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Wellgate, North Side. View looking along Kirk Entry towards St Andrew's Church in King Street.
Ref: Sanitary Department Album 1 Photo 13
Wilson finally washes up at Talkin Tarn!
A cold January evening at Talkin Tarn Country Park, Brampton Cumbria
Talkin Tarn is a glacial lake and country park near Brampton, Cumbria, England. The lake is a kettle hole lake, formed 10,000 years ago by mass glacial action.
The name is of Brittonic origin. The Brittonic dialect known as Cumbric was formerly spoken in the area. The first element, tal, means "brow" or "end" in Brittonic and modern Welsh, Cornish, and Breton. The second element is unclear. It may come from the Brittonic word which appears in Welsh and Old Cornish as can ("white") and Breton as kann ("bland, brilliant"). Talkin may be a hill-name meaning "white brow".
'Tarn' is derived from Old Norse 'tjǫrn' and then Middle English 'terne' meaning 'small mountain pool' or 'small lake'.
Talkin Tarn Country Park is owned and maintained by Carlisle City Council. It is home to the Boat House Tea Rooms, Brampton Sailing Club, and Talkin Tarn Amateur Rowing Club. The profits from the Tea Rooms and the pay and display car parking are reinvested in the up keep and improvement of the site.
Rowing is an activity at Talkin Tarn. The rowing club, Talkin Tarn Amateur Rowing Club, celebrated its 150th anniversary in 2009. Rowing races were first held on Talkin Tarn in the 1850s, and the Rowing Club was formed in 1859 by local townsfolk, several descendants of whom still live in the area. It is the oldest rowing club in the North of England, with the exception of Tyne Rowing Club, and is the 14th oldest non-university club in the country. Talkin Tarn Annual Regatta has grown considerably in recent years from a total entry of 20 in 1946 and 97 in 1988 to what it is today – very successful and one of the largest one-day regattas outside of London with total entries now in excess of 400.
On 9th November 1983 an Aerospatiale Gazelle Helicopter (reg G-SFTB) crashed into the tarn during a low level training flight from Carlisle Airport. The single occupant escaped the crash but the helicopter, once raised from the bottom, was damaged beyond repair.
Research on climate change carried out at Talkin Tarn was published in 2004.
Old buckles, stone axes, and urns have been found in the area.
#talkin #talkintarn #talkintarncountrypark
More photos of Talkin Tarn here: www.flickr.com/photos/davidambridge/albums/72157633050144969
This is an entry for ABS Forever's These Go to Eleven Contest on MOCpages.
We were asked to build a MOC centered on a short quote.
"Artists don't make objects. Artists make mythologies."
-Anish Kapoor
More images can be found on MOCpages: LINK
EDIT: Except for when the Wayback Machine copies almost no images...
Entry to Cordoned Lines for Justice Ruth Bader Ginsburg Lie In Repose at the US Supreme Court along East Capitol between 1st and 2nd Street, SE, Washington DC on Wednesday morning, 23 September 2020 by Elvert Barnes Photography
Elvert Barnes Wednesday, 23 September 2020 RUTH BADER GINSBURG LIE IN REPOSE @ US Supreme Court Portico / Washington DC docu-project at elvertbarnes.com/23September2020
Elvert Barnes REMEMBERING JUSTICE RUTH BADER GINSBURG docu-project at elvertbarnes.com/RuthBaderGinsburg
//EDC Items
Casio PRG-550
Gerber Dime
Fisher Space Pen
Moleskine Notebook
Sony Xperia TL
Butane Lighter
Bandana
Energizer 1AA Flashlight
5 Gum: Cobalt
Nissan Car Key & Compass
Levi's Wallet:
-$2 & $1 on Paperclip a.k.a Future Makeshift Tension Wrench
-Art of Manliness Benjamin Franklin's Virtues Card
-HPC. Inc. "C" Rake
-Alcohol Prep
-Bandages
-Hairpin
-Toothpick
-Duct Tape
Ontario Rat Model 1
//ITS Skills & Mindsets Representation
Canon 200mm Telephoto Lens: Situational Awareness
550 Paracord: Knots
Zip Ties: E&E
.45 ACP & 9mm: Shooting
//Appreciation
5 of Spades & King of Hearts "Suicide King": 5th Anniversary of ITS Tactical
Graphic Novel: Who is Jake Ellis? by Nathan_Edmonson & Tonči_Zonjić
Spikes and rocks.
