Mark Masons' Hall in London is the headquarters of The Grand Lodge of Mark Master Masons of England and Wales, which is also responsible for the Royal Ark Mariner degree. It is located in 86 St James's Street in the central London district of St James's, opposite St James's Palace. While Freemasons' Hall is the headquarters of the United Grand Lodge of England and the Supreme Grand Chapter of Royal Arch Masons of England, Mark Masons' Hall is the home of several other important appendant orders of Freemasonry in England and Wales.
Ли́бигхаус — вилла конца XIX века, расположенная на набережной музеев вдоль реки Майн во Франкфурте. С 1909 года здесь находится музей скульптуры — «Городская галерея „Либигхаус“». Вилла построена в 1896 году по проекту мюнхенского архитектора Ромайса Леонардо как резиденция барона Генриха фон Либига , крупного текстильного фабриканта. В 1907 город выкупил здание, после чего разместил здесь коллекцию скульптуры. Музей открылся в 1909 году, его первым директором стал Георг Сворзенски — он же и начал формировать коллекцию. В 2009 году была закончена реконструкция здания, приуроченная к 100-летнему юбилею музея. Музей располагает коллекцией древнегреческой, римской, древнеегипетской скульптуры, произведениями из Восточной Азии. Собрание скульптуры также охватывает периоды европейского Средневековья, барокко, ренессанса, классицизма. Коллекция была сформирована в основном благодаря частным пожертвованиям и закупкам на международных рынках, поэтому в ней сравнительно мало экспонатов, связанных с Франкфуртом и его историей. Иногда проводит персональные и тематические выставки произведений современного искусства.
Leeds City Museum, originally established in 1819, reopened in 2008 in Leeds, West Yorkshire, England. It is housed in the former Mechanics' Institute built by Cuthbert Brodrick, in Cookridge Street , which has been redeveloped to a design by Austin-Smith:Lord architects and Buro Happold engineers. Gallery and exhibit design is provided by Redman Design. It one of nine sites in the Leeds Museums & Galleries group. Admission to the museum is free of charge. Special exhibitions are hosted alongside a collection of displays from the Leeds Archive.
Золотурнский художественный музей
Золотурнский художественный музей — художественный музей в швейцарском городе Золотурне, одно из наиболее значимых культурных учреждений города. Основан в 1902 году как «Музей искусства и науки», и поначалу в нём помимо художественного отдела работал естественно-исторический отдел. В 1970-е годы на основе естественно-научной коллекции был переведён в самостоятельный Музей природы. В музейном саду сохранилось несколько экзотических деревьев, в том числе секвойя. Наиболее известным экспонатом Золотурнского музея является работа Ганса Гольбейна Младшего, так называемая «Золотурнская мадонна». Музей также располагает представительной коллекцией работ швейцарских скульпторов и произведений современного швейцарского искусства.
Художественный музей Бонна — художественный музей в городе Бонн , открытый в 1989—1992 годах и расположенный на городской «Музейной миле», рядом с Федеральным выставочным залом; один из крупнейших музеев современного искусства в Германии, с коллекцией в 7500 произведений; здание было спроектировано берлинским архитектором Акселем Шультесом. Известен собрание работ художника Августа Макке и рейнских экспрессионистов, а также — коллекцией немецкого искусства, созданного после 1945 года .
Knightshayes Court is a Victorian country house near Tiverton, Devon, England, designed by William Burges for the Heathcoat-Amory family. Nikolaus Pevsner describes it as "an eloquent expression of High Victorian ideals in a country house of moderate size." The house is Grade I listed. The gardens are Grade II* listed in the National Register of Historic Parks and Gardens.
The Kelham Island Museum is an industrial museum on Alma Street, alongside the River Don, in the centre of Sheffield, England. It was opened in 1982.
