Fall 2013 a Vol

Total Page:16

File Type:pdf, Size:1020Kb

Fall 2013 a Vol NOTES FROM THE FARMS THE JOURNAL OF THE CRAFTSMAN FARMS FOUNDATION FROM THE SCHOLAR’S SYMPOSIUM TO KICK DIRECTOR’S CHAIR OFF DESIGN FOR LIVING WEEKEND —Heather E. Stivison he Design for Living Weekend begins scholars were selected: Ton October 5 at 9 a.m. with the 3rd Annual Emerging Scholars Symposium. Diana Greenwold, Ph.D. candidate, To everything This year’s symposium is sponsored by History of Art, University of California, there is a season Leigh Ann and Bruce Johnson. A part- Berkeley will present “Crafting New nership with Sotheby's Institute of Art, Citizens: Immigrant Identity at Boston's and a time . American Fine and Decorative Art Paul Revere Pottery, 1908-1942” or more than six years I have had Programme, the Symposium seeks to support and secure Arts and Crafts- John Paul Murphy, Ph.D. candidate, Art the honor of serving as the exec- F related scholarship among worthy grad- History, Northwestern University will utive director of the Stickley uate (and recently graduated) scholars. present “Is Poverty Progress? Henry Museum at Craftsman Farms. These George, William Morris, and the years have been filled with successes, Held in conjunction with a weekend of Aesthetics of Social Reform” challenges, and unforgettable memo- events on October 5-6, the Symposium ries that I will cherish for the rest of theme focuses on the integration of art David Sledge, History of Art M.A., my life. So it is a bittersweet moment and life. Speakers will address the inter- Williams College will present “History th to be writing my 26 and final “From section of craft, idealism, and economics and the Craftsman: Anti-modernism in the Director’s Chair” message. and the tension between economic via- Thomas Eakins's 1908 William Rush bility and a satisfied artistic life. Series” But to everything there is a season and a time, and the time for depar- A. M. Simpson wrote in the March 1902 These three emerging scholars will be ture is here. My husband and I will issue of The Craftsman magazine: joined by two distinguished scholars, be leaving the New Jersey home in Nancy Green and Suzanne L. Flynt. “Unless the production of the necessi- which we have lived for the past 27 ties of life can be made beautiful, Nancy Green, the Gale and Ira Drukier years to start a new and exciting pleasurable and instructive, our whole Curator of Prints, Drawings, and chapter of our lives in coastal society must remain disorganized, dis- Photographs at Cornell University’s Massachusetts. And so the time has integrated, and productive of pain, and Herbert F. Johnson Museum of Art,will come for me to say good-bye to the inartistic… What is needed at the Continued on page 2 Stickley Museum at Craftsman present time is a process of synthesis Farms and to all the wonderful peo- and correlation.” ple who help it thrive. Left: This is an aspect of modern life that the Symposium fea- tured speaker You are a dedicated group of mem- Arts and Crafts movement sought to Suzanne L. bers and I have been deeply touched correct. The tension between economic Flynt, who is by your kindness and warmth. I viability and a satisfied, artistic life curator of thank every one of you who have remained a constant concern for pro- Memorial Hall sent thoughtful notes and beautiful ducers throughout the period. Museum in cards to wish me well in my new life Deerfield, Emerging scholars were challenged to Continued on page 2 Massachusetts. submit papers on this theme. Three Fall 2013 a Vol. 22, No. 3 NOTES FROM THE FARMS Director’s Chair continued from page 1 Conference continued... th and to acknowledge the many things the Smithsonian, Syracuse University, be the 6 Annual Amy Stahl Memorial we have accomplished together. PBS, Drew University, and Sotheby’s Lecturer. Green’s catalogue Arthur Institute will continue to expand. And Wesley Dow and His Influence received At the core of these accomplishments our annual attendance, which has honorable mention in the Moe Prize was the development of a comprehen- grown more than 400% in the past six competition for works in art history sive historic site master plan in 2007. years, will also continue to grow. from the New York State Historical This massive multi-volume plan guid- Association and in 2006 Byrdcliffe won ed us as we worked together to pre- The biggest project of my tenure, the the Moe Prize as and an award from the Metropolitan Chapter of the Victorian serve and protect this historic site. Log House fire prevention project Society for Catalogue of Distinction. Some highlights of that preservation (described on page 4) is now coming Green received her B.A. from include the restoration of the master to a close. With so many projects Connecticut College and her M.A. in Art bedroom, master bathroom, and cot- completed, all