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==History== |
==History== |
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The mid-nineteenth century in France and Britain saw a rise in the interest in etching. Hamerton had spent the 1860s in France with his French wife, Eugénie. The impetus for the launch of ''The Portfolio'' came in the wake of the foundation in Paris of the Société des aquafortistes in 1862, and to a lesser extent from the longer established [[Etching Club]] from 1838. Etchings by many French etchers such as [[Paul Adolphe Rajon|Paul Rajon]] (1843–1888) and Benjamin Damman (1835–1921) were a marked feature of the publication. ''[[The New York Times]]'' lavished praise on the publication when, in 1875, it remarked that it could not "eulogize too highly the merits of this periodical in all its departments. It is, without question, the most beautiful in regard to illustration which emanates from the press".<ref>'New Publications', ''[[The New York Times]]'', 23 March 1875, p.10.</ref> In a survey of the etching revival in 1878 the ''[[The Magazine of Art|Magazine of Art]]'' highlighted the centrality of Hamerton and his monthly magazine which had "so ably and unceasingly pleaded the cause of etching" in Britain.<ref>[[Marcus Bourne Huish]], 'Etching in England: I', ''Magazine of Art'', 1878, pp.146–48 (148).</ref> |
The mid-nineteenth century in France and Britain saw a rise in the interest in etching. Hamerton had spent the 1860s in France with his French wife, Eugénie. The impetus for the launch of ''The Portfolio'' came in the wake of the foundation in Paris of the Société des aquafortistes in 1862, and to a lesser extent from the longer established [[Etching Club]] from 1838. Etchings by many French etchers such as [[Paul Adolphe Rajon|Paul Rajon]] (1843–1888) and Benjamin Damman (1835–1921) were a marked feature of the publication. ''[[The New York Times]]'' lavished praise on the publication when, in 1875, it remarked that it could not "eulogize too highly the merits of this periodical in all its departments. It is, without question, the most beautiful in regard to illustration which emanates from the press".<ref>'New Publications', ''[[The New York Times]]'', 23 March 1875, p.10.</ref> In a survey of the etching revival in 1878 the ''[[The Magazine of Art|Magazine of Art]]'' highlighted the centrality of Hamerton and his monthly magazine which had "so ably and unceasingly pleaded the cause of etching" in Britain.<ref>[[Marcus Bourne Huish]], 'Etching in England: I', ''Magazine of Art'', 1878, pp.146–48 (148).</ref> |
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A.G.T. [?Alfred George Temple], 'The late Lord Leighton's bedroom, showing the bed on which he died', The Art Journal, December 1896, pp. 364–65 |
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"taste, finish, and fine effect which could be witnessed in almost every other part of the house" |
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Anonymous, ‘House and Studio of F. Leighton, Esq., ARA’, Building News, 9 November 1866, p.747 |
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Anonymous, Building News, 22 December 1876 |
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Adams, M B, Artists’ Homes: A Portfolio of Drawings including the Houses and Studios of Several Eminent Painters, Sculptors and Architects (London: B T Batsford, 1883) |
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Adams, Maurice, 'Sir Frederick Leighton's House and Studio', Building News, 10 October 1880, p.384 |
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Anonymous, ‘Picture Gallery, 2 Holland Park Road’, The Builder, 9 November 1895, p. 336 |
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, The Graphic, 2 June 1888, p.590 |
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Anonymous, 'Sir Frederick Leighton At Home, a chat with the President of the Royal Academy', Pall Mall Budget, 3 July 1890, pp.848–49 |
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Barrington, Emilie, ‘Lord Leighton’s House, and What it Contains’, Magazine of Art, October 1899, pp. 529–34 |
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Brandlhuber, Margot Th. and Michael Buhrs (eds.), In the Temple of the Self: The Artists’s Residence as a Total Work of Art Europe and America 1800–1948 (Munich ; Villa Stuck and Hatje Cantz |
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Bryant, Barbara, ‘An Artist Collects: Leighton as a Collector of Paintings and Drawings’, in Robbins 2010, pp. |
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Butler, Virginia, ‘An Hour at Sir Frederick Leighton’s’, Lippincott’s Monthly Magazine [Philadelphia], vol. 52, (July to December issue), 1893, pp. 463–66 |
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Print after Reynolds, given him by Edward, Prince of Wales: “To Sir Frederick Leighton, from Albert Edward”, pp. 464–65 |
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Droth, Martina, ‘Leighton’s House: Art in and Beyond the Studio’, Journal of Design History, vol. 24, no. 4, 2011, pp. 339–58 |
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Dumas, F G, Modern Artists (1884) |
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Hatton, Joseph, ‘Some glimpses of Artistic London’, Harper’s New Monthly Magazine, November 1883, pp. 828 |