Website | Getty Collection | Stocksy Collection | Digitalrev Page | Facebook Page | 500px
Lago Argentino
Los Glaciares National Park, Argentina
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This photo is available for purchase at Buy Me a Coffee
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My entry to Maxine's My BFF 6th Challenge at MySceneHangout.
Maxine said that if there's nothing more important than having a BFF, it's getting along with your BFF's friends. So for the 6th challenge, we were asked to throw a PARTY! She wanted us to invite all our friends and make it the best bash we can think of. Those with the best party pics will win the challenge and be safe for the next one. If your party's a dud then you're out.
I initially dressed up a couple more girls for the party shoot but opted not to include them as they are blocking most of the party props. After the shoot I gobbled of all the marshmallows on this set and ate up half of the miniature "Ube Macapuno (Purple Yam & Sweet Coconut)" cake. I let my mom & dad have a taste of the other half.
Santa's coming to town a little faster this year, thanks to his new Global Entry membership.
You too can enroll by visiting your nearest Global Entry Enrollment Center.
Photos by: Josh Denmark
Church of St John the Baptist, (St John the Baptist Church), Church Lane, Churchill, Winscombe BS25 5QW
Church of St John the Baptist
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1157891
Date first listed: 09-Feb-1961
District:
North Somerset (Unitary Authority)
Parish: Churchill
Diocese of Bath and Wells
National Grid Reference: ST 43729 60239
Details
Anglican parish church. C12 origin, C14 and C15 rebuilding with 1879 restoration. Coursed rubble throughout except west facade of tower which is of squared and coursed dressed stone. Ashlar dressings and copings, dressed stone quoins, lead roof to nave, slates to chancel. Nave, chancel, west tower, north and south aisles, south porch. South aisle has 3-light Perpendicular windows under pointed heads and offset buttressing which develops into crocketted pinnacles at parapet level. Trefoil pierced triangular parapet frieze with fine gargoyles to moulded eaves. South-west embattled polygonal corner stair turret and also north-east corner turret. Chancel has C19 Perpendicular style 2-light windows under flat heads and a 3-light C19 east window. North aisle of 5 bays with 2 and 3-light Perpendicular windows under pointed heads with some C19 renewal. North door. Tower of 3 stages with diagonal buttresses, moulded string courses, north-east polygonal higher corner stair turret with blind panelled embattled cap and pierced quatrefoil lozenge parapet with corner pinnacles and gargoyles. West facade has pointed-arched doorway with C19 window set in it and above, a 3-light C19 window in original C15 surround. Above this at 2nd stage level an aedicule with crocketted canopy and shield below. Bell stage has single light openings and above, 2-light bell openings with densely pierced lozenge panels. South porch has similar parapets to aisles but corner buttresses with face carvings at eaves cornice. Deeply moulded pointed-arched doorway with hoodmould and C19 wrought iron 2-leaf gate. South door is deeply moulded with hoodmould, angel stops and C19 two-leaf plank door. Further doorway to west wall and tie-beam roof set on angel corbels. Benefactions board above south door, 2 mutilated effigies of a woman and knight in armour (C14) along east and west walls. Interior. Nave has 4-bay arcades: C14 with octagonal piers to south, C15 with clustered shafts to north. Restored wagon roof with fine carved bosses. Tower arch of 2 orders with tierceron vault to bell stage. Rood stair and quatrefoil squint to north jamb of chancel arch, further squint on south jamb. C15 chancel arch of 2 orders, C19 barrel vault. Ogee-headed piscina on chancel south-east wall. Aisles have restored tie-beam roofs on angel corbels. Fittings. Nave has C15 pews, some renewed. C13 font bowl with C19 cover. 1909 Perpendicular style pulpit. Painting of the Last Supper over south door. Tower has several wall monuments and royal coat of arms dated 1663. Chancel has fine 1644 monument to Sara Latch. Fragments of medieval glass in 2 north aisle windows, C19 glass in remainder. (N. Pevsner, The Buildings of England : North Somerset and Bristol, 1958)
The marlingspike enters at about 9:00 on the standing part and under 2 strands. Since the tucking strands are in the way, I am following the entry point spiral up to a position that I can enter the spike. Remember that the position of the marlingspike mimics the placement and position of the "tucking" strand. In this case strand # 6.
