View allAll Photos Tagged unsigned
The Maine at Sea
Oil on canvas
Image measures 12" x 18", unsigned. In a gilt wood frame, 15" x 21" overall.
Anonymous copy after painting by Frederick Nelson Atwood.
My thanks to Flirkr member rcaustintx for identifying this as a painting of the battleship Maine!
About Frederick Nelson Atwood:
Born 1844 in Barnstable, Provincetown, Massachusetts
Died before 1900
FN Atwood descended from the Atwood family, one of the first groups of settlers in Barnstable, Massachusetts. His grandfather was a mariner and his own father was a fisherman who died when he was nine years old. His mother remarried and it is believed he spent a good portion of his youth around Edgecomb, Maine.
By profession he was an interior decorator painter. Atwood descendants still have samples of decorating designs used to show potential customers. The 1880 Boston Directory said he was "of Kennebunk, Maine" with a Boston street address. Maine was the area that inspired him to paint the coastline, shipwrecks and ships using mainly gouache watercolor and some oils. It is believed he was a self-taught painter and he also took a great interest in invention. Family descendants also have portfolios of early flying machine designs or prototypes.
His most well known work is the gouache watercolor painting of the USS Maine painted in 1895. It currently hangs in the Naval Historical Center in Washington DC. His painting of the USS Chicago, bought by the Naval Art Museum at the same time, has been missing since 1985, with the last known whereabouts being an office at the Pentagon.
In 1999, Mr. Frank Sente published an article in American Philatelist citing the painting of the USS Maine as the basis for the "Battleship" revenue tax stamp that was used to raise funds for the Spanish American War in 1898.
According to An Overview of US Scott Listed Revenue Stamps by Bob Hohertz, when the Tax Act of 1898 was passed to help finance the Spanish American War there was not much time to put together the necessary stamps before its effective date. As a result, provisional overprints on postage stamps were prepared, R 153 - 160. The series of low values of the regular issue bore the picture of a battleship, R161-172, while higher values featured Commerce and portraits, R173-194. These were used until 1902. Another series RB 20-31 Proprietary stamps used the same image.
In 1898, the painting of the Maine was copyrighted by Chicago businessman Brigadier General Harris A Wheeler, and reproduced as Spanish American war memorabilia with the result that this painting was probably one of the most extensively used as a representative of the Spanish American War theme of "Remember the Maine". A July 27, 2003 auction at Thomaston Auctions sold a type of Folk Art memorabilia of the USS Maine in oil on tin with the American flag and the words "Union forever" for $475.
He has been known to sign his works as FNA as well as FN Atwood and in some instances may be unsigned.
A journal and letters dated between 1862 and 1870 have been discovered and the journal is presently held by The Museum of Flight in Seattle, Washington.
The letters confirm the previous thinking that FNA was a decorator painter working for architects based mainly in and around the Chicago area during the boom building era of 1880 and 90's. In between jobs he painted pictures in oil and watercolor that he sold to supplement his income. He also took any other kind of work in design and advertising he could find. The Airship was a personal passion and his designs show an advanced thinking on the subject of propelled airflight that pre dates Wright Brothers.
One of the main reasons he left Boston for Chicago was because of a woman. It seems he was a ladies man all the way and nearly neglected to divorce one before marrying another. By the time he was in his 30's he had about 7 children with three different women. 2 of them took him to court, one claimed bigamy (case dismissed) and another for support (they were never really married, but had 2 children).
About the Maine:
USS Maine (ACR-1) was an American naval ship that sank in Havana Harbor during the Cuban revolt against Spain, an event that became a major political issue in the United States.
