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•i CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1 83 1 BY HENRY WILLIAMS SAGE Cornell University Library Z1023 .C89 Of the decorative illustration of books 3 1924 029 555 426 olin Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924029555426 THE EX-LIBRIS SERIES. Edited by Gleeson White. THE DECORATIVE ILLUSTRATION OF BOOKS. BY WALTER CRANE. *ancf& SOJfS THE DECORATIVE OFILLUSTRATION OF BOOKS OLD AND NEW BY WALTER CRANE ^ LONDON: GEORGE BELL AND SONS YORK STREET, COVENT GARDEN, W.C. NEW YORK: 66 FIFTH AVENUE MDCCCXCVI 5 PRINTED AT THE CHISWICK PRESS BY CHARLES WHITTINGHAM & CO. TOOKS COURT, CHANCERY LANE, LONDON, E.C. PREFACE. HIS book had its origin in the course of three (Cantor) Lectures given before the Society of Arts in 1889; they have been amplified and added to, and further chapters have been written, treating of the very active period in printing and decorative book- illustration we have seen since that time, as well as some remarks and suggestions touching the general principles and conditions governing the design of book pages and ornaments. It is not nearly so complete or comprehensive as I could have wished, but there are natural limits to the bulk of a volume in the " Ex-Libris" series, and it has been only possible to carry on such a work in the intervals snatched from the absorbing work of designing. -
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. -
Stained Glass Windows Stained Glass and Banners • Stained Glass Windows and Banners Bring Colour to a Church
Stained Glass Windows Stained Glass and Banners • Stained glass windows and banners bring colour to a church. They also remind people of stories in the Bible or of important truths. • Before TVs or LCD projectors, stained glass windows could be used as visual aids. This is the risen Christ in the window of a church in the Cotswolds. What are the small black marks in the palms of his hands? Modern Stained Glass Window • This modern stained glass window is in memory of a young man. He died while mountaineering aged 19. • The mountain in the window - the Eiger - is on the last photo that he took. When looking at this window – what do you think people think about? This window may help people to think about their own lives, too. What does the bird in the sky make you think of? Can you see the Do you think that cross? this is a good Look closely at what memorial for a is behind the base of young person? it ... What do you think the cross towering over the town represents? About stained glass • Stained glass is simply coloured glass but the term stained glass is normally used in referring to pictorial windwos such as are to be found in some churches. The colours are produced by adding a metallic oxide to the glass. • The means of colouring glass was understood in the early years of the Common Era. The earliest stained glass in Europe has been found at Jarrow at the monastery where Bede lived, prayed, taught and wrote. -
English Catholic Heraldry Since Toleration, 1778–2010
THE COAT OF ARMS The journal of the Heraldry Society Fourth Series Volume I 2018 Number 235 in the original series started in 1952 Founding Editor † John P.B.Brooke-Little, C.V.O, M.A., F.H.S. Honorary Editor Dr Paul A Fox, M.A., F.S.A, F.H.S., F.R.C.P., A.I.H. Reviews Editor Tom O’Donnell, M.A., M.PHIL. Editorial Panel Dr Adrian Ailes, M.A., D.PHIL., F.S.A., F.H.S., A.I.H. Dr Jackson W Armstrong, B.A., M.PHIL., PH.D. Steven Ashley, F.S.A, a.i.h. Dr Claire Boudreau, PH.D., F.R.H.S.C., A.I.H., Chief Herald of Canada Prof D’Arcy J.D.Boulton, M.A., PH.D., D.PHIL., F.S.A., A.I.H. Dr Clive.E.A.Cheesman, M.A., PH.D., F.S.A., Richmond Herald Steen Clemmensen A.I.H. M. Peter D.O’Donoghue, M.A., F.S.A., York Herald Dr Andrew Gray, PH.D., F.H.S. Jun-Prof Dr Torsten Hiltmann, PH.D., a.i.h Prof Peter Kurrild-Klitgaard, PH.D., F.R.Hist.S., A.I.H. Elizabeth Roads, L.V.O., F.S.A., F.H.S., A.I.H, Snawdoun Herald Advertising Manager John J. Tunesi of Liongam, M.Sc., FSA Scot., Hon.F.H.S., Q.G. Guidance for authors will be found online at www.theheraldrysociety.com ENGLISH CATHOLIC HERALDRY SINCE TOLERATION, 1778–2010 J. A. HILTON, PH.D., F.R.Hist.S. -
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. -
'Twenty-Five' Churches of the Southwark Diocese
THE ‘TWENTY-FIVE’ CHURCHES OF THE SOUTHWARK DIOCESE THE ‘TWENTY-FIVE’ CHURCHES OF THE SOUTHWARK DIOCESE An inter-war campaign of church-building Kenneth Richardson with original illustrations by John Bray The Ecclesiological Society • 2002 ©KennethRichardson,2002.Allrightsreserved. First published 2002 The Ecclesiological Society c/o The Society of Antiquaries of London Burlington House Piccadilly London W1V 0HS www.ecclsoc.org PrintedinGreatBritainbytheAldenPress,OsneyMead,Oxford,UK ISBN 0946823154 CONTENTS Author’s Preface, vii Acknowledgements, ix Map of Southwark Diocese, x INTRODUCTION AND SURVEY, 1 GAZETTEER BELLINGHAM, St Dunstan, 15 CARSHALTON BEECHES, The Good Shepherd, 21 CASTELNAU (Barnes), Estate Church Hall, 26 CHEAM, St Alban the Martyr, 28 St Oswald, 33 COULSDON, St Francis of Assisi, 34 DOWNHAM, St Barnabas, Hall and Church, 36 St Luke, 41 EAST SHEEN, All Saints, 43 EAST WICKHAM, St Michael, 49 ELTHAM, St Barnabas, 53 St Saviour, Mission Hall, 58 and Church, 60 ELTHAM PARK, St Luke, 66 FURZEDOWN (Streatham), St Paul, 72 HACKBRIDGE & NORTH BEDDINGTON, All Saints, 74 MALDEN, St James, 79 MERTON, St James the Apostle, 84 MITCHAM, St Olave, Hall and Church, 86 MORDEN, St George 97 MOTSPUR PARK, Holy Cross, 99 NEW ELTHAM, All Saints, 100 Contents NORTH SHEEN (Kew), St Philip the Apostle & All Saints, 104 OLD MALDEN, proposed new Church, 109 PURLEY, St Swithun, 110 PUTNEY, St Margaret, 112 RIDDLESDOWN, St James, 120 ST HELIER, Church Hall, 125 Bishop Andrewes’s Church, 128 St Peter, 133 SANDERSTEAD, St Mary the Virgin, 140 SOUTH -
