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Kyffin Williams and Welsh Art
Gareth Lloyd Roderick Kyffin Williams Online at the National Library of Wales: presenting and interpreting art in a digital context. 0 1 Mandatory Layout of Declaration/Statements Word Count of thesis: 82,423 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed ....................................................... (candidate) Date .......................................................... STATEMENT 1 This thesis is the result of my own investigations, except where otherwise stated. Where *correction services have been used, the extent and nature of the correction is clearly marked in a footnote(s). Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Signed ..................................................................... (candidate) Date ........................................................................ [*this refers to the extent to which the text has been corrected by others] STATEMENT 2 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed ..................................................................... (candidate) Date ........................................................................ 2 Acknowledgements I would like to thank my supervisors, Professor Robert Meyrick and Professor Lorna Hughes for their help, guidance -
Valley of Vision
21 January to 19 March 2017 Saturdays and Sundays 3 to 5pm Wolfson Fine Arts in collaboration with the University of South Wales Valley Valley of Vision www.wolfson.cam.ac.uk/fine-arts Foreword - Painting the Valleys is the subject matter. Apart from a scattering of small mines and a few huge, opencast sites on the rim of the coalfield, there is no longer a coal industry. There For over two hundred years, the Valleys of South Wales have inspired are memories and ruins, books, photographs and articles, industrial museums painters and printmakers. J M W Turner, Richard Wilson and Julius Caesar and visitors’ centres. And there are ghosts and paintings. Ibbetson were among the early visitors, drawn to the coalfield by the promise of extraordinary images – the visual combination of burgeoning I know for certain that the ghosts are still out there, haunting abandoned heavy industry and dramatic landscapes. mineshafts, winding-sheds and chapels where the physical evidence of an industry that once employed a quarter of a million miners in these Valleys has They came to witness the fiery spectacle of iron furnaces giving birth to a new almost disappeared. Even the scarred hillsides have been blanketed in new industrial age. Here was the cutting edge of Britain’s pioneering technologies. forests as the Valleys continue to be greened. Yet they discovered, within a stone’s throw of the blast furnaces and pit shafts, a landscape of waterfalls, precipitous forests and wild, romantic moorland. Thankfully, the paintings have survived. Some of them are gathered here, at this exhibition. -
Borderlines 2019
Borderlines Carlisle Book Festival 2019 www.borderlinescarlisle.co.uk THURSDAY 26TH SEPTEMBER TO TUESDAY 8TH OCTOBER supported by Borderlines 2019 Borderlines 2019 brochure B.indd 1 22/07/2019 17:59:40 FESTIVAL AT A GLANCE Events | Workshops | Poetry & Performance Unless otherwise stated, all of our events are 55 minutes long to allow enough travel time in between venues. Thursday 26th September Joanne Harris, The Strawberry Thief 5.30pm, Crown & Mitre Ballroom, £10 Ashley Cooper, Images from Sponsored by Truffles of Brampton a Warming Planet 7.30pm, Tullie House, £7 Scary Little Girls, Salon du Chocolat Carlisle One World Event 8pm, Crown & Mitre Ballroom, £10 Saturday 28th September Saturday 5th October SpeakEasy, Freiraum Adele Parks Masterclass, 20 Tips for Getting 7.30pm, Cakes & Ale Café, Free - ticketed entry That Novel Written – No excuses! Sunday 29th September 10am - 1pm, Crown & Mitre Boardroom, £25 Zosia Wand, Readers’ Party Razwan Ul-Haq, Arabic Calligraphy: 5.30pm, Cakes & Ale Café, £6 including tea and cake Traditional Materials and Conceptual Art 10 - 11.30am, Tullie House Community Room, £12 Monday 30th September Sponsored by Architects Plus Natalie Haynes, Troy Story 7.30pm, Stanwix Arts Theatre, £8 Alan Brown, Overlander: A Bikepacking Journey Tuesday 1st October 10.30am, Tullie House, £7 Iain Matthews & Ian Clayton, Words and Music Malcolm Carson, Poetry Breakfast 7.30pm, Stanwix Arts Theatre, £8 10.30am - 12pm, Tullie House Function Room, Wednesday 2nd October £5 including refreshments Helen Weston, Writing as Therapy -
