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Posted for nearly seven years with no description, and only a few basic keywords (fire, flame, flames, burn, burning, wood, serene, silhouette) this photo amassed a measly 103 views, with zero comments or faves.
The following list (added March 31, 2019) is an experiment to determine the effectiveness of keywords in directing traffic to photos.
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29 aries 796
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31 capricorn 745
32 msn 732
33 sagittarius 730
34 google.com 683
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36 walmart 673
37 amazon 671
38 google maps 663
39 aol.com 647
40 aol 638
41 home depot 608
42 haiti 594
43 facebook 588
44 search engine 577
45 tube 8 566
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80 webkinz 355
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84 tube8.com 350
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87 gmail.com 345
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94 bikini 323
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98 empflix 311
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111 literoctica 299
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114 ebay.com 289
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119 redt tube 279
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182 star signs 201
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184 staples 199
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186 kelly blue book 198
187 usps 198
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189 _google_monitor_query_ or googletestad 196
190 pizza hut 195
191 poptropica 195
192 monthly horoscope 192
194 yellow pages 191
195 paypal 190
196 kristen archives 189
197 holiday recipes 189
198 dans movies 188
199 halimbawa ng dula 187
200 office depot 187
201 haiti earthquake 186
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204 ebay motors 182
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206 twitter 182
207 miniclip 182
208 free games 182
209 dog 181
210 altavista 181
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212 verizon 181
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Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
My friend Julie from the choir invited me to her 65th birthday party at the Good Fellowship.
I took my virtual reality headset along too, so I could let Julie experience the Coldplay Live immersive video, which is absolutely incredible! It's like you're onstage with them at Wembley - and you can experience the entire concert for free!
It was a cracking night too!
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
Leeds Pride 2019 - words are wholly inadequate to describe what an amazing day this was. The outpouring of love and togetherness was jaw-dropping, the crowds along the streets were even bigger than last year! My favourite day of the year, as has been the case for the last 3 years since my first one.
It makes me fill up just going back through all these memories.
Before the parade, in and around the Cosmo.
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
After a cracking and very sociable night out, it was time for a night in.
LEGAL NOTICE | protected work • All Rights reserved! © B. Egger photographer retains ownership and all copyrights in this work.
photographer | Bernard Egger.. • collections.. • sets..
location | Bad Mitterndorf, Styria 💚 Austria
📷 | Graffiti Art 480 B.C. Sparta ÖBB Train # 8345
Todos los Derechos Reservados • Tous droits réservés • Todos os Direitos Reservados • Все права защищены • Tutti i diritti riservati
licence | for any user agreement please contact Bernard Egger.
© Dieses Foto darf ohne vorherige Lizenzvereinbarung keinesfalls publiziert oder an nicht berechtigte Nutzer weiter gegeben werden.
Bernard Egger, фотография, Я фотограф, 写真家, фотограф, photographer, rumoto images, fine art, photography, Fotografie, Fotográfico, Fotografo, art print, Берни Эггер, фотография, Берард Эггер, фото, stunning, awesome, outstanding, Nikon FX, supershot, Австрия, Европа, Europe, extreme, extrem, カメラマン, Leidenschaft, passion, supershot, posters, Kunstdruck, gorgeous, poster, Kunst, art, Eisenbahn, RR, Railway, ÖBB, Graffiti, граффити, Waggon, 480 B.C., Sparta,
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
I had a fabulous night out with my dear friend Andrew,
We did Hitchcock's all-you-can-eat vegetarian restaurant to start the evening, before heading to Prince's Avenue where Hoi had a karaoke night on.
I sang 2 songs! To start with, The Beautiful South - Don't Marry Her, then my karaoke go-to song Mika - Grace Kelly.
comments, invites, notes, tags & critiques always welcomed!
published on Que Pasa magazine!!! www.casiano.com/quepasa/assets/PDFs/quepasa_history3.pdf
NIK_6736
Plus 5 in comments
Better on black.
Also on Fluidr.
Un fiore chiama l'altro
Sandro Penna
Cherry tree blossom is one of the things that makes life a great thing...
Available as card, print, poster and canvas on Redbubble
All my images are copyrighted. Please, do not use them without my allowance. Thank you.
Please leave a comment, only takes a few seconds!
For Halloween 2025 went to a Cure tribute act so dress a bit Gothy
PLEASE leave a comment rather than just clicking that Favourite button, after all if you like it then please tell me WHY you like it :)
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
I went to see the one man show Buffy Revamped with my dear friend Simon. It was brilliant!
Buffy The Vampire Slayer remains one my my all-time favourite shows, and this was a hilarious take one it. I highly recommend going to see it if it's touring near you and you loved the TV show.
Comments always appreciated, as long as you keep it clean - I love to hear your feedback! xx
My dear friend Arrabella came for a visit and we had a night out on Prince's Avenue. It was a great night too - we got chatting to a couple who told us about a new venue that was open, and we went to check it out - and I ended up doing karaoke in there!
I sported a new look too - long sleeved dress with knee boots. I liked it a lot!
Comment faire son grand connaisseur en vins ?
Pour commenter un vin, il faut éviter les termes réellement techniques (robe, cuisse, nez et autres jambe) qui nous feront passer pour un guignol si on ne connaît pas bien ce à quoi ils s’appliquent.
Les éléments qui sont caractéristiques sont la zone d’appellation, la géologie de la région, le climat, les cépages et la vinification. Avec un peu de chance, trois des éléments seront indiqués sur une des étiquettes.
Une fois les généralités sur ces choses dites, il faut parler « d’expression », de « saveurs » de « notes », de « textures » et de « senteurs » en n’hésitant pas à les associer à des qualificatifs d’un autre champ de vocabulaire comme celui de la géométrie (rond, droit, anguleux,…) ou des textiles (soyeux, chatoyant, etc…).
Trouvez quelque chose sur son mode de récolte (l’exemple, dans le texte, est poussé au bout, mais c’est à tenter)
Pour finir, dites ce que le vin accompagne à merveille avec force détails sur …les détails.
Élaboré dans les massifs calcaires de la Clape par un processus de vinification naturelle égrappée, ce vin manifeste le savoir-faire ancestral étayé par des siècles de recherches et d’expérimentation dans l’élevage en fûts de chêne des vignerons de ces terroirs viticoles depuis plus de deux millénaires.
