Music Maestro Please

Total Page:16

File Type:pdf, Size:1020Kb

Music Maestro Please Music Maestro Please... A gallery selection of prints and works on paper Gillian Ayres John Banting Edward Bawden Pearl Binder Roberta Booth James Boswell John Buckland Wright Alexander Calder Eduardo Chillida Prunella Clough Cecil Collins Paul Feiler Sam Haile Richard Hamilton Howard Hodgkin Ronald Brooks Kitaj ‘Luke’ Alexander Mackenzie Edward McKnight Kauffer Sidney Nolan Tom Phillips John Piper Paula Rego Graham Sutherland Julian Trevelyan Edward Wadsworth Austin / Desmond Fine Art GILLIAN AYRES (1930-2018) Crivelli’s Room II, 1967 Screenprint 77.2 x 57.5 cm Signed and dated Edition 52 of 75 Published by Editions Alecto., London. Printed by Kelpra Studio, London £ 500 (unframed) JOHN BANTING (1902-1972) JOHN BANTING (1902-1972) Snake in the Grass, 1931/1971 Untitled (Blueprint 3) Linocut Blueprint 9 x 13 cm 50 x 66 cm Signed, dated and numbered Initialled Edition 11 of 45 Edition unknown £ 750 (unframed) £ 850 (unframed) JOHN BANTING (1902-1972) Explosion, 1931/1971 Linocut 9 x 13 cm Signed, dated and numbered Edition 14 of 45 £ 750 (unframed) JOHN BANTING (1902-1972) Siamese Triplets, 1932/1971 Linocut 10 x 4.5 cm Signed, dated and numbered Edition 28 of 45 £ 350 (unframed) All three of the above Published by Alexander Postan Publishing Ltd in 1971. Printed by John Henn at the Camberwell School of Art under the supervision of the artist EDWARD BAWDEN (1903-1989) Lithograph Commissioned by the Hurtwood Press., London. Printed Dunkirk, 1986 36.5 x 58.3 cm by Curwen Studio, London. Signed, titled and numbered £ 600 (unframed) Edition 35 of 75 EDWARD BAWDEN (1903-1989) Untitled Watercolour on paper 25 x 20 cm Signed £ 2,500 (unframed) PEARL BINDER (1904-1990) PEARL BINDER (1904-1990) First Dream, 1930 Third Dream, 1930 Lithograph Lithograph 15 x 11 cm 15 x 11 cm Signed, dated, titled and numbered Signed, dated, titled and numbered Edition 7 of 10 Edition 5 of 10 £ 600 (unframed) £ 800 (unframed) ROBERTA BOOTH (1947-2014) ROBERTA BOOTH (1947-2014) The Malefactor, 1972 Narcissus, 1971 Etching Etching 45 x 30 cm 42 x 37 cm Signed, dated, titled and numbered Signed, dated, titled and numbered Edition 3 of 20 Edition 2 of 20 £ 700 (unframed) £ 700 (unframed) JAMES BOSWELL (1906-1971) Untitled (Illustration for Lilliput), c.1947-1950 Ink, pencil and gouache on paper 10 x 13 cm Signed £ 3,000 (unframed) JOHN BUCKLAND WRIGHT (1897-1954) Summer, 1930 Engraving 17.5 x 11 cm Signed, dated, titled and numbered Edition 26 of 30 £ 450 (unframed) ALEXANDER CALDER (1898-1976) Music Maestro Please, 1975 Screenprint 65 x 50 cm Signed and numbered Edition 4 of 25 £ 3,500 (unframed) EDUARDO CHILLIDA (1924-2002) Articulation II, 1962 Etching 10 x 15.2 cm Monogrammed, titled and numbered Edition 41 of 50 £ 1,500 (unframed) PRUNELLA CLOUGH (1919-1999) Float, c. 1950 Lithograph 17.5 x 11.5 cm Signed Edition unknown £ 4,000 CECIL COLLINS (1908-1989) SAM HAILE (1909-1948) Treading Blind, 1942 Mandated Territories, 1938 Collotype Ink on paper 21.5 x 14 cm 23 x 21 cm Signed and dated in the plate Signed, titled and dated Edition unknown, produced as a bookplate £ 3,000 (unframed) £ 600 (unframed) PAUL FEILER (1918-2013) Untitled