$**\ S THREE BRITISH PAINTERS HITCHENS HERMAN DAVIE
$**\ s THREE BRITISH PAINTERS HITCHENS HERMAN DAVIE tft^k- FOREWORD With this show we hope to begin a series of exhibitions introducing contemporary European painters to the New Zealand public with a rather greater representation than is possible in large mixed exhibitions. We are most grateful to the lenders, particularly to Gimpel Fils, Leicester Galleries and Messrs Roland Browse and Delbanco, for their generosity and ready co-operation. The exhibition is being toured through New Zealand with financial help from the Arts Advisory Council, and will be seen in Auckland, Wellington, Christchurch and Dunedin. Mr C. McCahon, Keeper of the Gallery, has compiled the catalogue. INTRODUCTION These three artists, from different generations, represent three different trends in contemporary British painting. I von Hitchens, the doyen of this group, is the most easily recognisable as an English artist, for his landscapes are bedded quite firmly in the British Romantic tradition that commenced with the watercolours of Constable, Turner, and their contemporaries. The neo-romantic movement in British painting of the thirties and forties produced a group of such romantics — Nash, Sutherland, Piper, Hitchens, and others who sought for an expressive image in the landscape of England. Hitchens is probably the least literary of all these painters and his own theory of painting is derived from Kandinsky. Hitchens' long canvases are intended to develop this theory which can almost be seen as a harmonic and chromatic system of variations. Herman on the other hand, belongs to the central European tradition. His miners are essentially international figures — seen as monuments or monoliths of labour. -
Rogers Jones &
Rogers Jones & Co. The Auction Rooms 17 Llandough Trading Estate The Welsh Sale in Cardiff - 300 works of art from Wales Penarth Road Cardiff CF11 8RR Started 06 Jul 2013 11:00 BST United Kingdom Lot Description After E MEIRION ROBERTS caricature of the Llanelli Rugby Team commemorating their victory over New Zealand in 1972, bearing a 1 Welsh poem by Dick Jones, 13 x 16.5 ins. After SIR KYFFIN WILLIAMS RA Artist`s Proof; Snowdonia cottage, signed fully in pencil, 15.5 x 21.5 ins (39 x 54 cms), (Provenance: 2 gifted by the artist to the late Mr William `Bill` Lloyd Williams, his gardener, and by descent). 3 After SIR KYFFIN WILLIAMS RA Limited Edition (72/150) print; portrait of Norma Lopez, signed fully in pencil, 14 x 10 ins (36 x 25 cms). After SIR KYFFIN WILLIAMS RA Limited Edition (82/150) linocut print; a walking farmer wearing overcoat and with crook, signed with 4 initials, 19.75 x 11 ins (50 x 28 cms). After SIR KYFFIN WILLIAMS RA Limited Edition (22/50) linocut print; a farmer with crook struggling up a hill, signed fully in pencil, 9 x 5 12.5 ins (23 x 32 cms). After ANEURIN JONES coloured print; two farmers in conversation with their dogs at their side , signed fully in pencil, 22.25 x 15.5 ins 6 (15 x 39 cms). SIR KYFFIN WILLIAMS RA framed poster; depicting a farmer on a hillside in a storm (produced for Royal Welsh Agricultural Society), 7 22.5 x 17 ins (57 x 43 cms). -
SHLAA 2013 Discarded Sites Low Res