eyes are looking towards History from Williams College. An essay tage roofs, and the rehabilitation of the next stage of life at Craftsman related to her topic appears on page 6. the North Cottage and the Milk Farms. We have just received a grant House. We also completed massive for more than $500,000 to begin a We are pleased to announce that projects that are invisible to the eye, new phase of rehabilitation and uti- Suzanne L. Flynt, Curator of Memorial such as inserting steel girders beneath lization of our beautiful historic site. Hall Museum, Deerfield, Massachusetts, the Log House stairs and pouring new The current three-year strategic plan has been added to the roster of distin- concrete footings beneath the building is coming to an end and the organiza- guished speakers. A 1903 article in The to protect the Log House from sagging tion is beginning to craft a strategic Craftsman declared that “Deerfield is and shifting. We created an Education plan for the next three to five years. sending all over the country beautiful Room, ADA bathroom, ADA walk- The timing is right for a change. things...to bring back something of lost ways, and have many more projects poetry to the earth.” Flynt will deliver well underway. None of these things I have had the privilege to talk with the featured address, “Arts and Crafts in would have been possible without many of you about the pride you feel Old Deerfield,” which will consider the your membership support, donations, in our success, your dreams for this distinctive manifestation of the Arts and and enthusiasm for the work that site, and your dearest hopes for the Crafts movement in this Massachusetts takes place here every day. future of the Stickley Museum. You community and the talented group of, have placed your trust in the Board of often female, artisans who cultivated it. We have an outstanding staff in place Directors and the staff to fulfill those that will allow the Museum to contin- hopes and dreams. As my time as Flynt, who resides in Dummerston, ue with its high-quality educational executive director draws to a close I Vermont, recently authored Poetry to the focus that is now at the very heart of want to share with you my firm belief Earth: The Arts and Crafts Movement in everything we do. The Emerging that these dreams will continue to Deerfield to accompany the exhibition Scholars Symposium, Family Days, the come true. Skilled Hands and High Ideals: The Arts Stickley Design Invitational, Artist-in and Crafts Movement in Deerfield.Her Residence, and many other excellent As I leave my position of executive previous publication The Allen Sisters: programs are now regular parts of our director, I will remain as a friend and Pictorial Photographers 1885-1920 was awarded the Historic New England annual public offerings. The Mr. fellow member and donor. Craftsman Book Prize in 2002. Stickley series of exhibitions presented Farms is a beautiful and meaningful at the Annual Grove Park Inn Arts & historic site that I will always support The conference will end with a Question Crafts Conference and the ambitious and cherish. And I am heartened, and Answer session. Following the con- Syracuse University collaboration, knowing that I am leaving this unique ference, attendees may participate in an Styling an American Family,have treasure in the competent hands of optional group lunch at the nearby offered new scholarship in the field the talented and hardworking staff Tabor Road Tavern. and were sources of great pride. These members, and the caring and commit- are just the beginning of the programs ted Board of Trustees. It will be a time Taking place at the Stickley Museum and exhibitions that the Stickley of fresh new ideas and new accom- Saturday, October 5 , 9:30 a.m.-12:30 p.m. Museum will present in the future. plishments for the Stickley Museum. I $15 Member and $25 Non Member look forward to applauding all their $35 Optional lunch at Tabor Road Tavern Our many successfully partnerships future successes! call 973.540.0311, with prestigious institutions such as or visit StickleyMuseum.org Fall 2013 a Page 2 NOTES FROM THE FARMS FALL FAMILY DAY BLENDS EDUCATION AND FAMILY FUN! ummer’s end brings the return of Stickley Museum’s 7th Annual Fall Family Day. SSet for Saturday, September 21, this traditional fall festival celebrates harvest time and Craftsman Farms’ agricultural past. Fall Family Day is the museum’s biggest family program of the year, attracting hundreds of visitors, and we’re pleased to be partnering for a third time with local PBS affiliate WNET THIRTEEN’s Kids Club for this special afternoon. We are looking forward to welcoming young visitors of all ages to Craftsman Farms, and we’re especially eager to welcome our special guest Clifford the Big Red Dog, who will be stopping by compliments of Kids Club.