Pencil on paper 24 x 26 cm £ 2,500 (unframed) RICHARD HAMILTON (1922-2011) RICHARD HAMILTON (1922-2011) One Corned and Cabbage , 1988 Reaper (a), 1949/1977 Engraving Hard-ground etching 8 x 9.5 cm 17.3 x 24.7 cm Signed and numbered Signed Edition 6 of 24 (12 with Arabic numerals and a further 12 with Roman rumerals) Edition of 300 + 30 artist proofs Published by Waddington Graphics, London. Printed by the artist and Aldo Published by Griffelkunst-Vereingung, Hamburg. Printed by the artist and Hartmut Crommelynck at Atelier Crommelynck, Paris. Frielinghaus, Hamburg. Editioned by Hartmut Frielinghaus in 1977 £ 950 (unframed) £ 1,200 (unframed) HOWARD HODGKIN (1932-2017) Edition 51 of 75 Indian View B, 1971 Published by Leslie Waddington Prints, London. Printed by Chris Screenprint Prater, with the assistance of Christopher Betambeau, at Kelpra 58 x 77.6 cm Studio, London Signed, dated and numbered £ 900 RONALD BROOKS KITAJ (1932-2007) Untitled (Figure of a Woman), 1958 Charcoal on paper 28 x 19 cm Signed and dated £ 4,500 (unframed) ‘LUKE’ ‘Mosley - Collage for Left Review, May 1935 Collage and gouache 28.5 x 19 cm Signed £ 1,250 ALEXANDER MACKENZIE (1923-2002) Winter Fields, 2002 Etching and aquatint 14.5 x 20.5 cm Signed and dated Edition 18 of 20 (another edition illustrated) Published by Austin/Desmond Fine Art, London. Printed by Hugh Stoneman. £ 1,400 EDWARD MCKNIGHT KAUFFER (1890 -1954) EDWARD MCKNIGHT KAUFFER (1890 -1954) Westminster from the Thames, 1934 Westminster Abbey, 1936 Lithograph Lithograph 51 x 31 cm 42.5 x 31 cm Signed and dated in the stone Signed in the stone Printed by Vincent Brooks, Day and Son Ltd for London Underground Printed by Vincent Brooks, Day and Son Ltd for London Underground Edition unknown Edition unknown £ 1,500 (unframed) £ 1,500 (unframed) SIDNEY NOLAN (1917-1992) Print 15, (From the Floral Images Series) 1972 Screenprint 55 x 45 cm Signed and numbered Artist’s Proof £ 800 (unframed) TOM PHILLIPS (B.1937) Virgil in his Study, Canto II (From the Dante’s Inferno series), 1982 Silkscreen 76.5 x 54.5 cm Signed and numbered Edition 28 of 75 Published by Waddington Graphics, London £ 500 (unframed) JOHN PIPER (1903-1992) Yarnton Monument, Oxon, 1948 Lithograph 39 x 51 cm From an edition of 50 Published by Redfern Gallery, London.Printed by E. G. Devonish at Central School of Arts and Crafts, London £ 950 (unframed) PAULA REGO (B.1935) Dance to your Daddy (part of the Nursery Rhyme series), 1989 Etching 22 x 21.5 cm Signed Artist’s proof Published by Malborough Graphics, London £ 1,200 (unframed) GRAHAM SUTHERLAND (1903-1980) Ants, 1968 Lithograph 66 x 49 cm Signed and stamped Artist proof from the edition of 70 Published by Marlborough Fine Art, London. Printed by Mourlot, Paris £ 800 (unframed) JULIAN TREVELYAN (1910-1988) Dream Landscape, c.1932 Etching 9.5 x 13.7 cm Artist’s stamp, titled and numbered Edition 28 of 150 Published by Bohun Gallery in 1998. Printed by Sheila Morrison in Trevelyan’s studio. £ 400 (unframed) EDWARD WADSWORTH (1889-1949) Signals, 1942 Lithograph 101 x 76 cm Signed in the plate No edition number Published by the Council for the Encouragement of Music and the Arts. Printed at Baynard Press, London. £ 2,500 (unframed) End.
