Academy

Law Academy of Philadelphia: Charter, Constitution and By-Laws of the Law Academy of Philadelphia. 1858

Law Academy of Philadelphia. Charter, Constitution and By-Laws of the Law Academy of Philadelphia. Philadelphia: Printed for the Law Academy Only, By King & Baird, 1858. 40 pp. Octavo (9-1/4" x 5-3/4"). Stab-stitched pamphlet in printed wrappers. Some edgewear and a few chips, tiny stain and vertical crease to front wrapper, rear wrapper detached, internally fresh. * With a list of members. The Law Academy of Philadelphia was founded in 1821. Similar to the English Inns of Court, it was an institution that offered forensic exercises, moot courts and lectures by leading practitioners to law students and young attorneys. This pamphlet containing the academy's governing documents was issued several times over the course of the institute's history. All scarce today. OCLC locates 2 copies of the 1858 edition (at U-Penn Law School and the American Antiquarian Society). Another copy located at Cornell University.

Details

Baron, Salo, et al, editors. PROCEEDINGS OF THE AMERICAN ACADEMY FOR JEWISH RESEARCH. vols 46-47 (Jubilee Volume) 1980 New York The Academy

Cloth. large 8vo. 1st edition. In English and Hebrew. "The American Academy for Jewish Research is the oldest of the Jewish studies organizations in North America. The AAJR was organized in the late 1920's, as a cadre of European-born and tranined [sic] scholars began to coalesce in North America. The roster of early leaders of the AAJR constitutes a listing of the first giants of Jewish research in the New World - Salo Baron, Louis Ginzberg, Saul Lieberman, Alexander Marx, Louis Finklestein, Harry Orlinsky, and Harry Wolfson to mention but a few. These scholars and almost all the rest of the AAJR Fellows were very much concentrated in the Northeast Corridor, making New York City the headquarters of the Academy and the locus of its activities. The annual AAJR Sunday meeting, held at the Jewish Theological Seminary of America in late December, was - down through the 1960's - the great occasion in North American Judaic scholarship and the setting in which established and neophyte scholars made important presentations. The Proceedings of the American Academy for Jewish Research was one of the preeminent jounals [sic] on the international Jewish studies scene. The Academy was also active in supporting publication of valuable works. A grant from the Academy meant both financial assistance and the imprimatur of the leaders in Jewish Studies" (Chazan, AAJR.org). Very Good Condition in cardboard slipcase. (SPEC18-9)

[SW: Judaica Jews Jewish Judaism Jewry Juden Judisch Religion Religious European Europa Juif Juives]

Details

George Paul Chalmers (1833 in Montrose - 1878 in Edinburgh): "Beim Kunsthändler" originales Gemälde, Öl auf Malpappe ca. 19x25cm; rechts unten signiert; um 1870 [Maße im dekorativen Rahmen 28x35cm.]

