text:
1 portion(s)
Grain Free Pastry Crust
- 2 cloves garlic cloves
- 220 grams almond meal
- 1/2 tsp salt
- 1/4 tsp pepper, black, ground
- 1 tsp xanthan gum
- 65 grams olive oil
- 1 tbsp filtered water
8Recipe is created for
TM 5Please note that the TM5 mixing bowl has a larger capacity than the TM31 (capacity of 2.2 liters instead of 2.0 liters for TM 31). Recipes for the Thermomix TM5 may not be cooked with a Thermomix TM31 for safety reasons without adjusting the quantities. Risk of scalding by spraying of hot liquids: Do not exceed the maximum filling quantity and observe the filling level markings of the mixing bowl!
Recipe's preparation
1. Place garlic into . Chop 3 sec, speed 7. Scrape down sides of bowl.
2. Add to remaining ingredients and mix for 10 sec, speed 5.
3. Scrape down sides of and repeat for a further 10 seconds, speed 5.
4. Remove from , cover, and put into fridge for at least 10 minutes.
5. At this time pre heat oven to 180.
This pastry is enough to fit a 23cm flan tin or a tart tin.
6. Grease tin. Push pastry into tin, ensuring that the thickness is fairly even, trimming excess and adding to thin areas. It will mould like play dough.
7. Blind bake pastry for approx 25-30mins, turning once during cooking, until pastry is a light golden brown.
8. Allow pastry to cool down to room temperature before adding desired fillings, such as my Caramelised Onion Tart.
This pastry freezes really well. Wrap well and keep in tin when feezing, as it's rather fragile. Allow to defrost and fill and bake as required.
This recipe was provided to you by a Thermomix ® customer and has not been tested by Vorwerk Thermomix ® or Thermomix ® in Australia and New Zealand.
Vorwerk Thermomix ® and Thermomix ® in Australia and New Zealand assume no liability, particularly in terms of ingredient quantities used and success of the recipes.
Please observe the safety instructions in the Thermomix ® instruction manual at all times.
Other users also liked...
- Savoury cheese scone
- Maria's Meat Balls
- More Again Savory Paleo Muffin
- Empanada
- Crispy nutty crackers
- Keto Low Carb Yeast Buns/Bread
- Rosemary Cranberry Crackers (Adapted from ATCO Blue Flame Kitchen)
- Haloumi & Corn Fritter bites
- Nuts and Bolts with a twist
- Bacon and cinnamon scrolls with salted maple glaze
- Variation Vegetarian Sausage Rolls
- Chicken & Vegetable Pie
- Cheese and bacon loaf
- Savoury cheese scone
- Shepherd's Pie (Low Carb)
- Spicy Plum and Date Chutney
- Salted Caramel Cream Cheese Frosting
- Choc Chip Chunkies
- More Again - Paleo Banana Muffin
- Cherry Ripe Have-A-Heart Ice Cream {DF,GF, Vegan variation included} (Converted from The Whimsical Wife)
- Blueberry yogurt muffins
- Balinese Corn Fritters
- Healthy Chocolates
- More Again Dairy Free Carbonara


text:
As the most reliable and balanced news aggregation service on the internet, DML News offers the following information published by BUSINESSINSIDER.COM:
- The Supreme Court on Tuesday ruled that part of a federal law that makes it easier to deport immigrants convicted of crimes is too vague.
- The 5-4 ruling handed the Trump administration a loss on a signature issue.
- Justice Neil Gorsuch, who was appointed by President Donald Trump, joined the court's more liberal justices to cast the deciding vote.
WASHINGTON — The Supreme Court said Tuesday that part of a federal law that makes it easier to deport immigrants who have been convicted of crimes is too vague to be enforced.
The court's 5-4 decision — an unusual alignment in which new Justice Neil Gorsuch joined the four liberal justices — concerns a catchall provision of immigration law that defines what makes a crime violent. Conviction for a crime of violence makes deportation "a virtual certainty" for an immigrant, no matter how long he has lived in the United States, Justice Elena Kagan wrote in her opinion for the court.
The article goes on to state the following:
The decision is a loss for President Donald Trump's administration, which has emphasized stricter enforcement of immigration law. In this case, President Barack Obama's administration took the same position in the Supreme Court in defense of the challenged provision.
With the four other conservative justices in dissent, it was the vote of the Trump appointee that was decisive in striking down the provision at issue. Gorsuch did not join all of Kagan's opinion, but he agreed with her that the law could not be left in place. Gorsuch wrote that "no one should be surprised that the Constitution looks unkindly on any law so vague that reasonable people cannot understand its terms and judges do not know where to begin in applying it."
DML News offered you the above information as part of our ongoing effort to educate and inform people around the world. You can obtain additional information by visiting BUSINESSINSIDER.COM.

subset: commoncrawl


text:
Facts About pay me to do your assignment Revealed
What it need to in the end appear right down to is where taxes are now being withheld from on Just about every of your pay out checks/statements. Prior to deciding to file taxes on a yearly basis, your employer(s) are necessary to offer you a W-2 Variety. On this manner, the states that have been withholding taxes from your paychecks Every single spend period are detailed in Box 15.
one domestic animal (check the veterinary laws with the nearest Peruvian consulate and / or SENASA)
I've been on the lookout almost everywhere to find out exactly what the actions are that I have to choose in an effort to live in Peru legally. No one seems to have the answer. Can you help? This is certainly our circumstance:
Despite the fact that I in no way heard of anyone who experienced issues coming into Peru with a valid passport that expires 5 months later on and Individually Imagine this should not be a difficulty, you in no way really know what occurs when going through Peruvian bureaucracy.
as i need information regarding peru visa i Get in touch with all consulate and embassy but no person no response just india is excellent state on the globe and him embassy also so excellent as peru embassy in india provided me data plus they advise me to Get in touch with china and dubai final ten days I'm endeavoring to Make contact with but no reply me my telephone no reply my mail no reply my text so in which i send out my documnts And exactly how? for pakistani citizen
Should you be just attending a convention, You aren't transacting business, so no organization visa is required. I'm not 100% sure, but for that occasion organizer it'd be One more Tale. Very best get involved wit a Peruvian consulate to very clear this Unique situation with an Formal consultant of Peru.
I am from India and At the moment in Atlanta . I've legitimate USA visa and schengen visa . I would like to journey to lima for 3 days next week . Do I want a visa and will i get it on line
Hello, im a filipina married into a peruvian. Our relationship was performed in philippines for 8years now..Previous 2010, me and my son (who wasbirth inside the phils.) with my peruvian spouse chose to Dwell below once and for all. I arrived right here with our entire files stamped by thailand embassy being aware of that there's no peruvian embassy from the phils. AS i arrived listed here, me and my son utilized the vacationer visa...Given that until finally now im however inquiring the extension of permission to stay listed here.
I'm Pakistani citizen and are chosen to participate in world mountain forum from 23-24 may possibly 2014. where should i implement to find the visa as their is just not consulate in Pakistan. the amount of days would it choose to process the visa?
I'm Indian passport holder and intending to train English in Peru. Must I submit an application for a Resident visa (after getting a work) In that case, how complicated or lengthy is the method , considering I hold an Indian passport ? Thanks so much for your help !
They don't mention a resort reservation, so you shouldn't have an issue with remaining Web Site at your girlfriends place when applying for your tourist visa.
Biltong? Are not able to think it. We lived fairly a time in southern Africa and pass up it much. But anyway as very long it's an amount for private use, dry, vacuum sealed and at first packed you will not have challenges bringing it into Peru.
I'd post all of files to open a business in Peru right before having RUC my visa were being expired for the reason that my Organization VISA was 33days .
How will my state tax position be impacted by this arrangement? Will I certainly be a resident of equally states and wind up shelling out state taxes in both equally states?


text:
Saturday, April 30, 2011
Will what I fear
come to pass
in the "crosshatches of love"
or that kind of nonsense
when words are only baubles
on a shining lake
And moments of the inspired
remain formless waiting
for a patience
that is more than time
And many spewn words
from the impatient become
deep sounding phrases
of gossamer hoaxes?
Posted by cha sen at 11:59 AM 3 comments
Tuesday, April 26, 2011
I Wait
Behind the Japanese paper
screen a ritual unfolds without me
of silence and mimed gestures
under an unseen rain.
Elsewhere, it is dry:
for twigs to break and a fire
that refuses to burn
while I sit and wait.
Posted by cha sen at 2:07 PM 2 comments
Saturday, April 23, 2011
Edward Hopper's Evening Wind
Cold breezes
and billowing sheets,
thin whiteness from the foot traffic
of leathern shoes and clopping hooves.
While above,
she is in a world of her making.
Evening Wind
and billowing sheets,
thin whiteness from the foot traffic
of leathern shoes and clopping hooves.
While above,
she is in a world of her making.
Evening Wind
Posted by cha sen at 11:26 AM 4 comments
Tuesday, April 19, 2011
When you have asked what
it all means, the deconstruction
of a poem, I search in vain
for words that convey
more than those already there.
Tendrils entwine
each and every
one with meaning
beyond the surface
of my crafted reveries.
And when left alone in their
links of colored paper,
you can hear them ring
like plangent waves.
Posted by cha sen at 6:35 PM 4 comments
Sunday, April 17, 2011
We grope in the dark for an opening
however small
as slit wise would be large enough
for opportunity to
before we think to change our minds.
Posted by cha sen at 12:57 PM 1 comments
Saturday, April 16, 2011
Outside My Window
I want to tell you
about a birch you will not know
in the rain, at dusk
simply adorned with
pearls that replenish.
Piebald bark of spring,
in your nakedness
I see the wet gleam of night.
Posted by cha sen at 5:18 PM 0 comments
Tuesday, April 12, 2011
This City
There was talk of it being like
other cities, Old World flavors shining
in sunlight when my parents came
with their bags for the day.
I see the city each day
gliding by with its buildings
and streets on tides
that carry me
inland to the rivers
or to the lake
at sunrise.
I pass by a street of cream city brick
steep in its course from another century
and now hear it ring with the echo
of Roman hills I have seen.
Posted by cha sen at 10:14 PM 2 comments
Sunday, April 10, 2011
Fog by the Lake
I did not expect the familiar
to deceive, guises
in damp gray:
blocks I have learned to call
and a former restaurant with
its main claim to fame, a view of our lake.
My wool scarf is wet
with the drops fallen
from splaying branches by the water
and I go in circles
into the unknown, where even the sun
is a muted orb of its true self,
and I am careful lest
feeling my freedom I go out
too far on the breakwater.
Posted by cha sen at 11:42 AM 1 comments
Saturday, April 9, 2011
Zazen With Cats
It is natural when sitting
amid the fur pile of
half shaded eyes
and a brindled paw
or two
that I close my eyes
letting the sweet
feeling steal over
while a part of me remains
awake to notice
the breath rising
and ebbing
like an anchor
in the sea of vast incomprehension.
Posted by cha sen at 12:04 PM 1 comments
Tuesday, April 5, 2011
To Nature
Here I go
again despite myself
writing about you
when I had thought to do
For how can I resist
your days dwindling
into the night skies
touched by the few gulls
over the river.
Posted by cha sen at 2:04 PM 2 comments
Saturday, April 2, 2011
Slow Blink
I am hard-pressed to come up with anything
than your slow blink
from across the room
shading to a soft-lidded
I have come to know
Your lope
and of fixed intent
wending my way so that with a leap
you are here.