Recommended publications
  • Henry Varnum Poor: Commemorating 125 Years
    Henry Varnum Poor: Commemorating 125 Years by Ron Michael, Curator, Birger Sandzén Memorial Gallery Extended Essay - August 2012 Seeking Beauty Henry Varnum Poor is an important name not only for those interested in the history of Kansas or American art, but for Angular detail of Self Portrait, circa those who celebrate bountiful lives. Determined to follow his own 1917, lithograph, size unknown. path, he was committed to a life based on unadorned pursuits and a constant search for beauty. He once wrote to friend and fellow artist Birger Sandzén, “I want to make beautiful things so as to make our living as beautiful as possible.”1 Developing and using his multi-faceted talents, he also lived a life of great variety. At various times in his life he combined one or more professions as an artist, craftsman, builder, writer, teacher, organizer, administrator, evaluator and more. He was the perennial “jack-of-all-trades,” or perhaps more appropriately, a “renaissance man.” Just within the arts he explored a vast array of differing media – oils, watercolors, ceramics, pastels, drawings, frescos, etchings, lithography, woodworking, textiles, and illustration. He seemed to turn everything he touched into art. Perhaps nowhere is this better evident than the house he designed and constructed near New City, New York. Dubbed Crow House it was conceived as a place of comfort for his family – away from, but still accessible to, the bustling metropolis of New York and other Eastern cities. As he continued to write in his letter to Birger Sandzén, “The joy and satisfaction in making the house has been tremendous, and the future work of carving and painting our huge beams and stones will be great.
    [Show full text]
  • “Uproar!”: the Early Years of the London Group, 1913–28 Sarah Macdougall
    “Uproar!”: The early years of The London Group, 1913–28 Sarah MacDougall From its explosive arrival on the British art scene in 1913 as a radical alternative to the art establishment, the early history of The London Group was one of noisy dissent. Its controversial early years reflect the upheavals associated with the introduction of British modernism and the experimental work of many of its early members. Although its first two exhibitions have been seen with hindsight as ‘triumphs of collective action’,1 ironically, the Group’s very success in bringing together such disparate artistic factions as the English ‘Cubists’ and the Camden Town painters only underlined the fragility of their union – a union that was further threatened, even before the end of the first exhibition, by the early death of Camden Town Group President, Spencer Gore. Roger Fry observed at The London Group’s formation how ‘almost all artist groups’, were, ‘like the protozoa […] fissiparous and breed by division. They show their vitality by the frequency with which they split up’. While predicting it would last only two or three years, he also acknowledged how the Group had come ‘together for the needs of life of two quite separate organisms, which give each other mutual support in an unkindly world’.2 In its first five decades this mutual support was, in truth, short-lived, as ‘Uproar’ raged on many fronts both inside and outside the Group. These fronts included the hostile press reception of the ultra-modernists; the rivalry between the Group and contemporary artists’
    [Show full text]
  • British Art Studies March 2019 Theatres Of
    British Art Studies March 2019 Theatres of War: Experimental Performance in London, 1914–1918 and Beyond Edited by Grace Brockington, Impermanence, Ella Margolin and Claudia Tobin British Art Studies Issue 11, published 25 March 2019 Theatres of War: Experimental Performance in London, 1914–1918 and Beyond Edited by Grace Brockington, Impermanence, Ella Margolin and Claudia Tobin Cover image: Film still, The Ballet of the Nations, 2018.. Digital image courtesy of Impermanence. PDF generated on 2 August 2019 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. A joint publication by Contents Beyond London & the War, Grace Brockington Beyond London & the War Grace Brockington Authors Senior Lecturer in the History of Art at the University of Bristol Cite as Grace Brockington, "Beyond London & the War", British Art Studies, Issue 11, https://dx.doi.org/10.17658/issn.2058-5462/issue-11/beyond Introduction The life of the little theatres continued long after the war and their influence spread far beyond the limits of their studio audiences.