Колледж Иисуса — один из колледжей Оксфордского университета. Основан в 1571 году королевой Елизаветой I. Находится в центре города. В настоящее время насчитывает до ста членов и лекторов и более 500 учащихся . Поддерживает тесные связи с Уэльсом. С 1974 года разрешён приём женщин. Среди видных воспитанников колледжа Лоуренс, Томас Эдвард, лидер лейбористской партии и премьер-министр Великобритании в 1964—1970 и 1974—1976 гг. Вильсон, Гарольд, главный министр Ямайки с 1955 по 1962 год Мэнли, Норман. Робертс, Льюис Эдвард Джон, известный британский химик-ядерщик.
Художественный музей Джеймса Миченера
Художественный музей Джеймса Миченера — художественный музей в Дойлстауне недалеко от Филадельфии. Основан в 1988 году и назван в честь американского писателя и мецената, лауреата Пулитцеровской премии Джеймса Миченера, уроженца Дойлстауна. В музее, в частности, представлена коллекция живописи Пенсильванского импрессионизма, художественного направления начала XX века. Здесь находится экспозиция Мемориальная комната Дж. Миченера, где представлены его книги, пишущая машинка и другие памятные экспонаты, принадлежавшие писателю.
Hackney Museum is a local history museum located in the London Borough of Hackney. Amongst other aspects of the Hackney area, the museum explores the history of immigration.
Gunnersbury Park is a park in the London Borough of Hounslow between Acton, Brentford, Chiswick and Ealing, West London, England. Purchased for the nation from the Rothschild family, it was opened to the public by Neville Chamberlain, then Minister of Health, on 21 May 1926. The park is currently jointly managed by Hounslow and Ealing borough councils. A major restoration project funded by the Heritage Lottery Fund was completed in 2018. The park and garden is Grade II listed.
Winchester Guildhall is a municipal building in the High Street, Winchester, Hampshire. It is a Grade II listed building.
The Glynn Vivian Art Gallery is the public art gallery of the City and County of Swansea, in Wales, United Kingdom. The gallery is situated in Alexandra Road, near Swansea railway station, opposite the old Swansea Central Library.
The Frye Art Museum is an art museum located in the First Hill neighborhood of Seattle, Washington, USA. The museum emphasizes painting and sculpture from the nineteenth century to the present. Its holdings originate in the private collection of Charles and Emma Frye. Charles, owner of a local meatpacking plant, set aside money in his will for a museum to house the Fryes' collection of 232 paintings. The Frye Art Museum opened to the public in 1952 as Seattle's first free art museum. The museum building was originally designed by Paul Thiry, although it has since been considerably altered.Charles Frye's will required that the majority of the Fryes' own collection continue always to be on view in rooms of a certain size; stipulations were also made about lighting conditions and specifically concrete floors . He also required that admission always be free. These conditions were enough to keep the Seattle Art Museum from being interested in his collection.The Fryes' collection consisted entirely of representational works, with a tendency toward "the dark, the dramatic, and the psychological" rather than "the genteel". The museum's permanent collection reflects Charles Frye's relatively conservative artistic tastes, and the museum continued to be dedicated exclusively to representational art, both in its acquisitions and its exhibits. This conservatism reflected the artistic and social values of its first director, Walser Greathouse and of his even more conservative widow and successor Ida Kay Greathouse, who ran the museum until 1993.However, exhibitions under new, professional management in recent years have been far more venturesome, eliciting comparisons to Seattle's Henry Art Gallery. Exhibitions in recent years have included "Subspontaneous: Francesca Lohmann and Rob Rhee," featuring sculptures involving natural forces and ecological growth, "Agnieszka Polska: Love Bite," and "Unsettling Femininity: Selections from the Frye Art Museum Collection." The museum often redeploys its permanent collection, experimenting with exhibiting it in different arrangements. In 2018, the museum had 109,249 total attendees and a membership base of 2,383.In 2020, amid the COVID-19 pandemic, the museum temporarily closed for in-person visits and now offers online art viewing and educational opportunities through the Frye From Home program. On August 28, 2020, the museum announced its expectation to reopen for in-person visits in October 2020.
