in good fun.
(laughs) ok ok. Well the first question is…
Look at him, not me.
I am so going to kill you (laughs). Ok my 10 questions would be (looks at Tawia):
1.Are you a man of God?
2.Do you have a steady job?
3.How is your relationship with your mother or a significant woman in your life?
4.What kind of relationships did you have with women in the past?
5.What kind of books do you read?
6.When was the last time you cried and why?
7.Do you like kids?
8.Can you cook?
9.What’s your idea of a romantic date?
10.What is your dream woman?
(Tawia turned towards me and gave me a look. I understood that look immediately: He failed in all ten questions.)
Wow! Thank you so much for that important information, Miss Muanpuii. I can picture many of the Mizo hopefuls out there writing the ten questions down on a note pad.
The pleasure is all mine (smiles sweetly).
[So we ended the interview then, and got down to more important discussions like how to prepare for the upcoming MCS (Mizoram Civil Service) examination and which chocolate flavored drink should we order next. Finally we headed back to her hostel. She was kind enough to invite us all up to her room, even though it was already past 10pm.]
Nice room!
Thank you.
I was expecting it to be a bit untidy, with all your heavy schedules and stuff. It’s as if you ran ahead in front of us and cleaned up your room before letting us in.
Ummm…
So (looking at the map on the wall), can you tell us where exactly is South Korea?
Of course, its right over here (points it out on the map).
Now can you just pose (aims the camera)…
No!!! Min bawl eee!!!
Bawl lo. Seriously, I’m just taking the snap for my collection.
Ok (posing).
Now smile.
*click*
Let’s talk about Music now, shall we?
Yup. At last, something decent (smiles).
So what kind of music do you listen to?
I listen to mainly P&W songs. Then there’s Sarah McLachlan and Josh Groban. I like classic rock too, like Queen and Manfred Mann. Wait! Don’t mention Manfred Mann, people will think I listen to such old genre of music!
Ok I won’t mention Manfred Mann.
When it comes to style of music, I love Baroque… you know Bach?
Well, I never knew him personally, but yeah I heard he’s a great composer (grins). Speaking of Bach, I hear you are really really really good with the keyboard!
(blushes) I’m not thaaaat good…
What is your… rank when it comes to music, like a yellow belt, black belt etc in karate?
I am a Grade 7.
And to a layman, that would be…?
Well, the maximum grade is a Grade 8. We have to write an exam called The Royal School of Music exam, and an English man comes to conduct the exam all the way from UK.
Wow! So you are just one grade away from becoming the next Beethoven! So how long did you take to reach grade 7 from 1?
Well actually I started from Grade 5 since I could play the keyboard pretty good then. It didn’t take me long to reach 7.
That is so impressive! And speaking of Beethoven, can you finish his unfinished symphony?
(throws a book at me)
There is one small part I can play on the keyboard. My sisters used to teach me when I was just a kid. I don’t even remember the name but I still remember bits and parts of it.
By all means, the piano is all yours.
(I sat on the huge piano and my fingers went “ting ting ting ting ting ting…”)
(laughs out loud) That is so sweet of you to know that. That symphony is called “Fur elise” by Beethoven and it’s one of my all time favorites. Here I will play it for you.
(Muanpuii sat on the piano and her fingers moved like magic, full of passion and sleight. My friends and I couldn’t move even a bit until she finished playing. We were entrapped in the beauty of her sheer talent and rapture. We all applauded after she played it.)
Thank you thank you (smiles)
Can you teach me?
Sure
Thank you so much for teaching me, Muanpuii. It was an honour.
You’re welcome.
So do you have the medals you won?
No, they are with my parents in Mizoram. It’s safer there (laughs).
Are they running trophies type, you know, where you have to hand it over next year…
No no, it’s mine for keeps (grins).
Gold plated?
Yup.
And what was the name of your dissertation topic that won you the medal?
“Reemergence of the left in Latin America and it’s implication for India”. My guide was JNU Professor Varun Sahini.
Phew! That’s a pretty long topic! I’m sure a couple of marks were added on the length alone (grins). Speaking of adding, how come you don’t look like the stereotype Civil Servant with protruding belly and double chin? Isn’t it true people add a lot of weight once they join the service?
No that is a gross misconception. There are many thin Officers too (smiles). I guess I watch what I eat to a certain degree.
What’s your weight? (smiles)
Hmmm… if I tell you that, then I’ll have to kill you (laughs). Actually I am around 56.
Do you mind if I show the people that?
Well… (thinks for a long time) ok (smiles) Anyway my weight is quite proportional to my height and body mass, so it’s ok.
Thank you dear Muanpuii. It has been a real pleasure for sparing us some time to get to know you better. May the good Lord protect you in South Korea and may you continue carrying the good name of India and Mizoram wherever you go.
That is so sweet of you. God bless you too and all the best for the upcoming MCS exam.
Thank you Miss Muanpuii.
We stayed at her apartment for a few more minutes, singing while Muanpuii played the piano. She is one of the sweetest people I’ve ever known, and she truly deserves all the accolades she had received. We wish her all the very best in her endeavors and may she continue making the Mizo name proud wherever she goes. May the good Lord watch over her in everything that she does and once again, a very big thanks to her for the interview. God bless you Muanpuii Saiawi. You are not only studious, hard working and dedicated, but also a whole lot of fun, sporty and humorous.
mizohican.blogspot.com/2007/08/chp-138-interview-with-mua...
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Beamline lead scientist Christie Nelson works with a diffractometer located at National Synchrotron Light Source II's beamline 4-ID. A diffractometer allows researchers to “see” the structure of a material by shooting highly focused x-rays at it and measuring how they diffract, or bounce off.
The instrument offers researchers high precision when studying materials with unique structural, electronic, and magnetic characteristics. Understanding these materials’ properties could lead to better electronics, solar cells, or superconductors (materials that carry electricity with almost no energy loss).
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.
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.
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.
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.
here's everything I need for my exam tomorrow...papers, pens, pacers, calculator, gun...yep, this exam is going to go off!
This Mercedes-Benz G-Klasse once used by the Marechaussee (the military police of the Netherlands) is now study material at the Zadkine mobility education in Rotterdam.
NK05GWU loads outside Blyth library.
Blyth’s library is to re-open alongside the registrar’s service and a relocated Customer Information Centre following the refurbishment of one of the town’s most historic buildings.
The library is situated in the former Mechanics' Institute, a classic Victorian red brick building with stone dressings and a clock tower constructed in 1882.
The spruced up building now has a new entrance lobby, new carpets and has been decorated so that it is bright and airy providing a better space to display some of the town’s old photographs.
The project is part of Northumberland County Council’s plan to co-locate services to make them more accessible and to invest in its most important buildings to make the best use of them.
Councillor Val Tyler, Cabinet member for Arts, Leisure and Culture at Northumberland County Council, said: “The refurbishment makes the library, one of Blyth’s most historic buildings, a real asset to the town. We can now provide a range of improved services in this wonderful building that has been a place of learning and cultural development for more than a century.”
“The former Mechanics Institute building has a fantastic heritage and is well-loved by local people. The refurbishment means we can now offer a modern library service in a building with much improved space and we are delighted to be re-opening to the public on 1 June.”
In the new library, most of the novels and factual books will be kept on the first floor which is wheelchair accessible via a lift, while the new children’s library will be situated on the ground floor. Audio books and books with larger print will also be kept on the ground floor. There is also a computer suite for library users providing a dedicated quiet space.
The relocation of the Customer Information Centre to the refurbished building from leased premises in the Keel Row and providing services together in one place will save taxpayers’ money.
Now residents will be able to borrow books, use computers, pay council bills, enquire about any council service, get information about health and benefits, register births and deaths and hire community rooms, all from this one location.
The Register Office will be operating out of the library (registering births and deaths) from Monday 15 June and will be offering a service (as normal) every Tuesday and Thursday between 9 am and 4 pm.
Blyth Library houses the major collection of local studies material for Blyth, books for adults, teenagers and children, DVDs, audiobooks, and local newspapers. It has also has 13 computers for public use.
The work on the building has been carried out by Homes for Northumberland on behalf of Northumberland County Council.
Ian Johnson, Director of Operations at Homes for Northumberland, said: “We were delighted to be asked to carry out the work on the library which is such an iconic building in Blyth town centre. We have used a mixture of our own staff and local contractors in turn helping local businesses in Northumberland. We are looking forward to doing more of this work in the future.”
www.northumberland.gov.uk/News/2015/May/Historic-Blyth-li...
The desert north of Nouakchott, Mauritania, January 2011.
U.S. Army Africa photo by Maj. Lee Clark
Three Soldiers from 3rd Medical Command (Deployment Support), based in Atlanta, Ga., conducted military medical exchanges with approximately 25 soldiers of the Mauritanian Medical Services in Nouakchott, Mauritania, Jan. 10-20.
Two weeklong sessions focused on medical evacuation techniques, and field sanitation and preventive medicine, said Lt. Col. Tim Doherty. The Mauritanian participants included physicians, nurses, planners and medics, he said.
Doherty and Master Sgt. Sheri Murphy began the exchange with a comprehensive overview of casualty evacuation, examining scenarios from a hypothetical point of injury to ferrying the injured to an established field facility. Both the Mauritanian and American teams presented their overview of operations for discussion, he said.