Sur une première expression soyeuse de fruits rouges et de pêches, il délivre des senteurs arrondies qui enrobent la texture minérale et rectiligne que lui donne son terroir gagné à la roche par des hommes obstinés. Il laisse en bouche les notes de baies que lui confère la vendange rentrée par des chevaux qui longent des haies de ronces. Les saveurs discrètes d’ombre dues à sa vinification de nuit, ne peuvent masquer les longues heures d’ensoleillement par lesquelles les fruits ont emprisonné la lumière et les rires des vendangeurs.
Il accompagne parfaitement la soupe de coques de l’étang de Mateilles, les parillades de poissons relevées d’herbes de la garrigue et les tartines de brandade sur du pain aux céréales.
Merge Mansion Triche et Astuce – Comment avoir illimité Diamants et Pieces sur Merge Mansion Vous pouvez avoir beaucoup de plaisir avec ce nouveau Merge Mansion Triche Astuce et vous verrez à quel point cet outil est génial. Vous parviendrez à atteindre tous vos objectifs de jeu avec celui-ci plus tôt que prévu et nous sommes sûrs que vous allez aimer ça. Dans ce guide, nous avons compilé toutes les informations nécessaires pour que vous puissiez comprendre tout ce qui concerne le jeu et ensuite nous allons entrer directement dans le fonctionnement de ce Merge Mansion Astuce. Il est important d’utiliser celui-ci afin de passer un bon moment de jeu. À propos de Merge Mansion La grand-mère de Maddie a quelque chose à partager. De nombreuses histoires se sont déroulées dans ce manoir et vous aimerez certainement les entendre. Votre mission est d’aider Maddie à découvrir ce que sa grand-mère a à révéler sur le passé de cette famille. Il est temps d’enlever la poussière et de trouver des objets non découverts, puis de les transformer en outils utiles qui vous seront utiles plus tard. Vous pourrez trouver des choses passionnantes dans chaque recoin de ce manoir. Laissez cette aventure mystérieuse commencer et accomplissez toutes les tâches disponibles. Vous aurez la possibilité de faire un relooking complet en décorant cette maison à votre goût. Déverrouillez de nouvelles zones à l’intérieur et autour du manoir tout en dévoilant des secrets de famille vieux de quelques décennies. Vous remarquerez dès votre entrée dans le jeu qu’il y a une abondance d’objets et aussi la possibilité de les combiner pour que vous ne puissiez pas vous ennuyer. Il y a tellement de secrets qui vous attendent, alors commencez tout de suite cette aventure et découvrez-les tous. De nombreuses fonctionnalités ont été ajoutées et vous les trouverez sans doute fascinantes. Entrez dans la cave du manoir ou dans n’importe quelle pièce mystérieuse, vous êtes sûr de trouver quelque chose de nouveau qui vous aidera à révéler la vérité. Combinez tout ce que vous trouvez et ainsi, en fusionnant, vous parviendrez à avoir des outils plus utiles. Vous pourriez penser au début qu’une pelle rouillée ou une lanterne cassée ne vous sera pas utile, mais vous serez surpris de voir à quel point elles vous seront utiles. Prouvez à tous les autres joueurs à quel point vous êtes talentueux en matière de décoration de maison. C’est votre chance de devenir un professionnel de la décoration extérieure et intérieure. Ne ratez pas ce jeu et le moment de détente qu’il vous offrira. Laissez-vous envahir par les bonnes vibrations et maintenez votre curiosité à un niveau élevé en continuant à découvrir tous les secrets tordus. Profitez au maximum de ce jeu en bénéficiant des caractéristiques de cet outil. Utilisation de Merge Mansion Triche Ce nouveau Merge Mansion Triche Astuce ajoutera tous les diamants et pièces demandés en quelques secondes. Vous parviendrez à vous amuser davantage et à améliorer votre temps de jeu en même temps. Vous ne rencontrerez aucune sorte de problèmes avec ce Merge Mansion Astuce et vous aimerez le fait que ce Merge Mansion Triche peut être utilisé sur n’importe quel appareil que vous pourriez posséder. Il peut s’agir d’un iOS ou d’un Android, il suffit de choisir celui que vous préférez et d’entrer vos données. Le reste sera pris en charge par nous, donc vous n’aurez pas à faire grand chose pour profiter de ce Merge Mansion Triche. Une autre chose importante que nous devons partager à propos de ce Merge Mansion Triche est le fait que vous allez enfin avoir ce temps de jeu sécurisé que vous savez que vous méritez. La fonction Anti-Ban est responsable de cela et fera un bon travail quand il s’agit de garder vos données privées et personnelles cachées. Vous n’aurez plus aucune crainte à cause de cela et vous pourrez donc vous concentrer sur le jeu. Devenez la meilleure version de vous-même en tant que joueur plus rapidement que vous ne l’auriez jamais imaginé grâce à ce Merge Mansion Triche. Vous ne regretterez pas une seule seconde d’avoir choisi notre outil pour vous aider à progresser dans le jeu et à atteindre le sommet du classement. Nous nous sommes occupés de tout, même les mises à jour seront faites de notre côté. Vous pouvez être certain de recevoir la version la plus récente de ce Merge Mansion Truc, quelle que soit la fréquence à laquelle vous souhaitez bénéficier de ses caractéristiques. Vous améliorerez l’expérience de jeu tout en vous amusant et c’est le combo parfait. Utilisez ce Merge Mansion Triche tout de suite pour voir par vous-même que toutes les choses énumérées ici sont réelles. Dans ce tutoriel sur Merge Mansion, vous allez apprendre à tricher Merge Mansion pour obtenir Diamants et Pieces gratuitement au jeu Merge Mansion. Ce triche Merge Mansion a été publié par nous en 2019 et permet à tous les joueurs jouant sur iOS, Android ou Windows d’obtenir Diamants et Pieces gratuitement. le compte de jeu. Pourquoi utiliser notre Merge Mansion Astuce? Alors que Merge Mansion devenait plus populaire, les joueurs ont commencé à rechercher une méthode de travail leur permettant de progresser. Diamants et Pieces ne sont pas bon marché et grâce à ce qui est montré dans ce guide, les joueurs pourront en obtenir beaucoup. La méthode fournie ici est extrêmement efficace et fonctionne parfaitement sans retard. Si vous souhaitez amener votre jeu à un niveau différent et améliorer vos chances de gagner, vous devez utiliser le Merge Mansion triche gratuitement maintenant! Dans cet article, nous allons décrire toutes les étapes pour obtenir plus de Diamants et Pieces en Merge Mansion. Lorsque vous aurez terminé, vous aurez les réponses aux questions suivantes! Si vous êtes prêt à obtenir les réponses à toutes ces questions et plus encore, voici tout ce que vous devez savoir sur Merge Mansion astuce. Comment puis-je obtenir gratuitement Diamants et Pieces? Ce guide Merge Mansion explique comment obtenir plus Diamants et Pieces gratuitement sur votre compte de…
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Seattle Hempfest 2012 Day #1 - VIP Party - Please share, comment and spread the word through your social networks.