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Haweis, Mary, Beautiful Houses: Being a Description of Certain Well-Known Artistic Houses (London, 1882): “The brown wall is covered with pictures, many if them of great interest, all by men of calibre. Indeed, Sir Frederick Leighton’s collection of pictures is [worthy of] a study in itself. Some Constables, a lovely Mason (the first English scene that Mason painted), and some half-dozen Corots are gems in themselves” p.7 |
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“... an immense picture of Tintoretto’s school, a big bureau, and various drawings by the Old Masters form the chief features. One of the latter is curious, as it seems to be the original draught by Raphael for one of his pictures now in the possession of Lady Burdett-Coutts—at any rate, it is very old, and has been used for tracing purposes, as the pin holes are visible.”p.9 |
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“We pass many pictures deserving longer scrutiny, for the wall is covered with them. A great Sir Joshua, Tintoret, Legros, Watts, a whole gallery of splendid heads ...” p.10 |
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Hind, Lewis, ‘How famous Painters Work: Peeps into their Studios’, Windsor Magazine, January 1896, pp. 539–46 |
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How, Harry, ‘Illustrated Interviews. No. XIV — Sir Frederick Leighton, PRA’, Strand Magazine, July 1892, pp. 126–37 |
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Lang, Leonora, Sir Frederick Leighton: His Life and Work (London: 1884) |
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Meynell, Wilfred, Some Modern Artists and their Work (New York: Cassell & Co., 1883) |
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Price, Julius, My Bohemian Days in London (London: 1914) |
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Robbins, Daniel (ed.), Closer to Home: The Restoration of Leighton House and the Catalogue of the Reopening Displays 2010 (London: Leighton House Museum, 2010) |
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Stephens, Frederick George, Artists at Home, with Photographs by J P Mayall (London: Sampson Low, Marston, Searle & Rivington, 1884) |
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Marion Harry Spielmann, ‘The Late Lord Leighton, PRA DCL LLD’, Magazine of Art, 1896, pp. 197–216 |
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“The blow, long feared, has fallen, and the Royal Academy has lost the greatest of all its Presidents ...” p.197 |
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DCL from Oxford, LLD from Cambridge and Edinburgh, and DLitt from Dublin = Leighton |
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Romola “emphasise the bigness of his power of design” |
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James Ward (1851–1924), ‘Lord Leighton PRA: Some Reminiscences, and an Explanation of the Methods in which the South Kensington Frescoes were made’, Magazine of Art, July 1896, pp.373–78 |
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“... I was making there some measured drawings of Greek vases for Sir Frederick’s picture, The Captive Andromache ...” p.373 |
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“I can remember, on one day in his studio he showed me his portfolio of old masters’ drawings; amongst the latter he had one very fine specimen of Michelangelo’s work. He was particularly proud of this drawing, and remarked that [...] “when you put your hand on this drawing you touch the hand of the master””, pp.373–74 |
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Emilie Barrington (1841–1933) |
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Christie's, London, 14 July 1896 |
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Lot |
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==References== |
==References== |
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Revision as of 19:16, 1 March 2019
 | This article relies largely or entirely on a single source. (September 2018) |
The Portfolio was a British monthly art magazine published in London from 1870 to 1893.[1] It was founded by Philip Gilbert Hamerton and promoted contemporary printmaking, especially etching. Early contributors included Joseph Beavington Atkinson (1822–1886), Francis Turner Palgrave (1824–1897) and Sidney Colvin (1845–1927).
History
The mid-nineteenth century in France and Britain saw a rise in the interest in etching. Hamerton had spent the 1860s in France with his French wife, Eugénie. The impetus for the launch of The Portfolio came in the wake of the foundation in Paris of the Société des aquafortistes in 1862, and to a lesser extent from the longer established Etching Club from 1838. Etchings by many French etchers such as Paul Rajon (1843–1888) and Benjamin Damman (1835–1921) were a marked feature of the publication. The New York Times lavished praise on the publication when, in 1875, it remarked that it could not "eulogize too highly the merits of this periodical in all its departments. It is, without question, the most beautiful in regard to illustration which emanates from the press".[2] In a survey of the etching revival in 1878 the Magazine of Art highlighted the centrality of Hamerton and his monthly magazine which had "so ably and unceasingly pleaded the cause of etching" in Britain.[3]
References
- ^ Hamerton, Philip Gilbert (1870–1893). "The Portfolio: an artistic periodical": 248 no. ISSN 2043-572X.
{{cite journal}}: Cite journal requires|journal=(help)CS1 maint: date format (link) - ^ 'New Publications', The New York Times, 23 March 1875, p.10.
- ^ Marcus Bourne Huish, 'Etching in England: I', Magazine of Art, 1878, pp.146–48 (148).
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