“I was really impressed by the representatives from Mauritania,” said Doherty. “They were engaged, and they retained and sought to apply the information from day to day, incorporating discussion points from previous lectures.”
The Mauritanians engaged their American guests in an open discussion of lessons learned from recent contingency operations, said Doherty. The 3rd MDSC Soldiers provided the Mauritanians with resource materials in both English and Arabic. Class sessions were facilitated by translators, he said.
Maj. Michael Fuller joined Doherty for presentations on field sanitation and preventative medicine. Fuller and Doherty conducted a series of open forum discussions and slide presentations to familiarize their Mauritanian peers with an oversight of the U.S. military approach to preventive medicine and field sanitation risk reduction strategies.
The bottom line of both endeavors is to ensure that soldiers remain as healthy as possible in a field environment, said Doherty. Again, the U.S. team was able to provide study materials in both English and Arabic for their hosts to use as a reference resource for further education and training.
Maj. Lee Clark of the U.S. Army Africa Command Surgeon’s Office also participated in discussions with representatives of the Mauritanian Military’s Medical Department to assess possibilities for future engagement opportunities.
“The Mauritanian physicians are eager to engage with the U.S. military. They have a unique medical system, in which the hospitals are military-run, but are open to the civilian population. They are eager to participate in our ophthalmology medical readiness training exercise program, since cataracts and eye pathology pose a major concern,” Kelly said.
This was the first medical engagement of its sort conducted by the U.S. Army Africa Command Surgeon’s Office, he said.
“They are also interested in a trauma-surgery traveling contact team visit focused toward their providers,” he said.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official YouTube video channel: www.youtube.com/usarmyafrica
RxPG Interview With Dr Sumit Seth, The top ranker of Indian Civil Services 2005
Dr. Sumit Seth an alumnus of Maulana Azad Medical College, New Delhi, scored a high rank in highly competitive Indian civil services examination 2005 and joined IFS.
He has been passionate about career as a diplomat since the early years of his MBBS. This passion kept him motivated on a long and arduous way to success. Apart from that, he is a senior and helpful member in RxPG forums. He has also authored a best-selling book "Review of Forensic Medicine" after his post graduation in Forensic Medicine from Lady Harding Medical College, New Delhi. Like everyone else, we were also curious to know about the secrets of his success in this challenging exam so we sent Archana, one of our staff members, who tracked him down in Foreign Services Institute, Akbar Bhavan in New Delhi. Having already cracked one of the most difficult interviews in India, in this interview he came across as a calm, pleasant person with clear and rational aims in life. Read on to know how he planned and finally succeeded in making his long time ambition come true. It is a real inspiring account for anyone who is struggling on the way to his/her dream career.
RxPG: You scored 42nd rank in Indian Civil Services Examination 2005. It is an incredible rank for a medico and we would like to congratulate you on this feat. Our readers would like to know the secret of your success in this exam?
Dr. Seth: My initial response to the news that I got 42nd Rank in Civil Services 2004-05 was that of satisfaction and a sense of calmness as finally I had succeeded in my mission which started way back in the last millennium i.e. 1999!! I did not quit till the very end and had a firm belief in my ability, and faith in god. Hard work does pay in one form or another. In final analysis I feel I was “Lucky” to make it.
RXPG: After spending 5 and half years in doing MBBS and doing a post graduation in Forensic Medicine, what prompted you to choose Civil Services as your final career?
Dr. Seth: I always had a fascination for IFS so during my 2nd MBBS I decided to appear in civil services. I gave my first attempt in 1999 while doing internship but I could not make it so my seniors advised me to join a MD which is relatively light, no emergencies, and no night duties. So I Chose Forensic Medicine, that too from LHMC (Lady Harding Medical College, New Delhi, India) where total number of cases/autopsies is very less (1/day). This gave me ample time to do coaching and study. So I continued my MD, gave my 2nd and 3rd Attempts, but I was not successful. Finally I decided to finish my MD first, and by Gods Grace I became the youngest forensic pathologist in India at the age of 26. I also authored a book after my MD “Review of Forensic Medicine”. All this gave me sufficient confidence to go for my final shot at civil services. As I had nothing to lose I regrouped my self for this exam again after a 2 year gap.
I would advice all my junior medico friends to not to sacrifice their medical career for civil services exam. Somehow they should try to even out the risk. They should always have an answer to what they will do if they fail completely in this highly unpredictable UPSC “casino type” Civil services exam.
RXPG: As we see on RxPG website, most of the doctors and medical students are somewhat disillusioned by medicine as a career and some are seriously thinking about a career change. Was that the case with you?
Dr. Seth: For me it was more of an attraction for career as a diplomat rather than push from medical profession. I was reasonably satisfied with my career graph as a Forensic Pathologist that’s why I chose Foreign Service as the only service preference in my final attempt, and I was able to convince the interview board for the same.
My advice is that please don’t get disillusioned by medicine profession because every profession has its pluses and negatives. You should know what you want rather than what society wants you to be! Disillusionment with Medicine as a career per se should not be the reason for giving Civil Services Exam. In-fact if you don’t have any convincing reason to give this exam then please do not give this exam. You then will be doubly disillusioned by the red tape all around you.
Some of the wrong reasons for appearing in civil services are:
o Earning quick bucks – but are you strong enough to be corrupt?
o Power - trust me this Power is a misnomer, the responsibilities outweigh power.
o Fame – civil servants have to work in anonymity.
Unless and until you are not intrinsically motivated you will not relish civil services
Dr Sumit Seth
RXPG: We appreciate the fact that preparing for an extremely competitive exam like civil services after spending more than seven years in medicine must be really challenging. During your preparation for the civil services exam, did you ever doubt your ability to succeed in it?
Dr. Seth: Every failure does two things to you it shatters your confidence but at the same time it provides the opportunity to strike back with vengeance, to redeem your self. The real success is rising up again after you have been knocked down. Never recognize failure, you cannot fail unless and until you quit!
RXPG: How much time do you think one requires for serious preparation for this examination?
Dr. Seth: One year of serious preparation is required after that you can make it in first attempt if you are lucky and if you are not so lucky it might take you a bit longer, but constant efforts are needed and you will be successful for sure.
RXPG: Which books did you read for the prelims?
Dr. Seth: The real game is to find out what not to study! Study material should be minimal. It is better to select your study material carefully. I used the following books:
For Geography:
K Siddhartha’s books volume 1 and 2 were helpful. Ten year papers, a good coaching centre can be of immense help. I would recommend Interactions by Shashank Atom and Directions by Neetu Singh
For General Studies:
I took help of Unique’s Guide.
I followed a technique of studying in prelims which I call “Retro Study”. Which means studying text using MCQs (Multiple Choice Question) as a yard stick, each MCQ needs to be studied backwards searching the correct answer as well as finding out why the other 3 choices are not the correct answers. It proved very useful to me in understanding the concepts better.
RXPG: Which journals and newspapers have you been reading for the General Knowledge and other papers?
Dr. Seth: Read one current affairs magazine regularly, Civil Services times, civil services chronicle etc. The Hindu (Newspaper) is good but you have to be selective. Vaji Ram & Ravi Classes can help you a lot in preparation of current affairs.
RXPG: You chose Geography and Psychology as optional subjects for the mains. What were your reasons for choosing these subjects?
Dr. Seth: I’m from Science Background so I am more comfortable with subjects which require a conceptual understanding. Requirement to mug up the facts and the role of weaving castle in air through language is less in these subjects.
RXPG: On hindsight do you think you made a right choice for your optional subjects?
Dr. Seth: Well I think so!!
RXPG: Would you advise other medicos to choose the same subjects for IAS? If not, why? If yes, why?
Dr. Seth: Choosing a right optional is the most critical step in preparation, a mistake done at this juncture could end ones race before it begins. I personally feel that following things need to be taken into consideration before choosing ones optional:
1. It should suit one’s temperament. If one is not very good in expression then one should go for subjects like Geography, Psychology, Zoology and Anthropology. Subjects who require exact expression and proficiency in language are Sociology, Public Administration, Political Science and History.
2. Availability of study material, scoring potential, and guidance from experts is also an important factor.
3. I feel every subject has the potential to get you around 380-400 marks with your best effort but there are only few subjects which can give you 310-320 marks in case of worst possible scenario, and I feel geography is one of them.
RXPG: Would you advise choosing medical sciences as an optional subject?
Dr. Seth: One should as far as possible one should try to take those optional in which one has done graduation in and decides not to take them only if there are strong reasons to do so. Medical Science is a very safe optional if prepared systemically, I did not take it because in mains date sheet Geography and Medical Sciences fall back to back.
RXPG: How did you prepare for your Compulsory papers?
Dr. Seth: For compulsory paper I feel no preparation is needed as there marks not counted only qualifying in nature.
RXPG: Which books did you read for the mains?
Dr. Seth: Mains exam is all together a different game! Here strategy is a must. My optional subjects were Geography and Psychology.
For Geography I feel Mr. Shashank Atom (Interactions) and Madam Neetu Singh (Directions) are very good teachers. Their guidance can prove very valuable.
For Psychology there is one name which is synonymous with this subject and that is Mr. Mukul Pathak. I will go on to the extent that without his guidance directly or indirectly it is very difficult to prepare for this subject.
For GS Mr. Ravindran and his team at Vaji Ram and Ravi are very helpful.