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. -
19Th Century English Literature, Presentation Copies, Private Press, Artists' Books, Original Art, Letters, Children's Book
LONDON BOOK FAIR 2016 19th Century English Literature, Presentation Copies, Private Press, Artists’ Books, Original Art, Letters, Children’s Books, African History, Travel, & More Pictured Above: Original Drawings by Max Beerbohm, Items 8* & 9* CURRENCY CONVERSION: $1 = £0.7 * Due to unexpected importation restrictions and fees, several items on this list are not at the fair 1. [Anvil Press] Racine, Jean; John Crowne (translator); Desmond Flower (foreword); Fritz Kredel (illustrator). Andromache: A Tragedy. Freely Translated into English in 1674 from Jean Racine's "Andromaque" Lexington KY: Anvil Press, 1986. Number 11 of 100 copies. According to an article by Burton Milward, the Anvil Press was part of the resurgence of fine press printing in Lexington, led by Joseph Graves, who was influenced and taught by Victor Hammer. The Anvil Press was unusual in that it was an association comprised of ten members, inspired and guided by Hammer and his wife, Carolyn. Their books were printed on any one of the several presses owned by members of the group, and were sold at cost. Bound with black cloth spine and red paper covered boards with red paper title label to spine. Pristine with numerous illustrations by Fritz Kredel. In matching red paper dust jacket with black title to spine and front panels. Creasing to jacket and minor wear to edges. Printed in red and black inks at the Windell Press in Victor Hammer's American & Andromaque uncial types. 51 pages. (#27468) $825 £577 1 2. [Barbarian Press] Barham, Richard; Crispin Elsted, editor and notes; Illustrated by John Lewis Roget and Engraved by the Brothers Dalziel. -
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. -
St Mary's Church, Antingham
St Nicholas’s Church, West Lexham Address : St Nicholas’s Church, West Lexham,PE32 2QN Further details : See www.achurchnearyou.com or www.norwich.anglican.org General Information This pretty church of medieval origin was in a dilapidated state before it was almost completely rebuilt and redesigned by the architect Arthur Blomfield in 1881. Nevertheless it does retain a number of its earlier features including an imposing 14th century tower, and a simple 15th century font. Apart from an evocative WWI memorial window to the memory of Frank Beck, and his Norfolk Regiment, the stained glass was all made by Heaton Butler & Bayne. All Windows apart from North Aisle Window 1 These windows were all This window was designed by the firm of Heaton Butler and Bayne who were one of the largest and most prolific of the 19th Century craftsmen, particularly noted for the brilliance of their High Victorian work produced in the 1860s. • The East Window is undated. The central light shows Christ’s crucifixion. He is flanked by the Virgin Mary and St John • The South Chancel Window 1 is undated. The main lights depict the evangelists St Luke & St John. In the tracery lights above the former are a palette referring to the tradition that Luke was a painter and what appears to be a physician’s bag referring to his profession as a doctor. Above St John is a chalice containing a serpent which alludes to the cup of sorrow foretold by Jesus • The South Chancel Window 2 was made c1905. The main lights depict the evangelists St Matthew and St Mark. -
2011 Wirral Conference
2011 BSMGP CONFERENCE: THE W IRRAL brother of H J Salisbury, who is better known as a portrait painter and whose biggest window is at Wesley’s Chapel, London. Another is by Henry Gustave Hiller, who was born in Manchester and was apprenticed to a draper there before starting his own firm in Liverpool. Finally, in the NW corner is a small window by Trena Cox, the first of many on this tour (detail right). On then to Liverpool Cathedral; we began in the Lady Chapel where Peter Cormack drew attention to the decorative detail: the wood carving and altarpiece by Walter Gilbert (who cofounded the Bromsgrove Guild) and stone carvings and metalwork by E. Carter Preston, designer of the ’dead man’s penny’ (a medallion given to families of soldiers killed in WWI) and the armature for the glass. Peter also pointed out that Scott had developed his own version of ‘Gothic’: not Gothic Revival but a living interpretation of the medieval, as in the US ‘modern Gothic’ he fine start to September’s weather this year bode well for (Princeton Chapel being a reduced version of this church). Our Tan enjoyable trip cross country to the Roman city of Chester attention was also drawn to the use of ‘Minerva glass’ – the for the autumn gathering. That evening we sat down in the juxtaposition of blues and picks to create an opalescent effect – lecture to hear Wirral native Tony Benyon’s opening talk on the as well as the influence on Hogan’s style of Christopher Whall. glazing history of Liverpool Anglican cathedral, the largest and His linear painting style also proved faster to execute than much- the last ‘Gothic’ cathedral in the UK. -
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.