Commissioned in 1895, this was the first United States Navy ship to be named after the state of Maine.[a][1] Originally classified as an armored cruiser, she was built in response to the Brazilian battleship Riachuelo and the increase of naval forces in Latin America. Maine and her near-sister ship Texas reflected the latest European naval developments, with the layout of her main armament resembling that of the British ironclad Inflexible and comparable Italian ships. Her two gun turrets were staggered en échelon, rather than on the centerline, with the fore gun sponsoned out on the starboard side of the ship and the aft gun on the port side,[2] with cutaways in the superstructure to allow both to fire ahead, astern or across her deck. She dispensed with full masts thanks to the increased reliability of steam engines by the time of her construction.
Despite these advances, Maine was out of date by the time she entered service, due to her protracted construction period and changes in the role of ships of her type, naval tactics and technology. It took nine years to complete, and nearly three years for the armor plating alone.[2] The general use of steel in warship construction precluded the use of ramming without danger to the attacking vessel. The potential for blast damage from firing end on or cross-deck discouraged en échelon gun placement. The changing role of the armored cruiser from a small, heavily armored substitute for the battleship to a fast, lightly armored commerce raider also hastened her obsolescence. Despite these disadvantages, Maine was seen as an advance in American warship design.
Maine is best known for her loss in Havana Harbor on the evening of 15 February 1898. Sent to protect U.S. interests during the Cuban revolt against Spain, she exploded suddenly, without warning, and sank quickly, killing nearly three quarters of her crew. The cause and responsibility for her sinking remained unclear after a board of inquiry investigated. Nevertheless, popular opinion in the U.S., fanned by inflammatory articles printed in the "yellow press" by William Randolph Hearst and Joseph Pulitzer, blamed Spain. The phrase, "Remember the Maine! To hell with Spain!", became a rallying cry for action, which came with the Spanish–American War later that year. While the sinking of Maine was not a direct cause for action, it served as a catalyst, accelerating the approach to a diplomatic impasse between the U.S. and Spain.
The cause of Maine's sinking remains a subject of speculation. In 1898, an investigation of the explosion was carried out by a naval board appointed under the McKinley Administration. The consensus of the board was that Maine was destroyed by an external explosion from a mine. However, the validity of this investigation has been challenged. George W. Melville, a chief engineer in the Navy, proposed that a more likely cause for the sinking was from a magazine explosion within the vessel. The Navy's leading ordnance expert, Philip R. Alger, took this theory further by suggesting that the magazines were ignited by a spontaneous fire in a coal bunker.[3] The coal used in Maine was bituminous coal, which is known for releasing firedamp, a gas that is prone to spontaneous explosions. There is stronger evidence that the explosion of Maine was caused by an internal coal fire which ignited the magazines. This was a likely cause of the explosion, rather than the initial hypothesis of a mine. The ship lay at the bottom of the harbor until 1911. A cofferdam was then built around the wreck.[4] The hull was patched up until the ship was afloat, then towed to sea and sunk. The Maine now lies on the sea-bed 3,600 feet (1,100 m) below the surface.
en.wikipedia.org/wiki/USS_Maine_(ACR-1)#1998_National_Geographic_investigation
Dorothea McCoy (1897-1967) was an Oakland artist. Her work was generally landscapes, focusing on East Bay and Contra Costa scenes. These works are some of her unsigned art from her studio at the time of her death.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned mural on the Isaac Minor Alley side of the AMPT Skate Shop, Arcata. There are suggestions that it was painted by Yurok artist Alme Allen, but that needs to be confirmed.
1040 H St, Arcata
IMG_1508_SOOC
Unsigned traditional painting, early 20th century, Museum of International Folk Art, on Museum Hill - Santa Fe, New Mexico.
Info: The core collection, donated by museum founder Florence Dibell Bartlett, from 34 countries has grown to over 130,000 objects from more than 100 countries. > www.internationalfolkart.org/
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Caption Contest: Name This Unsigned SXSW Band
photo by Scott Beale / Laughing Squid
This photo is licensed under a Creative Commons license. If you use this photo within the terms of the license or make special arrangements to use the photo, please list the photo credit as "Scott Beale / Laughing Squid" and link the credit to laughingsquid.com.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
This unsigned floral artwork is thought to be noted botanical artist Clarissa Munger Badger's early work. Learn more about Clarissa at madisonhistory.org/key-figures/clarissa-munger-badger/. It was displayed on the wall of the East River Reading Room, which was co-founded by the artist's sister Caroline Munger Washburn.