For Essay one needs to have writing practice under strict exam conditions
As far as strategy is concerned one should intelligently and intuitively guess around 20 long questions and around 40 short notes in each optional paper 1 and 2 and then prepare them thoroughly. Few of these questions are bound to come and one can score heavily in them.
Apart from that one should develop in-depth understanding of the subject so that one can write a decent answer when faced with unprepared questions in examination hall off hand smoothly.
Try to use knowledge of Paper 1 of optional in Paper 2 and be innovative in your examples. Day to day contemporary examples show that candidate is able to apply his knowledge in day to day affairs.
Don’t hesitate to use flow charts, diagrams, graphs in order to enhance the quality of answers.
The order of answering Question should be in descending order of your level of confidence in them, give a little more time in first question and display your in-depth knowledge in the subject.
Don’t worry about the length of answer worry about the time you devote on it.
RXPG: What was your strategy for Interview?
Dr. Seth: Put forward a strong and interesting case in front of the board like a good lawyer, fill you mains form very care fully keep a photo copy of same.
RXPG: What is your impression of the Interview Board?
Dr. Seth: My Interview was in fore-noon in Mrs. Chokilla Aiyars Board. I was quite confident about my preparation. I had filled only one service that was Foreign Service so my interview was very much on predicted lines. I was able to convince them about my arguments about choosing only Foreign Service. The board was very cordial and co-operative.
RXPG: What prompted you to choose only IFS?
Dr. Seth: I feel I have a temperament and interest to be a diplomat, the opportunity to represent our country, the opportunity to travel all over the world, the opportunity meeting the most intellectual brains ,the most creative individuals from all over the globe. All this prompted me to choose IFS.
RXPG: How did you feel after the interview?
Dr. Seth: You can never be sure what perceptions the board gets of you, but I was satisfied with my answers and was least worried what interviewers thought about it, I spoke my mind and perhaps that is all required in interview.
RXPG: What is your overall impression of the IAS exam?
Dr. Seth: In one like it is a Casino in which you can win if you play your cards correctly. Strategy is required and every individual has to device his/her own strategy.
RXPG: What is your advice to the future aspirants?
Dr. Seth: I can only tell you that this exam requires lot of luck and my definition of luck is preparation plus opportunity. Be prepared to catch the opportunity and never lose faith in god and your ability.
RXPG: How important you think is internet in preparation for IAS?
Dr. Seth: Well intelligent use of internet can be of immense help.
RXPG: Is the pattern of the examination appropriate? Would you recommend any improvement?
Dr. Seth: The Present selection procedure has stood the test of time but I feel with changing times the duration of exam cycle should be reduced.
RXPG: What contributions do you think doctors can make as civil servants?
Dr. Seth: Doctors can make a positive contribution through civil services as majority of doctors have the ability to put in hard work, can plan their work according to priority; they know time management, have excellent communication skill. They learn to work very close to people. All these qualities are required to be a good administrator.
RXPG: RxPG is the largest and most active community website for medical students. How do you visualize the role of RxPG in shaping the careers of the medicos?
Dr. Seth: RxPG is an innovative cyber learning tool. I am really impressed with its professional approach towards helping medical students in shaping their careers
RXPG: When did you join RxPG and how did you come to know about it?
Dr. Seth: I joined RxPG to help my students of Forensic Medicine in their queries and the positive response from the students encouraged me to author a book entitled “Review of Forensic Medicine”.
RxPG: Whom do you attribute your success to?
Dr. Seth: To my father LATE SH. SATISH KUMAR SETH whose blessings are always with me, I dedicate my success to him, to my mother SMT. URMIL SETH who worked very hard and sacrificed a lot to make sure that I complete my MBBS. To my brother AMIT SETH who encouraged me always.
Apart from my family members there is long list of people who supported me, my colleges, my friends, my teachers, my students ,I cannot thank them in words only. I also wish to thank few of my critics who indirectly stimulated me to achieve my goal. I wish to specially thank my guide Dr G.K SHARMA, Principal Lady Harding Medical College with whom I got an opportunity to work and this gave me a chance to learn a lot about some of the nuances of life and imbibe some of his personality traits. Above all it’s the God almighty without his green signal my success journey would have halted
RXPG: How would you visualize your success?
Dr. Seth: It’s a beginning of a new phase of my life; I feel the real success is yet to come
Maj. Michael Fuller, 3rd MDSC, makes a presentation to Mauritanian Medical Services soldiers with the help of a translator in Nouakchott, Jan. 19, 2011.
U.S. Army Africa photo by Maj. Lee Clark
Three Soldiers from 3rd Medical Command (Deployment Support), based in Atlanta, Ga., conducted military medical exchanges with approximately 25 soldiers of the Mauritanian Medical Services in Nouakchott, Mauritania, Jan. 10-20.
Two weeklong sessions focused on medical evacuation techniques, and field sanitation and preventive medicine, said Lt. Col. Tim Doherty. The Mauritanian participants included physicians, nurses, planners and medics, he said.
Doherty and Master Sgt. Sheri Murphy began the exchange with a comprehensive overview of casualty evacuation, examining scenarios from a hypothetical point of injury to ferrying the injured to an established field facility. Both the Mauritanian and American teams presented their overview of operations for discussion, he said.
“I was really impressed by the representatives from Mauritania,” said Doherty. “They were engaged, and they retained and sought to apply the information from day to day, incorporating discussion points from previous lectures.”
The Mauritanians engaged their American guests in an open discussion of lessons learned from recent contingency operations, said Doherty. The 3rd MDSC Soldiers provided the Mauritanians with resource materials in both English and Arabic. Class sessions were facilitated by translators, he said.
Maj. Michael Fuller joined Doherty for presentations on field sanitation and preventative medicine. Fuller and Doherty conducted a series of open forum discussions and slide presentations to familiarize their Mauritanian peers with an oversight of the U.S. military approach to preventive medicine and field sanitation risk reduction strategies.
The bottom line of both endeavors is to ensure that soldiers remain as healthy as possible in a field environment, said Doherty. Again, the U.S. team was able to provide study materials in both English and Arabic for their hosts to use as a reference resource for further education and training.
Maj. Lee Clark of the U.S. Army Africa Command Surgeon’s Office also participated in discussions with representatives of the Mauritanian Military’s Medical Department to assess possibilities for future engagement opportunities.
“The Mauritanian physicians are eager to engage with the U.S. military. They have a unique medical system, in which the hospitals are military-run, but are open to the civilian population. They are eager to participate in our ophthalmology medical readiness training exercise program, since cataracts and eye pathology pose a major concern,” Kelly said.
This was the first medical engagement of its sort conducted by the U.S. Army Africa Command Surgeon’s Office, he said.
“They are also interested in a trauma-surgery traveling contact team visit focused toward their providers,” he said.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official YouTube video channel: www.youtube.com/usarmyafrica
Mauritanian Medical Services soldiers pose for a photo with their American guests in Nouakchott, Jan. 19, 2011.
U.S. Army Africa photo by Maj. Lee Clark
Three Soldiers from 3rd Medical Command (Deployment Support), based in Atlanta, Ga., conducted military medical exchanges with approximately 25 soldiers of the Mauritanian Medical Services in Nouakchott, Mauritania, Jan. 10-20.
Two weeklong sessions focused on medical evacuation techniques, and field sanitation and preventive medicine, said Lt. Col. Tim Doherty. The Mauritanian participants included physicians, nurses, planners and medics, he said.
Doherty and Master Sgt. Sheri Murphy began the exchange with a comprehensive overview of casualty evacuation, examining scenarios from a hypothetical point of injury to ferrying the injured to an established field facility. Both the Mauritanian and American teams presented their overview of operations for discussion, he said.
“I was really impressed by the representatives from Mauritania,” said Doherty. “They were engaged, and they retained and sought to apply the information from day to day, incorporating discussion points from previous lectures.”
The Mauritanians engaged their American guests in an open discussion of lessons learned from recent contingency operations, said Doherty. The 3rd MDSC Soldiers provided the Mauritanians with resource materials in both English and Arabic. Class sessions were facilitated by translators, he said.
Maj. Michael Fuller joined Doherty for presentations on field sanitation and preventative medicine. Fuller and Doherty conducted a series of open forum discussions and slide presentations to familiarize their Mauritanian peers with an oversight of the U.S. military approach to preventive medicine and field sanitation risk reduction strategies.
The bottom line of both endeavors is to ensure that soldiers remain as healthy as possible in a field environment, said Doherty. Again, the U.S. team was able to provide study materials in both English and Arabic for their hosts to use as a reference resource for further education and training.
Maj. Lee Clark of the U.S. Army Africa Command Surgeon’s Office also participated in discussions with representatives of the Mauritanian Military’s Medical Department to assess possibilities for future engagement opportunities.
“The Mauritanian physicians are eager to engage with the U.S. military. They have a unique medical system, in which the hospitals are military-run, but are open to the civilian population. They are eager to participate in our ophthalmology medical readiness training exercise program, since cataracts and eye pathology pose a major concern,” Kelly said.
This was the first medical engagement of its sort conducted by the U.S. Army Africa Command Surgeon’s Office, he said.