Posted by cha sen at 10:41 PM 4 comments
Subscribe to: Posts (Atom)


text:
The life aquatic with Steve Zissou / Touchstone Pictures presents an American Empirical picture ; directed by Wes Anderson ; written by Wes Anderson & Noah Baumbach ; produced by Wes Anderson, Barry Mendel, Scott Rudin ; executive producer, Rudd Simmons.
Currently available copies
- 2 out of 2 copies are currently available at PINES.
Current holds
0 current holds on 2 total copies.
View other formats and editions
|Library System: Library Branch Name
Find the name of the library system and branch closest to you.
|Shelving Location
|Call Number / Copy Notes
|Hall County Library System:
Spout Springs Library
(Send Call No. in Text Message)
|Live Oak Public Libraries:
Bull St. Library
(Send Call No. in Text Message)
Item details
- Physical Description: 1 Blu-ray videodisc (118 min.) : Blu-ray, sound, color ; 4 3/4 in. + 1 fold-out insert.
- Edition: Blu-ray special edition.
- Distributor: [Irvington, NY ] : The Criterion Collection, [2014]
- Copyright: ©2014
Contents / Notes
|General Note:
| Originally released as a motion picture in 2004.
Special features: New, restored digital transfer with DTS-HD MA soundtrack; Commentary by Anderson and cowriter Noah Baumbach; This is an adventure (a documentary by Albert Maysles, Antonio Ferrera, and Matthew Prinzing during the filming in 2003); Deleted scenes; Mondo Monda (Italian film talk show features director Wes Anderson and cowriter Noah Baumbach with host Antonio Monda); Cast and crew interviews; Mark Mothersbaugh (2004 interview with the composer and Devo member); Seu Jorge performs David Bowie; Intern video journal (behind-the-scenes documentary shot and directed by Matthew Gray Gubler); Photos (behind the scenes); Designs (original artwork); Making-of featurette; Trailer.
|Creation/Production Credits:
| Director of photography, Robert Yeoman ; production designer, Mark Friedberg ; edited by David Moritz ; costume designer, Milena Canonero ; music by Mark Mothersbaugh ; animation by Henry Selick.
|Participant or Performer:
| Bill Murray, Owen Wilson, Cate Blanchett, Anjelica Huston, Willem Dafoe, Jeff Goldblum, Michael Gambon, Noah Taylor, Bud Cort, Seu Jorge, Robyn Cohen, Waris Ahluwalia, Niels Koizumi, Pawel Wdowczak, Matthew Gray Gubler, Seymour Cassel.
|Summary, etc.:
| Internationally famous oceanographer Steve Zissou and his crew, Team Zissou, set sail on an expedition to hunt down the mysterious, elusive, possibly nonexistent Jaguar Shark that killed Zissou's partner during the documentary filming of their latest adventure. They are joined on their voyage by a young airline copilot; a pregnant journalist; and Zissou's estranged wife, Eleanor.
|Target Audience:
| Rating: R; for language, some drug use, violence and partial nudity.
|System Details:
| Blu-ray, widescreen (aspect ratio, 2.35:1, 16x9) presentation; requires Blu-ray player; 5.1 surround sound, NTSC, region A.
| English dialogue with optional English subtitles.
Find similar items by subject
|Oceanographers > Drama.
Scientific expeditions > Drama.
Sharks > Drama.
Man-woman relationships > Drama.
|Fiction films.
Feature films.
Video recordings for the hearing impaired.


text:
About a year ago, Rough C's Ahead got more ink after a ninth-place claiming run than most allowance horses do in their whole lifetimes. The Marvin Davis trainee struggled home last in his third career start at Fair Grounds on Dec. 29, 2016 and was listed for sale on social media by Thompson's Horse Lot and Co on Jan. 3. No one knew it whenever he passed through the gates, but Rough C's Ahead left the track just ahead of an EHV-1 outbreak which would plague Fair Grounds for several weeks and his presence in the receiving barn meant state animal health officials went looking for him. His discovery in the hands of self-proclaimed kill buyers sparked public outrage and discussion of racetrack anti-slaughter policies.
Fortunately for the flashy chestnut, he escaped both EHV-1 and a long trailer ride south within a few hours of appearing online. Dinah Moors and Samantha Molyneaux, frequenters of online kill pen listings, fell in love with Rough C's Ahead's photo and raised the money to bail him. Then, they found out about the EHV-1 threat at Fair Grounds. Because the gelding had been exposed, Louisiana's Department of Agriculture wouldn't let the horse leave the kill pen for a few weeks until officials could be sure he wasn't in danger of falling ill. Then, they had a whole new problem – how could they make sure it was safe to introduce the chestnut to their own herd?
"Up here, things like that are a really big deal. We needed the horse to go to some type of proper quarantine and we couldn't find anywhere to take him because he'd been exposed to EHV," said Moors.
Eventually, they found a private farm in Louisiana which works with many kill pen rescues and quarantined the horse on-site for another 30 days when he shipped north to Moors' farm in Illinois. From there, Molyneaux took over and brought the horse with her when she moved to Georgia.
"He was the typical kill pen case: weight loss, bad feet because they've been standing in the muck and everything, swelling in hind legs from bacterial infection, rain rot, worms, general ill health. It's disgusting," said Moors.
Molyneaux and Moors guess it took three months or so before they got Rough C's Ahead back to the picture of health, and his personality began to show through. He was always sweet but became more of a "goofball" as his weight came back.
"From the get-go he was a really solid guy," said Molyneaux. "Dinah and I had discussed it and I said, 'I'll keep the horse if I can't find somebody who understands his story and loves him the way we do.' I went through a lot of people who were interested in flipping him and I always said he needed to go someplace where someone had followed the story and understood."
Moors and Molyneaux say it's emotionally exhausting to fight what feels like an uphill battle with the kill pen system.
"It makes you very sad because they're nice horses and they have futures. Why are people throwing them away?" asked Moors.
"Louisiana has a problem," Molyneaux agreed.
Meanwhile, outside of Wilmington, N.C., Jennifer Witkowski was mourning the loss of her horse to cancer a few weeks earlier and was not looking to take on a new partner just yet. She saw social media postings for horses in trouble from time to time but kept hearing about the same chestnut OTTB.
"I had a friend from Georgia, a friend from Chicago, and a friend from California all call and tell me about this horse," said Witkowski. "I'm not a religious person and I don't believe in fate, which makes this all weirder to me, but everyone kept saying, 'There's this horse and we kind of had the feeling that you need to have him. This is a horse you're supposed to have.'
"I'm old school: You vet test everything, you test ride everything, but I called and said, 'When can I come pick him up?' I questioned if I was insane myself but drove down to Atlanta and came back with him."
Witkowski quickly learned the gelding is more puppy dog than horse, proving to be one of the sweetest OTTBs she has encountered. On his first day in his new home, Rough C's Ahead lay down and put his head in Witkowski's lap.
"It was the sweetest, most ridiculous Disney thing I could have imagined," she said.
Witkowski grew up riding outside of Chicago, where many of the barn's mounts were off-track horses, so she is no stranger to legging up OTTBs. Normally, she gives hers 90 days of letdown, followed by slow hacks and easy rides focusing on the basics. With "Rough," she strapped on her mouth guard, helmet, and safety vest, preparing for a few exuberant bucks in their first ride together, and she got … nothing. The pair walked, trotted, and cantered both directions with no fireworks on their first time out.
"I know why he lost: he is a lazy horse," she said. "He'll run in the pasture and my Percheron will outrun him. He's like, 'That's fine, you go ahead!' He doesn't have that race drive in him."
Witkowski hopes one day Rough will make an eventer, but it's a little early to tell what he will enjoy most. For now, the pair are waiting out the winter weather to begin training in earnest and just learned they were accepted into the 2018 Retired Racehorse Project. Rough spends his days in Witkowski's backyard, where he can occasionally pops by the house to check on her.
"He tries to get into my bedroom," she laughed. "I have a big back porch that my bedroom opens up to, and he's been found on the porch more than once now. Just kind of looking in the window like, 'Watcha doing?' He's very sweet and in your pocket, and I think that's what devastated me so badly. I've seen horses go to slaughter before that had problems or couldn't be turned around but for the life of me I can't understand how something this sweet got thrown away."
According to the Louisiana Racing Commission, a Marvin Davis (there is more than one in their licensing system) had his license suspended in 2017 for an unpaid debt. Equibase indicates the Marvin Davis who trained Rough has not saddled a horse since mid-February 2017.
Witkowski understands the complexities of enforcing racetrack anti-slaughter policy (the biggest difficulty being the authority's ability to prove an owner or trainer knew a horse would be going to slaughter at time of sale), but believes the current system just isn't enough.
"It's a problem, all these trainers claiming, 'I thought he was going to a summer camp!' Really? Really, did you think that?" she said, citing a common refrain among connections whose horse is later found in a kill pen. "It's hard because I don't know what the best answer is. As a horse person, I get so frustrated with this. But at least putting him in the (Thoroughbred Makeover) would bring some light to this."
That's also the reason Witkowski hasn't changed the horse's name. "Rough" doesn't suit his personality at all, but it's important to her people recognize the former kill pen case.
"I ultimately made the decision to keep his name because I hope Marvin Davis finds out about this," she said. "I hope that it gets far enough that he sees. You threw him away. But he didn't need to be."
New to the Paulick Report? Click here to sign up for our daily email newsletter to keep up on this and other stories happening in the Thoroughbred industry.
Copyright © 2019 Paulick Report.