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.
Contact Christopher Cooke Listing Agent at 1-888 YACHT14 or 615-804-2612 for more information
Asking 1,175,000.00
Accommodations and Layout
Four staterooms, 3 heads, 2 galleys, 3 eating areas, large utility room and numerous options for sitting, lounging, or enjoying the scenery.
Entry is from boarding gates amidships on either port or starboard sides. Portside entry is into the galley. Starboard entry is into an open area leading either straight into the galley, forward to the day head and guest cabins, or aft to the salon, dining area, and master stateroom. Engine, utility, and storage room entry is immediately aft of the landing area upon entering the salon. From this landing area starboardside, stairs lead up to the pilothouse or aft to the expansive aft deck lounge. Sand Pebble offers warm ambiance in her subtle decor. High gloss teak and holly soles throughout, teak cabinetry and trim, natural and custom lighting, fresh ventilation, air conditioning compressors in every room, stand-up head room, generous room sizing, and good taste all lend to a comfortable and inviting home combined with the most seaworthy of ship design and systems.
Salon
Down two steps from the two amidship entry doors, the salon offers a large and comfortable area that is inviting for lounging or entertaining. The full beam salon has spatial division with an entertainment center, bookshelves, and leather couch and chair on the port side and a large dining area on starboard side. A passthrough from the galley makes casual service easy. Attention was given to natural lighting and ventilation. The salon and dining area promote a voluminous feeling of openness and comfort.
Phillips plasma TV
Sony DVD/CD player
Granite bookshelf and cabinet
Teak bookshelves
Coffee table
Custom teak dining table
Leather dinette seats 6
Teak and holly sole
(4) opening ports w/deadlight covers
Abundant stowage
Galley
The brilliantly designed galley assures good ventilation, ease of movement, safety while cooking underway, and all of the conveniences of home. The port and starboard teak dutch doors allow for plenty of fresh air in port or underway in good weather; watertight doors with viewing ports provide for safety ad security when desired. While this "main" galley is located main deck level amidships, there is an additional small galley on the aft lounge deck utilizing propane as a back-up. An additional freezer in the utility room and an entire storage room for provisions enable one to be at sea for many months without the need for island market shopping. There is a full complement of spare small appliances. Storage is abundant with deep cabinets, drawers, and ventilated pantry.
4 burner electric stove
Electric oven
Fisher Paykel SS regrigerator
Fisher Paykel SS freezer
Built-in microwave
Built-in toaster oven
Granite countertop
SS stove backsplash
Double SS sinks
Teak and holly sole
Master Stateroom
The oversized maser stateroom is a spacious suite consisting of a a walkaround bed, exorbitant stowage, large head, and a watertight door leading to an aft deck "patio" and swim platform. There is also a solid teak dutch door at the aft deck as well as a solid teak door at the forward entry to the stateroom. The ensuite head has marble vanity, stand-up shower with teak doors.This stateroom has large separation from the guest cabins and offers a private and luxurious enclave.