“They are also interested in a trauma-surgery traveling contact team visit focused toward their providers,” he said.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official YouTube video channel: www.youtube.com/usarmyafrica
[Continued from description of previous image…]
Bibliography
•n.d.—Perkins, Augustus Thorndike. Supplementary List of Paintings by John Singleton Copley. Boston, n.d.: 9.
•1778—“A Young Painter,” [Letter to the Editor.] The General Advertiser, and Morning Intelligencer, 19 May 1778.
•1778—The General Advertiser, and Morning Intelligencer, 27 April 1778.
•1778—The General Evening Post, 28-30 April 1778.
•1778—The Morning Chronicle, and London Advertiser, 25 April 1778.
•1778—The Morning Post, and Daily Advertiser (London), 25 April 1778.
•1778—The Public Advertiser, 28 April 1778.
•1778—The St. James’s Chronicle; or, British Evening-Post, 25-30 April 1778.
•1796—Pasquin, Anthony. Memoirs of the Royal Academicians. London, 1796: 136-137.
•1824—Neal, John. [Essay on American Art] Blackwood’s Edinburgh Magazine 16 (August 1824). Reprinted in Observations on Amer. Art, Selections ... Writings of John Neal (1793- 1876). H. Dickson, ed. State College, PA., 1943: 26-27.
•1829—Knapp, Samuel L. Lectures on American Literature, with Remarks on some Passages of American History. New York, 1829: 191.
•1829—Lieber, Francis, ed. Encyclopaedia Americana, 13 vols. Philadelphia, 1829-1833: 3 (1830): 520.
•1832—Cunningham, Allan. The Lives of the Most Eminent British Painters, Sculptors, and Architects. London, 1829-1833: 5 (1832):177-178.
•1834—Trollope, William. A History of the Royal Foundation of Christ’s Hospital. London, 1834: 353.
•1841—Everett, Edward. “Curiousity Baffled.” The Boston Book. Boston, 1841: 228-248.
•1847—Tuckerman, Henry T. Artist-Life: or Sketches of American Painters. New York and Philadelphia, 1847: 25-26.
•1867—Tuckerman, Henry T. Book of the Artists: American Artist Life. New York and London, 1867: 78-79.
•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): 1:106, 116-118, 120, 127.
•1873—Perkins, Augustus Thorndike. A Sketch of the Life and a List of Some of the Works of John Singleton Copley. Boston, 1873: 20-21, 128.
•1882—Amory, Martha Babcock. The Domestic and Artistic Life of John Singleton Copley, R.A.. Boston, 1882: 70-75.
•1905—Graves, Algernon. The Royal Academy of Arts: A Complete Dictionary of Contributors and their Work from its Foundation in 1769 to 1904. 8 vols. London, 1905-1906: 2:159.
•1905—Isham, Samuel. The History of American Painting. New York, 1905: 26, 38.
•1913—Graves, Algernon. A Century of Loan Exhibitions, 1813-1912. 5 vols. London, 1913-1915: 1(1913):206.
•1915—Bayley, Frank W. The Life and Works of John Singleton Copley. Boston, 1915: 253-254.
•1924 Webster, J. Clarence. Sir Brook Watson, Friend of the Loyalists. Sackville, New Brunswick, 1924.
•1937—Allan, George A. T. Christ’s Hospital. London and Glasgow, 1937: 67-68.
•1938—Cunningham, Charles C. “Introduction.” John Singleton Copley, 1738-1815; Loan Exhibition of Paintings, Pastels, Miniatures and Drawings Exh. cat. Museum of Fine Arts, Boston, 1938: 12-13.
•1938—Wind, Edgar. “The Revolution in History Painting.” Journal of the Warburg Institute 2 (1938/1939): 119.
•1943—Mayor, A. Hyatt. “Early American Painters in England.” Proceedings of the American Philosphical Society 87, no. 1 (July 1943): 107.
•1943—Soby, James Thrall and Dorothy C. Miller. Romantic Painting in America. Exh. cat. Museum of Modern Art, New York, 1943: 9.
•1946—American Painting from the Eighteenth Century to the Present Day. Exh. cat. Tate Gallery, London, 1946: no. 49.
•1947—Richardson, Edgar P. “Watson and the Shark by John Singleton Copley.” Art Quarterly 10, no. 3 (Summer 1947): 213-218, fig. 3.
•1951—The First Hundred Years of the Royal Academy, 1796-1868. Exh. cat. The Royal Academy of Arts, London, 1951-1952: no. 420.
•1953—The Christ’s Hospital Book. London, 1953: repro. opp. 280.
•1953—Waterhouse, Ellis. Painting in Britain, 1530 to 1790. Baltimore, Maryland, 1953: 160, 203, pl. 172.
•1956—Richardson, Edgar P. Painting in America: The Story of 450 Years. New York, 1956: 94, 316.
•1965—John Singleton Copley, Exh. cat. National Gallery of Art, Washington; Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston, 1965-1966: no. 68a.
•1966—Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 2:396, color repro.
•1966—Prown, Jules David. John Singleton Copley, vol. 2. Cambridge, MA: Harvard University Press, 1966, pp. 267-274, 298, 387, 459-461, fig. 371, no. 1.
•1968—Royal Academy of Arts Bicentenary Exhibition, 1768-1968. Exh. cat. Royal Academy of Arts, London, 1968-1969: no. 505.
•1969—Novak, Barbara. American Painting of the Nineteenth Century: Realism, Idealism, and the American Experience. New York, 1979: 42-42, fig. 1.27. (3rd. ed. Oxford, 2007: 22-23, fig. 1.9.)
•1970—American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 46, repro.
•1974—Gerdts, William H. The Great American Nude: A History in Art. New York, 1974: detail repro. 33, 38.
•1975—Paulson, Ronald. Emblem and Expression; Meaning in English Art of the Eighteenth Century. London, 1975: 202-203 repro.
•1975—Stein, Roger B. Seascape and the American Imagination. New York, 1975: 18, 20, 112, color repro. opp. 32, pl. 1.
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: 392, color repro. 393.
•1976—Stein, Roger B. “Copley’s Watson and the Shark and Aesthetics in the 1770s.” In Calvin Israel, ed., Discoveries and Considerations: Essays on Early American Letters & Aesthetics, Presented to Harold Jantz. Albany, 1976: x, 85-130; fig. 1, 4 on p. [88], [112].
•1977—Jaffe, Irma B. “John Singleton Copley’s Watson and the Shark.” American Art Journal 9, no. 1 (May 1977): 15-25, repro.
•1978—King, Marian. Adventures in Art: National Gallery of Art, Washington, D.C. New York, 1978: 74-75, pl. 44.
•1979—Abrams, Ann Uhry. “Politics, Prints and John Singleton Copley’s Watson and the Shark.” Art Bulletin 61, no. 2 (June 1979): 265-276.
•1979—Watson, Ross. The National Gallery of Art, Washington. New York, 1979: 95, pl. 83.
•1980—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 139, repro.
•1980—Kemp, Martin. [Letter to the Editor]. ArtB 62, no. 4 (December 1980): 647.
•1980—Wilmerding, John. American Light: The Luminist Movement, 1850-1875, Paintings, Drawings, Photographs. Exh. cat. National Gallery of Art, Washington, D.C., 1980: 48, color repro. 49.
•1980—Wilmerding, John. American Masterpieces from the National Gallery of Art. National Gallery of Art, Washington, D.C., 1980: 10, 13, no. 5, color repro.
•1981—Williams, William James. A Heritage of American Paintings from the National Gallery of Art. New York, 1981: 30-31, repro. 32-33, color repro. 46.
•1984—Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 388, no. 552, color repro.
•1986—Reader’s Digest Services. Sharks: Silent Hunters of the Deep. Sydney and New York, 1986: 132-135.
•1987—Wilmerding, John. American Marine Painting. Rev. ed. of A History of American Marine Painting, 1968. New York, 1987: 33-35, color repro. 32.
•1988—Bilder aus der Neuen Welt, Amerikanische Malerei des 18. und 19. Jahrhunderts, Exh. cat. Staatliche Museen Preussischer Kulturbesitz, Nationalgalerie, Schloss Charlottenburg, Berlin; Kunsthaus, Zürich, 1988-1989: no. 7.
•1988—Wilmerding, John. American Masterpieces from the National Gallery of Art. Rev. ed. National Gallery of Art, Washington, D.C., 1988: 56, no. 5, color repro.
•1989—Boime, Albert. “Blacks in Shark-Infested Waters; Visual Encodings of Racism in Copley and Homer.” Smithsonian Studies in American Art (Winter 1989): 18-47, color repro. fig. 1.
•1989—Honour, Hugh. The Image of the Black in Western Art. Vol. 4. From the American Revolution to World War I, Part I: Slaves and Liberators. Cambridge, Mass., 1989: 37-41, figs. 6-7.
•1990—Boime, Albert. The Art of Exclusion; Representing Blacks in the Nineteenth Century. Washington, 1990: 20-36, color repro. after xvi.
•1990—Facing History: The Black Image in American Art, 1710-1940. Exh. cat. The Corcoran Gallery of Art, Washington; The Brooklyn Museum, New York, 1990: unnumbered.
•1992—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 150, repro.
•1992—Busch, Werner. “Copley, West, and the Tradition of European High Art.” In American Icons; Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art. Edited by Thomas W. Gaehtgens and Heinz Ickstadt. Santa Monica, CA, 1992: 34-59.