text:
Abstract The Boston Museum of Fine Arts owns a Portrait of a Young Man now attributed to Domenico Robusti, son of Jacopo Tintoretto. This article documents for the first time the painting's earlier provenance and its later arrival on the London art market. The hitherto unexamined papers of John Waldie, a wealthy Scottish collector, record his acquisition of the portrait at Venice in 1836 as a work by Carlo Caliari, the son of Paolo Veronese. In 1927 the portrait was sold, still as Caliari, by Waldie's descendants to London art dealers Agnew's for £800. Following expert advice from Wilhelm von Bode, Tancred Borenius, Lionello Venturi and Charles Ricketts, Agnew's reattributed it to Jacopo Tintoretto before selling it to the Boston Museum for $75,000 (about £15,000). A comparison of these two key moments shows how art trade and connoisseurship had a joint impact on the history of the painting. Provenance – the investigation of historical ownership and circulation of objects – is gaining increasing importance in art historical investigations.1 As Gail Feigenbaum and Inge Reist have noted, at its best the study of provenance expands beyond the realm of property transfers of works of art and interrogates 'ideas and narratives about the origins and itineraries of objects' by drawing attention to 'the transformative power of ownership'.2 The relationship between owners and works of art, they argue, can 'change irrevocably the way that works will be perceived and understood by future generations'.3 The study of provenance, thus, with its emphasis on the social life of objects stimulates an interdisciplinary conversation between art historians, anthropologists, sociologists and economic historians. It is also germane to histories of collecting. This article follows the lead offered by Feigenbaum and Reist in order to explore the critical and commercial trajectory of a Venetian portrait at two key moments of its historical ownership. The first occurred in the fourth decade of the nineteenth century, when it travelled from Venice to Kelso in the Scottish Borders and entered the collection of a wealthy amateur art collector and theatrical enthusiast, John Waldie. The second happened nearly one hundred years later, in the third decade of the twentieth century, when the painting arrived on the London art market as the property of art dealers 'Tho.s Agnew and Sons' (Agnew's) and was sold to the Boston Museum of Fine Arts via Agnew's New York branch. The portrait in question came to wide public attention first in December 1927, when the Boston Museum acquired a portrait of a young man, then attributed to Jacopo Robusti (1519–1594), known as Tintoretto (Fig. 1).4 This painting was deemed to represent the youthful Alessandro Farnese (1545–1592), Duke of Parma from 1586. To mark this acquisition a celebratory article, written by the Boston Museum's Assistant Director, Alice Child Jenckes, was published in the institution's own journal.5 Jenckes noted the portrait's provenance: Fig. 1. View largeDownload slide Portrait of a Young Man, attributed to Domenico Tintoretto (in 1836 attributed to Carletto Caliari and in 1927 to Jacopo Tintoretto), 1580–1585. Oil on canvas, 64.8 x 55.3 cm. Boston Museum of Fine Arts. Fig. 1. View largeDownload slide Portrait of a Young Man, attributed to Domenico Tintoretto (in 1836 attributed to Carletto Caliari and in 1927 to Jacopo Tintoretto), 1580–1585. Oil on canvas, 64.8 x 55.3 cm. Boston Museum of Fine Arts. For more than a century the picture has been in a private collection in Scotland, whither it was brought from Italy by a direct ancestor of the family. It has never been called to the attention of the outside world, and its very seclusion has prevented European scholars from access to it.6 Over seventy years later the Boston Museum reattributed this painting to Domenico Robusti (1560–1635), son of Tintoretto, and discarded the identification of the sitter as Alessandro Farnese describing the work simply as Portrait of a Young Man. The known provenance of the portrait is currently traced as follows on the Museum's website: Around 1830, possibly Sir Richard John Griffith (b.1784–d.1878), Hendersyde Park, Kelso, Borders, Scotland [see note 1]; by descent within the family to Sir Richard John Waldie Griffith (b. 1850), 3d Bart., and Lady Waldie Griffith, Hendersyde Park; 1927, sold by Lady Waldie Griffith to Agnew and Sons, London (stock no. 6753); 1927, sold by Agnew to the mfa. (Accession Date: December 29, 1927). Notes: [1] Letters from Colin Agnew of Agnew and Sons, London, to Edward J. Holmes of the mfa (December 6, 1927 and December 10, 1927, in mfa curatorial file) reveal that the painting had 'been [at Hendersyde Park] for at least a century, having been brought there by an ancestor of the recent owner' and 'brought to the British Isles a hundred years ago'.7 Records in the Agnew's archive, now held at the National Gallery in London, shed further light on this sale. A copy of a letter dated 29 December 1927, from an unidentified sender to the head of the firm Colin Agnew (1882–1975), refers to the purchase of the 'Tintoretto Farnese Boy' from Lady Waldie-Griffith.8 By late-1927 Agnew's had confirmed an identification of the sitter as a youthful Alessandro Farnese and an attribution to Jacopo Tintoretto. However, when this painting was first entered in Agnew's stock book it was attributed to 'Cagliari' with this name deleted and 'Tintoretto' added above (Fig. 2).9 'Cagliari' or 'Caliari', of course, is the adopted family name of Paolo Veronese (1528–1588), a contemporary of Jacopo Tintoretto and his major rival in Venice.10 The stock book also contains an additional note: 'Certified photo from Dr Bode and brochure from Borenius', references to Wilhelm von Bode (1845–1929), the famous director of the Berlin museums and formidable art connoisseur, and Tancred Borenius (1885–1948), the Finnish art historian appointed in 1922 as the first professor of history of art at University College, London, and one of the founders of the art magazine Apollo in 1925.11 The stock book entry also indicates that Borenius, who had a broad knowledge of Venetian Renaissance painters, received a payment from Agnew's for writing an essay on this painting.12 Colin Agnew, who had run the company's Berlin gallery before the First World War, knew Bode and Borenius well and he had previously consulted them for advice on attributions.13 Fig. 2. View largeDownload slide Detail from the Agnew's Stock Books: Stock Book 10, entry no. 6753, showing the change of attribution from 'Cagliari' to 'Tintoretto'. London, National Gallery Archive. Fig. 2. View largeDownload slide Detail from the Agnew's Stock Books: Stock Book 10, entry no. 6753, showing the change of attribution from 'Cagliari' to 'Tintoretto'. London, National Gallery Archive. John Waldie's 1836 purchase: a self-portrait by Carletto Caliari Newly found evidence has revealed more details on the provenance of the portrait. As noted above, the painting was sold to Agnew's in 1927 by Lady Waldie-Griffith, née Alice Maud Pearson (d.1955). Alice was the third wife of Sir Richard Waldie-Griffith (1850–1933), who married her at Kuala Lumpur in Malaysia when aged seventy-six.14 Sir Richard had succeeded to the family's baronetcy and its estates at Kelso on the death of his father in 1889. Much of the family's considerable wealth was derived from lucrative mining properties in Bohemia (now part of the Czech Republic), although Sir Richard lost most of this fortune in unwise share dealing just before the First World War, hence the 1927 and 1928 dispersal of the collection at auction.15 As noted in the Boston Museum provenance, this painting had been inherited by Sir Richard from his grandfather Sir Richard John Griffith (1784–1878). However, as Colin Agnew's letter to the Boston Museum also stated, it is necessary to go further back down this family line in order to identify the first purchaser of this portrait. As indicated by the double-barrelled name Waldie-Griffith, the family combined two distinct ancestral lines. George Waldie (d.1826) acquired the Hendersyde estate through the marriage of his father John to Jean, the eldest daughter and heiress of Charles Ormston of Hendersyde, an old Kelso family. George was an industrialist who enjoyed the profits of extensive mining interests in the Newcastle collieries, and the Hendersyde estate was inherited by his eldest son John Waldie (1781–1865). The Waldies were an artistic family. John's younger sisters Jane Waldie, later known as Mrs Watts (1793–1826), and Charlotte Ann Waldie (1788–1859) were both authors and artists of talent.16 John, a lifelong bachelor, became an art collector (especially of Italian old master paintings), theatre critic and writer, compiling detailed records of his acquisitions of paintings and other works of art in numerous journals. At his death in 1865 the estate passed to the eldest son of John's sister Maria Jane Waldie (1786–1865).17 She had married the distinguished Irish geologist and mining engineer Richard Griffith (1784–1878), who was created 1st Baronet in April 1858.18 Their son George (1820–89), 2nd Baronet, took the name Waldie-Griffith. George had a son, Sir Richard, whose wife Alice sold the painting to Agnew's in 1927. The key figure, therefore, in the acquisition of this portrait for the Hendersyde estate is John Waldie.19 Waldie, still a figure unexplored by modern historians of collecting, amassed a large, if slightly haphazard, collection of works of art. Its 1835 catalogue already counted 265 pictures as well as sculpture, bronzes and manuscripts. The paintings were displayed throughout the rooms of the family mansion of Hendersyde Park (Fig. 3), and included principally works ascribed to old masters such as Nicolas Poussin, Agnolo Bronzino, Annibale Carracci, Guido Reni, Titian, Diego Velázquez, Meindert Hobbema and many other names typically favoured by early nineteenth-century collectors of Old Masters.20 The catalogue admitted with honesty that many pictures were attributed with little or no certainty. Nevertheless, it certified proudly their Italian provenance, as the pictures 'were principally collected by Mr. Waldie, in London, or in Italy; and chiefly in Rome, Florence, Bologna, Milan, and Naples'.21 Provenance thus reinforced their credentials as originals: even if not quite belonging to those to whom they were ascribed, the paintings were 'almost entirely the works, or of the Schools, of the ancient Masters'.22 No painting that can be identified with the the Boston Museum portrait is listed in this first catalogue. Fig. 3. View largeDownload slide Hendersyde Park, frontispiece of the 1859 Catalogue of the Waldie Collection. London, British Library. Fig. 3. View largeDownload slide Hendersyde Park, frontispiece of the 1859 Catalogue of the Waldie Collection. London, British Library. John Waldie, however, undertook another extensive period of travel in Europe and Asia which lasted almost two years (from August 1836 until June 1838), visiting France, Switzerland, Savoy, Italy, the Ionian Islands, Greece, Asia Minor, Turkey, Hungary and Austria before returning to London via France.23 Throughout these travels he continued to acquire works of art, especially when in Italy. In 1859 Waldie published a second catalogue of his art collection.24 This revised edition was necessitated by the increased quantity of works in his possession. As the preface stated, The lapse of 24 years since the First Edition of this Catalogue was printed, and the acquisition of several fine Pictures and Busts, especially since the year 1845, have made it necessary to make an entirely new Catalogue, as the arrangement of the former has unavoidably been changed, and a number of other articles have been added besides new Pictures, Busts, and Columns.25 The catalogue also witnessed an increased confidence regarding the importance of the collection. If the first edition was almost apologetic about its uneven quality, the collection was now presented proudly, stating that it included a 'noble and most striking Picture', the Vision of Jacob by Guido Reni, and a 'superb gem', a Holy Family belonging to the School of Raphael.26 The Waldie collection however, possibly on account of its lack of acknowledged masterpieces and its remote location, escaped the attention of art surveys such as those of Johann David Passavant (published in 1836) and Gustav Friedrich Waagen (1854) and has remained, until now, unknown to scholars. Nevertheless, it is likely that its catalogues conceal under now-discredited