Recommended publications
  • The Gothic Revival Character of Ecclesiastical Stained Glass in Britain
    Folia Historiae Artium Seria Nowa, t. 17: 2019 / PL ISSN 0071-6723 MARTIN CRAMPIN University of Wales THE GOTHIC REVIVAL CHARACTER OF ECCLESIASTICAL STAINED GLASS IN BRITAIN At the outset of the nineteenth century, commissions for (1637), which has caused some confusion over the subject new pictorial windows for cathedrals, churches and sec- of the window [Fig. 1].3 ular settings in Britain were few and were usually char- The scene at Shrewsbury is painted on rectangular acterised by the practice of painting on glass in enamels. sheets of glass, although the large window is arched and Skilful use of the technique made it possible to achieve an its framework is subdivided into lancets. The shape of the effect that was similar to oil painting, and had dispensed window demonstrates the influence of the Gothic Revival with the need for leading coloured glass together in the for the design of the new Church of St Alkmund, which medieval manner. In the eighteenth century, exponents was a Georgian building of 1793–1795 built to replace the of the technique included William Price, William Peckitt, medieval church that had been pulled down. The Gothic Thomas Jervais and Francis Eginton, and although the ex- Revival was well underway in Britain by the second half quisite painterly qualities of the best of their windows are of the eighteenth century, particularly among aristocratic sometimes exceptional, their reputation was tarnished for patrons who built and re-fashioned their country homes many years following the rejection of the style in Britain with Gothic features, complete with furniture and stained during the mid-nineteenth century.1 glass inspired by the Middle Ages.
    [Show full text]
  • Gloucester Cathedral Faith, Art and Architecture: 1000 Years
    GLOUCESTER CATHEDRAL FAITH, ART AND ARCHITECTURE: 1000 YEARS SUGGESTIONS FOR FURTHER READING SUPPLIED BY THE AUTHORS CHAPTER 1 ABBOT SERLO AND THE NORMAN ABBEY Fernie, E. The Architecture of Norman England (Oxford University Press, 2000). Fryer, A., ‘The Gloucestershire Fonts’, Transactions of the Bristol and Gloucestershire Archaeological Society 31 (1908), pp 277-9. Available online at http://www2.glos.ac.uk/bgas/tbgas/v031/bg031277.pdf Hare, M., ‘The two Anglo-Saxon minsters of Gloucester’. Deerhurst lecture 1992 (Deerhurst, 1993). Hare, M., ‘The Chronicle of Gregory of Caerwent: a preliminary account, Glevensis 27 (1993), pp. 42-4. Hare, M., ‘Kings Crowns and Festivals: the Origins of Gloucester as a Royal Ceremonial Centre’, Transactions of the Bristol and Gloucestershire Archaeological Society 115 (1997), pp. 41-78. Hare, M., ‘Gloucester Abbey, the First Crusade and Robert Curthose’, Friends of Gloucester Cathedral Annual Report 66 (2002), pp. 13-17. Heighway, C., ‘Gloucester Cathedral and Precinct: an archaeological assessment’. Third edition, produced for incorporation in the Gloucester Cathedral Conservation Plan (2003). Available online at http://www.bgas.org.uk/gcar/index.php Heighway, C. M., ‘Reading the stones: archaeological recording at Gloucester Cathedral’, Transactions of the Bristol and Gloucestershire Archaeological Society 126 (2008), pp. 11-30. McAleer, J.P., The Romanesque Church Façade in Britain (New York and London: Garland, 1984). Morris R. K., ‘Ballflower work in Gloucester and its vicinity’, Medieval Art and Architecture at Gloucester and Tewkesbury. British Archaeological Association Conference Transactions for the year 1981 (1985), pp. 99-115. Thompson, K., ‘Robert, duke of Normandy (b. in or after 1050, d.