2018.016.003b
See more of Clarissa's artwork at flic.kr/s/aHskGqv2x4.
See other Reading Room images at flic.kr/s/aHskEtnmBa.
(Photo credit Bob Gundersen www.flickr.com/photos/bobphoto51/albums)
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Syracuse. Decadrachm unsigned work by Kimon circa 404-400, AR 43.42 g. Fast quadriga driven l. by charioteer, holding reins and kentron; in field above, Nike flying r. to crown him. In exergue, display of military harness set on two steps and beneath, ΑΘΛΑ. Rev. ΣΥΡΑ[ΚΟΣΙ]ΩN Head of Arethusa l., wearing earring with pendant and beaded necklace; wavy hair bound in front with ampyx and caught up behind by net. Around three dolphins, while a fourth makes dorsal contact with neck truncation. Regling, Syrakus 11c (this coin). Seltman, Greek Coins, pl. 24, 1 (this coin). Rizzo pl. L, 6 (this obverse die). Gulbenkian 307 (these dies). Mildenberg, Essays Kraay-Mørkholm, pl. XLIV, 11 (these dies). Jongkees 11c (this coin).
Very rare. A spectacular specimen of this important and desirable issue. Struck on
a very broad flan and exceptionally complete. Of superb Classical style
and with an enchanting old cabinet tone. Good extremely fine
Ex Hirsch XXXIV, 1914, 196; Naville V, 1923, 112; Ars Classica XIII, 1928, 337; CNG 50, 1999, 509 sales and Nomos FPL 2012, 5.
NAC100, 100
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Sicily, Syracuse. Decadrachm, unsigned work by Euainetos, circa 400 BC, AR 43.33 g.
Description Fast quadriga driven l. by charioteer, holding reins and kentron; in field above, Nike flying r. to crown him. In exergue, display of military harness set on two steps and below l., [AQLA]. Rev. SU – R – A - K – OSIWN Head of Arethusa (Kore-Persephone) l., wearing barley-wreath, triple pendant earring and beaded necklace; around three dolphins, while a fourth makes dorsal contact with neck truncation. Below chin, pellet. References
Rizzo pl. LIII, 18 (these dies)
SNG Lloyd 472 (this obverse die)
Dewing 923 (this obverse die)
Gallatin J.V/R.XXII, 4 (this coin) Condition
A spectacular specimen of this prestigious and important issue. A wonderful portrait struck in high relief on exceptionally fresh metal. Good extremely fine Provenance
Rollin & Feuardent sale 10 May 1910, Duruflé collection, 214
Leu sale 54, 1992, 42
Gemini sale IX, 2012, 5
Roma Numismatics sale 5, 2013, 132
The Ed Milas collection.
Both his contemporaries and successors regarded Euainetos as the ultimate master. No work of ancient coinage has been copied over a longer period or more frequently than his signed Syracusan decadrachm. Most Siculo-punic issues replicate the chariot and team, as well as the head on the obverse. The female head in particular must have made an unusually deep impression on the ancients, appearing not only on gold and electrum Carthaginian issues, but also on many 4th and 3rd century B.C. coins from sites as geographically disparate as Spain and Crete. In the 3rd century B.C., the head even served as the model for the tondo on varnished Greek bowls. From copyists’ embellishments of corn-ears and stalks, we can only assume that they interpreted Euainetos’ female head as an effigy of Kore-Persephone. Most researchers have nonetheless interpreted the work as representing Arethusa, in which case the corn ears are out of place, although reeds of similar appearance would have fitted in very well. Such long-lasting impact and exceptional ubiquity is nevertheless understandable only in the context of a much-revered goddess, certainly not a local nymph.