attributions many works currently held in museum collections worldwide, and this article sheds new light on one of them, which the 1859 catalogue listed thus: Carlo Cagliari: 14. Portrait of himself when very young. It has a vigour and brilliancy of color worthy of his uncle [sic] Paolo Veronese, of whom he was the best pupil. Obtained at Venice in 1836.27 The travel diary of John Waldie, confirms that the painting was purchased in Venice in 1836. During his stay there, which lasted from 14 until 30 November, Waldie saw a large number of pictures.28 He admired them in churches and in established public and private collections (as in the Palazzo Manfrin, of which he gives an extensive description), but also in the premises of gentlemen-dealers who wished to sell them.29 For instance, on the day of his arrival in Venice, Waldie met with an art dealer named Giustiniani, from whom he had purchased pictures during his previous visit to the city nine years earlier. Waldie was immediately charmed by 'A fine Bacchus and Ariadne not very large and quite in the Guido style by Simone [Cantarini] di Pesaro'.30 Even if Waldie saw other dealers, such as 'Signor Biasion', at first he had no intention of buying anything, dismissing the pictures viewed as 'none tempting' and pitched 'at ridiculous prices'.31 Waldie soon encountered and befriended a British banker, always referred to as 'Mr. Holmes', who invited Waldie at his home for dinner and evening parties, and also provided him with new contacts with picture dealers.32 On 19 November Waldie went to see one of these, 'Signor Romano', who had 'a small collection for sale'.33 Waldie professed to like none of Romano's pictures, 'except a St. Mark's place by Marieschi, a ½ length of Carlo Cagliari said to be by Paolo Veronese' and a landscape 'by Tiepolo by Cimaroli or Cimolara'.34 Waldie soon changed his mind about purchasing and on 21 November left his lodgings in the morning to acquire Cantarini's Bacchus and Ariadne from Giustiniani, 'along with a view said to be by Canaletti' and 'a small full length female portrait by Tiepolo'. Waldie makes no record of how much he paid for these works, but it must not have been a large sum, as he noted with glee that the Bacchus and Ariadne alone 'was worth twice as much as I gave for the whole'.35 Waldie went to visit Romano again on 23 November and purchased '2 fine views' by Guardi, 'the pretty little landscape' by Cimaroli, the Marieschi, and, most importantly for our narrative, 'the fine portrait by Carlo Cagliari of himself or rather it is supposed to be done by the daughter of Paolo'.36 Waldie's collecting can be interpreted as an integral part of his social activities in Italy. He was a voracious collector but not a 'philologist' connoisseur: he showed more interest in the subject of the pictures, their narrative content, style and design rather than in their fully documented pedigree and certainty of authorship. In fact, he did not mind that the landscape by Cimaroli was a version of a work by Tiepolo, that his Cantarini was painted 'in the Guido style' and was a smaller replica of a larger work in the Manfrin collection. He also seemed not to care that the portrait of Carletto Caliari, at first presented to him as by Paolo Veronese, was eventually sold to him as a 'school' work: a self-portrait by Carletto or even by Veronese's daughter. Waldie often privileged quantity to quality, he also liked bargaining and was eager to purchase at low prices: in his diary he records his great pleasure at having purchased two works by Ghisolfi for only £2 each.37 The following Saturday, 29 November, the portrait was presented by Holmes to Waldie, already packed together with the other works he had purchased, and ready to be shipped to London the following week.38 We can now identify this picture, then tentatively attributed to Carletto Caliari, with the painting presently owned by the Boston Museum. The evidence is firm: there are no other comparable pictures listed in Waldie's 1859 catalogue of his collections and neither have any sources been located to suggest that John Waldie's heirs or any other member of their respective families, acquired the Boston Museum portrait at some later date. Of most significance is the evidence from Agnew's stock book in which the painter was first entered as 'Cagliari' (see Fig. 2). Colin Agnew's 1927 sale: Alessandro Farnese by Jacopo Tintoretto Why did Agnew's reattribute the painting from Caliari to Tintoretto? Was it simply because a work by the hand of Jacopo Tintoretto was worth more than one by the son of Veronese? Financial considerations were certainly important, but they provide only a partial explanation of the story. In his 2006 essay 'Tradesmen as Scholars', Ivan Gaskell has reconstructed examples of relationships between dealers and scholars from the eighteenth and nineteenth centuries to contend that the art trade is not moved exclusively by monetary concerns, and argued for 'a total interdependency between market and scholarship'.39 The history of this painting, and its changed attribution in 1927, presents a nexus of scholarship and trade that supports Gaskell's argument. It is, however, also a significant case-study in its own right which sheds light on the critical reception of Jacopo Tintoretto at the time. If, as Gaskell states, 'each generation, by means of its own chosen scholarly means, defines for itself the Rembrandt oeuvre it deserves', what does this example tell us about the significance of Tintoretto in the 1920s? Was it spurred on by commercial greed, critical re-examination, wider Zeitgeist or a combination of all three? In the mid-1920s Agnew's was a firm if not in crisis then certainly in flux, as the art trade was changing rapidly and becoming an increasingly difficult and risky business. Letters in the Agnew's archive demonstrate the firm's need for an increasing overdraft and its necessity to generate liquidity quickly.40 The 1920s witnessed a dramatic rise in the prices of works of art (they were soon to crash in equally dramatic fashion in the 1930s).41 If the £70,000 paid by the National Gallery in London for Raphael's Ansidei Madonna remained a price pinnacle for nearly twenty-five years, higher and higher prices were recorded in the 1920s. In 1926 Henry E. Huntington paid Duveen £176,000 for Gainsborough's Blue Boy (Huntington Museum, San Marino); in 1929 the National Gallery in London acquired the Vendramin Family by Titian from the Duke of Northumberland for £122,000 and Andrew Mellon bought Raphael's Large Cowper Madonna (Washington, National Gallery of Art) from Duveen for £172,800.42 At the beginning of 1929, summarizing the 1927 season, art commentator A.C.R. Carter in The Year's Art marvelled at the richness of sales in that year, when 130 pictures sold for more than 1,400 guineas (£1,470), surpassing easily the record of the annus mirabilis 1919, when 100 pictures had sold for more than that sum.43 The rise in prices of works of art meant that dealers could command high commissions, but it also meant that the owners of the paintings too expected increasingly higher returns, especially when their works were certainly ascribed to well-known artists. For instance, in the same year as the Farnese Boy purchase, a painting by Titian, Man with a Falcon (Omaha Art Museum) was purchased by Agnew's in joint account with Duveen Brothers for £33,000 in 1927.44 With increasing debts, large overheads and non-paying customers, profitable art trading depended on three conditions: the first, to be able to interpret signals from the market and identify the emerging artists whose value was ascending rapidly; the second, to find what in contemporary art market parlance are called 'sleepers' – artworks whose real value has been missed by their owners and by rival dealers because they have been misattributed; and, last but not least, to sell to the cash-rich American market.45 The Farnese Boy was to satisfy all three criteria. The first was met immediately: Agnew's reattributed the portrait to Jacopo Tintoretto and identified its subject as Alessandro Farnese. As a Venetian portrait by a lesser master, it was only marginally desirable, but as work by Tintoretto it was much more so. In 1961 Gerard Reitlinger in his oft-cited study of prices of works of art, The Economics of Taste, lamented the low commercial lure of Tintoretto: Tintoretto never recovered from the basting he received in Reynolds's discourses, and in the 1850s even the intensive propaganda of The Stones of Venice could not create a market for him. Or perhaps it would be more truthful to say that Tintoretto's easel works had never been popular at any time. The distortions (half way to El Greco), the impure pigments, the oil-sketch character of most of the works, the difficulty of determining school pieces – all have contributed.46 Auction data gathered by Graves until 1913 support Reitlinger's statement, and saleroom reports by The Times in the late 1910s and early 1920s also record low Tintoretto resale prices, which picked up only towards the end of the decade.47 But auction prices tell only one side of the story. In fact, Tintoretto was gaining increased importance in the first decades of the twentieth century. As Anna Laura Lepschy has pointed out, a new critical re-examination of Tintoretto as a 'modern artist' had been developing since the late 1800s and the 1920s were a particularly significant decade within his reassessment.48 In 1920 Emile Bernard had put Tintoretto in the company of Manet and Cézanne and praised his modernity, expressed in a 'completely new intellectual art', that showed 'ease of conception' and 'perfect balance of composition'.49 To Lepschy's observations we can add that, in parallel to this novel critical interpretation of Tintoretto, connoisseurs were examining Venetian painting with a renewed interest and closer attention in order to distinguish stylistically this master's oeuvre. A new corpus of works by Tintoretto was being established. The research by German art historian Detlev von Hadeln (1878–1935) in the late 1910s and early 1920s was particularly significant.50 Hadeln studied the drawings of Tintoretto and applied a careful stylistic and technical analysis to ascribe work to this artist. Connoisseurship and criticism, however, were soon to be joined by commerce. In the course of the 1920s many London dealers advertised works by Tintoretto for sale, especially in the pages of the Burlington Magazine (Figs 4–5).51 His portraits were in particular demand, a preference perhaps also spurred on by Agnew's sale of the Portrait of Vincenzo Morosini to the National Gallery (via the National Art-Collections Fund) in 1924 for £14,000 (Fig. 6).52 Owning paintings by the 'modern' Tintoretto was en vogue and several museums, especially American, purchased works ascribed to this master in the 1920s.53 Colin Agnew was well aware of this trend: in 1927 he wrote to Anthony de Rothschild stating how in his recent visit to the United States he had realized the extent to which 'the interest in Titian and Tintoretto has greatly increased among collectors and museum directors there'.54 Records in the Agnew's archive witness several shipments of Venetian paintings from London to New York; in October 1927 alone, five male portraits ascribed to Tintoretto (including the Farnese Boy) left Agnew's London premises for their New York branch.55 Museum acquisitions often presented particularly intricate connections of scholarship and commerce. For example, Hadeln himself, who had been selected by the art collector John Ringling as one of the directors of his newly opened museum in Sarasota, had a preferential relationship with the Munich and Lucerne art dealer Julius Böhler and at least once he wrote about a work by Tintoretto in the dealer's stock.56 Both Borenius and Hadeln occasionally sold to Agnew's in the period 1925–29.57 Although these linkages were not necessarily dishonest, there existed factions (and frictions between them): some museums had preferred dealers whom they trusted more than others. Fig. 4. View largeDownload slide Notices of portraits ascribed to Jacopo Tintoretto in the Burlington Magazine: Portrait of a Gentleman, for sale at Max Rothschild (London) in December 1925 and A Venetian Senator, for sale at the Ehrich Galleries (New York) in December 1927. Fig. 4. View largeDownload slide Notices of portraits ascribed to Jacopo Tintoretto in the Burlington Magazine: Portrait of a Gentleman, for sale at Max Rothschild (London) in December 1925 and A Venetian Senator, for sale at the Ehrich Galleries (New York) in December 1927. Fig. 5. View largeDownload slide Portrait of a Man in Armour, ascribed to Jacopo Tintoretto, advertised in the Burlington Magazine of July 1929 by Agnew's (London, Manchester and New York). Fig. 5. View largeDownload slide Portrait of a Man in Armour, ascribed to Jacopo Tintoretto, advertised in the Burlington Magazine of July 1929 by Agnew's (London, Manchester and New York). Fig. 6. View largeDownload slide Portrait of Vincenzo Morosini by Jacopo Tintoretto, about 1575–1580. Oil on canvas, 85.3 x 52.2 cm. London, National Gallery. Fig. 6. View largeDownload slide Portrait of Vincenzo Morosini by Jacopo Tintoretto, about 1575–1580. Oil on canvas, 85.3 x 52.2 cm. London, National Gallery. Was the Farnese Boy a profitable 'sleeper'? The sale was negotiated by a certain 'Mr Bolton', perhaps an employee of the firm named David C. Bolton.58 Lady Waldie-Griffith was paid £800 for this painting, with the promise of an extra £200 if the painting was to sell quickly.59 This was not an insignificant sum at the time and it was consistent with prices of works that were considered of good quality but were attributed to lesser-known artists. For instance in October 1926 the National Gallery had purchased from Agnew's a Portrait of a Man then attributed to Giovanni Battista Piazzetta (now ascribed to Giacomo Ceruti) for £900 (Fig. 7).60 Yet, as a work by the emerging star Tintoretto the Farnese Boy was worth considerably more, and as such Agnew's sold it to Boston for $75,000, c.