About Cheryl Shuman:
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Shuman was the founder of Beverly Hills NORML, founding charter member of the NORML Women's Alliance and served on the steering committee for Public Relations and Marketing on an International platform. Cheryl Shuman is a founding member of the NCIA, National Cannabis Industry Association and served as the Director of Special Projects for the NCIA including the Women's Cannabusiness Network. Cheryl Shuman transformed her non-profit career into a thriving profitable media enterprise.
Cheryl was the Executive Director of Celebrity, Media and Public Relations for the KUSH Brand which includes KUSH Magazine, KUSH Conventions and DailyBuds.com. Cheryl Shuman has been interviewed for television programs, newspapers and magazines, including but not limited to: ABC News, CNN, Fox News, NBC News, Access Hollywood, Entertainment Tonight, Today Show NBC, HBO Entertainment News and more.
Her private medical cannabis collective, "The Beverly Hills Cannabis Club" is unlisted and membership is by referral only. Through her personal relationships and connections within Hollywood, Cheryl Shuman has been named as one of the most influential women in the cannabis reform movement by international media. Her position within the cannabis industry creates the first and only company of its kind and at the forefront of entertainment marketing, celebrity endorsements, product placement integration, sponsorships, production and technology.
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We're back at the Monaco Ballroom on Friday December 12th for the final show of 2008!! Make sure you make it to see how the year's feuds end at this season ending super show - GPW: "Christmas Crunch"
We promise we wont crunch your credit.... we'll only crunch your Christmas!!
GPW Heavyweight Title Match
Bubblegum © vs. Dirk Feelgood
Just a few months ago you'd be forgiven for taking a double take at this match. The friendship between the two former friends totally imploded with the desire to become Heavyweight champion. Refusing to accept the demise of his friendship with Dirk Feelgood, Bubblegum spent months in turmoil not wanting to retaliate to the cutting comments and brutal attacks levelled his way by former friend and champion Feelgood. As time went by however, Bubblegum eventually unloaded on Feelgood but this will be the first time the two have ever come face to face in a one on one match. And to make things just a little more interesting... it's for the GPW Heavyweight Title. Can the fairytale championship reign continue for Bubblegum, or can Dirk shatter his dreams and become the first ever 2 time Heavyweight Champ?
Tag Team Special, Skeletor vs. Stella
Lethal Dose vs. Voodoo & "Sober" Mike Holmes
Alan Alan Alan Tasker's henchmen, Lethal Dose march into battle against former stable member Mike Holmes and the man they hold responsible for Holmes' new found sobriety - Voodoo. Cyanide and Toxic hope to tempt Holmes back over to the stable that two months ago he turned his back on. They want to snap him out of the spell they accuse Voodoo of putting him under. However, Holmes seems very happy with his new outlook on life and he and Voodoo look to send Lethal Dose packing in this tag team special. Lethal Dose have warned they will not be coming to the ring alone though, with them along with their attorney and law - Alan Alan Alan Tasker will be a 12 pack of Stella. Hoping the case of beer will prove to be a bigger demon to Holmes than the tag team itself. To fend off the 12 pack, Holmes and Voodoo will have Vooodoo's trusty skull, Skeletor in their corner. An unpredictable tag team match. Can MIke Holmes stay sober? Will Voodoo's spells work? Or will Lethal Dose deliver a beating big enough to break Voodoo's spell?
GPW British Title Match
Jak Dominotrescu vs. "Super" Sam Bailey
After pinning the British Champion last month in a tag team match, WKD's "Super" Sam Bailey has earned himself a title shot at GPW: "Christmas Crunch". Bailey, already a former tag team champion looks to add to his growing reputation by capturing his first ever singles gold in GPW. While reigning champion, Romanian Jak Domitrescu along with his cohorts - The Eastern Bloc look to make life as difficult as possible for the energetic live wire. Domitrescu has held onto the title since April this year with help from his fellow countrymen, but are his days numbered as champ? He surely wont be alone in this title outing and will have the Eastern Bloc close by, but can "Super" Sam Bailey overcome the odds to win his first singles gold in GPW?
And, the main event for the evening is...
GPW Tag Team Title 2/3 Falls Match
MIl-Anfield Connection © vs. Young Offenders
The heat just got turned up in this feud. The re-united Young Offenders have the most established tag team in GPW - The Mil-Anfield Connection firmly in their sights and not to mention the tag team trophy. These two teams met in September this year where there was no clear winner decided after the match ended in a draw. There will be NO excuses this time to not find a winner. This, for the first time in our history will be a 2/3 Falls Match for the tag team titles. A winner HAS to be decided, but who will it be? A truley epic encounter is in our midst as Jiggy Walker & "The Model" Danny Hope try to cling onto the championship that has defined them as a team and "Dangerous" Damon Leigh & Joey Hayes, The Young Offenders chase the title that one of the most popular tag teams in Europe have never held. Can the re-united friends overcome the well established unit that is The Mil-Anfield Connection? Or can the well oiled duo of the Mil-Anfield do what they've been doing all year and win again?
