IV.—Stratification at Swanscombe: Report on Excavations made on behalf of the British Museum and H. M. Geological Survey

Archaeologia ◽  
1913 ◽  
Vol 64 ◽  
pp. 177-204 ◽  
Author(s):  
Reginald A. Smith ◽  
Henry Dewey
Keyword(s):  
British Museum ◽  
Geological Survey ◽  
The South ◽  
Public And Private ◽  
The World ◽  
Gravel Pits ◽  
Scientific Value ◽  
Private Collections ◽  
At Home

One of the finest gravel-pits in the world for flint implements is in process of extinction, and a final opportunity has been given for studying its stratification with a view to classifying, however roughly, the thousands of specimens from this site that have passed into public and private collections both at home and abroad. Every collector is familiar with the name of Swanscombe, a village on the south bank of the Thames between Dartford and Gravesend, and many have procured implements from the workmen on the spot without realizing to the full the necessity of fixing the horizon of each, if their purchases are to be of scientific value.

VI.—Researches at Rickmansworth: Report on Excavations made in 1914 on behalf of the British Museum

Archaeologia ◽  
1915 ◽  
Vol 66 ◽  
pp. 195-224 ◽  
Author(s):  
Reginald A. Smith ◽  
Henry Dewey
Keyword(s):  
British Museum ◽  
Vice President ◽  
Geological Survey ◽  
Leave Of Absence ◽  
High Terrace ◽  
Made In ◽  
At Home

After two short seasons spent in investigating the high terrace of the lower Thames, it was considered desirable to examine the gravel of a tributary, in order to equate if possible the various deposits in the two valleys, and to confirm or correct the sequence deduced from former excavatións at home and abroad. Two sites near Rickmansworth, at and just below the junction of the Gade and Colne rivers, have been known for years as productive of palaeoliths, and every facility was readily afforded for examining the gravel in pits at Croxley Green and Mill End by the respective owners, Gonville and Caius College, Cambridge, and Lord Rendlesham, and the lessees, the RickmansworthGravel Co., Ltd., and Messrs. Horwood Bros. Leave of absence was granted by the Trustees of the British Museum, and nine days were devoted to the work in October, the means being provided from a fund under the control of our Vice-President, Sir Hercules Read, Keeper of the Department concerned. Assistance from the geological side was given unofficially by Mr. Dewey, of H.M. Geological Survey, who has read through the paper in manuscript, and contributes an appendix dealing with some of the geological problems involved.

Additional observations on the osteology of the iguanodon and hylæosaurus

1851 ◽  
Vol 5 ◽  
pp. 804-806
Keyword(s):  
Royal Society ◽  
Vertebral Column ◽  
Spinal Column ◽  
British Museum ◽  
Previous Knowledge ◽  
The South ◽  
Isle Of Wight ◽  
Fossil Remains ◽  
Private Collections

This memoir is supplementary to the author’s former communications to the Royal Society on the same subject, and comprises an account of some important additions which he has lately made to our previous knowledge of the osteological structure of the colossal reptiles of the Wealden of the South-east of England. The acquisition of some gigantic and well-preserved vertebræ and bones of the extremities from the Isle of Wight, and of other instructive specimens from Sussex and Surrey, induced the author to resume his examination of the detached parts of the skeletons of the Wealden reptiles in the British Museum, and in several private collections; and he states as the most important result of his investigations, the determination of the structure of the vertebral column, pectoral arch, and anterior extremities of the Iguanodon. In the laborious and difficult task of examining and comparing the numerous detached, and for the most part mutilated bones of the spinal column, Dr. Mantell expresses his deep obligation to Dr. G. A. Melville, whose elaborate and accurate anatomical description of the vertebræ is appended to the memoir. The most interesting fossil remains are described in detail in the following order.

Attic Horse-head Amphorae

1972 ◽  
Vol 92 ◽  
pp. 46-63
Author(s):  
Ann Birchall
Keyword(s):  
British Museum ◽  
Sixth Century ◽  
Stylistic Analysis ◽  
Modern Times ◽  
The World ◽  
Distinctive Type ◽  
Complete Discussion ◽  
The Subject ◽  
The Many ◽  
Private Collections

During the first half of the sixth century B.C. a particularly distinctive type of black-figured vase was produced in Athens. This was the panel amphora decorated with the profile of a horse's head. A number of these ‘horse-head amphorae’ has survived to modern times and one such was purchased by the British Museum in 1964 with the aid of funds from the Ready Bequest. Hitherto this class of amphora had been represented in the National collection only by sherds, notably the four found at Tell Defenneh which R. M. Cook published in 1954. However, the subsequent re-organisation of the sherd collection produced four more, still unregistered, sherds, of which one was found to make a join with one of the published Tell Defenneh ones. The publication of the British Museum's newly-acquired amphora, together, for the sake of completeness, with all the London fragments as we now have them, provides the first reason for the present paper.Moreover, in recent years there has been a spate of Attic horse-head amphorae, re-discovered or arriving fresh, in museums and private collections all over the world. So many are now known that a simple list to supplement that of Beazley's Attic Black-figured Vase-Painters and Paralipomena seemed unworthy of what must now be recognised as an important series of Attic black-figured vase. My other present objective is, therefore, a stylistic classification. I leave for another occasion, or even for others to take up, the many other aspects which the complete discussion of the subject should include. Here I am concerned with stylistic analysis, with making at least a start in distinguishing individual painters and workshops.

scholarly journals To the Question of the Artistic Value of Author’s Copies by Naive Artists: Nina Varfolomeeva