    [Show full text]
  • Arts & Crafts Stained Glass
    Event Review: Summer lecture Friday 19 June : ‘Exploring Arts & Crafts Stained Glass: a 40-year adventure in light and colour – an illustrated lecture’ by Peter Cormack he lecture was an introduction to some of the main themes Tof the speaker’s newly-published book, Arts & Crafts Stained Glass (Yale University Press for the Paul Mellon Centre for Studies in British Art). He began by saying that his discovery of this rich field of research had begun when he was a student at Cambridge in the 1970s, and had developed particularly during his thirty years working as a curator at the William Morris Gallery in London. He paid tribute to the work of other scholars in the field, especially Martin Harrison’s V ictorian Stained Glass , Birkin Haward’s two books on 19th-century glass in Norfolk and Suffolk and Nicola Gordon Bowe’s studies of Irish stained glass. He also emphasized the critical importance of ‘field-work’ – actually going to the places where windows are located to see them in their architectural context. He felt that the internet, with its wealth of images, could sometimes deter people from studying stained glass properly. This was why the BSMGP’s conferences, with their focussed study-visits to churches and other sites, were such a valuable exercise. He then took us through the main narrative of his book, beginning with the pioneers who, from the late 1870s onwards, had championed stained glass as a modern and expressive art form, instead of the formulaic and imitative productions of firms like C. E. Kempe. Henry Holiday was one of the most effective campaigners against commercialism and historicism: his windows Christopher Whall: detail of window in Gloucester Cathedral Lady Chapel, 1901 feature superb figure-drawing combined with a real knowledge of his craft.
    [Show full text]
  • St Etheldreda's, Old Hatfield
    ST ETHELDREDA’S, OLD HATFIELD THE TRANSFORMATION OF THE WEST END 01 CONTENTS Foreword 2 Introduction 5 History & Heritage 7 The Proposals 17 The Need 23 An Opportunity 26 The production of this document has been kindly sponsored by Turnberry. 1 FOREWORD St. Etheldreda’s has been the parish church of Bishop’s Hatfield Our predecessors have altered the building over succeeding centuries for many centuries. Named after the patron saint of Ely Cathedral, and now the parish needs to adapt the building to meet the needs of the a monastic foundation to which it was intimately linked until the present congregation. I hope you will agree with me that what the Rector Reformation, it has served our parish faithfully and well from the and his advisers propose is not only practical, but will enhance the beauty eminence which dominates the old town of Hatfield. of the building. Very sensibly they have not only proposed a scheme for the rear of the church, but also a comprehensive plan of restoration. Like many such buildings, it has been added to and adapted to meet the changing demands of liturgy, convenience and prevailing theological There is a great spirit of optimism and community within the parish and fashion. It has acquired over the centuries a handsome square tower, if any group can raise the money to pay for what is proposed, we can. but has lost the distinctive Hertfordshire ‘spike’ that originally topped it. The success of the plans will not only be an outward and visible sign of The Salisbury Chapel, with its remarkable tomb of Robert Cecil, builder that spirit, but a means of bringing the plans for our future to fruition.
    [Show full text]
  • Exhibitions & Art Fairs Exhibiting
    Alan J. Poole (Dan Klein Associates) Promoting British & Irish Contemporary Glass. 43 Hugh Street, London SW1V 1QJ. ENGLAND. Tel: (00 44) Ø20 7821 6040. Email: [email protected] Website: www.dankleinglass.com Alan J. Poole’s Contemporary Glass News Letter. A monthly newsletter listing information relating to British & Irish Contemporary Glass events and activities, within the UK, Ireland and internationally. Covering both British and Irish based Artists, those living elsewhere and, any foreign nationals that have ever resided or studied for any period of time in the UK or Ireland. JUNE EDITION 2015. * - indicates new or amended entries since the last edition. 2014. EXHIBITIONS, FAIRS, MARKETS & OPEN STUDIO EVENTS. 08/11/1431/08/15. “Now & Then”. inc: Guan Dong Hai, Yi Peng, Ayako Tani, Wendi Xie & Lu ‘Shelly’ Xue. The Shanghai Museum Of Glass. Shanghai. PRC. Tel: 00 86 21 6618 1970. Email: [email protected] Website: http://en.shmog.org/cp/html/?118.html 15/09/1430/08/15. “North Lands Creative Glass: A Selection Of Works From The North Lands Collection”. inc: Karen Akester, Peter Aldridge, Fabrizia Bazzo, Jane Bruce, Marianne Buus, Tessa Clegg, Katharine Coleman M.B.E., Keith Cummings, Philip Eglin, Carrie Fertig, Catherine Forsyth, Carole Frève, Catherine Forsyth, ‘Gillies · Jones’ (Stephen Gillies & Kate Jones), Mieke Groot, Diana Hobson, Angela Jarman, Alison Kinnaird M.B.E., Richard Meitner, Tobias Møhl, Patricia Niemann, Magdalene Odundo, Zora Palová, Anne Petters, Janusz Pozniak, David Reekie, Bruno Romanelli, Elizabeth Swinburne, Richard Whiteley & Gareth Williams. National Glass Centre. University Of Sunderland. Sunderland. GB. Tel: 0191 515 5555. Email: [email protected] Website: www.nationalglasscentre.com/about/whatson/details/?id=410&to=2014-10- 19%2017:00:00&from=2014-10-19%2000:00:00 2015.