King size bed
Phillips DVD/CD AV system
(5) opening ports w/deadlights
Fresh air ports
Weems & Plath clock
Nightstands
Underbed stowage
Underbed mood lighting
Numerous hanging lockers
Numerous cabinets
Numerous drawers
Companionway
Forward of the starboardside entry at the galley is a companionway which houses the laundry center to starboard, guest/day head portside and leads to the 3 guest cabins and 3rd head. The VIP stateroom with queen bed is to port; starboardside guest stateroom has twin bunks and shares a head with the VIP stateroom; the guest cabin foreward has twin bunks and an ensuite head with shower. Each cabin has a large overhead opening hatch which allows for fresh air and natural light as well as serves as an emergency escape hatch. All cabins also have opening ports with deadlights and have individual air conditioning controls. High gloss teak and holly soles throughout.
Siemens washer/dryer
Pantry, cabinets. and stowage
Freshwater Jabsco head
Stand-up shower
Marble countertop
VIP Stateroom
Portside. Roomy and comfortable with good lighting and ventilation.
Queen bed (tapered)
Night stand
Overhead lights
Reading lights
Hanging locker
Drawers
Guest Stateroom
Starboardside. A generous cabin that is warm and comfortable.
Twin over/under berths
Storage cabinet w/ Corian counter
Overhead lights
Reading lights
Hanging locker
Drawers
Forward Stateroom
Foreward cabin serves as a guest cabin or is ideal for crew. Watertight door, collision bulkhead, and lockdown portlights make this entire area a watertight compartment.
Twin over/under berths
Desk/vanity
Overhead lights
Reading lights
Hanging locker
Drawers
Freshwater Jabsco head
Marble countertop
Shower
Utility Room
At the starboard entry into the vessel, from the starboardside of the salon is a soundproof full height door that opens to wide staircase leading to the watertight lead lined utility room and engine room. The utility room is full beam and houses a work station, night generator, cold plate interchangeable refrigerator and freezer, watermaker, and additional equipment. Forward of the utility room through a watertight door is a large storage room with built-in shelves and generous area for bulk storage.
Glycol holding plate refrigerator
Glycol holding plate freezer
850 gpd Watermaker w/ auto backflush (30hrs)
UV water sterilizer
Engine Room
Watertight door aft from the utility room opens to a large, well finished, bright, self-ventilating engine room. The John Deere engines were the last series of mechanical (not electronic) made in the US. The vessel is designed to run off either engine or both. Cruise speed on either continuous duty John Deere is approximately 8.2-8.4 knots. Cruise while running on both engines is 9.2. The difference in fuel consumption is 4.7gph vs 9.4gph at 1800 rpm.. There is twin disc transmission; 2:1 reduction gear. A cooling pump on each engine allows continuous cooling to the off engine. The engines are 20 degrees off centerline that that the handling of the vessel is not compromised while running on a single engine.
Special consideration was given to systems like the air condition and refrigeration. They are operated by continuous duty pool pumps and there are 2 for redundancy. Forethought allows for such things as engine removal with large hatches opening to the master stateroom. The holding tank is a "septic" system holding 250-300 internally macerated gallons and not requiring vents (eliminating odors), but additionally has pumpout capability.
Generous spare parts for engines and gensets including raw water pumps, impellers, zincs.
(2) John Deere 225hp engines (1630 hrs)
AirSeps
Aqualift muffler
Sea Chest
600 gal day tank
Gulf fuel filtration system
Fuel transfer system
2:1 reduction gear
(5) Mermaid reverse cycle AC compressors (7 handlers) + 2 additional compressors
hot water tank (20) gal
Electrical
50 & 60 hz;12 volt house system.
Northern Lights 20kW generator (690 hrs)
Kohler 10kW generator (130hrs)
Heart 2500w inverter
Heart Link interface 2000
4 AGM 250amp house batteries (6/07)
2 AGM 250 amp starting batteries ( 6/07)
AGM 250 amp bow thruster battery (6/07)
Isolation transformer
Ground fault circuit interrupter
Red night lighting at all stairs
Pilothouse
The pilothouse has numerous windows for visibilty and fresh air ventilation. Situated amidships, the pilothouse is accessed from the starboardside main entry, salon, or galley by way of a curved staircase or from a curved staircase from the lower aft deck through the lounge aft deck through a sliding door.