2021 ◽  
pp. 288-303
Author(s):  
T.A. Sinelnikova ◽  
Keyword(s):  
Art Market ◽  
Direct Consequence ◽  
Folk Art ◽  
Common Phenomenon ◽  
Public And Private ◽  
Artistic Value ◽  
The World ◽  
Private Collections

Nina Varfolomeeva is one of the most famous Russian amateur artists, her name was included in the World Encyclopedia of Naive Art, her works are in public and private collections. Her work is limited to 20 repetitive subjects, and her example allows us to talk about a fairly common phenomenon in artistic primitive. The concept of “originality of a work” is of value for author’s creativity, however, in naive art, author’s self-repetition is not uncommon — there may be three or four copies of one work, which does not affect their value in the art market. Naive art has such a feature due to its borderline state between “high” and folk art, in which there are no concepts of “original” and “copy”. The artist’s painting style differs in the early and late periods, which also speaks of another feature of some naive artists — the transition from an amateur painting style to a popular print. It should be assumed that this is a direct consequence of the success of the artist’s works in the art market and the increase in the number of works created. The article proves that the simplification of the artistic language of Varfolomeeva’s later works is a transition to decorativeness, characteristic of folk art.

Amateur Women Filmmakers as Producers of Cultural Meaning

2018 ◽  
pp. 1-29
Author(s):  
Annamaria Motrescu-Mayes ◽  
Heather Norris Nicholson
Keyword(s):  
Women Filmmakers ◽  
Cultural Meaning ◽  
Public And Private ◽  
Related Literature ◽  
Introductory Overview ◽  
The World ◽  
Film Making ◽  
Changing Role ◽  
Private Collections ◽  
Ways Of Life

Amateur women film makers expressed their changing role in society, sense of selfhood and being in the world through film. It enabled them to negotiate the complexities of class, inheritance, status, authority, geography, convention and modernity. These films are part of the twentieth century's unofficial visual histories yet until recently they have been largely neglected in Britain’s public and private collections. This discussion sets women's filmmaking against wider histories of gender, social, economic, cultural and geo-political change. This framing allows the authors to discuss film production in Britain's contrasting national and colonial settings, to question subjectivities, probe at meanings and rework assumptions and expectations associated with British ways of life in and beyond the final decades of colonialism. Discussion introduces case-studies, methodologies and related literature so that readers may follow the broadly chronological structure of subsequent chapters and individual topics. Relevant archival sources related to colonial and British-based film making are identified, as are the specialist magazines for amateur film enthusiasts and the organisational support available via cine clubs and the Institute of Amateur Cinematography. Interdisciplinary and intentionally offering different interpretative approaches, this introductory overview offers a framework for reading on and a springboard of ideas for further research.

REPERTORIO DEI COSTRUTTORI ITALIANI DI STRUMENTI SCIENTIFICI

Nuncius ◽  
2000 ◽  
Vol 15 (1) ◽  
pp. 169-234
Author(s):  
ALBERTO LUALDI
Keyword(s):  
Time Span ◽  
Scientific Instrument ◽  
Public And Private ◽  
Work In Progress ◽  
The World ◽  
Short Time ◽  
Private Collections

Abstracttitle SUMMARY /title A biographical inventory of Italian scientific instrument makers has been conducted through extensive research in public and private collections throughout the world. The time-span is comprised between the 16th and the 18th centuries for each maker information about his signed and dated instruments, categories, collections and references has been given. As the first attempt of a listing of Italian makers, it must be considered as a work in progress. In a short time the text will be transfered on Internet to allow new additions and the corrections brought by the continuation of research.

International Listening Post report summary: the world at the dawn of 2019

2019 ◽  
Vol 19 (1) ◽  
pp. 121-124
Author(s):  
Sandy Henderson ◽  
Ulrike Beland ◽  
Dimitrios Vonofakos
Keyword(s):  
South Africa ◽  
Faroe Islands ◽  
The South ◽  
The World ◽  
The Uk

On or around 9 January 2019, twenty-two Listening Posts were conducted in nineteen countries: Canada, Chile, Denmark, Faroe Islands, Finland, Germany (Frankfurt and Berlin), Hungary, India, Ireland, Israel, Italy (two in Milan and one in the South), Peru, Serbia, South Africa, Spain, Sweden, Taiwan, Turkey, and the UK. This report synthesises the reports of those Listening Posts and organises the data yielded by them into common themes and patterns.

The fate of the bird specimens from Cook's voyages possessed by Sir Joseph Banks

2009 ◽  
Vol 36 (2) ◽  
pp. 231-243 ◽  
Author(s):  
David G. Medway
Keyword(s):  
Royal College ◽  
British Museum ◽  
John Hunter ◽  
The World ◽  
Extensive Collection

Joseph Banks possessed the greater part of the zoological specimens collected on James Cook's three voyages round the world (1768–1780). In early 1792, Banks divided his zoological collection between John Hunter and the British Museum. It is probable that those donations together comprised most of the zoological specimens then in the possession of Banks, including such bird specimens as remained of those that had been collected by himself and Daniel Solander on Cook's first voyage, and those that had been presented to him from Cook's second and third voyages. The bird specimens included in the Banks donations of 1792 became part of a series of transactions during the succeeding 53 years which involved the British Museum, the Royal College of Surgeons of England, and William Bullock. It is a great pity that, of the extensive collection of bird specimens from Cook's voyages once possessed by Banks, only two are known with any certainty to survive.

Sign in / Sign up

Export Citation Format

Share Document