•1992—Gaehtgens, Thomas W. and Heinz Ickstadt, eds. American Icons, Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art. Santa Monica, 1992: 35-59, repro.
•1992 National Gallery of Art, Washington. National Gallery of Art, Washington, 1992: 211, repro.
•1993—Miles, Ellen G. “Copley’s Watson and the Shark.” Antiques 143, no. 1 (January 1993): 162-171, repro.
•1995—John Singleton Copley in England. Exh. cat. National Gallery of Art, Washington; The Museum of Fine Arts, Houston, 1995-1996: no. 4.
•1995—Miles, Ellen G. American Paintings of the Eighteenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1995: 54-71, color repro. 57.
•1995—Stokstad, Marilyn. Art History. New York, 1995: 946, fig. 26-23.
•1999—Stokstad, Marilyn. Art History. 2 vols. Revised ed. New York, 1999: 949, fig. 26-24.
•1999—Zuffi, Stefano and Francesca Castria, La peinture baroque. Translated from Italian by Silvia Bonucci and Claude Sophie Mazéas. Paris, 1999: 390, color repro.
•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: 187, 190, fig. 200, 201.
•2001—Southgate, M. Therese. The Art of JAMA II: Covers and Essays from The Journal of the American Medical Association. Chicago, 2001: 122-123, color repro.
•2004—Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 288-289, no. 233, color repro.
•2011—Pergam, Elizabeth A. The Manchester Art Treasures Exhibition of 1857: Entrepreneurs, Connoisseurs and the Public. Farnham and Burlington, 2011: 313.
•2011—Roberts, Jennifer L. “Failure to Deliver: Watson and the Shark and the Boston Tea Party.” Art History 10, no. 4 (September 2011): 625, 675-695, color fig. 2, 14.
•2012—Brock, Charles. “George Bellows: An Unfinished Life.” In George Bellows ed. Charles Brock (Exh. cat. Washington 2012). Munich, 2012: 11.
•2013—Neff, Emily Ballew and Kaylin H. Weber. “American Adversaries: Benjamin West & John Singleton Copley (Houston, Texas).” American Art Review 25, no. 6 (November-December 2013): 88, 91, color fig.
•2016—Rather, Susan. The American School: Artists and Status in the Late Colonial and Early National Era. New Haven, 2016: 17-19, 91, color fig. 10.
[Continued in description of next image…]
Mauritanian Medical Services soldiers pose for a photo with their American guests in Nouakchott, Jan. 19, 2011.
U.S. Army Africa photo by Maj. Lee Clark
Three Soldiers from 3rd Medical Command (Deployment Support), based in Atlanta, Ga., conducted military medical exchanges with approximately 25 soldiers of the Mauritanian Medical Services in Nouakchott, Mauritania, Jan. 10-20.
Two weeklong sessions focused on medical evacuation techniques, and field sanitation and preventive medicine, said Lt. Col. Tim Doherty. The Mauritanian participants included physicians, nurses, planners and medics, he said.
Doherty and Master Sgt. Sheri Murphy began the exchange with a comprehensive overview of casualty evacuation, examining scenarios from a hypothetical point of injury to ferrying the injured to an established field facility. Both the Mauritanian and American teams presented their overview of operations for discussion, he said.
“I was really impressed by the representatives from Mauritania,” said Doherty. “They were engaged, and they retained and sought to apply the information from day to day, incorporating discussion points from previous lectures.”
The Mauritanians engaged their American guests in an open discussion of lessons learned from recent contingency operations, said Doherty. The 3rd MDSC Soldiers provided the Mauritanians with resource materials in both English and Arabic. Class sessions were facilitated by translators, he said.
Maj. Michael Fuller joined Doherty for presentations on field sanitation and preventative medicine. Fuller and Doherty conducted a series of open forum discussions and slide presentations to familiarize their Mauritanian peers with an oversight of the U.S. military approach to preventive medicine and field sanitation risk reduction strategies.
The bottom line of both endeavors is to ensure that soldiers remain as healthy as possible in a field environment, said Doherty. Again, the U.S. team was able to provide study materials in both English and Arabic for their hosts to use as a reference resource for further education and training.
Maj. Lee Clark of the U.S. Army Africa Command Surgeon’s Office also participated in discussions with representatives of the Mauritanian Military’s Medical Department to assess possibilities for future engagement opportunities.
“The Mauritanian physicians are eager to engage with the U.S. military. They have a unique medical system, in which the hospitals are military-run, but are open to the civilian population. They are eager to participate in our ophthalmology medical readiness training exercise program, since cataracts and eye pathology pose a major concern,” Kelly said.
This was the first medical engagement of its sort conducted by the U.S. Army Africa Command Surgeon’s Office, he said.
“They are also interested in a trauma-surgery traveling contact team visit focused toward their providers,” he said.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official YouTube video channel: www.youtube.com/usarmyafrica
Maj. Michael Fuller, 3rd MDSC, makes a presentation to Mauritanian Medical Services soldiers with the help of a translator in Nouakchott, Jan. 19, 2011.
U.S. Army Africa photo by Maj. Lee Clark
Three Soldiers from 3rd Medical Command (Deployment Support), based in Atlanta, Ga., conducted military medical exchanges with approximately 25 soldiers of the Mauritanian Medical Services in Nouakchott, Mauritania, Jan. 10-20.
Two weeklong sessions focused on medical evacuation techniques, and field sanitation and preventive medicine, said Lt. Col. Tim Doherty. The Mauritanian participants included physicians, nurses, planners and medics, he said.
Doherty and Master Sgt. Sheri Murphy began the exchange with a comprehensive overview of casualty evacuation, examining scenarios from a hypothetical point of injury to ferrying the injured to an established field facility. Both the Mauritanian and American teams presented their overview of operations for discussion, he said.
“I was really impressed by the representatives from Mauritania,” said Doherty. “They were engaged, and they retained and sought to apply the information from day to day, incorporating discussion points from previous lectures.”
The Mauritanians engaged their American guests in an open discussion of lessons learned from recent contingency operations, said Doherty. The 3rd MDSC Soldiers provided the Mauritanians with resource materials in both English and Arabic. Class sessions were facilitated by translators, he said.
Maj. Michael Fuller joined Doherty for presentations on field sanitation and preventative medicine. Fuller and Doherty conducted a series of open forum discussions and slide presentations to familiarize their Mauritanian peers with an oversight of the U.S. military approach to preventive medicine and field sanitation risk reduction strategies.
The bottom line of both endeavors is to ensure that soldiers remain as healthy as possible in a field environment, said Doherty. Again, the U.S. team was able to provide study materials in both English and Arabic for their hosts to use as a reference resource for further education and training.
Maj. Lee Clark of the U.S. Army Africa Command Surgeon’s Office also participated in discussions with representatives of the Mauritanian Military’s Medical Department to assess possibilities for future engagement opportunities.
“The Mauritanian physicians are eager to engage with the U.S. military. They have a unique medical system, in which the hospitals are military-run, but are open to the civilian population. They are eager to participate in our ophthalmology medical readiness training exercise program, since cataracts and eye pathology pose a major concern,” Kelly said.
This was the first medical engagement of its sort conducted by the U.S. Army Africa Command Surgeon’s Office, he said.
“They are also interested in a trauma-surgery traveling contact team visit focused toward their providers,” he said.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official YouTube video channel: www.youtube.com/usarmyafrica
3rd MDSC Soldiers and their Mauritanian hosts in Nouakchott, Jan. 19, 2011.
U.S. Army Africa photo by Maj. Lee Clark
Three Soldiers from 3rd Medical Command (Deployment Support), based in Atlanta, Ga., conducted military medical exchanges with approximately 25 soldiers of the Mauritanian Medical Services in Nouakchott, Mauritania, Jan. 10-20.
Two weeklong sessions focused on medical evacuation techniques, and field sanitation and preventive medicine, said Lt. Col. Tim Doherty. The Mauritanian participants included physicians, nurses, planners and medics, he said.
Doherty and Master Sgt. Sheri Murphy began the exchange with a comprehensive overview of casualty evacuation, examining scenarios from a hypothetical point of injury to ferrying the injured to an established field facility. Both the Mauritanian and American teams presented their overview of operations for discussion, he said.
“I was really impressed by the representatives from Mauritania,” said Doherty. “They were engaged, and they retained and sought to apply the information from day to day, incorporating discussion points from previous lectures.”
The Mauritanians engaged their American guests in an open discussion of lessons learned from recent contingency operations, said Doherty. The 3rd MDSC Soldiers provided the Mauritanians with resource materials in both English and Arabic. Class sessions were facilitated by translators, he said.
Maj. Michael Fuller joined Doherty for presentations on field sanitation and preventative medicine. Fuller and Doherty conducted a series of open forum discussions and slide presentations to familiarize their Mauritanian peers with an oversight of the U.S. military approach to preventive medicine and field sanitation risk reduction strategies.
The bottom line of both endeavors is to ensure that soldiers remain as healthy as possible in a field environment, said Doherty. Again, the U.S. team was able to provide study materials in both English and Arabic for their hosts to use as a reference resource for further education and training.
Maj. Lee Clark of the U.S. Army Africa Command Surgeon’s Office also participated in discussions with representatives of the Mauritanian Military’s Medical Department to assess possibilities for future engagement opportunities.