Stefano Bardini was an Italian connoisseur and art dealer in Florence who specialized in Italian paintings, Renaissance sculpture, cassoni and other Renaissance and Cinquecento furnishings and architectural fragments that came on the market during the urban regeneration of Florence in the 1860s and 70s.Trained as a painter and expert copyist at the Accademia di Belle Arti Firenze from 1854, Bardini received increasing commissions as a restorer and expanded into selling works of art from 1870 onwards. Working as a restorer Bardini, who successfully removed some Botticelli frescoes from the Villa Lemmi, was commissioned to remove the frescoes commissioned by Jakob Salomon Bartholdy from several of the German Nazarene circle of painters from Casa Bartholdy, Rome, which had been purchased by Berlin, in 1886–87. His esthetic, barely distinguishable restoration of Simone Martini's Saint Catherine of Alexandria, now in the National Gallery of Canada, has been examined as an outstanding example of the seamless restorations that his generation preferred.Many well-known works of Renaissance art bear a Bardini provenience. The National Gallery of Art, Washington DC, has some twenty works that passed through his hands, notably the Benedetto da Maiano Madonna and Child, the Bernardo Daddi Saint Paul and the Portrait of a Youth by Filippino Lippi. The Metropolitan Museum of Art conserves eight paintings that Bardini once owned, including Veronese's Boy with a Greyhound, and Giovanni di Paolo's Coronation of the Virgin from the Robert Lehman collection, as well as the baroque portrait bust of Ferdinando de' Medici by Giovanni Battista Foggini and an eagle lectern by Giovanni Pisano. Bardini's connections with Bernard Berenson resulted in several of Bardini's purchases finding their way to the Isabella Stewart Gardner Museum, Boston, where Berenson was the guiding light; among them are two North Italian Romanesque stylobate, column-supporting lions and a basin, purchased from Bardini in 1897. The much-damaged marble of a curly-haired youth from the Borghese collection, employed by Stanford White as a fountain figure in the Payne Whitney house at 972 Fifth Avenue, New York City, which remained in situ as the house was bought for the French Cultural Services, then made headlines in 1996 when it was attributed as a youthful work of Michelangelo. belonged to Bardini, Stanford White's mainstay in Florence for panelling, paintings and sculpture and Renaissance furnishings, who supplied White with two 16th-century wooden ceilings reinstalled in Whitney's palazzo among the caseloads of works of art he shipped across the Atlantic to White. In the decades after 1860 he was also responsible for the transformation of many painted cassone panels that had been previously removed from the furniture, which was considered valueless, by creating new carved and part gilded walnut cassoni in the pristine condition that was required of furniture for grand houses. Of such cassoni, the quantity that came onto the market were astonishing: the German art historian Paul Schubring was shown an outbuilding, probably at Bardini's Torre del Gallo, that consisted of a single room in which he counted some 200 cassoni. The archives of the Museo Bardini make it clear that the free restorations and adaptations and imitations sold by Bardini were not misattributed; "confusion set in only half a century later when the heirs of the original owners came to sell the pieces," Ellen Callmann observes. Not all Bardini's cassoni were heavily restored: the famous cassone painted with The Conquest of Trebizond from Palazzo Strozzi, with Strozzi armorial bearings, one of the minority of cassone panels remaining integral to its cassone, is conserved at the Metropolitan Museum of Art.In 1881 Bardini acquired the deconsecrated church and convent of San Gregorio facing piazza dei Mozzi in the Oltrarno and set about transforming it into his opulent residence and restoration studio, Palazzo Bardini, now housing the Museo Bardini, with his collections of paintings, sculpture, most notably a marble Charity by Tino da Camaino, 15th- and 16th-century Italian furniture, ceramics, tapestry, arms; stringed and keyboard musical instruments, including one of only two surviving oval spinets by Bartolomeo Cristofori; Roman and Etruscan antiquities and 15th- and 16th-century architectural fittings, including paneled and painted