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Cambridge University Press 978-0-521-66238-3 — Literature, Politics, and the English Avant-Garde Paul Peppis Table of Contents More Information Contents List of illustrations page viii Acknowledgments ix Introduction Nations, empires, and the historical avant-garde Conjuring new character: The English Review, Wyndham Lewis, and the reconstruction of Englishness Narratives of ambition and anxiety: confronting Europe in The New Age Advancing art and empire: Futurism in England, Italy in Libya, and the founding of Vorticism ‘‘Surrounded by a multitude of other Blasts’’: Vorticism and the Great War Anti-Individualism and ﬁctions of national character in Lewis’s Tarr Conclusion Notes Bibliography Index vii © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-66238-3 — Literature, Politics, and the English Avant-Garde Paul Peppis Table of Contents More Information Illustrations Wyndham Lewis, Before Antwerp, BLAST (July ), cover; (c) the Estate of Mrs. G. A. Wyndham Lewis. By permission. page Walter Richard Sickert (–), Soldiers of King Albert the Ready (), oil on canvas, Sheﬃeld Galleries and Museums Trust, UK / Bridgeman Art Library, London / New York George Morrow, ‘‘How the Cubist . ., ’’ Punch ( October ): , reproduced with permission of Punch Ltd. Bernard Partridge, ‘‘The Triumph of ‘Culture,’’’ Punch ( August ): , reproduced with permission of Punch Ltd. F. H. Townsend, ‘‘The Incorrigibles,’’ Punch ( October ): , reproduced with permission of Punch Ltd. Bernard Partridge, ‘‘A Glorious Example,’’ Punch ( November ): , reproduced with permission of Punch Ltd. Frank Reynolds, ‘‘Study of a Prussian Household Having its Morning Hate,’’Punch ( February ): , reproduced with permission of Punch Ltd. John Hassall, Belgian Canal Boat Fund (poster), The Imperial War Museum, London. Christopher Nevinson, On the Way to the Trenches, BLAST (July ): ; (c) the Estate of Mrs. G. A. Wyndham Lewis. By permission. Jacob Kramer, Types of the Russian Army, BLAST (July ): ; (c) the Estate of Mrs. G. A. Wyndham Lewis. By permission. viii © in this web service Cambridge University Press www.cambridge.org.

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The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank You Very Much Nigel, That's a Very Generous Introduction
TRANSCRIPT Into the Vortex: The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank you very much Nigel, that's a very generous introduction. Thank you for inviting me back to the Leeds Art Gallery where I spent so many happy hours. As Nigel said, the book was actually published in 1990, but it was a process of about 5 or 6 year work, in fact it's turned into a PHD. I've not done a lot of other work on it since, I have to say some very very good work has been done on Tom Perry and other peoples in the meantime, and it's grievously in danger of being the new edition, which I might or might not get around to, but maybe somebody else will. Anyway, what I'm going to do is to read a text. I'm not very good at talking extensively, and it should take about 40 minutes, 45 minutes. This should leave us some time for a discussion afterwards, I hope. Right, I wish I'd thought about the title and raw text before I offered the loan up to the gallery, because it makes more sense, and you'll see why as we go along. I want to take the liberty of extending the idea of war to cover the entire decade 1910-1920, one of the most rebellious and innovative periods in the history of British art. By contrast, in cultural terms, we now live in a comparatively quiet period.
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Subscribe Share Past Issues Translate View this email in your brow ser 'UPROAR!' THE FIRST 50 YEARS OF THE LONDON GROUP 1913-1963 50 Works by 50 Ar tists for 50 Years 31 October 2013 – 02 March 2014 Clockwise from top left: C. R. W. Nevinson, Returning to the Trenches, 1915, drypoint etching on paper, British Museum London; Matthew Smith, Fitzroy Street Nude No. 2, 1916, Oil on canvas, British Council Collection; Gertrude Hermes, Butterfly, 1937, Walnut, Private Collection; David Bomberg, Ghetto Theatre, 1920, oil on canvas, Ben Uri, The London Jewish Museum of Art. To celebrate The London Group’s centenary year in 2013. Ben Uri will curate and host a major historical exhibition, ‘Uproar!’: The first 50 years of The London Group 1913-1963, examining the first half century in the group’s turbulent history. The London Group exploded onto the British art scene in 1913 as a radical alternative to the art establishment and in the wake of two modernist exhibiting platforms, Frank Rutter's liberal Allied Artists’ Association and The Camden Town Group, headed by Walter Sickert, both of whose members the new group absorbed. The first minuted meeting took place on 25 October 1913, and Jacob Epstein is credited with coining the Group's name the following month. The often inflammatory language of the press response to The London Group is exemplified by the ‘uproar’ which followed the exhibition of Mark Gertler’s The Creation of Eve at the Group’s third show in 1915, and which lends its name to this exhibition. The half century surveyed explores: The London Group’s inception, its Camden Town Group roots, the controversy of the early (particularly First World War) years; the influence of Bloomsbury in the 1920s; the strong showing of Jewish and women artists, Official War Artists, avant-garde sculptors; the ‘shadow of the right’ during the 1930s; the participation of newly-arrived émigré artists during the 1930s and 1940s; and the contribution of specific artists’ groups, ranging from the Vorticists to the Surrealists, the Abstract-Creationists and the Euston Road School.