Hydraulic steering
Side Power24 hp bowthruster
Gauge package
FloScan
Raymarine 4kW 24 mi Radar/chartplotter
(2) color screens
C-Maps
AutoNav autopilot
Raymarine Fishfinder
Raymarine GPS
Garmin GPS
Icom VHF M27
Icom SSB M802
Icom VHF handheld
Airchine Signal control
Compaq computer
Acer monitor (new 5/08)
HP printer/fax
EPIRB
Todd helmseat
Leather (real) settee for 4
Leather pilot's berth
Day and night lighting
(4) opening windows
Window defrosters and wipers
Chart table
Chart drawers
Generous stowage
Lilliput Engine room camera
Weems & Plath Clock
Weems & Plath Barometer
Upper Deck/Lounge
Access is from the sliding door to the pilothouse or from the staircase from the aft deck/swim platform. This area, whether for guest entertaining or family use, is surely the focal point in the yacht's exceptional offerings. While the galley serves as a redundant system to the main galley, it offers practical service for alfresco dining. Whether for breakfast watching the sunrise or cocktails at sunset, this area can be used for eating, lounging, or sightseeing purposes. Incredible vantage point, relaxing secluded atmosphere.
Built-in seating for 8-10
Finely crafted teak board shade overhang
High gloss custom teak & holly dinibg table
Overhead lighting
Canvas drop-down curtains
(2) lounge chairs
(3) propane tanks
Microwave
SS sink
Corian countertop
2 burner propane stove
Propane grill
Refrigerator
Cabinets, drawers, stowage
Kitchen service
Sony DVD/CD player
Decks & Hull
Four watertight bulkheads, all main doors are watertight. Portuguese bridge. The spacious foredeck has access to the pilothouse or to the port and starboardside entry doors at the galley. The steel hull (marine grade) is zinc plated. She has an incredible yacht finish due to epoxy fairing, spray painting with a mixture of flat and semi-gloss International paint, sanding, repainting with International, and finally Awlgripped in Wheat color, finished off with a protective clear coat. Stainless steel plating from below the waterline over the bulbous bow to several feet above protects the hull from debris damage. The shaft is steel encased, rudders are skeg protected. Upper deck is for dinghy storage, radar mast, and antennae. The aft deck is accessed from the master stateroom through a teak dutch door or watertight door or from the swim platform. Stairs lead to the upper deck/lounge.
(5) Integral fuel tanks
(4) cross ventilation vents
lightning rod bonded
Remote searchlight
Muir windlass
400' chain
(2) 160lb anchors
(2) SS anchor plates
11' RBI dinghy
Yamaha 15 hp engine (30 hrs)
(2) electric dinghy davits w/ spare motors
Deck boxes
Oversized chocks
Lazarette
8 man life raft
Sunbrella window screens
Sunbrella window covers
Additional Comments
M/V Sand Pebble is 55x20 but her voluminous interior space belies her small ship capabilities. The seakeeping ability of this vessel has been proven in her 25,000 miles of South Pacific cruising. With the knowledge and experience of decades of sailing, the owners were able to customize a proven design for all world cruising comforts. The owners having been professionally in the furniture building business resulted in fine teak cabinetry and joinery including rounded corners and edges and enabled them to add aesthetics and practical design to their bluewater ship. M/V Sand Pebble recently arrived from the South Pacific via Transport ship for the purpose of sale. She is in excellent condition and would be near impossible to replicate; however, duplication in a larger sistership is what the owners plan to do upon sale of their beloved yacht. M/V Sand Pebble is ready to go - anywhere!
I'll find the diary entry before long. Here's memory for now! My first wife, the lovely Julie, and I were 'house sitting' at her parents in Disley and I was (co-incidentally) working a Sunday Ballast train at Disley Station. She came down to the station to say hello and hopefully travel a yard or two with that class 40 that's lurking under the bridge! Harry Jewitt on the right and....help me out guys of the old Guide Bridge, E Kirk?