ceilings, chimneypieces and door surrounds. His example inspired his most successful protégé, Elia Volpi, to purchase and freely restore Palazzo Davanzati in the heart of Florence, and fill it with a similar range of art. Bardini's extensive connections among impecunious patricians and with dealers and restorers opened many avenues for acquiring works of art. Works of art from the Giampietro Campana collection, dispersed in 1858, later passed, probably indirectly, through Bardini's hands. In 1892 Bardini was commissioned to oversee the dispersal of a major part of the Borghese Collection in Rome. In the spring of 1892 Bardini prepared a lavish catalogue for an auction sale of pieces from his own collection, held at Christie's.In 1902 he purchased the Torre del Gallo at Pian de' Giullari, in the hills of Arcetri, on top of a ridge with a panoramic view over the city. There he undertook neo-medieval restorations that were carried out between 1904 and 1906. In winding down his activities, Bardini organized a sale in New York in 1918 that dispersed his sculpture and furniture into American private collections, and which eventually came to American museums. Among the works was a polychromed terracotta of the Virgin and Child that remains firmly attributed to Donatello, "in the small class of autograph Donatello reliefs", as John Pope-Hennessy observed. Lot 427 in the sale was of two Polyclitan marble fragments, a Diadoumenos torso associated with a head possibly of Hermes, both fine Roman copies: they are now in the Walters Art Museum, Baltimore.His bequest to the city of Florence resulted in the opening of the Museo Bardini in 1923; the Giardino Bardini across from it is also his legacy. The recent work of Lynn Catterson has corrected much of the often repeated urban legend about Bardini. See Lynn Catterson, “Stefano Bardini, His Conservative Side and the Protection of Frescoes,” in Stefano Bardini ‘estrattista;’ affreschi staccati nell’Italia Unita fra antiquariato, collezionismo e musei, Luca Ciancabilla and Cristiano Giometti, eds, Edizioni ETS Pisa, 2019, pp. 79-92. Lynn Catterson, "Art Market, Social Network and Contamination: Bardini, Bode and the Madonna Pazzi Puzzle,” in Lynn Catterson, ed, Florence, Berlin and Beyond: Social Network and the late 19C Art Market, The Netherlands: Brill, 2020. https://brill.com/view/title/56528 Lynn Catterson, “Duped or Duplicitous? Bode, Bardini and the many Madonnas of South Kensington,” Journal of the History of Collections, Spring 2020. Lynn Catterson, “From visual inventory to trophy clippings: Bardini & Co. and the use of photographs in the late 19C art market,” from the conference, The Art Market in Italy Around 1900: Actors, Archives, Photographs / Il mercato dell'arte in Italia intorno al 1900. Protagonisti, archivi, fotografie, , Mitteilungen des Kunsthistorischen Instituts in Florenz,” Summer 2020. Lynn Catterson, “From Florence to London to New York: J.P. Morgan’s Bronze Doors,” Nineteenth Century Art Worldwide, 2017, vol. 16, no. 3, Autumn; “Addendum,” vol. 18, no. 1, 2019 . Lynn Catterson, “Stefano Bardini & the Taxonomic Branding of Marketplace Style. From the Gallery of a Dealer to the Institutional Canon,” in eds. Melania Savino, Eva-Maria Troelenberg. Images of the Art Museum, Connecting Gaze and Discourse in the History of Museology, Berlin: de Gruyter GmbH, 2015, pp. 41-64. Lynn Catterson, “Stefano Bardini: Forming the Canon of Fifteenth-Century Italian Sculpture,” CENTER35, National Gallery of Art Center for Advanced Study in the Visual Arts, Record of Activities and Research Reports, June 2014 -May 2015, Washington, 2015, pp. 60-63. Lynn Catterson, “American collecting, Stefano Bardini & the Taste for TreQuattrocento Florence,” Discovering the Italian Trecento in the 19th Century, dedicated issue of Predella.it, 2017 n.41-42 . Lynn Catterson, Editor and Introductory essay, Dealing Art on Both Sides of the Atlantic, 1860 to 1940, The Netherlands: Brill, 2017 .
Edinburgh City Chambers in Edinburgh, Scotland, is the meeting place of the City of Edinburgh Council and its predecessors, Edinburgh Corporation and Edinburgh District Council. It is a Category A listed building.
Dunfermline City Chambers is a municipal facility at the corner of Bridge Street and Kirkgate in Dunfermline, Fife. The building, which serves as home to the local area committee of Fife Council, is a Category A listed building.