    [Show full text]
  • The Museum of Modern Art 11 West 53Rd Street, New York 2937-7 Telephone: Ci Rcle 7-7470
    THE MUSEUM OF MODERN ART 11 WEST 53RD STREET, NEW YORK 2937-7 TELEPHONE: CI RCLE 7-7470 FOR IMMEDIATE RELEASE POSTERS BY E. MCKNIGHT KAUFFER^ The Museum of Modern Art, 11 West 53 Street, announces that an Exhibition of Modern English Architecture and an Exhibition cf Prsters by E. McKnight Kauffer will open to the public Wednesday, February 10. Both exhibitions have been directed by Miss Ernestine M. Fantl, Curator of the Museum's Department of Architecture and Industrial Art. In addition, two galleries of the Museum will be devoted to recent acquisitions: one will contain abstract works given to the Museum by its Advisory Committee; the other, miscellaneous from various donors gifts/. The acquisitions and the two exhibitions will remain on view through Sunday, March 7. E. McKnight Kauffer is represented by 85 of his commercial posters in the exhibition. These range from a poster done in 1917 for a large department store, Perry and Toms,tc a poster done in 1936 for the London Transport, Special Areas Exhibition, and in­ cludes posters for department stores, railways, museums, oil companies, airplanes, telephones, etc, Edward McKnight Kauffer is an American artist who has had his greatest success in England. He now lives and works in London. He was born in Great Falls, Montana, in December 1890, His child­ hood was spent in Evansville, Indiana, where he went to a public school only as far as the 8th grade. After that he joined a travelling theatre company as assistant scene painter and at 17 went to California with the late Frank Bacon of Lightnin1fame and worked on a ranch.
    [Show full text]
  • London Transport Posters: from Publicity Materials to Museum Exhibits
    London Transport posters: from publicity materials to museum exhibits Thesis submitted for the degree of Doctor of Philosophy at the University of Leicester by Amornchat Sermcheep School of Museum Studies University of Leicester November 2020 Abstract London Transport posters: from publicity materials to museum exhibits by Amornchat Sermcheep This PhD thesis traces the museum’s repurposing of publicity posters into museum exhibits from a material cultural perspective. Its aim is to understand how the values and meanings of advertising materials transform as their functions and purposes are altered. In so doing, this thesis employs object itineraries as the theoretical framework, using the London Transport Museum’s collection as a case study. This thesis argues that the values and meanings of London Transport posters change but each point in the transformation is integrally connected to one another. Through the examination of the purposes and narratives of poster exhibitions and the curating process, the change and connection in values and meanings are manifested at both the visual and material levels, such as within a poster design as well as across different material forms. By examining the criteria for selecting London Transport posters for display and their materialities, this thesis also reveals the diversity of the material forms bearing a single poster design and provides insight into the impact of object materialities, especially their multiplicity, on both collection management and exhibition making. Further, this thesis engages the primary data with debates about the notions of object originality and authenticity. It argues that museums interact with original objects in certain ways in order to maintain, manifest and highlight the authenticity of these objects.
    [Show full text]
  • The Highs and Lows of Modernism: a Cultural Deconstruction
    The Highs and Lows of Modernism: A Cultural Deconstruction Emma West Thesis submitted for the degree of Doctor of Philosophy (Critical and Cultural Theory) School of English, Communication and Philosophy Cardiff University January 2017 Summary Over the past two decades, scholars have shown that the modernist ‘Great Divide’ between high and low culture is culturally-constructed, reductive and oversimplified. Yet, despite these critical disavowals, the field of modernist studies is still informed by the Divide’s binary systems of evaluation and classification. ‘High’ and ‘low’ texts are studied in isolation and modernism is privileged over popular culture. This thesis argues that we must address the Great Divide’s structure if we are to move beyond it. The Divide is underpinned by three structural myths: that of essence (texts are inherently high or low), mutual exclusivity (texts are either high or low) and precedence (high texts come before low ones). Over the course of four chapters, this study seeks to define, challenge and reconfigure the Great Divide, exploring new approaches which allow us to study texts from across the cultural spectrum together. After an initial chapter which maps out the Great Divide in early-twentieth-century Britain, the following three chapters interrogate the structural myths in turn. Chapter 2 disputes the myth of essence, arguing that both ‘little’ and ‘popular’ magazines are shaped by external factors; Chapter 3 considers travel posters, showing that they exhibit apparently mutually-exclusive aesthetic and publicity functions at once; and Chapter 4 examines the extent to which innovations in mass-market fashion predated their modernist counterparts.