GPW British Title No.1 Contenders Match
Harry Doogle vs. Juice vs. Dylan Roberts vs. Chris Echo
After an eye catchingly good year from rookie Dylan Roberts, he has been included in this battle to earn a shot at the British Title. With a burning desire to win and the fans firmly behind him, Roberts could well mark his arrival onto the main roster by becoming the No.1 Contender and going for gold here. However, his opponents wont give him an easy ride. In a wonderful CC-08 tournament, no one impressed more than WKD's Chris Echo. Echo reached the CC-08 finals with two broken wrists and proved he is ready to take a step up. His previous attempts for British gold have been thwarted by the foreign legion numbers of the Eastern Bloc, is he ready to prove again that he is worthy of being No.1 Contender and finally lift the British title? Juice, the current CC8 champion has been as impressive as ever in singles competition this year, but can he compete in this match with 3 others all vying to be No.1 Contender? Also replacing Jervis Cottonbelly due to injury is Harry Doogle as a last minute entry could one half of the next gen score the upset win? , but with so many possible outcomes who will leave with the plaudits and go on to challenge for the British Title next year?
Lumberjack Match
Si Valour vs. Heresy
A violent and personal feud that has lasted all year long finally comes to a head in what promises to be a violent Lumberjack Match. Ever since brutalising Valour and cutting off all his hair, Heresy has, in some form or other dodged the challenge of Valour. Heresy claimed not to have lost his bottle or be running scared of the 2007 Break Out Star, yet during their Bull Rope clash at GPW: "V" where the two were tied to one another, Heresy still managed to find a way of escaping and creating distance between him and Valour. This time, in a special Lumberjack Match, no matter where either man go - there will be no escape. All lumberjacks will be at the ready to ensure neither man can escape the others clutches and a clear winner, one way or the other will HAVE to be decided. There will be nowhere to run to and nowhere to hide, no matter where they look. Heresy has been one step ahead of Valour all year, is this where he runs out of excuses, or can the master manipulator manipulate another win?
Sir Joshua Reynolds
West Building, Main Floor—Gallery 59
•Date: 1784
•Medium: Oil on Canvas
•Dimensions:
oOverall: 91.6 × 76.4 cm (36 1/16 × 30 1/16 in.)
oFramed: 108 × 93.7 × 5.7 cm (42½ × 36⅞ × 2¼ in.)
•Credit Line: Andrew W. Mellon Collection
•Accession Number: 1942.8.21
•Artists/Makers:
oPainter: Gilbert Stuart: American, 1755-1828
Provenance
Commissioned by John Boydell [1719-1804], London; probably inherited by his nephew and business partner, Josiah Boydell [1752-1817], London. Possibly sold by an unidentified consigner at (Greenwood & Co., London, 3 April 1806, no. 49) and (Greenwood & Co., London, 21 May 1807, no. 40), purchaser not recorded.[1] Murrough O’Brien, 5th Earl of Inchiquin and 1st Marquis of Thomond [d. 1808];[2] by descent to his nephew, James O’Brien, 7th Earl of Inchiquin and 3rd Marquis of Thomond [1769-1855], Bath.[3] (T.H. Robinson, London, and M. Knoedler & Co., New York), October 1919; sold 11 December 1919 to Thomas B. Clarke [1848-1931], New York;[4] his estate; sold as part of the Clarke collection on 29 January 1936, through (M. Knoedler & Co., New York) to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1942 to NGA.
[1]The Index of Paintings Sold in the British Isles during the Nineteenth Century, Burton B. Fredericksen, ed. (Santa Barbara, California and Oxford, England, 1990), 2: 951, as “Stuart, An Original Protrait of Sir Joshua Reynolds,” consigned by “a gentleman,” and as “G. Stuart, A Portrait of Sir Joshua Reynolds.” Only the second price is recorded, with some question, as three pounds, six pence. Since this is a very small price for a full-size portrait, perhaps these sales are instead for the “Small head, Sir Joshua Reynolds, sketch” attributed to Sturart that was sold at Christie’s on 5 February 1818 by a Mr. Rising, with a small head of the Marquis of Landsown, also attributed to Stuart. The pair went for five guineas. (Information courtesy of The Getty Provenance Index, 7 April 1992).
[2]Jane Stuart, “The Youth of Gilbert Stuart,” Scribner’s Monthly 13, no. 5 (March 1877), 644 recorded that “Lord Inchiquin” paid 250 guineas for her father’s portrait of Reynolds. It has been assumed that this was the 5th Earl, whose wife was Mary Palmer [d. 1820], Reynolds niece and heiress. On the Earls of Inchiquin see Burke’s Genealogical and Heraldic History of the Peerage, Baronetage and Knightage, 104th ed., London, 1967, 1325-1330.
[3]According to Knoedler’s records (letter from Melissa De Medeiros, librarian, 5 June 1992, NGA curatorial file), the portrait was from the estate of James O’Brien, the 3rd and last marquis of Thomond, and “the present Lord Inchiquin is unable to say when the picture left the family.” Henry William Beechey, ed., The Literary Works of Sir Joshua Reynolds, First President of the Royal Academy, rev. ed., 2 vols., London, 1855, 300, records the portrait and reproduces an engraving of it as his frontispieces, but he does not record any owner after Boydell.
[4]Knoedler purchased a joint share from T.H. Robinson in October 1919 and sold the painting to Clarke in December. The name of the seller and the date of purchase are recorded in a copy of Portraits by Early American Painters of the Seventeenth, Eighteenth and Nineteenth Centuries Collected by Thomas B. Clarke, (Exh. cat., Philadelphia Museum of Art, 1928) annotated with information from files of M. Knoedler & Co., NY (copy in NGA curatorial records and in NGA library).
Associated Names
•Boydell, John
•Boydell, Josiah
•Clarke, Thomas Benedict
•Greenwood & Co.
•Greenwood & Co.
•Knoedler & Company, M.
•Knoedler & Company, M.
•Mellon Educational and Charitable Trust, The A.W.
•O’Brien, 5th Earl Inchiquin, Murrough
•O’Brien, 7th Earl Inchiquin, James
•Robinson, T.H.
Exhibition History
•1786—John Boydell’s Gallery, London, 1786.
•1792—Possibly Boydell’s Shakespeare Gallery, London, 1792-1802.
•1922—Portraits Painted in Europe by Early American Artists, The Union League Club, New York, January 1922, no. 1.
•1928—Portraits by Early American Artists of the Seventeenth, Eighteenth and Nineteenth Centuries, Collected by Thomas B. Clarke, Philadelphia Museum of Art, 1928-1931, unnumbered and unpaginated catalogue.