£15,000.61 Fig. 7. View largeDownload slide Portrait of a Priest ascribed to Giacomo Ceruti (formerly attributed to Giovanni Battista Piazzetta), early 1730s. Oil on canvas, 99.7 x 78.1 cm. London, National Gallery. Fig. 7. View largeDownload slide Portrait of a Priest ascribed to Giacomo Ceruti (formerly attributed to Giovanni Battista Piazzetta), early 1730s. Oil on canvas, 99.7 x 78.1 cm. London, National Gallery. Even if we consider the high cost noted by Agnew's in the shipment records of the painting – £1,283 – the sale of this portrait gave Agnew's a profit margin of over £13,500.62 The Farnese Boy was, undoubtedly, a very profitable sleeper. It would, however, be rash to judge Agnew's re-attribution to Tintoretto solely as a money-making enterprise: they did not undertake this change of authorship lightly. At the time of the purchase the firm commissioned and printed three short articles written by Borenius, Lionello Venturi (1885–1961) and Charles Ricketts (1866–1931) to evaluate the painting.63 All three writers confirmed the attribution of this painting to Jacopo Tintoretto and identified its sitter as the youthful Alessandro Farnese, although this was accepted with differing levels of confidence and conviction. Borenius endorsed fully the attribution to Tintoretto, stating that because of 'its power of physiological interpretation', and its quality 'of brushwork, coloring and atmosphere' the picture must be 'classed amongst the finest achievements of the Venetian as portrait painter'; he was, however, more cautious in his identification of the sitter.64 Venturi, a wide-ranging art historian whose publications covered sixteenth- to twentieth-century art, held no doubts. He stated that the portrait was 'one of the most synthetic, intense and brilliant that Tintoretto ever depicted' and 'there can be no doubt that the sitter was Alessandro Farnese'.65 In contrast, the art connoisseur and artist Ricketts accepted the attribution to Tintoretto but was rather more circumspect over the possible identity of the sitter. He also suggested that the portrait dated not from the mid-1560s but from 'the later years of the fifties'.66 Of course, the fact that Ricketts, Borenius and Venturi sold pictures to Agnew's complicates this narrative of scholarship. Yet some external evidence points to this nexus as not being an exclusively commercial venture. In fact, the attribution to Tintoretto of this portrait was maintained for a very long time and was independently accepted by scholars such as Boston Museum curator – and later National Gallery director – Philip Hendy (1900–1980), who had no known connections with Agnew's.67 It was even upheld by Bernard Berenson, who had many times professed a particular dislike for this firm.68 The fact that Venturi published this portrait again in his Pitture Italiane in America of 1931 could also indicate that his attribution to Tintoretto was proposed in good faith.69 Besides, the recent re-attribution from Jacopo to Domenico Tintoretto by the Boston Museum can be considered as an operation of connoisseurial fine-tuning, from a particular artist to his close circle, that takes account of the new evidence that has emerged on both artists rather than a complete dismissal of Agnew's opinion. Conclusion The two key moments in the history of the painting, which we have reconstructed here, illustrate a sea-change in attitudes towards collecting and trade. The painting's role was transformed profoundly – from marker of identity, culture and wealth in the mansion of a Scottish family to a specimen of art history in an American museum. This case reinforces clearly Feigenbaum and Reist's narrative of provenance as a history of change. Yet, paradoxically, this portrait's shifting roles and attributions also contain returning elements. Throughout its life the painting had fulfilled a liminal function. First in its transitioning between cultures, from Venice to Scotland and from Scotland to Boston (via London and New York). Secondly, in its changing attributions, being included either just outside the orbit of an established artist, or within the oeuvre of an artist then considered problematic. In the nineteenth century it was considered as the work of Carletto Caliari, the son of Paolo Veronese – within the circle of a celebrated artist. One century later it was attributed to Jacopo Tintoretto, at a time when the painter still enjoyed a mixed reputation. More recently, when Tintoretto has reached a firmer position in the art-historical canon, the painting has been transferred to the oeuvre of his son, Domenico. In all of these cases it has been situated in close proximity of canonical artists, without becoming part of the canon itself. The painting's liminality has travelled across time and space. Acknowledgements We wish to thank: Richard Wragg, Archivist at the National Gallery; Agnes Penot for her invaluable help in accessing Waldie's diary; and Frederick Ilchman and Thomas Michie at the Boston Museum of Fine Arts. We are also particularly grateful to: Roger Kuin, Elizabeth Goldring, Mary Ellen Lamb and Mark Westgarth. Thanks are also due to our anonymous reader for the Journal of the History of Collections who has provided perceptive and generous feedback. Notes and references 1 In February 2008 at the College Art Association Conference (caa) in Dallas, tx, Gail Feigenbaum of the Getty Research Institute and Inge Reist of the Frick Art Reference Library, led a session titled 'Provenance: The Transformative Power', which was then expanded into a book: G. Feigenbaum and I. Reist (eds), Provenance. An alternate history of art (Los Angeles, 2012). See also the special issue on provenance studies in Collections: A Journal for Museum and Archives Professionals 10 (2014). Another session was held at the February 2016 caa Conference in Washington, dc, entitled 'Career Opportunities? Teaching Provenance Research within the Field of Art History'. Museums in the USA such as the Metropolitan Museum of Art, New York hold curator posts that specialize in provenance, and the study of provenance research is currently offered as degree course in Germany (Ludwig-Maximilians-Universität, Munich, and Freie Universität, Berlin) and the United Kingdom (University of Glasgow). Of great importance is also the 'Collecting and Provenance' research strand at the Getty Center, Los Angeles [http://www.getty.edu/research/tools/provenance/, accessed November 2016]. 2 Feigenbaum and Reist, op. cit. (note 1), p. 2. 3 Ibid. 4 The painting was bought by the museum with funds provided by two of the museum's donors, Henrietta Fitz ('Mrs. W. Scott Fitz') and Robert Treat Paine, 2nd; it is therefore recorded as their gift. See T. Jefferson Coolidge, 'Report of the President', Annual Report for the Year . . . (Museum of Fine Arts, Boston) 54 (1929), pp. 11–16. Henrietta Fitz was the mother of the Boston Museum Fine Arts director Edward Jackson Holmes. See her portrait in the museum collection, available online [http://www.mfa.org/collections/object/mrs-w-scott-fitz-mother-of-edward-jackson-holmes-261009, accessed November 2016]. Robert Treat Paine 2nd (d. 1929) was the son of Boston philanthropist Robert Treat Paine (1835–1910). On 24 March 1961 a copy of the portrait was sold at Christie's; illustrated in Burlington Magazine 103 (1961), p. xiv. 5 A.C.J. [A. Child Jenckes], 'Portrait of Alessandro Farnese, by Tintoretto', Bulletin of the Museum of Fine Arts 36 (1928), pp. 2–3. This issue of the Bulletin included a reproduction of the portrait as its front cover. Jenckes was appointed assistant to the director in February 1927, see 'Notes', Museum of Fine Arts Bulletin 25 (1927), p. 10. 6 Jenckes, op. cit. (note 5), p. 2. 7 The full catalogue entry of this painting is available online, on the Boston Museum of Fine Arts website: [http://www.mfa.org/collections/object/portrait-of-a-young-man-32299, accessed November 2016]. 8 National Gallery Archive (hereafter cited as nga), nga27/11/1/330. 9 nga, nga27/1/1/12 stock book 10 (hereafter cited as sb 10) stock no. 6753. 10 On the names assumed by Tintoretto and Veronese, see T. Nichols, Tintoretto: Tradition and Identity (London, 1999, 2015 edn), 17--19. 11 sb 10, n. 6753. On Borenius, see D. Farr, 'Borenius, (Carl) Tancred (1885–1948)', Oxford Dictionary of National Biography [http://www.oxforddnb.com/view/article/76085, accessed November 2016]. Much has been written about Bode, see T. W. Gaehtgens and B. Paul (eds), Wilhelm Bode, Mein Leben (Berlin, 1997), esp. vol. ii, 'Kommentarband'; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten (Stuttgart, 2007), pp. 32--35; J. J. Sheehan, Museums in the German Art World: From the end of the Old Regime to the rise of Modernism (Oxford, 2000), pp. 142--3, 157--9. 12 sb 10, no. 6753. For examples of Borenius's scholarship on Tintoretto, see 'A seascape by Tintoretto', Apollo 2 (1925), p. 249; 'A great Tintoretto', Burlington Magazine 61 (1932), pp. 99--104. 13 On the relationship between Colin Agnew and Bode, see [G. Agnew], Agnew's 1817–1967 (London, 1968), p. 45. Borenius had already authenticated other paintings for Agnew's: see for instance the photograph of a Portrait of a Gentleman identified by Borenius as by Bernardino Licinio, nga, nga27/32/1/40. 14 [Obituary], Western Australian, 27 July 1933, p. 13 [http://oa.anu.edu.au/obituary/waldie-griffith-sir-richard-13761, accessed November 2016]. Agnew's had also purchased an 1828 Portrait of Lady Waldie by Robert Edmonstone from Lady Waldie-Griffith together with the Caliari/Tintoretto portrait, see sb 10, no. 6754, illustrated here in Fig. 2. 15 In March 1932 Richard Waldie-Griffith brought before the Central European Court an action against an individual called Petschek who had purchased the bulk of his Bohemian mining shares for £100,000, even though they were later valued at £5,000,000. Sir Richard's third wife Alice represented him (since he was then aged about 82) but the court found against him: op. cit. [Obituary] (note 14), p. 13. See also National Records of Scotland, Edinburgh, Waldie-Griffith of Hendersyde Park, papers on coalmines in Bohemia, gb234/ gd1/378. It was widely recorded in various Australian newspapers (including Perth's Daily News, 6 October 1933) that after his death on 26 July 1933 Waldie-Griffith's estate was valued at only £1,495. Lady Waldie-Griffith continued to pursue the family's Bohemian mining shares claim for some twenty years after Sir Richard's death. The Argos, 7 November 1955 [http://trove.nla.gov.au/newspaper/article/71778520, accessed November 2016]. The Waldie-Griffith collection was dispersed at auction at Christie's on 22 December 1927 and at Sotheby's on 27 June 1928; notably a Portrait of Mrs Griffith (née Bramston) by George Romney was sold for 5,200 guineas (£5,460). See 'The Art Sales of 1927', The Year's Art (1928), p. 301. 16 On the Waldie sisters, see C. L. Taylor, 'Eaton, Charlotte Anne (1788–1859)', Oxford Dictionary of National Biography [http://www.oxforddnb.com/view/article/28448, accessed November 2016]. 