    [Show full text]
  • To Download a Brave New World Catalogue
    A BRAVE NEW WORLD BRITISH ART IN THE 20TH CENTURY 1 A BRAVE NEW WORLD BRITISH ART IN THE 20TH CENTURY Gerrish Fine Art By Appointment 35a Jermyn Street, London SW1Y 6DT 0207 871 3089 [email protected] www.gerrishfineart.com Members of the International Fine Print Dealers Association (IFPDA) 2 3 TWOTWO YOUNG YOUNG RADICALS RADICALS GAUDIER-BRZESKAGAUDIER-BRZESKA & & BOMBERG BOMBERG 4 5 HENRI GAUDIER-BRZESKA (1891-1915) HENRI GAUDIER-BRZESKA (1891-1915) Signed by Brodzky and numbered ‘imp. 31/50’ in black This is the only linocut produced by the sculptor Henri ink. Printed on thick wove paper. It is unlikely the projected Gaudier-Brzeska. In his 1933 biography, Brodzky wrote, edition of 50 was completed. Printed posthumously. ‘Brzeska saw me at work, cutting designs at my home, and he decided to do some also. Being near Christmas time he Collections: V & A; British Museum; Metropolitan cut a version of his ‘Wrestlers’ to be used as a card’. Museum of Art; The Art Institute of Chicago; Princeton University Art Museum; Museum of Fine Arts Boston; Gaudier based his design on a 1914 plaster relief of the Harvard Art Museums same subject now in the permanent collection of the Museum of Fine Arts Boston. Gaudier-Brzeska’s interest Literature: Carey & Griffiths, ‘Avant-Garde British in the subject of wrestlers was inspired by his visits to the Printmaking 1914-1960’, British Museum Publications London Wrestling Club, off Fleet Street, in 1912-1913. Ltd, 1990, cat. no. 18, p. 45 He made numerous drawings from life there, and wrote, in a letter to Sophie Gaudier Brzeska dated December 1912: ‘Last night I went to see the wrestlers – God! I have seldom seen anything so lovely – two athletic types, large shoulders, taut, big necks like bulls, small in the build with firm thighs and slender ankles, feet sensitive as hands, and not tall.
    [Show full text]
  • Graphic Design
    LIST OF DESIGNERS N4/N5/HIGHER Art Nouveau Graphic Design Alfons Mucha Mucha spent most of his working life in Paris. Initially interested in becoming a painter, a chance encounter led him to design a poster for the famous actress of the time Sarah Bernhardt. The poster and Mucha’s particular ornate style became an instant success and his career was destined to take a different path. His style was so distinctive and original that it was called the ‘Mucha style’. Later, however, it became known as simply Art Nouveau. www.muchafoundation.org/ William H Bradley The graphic designer William H. Bradley was born in Boston, Massachusetts. He is also regarded as an accomplished illustrator and typographer. He is associated with the Art Nouveau movement as his work displays many of the characteristics of the style while borrowing elements from the Arts and Crafts movement as well as Japanese block printing. www.willbradley.com/ Product Design Louis Comfort Tiffany (February 18, 1848 – January 17, 1933) was an American artist and designer who worked in the decorative arts and is best known for his work in stained glass. He is the American artist most associated with the Art Nouveau [1] and Aesthetic movements. Tiffany was affiliated with a prestigious collaborative of designers known as the Associated Artists, which included Lockwood de Forest, Candace Wheeler, and Samuel Colman. Tiffany designed stained glass windows and lamps, glass mosaics, blown glass, ceramics, jewelry, enamels and metalwork. https://en.wikipedia.org/wiki/Louis_Comfort_Tiffany Jewellery René Jules Lalique (6 April 1860, Ay, Marne – 1 May 1945, Paris) was a French glass designer known for his Art Nouveau creations of glass art, perfume bottles, vases, [1][2][3][4] jewellery, chandeliers, clocks and automobile hood ornaments.
    [Show full text]
  • Within the Reach of All’ West, Emma
    University of Birmingham ‘within the reach of all’ West, Emma License: Other (please specify with Rights Statement) Document Version Peer reviewed version Citation for published version (Harvard): West, E 2019, '‘within the reach of all’: bringing art to the people in interwar Britain', Modernist Cultures. Link to publication on Research at Birmingham portal Publisher Rights Statement: This is an Accepted Manuscript of an article accepted for publication by Edinburgh University Press in Modernist Cultures. The Version of Record will be available online at: https://www.euppublishing.com/loi/mod General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version. Take down policy While the University of Birmingham exercises care and attention in making items available there are rare occasions when an item has been uploaded in error or has been deemed to be commercially or otherwise sensitive.