NAC96, 1026
The (unsigned) floral department is located in line with the checkouts in the front right-hand corner of the store. Despite its island layout, it's fairly large, especially compared to the norm for QFCs. (Safeway pretty much always has an excellent floral department, though it's gone downhill a little bit since the Albertsons merger. QFC, not so much...)
In the far background, the kids' play area can be seen, with its "Quality Fun Center" sign. This concept came from Fred Meyer, which has play areas in nearly all of its stores, but this is the only one I've seen in a QFC.
Unsigned
Oil on board
3 1/16" x 5"
This small piece was hanging in Frank's former beach house when his father bought it in 1942. The previous owners, fearing a Japanese invasion of the Washington coast, had fled to Walla Walla, selling everything lock, stock and barrel.
If you follow early Pacific Northwest painting, eventually you will encounter the works of Eliza Barchus. I admire Eliza Barchus immensely because she was a self-made entrepreneur in the late nineteenth and early twentieth century in a field that was dominated by men. I also love her style because it is unique and runs counter to conventional tastes in art.
This painting is very typical of her style.
At first, I didn't get the skies in her pieces. I suppose she must have painted a blue sky once or twice, but they're often the weird shade of grey seen here. Are we really on Planet Earth?
Well, now that I've lived with a view of Mt. Hood for a while, I can say that it often does look like this late in the afternoon when seen from Portland.
The piece isn't signed, but I don't know enough about Barchus's work to say whether or not that's unusual.
Wikipedia says Barchus "produced thousands of works of various sizes in an 'assembly-line' style that was effective but sometimes criticized."
You see, Barchus was a widow, and she really did have to make a living to support herself and her family. She didn't have family wealth and position to fall back on. So it wouldn't surprise me if this is indeed one of hers, perhaps sold at the "B. B. Rich cigar and souvenir concession at the Portland Hotel."
The curved horizontal streaks in this photo are hardly noticeable in real life. They look like they could be scratches, but I think they're actually traces of a surface coat Barchus applied before the pieces left her studio.
Wikipedia recaps Barchus's life and works as follows:
Eliza Barchus (December 4, 1857 – December 31, 1959) was a prolific, prize-winning landscape painter who lived in Portland in the U.S. state of Oregon for most of her life.
Born in Salt Lake City, Utah, Barchus moved to Portland in 1880. After taking art lessons from another landscape painter, Will S. Parrott, Barchus sold her first painting in 1885.
Between then and 1935, she produced thousands of oil paintings and reproductions of subjects such as Mount Hood, Yellowstone Falls, Muir Glacier, and San Francisco Bay.
Barchus, who had won medals at Mechanics Fairs in Portland in the late 1880s, drew national attention in 1890, when one of her large canvases of Mount Hood was displayed at the National Academy of Design exhibition in New York City. In 1901, several of her works were shown at the Pan-American Exposition in Buffalo, New York, and in 1905 she won a gold medal at the Lewis and Clark Centennial Exposition in Portland for oil paintings of Pacific coast scenery.
Widowed in 1899, Barchus supported herself and her family for decades largely by selling or trading her art. Several years after her death at age 102, the Oregon Legislative Assembly named her "The Oregon Artist". Many art collections in Portland and elsewhere include examples of her work.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned humble copy of dutch artist Carel Fabritius - just for my own study. There are some paintings in history that fascinate me. Goldfinches were often kept and trained as household pets and I believe this was the case for this one, as he was chained to the mailbox. This work may have been in Carel Fabritius's home in Delft at the time of a gunpowder explosion that killed him and destroyed much of the city (I am reading more about that now). After this, the painting was lost for more than two centuries before its rediscovery in Brussels. It is now in the collection of the Mauritshuis in The Hague, Netherlands. It was restored in 2003. I had a few hours today before the holiday whirlwind begins, so I painted this for myself. Apparently, gunpowder was stored in barrels in a former convent and the cause of the explosion is unknown.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.