“The Mauritanian physicians are eager to engage with the U.S. military. They have a unique medical system, in which the hospitals are military-run, but are open to the civilian population. They are eager to participate in our ophthalmology medical readiness training exercise program, since cataracts and eye pathology pose a major concern,” Kelly said.
This was the first medical engagement of its sort conducted by the U.S. Army Africa Command Surgeon’s Office, he said.
“They are also interested in a trauma-surgery traveling contact team visit focused toward their providers,” he said.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official YouTube video channel: www.youtube.com/usarmyafrica
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Mauritanian Medical Services soldiers pose for a photo with their American guests in Nouakchott, Jan. 19, 2011.
U.S. Army Africa photo by Maj. Lee Clark
Three Soldiers from 3rd Medical Command (Deployment Support), based in Atlanta, Ga., conducted military medical exchanges with approximately 25 soldiers of the Mauritanian Medical Services in Nouakchott, Mauritania, Jan. 10-20.
Two weeklong sessions focused on medical evacuation techniques, and field sanitation and preventive medicine, said Lt. Col. Tim Doherty. The Mauritanian participants included physicians, nurses, planners and medics, he said.
Doherty and Master Sgt. Sheri Murphy began the exchange with a comprehensive overview of casualty evacuation, examining scenarios from a hypothetical point of injury to ferrying the injured to an established field facility. Both the Mauritanian and American teams presented their overview of operations for discussion, he said.
“I was really impressed by the representatives from Mauritania,” said Doherty. “They were engaged, and they retained and sought to apply the information from day to day, incorporating discussion points from previous lectures.”
The Mauritanians engaged their American guests in an open discussion of lessons learned from recent contingency operations, said Doherty. The 3rd MDSC Soldiers provided the Mauritanians with resource materials in both English and Arabic. Class sessions were facilitated by translators, he said.
Maj. Michael Fuller joined Doherty for presentations on field sanitation and preventative medicine. Fuller and Doherty conducted a series of open forum discussions and slide presentations to familiarize their Mauritanian peers with an oversight of the U.S. military approach to preventive medicine and field sanitation risk reduction strategies.
The bottom line of both endeavors is to ensure that soldiers remain as healthy as possible in a field environment, said Doherty. Again, the U.S. team was able to provide study materials in both English and Arabic for their hosts to use as a reference resource for further education and training.
Maj. Lee Clark of the U.S. Army Africa Command Surgeon’s Office also participated in discussions with representatives of the Mauritanian Military’s Medical Department to assess possibilities for future engagement opportunities.
“The Mauritanian physicians are eager to engage with the U.S. military. They have a unique medical system, in which the hospitals are military-run, but are open to the civilian population. They are eager to participate in our ophthalmology medical readiness training exercise program, since cataracts and eye pathology pose a major concern,” Kelly said.
This was the first medical engagement of its sort conducted by the U.S. Army Africa Command Surgeon’s Office, he said.
“They are also interested in a trauma-surgery traveling contact team visit focused toward their providers,” he said.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official YouTube video channel: www.youtube.com/usarmyafrica
Robert Liston
West Building, Main Floor—Gallery 60A
•Date: 1800
•Medium: Oil on Canvas
•Dimensions:
oOverall: 73.8 × 61 cm (29 1/16 × 24 in.)
oFramed: 90.5 × 78.1 × 6 cm (35⅝ × 30¾ × 2⅜ in.)
•Credit Line: Chester Dale Collection
•Accession Number: 1957.10.1
•Artists/Makers:
oPainter: Gilbert Stuart, American, 1755-1828
Inscription
•On Reverse, in A Later Hand: Sir Robert Liston--Died 1837 / G C B / Her Britannic Majesty’s / Ambassador to / the Sublime Porte / Painted by Raeburn
Provenance
The sitter’s grand-niece and heir, Henrietta Ramage Liston Foulis [d. 1850], Millburn Tower, County Edinburgh, Scotland;[1] her son, Sir James Liston Foulis, 9th baronet [1847-1895], Woodhall and Millburn Tower, County Edinburgh; his son, Sir William Liston Foulis, 10th baronet [1869-1918], Woodhall and Millburn Tower, County Edinburgh; (P. & D. Colnaghi & Obach, London, on joint account with M. Knoedler & Co., New York), 16 December 1919; sold April 1920 to Elbert H. Gary [1846-1927], New York;[2] sale of his estate (American Art Association, New York, 8 December 1934, no. 386);[3] bought by Helena Woolworth McCann [Mrs. Charles E. F. McCann, d. 1938], New York;[4] her children, Constance Woolworth Betts, Helena Woolworth Guest, and Frasier Winfield McCann;[5] (Parke-Bernet Galleries, New York, 21 February 1945, no. 48).[6] Booth Tarkington [1869-1946], Indianapolis, Indiana; his widow, Susannah Robinson Tarkington [d. 1966];[7] consigned November 1947 by (Daniel H. Farr) to (M. Knoedler & Co.); sold that month to Chester Dale [1883-1962], New York; gift 1957 to NGA.
[1]After Miss Liston married Sir William Foulis, 8th Baronet (1812-1858) in 1843, he assumed the name Liston. On the baronetcy see George Edward Cokayne Baronetage, Complete Baronetage, 6 vols., Exeter, England, 1900-1909, 2:401-403, and Burke’s Genealogical and Heraldic History of the Peerage, Baronetage and Knightage, 105th ed., London, 1970, 1043-1044.
[2]Melissa De Medeiros, librarian, M. Knoedler & Co, provided information about Knoedler’s ownership and subsequent sales in a letter dated 5 June 1992 (NGA curatorial file).
[3]American Art Association, Important Rugs, Paintings, Georgian Silver and English Furniture from the Estate of the Late Elbert H. Gary and from the Estate of the Late Emma T. Gary, New York, 1934, 80, repro.; see “When Genuine Raeburns Turn Out to Be Absolute Stuarts,” Art Digest 9, no. 5 (1 December 1934), 8, and “Active Bidding Marks Auction of Gary Estate,” Art News 33, no. 11 (15 December 1934), 3; on Gary see Dictionary of American Biography, 20 vols., New York, 1928-1936, reprinted in 10 vols. with 8 supplements, New York, 1944-1988, 7:175-176.
[4]Although Knoedler is listed as the purchaser in Helen Comstock, “The Connoisseur in America: A Recapitulation of Portraits Recovered for Gilbert Stuart,” Connoisseur 95, no. 402 (February 1935), 99-100, which was confirmed by A. Rugo of Parke-Bernet Galleries in a letter dated 18 September 1964 (NGA curatorial file), Knoedler was acting as the bidder on behalf of Mrs. McCann, according to Knoedler librarian Melissa De Medeiros.
[5]Letter of 8 October 1964 from her son Frasier Winfield McCann, president of the Winfield Foundation, to whom the painting was lent by her estate (NGA curatorial file); her death date and her children’s names are found in the biography of her husband Charles Edward Francis McCann in The National Cyclopaedia of American Biography, 63 vols., Clifton, New Jersey, 31:100-101.
[6]Notable Paintings by Old Masters, Works by XIX Century Artists From the Collection of the Late Mr. & Mrs. Charles E. F. McCann…, New York, 1945, 44, repro.
[7]On Booth Tarkington see Dictionary of Literary Biography, vol. 9, part 3: American Novelists, 1910-1945, Detroit, 1981, 90-96, and Dictionary of American Biography, Supplement Four, 1946-1950, 815-817; his wife’s obituary is in The New York Times for 13 January 1966, 25.
Associated Names
•American Art Association
•Betts, Constance Woolworth
•Colnaghi & Co., Ltd., P. & D.
•Dale, Chester
•Farr Co., Daniel H.
•Foulis, 10th Bt., William Liston, Sir
•Foulis, 9th Bt., James Liston, Sir
•Foulis, Henrietta Ramage Liston
•Gary, Elbert Henry
•Guest, Helena Woolworth
•Knoedler & Company, M.
•Knoedler & Company, M.
•McCann, Frasier Winfield
•McCann, Helena Woolworth
•Parke-Bernet Galleries, Inc.
•Tarkington, Booth
•Tarkington, Susannah Robinson
Exhibition History
•1884—Scottish National Portraits, Edinburgh, 1884, no. 280, as by Sir Henry Raeburn
•1942—Dallas Museum of Fine Arts, 1942-1944 (on loan from the Winfield Foundation)
•1965—The Chester Dale Bequest, National Gallery of Art, Washington, D.C., 1965, unnumbered checklist.
Bibliography
•1843—Cunningham, Allan. The Life of Sir David Wilkie; with his Journals, Tours, and Critical Remarks on Works of Art; and a Selection from his Correspondence. 3 vols. London, 1843: 2:119.
•1879—Mason, George C. The Life and Works of Gilbert Stuart. New York, 1879: 215.
•1880—“Portraits Painted by Stuart…taken from Mason’s Life and Works of Gilbert Stuart.” In Exhibition of Portraits Painted by Gilbert Stuart. Exh. cat. Museum of Fine Arts, Boston, 1880: 46, no. 369.
•1901—Armstrong, Sir Walter. Sir Henry Raeburn. London, 1901: 106.
•1904—Pinnington, Edward. Sir Henry Raeburn, R.A.. London, 1904: 238.
•1911—Greig, James. Sir Henry Raeburn, R.A., London, 1911: 51.