17 F. Burwick, The Journal of John Waldie Theatre Commentaries 1798–1830, eScholarship, University of California, Los Angeles, ca, 2008, pp. 1--4, quoting a memoir of John Waldie by his godson Sir George Douglas, 'Overstrain versus Ennui', Weekly Scotsman, September 1927. Historic Environment Scotland, Hendersyde Park gdl00210 [http://portal.historicenvironment.scot/designation/gdl00210, accessed November 2016]. 18 On Sir Richard Griffith, see A.W. Skempton, A Biographical Dictionary of Civil Engineers in Great Britain and Ireland (London, 2002), p. 274. 19 The bulk of John Waldie's personal papers and journals are now preserved in the University of California Los Angeles Library, Department of Special Collections (ucla Catalog Record id: 4233947). These comprise seven volumes of letters addressed to Waldie; seventy-four journal volumes, eleven volumes concerning his international travels derived from his journals; and one volume of passports (covering the period 1827–1837). [http://www.oac.cdlib.org/findaid/ark:/13030/tf2r29n94n/admin/, accessed November 2016]. See also Yale University Library, Osborn d331, for Waldie's diary for the period 11 May 1801–23 March 1803 [http://orbexpress.library.yale.edu/vwebv/holdingsInfo?bibId=7041426, accessed November 2016]. Brief attention in paid to Waldie as a collector in P. B. Humfrey, T. Clifford, A. Weston-Lewis and M. Bury, The Age of Titian: Venetian Renaissance Art from Scottish Collections (Edinburgh, 2004) pp. 51, 419--20. The Boston portrait was then identified in error with Waldie's Head of a Man with Lace Frill, attributed to the School of Titian. 20 [J. Waldie?], A Descriptive Catalogue of the Collection of Pictures, Sculptures, Bronzes, &c. at Hendersyde Park, the Seat of John Waldie, Esq. (Edinburgh, 1835), hereafter cited as 1835 Catalogue. 21 1835 Catalogue, p. vi. 22 Ibid. 23 John Waldie's travel diaries form part of the John Waldie Papers, Collection 169, Box 5, Journals 66--70. 24 [John Waldie?], A Catalogue of Pictures, Statues . . . in the Various Apartments at Hendersyde Park (Kelso, 1859), hereafter cited as 1859 Catalogue. John Waldie also published a Catalogue of the Library at Hendersyde Park (Kelso, 1863) as an accompaniment to the catalogue of works of art. This catalogue also contains some family history, pp. v-vii. 25 1859 Catalogue, p. iv. 26 1859 Catalogue, Guido Reni, Vision of Jacob, pp. 70--71; Raffaelle (scuola di) [sic], The Holy Family, p. 105. 27 1859 Catalogue, p. 6. Carlo, also known as Carletto (1567–1596), was the son (not nephew as the catalogue states in error) of Paolo Caliari (1528–1588), famously nicknamed Veronese. On Carletto's biography, see D. Gisolfi, 'Veronese's training, methods, and shop practice', in Paolo Veronese: a master and his workshop in Renaissance Venice, ed. V. Brilliant, F. Ilchman and D. Rosand (London 2012), p. 41. Carlo was trained from childhood in his father's workshop, working alongside his uncle Benedetto and brother Gabriele (1568–1630/1), and he eventually took over the business when his father died, assisting in the completion several of his unfinished paintings. This reference to Veronese as an 'uncle' serves as a reminder that his nephew Luigi Benfatto (1551–1611), also known as Luigi Alvise dal Friso, was trained in his workshop. However, there is no evidence that John Waldie acquired this portrait in the belief that it was by Benfatto rather than Carlo Caliari. For Veronese's workshop as a family concern, see F. Ilchman (ed.), Titian Tintoretto Veronese Rivals in Renaissance Venice (Farnham 2009), pp. 28, 68, 228. 28 John Waldie Papers, ucla, Los Angeles. Journal 69, 1 November 1836 to May 1837. Hereafter cited as Waldie Diary. 29 Waldie Diary, pp. 50--52. 30 Ibid., p. 45. See also 1859 Catalogue, Simone di Pesaro, Bacchus and Ariadne, p. 69. 31 Waldie Diary, p. 49. 32 Ibid., p. 54. 33 Ibid., p. 57. 34 Ibid., p. 58. 35 Ibid., p. 61. In the 1859 Catalogue: Tiepolo, Portrait of a Venetian Lady, p. 142; Simone di Pesaro, Bacchus and Ariadne, p. 69. We were unable to trace the view by Canaletto in the 1859 catalogue as the view quoted at p. 21 was said to have been purchased 'from the collection of Signor Gherardi at Florence' in 1828. 36 Waldie Diary, pp. 66--7. In the 1859 Catalogue: Caliari, p. 6; Marieschi, View of Venice, p. 21; the two paintings by Guardi are untraced. Paolo Veronese had one daughter and four sons. 37 '2 Beautiful Ghisolfi of ruins and figures for £2 each', Waldie Diary, p. 71. The pictures are referred to in the 1859 Catalogue as 'from the collection of Signor Giustiniani at Venice in 1836'. Waldie states, somehow untruthfully, that 'both were obtained with much difficulty', Waldie Diary, pp. 28--30. In 1927 the Ghisolfi pair sold for only 1 penny, see Christie's sale, op. cit. (note 15), lot 28, p. 61. 38 'I walked to Mr. Holmes and found all my pictures safely stored in his first story in a large case. I got settled with the 2 persons from which I have bought them as Mr. Holmes paid them off. They will be sent off next week to London . . . at 8 went to drink tea with Mr and Mrs Holmes to settle about the picture. Luckily nobody was there and I spent near 2 hours with them very pleasantly'. Waldie Diary, p. 77. 39 I. Gaskell, 'Tradesmen as scholars: interdependencies in the study and exchange of art', in Art History and its Institutions. Foundations of a Discipline, ed. E. Mansfield (London, 2002), pp. 146--62. 40 See the many letters on the necessity of reducing the firm's overdraft in August 1920 (nga, nga27/11/1/133, nga27/11/1/134); and a letter of 29 February 1924 in which is discussed Colin Agnew's loss of £30,000 of capital and how the large debts are a source of strain for the firm, nga, nga27/23/7/6. Continuing financial problems are outlined in some 1928 letters from Charles Gerald Agnew to Walter Draper of Lloyd's Bank, nga, nga27/11/1/304, nga27/11/1/305 and nga27/11/1/313. 41 On growth of prices in the 1920s, see G. Reitlinger, The Economics of Taste. The rise and fall of picture prices 1760–1960 (London, 1961), pp. 202--3. 42 Ibid., pp. 202--4. 43 A.C.R. Carter, 'The art sales of 1927', The Year's Art (1928), pp. 288--9. 44 Stock book details for Picture Shipped to New York per ssLa Savoie: 'Titian A Man with Hawk, cc. Duveen Brothers from the Simion Collection cost cc.mat [£30.12. 6] joint with Duveen – our half taken over by c.m.a. [Charles Morland Agnew] consular valuation ai.eee [£25,000] – frame old ke [£40]', nga, nga27/11/1/274. 45 The term 'sleeper' within the art market was derived from sporting and film colloquialisms. Oxford English Dictionary: '1892 Outing Mar. 454/2 Williams won the high and low hurdles in record time . . . and Harmar a second in the mile, being beaten by Wells, a 'sleeper' from Amherst'. '1903 J. P. Paret Lawn Tennis iii. vi. p. 350, 'Sleeper, a slang expression meaning a player who is much better than was thought'. 46 Reitlinger, op. cit. (note 41), p. 462. 47 For early Tintoretto auction sales see A. Graves, Art Sales (London 1917), vol. ii, pp. 208--9. The following list of prices noted in auction reports by The Times in the 1920s shows that Tintoretto was not strong on the auction market, also because of the unreliability of the attributions. The higher prices towards the end of the century also indicate the impact made on the marker by the new study of this artist, and by more reliable attributions: Baptism of Christ, attributed to Tintoretto sold for 150 guineas (£225), The Times, 12 November 1921; The Miracle of St Mark sold for 800 guineas (£840) to Colnaghi, The Times, 5 May 1922; Christ Curing the Paralytic bought by R. Langton Douglas for 580 guineas (£609) and Senator in Dark Dress Lined with Ermine bought by P. Colnaghi for 600 guineas (£630), The Times, 5 May 1923; Doge of Venice, attributed to Tintoretto, sold for 580 guineas (£609) and St Mark Preaching at Venice, sold for 580 guineas (£609), 'The Sale Room' The Times, 26 March 1927; Tintoretto, The Entombment of Christ, sold for 230 guineas (£241), 'The Sale Room', The Times, 23 November 1927; Diana and the Sleeping Endymion by Tintoretto was bought by Frank Sabin for 4,100 guineas (£4,305), 'The Sale Room', The Times, 9 March 1928; Tintoretto, Portrait of Andreas Vesalius bought for 1,300 guineas (£1,365) by R. Langton Douglas 'The Sale Room', The Times, 9 June 1928; Virgin and Saints by Tintoretto £1,333 'Sale Of Nemes Art Collection', The Times, 14 November 1928; Tintoretto Cornaro Family Group sold for 2,800 guineas (£2,940), 'The Sale Room', The Times, 26 July 1929. The Year's Art reported two notable sales of Tintoretto in 1927: David and Goliath to Permain for 2,500 guineas (£2,625) and Gentleman with Beard at Window to Hopkins for 2,000 guineas (£2,100), both from the Holford collection. The Year's Art (1927), pp. 302--3. Tintoretto, Member of Capello Family sold on 24 July 1929 at Sotheby's for 8,000 guineas (£8,400) to Asscher; a Pieta' at the Harborough sale was sold for 3,500 guineas (£3,675) to the Savile Gallery. 48 A. L. Lepschy, Tintoretto Observed. A documentary survey of critical reaction from the 16th to the 20th century (Ravenna, 1983), pp. 121--37, 140--49. 49 E. Bernard, Tintoretto, Greco, Magnasco, Manet (Paris, 1920), pp. 15--38, quoted by Lepschy, op. cit. (note 48), pp. 134--7. 50 D. von Hadeln, Zeichnungen des Giacomo Tintoretto (Berlin, 1922). It is important to note that Paul Cassirer, the publisher of Hadeln's book, was himself an art dealer, so he too had some vested interest in the publication of the catalogue; Hadlen published articles on Tintoretto principally in the Burlington Magazine – see D. von Hadeln, 'Some early works by Tintoretto i', Burlington Magazine 61 (1922), 206--17; D. von Hadeln, 'Early works by Tintoretto ii', Burlington Magazine 61 (1922) 278--88; D. von Hadeln, 'Originals and replicas from Tintoretto's studio', Burlington Magazine 43 (1923), pp. 286--95; D. von Hadeln, 'A self-portrait by Tintoretto', Burlington Magazine 44 (1924), 92--3; D. von Hadeln, 'Some drawings by Tintoretto' Burlington Magazine 44 (1924), 278--84. For biographical information, see his obituary in the Burlington Magazine 66 (1935), p. 299. 51 These dealers advertised portraits by Tintoretto for sale in the Burlington Magazine in the 1920s: A.L Nicholson (London), Portrait of a Woman, Burlington Magazine 62 (1923), p. xxiii; Max Rothschild (Sackville Gallery, London), Portrait of a Gentleman, Burlington Magazine 62 (1925), p. ii, fig. 4; Ehrich Galleries (New York), A Venetian Senator, Burlington Magazine 51 (1927), p. xii, fig. 4; A. S. Drey (Munich), A Venetian Senator, Burlington Magazine 53 (1928), s. p; Agnew's (London, Manchester and New York), Portrait of a Man in Armour, Burlington Magazine 55 (1929) p. xlvii, fig. 5. 52 This painting, ng4004, was presented by the National Art-Collections Fund on the occasion of the National Gallery's centenary in 1924. See the acquisition file in the National Gallery, nga, ng14/46/1. It was extensively commented on in the press: see for instance 'A Tintoretto for the nation', The Times, 9 May 1924; 'A masterpiece of painting', The Times, 9 May 1924; 'A Tintoretto for the nation', The Times, 22 November 1924. N. Penny, National Gallery Catalogues, The Sixteenth Century Italian Paintings (London 2008), vol. ii, p. 184, discusses the acquisition through Agnew's, as well as the portrait's earlier provenance with the Italian art dealer Alessandro Contini (later known as Count Contini-Bonacossi). 53 The Metropolitan Museum of Art in New York had already acquired two paintings ascribed to Tintoretto (The Miracle of the Loaves and Fishes and Two Brothers) in 1913. In 1921 it held two more on long-term loan (A Venetian Doge and The Historian Varchi), see the Annual Report of the Trustees of the Metropolitan Museum of Art, Index vol. iii, 1912--1921 (1921), p. 224. In 1923 the Detroit Museum of Fine Arts purchased a ceiling painting by Tintoretto, see 'Report of the Arts Commission for the Year 1923', Bulletin of the Detroit Institute of Arts of the City of Detroit 5 (1924), p. 27. The Boston Museum acquired several works by Tintoretto in the course of the 1920s: see P. Hendy, 'Paintings by Tintoretto in Boston', Burlington Magazine 62 (1933), pp. 128--35. In March 1927 the Cleveland Museum of Art acquired a Madonna and Child by Tintoretto: see 'Accessions', Bulletin of the Cleveland Museum of Art 14 (1927), p. 44. In early 1928 the City Art Museum in St. Louis purchased The Finding of Moses by Tintoretto: see J.B.M, 'The Finding of Moses by Tintoretto', Bulletin of the City Art Museum of St. Louis 13 (1928), p. 47. Museums in other countries succumbed to the lure of Tintoretto, notably the National Gallery of Victoria purchased a Portrait of a Doge by Tintoretto in 1927 from Knoedler for £14,000 (Knoedler had paid £3,500 for it). See the firm's stock books online, Getty, record no. k-28060. Available online: [http://piprod.getty.edu/starweb/stockbooks/servlet.starweb?path=stockbooks/stockbooks.web, accessed November 2016]. See also T. Borenius, 'A Tintoretto for Melbourne', Apollo 5 (1927), pp. 216--17. 