    [Show full text]
  • Churches in West Kent with Fine Stained Glass
    CHURCHES IN WEST KENT WITH FINE STAINED GLASS Chiddingstone Causeway, St Luke Chancel windows by WG von Glehn in German expressionist style, 1906. Higham, St Mary (old church) Outstanding chancel windows by Robert Bayne of Heaton, Butler and Bayne influenced by the Pre-Raphaelites, 1863-4. Kemsing, St Mary Nave S window: roundel of Virgin & child, early 14thC. Chancel SE: figure of St Anne, 15thC. Chancel SW by Dixon & Vesey, 1880. Otherwise a good collection of 20thC glass. E & W windows plus N aisle windows by Ninian Comper, 1901-10; nave S by Henry Wilson & Christopher Whall, 1905; N aisle W by Douglas Strachan, 1935. Langton Green, All Saints Important collection of early Pre-Raphaelite glass. Vestry E window by William Morris, c1862. Chancel side windows by Edward Burne-Jones, 1865. Nave W by Burne-Jones, 1865. S aisle W by Morris, Burne-Jones & Ford Madox Brown, 1865. All eclipsed visually by CE Kempe's E window of 1904. Lullingstone, St Botolph E & nave S windows early 16thC. Nave N, painted glass by William Peckitt of York, 1754. N chapel windows contain 3 early 14thC figures, 3 panels dated 1563 (probably Netherlandish) & some armorial glass of the 17th/18thC. Mereworth, St Lawrence Upper E window filled with armorial glass of 16th-18thC. Nave SW magnificent armorial glass of c1750 by William Price. Otherwise a good collection of 19thC glass. Lower E window by Nathaniel Westlake, 1873; nave SE by John Hardman, c1885; nave S central window by Heaton Butler & Bayne, 1889; nave NE by Powell's, 1913. Nettlestead, St Mary Nave glazed some time between 1425 & 1438.
    [Show full text]
  • 2017 Leicestershire and Rutland Conference
    A UTUMN C ONFERENCE : L EICESTERSHIRE & R UTLAND THURSDAY The first visit of the conference was the 12C Leicester his 1913 E chancel window here in his typical style of heavy black- Cathedral, extensively restored in the 19C. The 1906 W window of lined figures with delicate-coloured shading against a background St Martin donating his cloak is by Christopher Whall, possibly of simple patterns influenced by 14 –15C glazing. A 1920s flower one of the first made by Lowndes & Drury at the Glass House; window is by Leonard Walker, who was at that time in the in the background he uses his typical tinted-glass glazing, with process of reducing the amount of painting on glass, instead just ruby glass lozenges at the top and, notably, white pressed slab for using leading to define outlines. His glass was mould-blown for the snow. The design was reused from one at Manchester. The E him by Powell & Sons, on top of which ore was scattered but not window (1920) – a WWI memorial to the Leicestershire dead – of mixed in, imparting colour variation and brilliance (top centre). Christ in Heaven surrounded by angels in glorious gold-pink, At the third stop, All Saints, Newtown Linford, we found a purple and much brilliant white is also by Christopher Whall, small window by Theodora Salusbury, a local Leicester Arts & with cartoons by daughter Veronica. On the left stands Joan of Crafts artist who had studied with Christopher Whall and Karl Arc (above left), symbolizing Britain’s wartime collaboration with Parsons, and worked in Whall’s studio – whose influence is France, with the buildings behind on fire depicting their wartime obvious here, in the use of gold-pink slab glass and bold leading.