•1926—Park 1926, 478-479, no. 493, repro.
•1932—Whitley 1932, 117.
•1934—“When Genuine Raeburns Turn Out to Be Absolute Gilbert Stuarts.” Art Digest 9, no. 5 (1 December 1934): 8.
•1935—Comstock, Helen. “A Recapitulation of Portraits Recovered for Gilbert Stuart.” The Connoisseur 95 (February 1935): 99-100, repro.
•1954—Perkins, Bradford. “A Diplomat’s Wife in Philadelphia: Letters of Henrietta Liston, 1796-1800.” William and Mary Quarterly 11, no. 4 (January 1954): 592-632, repro.
•1961—Wright, Esmond. “Robert Liston, Second British Minister to the United States.” History Today 11, no. 2 (February 1961): 118-127, repro.
•1964—Mount 1964, 224, 370.
•1965—Paintings other than French in the Chester Dale Collection. National Gallery of Art, Washington, 1965: 29, repro.
•1970—American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 104, repro.
•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: 231, repro.
•1984—Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 378, no. 533, color repro.
•1986—McLanathan 1986, 99-100, color repro.
•1992—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 351, repro.
•1995—Miles, Ellen G. American Paintings of the Eighteenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1995: 221-224, color repro. 223.
•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.
From American Paintings of the Eighteenth Century:
1957.10.1 (1487)
Robert Liston
•1800
•Oil on Canvas, 73.8 × 61 (29 × 24)
•Chester Dale Collection
•Inscriptions:
oInscribed on the Reverse, in Black, in A Later Hand: Sir Robert Liston — Died 1837 / G G B / Her Britannic Majesty’s / Ambassador to / the Sublime Porte / Painted by Raeburn
Technical Notes
The twill-weave fabric retains its original tacking edges and what appear to be the original dome-headed, square-shanked tacks. It is on its original four-member, yellow poplar stretcher with mortise-and-tenon joints. The strainer has been modified by the addition of keys in each corner. The painting has never been lined. The canvas has strong cusping at the top, mild cusping at the bottom, and none at the sides.
The ground is white, moderately thick, and smoothly applied. The entire fabric, including the tacking margins, is covered with ground. A stamp on the fabric verso is evidence that the fabric was commercially prepared. The paint is worked in fluid pastes, with impasto present primarily in the whites. The face was worked up first, followed by the rest of the figure, and then the background. Infrared reflectography reveals the use of a dark area of paint around the head. The uppermost part of the sky and throughout the curtain were underpainted with a beige color. The painting was completed before it was attached to the stretcher, as shown by the dark red paint on the right side, which continues under the tacks, and by the paint along the bottom edge, which ends just short of the tacking edge turnover.
The paint is lightly abraded, with paint missing in tiny areas in the tops of the weave texture. Retouching is limited to the sitter’s chin. The toned varnish is very slightly discolored.
Provenance
The sitter’s grand-niece and heir Henrietta Ramage Liston Foulis [d. 1850], Millburn Tower, County Edinburgh, Scotland;1 her son Sir James Liston Foulis, 9th baronet [1847-1895], Woodhall and Millburn Tower, County Edinburgh; his son Sir William Liston Foulis, loth baronet [1869-1918], Woodhall and Millburn Tower, County Edinburgh; (P. & D. Colnaghi and Obach, London, on joint account with M. Knoedler & Co., New York), 16 December 1919; sold April 1920 to Elbert H. Gary [1846-1927], New York;2 sale of his estate (American Art Association, New York, 8 December 1934, no. 386);3 bought by Helena Woolworth McCann [Mrs. Charles E.F. McCann, d. 1938], New York;4 her children, Constance Woolworth Betts, Helena Woolworth Guest, and Frasier Winfield McCann;5 (Parke-Bernet Galleries, New York, 21 February 1945, no. 48).6 Booth Tarkington [1869-1946], Indianapolis; his widow Susannah Robinson Tarkington [d. 1966];7 consigned by (Daniel H. Farr) to (M. Knoedler & Co.), November 1947; sold that month to Chester Dale, New York [1883-1962].
Exhibited
Scottish National Portraits, Edinburgh, 1884, no. 280, as by Sir Henry Raeburn.8 Dallas Museum of Fine Arts, on long-term loan, 1942-1944, from the Winfield Foundation, New York.9
Robert Liston (1742-1836) was born in Overtoun, Scotland, and attended the University of Edinburgh. He served as minister plenipotentiary in Madrid, as envoy in Stockholm, and ambassador in Constantinople (Istanbul) before he was appointed ambassador to the United States in February 1796. Liston served in this post until 1801, during which time he became a close friend of George Washington.10 In the portrait he wears a black suit and stands with his arms crossed in front of him, looking at the viewer. Behind him hangs a red curtain, with blue sky to the left. The composition is identical to that of Stuart’s portrait of Colonel John Chesnut (1800, Denver Art Museum).11 Stuart had used successful variants of this crossed-arms pose earlier in England and Ireland. Having developed it for his full-length of The Skater (Portrait of William Grant) (1782, [1950.18.1]), he employed it for the head and shoulder portraits of English actor John Philip Kemble (c. 1785-1787, National Portrait Gallery, London] and of Dubliner Luke White (c. 1787, [1942.8.28]). According to Mrs. Liston’s letters to her uncle in Glasgow, Stuart painted the Listons between May and October 1800 (see 1960.10.1). Many years later, in 1824, the portraits were on display in the Listons’ home, Millburn Tower, near Edinburgh, when painter Sir David Wilkie wrote his sister on 15 September, “I go on Saturday morning … to visit Sir Robert Liston. I want Newton [Stuart’s nephew Gilbert Stuart Newton] to go with me to see the portraits there by his uncle in America.”12
The portrait’s fabric support is on its original stretcher and has never been trimmed or lined. A rectangular tax stamp on the reverse of the fabric indicates that the canvas was commercially prepared. It is similar to the tax stamps that appear on canvases prepared by James Poole of 163 High Holborn, London, a supplier of artists’ materials who was in business from 1780 to 1800, and those of his successor Thomas Brown, whose business was at the same location until the 18508.13 A similar tax stamp, together with the stamp of Poole’s firm, appears on the canvas of Mother and Child in White [1980.62.39] by an unidentified American artist, painted around 1790.14 There is also a tax stamp, accompanied by a stamp with Poole’s name and address, on the reverse of one of Gilbert Stuart’s early portraits of George Washington [1940.1.6], which was painted in Philadelphia in 1795. Similar stamps have been found on other English canvases of the late eighteenth and early nineteenth century. They indicate the payment of the taxes that were levied after 1712 on all fabrics painted, printed, stained, or dyed in Britain. The tax continued until 1831 and included commercially prepared artists’ canvases after about 1785. The numbers seem to indicate the firm that sold the canvas, the amount of duty paid, and perhaps the year it was paid, although the markings have not been fully decoded. Excise officers often marked the materials or canvases while they were on stretching frames, prior to being printed or primed.15 The pronounced cusping along one edge of the fabric support appears to be additional evidence that this canvas was commercially prepared. It indicates that this piece of fabric was part of a larger piece when it was stretched and primed. Similar cusping along one side is found on the portraits of Mrs. Liston [1960.2.1] and of John and Abigail Adams [1954. 7.1 and 1954.7.2].
EGM
Notes
1.After Miss Liston married Sir William Foulis, 8th Baronet (1812-1858) in 1843, ne assumed the name Liston. On the baronetcy see Cokayne 1900, 2:401-403, and Burke 1970,1043-1044.
2.Melissa De Medeiros, librarian, M. Knoedler & Co., provided information about Knoedler’s ownership and subsequent sales in a letter dated 5 June 1992 (NGA).
3.Gary 1934, 80, repro.; see “Absolute Stuarts” 1934, 8, and “Gary Estate” 1934, 3; on Gary see DAB 7:175-176.
4.Although Knoedler is listed as the purchaser in Gomstock 1935,99-100, which was confirmed by A. Rugo of Parke-Bernet Galleries in a letter dated 18 September 1964 (NGA), Knoedler was acting as the bidder on behalf of Mrs. McCann, according to Knoedler librarian Melissa De Medeiros.
5.Letter of 8 October 1964 from her son Frasier Winfield McCann, president of the Winfield Foundation, to whom the painting was lent by her estate (NGA); her death date and her children’s names are found in the biography of her husband Charles Edward Francis McCann in NCAB 31:100-101.
6.McCann 1945, 44, repro.
7.On Booth Tarkington see DLB 9 (part 3):90-96, and DAB, Supplement Four, 1946-1950, 815-817; his wife’s obituary is in the New York Times for 13 January 1966, 25.
8.Scottish Portraits 1884, unpaginated.
9.Letter from John Lunsford, associate curator, Dallas Museum of Fine Arts, 15 June 1964 (NGA).
10.DNB 33:356-357; Liston later served as ambassador at The Hague and again at Constantinople. He was made a Knight of the Grand Cross of the Bath in 1816.
11.Park 1926, 210-211, no. 151, illus.
12.Quoted in Cunningham 1843, 119, and in Whitley 1932, 117.
13.Katlan 1992, 456-458, 461-462, 480.
14.Chotner 1992, 550-552.