54 Colin Agnew to Anthony de Rothschild, 23 April 1927, nga, nga27/11/1/273. 55 For the October 1927 Agnew's shipping records, see nga, nga27/11/1/280 (3 October), nga27/11/1/281 (7 October), nga27/11/1/282 (14 October) and nga27/11/1/284 (21 October). 56 D. von Hadeln, 'Some paintings and drawings by Tintoretto', Burlington Magazine 48 (1926), p. 120. In 1928 Hadeln published in the Burlington Magazine (52 (1928), pp. 191--3) a Portrait of a Lady by Paolo Veronese from the stock of Böhler. On Ringling, Hadeln and Böhler, see John Ringling: Dreamer, Builder, Collector, exh. cat., John and Mable Ringling Museum of Art (Sarasota, 1997), pp. 18--26, 35--77 (for Böhler) and pp. 34, 62--63 (for Hadeln). 57 In the period 1926–29, Agnew's purchased from Borenius: a Portrait of John Milton by Dobson on 6 July 1926 (sb 10, no. 6590); a View of Venice by Canaletto on 2 November 1928 (sb 10, no. 6911); and a Portrait of Captain Lyon by J. Jackson on 16 May 1929 (sb 10, no. 7017). Hadeln sold to the firm a Portrait of a Man by Franciabigio on 11 May 1927 (sb 10, no. 6694); A Virgin and Child by Sellajo, a Saint Mark and a Saint John the Baptist by Palma il Vecchio on 12 September 1927 (sb 10, nos 6774–6776); a Portrait of Francesco Rovellino of Bergamo on 6 May 1929 (sb 10, no. 7012) and a Portrait of a Lady by Longhi on 30 September 1929 (sb 10, no. 7080). Charles Ricketts sold only one picture to Agnew's in this period: a Caricature Group by Patch on 1 March 1929 (sb 10, no. 6986). 58 David C. Bolton is recorded as working for the firm between 1918 and 1928 in Agnew's 1817–1967, op. cit. (note 13), p. 39. 59 nga, nga27/11/1/330. 60 nga, ng27/1/1/12, sb 10, no. 6334. 61 nga, ng7/1/1/12, sb 10, no. 6753. The British pound to US dollar exchange rate is from the site measuringworth.com, which gives the average of $4.86 for £1 in 1927, see https://www.measuringworth.com/exchangepound/, accessed January 2017. 62 Shipment of 20 October 1927 from London to New York: 'Tintoretto 6753 Alessandro Farnese, from Lady Waldie Griffith cost marc [=£1,283] – no asking price consular value y,eee [=£5,000]. Frame ae [=£20] old. With the picture we have sent 20 copies of W. Ruizelli [Ruizetti?] brochure on the picture. Certified photo from Dr. Bode'. In this shipment only there were four male portraits by Tintoretto and others by Titian and Veronese. nga, nga27/11/1/284. 63 T. Borenius, 'Portrait of a Young Nobleman by Tintoretto'; L. Venturi, 'Portrait of Alessandro Farnese (1545–92) by Jacopo Robusti called Tintoretto (1512–1594)'; and C. Ricketts, 'The Boy in White by Tintoretto', all printed privately by Thomas Agnew and Co, London. Boston Museum of Fine Arts Archive. We are grateful to Frederick Ilchman, Chair, Art of Europe, and Mrs Russell W. Baker Curator of Paintings at the Boston Museum, for supplying us with copies of these articles from the museum's records. Venturi also sold occasionally to Agnew's: on 26 September 1927 a Madonna and Child in Landscape which was subsequently purchased by Viscount Rothermere (sb 10, no. 6764); on 13 May 1928 two Four Heads of Saints, attributed to Baronzio (sb 10, no. 6876–6877); on 12 October 1928 a Venus holding a Mirror by Palma il Vecchio (sb 10, no. 6897) and on 28 May 1929 a Portrait of a Young Man by Pontormo (sb 10, n. 7023). 64 Borenius, op. cit. (note 63), [4 pages, p. 3]. An end-note (p. 4) to this article records that the painting had been 'Reproduced in the Illustrated Catalogue of the Later Venetian Exhibition at the Burlington Fine Arts Club, 1914, No. 34, Plate xxv (under a mistaken attribution to Titian)'. This information seems to imply that the portrait had been loaned to this exhibition in 1914, while still in the possession of the Waldie-Griffith family, but was then attributed to Titian (rather than by either Carlo Veronese or Tintoretto) by either the organizers of the Burlington Fine Arts Club exhibition or the Waldie-Griffith family. As Borenius was one of the organizers of this exhibition, it was probably there that he noticed the painting for the first time. Unfortunately the authors have not been able to locate this exhibition catalogue. 65 Venturi, op. cit. (note 63), [4 pages, p. 2]. Venturi's article is dated: 'London, October 10th, 1927'. 66 Ricketts, op. cit. (note 63), [3 pages, p. 3]. More recently, Roger Kuin has suggested that the Boston Museum portrait may be comparable to Veronese's lost portrait of the young Englishman Sir Philip Sidney (1554–1586). R. Kuin, 'New light on the Veronese portrait of Sir Philip Sidney', Sidney Newsletter and Journal 15 (1997), pp. 19--47, at pp. 35--6. Sidney sat for this portrait at Veronese's workshop in February 1574 and, although it has been lost since the 1590s, it cannot be the painting now in the Boston Museum since Sidney's portrait was recorded at Vienna in 1575, Antwerp in 1581 and then in the collections in England of Sidney's uncle, Robert Dudley, Earl of Leicester, until about 1590. See E. Goldring, 'A portrait of Sir Philip Sidney by Veronese at Leicester House, London', Burlington Magazine 154 (2012), pp. 548--54. Kuin's suggestion is followed by A. Haynes, Walsingham. Elizabethan Spymaster & Statesman (Stroud, 2004), p. 81. 67 Hendy, op. cit. (note 53), pl. ii a, p. 130. Hendy was appointed curator of paintings for the Museum of Fine Arts in Boston in 1930 and National Gallery director in 1946: see T. Cox, 'Sir Philip Hendy' [Obituary], Burlington Magazine 123 (1981), p. 33. 68 B. Berenson, Italian Pictures of the Renaissance (Oxford, 1932), p. 558; B. Berenson, Italian Pictures of the Renaissance . . . Venetian School (London 1957), vol. i, p.170, still lists this portrait as by [Jacopo] Tintoretto but its sitter is tentatively identified as: 'Bust of? Alessandro Farnese'. 69 L. Venturi, Pitture Italiane in America (Milan, 1931), pl. ccciv. © The Author(s) 2017. Published by Oxford University Press. All rights reserved.
Journal of the History of Collections – Oxford University Press
Published: Mar 1, 2018
It's your single place to instantly
discover and read the research
that matters to you.
Enjoy affordable access to
over 18 million articles from more than
15,000 peer-reviewed journals.
All for just $49/month
Query the DeepDyve database, plus search all of PubMed and Google Scholar seamlessly
Save any article or search result from DeepDyve, PubMed, and Google Scholar... all in one place.
Get unlimited, online access to over 18 million full-text articles from more than 15,000 scientific journals.
Read from thousands of the leading scholarly journals from SpringerNature, Elsevier, Wiley-Blackwell, Oxford University Press and more.
All the latest content is available, no embargo periods.
"Hi guys, I cannot tell you how much I love this resource. Incredible. I really believe you've hit the nail on the head with this site in regards to solving the research-purchase issue."Daniel C.
"Whoa! It's like Spotify but for academic articles."@Phil_Robichaud
"I must say, @deepdyve is a fabulous solution to the independent researcher's problem of #access to #information."@deepthiw
"My last article couldn't be possible without the platform @deepdyve that makes journal papers cheaper."@JoseServera
Save searches from
Create lists to
Export lists, citations
Read DeepDyve articles
Abstract access only
Unlimited access to over
20 pages / month
PDF Discount
20% off


text:
It's free with no obligation - cancel anytime
All offers due Tuesday 1/15 @ 3pm. Immaculately maintained! Gorgeous hardwoods & tons of natural light. New 2017 roof, All appliances incl. Frig & W/D, new HVAC & ducts! Rocking chair front porch leads to HUGE living room & dining. Eat-in kitchen leads to family room w/ natural gas FP & built-ins, adjacent to double carport & fully fenced backyard w/ separate garden. Master bedroom & full bath located in back of home w/ 3 additional bedrooms & 2 full baths at other end of home.
Don't worry! We'll never spam you or sell your details. You can unsubscribe whenever you'd like.
Listing Courtesy ofFathom Realty NC, LLC


text:
Structured-Programming Summary. All programs broken down intoSequenceSelectionif, if/else, or switch Any selection can be rewritten as an if statementRepetitionwhile, do/while, or forAny repetition structure can be rewritten as a while statement. . while Repetition Structure. Repetition contr
Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.


text:
Candidates owning requisite qualification and practical experience from the similar filed. Place Dahej.oversee the production procedure , drawing up a production schedule;make sure that th...
Pertaining to professional medical analysis and progress, the U.S. has normally been a pioneer plus a booster for the global pharmaceutical industry. Just about sixty billion U.S. dollars are expended on a yearly basis on pharmaceutical R&D purposes in the United States.
These will not demand a prescription, but have to be held within the dispensary, not noticeable to the public, and only be sold by a pharmacist or pharmacy technician. Medical professionals may prescribe prescription medications for off-label use – purposes which the medications were not originally authorised for from the regulatory agency. The Classification of Pharmaco-Therapeutic Referrals allows information the referral course of action concerning pharmacists and Medical practitioners.
[14] Numerous nations, for instance the uk have a third category of "pharmacy medicines", which might only be sold in registered pharmacies by or under the supervision of a pharmacist.
Governments all over the world have made provisions for granting entry to medication prior to approval for sufferers who've exhausted all alternative treatment choices and do not match clinical demo entry standards.
GlaxoSmithKline has withdrawn within the auction to order Pfizer's shopper healthcare organization — a sale that Pfizer experienced hoped would herald approximately $20 billion.
India's drug regulatory entire body claimed it can develop a countrywide electronic database of pharmaceutical brands as well as their medicines.
In America, drug costs are unregulated, but alternatively are the result of negotiations involving drug corporations and insurance corporations.[eighteen]
When momentum for new legislation briefly flagged below prolonged discussion, a different tragedy emerged that underscored the necessity For additional extensive regulation and offered the driving power to the passage of recent laws.
The U.S. pharmaceutical market is the earth's most crucial national marketplace. Along with Canada and Mexico, it represents the most important continental pharma market around the world. The United States alone retains about forty five per cent of the global pharmaceutical industry.
Know-how is assisting to de-mystify the electronic landscape and push high quality all through the item daily life cycle. Digital generally and Artificial Intelligence (AI) particularly is among the transformational technologies in another 10 years. It's got presently remodeled a lot of industries and features. Bitcoin and driverless autos are sometimes touted as essentially the most Innovative varieties of electronic in exercise already.
Gross sales of digestives and intestinal treatments inside the self-medication item market in Europe in 2016, by country (in million euro)Digestives and intestinal therapies self-medication check over here current market revenue in Europe 2016
During the last twenty years, lean packages have grown to be a favorite approach to addressing these troubles in the pharmaceutical sector, as evidenced by the amount of published circumstance reports, conferences dedicated to The subject and published content.
People who realize success will even have to compete While using the originator businesses that are unlikely to exit the marketplace. The biosimilars market is predicted to enhance considerably with an approval pathway now obtainable in America. Rates of biosimilars may not be substantially much less expensive than their patented counterparts due to higher manufacturing and regulatory expenses.