    [Show full text]
  • E. Mcknight Kauffer Datasheet
    TITLE INFORMATION Tel: +1 212 645 1111 Email: [email protected] Web: https://www.accartbooks.com/us E. Mcknight Kauffer Design Brian Webb Peyton Skipwith ISBN 9781851495207 Publisher ACC Art Books Binding Hardback Territory USA & Canada Size 6.34 in x 8.54 in Pages 96 Pages Illustrations 150 color Name of series Design Series Price $9.95 The designer of some of the most striking and influential advertising graphics of the 1920s and 30s 150 illustrations, including McKnight Kauffer's outstanding work for Shell, London Underground and the Post Office A new title in the exquisite new Design series Edward McKnight Kauffer (1890-1954) was the most celebrated graphic designer working in Britain in the twentieth century. Born in Montana, he left America before the first world war to travel throughout Europe absorbing the influences of the Cubists and the German poster artist Ludwig Hohlwein. At the onset of war he settled in London. Seeing himself as a painter, he allied himself with the London Group and the Vorticists. He worked at Roger Fry's Omega Workshops with Vanessa Bell and Duncan Grant and in 1915 was commissioned by Frank Pick, then the publicity manager at London Underground. This was the beginning of a client/designer relationship that lasted throughout the 1920s and 30s ending only when Kauffer returned to New York in 1940. His posters, brilliantly colored and strikingly modern, struck London like a Cubist thunderbolt. Soon other clients, Jack Beddington at Shell, Sir Colin Anderson at the Orient Shipping line, the Daily Herald (the instantly recognizable Birds in Flight poster), and the Post Office were commissioning posters, brochures, book covers and illustrations.
    [Show full text]
  • 141 19 Survey 9.Key
    Survey 8 quiz Charlestons and communists Why were posters such an important communication tool in WW1? What are the two approaches used in these WW1 posters? Conceptual versus representative or figurative. Julius Gipkens/Lucien Bernhardt What is unusual about this poster by Edward McKnight Kauffer? 1918 — Poster for the Daily Herald, Edward McKnight Kauffer You can see the impacts of cubism in this illustration, as well as an unusual and bold use of space. The tall format, and the concentration of the birds at the top creates a sense that the birds are really in flight. Who else used very tall formats like this? One Cannot Understand ———. One Must Experience It. Which art movement does this refer to? Which art movement does this refer to? http://dada-data.net/en/hub When speaking about Dada Richard Huelsenbeck, a German writer, poet, and psychoanalyst said One Cannot Understand Dada. One Must Experience It. What is this art technique that combines words and imagery? What is this art technique that combines words and imagery? It is photomontage. A strong Dada movement emerged in Berlin Germany. Hannah Höch, George Grosz, John Heartfield and Raoul Hausmann were at the heart of the movement and together they developed the technique of photomontage. 1922 — Chicago Tribune design competition To find a suitable architect, the Tribune held a competition that was also a brilliant publicity campaign. With a $50,000 first prize (the equivalent today of about $690,000!), and substantial second and third prizes, the competition generated massive press coverage and attracted 263 entries from twenty-three countries.
    [Show full text]
  • Edward Mcknight Kauffer (1890–1954); Marion V. Dorn (1896
    Edward McKnight Kauffer (1890–1954); Marion V. Dorn (1896–1964) Hubert Lindsay Wellington (1879-1967); Irene Wellington (1904-1984) The White House, North End, Henley-on-Thames RG9 6JZ The artists McKnight Kauffer McKnight Kauffer was a versatile artist who drew on a wide variety of styles to create his work: Japanese art, Fauvism, Constructivism and Surrealism. He worked in the areas of painting, applied art, interior design and scenography and is best known for his posters such as those for London Underground (130 posters) and Shell during the inter-war years. He was born in Montana, USA and came to England at the outbreak of WWI and stayed until WWII, over 20 years. He was a friend of the American artist Man Ray. His benefactor was Joseph McKnight of Utah University who in 1912 funded his studies in Paris, and in gratitude Kauffer adopted his name. Marion Dorn Dorn was a textile designer, primarily in the area of wall hangings, carpeting and rugs, but also produced wallpaper, graphics and illustrations. Known for her significant contributions to modern British interiors, in particular her ‘sculpted’ carpets, she collaborated with well-known architects of the period, contributing to some of the best-known interiors of the time including the Savoy Hotel, Claridge’s, the Orion and the Queen Mary. Dorn, also born in the USA (California), was McKnight Kauffer’s second wife. Hubert Wellington Wellington was born in Gloucester and studied at the Gloucester School of Art, Birmingham School of Art and finally the Slade 1899–1900. In the 1930s he was principal of the Edinburgh College of Art where he was part of a group whose aim was to bring Modernism to Scotland.
    [Show full text]