George Paul Chalmers (1833-1878) was born, on the 12th of November, 1833, in Montrose, the son of Stewart Chalmers and Mary Torrie. Following his education at Montrose he was apprenticed to a ship's chandler. However the work was not to Chalmers liking and, in 1853, he moved to Edinburgh to pursue his love of art at the Trustees' Academy in Edinburgh, then directed by Robert Scott Lander. While there he studied the old masters by copying them from those displayed in the National Gallery of Scotland in Edinburgh. He developed an interest in the works of Rembrandt, Turner, Velazquez, and Veronese. Chalmers was a perfectionist, he would never be satisfied with his works of art. He admitted that he would often continue to work on a piece far beyond the point at which it had reached ist best. At other times he would leave the work unfinished after suffering from one of his frequent fits of depression. George Chalmers was among a group of extremely talented Scottish artists who studied at the Trustees' Academy of Edinburgh under Robert Scott Lauder. Because of their varying styles and techniques the group was never refered to as a "school" of painters but they excelled in their use of colour and use of textures.Chalmers was heavily influenced by Lauder but also by his favoured artists, especially Rembrandt. George Paul Chalmers George Paul Chalmers - A Famous Scottish Artist "The Angus Rembrandt" George Paul Chalmers (1833-1878) was born, on the 12th of November, 1833, in Montrose, the son of Stewart Chalmers and Mary Torrie. Following his education at Montrose he was apprenticed to a ship's chandler. However the work was not to Chalmers liking and, in 1853, he moved to Edinburgh to pursue his love of art at the Trustees' Academy in Edinburgh, then directed by Robert Scott Lander. While there he studied the old masters by copying them from those displayed in the National Gallery of Scotland in Edinburgh. He developed an interest in the works of Rembrandt, Turner, Velazquez, and Veronese. Chalmers was a perfectionist, he would never be satisfied with his works of art. He admitted that he would often continue to work on a piece far beyond the point at which it had reached ist best. At other times he would leave the work unfinished after suffering from one of his frequent fits of depression. George Chalmers was among a group of extremely talented Scottish artists who studied at the Trustees' Academy of Edinburgh under Robert Scott Lauder. Because of their varying styles and techniques the group was never refered to as a "school" of painters but they excelled in their use of colour and use of textures.Chalmers was heavily influenced by Lauder but also by his favoured artists, especially Rembrandt. Chalmers is best known for his wonderful landscapes and portraits which include "The Legend" which he painted in 1864 and kept in his possession (pictured to the right - click to enlarge) and became his most well known work. Following Chalmers death it was purchased by the Association for the Promotion of Fine Arts Scotland for 500 guineas and can now be viewed at the National Gallery in Edinburgh. He was described by Mr. Charles Carter, a former director of the Aberdeen Art Gallery, as the "Angus Rembrandt". George Paul Chalmers George Paul Chalmers - A Famous Scottish Artist "The Angus Rembrandt" George Paul Chalmers (1833-1878) was born, on the 12th of November, 1833, in Montrose, the son of Stewart Chalmers and Mary Torrie. Following his education at Montrose he was apprenticed to a ship's chandler. However the work was not to Chalmers liking and, in 1853, he moved to Edinburgh to pursue his love of art at the Trustees' Academy in Edinburgh, then directed by Robert Scott Lander. While there he studied the old masters by copying them from those displayed in the National Gallery of Scotland in Edinburgh. He developed an interest in the works of Rembrandt, Turner, Velazquez, and Veronese. Chalmers was a perfectionist, he would never be satisfied with his works of art. He admitted that he would often continue to work on a piece far beyond the point at which it had reached ist best. At other times he would leave the work unfinished after suffering from one of his frequent fits of depression. George Chalmers was among a group of extremely talented Scottish artists who studied at the Trustees' Academy of Edinburgh under Robert Scott Lauder. Because of their varying styles and techniques the group was never refered to as a "school" of painters but they excelled in their use of colour and use of textures.Chalmers was heavily influenced by Lauder but also by his favoured artists, especially Rembrandt. Chalmers is best known for his wonderful landscapes and portraits which include "The Legend" which he painted in 1864 and kept in his possession (pictured to the right - click to enlarge) and became his most well known work. Following Chalmers death it was purchased by the Association for the Promotion of Fine Arts Scotland for 500 guineas and can now be viewed at the National Gallery in Edinburgh. He was described by Mr. Charles Carter, a former director of the Aberdeen Art Gallery, as the "Angus Rembrandt". In 1867 he was elected an associate member of the Royal Scottish Academy and in 1871 he became a full member of the RSA. George Paul Chalmers died on 16 February 1878, at the Royal Infirmary of Edinburgh. Chalmers had been taken there, badly wounded and heavily concussed, following a violent attack near Charlotte Square. [Virtual Scotland]

[SW: Kunsthändler Kunstsammler Galerie Sammler Gemälde Händler painting art collector]

Details

Valentine, Helen [editor]: Art in the Age of Quenn Victoria. Treasures from the Royal Academy of Arts, London: Royal Academy of Arts, 1999. ISBN: 0900946695
Illustrierter Originalkartonband in sehr gutem Zustand. Namenszug auf Vorsatz geschwärzt. Texte in englischer Sprache. - For most of the reign of Queen Victoria, the Royal Academy of Arts led the British art world. Two of its Presidents were also Directors of the recently established National Gallert', and, in 1869, the Academy moved to its current home at Burlington House in London's Piccadilly. Here the public crowded the Annual Summer Exhibition and the Winter Loan Exhibitions of works by Old Masters and British artists including Sir Edwin Landseer, known for his animal paintings, the Pre-Raphaelite artist Sir John Everett Millais and High Victorian Classicists Sir Edward Poynter and Frederic, Lord Leighton. The works of art deposited with the Royal Academy by each Member elected to full Academician Status present a vivid record of contemporary taste. This handsome catalogue illustrates nearly 80 Victorian paintings and sculptures from the Permanent Collection and celebrates the artists and the subjects so lauded in their own day. These range from idealised nudes and scenes from mythology, biblical subjects and genre scenes illustrating contemporary uroral issues, to costume portraits, the search for the exotic and landscapes and seascapes. The artists who created These works include Edwin Austin Abbey, Sir Lawrence Alma-Tadema, William Powell Frith, David Roberts and George Frederic Watts. An opening essay by the eminent Victorian specialist Juliau Treuherz provides a lively introduction to the art of the period. This is complemented by chapters by senior curators of the Academy: MaryAnne Stevens writes on the role of the Royal Academy at this time, and Helen Valentine on the special place of its Schools. lt closes with biographies on each of fhe artists which are illustrated with contemporary photographs. The catalogue is organised by genre of painting or sculpture, with each section accompanied by a short introduction by one of the curators. (Klappentext) , ISBN-13: 9780900946691

167 Seiten, mit zahlreichen überwiegend farb. Abbildungen, 4°, kartoniert.

[SW: Kunst. Bildende Kunst. Malerei. Kunstgeschichte. Kunstwissenschaft. Victorian art.]

Details