•1944—Gilbert Stuart: Portraits Lent by the National Gallery of Art, Washington, D.C., Virginia Museum of Fine Arts, Richmond, 1944-1945, no. 1.
•1967—Gilbert Stuart, Portraitist of the Young Republic, National Gallery of Art; Museum of Art, Rhode Island School of Design, Providence, 1967, no. 12.
•2004—Gilbert Stuart, The Metropolitan Museum of Art, New York; National Gallery of Art (for the National Portrait Gallery), Washington, D.C., 2004-2005, no. 14, repro.
Bibliography
•1784—Sir Joshua Reynolds’ Diary, 1784, at the Royal Academy of Arts, London
•1786—”Fabius.” “The Arts. No. II. Alderman Boydell’s Gallery.” The Morning Post, and Daily Advertiser. 14 November 1786: 2.
•1792—Felton, Samuel. Testimonies to the Genius and Memory of Sir Joshua Reynolds. London, 1792: 67.
•1804—”Monthly Retrospect of the Fine Arts.” Monthly Magazine; or British Register 17 (1 July 1804): 595.
•1855—Beechy, Henry William, ed. The Literary Works of Sir Joshua Renolds, First President of the Royal Academy. Rev. ed., 2 vols. London, 1855:1:frontispiece, engraving by E. Scriven, 300.
•1865—Leslie, Charles Robert and Tom Taylor. Life and Times of Sir Joshua Reynolds, with Notices of some of his Contemporaries. 2 vols. London, 1865:2:468
•1869—Dunlap, William. A History of the Rise and Progress of The Arts of Design in the United States. 2 vols. Reprinted in 3. New York, 1969 (1834): 1:184, 219.
•1877—Stuart, Jane. “The Youth of Gilbert Stuart.” Scribner’s Monthly 13, no. 5 (March 1877):644
•1879—Mason, George C. The Life and Works of Gilbert Stuart. New York, 1879: 248.
•1880—MFA 1880, 52, no. 508
•1913—Strickland, Walter G. A Dictionary of Irish Artists. 2 vols. Dublin and London, 1913: 2:416
•1922—Sherman, Frederick Fairchild. “Current Comment: Exhibitions.” ArtAm 10, no. 3 (April, 1922):139 repro., 143-144.
•1926—Park 1926, 641-642, no. 702, repro.
•1928—Portraits by Early American Artists of the Seventeenth, Eighteenth and Nineteenth Centuries, Collected by Thomas B. Clarke. Exh. cat. Philadelphia Museum of Art, 1928, unnumbered.
•1932—Whitley 1932, 46-47, 55-56
•1949—Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 133, repro.
•1959—Mount, Charles Merril. “A Hidden Treasure in Britain.” The Art Quarterly 22, no. 3 (Autumn, 1959): 220, 223
•1964—Mount 1964, 90, 362
•1970—American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 104, repro.
•1974—Bruntjen, Hermann Arnold. John Boydell (1719-1804): A Study of Art Patronage and Publishing in Georgian London. Ann Arbor, Michigan, 1974:28-29, 36, 58, 63
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: 382, color repro.
•1980—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 233, repro.
•1981—Williams, William James. A Heritage of American Paintings from the National Gallery of Art. New York, 1981: color repro. 50, 62.
•1984—Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 378, no. 534, color repro.
•1985—Bruntjen, Sven H. A. John Boydell (1719-1804): A Study of Art Patronage and Publishing in Georgian London. New York and London, 1985: 28-29. 36, 58, 63.
•1986—McLanathan, Richard. Gilbert Stuart. New York, 1986:51, 54, color repro.
•1990—Harris, Eileen. “Robert Adam’s Ornament for Alderman Boydell’s Picture Frames.” Furniture History: The Journal of the Furniture History Society. 26 (1990): 93-96, figs. 1-3
•1992—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 346, repro.
•1993—Rather, Susan. “Stuart and Reynolds: A Portrait of Challenge.” Eighteenth-Century Studies 27, no. 1 (Fall 1993): 61-84.
•1995—Miles, Ellen G. American Paintings of the Eighteenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1995: 172-177, color repro. 175.
•2000—Kirsh, Andrea, and Rustin S. Levenson. Seeing Through Paintings: Physical Examination in Art Historical Studies. Materials and Meaning in the Fine Arts 1. New Haven, 2000: 262.
•2016—Rather, Susan. The American School: Artists and Status in the Late Colonial and Early National Era. New Haven, 2016: 172-174, color fig. 128.
From American Paintings of the Eighteenth Century:
1942.8.21 (574)
Sir Joshua Reynolds
•1784
•Oil on canvas, 91.6 × 76.4 (36 1/16 × 30 1/16)
•Andrew W. Mellon Collection
Technical Notes
The primary support is a mediumweight, plain-weave fabric with a vertical seam 4.5 cm from the left side. A second, almost identical fabric is stretched beneath this support. Both the added strip and the lining appear to be original to the painting, as only one set of tack holes is found in the fabric, which has its original tacking margins. The four-member mortise-and-tenon, keyed stretcher also appears to be original. The thin, grayish white ground extends over the edges of the fabric, indicating that the canvas was prepared before stretching. The ground color contributes generally to the tonality in the more thinly painted passages in the hair, scroll, and column. In the more thickly painted coat, face, and hands, the ground is visible around the eyes and in the sitter’s left hand.
A mild, retouched abrasion is in the more thinly painted passages, with an untouched area of abrasion in the sitter’s left hand. Heavy retouching is evident in the areas of abrasion in the jacket. The varnish is a somewhat discolored, thick, and uneven glossy layer of natural resin.
Provenance
Commissioned by John Boydell [1719-1804], London; probably inherited by his nephew and business partner Josiah Boydell [1752-1817], London. Possibly sold by an unidentified consignor at (Greenwood & Co., London, 3 April 1806, no. 49) and (Greenwood & Co., London, 21 May 1807, no. 40), purchaser not recorded.1 Murrough O’Brien, 5th Earl of Inchiquin and 1st Marquis of Thomond [d. 1808];2 by descent to his nephew James O’Brien, 7th Earl of Inchiquin and 3rd Marquis of Thomond [1769-1855], Bath.3 (T.H. Robinson, London, and M. Knoedler & Co., New York), October 1919; sold 11 December 1919 to Thomas B. Clarke [1848-1931], New York;4 his estate; sold as part of the Clarke collection on 29 January 1936, through (M. Knoedler & Co., New York), to The A.W. Mellon Educational and Charitable Trust, Pittsburgh.