    [Show full text]
  • Newton Country Day School Chapel
    Newton Country Day School Chapel In 1925, the Religious of the Sacred Heart transferred their Boston school for girls to the former Tudor-Revival style estate of Loren D. Towle in Newton, Massachusetts. The Boston architectural firm of Maginnis and Walsh (founded in 1898 as Maginnis, Walsh, and Sullivan) built the chapel and a four-story school wing between 1926 and 1928. The senior partner was Charles D. Maginnis (1867-1955), an immigrant from Londonderry, Ireland by way of Toronto, Canada. Maginnis’ leadership revolutionized the architecture of Roman Catholic institutions in America. In 1909, the firm won the competition to design Boston College and in the 1920s would build the library, chapel, and dining hall for the College of the Holy Cross, Worcester. The firm had then become highly honored; Boston College’s Devlin Hall had received the J. Harleston Parker Gold Medal in 1925 and the Carmelite Convent in Carmel, California (1925) and Trinity College Chapel in Washington, DC (1927) both won the American Institute of Architects’ Gold Medal. Maginnis was an admirer of the American Eclectic movement (1880s-1930s) which made use of a variety of historic expressions. The Newton Country Day School Chapel is English 15th- century Gothic. Its style shows an admirably simple practicality, yet evokes warmth through the use of wood for side paneling and roof. In the center, for the students, the seats face the front and the altar. The outer seating, used by the Religious for community prayer, is set in a choir-stall structure, aligned with the sides of the chapel and equipped with seats that fold up when they are not being used.
    [Show full text]
  • St Colmon Stained Glass Windows
    Stained Glass Windows St Colmon Church Colmonell 1 Three light window at the west end of the church by Louis Davis, 1909-10. The Sacraments, Praise with the Ascent of the Blessed to Heaven, Accompanied by Banners of Music and All the Works of the Lord. Donated by Robert Finnie McEwen of Bardrochat. 2 he church contains T outstanding Arts and Crafts stained glass, by both Louis Davis and Douglas Strachan. The glory of the church is the three light window in the west wall, The Benedicite, by Louis Davis, considered the last of the Pre- Raphaelites. Its theme is Praise, and shows all the works of the Lord. The window was exhibited at Leighton House in London to great acclaim, before its installation at Colmonell in 1910. The architect Robert Lorimer, who designed many elements of the church’s interior — including the pulpit, linenfold panels and the fine organ case — suggested that the window was possibly “the finest example of stained glass, ancient or modern, that had ever been produced”. The design, glorious in its use of Stephen with his stone, St Cecilia, “Davis blue”, has a great sense of a small organ in her arms, St poetry and energy in the Hubert holding the couples for his ascending figures, with spiralling hounds, and St Andrew the banners of music increasing the Apostle with cross on girdle. sense of movement. Below them ride the Crusaders, led by St Louis King of France. The standard above his head displays he central light: the Rood “in a glory”, the sign of T At the top are the gates one greater than the King.
    [Show full text]
  • GLASGOW STAINED GLASS WILLIAM CAIRNEY & SONS Bogle Moving to a New Studio at 123 in the Event, in Spite Ofintense Local Stvincentstreet
    ACKNOWLEDGEMENTS Front cover: Water sprite, WG Morton, We would like to thank the numerous Mr Andrew Pollock c1896 ministers, priests, session clerks, Ms Pamela Reekie Back cover: Rose window, St Andrew's Church officers and owners ofsecular Rev JA Riddell, TrinitY Jedburgh Church, Buenos Aires, Harrington Mann, glass throughoutScotland, who have Mrs Roy, Scott House c1896 allowed access to and permission to MrJohn Russell Title page: Aphrodite, Colearn House, photograph their stained glass, and Ruthven Towers Hotel, Auchterarder D Cottier, 1871-2 who have answered questions Mr Sax Shaw patiently. We would like to express our StaffofDumbarton Public Library, gratitude also to the following Edinburgh Public Libraries individualsand firms who have (Edinburgh Room and Fine Art contributed towards this exhibition: Library), the Mitchell Library (Glasgow Room), Old and West Mrs C Baillie Register House and Strathclyde Rev AS Blount, Springbum Parish Regional Archives Rev JK Blount, Linthouse Parish Dr John Stewart Caimdhu Hotel, Helensburgh Mrs Mary Newbery Sturrock Mr JB cameron Mr Charles Summers Mr frances Christie and Staff, Guthrie MrWiIliam Valleley & Wells (Decorators) Ltd MrGordon Webster Coleam Hotel, Auchterarder MrsDunn Elm Bank Hotel, York Ms Anne Escott Mr Joe Fisher Miss Gallotti, Buenos Aires MissWCHall MrMartin Harrison MrWilliam Harvey MrBilIHood Mr Neil Hutcheson Mrs L f Jacobsen Mr John Kraska Messrs John McCormick & Co MessrsMcCulloch & Co Mrs McDonald MrRonald Mcfadzean tl Mr A MacLaurin ....0'1 Ms Sadie.Maciellan .:.... Mr Marcus McLundie <"l U Messrs James PMcPhie U Mr David McRae ILl -, Mrs Manchester, Baillie's Library ~ MrDavid Martin l: ~ MrJDMartin ~GlasgowMuseums and ArtGalleries 1981 0. u Rev Gordon C Morris, Buenos Aires Published by Glasgow Museums ~ MrsNan Muir and Art Galleries Messrs Nicholson &.