- 286 Visitors


text:
Specifications include, but are not limited to: The Printer shall provide all materials, labor, equipment and transportation necessary for the printing,
labeling and mailing of the Unified Government's Citizen Newsletter approximately one (1) issue each
year with the option of an additional one (1) or two (2) newsletters a year. Reproductions of
photographs must meet or exceed the quality of the halftones/separations printed in the sample
publications available from the Unified Government. The successful Printer shall perform under this
contract as per the specifications set forth herein. Material and delivery service must be performed to
the standards set by these specifications or payment requests will be rejected.
to solicitation details & future business opportunities.
Get Access
Matching bid notifications & access to all Statewide & Group bid details
Matching bid notifications from participating agencies
Access participating agency bids


text:
Hugo Boss AG, typically styled as BOSS, is really a German luxurious vogue residence. It was Established in 1924 by Hugo Boss and is headquartered in Metzingen, Germany. At first focusing on uniforms, it absolutely was a supplier for Nazi Occasion organizations both of those in advance of and during Entire world War II. After the war as well as founder's Loss of life in 1948, Hugo Manager started to turn its emphasis from uniforms to Adult males's suits. The corporation went community in 1985 and released a fragrance line that same calendar year, included mens and womenswear diffusion lines in 1997, an entire Females's selection in 2000 and also kid's clothes in 2008/2009, and it has given that progressed into A significant global trend house with a lot more than 1,one hundred enterprise-owned retail merchants globally (2016).
1 Record
1.one Recent historical past
two Controversies
3 Products and solutions
4 See also
5 References
6 Exterior one-way links
This part requirements more citations for verification. Please assist increase this post by introducing citations to trustworthy resources. Unsourced material may be challenged and taken out. (May perhaps 2017) (Learn how and when to get rid of this template information)
1933 Advert placed by Hugo Boss for Nationwide Socialist uniforms, do the job- sports activities- and rainwear.
In 1923, Hugo Boss Started his have clothing business in Metzingen, a small town south of Stuttgart, the place it remains dependent. In 1924 he started a factory as well as two associates. The corporate manufactured shirts, jackets, do the job clothing, sportswear and raincoats. Due to the economic climate of Germany at the time, Boss was forced into bankruptcy. In 1931, he attained an agreement together with his creditors, leaving him with six sewing devices to start out yet again.[five]
That very same 12 months, he turned a member of your Nazi Occasion, obtaining the membership range 508,889, plus a sponsoring member ("Fileörderndes Mitglied") in the Schutzstaffel (SS). He also joined the German Labour Front in 1936, the Reich Air Security Affiliation in 1939, as well as Nationwide Socialist Persons's Welfare in 1941.[citation desired] Just after signing up for these corporations, his gross sales greater from 38,260 RM ($26,993 U.S. bucks in 1932) to in excess of 3,300,000 RM in 1941.[citation needed] His profits also increased in a similar time frame from five,000 RM to 241,000 RM.[citation necessary] Even though he claimed inside a 1934–35 ad that he were a "provider for National Socialist uniforms considering the fact that 1924", it is actually possible that he did not start out to produce them until eventually 1928 on the earliest.[citation necessary] This is actually the year he turned a Reichszeugmeisterei-accredited provider of uniforms towards the Sturmabteilung (SA), Schutzstaffel, Hitler Youth, National Socialist Motor Corps, together with other social gathering organizations.[citation needed]
Via the 3rd quarter of 1932, the all-black SS uniform was made by SS members Karl Diebitsch (artist) and Walter Heck (graphic designer). The Hugo Manager corporation was also one among the companies that produced these black uniforms for your SS. By 1938 the business was focused on developing Wehrmacht uniforms and later on also uniforms for the Waffen-SS.[six]
For the duration of the Second World War Hugo Manager utilized one hundred forty forced laborers, nearly all of them Gals. Together with these workers forty French prisoners of war also worked for the corporate briefly among October 1940 - April 1941. As outlined by German historian Henning Kober, the business managers have been fervent National Socialists who ended up all great admirers of Adolf Hitler. In 1945 Hugo Manager had a photograph in his condominium of him with Hitler, taken in the Berghof, Hitler's Obersalzberg retreat.[seven] [6]
Because of his early NS Occasion membership, his financial guidance of the SS along with the uniforms shipped to the Nationwide Socialist German Personnel Social gathering, Manager was deemed both of those an "activist" plus a "supporter and beneficiary of National Socialism". Within a 1946 judgment he was stripped of his voting legal rights, his capacity to run a company, and fined "a very significant penalty" of 100,000 DM ($70,553 U.S. bucks).[eight] Nonetheless, Manager appealed, and he was ultimately labeled as a 'follower', a lesser class, which intended that he wasn't regarded as an Energetic promoter of Countrywide Socialism.[6]
He died in 1948, but his organization survived.
On account of the ban on Manager getting in business enterprise, his son-in-law Eugen Holy took in excess of possession and running of the organization. In 1950, after a period of time supplying perform uniforms, the corporate received its initial buy for guys's fits, causing an expansion to one hundred fifty staff members by the end in the yr. By 1960 the corporate was producing ready manufactured satisfies. In 1969, Eugen retired, leaving the company to his sons Jochen and Uwe, who began Worldwide growth. In 1970, the main Manager branded suits had been made, With all the model getting a registered trademark in 1977. This was accompanied by the start of the organization's lengthy association with motorsport, sponsoring Method Just one driver Niki Lauda, and afterwards the McLaren Racing workforce.
In 1984, the first Boss branded fragrance appeared. This Hugo Boss parfym helped the organization obtain the needed progress for listing within the Frankfurt Stock Exchange the subsequent year. The brand entered the planet of golf by sponsoring Bernhard Langer in 1986 and entered the entire world of tennis by sponsoring the Davis Cup in 1987. In 1989, Boss launched its first licensed sun shades. Afterwards that calendar year, the corporation was acquired by a Japanese team.[nine]
Following the Marzotto textile team acquired a 77.5% stake for $a hundred sixty five,000,000 in 1991,[nine][ten] the Hugo and Baldessarini manufacturers have been launched in 1993. In 1995 the organization launched its footwear range, the first in a now fully developed leather products vary throughout all sub-makes. A partnership Along with the Solomon R. Guggenheim Basis was introduced in 1995, resulting in the Hugo Boss Prize, an annual $a hundred,000 stipend in modern-day arts introduced due to the fact 1996.
Modern historical past
Hugo Boss Shop in Brisbane, Australia
In 2005, Marzotto spun off its fashion models into your Valentino Hugo Boss parfym Vogue Group, which was then offered to Permira private fairness group. In March 2015 Permira announced designs to provide the remaining shareholding of twelve%. Because the Exit by Permira, ninety one% with the shares floated within the Börse Frankfurt and the residual two% held by the business. 7% of the shares owns the Marzotto Relatives. Hugo Boss has at least six,102 factors of sale in 124 countries. Hugo Manager AG immediately owns more than 364 outlets, 537 monobrand retailers, and around 1,000 franchise-owned shops.[nine]
In 2009, BOSS Hugo Manager was undoubtedly the most important section, consisting of 68% of all profits. The remainder of profits have been made up by Manager Orange at 17%, Manager Variety at 3%, Manager Green at three% and HUGO at 9%.[eleven]
In 2010, the organization experienced product sales of $2,345,850,000 and also a net gain of $262,183,000,[9] with royalties of forty two% of complete Web earnings.[nine]
In June 2013, Jason Wu was named artistic director of Manager Womenswear.[12][13]
In March 2010, Hugo Manager was boycotted by actor Danny Glover for the business's plans to shut the plant in Brooklyn, Ohio following 375 workforce in the Workers United Union reportedly rejected Hugo Manager proposal to cut the staff' hourly wage 36% from $13 an hour or so to $eight.30.[fourteen] After an First statement by CFO Andreas Stockert expressing the company experienced a responsibility to shareholders and would transfer go well with manufacturing from Ohio to other services in Turkey, Bulgaria, and Romania,[fifteen] the organization capitulated to your boycott and cancelled the project.[16] Designs to close the plant once again in April 2015 also unsuccessful.[17][eighteen]
In September 2015, Hugo Manager (UK) was fined £1.2m in relation into the death in June 2013 of a toddler who died 4 days soon after struggling fatal head injuries at its retail outlet in Bicester, Oxfordshire.[19] The four-yr-outdated boy were injured each time a metal-framed fitting-room mirror weighing one hundred twenty kg (250 lb) fell on him. Oxford Crown Court docket had earlier been advised that it experienced "negligently been left free of charge-standing with none fixings"[19] and the coroner had explained which the Dying was an "accident waiting to occur".[twenty] In June 2015, Hugo Manager (British isles) had admitted its breach of the two the Wellbeing and Protection at Function Act 1974 and Management of Overall health and Basic safety at Do the job regulations 1999.[21] The organization's authorized consultant claimed: "The consequence of the failing is as dreadful as one could fairly think about. Considering that the working day of your incident Hugo Manager has done all it could, initial to accept Individuals failings, to specific authentic, heartfelt regret and likewise display a resolve To place matters ideal and ensure there cannot be a repeat of what went Incorrect".[21]
Boss Bottled, a fragrance launched in 1998.[22]
There are two core brands, Boss and Hugo. The ranges are:
Manager, which incorporates both of those Adult males's have on (1970) and girls's have on (2000).
Manager Orange, which incorporates equally Gentlemen's use (1999) and ladies's use (2005). This line was relaunched in 2010 as denim based mostly informal Hugo Boss parfym dress in. In the Spring / Summer time 2018 collection Manager Orange are going to be often called Manager Relaxed.
BOSS Eco-friendly, which was previously known as Manager Activity, contains golf-style Lively garments in equally Gentlemen's dress in (2003) and women's have on (2010). With the Spring / Summer season 2018 assortment BOSS Environmentally friendly might be generally known as BOSS Athleisure.
HUGO, which incorporates both equally Gentlemen's dress in (1993) and women's don (1998).
Merchandise are produced in a variety of spots, including the company's have generation web sites in: Metzingen, Germany; Morrovalle, Italy; Radom, Poland; Izmir, Turkey; and Cleveland, United states of america.[23]
Hugo Manager has invested in technological innovation for its produced-to-evaluate software, utilizing equipment for almost all of the tailoring customarily created by hand.[24]
Hugo Boss has licensing agreements with several organizations to produce Hugo Manager branded goods. These involve agreements with Samsung, HTC and Huawei to create mobile phones; C.W.File. Kids All over the world Trend SAS to produce kid's clothes; Shiseido and Procter & Gamble Status to provide fragrances and skincare;[twenty five] Movado to provide watches;[26] and Safilo to generate sunglasses and eyewear.[27
HUGO Chef Parfym
Hugo Boss AG, typically styled as BOSS, is really a German luxurious vogue residence. It was Established in 1924 by Hugo Boss and is headquartered in Metzingen, Germany. At first focusing on uniforms, it absolutely was a supplier for Nazi Occasion organizations both of those in advance of and during Entire world War II. After the war as well as founder's Loss of life in 1948, Hugo Manager started to turn its emphasis from uniforms to Adult males's suits. The corporation went community in 1985 and released a fragrance line that same calendar year, included mens and womenswear diffusion lines in 1997, an entire Females's selection in 2000 and also kid's clothes in 2008/2009, and it has given that progressed into A significant global trend house with a lot more than 1,one hundred enterprise-owned retail merchants globally (2016).