Exhibited
John Boydell’s Gallery, London, 1786. Possibly at Boydell’s Shakespeare Gallery, London 1792-1802. Union League Club, January 1922, no. 1. Philadelphia 1928, unnumbered. Richmond 1944-1945, no. 1. Gilbert Stuart, NGA; RISD; PAFA, 1967, no. 12.
Gilbert Stuart painted this portrait of sixty-one-year-old Sir Joshua Reynolds (1723-1792), the celebrated English painter and president of the Royal Academy of Arts, in July 1784. It is one of fifteen portraits of painters and engravers commissioned from Stuart by John Boydell, the London print publisher, of the men associated with his commercial success. In addition to Reynolds, Stuart painted portraits of John Singleton Copley (National Portrait Gallery, London), Benjamin West (National Portrait Gallery, London), Ozias Humphrey (Wadsworth Atheneum, Hartford), William Miller, and Richard Patón, and engravers James Heath (Wadsworth Atheneum, Hartford), William Woollett (Tate Gallery, London), John Hall (National Portrait Gallery, London), Johann Gottlieb Facius, Georg Sigmund Facius, John Browne, and Richard Earlom, as well as Boydell and his nephew and partner Josiah Boydell.5 He completed the portraits of Copley, Heath, and Josiah Boydell by 3 April 1784, when Robert Adam, the Scottish architect, designed an elaborate frame that positioned the portraits as a group above Copley’s history painting The Death of Major Peirson (1782-1784, Tate Gallery, London).6 Boydell had commissioned the Death of Peirson and had employed Heath as its engraver. He exhibited these paintings at 28 Haymarket, London, before moving them to the gallery in his print shop at 90 Cheapside.7 On 12 June, Robert Adam designed a second grouping of a number of circular, oval, and rectangular frames on one wall, perhaps for the display of some of Stuart’s fifteen portraits with other, horizontal works.8
Reynolds sat for his portrait that July. He listed the sittings in his pocket diary : on 23 July, “9½ Mr. Stewart” (fractions indicate the half-hour), and on 28 and 30 July, also at half past nine.9 A month later, on 27 August, “Mr. Stewart” had a final appointment at nine o’clock.10 The result shows Reynolds in a black suit, white shirt, and powdered gray wig. His cheeks are ruddy and his wig frizzy, in a natural style. Seated in an upholstered chair, Reynolds rests his hands in his lap as he holds a gold snuffbox in his left hand. Between the thumb and index finger of his right hand he takes a pinch of snuff. On a red-draped table beside him are rolled sheets of paper; a column and a red curtain fill the background.11 Stuart’s technique, with its loose, dry brushwork, is similar to that in his full-length of The Skater (Portrait of William Grant of 1782 [1950. 18.1] and his portrait of Sir John Dick of 1783 [1954.1.10], English works that mark the artist’s transition from the more evenly painted colonial American manner to his later fully calligraphic style. This transitional quality can be seen in his modeling of Reynolds’ face, where hatched brushwork defines the features, the shadows, and the wig, while a more thickly applied paint layer depicts the skin. The looser brushwork was undoubtedly a conscious imitation of Reynolds’ own technique.
In this portrait, Reynolds appears slightly older than in his self-portrait in academic robes with the bust of Michelangelo (c. 1780, Royal Academy of Arts, London). Instead, he more closely resembles his self-portrait of about 1789 (Royal Collection, London).12 Despite this similarity, Sir Joshua remarked about Stuart’s painting, according to American painter Charles Fraser, that “if that was like him, he did not know his own appearance.”13 As Susan Rather indicates in her close reading of the portrait, Reynolds no doubt was referring to the characterization. As she aptly points out, the two men, one a young artist and the other the most admired British portrait painter of the time, shared the habit of taking snuff. She suggests that Reynolds might have though the gesture of taking snuff was inappropriate for his portrait. Through this response to the portrait, however, she interprets Stuart as satirizing Reynolds “by coded references to his deafness and irascibility, while overtly presenting the Royal Academy president in a manner that Reynolds, in his public addresses on art, condemned.”14 The gesture of pinching snuff might, on the other hand, be seen as an early example of Stuart’s exceptional gift of interpreting personality through the choice of a characteristic pose, in this case, one with which he was very familiar.
Stuart’s series of artists’ portraits was completed by the fall of 1786, when it was exhibited at Boydell’s gallery at 90 Cheapside. Among the many visitors who saw the portraits there was Sophie de la Roche, a young traveler to London who noted in her journal on 28 September 1786 that Boydell’s second floor exhibition room was “devoted to works by native artists, and contains portraits of famous English painters, especially engravers.”15 “Fabius” wrote a more detailed description for the 14 November issue of the Morning Post, and Daily Advertiser. “The inner room is now furnishing wholly with modern paintings—around it on the top are portraits of the most eminent English artists, whose works have been purchased, and engraved from by the Alderman, or of engravers, whom he hath at different times employed to engrave for him—They are strong likenesses, and by Stuart.” A writer for the London Monthly Magazine; or British Register later wrote about the group of portraits when remarking on the generally commonplace appearance of the artists of his time in their portraits, compared to the distinguished air of Van Dyck’s portraits of seventeenth-century painters.