    [Show full text]
  • Stained and Painted Glass Janette Ray Booksellers, York, England
    Stained and Painted Glass Janette Ray Booksellers, York, England Janette Ray Booksellers, 8 Bootham, York YO30 7BL UK. Tel: +44 (0)1904 623088 email [email protected] STAINED AND PAINTED GLASS: CATALOGUE 16 Introduction: This catalogue is our first specialist list on aspects of stained and painted glass. It includes material on making glass, commentaries on glass in situ, including a selection of out of print volumes from Corpus Vitrearum, monographs on individual makers and a small group of items which comprise original designs for glass. It is designed to appeal to those who have a general interest in the subject alongside those with specific interests in periods or individual artists. We would particularly draw your attention to Christopher Whall’s rare promotional booklet for his own firm which has original photographs of items he made,(no 31 ) and other trade catalogues, the massive colour illustrated portfolio Vorbildliche Glasmalereien aus dem späten Mittelalter und der Renaissancezeit which records glass in pre First World War Germany (no 99), the original heraldic designs recorded by F C Eden at Aveley Belhus. (no 187) and the substantial collection of original material from Hardman’s in Birmingham when the company was under the jurisdiction of Patrick Feeney and Donald Taunton. (no 188 ) [Cover design from the collection S268] We have not included Journals in the list but have a large stock of the major academic publication of the Society of Glass Painters and other journals and welcome any enquiries on this subject. Furthermore, there are many small pamphlets which provide valuable insights into the windows in churches all over Great Britain and beyond.
    [Show full text]
  • The Peacock and Beauty in Art
    STRUT The Peacock and Beauty in Art STRUT STRUT The Peacock and Beauty in Art PRIDE The Peacock, homage to exact Parades in arrogance of Pride He clicks his fan-sticks to attract And courts all glances, Argus-eyed Serene the Swan glides coldly proud Convinced of Whiteness here perfected Not knowing that a Rival Cloud In Snowy Splendor, lies reflected Beatrice Gilman Verses in the Gardens, 1938 Brookgreen Gardens, South Carolina CONTENTS 13 FOREWORD Michael Botwinick Director 16 ARTISTS AND LENDERS 18 ACKNOWLEDGMENTS 21 INTRODUCTION Bartholomew F. Bland and Laura Vookles 31 PEACOCKS, PEOPLE, AND THE SEXUAL MASQUERADE Bartholomew F. Bland Director of Curatorial Affairs, Hudson River Museum 53 THE PERFECT PLUME Laura Vookles Chief Curator of Collections, Hudson River Museum This catalog is published in conjunction with the exhibition Strut: The Peacock and Beauty in Art, organized by the Hudson River Museum, October 11, 2014 to January 18, 2015. 69 THE PEACOCK IN LITERATURE Penelope Fritzer The exhibition and the accompanying catalog have been made possible by a generous grant Professor of English Education, Florida Atlantic University, at Davie Campus from the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, Inc. Additional support provided by Lillian Nassau LLC. The catalog is co-published by the Hudson River Museum and Fordham University Press. 83 THE JAPANESQUE PEACOCK: A CROSS-CULTURAL SIGN Ellen E. Roberts Copyright © 2014 Harold and Anne Berkley Smith Curator of American Art, Norton Museum of Art Hudson River Museum 511 Warburton Avenue Yonkers, NY 10701 97 BEAUTY AND FUNCTION: THE PEACOCK IN ART DECO www.hrm.org Kirsten M.
    [Show full text]