15.Cundall 1932, 397-398; Leach 1973, 2-4; Butlin 1981, 43-45; Katlan 1987, 7-8; letter of 15 November 1989 from Norman E. Mufler, conservator, Princeton University Art Museum (NGA).
References
•1843—Cunningham: 2:119.
•1879—Mason: 215.
•1880—MFA:46, no. 369.
•1901—Armstrong: 106.
•1904—Pinnington: 238.
•1911—Greig: 51.
•1926—Park: 478-479, no. 493, repro.
•1932—Whitley: 117.
•1934—“Absolute Stuarts”: 8.
•1935—Comstock: 99-100, repro.
•1954—Perkins: 592-632, repro.
•1961—Wright: 118-127, repro.
•1964—Mount: 224, 370.
•1965—Dale Collection: 29, no. 1487, repro.
•1984—Walker: 378, no. 533, color repro.
•1986—McLanathan: 99-100, color repro.
Ret. Air Force Col. John H. Casper sent me this photo, which although has info printed on the back, is different than the standard NASA litho. For one thing, it's 8-1/2 by 11, not 8 by 10, and it has the look as though it was run off a printer.
Selected by NASA in May 1984, Casper became an astronaut in June 1985. A veteran of four spaceflights, he has logged over 825 hours in space. He was the pilot on STS-36 (1990) and spacecraft commander on missions STS-54 (1993), STS-62 (1994) and STS-77 (1996). His technical assignments while at the Astronaut Office included: Chief of the Operations Development branch; lead for improvements to the nosewheel steering, brakes, tires and development of a landing drag chute; astronaut team leader for the Shuttle Avionics Integration Laboratory (SAIL) and ascent/entry Capsule Communicator (CAPCOM) in the Mission Control Center.
Following his last shuttle mission, Casper has served in positions of increasing responsibility at NASA. Casper was Director of Safety, Reliability, and Quality Assurance at the Johnson Space Center (JSC), where he was responsible for all safety, reliability and quality activities for JSC's human spaceflight programs, including the International Space Station, the Space Shuttle, Space Launch Initiative and Crew Return Vehicles. He also was responsible for planning, directing and implementing an effective institutional safety program to prevent injuries, loss of life or loss of capital assets.
After the Columbia accident in February 2003, Casper became the NASA Mishap Investigation Team's Deputy for the Columbia debris recovery operation, which involved directing the efforts of more than 6,000 ground, air and water search personnel as well as protection and impoundment of debris. He was Co-Chair of the Return-To-Flight Planning Team, a NASA Headquarters chartered independent team charged with addressing all actions necessary to comply with the Columbia Accident Investigation Board recommendations. He then joined the Space Shuttle Program and became Manager of the Management Integration and Planning Office and, later, Associate Manager of the Space Shuttle Program. As of August 2012 he is currently with the Orion Program as Special Assistant for Program Integration.
STS-36 launched from the Kennedy Space Center, Florida, on February 28, 1990, aboard space shuttle Atlantis. This mission carried classified Department of Defense payloads and was unique in that it flew at 62 degrees inclination, the highest inclination flown to date by the U.S. human spaceflight program. After 72 orbits of the Earth, the STS-36 mission concluded with a lakebed landing at Edwards Air Force Base, California, on March 4, 1990, after traveling 1.87 million miles. Mission duration was 106 hours, 19 minutes and 43 seconds.
STS-54 (January 13 to January 19, 1993) launched from the Kennedy Space Center, Florida, on January 13, 1993, aboard space shuttle Endeavour. A crew of five successfully accomplished the primary objectives of this six-day mission, including deploying a $200 million NASA Tracking and Data Relay Satellite (TDRS-F) satellite, which joined four other satellites to complete a national communications network supporting space shuttle and other low Earth orbit scientific satellites. A Diffuse X-Ray Spectrometer (DXS), carried in the payload bay, collected X-ray data to enable investigators to answer questions about the origin of X-rays in the Milky Way galaxy. A highly successful spacewalk resulted in many lessons learned that benefited the International Space Station assembly. The flight was also the first to shut down and restart a fuel cell in flight, successfully demonstrating another space station application. Casper landed Endeavour at the Kennedy Space Center on January 19, 1993, after 96 Earth orbits, covering over 2.5 million miles. Mission duration was 143 hours and 38 minutes.
STS-62 (March 4 to March 18, 1994) was a two-week microgravity research mission aboard space shuttle Columbia. Its primary payloads were the United States Microgravity Payload (USMP-2) and the Office of Aeronautics and Space Technology (OAST-2) payloads. These payloads included experiments to understand the process of semiconductor crystal growth, investigating the process of metal alloys as they solidify, studying materials at their critical points (where they exist as both a liquid and gas) and testing new technology for use on future spacecraft, such as advanced solar arrays, radiators, heat sinks and radiation shielding. The flight also tested new technology for aligning the Remote Manipulator System arm and grasping payloads with a new magnetic end effector. Columbia flew at a record low altitude of 195 km (105 nautical miles) to gather data on spacecraft glow and erosion caused by atomic oxygen and nitrogen molecules. Casper landed Columbia at the Kennedy Space Center after 224 Earth orbits and 5.82 million miles.
STS-77 (May 19 to May 29, 1996) was a ten-day mission aboard space shuttle Endeavour. The crew performed a record number of rendezvous sequences (one with a SPARTAN satellite and three with a deployed Satellite Test Unit) and approximately 21 hours of formation flying in close proximity of the satellites. During the flight, the crew also conducted 12 materials processing, fluid physics and biotechnology experiments in a Spacehab Module. STS-77 deployed and retrieved a SPARTAN satellite, which carried the Inflatable Antenna Experiment that was designed to test the concept of large, inflatable space structures. A small Satellite Test Unit was also deployed to test the concept of self-stabilization by using aerodynamic forces and magnetic damping. Casper brought Endeavour back to Earth at the Kennedy Space Center after 160 Earth orbits and 4.1 million miles. Mission duration was 240 hours and 39 minutes.
Lt. Col. Tim Doherty, 3rd MDSC, makes a presentation to Mauritanian Medical Services soldiers in Nouakchott, Jan. 16, 2011.
U.S. Army Africa photo by Maj. Lee Clark
Three Soldiers from 3rd Medical Command (Deployment Support), based in Atlanta, Ga., conducted military medical exchanges with approximately 25 soldiers of the Mauritanian Medical Services in Nouakchott, Mauritania, Jan. 10-20.
Two weeklong sessions focused on medical evacuation techniques, and field sanitation and preventive medicine, said Lt. Col. Tim Doherty. The Mauritanian participants included physicians, nurses, planners and medics, he said.
Doherty and Master Sgt. Sheri Murphy began the exchange with a comprehensive overview of casualty evacuation, examining scenarios from a hypothetical point of injury to ferrying the injured to an established field facility. Both the Mauritanian and American teams presented their overview of operations for discussion, he said.
“I was really impressed by the representatives from Mauritania,” said Doherty. “They were engaged, and they retained and sought to apply the information from day to day, incorporating discussion points from previous lectures.”
The Mauritanians engaged their American guests in an open discussion of lessons learned from recent contingency operations, said Doherty. The 3rd MDSC Soldiers provided the Mauritanians with resource materials in both English and Arabic. Class sessions were facilitated by translators, he said.
Maj. Michael Fuller joined Doherty for presentations on field sanitation and preventative medicine. Fuller and Doherty conducted a series of open forum discussions and slide presentations to familiarize their Mauritanian peers with an oversight of the U.S. military approach to preventive medicine and field sanitation risk reduction strategies.
The bottom line of both endeavors is to ensure that soldiers remain as healthy as possible in a field environment, said Doherty. Again, the U.S. team was able to provide study materials in both English and Arabic for their hosts to use as a reference resource for further education and training.
Maj. Lee Clark of the U.S. Army Africa Command Surgeon’s Office also participated in discussions with representatives of the Mauritanian Military’s Medical Department to assess possibilities for future engagement opportunities.
“The Mauritanian physicians are eager to engage with the U.S. military. They have a unique medical system, in which the hospitals are military-run, but are open to the civilian population. They are eager to participate in our ophthalmology medical readiness training exercise program, since cataracts and eye pathology pose a major concern,” Kelly said.
This was the first medical engagement of its sort conducted by the U.S. Army Africa Command Surgeon’s Office, he said.
“They are also interested in a trauma-surgery traveling contact team visit focused toward their providers,” he said.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official YouTube video channel: www.youtube.com/usarmyafrica
159/365 — Spring!
“When I look at the repertoire of work that White chefs and restaurateurs have built on ethnic cuisine, it feels in a way, dehumanizing. White people are able to establish outrageously successful careers for being experts and authorities on the stuff that racialized folks do every day simply by existing. But of course, people of colour will rarely, if ever, be called experts on how to simply be themselves. It's as if racialized folks and their ways of life are objects to be observed—study material, of sorts—rather than entire countries, cultures, and individual complex lives.” —Lorraine Chuen
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A researcher working in the Center for Advanced Energy Studies Materials Characterization Laboratory.
4 November 2019, Montserrado, Liberia: A male student reads his study materials during recess. Started as a school for internally displaced children during the First Liberian Civil War, Mother Tegeste Stewart Apostolic Pentecostal Mission School in Montserrado county currently teaches 486 students from kindergarten up through 12th grade. Photo: LWF/Albin Hillert