Very different are the portraits of the painters of the present day. A large number of them sat to Gilbert Stuart the American, who painted them for Alderman Boydell; they were afterwards shown at his gallery. They were all strong resemblances, but a set of more uninteresting, vapid countenances it is not easy to imagine; neither dignity, elevation nor grace appear in any of them; and had not the catalogue given their names they might have passed for a company of cheesemongers or grocers. The late President of the Royal Academy [Reynolds] was depicted with a wig that was as tight and close as a hackney coachman’s caxon, and in the act of taking a pinch of snuff. The present President [West] and many others were delineated as smug upon the mart as so many mercers or haberdashers of small wares, all of which originated in the bad taste of the sitters.16
The commission for this series of artists’ portraits predates by two years Boydell’s announcement in December 1786 of plans for a collection of paintings by English artists on subjects from Shakespeare. He intended to commission the series and to offer two sizes of engravings for public subscription. By the time the Shakespeare Gallery opened at 52 Pall Mall in 1789, thirty-four of the paintings were completed.17 Boydell moved Stuart’s portrait of Reynolds there by 1792, when Samuel Felton, the author of Testimonials to the Genius and Memory of Sir Joshua Reynolds (London, 1792), listed a number of portraits and self-portraits of Reynolds, including one “in Mr. Boydell’s Shakespeare Gallery, among those of the other painters who are now engaged in painting scenes for Mr. Boydell’s edition of that poet.” Felton declared the Boydell portrait “undoubtedly the best painted Head of Sir Joshua,” thinking it was a self-portrait.18 That he was referring to Stuart’s portrait is confirmed by an engraving of it by Johann and Georg Facius that Boydell published in 1802. Crediting Stuart as the painter, it is inscribed “From the Original Picture in the Shakespeare Gallery.”19 The Shakespeare Gallery project went bankrupt in 1804, and Boydell offered the collection for sale by lottery to raise funds to repay extensive loans. His Plan of the Shakespeare Lottery lists sixty-two prizes, the last being the entire contents of the Shakespeare Gallery. The lottery was held on 28 January 1805.20 None of Stuart’s portraits was included, however. The most likely scenario is that they remained at the print gallery at 90 Cheapside, which became the property of Boydell’s nephew Josiah after Boydell’s death in 1804.21 In 1825 Henry Graves acquired the holdings of the Boydell firm when he, Francis Graham Moon, and J. Boys purchased the company’s stock and leasehold and changed the firm’s name to Moon, Boys and Graves.22 Three of the Stuart portraits—those of John Hall and Benjamin West (National Portrait Gallery, London) and James Heath (Wadsworth Atheneum, Hartford)—can be traced to Henry Graves and Company, the successor firm of Moon, Boys and Graves.23
Charles Bestland (b. 1764?) copied the portrait in miniature.24
EGM
Notes
1.Fredericksen 2:951, as “Stuart, An Original Portrait of Sir Joshua Reynolds,” consigned by “a gentleman,” and as “G. Stuart, A Portrait of Sir Joshua Reynolds.” Only the second price is recorded, with some question, as three pounds, six pence. Since this is a very small price for a full-size portrait, perhaps these sales are instead for the “Small head, Sir Joshua Reynolds, sketch” attributed to Stuart that was sold at Christie’s on 5 February 1818 by a Mr. Rising, with a small head of the Marquis of Lansdowne, also attributed to Stuart. The pair went for five guineas. (Information courtesy of the Getty Provenance Index, 7 April 1992.)
2.Stuart 1877, 644, recorded that “Lord Inchiquin” paid 250 guineas for her father’s portrait of Reynolds. It has been assumed that this was the 5th earl, whose wife was Mary Palmer [d. 1820], Reynolds’ niece and heiress. On the Earls of Inchiquin see Burke 1967, 1325-1330.
3.According to Knoedler’s records (letter from Melissa De Medeiros, librarian, 5 June 1992; NGA), the portrait was from the estate of James O’Brien, the 3rd and last Marquis of Thomond, and “the present Lord Inchiquin is unable to say when the picture left the family.” Beechey 1855, 300, records the portrait and reproduces an engraving of it as his frontispiece, but he does not record any owner after Boydell.
4.Knoedler purchased a joint share from T.H. Robinson in October 1919 and sold the painting to Clarke in December. The name of the seller and the date of purchase are recorded in an annotated copy of Clarke 1928 in the NGA library.
5.Whitley 1932, 55, lists the portraits without giving his source. It may have been the catalogue to which the anonymous author in Monthly Magazine 1804 referred; no copy has been located. On the portrait of West see Walker 1985,11543-544; 2 :pl. 1352. A portrait at the Holburne of Menstrie Museum, Bath, has been identified as that of Josiah Boydell, but the identity is open to some question. Many of the portraits are unlocated today.
6.Harris 1990, 93, and fig. 1 (Sir John Soane’s Museum, London); this reference courtesy of Jacob Simon, National Portrait Gallery, London.
7.Prown 1966, 2:307.
8.Harris 1990, 94 and fig. 3, dated 12 June 1784 (Sir John Soane’s Museum).
9.Reynolds’ pocket ledger for 1784, Royal Academy of Arts, London. The entries are also cited in Leslie and Taylor 1865, 2:468, and in Whitley 1932, 46.
10.Mount 1959, 223, proposed without documentation that the August appointment was for Stuart to finish a copy of one of Reynolds’ self-portraits (the attribution of the copy to Stuart is Mount’s). Stuart has also been credited, without apparent documentation, with the copy of a Reynolds self-portrait that was exhibited at the Maryland Historical Society in 1853 and is now in the Charles J.M. Eaton Collection, Peabody Institute, Baltimore. See Peabody Institute 1949, 19; Yarnall and Gerdts 1986,3418.
11.Stuart widened the canvas of the portrait from the standard kit-cat proportions of 91.4 by 71 cm (36 by 28 inches) by adding a 5~cm (2-inch) strip of canvas on the left, which did not change the composition appreciably. It may have been done in keeping with its setting in Boydell’s gallery.
12.Penny 1986, 287-288, no. 116, repro., and 320-322, no. 149, repro.
13.Dunlap 1834, 1:184, quoting Fraser, who added that the remark “was certainly not made in the spirit of his usual courtesy.”
14.Rather 1993, 63-65.
15.Her description of BoydelPs shop is quoted in Bruntjen 1985, 28-29, from Sophie in London (London, 1933), 237-239.
16.Monthly Magazine 1804, 595, quoted by Rather 1993, 63.
17.Friedman 1976, 3, 71-73.
18.Felton 1792, 67; Whitley 1932, 47.
19.See Park 1926, 642; an example of the engraving is in the NGA curatorial file. Another engraving by E. Scriven is listed in O’Donoghue 1906, 3 (1912): 564.