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Including PropertyIncluding Benedict from of Estate Read the 22 November 2017 Wednesday MODERN BRITISH AND BRITISH IRISHMODERN ART MODERN BRITISH AND IRISH ART Ӏ New Bond Street, London Ӏ Wednesday 22 November 2017 Lot 88 MODERN BRITISH AND IRISH ART Including Property from the Estate of Benedict Read Wednesday 22 November 2017 at 3pm 101 New Bond Street, London VIEWING BIDS ENQUIRIES CUSTOMER SERVICES Friday 17 November +44 (0) 20 7447 7447 London Monday to Friday 8.30am to 6pm 9am to 5pm +44 (0) 20 7447 7401 fax Matthew Bradbury +44 (0) 20 7447 7447 Saturday 18 November To bid via the internet please +44 (0) 20 7468 8295 11am to 5pm visit bonhams.com [email protected] As a courtesy to intending Sunday 19 November bidders, Bonhams will provide a 11am to 5pm Please note that bids should be Penny Day written indication of the physical Monday 20 November submitted no later than 4pm +44 (0) 20 7468 8366 condition of lots in this sale if 9am to 5pm on the day prior to the sale. [email protected] a request is received up to 24 Tuesday 21 November New bidders must also provide hours before the auction starts. 9am to 5pm proof of identity when submitting Christopher Dawson This written indication is issued Wednesday 22 November bids. Failure to do this may result +44 (0) 20 7468 8296 subject to Clause 3 of the Notice 9am to 1pm in your bid not being processed. [email protected] to Bidders. SALE NUMBER Bidding by telephone will only Ingram Reid 23963 be accepted on a lot with +44 (0) 20 7468 8297 a lower estimate or of or in [email protected] CATALOGUE excess of £1,000 £20.00 James Flower Live online bidding is +44 (0) 20 7468 5862 ILLUSTRATIONS available for this sale [email protected] Front cover: Lot 35 Please email bids@bonhams.
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BU We Were There Too Epstein 250816 RD
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Mrs Hugh Garland SOLD REF: 1655 Artist: JACOB KRAMER
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Jacob Kramer Jacob Kramer Was Born in Ukraine in 1892, and His Family Emigrated to England When He Was About Eight Years Old in 1900
www.jewsfww.london ! Jacob Kramer Jacob Kramer was born in Ukraine in 1892, and his family emigrated to England when he was about eight years old in 1900. They settled in Leeds where he went to school and later attended evening art classes. He then won scholarships to cover his costs as a day student at Leeds Art School and was encouraged to continue his studies in London. In 1913 he was admitted to the Slade School of Fine Art with a loan from the Jewish Education Aid Society and support from Michael Sadler, Vice- Chancellor of Leeds University who was also an important collector of modern art and President of the modernist Leeds Arts Club. Whilst at the Slade, Kramer met Mark Gertler and David Bomberg and was caught up with the spirit of British modernist painting alongside Nevinson, Wadsworth and Roberts who was to marry his sister Sarah. He was elected a member of The London Group of artists in 1915 which was a very loose confederation of modernist artists whose common theme was they had no intention of continuing with the Victorian and Edwardian traditions of painting. Kramer fully engaged with modernism and was also invited to exhibit with the Vorticists in 1915 and did so but he never fitted to a clearly defined model either as an artist or a person. The early decades of the 1910s and 1920s were his most accomplished periods. Bomberg and Epstein included him in their 1914 Whitechapel Gallery exhibition Twentieth Century Art: A Review of Modern Movements. He was sculpted by Jacob Epstein in a remarkable study in 1921 (Ben Uri and Tate collections) and he reciprocated in 1930 by drawing Epstein and producing a signed limited edition lithograph (Ben Uri and Leeds Art Gallery collections).
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Not Wholly Constituted of Exhibition Material
Winter Number 1950 IN THIS ISSUE EDI 'ORIAL A CHANCE FOR DEVELOPMENT 9UARTERLY REVIEW SOME RECENT AC9UISITIONS TWO COMPLEMENTARY EXHIBITIONS ARTS CALENDAR I4 JACOB KRAMER A LEEDS ARTIST I8 3 Chance for Development The acquisition of the S. D. Kitson bequest of Cotman drawings, which was the subject of an article in the last issue of the Calendar, has a significance more far-reaching than its size and importance. This collection, consisting of about eleven hundred items, i» not wholly constituted of exhibition material. Less than half of it is ever likely to be displayed in the galleries. It is material which is intended f'r a study collection. Mr. Kit»on expressed the hope that his accumulations of Cotmania would one day be made available to students, and it may well be that it will form the nucleus of a prints and drawings room at Leeds. Yorkshire has no substantial collection of study material of this kind, and those who wish to undertake any research must of necessity resort to one or other of the larger London museums. It is to these vast and unwieldy store- houses that all such collections at present gravitate, to disappear into a highly respectable oblivion from which they are on all too rare occasions resurrected when required by an individual for reference. There may be arguments for the centralisation of'tudy material, but a regional collection would be an inspiration to potential students of art history and art appreciation in our local universities and art colleges. At present these students must rely on exhibited material in local galleries, the inadequate permanent collections and short-period temporary exhibitions.
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William Roberts: Portraiture of the 1920S
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