20.For an example of the Plan, published in London on 5 April 1804, see the scrapbook collection of Press Cuttings 3 : 815-81 8. William Tassie, a gem engraver, won the lot that included the Shakespeare paintings, which he sold at Christie’s, 17-20 May 1805. The catalogue is discussed in Fredericksen 1:52; the paintings are indexed under Boydell’s name and listed by the name of each artist.
21.Boydell also acquired Copley’s Death of Major Peirson, which he sold at Christie’s on 8 March 1806, lot 98; it was bought in and sold to Copley; Prown 1966, 2:440, and Fredericksen 2:264.
22.Bruntjen 1985, 242-243; on the history of this firm see also Graves 1897, 143-148 (the author was the son of Henry Graves), and the entry on Henry Graves (1806-1892) in DNB 22 (supplement), 771-772.
23.Information on the provenance of these portraits is courtesy of Jacob Simon, Keeper of i8th Century Portraits, National Portrait Gallery, London, and Elizabeth Mankin Kornhauser, curator of American Art, Wadsworth Atheneum, Hartford.
24.Foskett 1972, 1:163.
References
•1786—”Fabius.” “The Arts. No. II. Alderman Boydell’s Gallery.” Morning Post, and Daily Advertiser. 14 November: 2.
•1792—Felton : 67.
•1804—Monthly Magazine : 595 .
•1834—Dunlap: 1:184, 219.
•1855—Beechey: 1:300, and frontispiece engraving by E. Scriven.
•1865—Leslie and Taylor: 2:468.
•1877—Stuart: 644.
•1879—Mason: 248.
•1880—MFA: 52.no. 508.
•1913—Strickland: 2:416.
•1922—Sherman: 139 repro., 143-144.
•1926—Park: 641-642, no. 702, repro.
•1932—Whitley: 46-47, 55-56.
•1959—Mount: 220, 223.
•1964—Mount: 90, 362.
•1981—Williams: 62, color repro. 50.
•1984—Walker: 378, no. 534, color repro.
•1985—Bruntjen: 28-29, 36, 58, 63.
•1986—McLanathan: 51 , color repro. 54.
•1990—Harris: 93-96 and figs. 1-3.
•1993—Rather: 61-84.
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Part of a series of 4 images.
It's been a while since I've done any self portraits, let alone a whole series of them. I actually enjoyed doing this because it was a good emotional outlet for everything I've had to deal with this week.
I kind of got carried away and took over 900 photos for this series. I made them into a stop motion after realizing that they flowed nice together (plus I liked the movement of the car lights bokeh and the clouds in the background). Check it out here! www.youtube.com/watch?v=vSNYUV4BUcE&list=UUcQ6bOg-nUT...
Thank you all for your comments and faves!
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It's rainy and cold today. So far, we haven't even reached 10oC today (it is about 4pm right now) and I doubt it's going to be any warmer. I miss those hot summer days with beautiful skies and pretty sunsets.. The last weekend of summer vacation is fast approaching and I don't think we will be doing a lot of wandering about (it's suppose to be rainy, cloudy and cold..) So here it is, a little bit of days gone by to cheer all of us up.. ;D
Well, the sun finally played nice at Troy for this shot of the KCS "Belles" leading Q243 down the B&O. Unfortunately, the shadows didn't want to play nice. The trackside resident is apparently one of those people that don't think opinions are like ass holes.
Go ahead and comment away. Give me your sassiest, flirtiest comment. Go ahead, I can take it. It means nothing. Honestly. In years past I would post "flattering" photos of myself in hopes of gaining the attention from women. I'm no psychotherepist so I can't really explain why I had this desire or need. It got me into a lot of trouble. On Myspace, Flickr and who knows where else. I never thought that highly of myself until I started to get noticed, and then once I did, I enjoyed it too much, and it was hard to stop receiving it. But I should have. I'm a sinner, I'm stupid and I accept responsibility for it.
that's why I typically won't allow myself to be shown on here without a ridiculous wig on. I don't want attention from anyone else, but I know there are people who see the physical and don't realize the other person is spoken for. But it's also the one who is receiving the complements who knows their intentions for posting a shot of themselves.
So go ahead and take a good look. Comment. Say whatever you want. Good or bad. Man-boobs, wrinkles, bags under the eyes. This is me. And it'll probably be the last time you see my scruffy mug on here.
And this is also a little note for you (mostly) women (ie girls) who repeatedly post self portraits in different outfits, positions, etc. Don't post them unless you want flirty comments. I'm all for self-expression, but there's a whole world out there that your camera is dying to photograph.
I hold a glass up for those who were affected or perished in 9/11. Today is for them. Now and forever.
PLEASE, no multi invitations or self promotion in your comments, THEY WILL BE DELETED. My photos are FREE for anyone to use, just give me credit and it would be nice if you let me know, thanks - NONE OF MY PICTURES ARE HDR.
Close scrutiny of this big building can reveal how an empire was run. To maintain royal sway over far-flung colonies, paperwork was as vital as fortresses and fleets. While the engineer built Louisbourg and the governor symbolized its authority, the man who lived here kept the colony running.
In the offices overlooking the quay, the administrator and his clerks filled up books of correspondence, maintained the colonial accounts, and compiled their statistical reports for the Ministry of Marine. They paid the colony’s bills from the well-guarded treasury here - see the barred windows - and filled the storerooms behind with their supplies. Everything from economic policy to civil justice was managed from here, and the power of the commissaires- ordonnateurs sometimes excited the governors’ jealousy. Built as a private residence, the house became royal property in 1733 and expanded with the power of its occupants.
The administrators were professional servants of the Crown who hoped to win promotion by proving themselves here. François Bigot established his reputation by able and devoted service as Île Royale’s commissaire-ordonnateur from 1739 to 1745, while his sharp investments simultaneously laid the foundation of his wealth. Duly promoted, he went on to both fortune and disgrace as the last Intendant of New France.
The main floor of this house is furnished as Bigot’s working and living space. The top floor houses an exhibit, Vestiges of Louisbourg, which contains artifacts from eighteenth century Louisbourg, and a gallery with paintings and ship models recreating aspects of Louisbourg’s busy port.
The stables behind the residence, at the corner of Rue Royale, are another sign of authority. Boats were needed more than horses in this colony. Few homeowners built large stables like these and a horse and carriage proclaimed wealth and prestige.
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