Strategic Housing Land Availability Assessment Discarded Sites List March 2013 1 Introduction The Strategic Housing Land Availability Key Service Centres: Assessment (SHLAA) process identifies sites that are considered potentially suitable Aspatria Cockermouth for residential development. Maryport Silloth Wigton The SHLAA: Main Report (March 2013) demonstrates that there is enough Local Service Centres: deliverable and developable housing sites available to meet the housing targets set out Abbeytown Allonby in the emerging Local Plan . Brigham Broughton Broughton Moor Dearham Some sites have been discarded and have Flimby Great Clifton not been included in the main report. This Kirkbride Prospect SHLAA Discarded Sites List (March 2013) Thursby document identifies those discounted sites Rural Villages: The reasons why a particular site has been excluded is set out in the tables included in Anthorn Blencogo this document. Maps are also provided Blennerhasset* Blitterlees showing the locations of these sites. Bolton Low Houses Bothel The discarded sites are presented by Bowness on Solway* Branthwaite settlement, following the settlement hierarchy Bridekirk Broughton Cross proposed in the emerging Local Plan. Camerton Crosby Crosby Villa* Dean Principle Service Centre: Deanscales* Dovenby Eaglesfield Fletchertown Workington (including Harrington, Seaton, Gilcrux Glasson Stainburn and Siddick) Greysouthern Hayton* Ireby Kirkbampton Langrigg Little Bampton Little Clifton Mawbray not under construction, have been removed Mockerkin* Newton Arlosh as these sites are assumed to be Oughterside* Oulton deliverable and count towards the 5 year Papcastle Pardshaw land supply calculation . Parsonby Plumbland • A large number of sites put forward for Port Carlisle* Skinburness consideration were less than 0.3ha . Given Tallentire* Torpenhow the strategic nature of the SHLAA, these Ullock Waverton* sites have been discounted. -
UNIVERSITY of LEEDS the LIBRARY Archives of the Queen Square and Park Square Galleries, Special Collections MS 712 Part I: Collective Exhibitions
Handlist 74 UNIVERSITY OF LEEDS THE LIBRARY Archives of the Queen Square and Park Square Galleries, Special Collections MS 712 Part I: Collective exhibitions Mrs Sarah Gilchrist opened her commercial gallery in Queen Square, Leeds, in 1964; the enterprise flourished and she moved it to new premises in Park Square, Leeds, in 1968. She retired in 1978 though the gallery has continued under different aegis. In 1981 she was awarded an honorary degree by the University of Leeds and in the summer of 1984 through the timely intervention of Mr Stephen Chaplin of the University's Department of Fine Art, she most kindly agreed to give the accumulated archive of her galleries up to the date of her retirement to the Brotherton Library. The archive illustrates the relationship between artist and gallery, and between gallery and collector; it also illuminates taste and patronage in Yorkshire in the third quarter of the 20th century. This first part of a complete catalogue refers to collective exhibitions; further parts will deal. with one-man exhibitions, a picture lending scheme and other matters. Each catalogue will have indexes of exhibitors and of correspondents. This handlist was formerly issued in four parts, as handlists 74, 76, 84 and 85 Compiled October 1985 Digitised May 2004 CATALOGUE 1. First collective exhibition, 'Five Australian painters', April-May 1964 Work by:- Charles Blackman, Arthur Boyd, Louis James, John Perceval and Kenneth Rowell. 1-39 Correspondence, 1964. 51 ff. 40 Invitation to private view, 15 April 1964. 41 Priced catalogue, 1964. 42-43 Two photographs of exhibits, [1964]. 44-45 Mounted press-cuttings, 1964. -
Monica Bohm-Duchen 1 October 2019
From Warsaw to Wales and Beyond: The Art and Life of Josef Herman Background Notes Monica Bohm-Duchen – 16 October 2019 “Some European émigré artists… enlivened and complicated the artistic life of the post-war years for they brought a direct European influence to their adoptive country… Herman is the outstanding painter of this group and his influence is probably the most familiar, because the most easily recognized. He has acquired some of the aura of the legendary wandering Jew, driven by the circumstances of history and the vagaries of chance…” Eric Rowan, “The Visual Arts”, in Stephens, Meic (ed.). The Arts in Wales 1950-75, 1979 Winchester Art History Group www.wahg.org.uk 1 Born in Warsaw in 1911 into a working-class Jewish family, Josef Herman arrived in Britain (via Belgium) in 1940, settling first in Glasgow and then in the South Welsh mining village of Ystradgynlais. By the early 1950s, known mainly for his images of Welsh miners, he had established himself as a major figure in contemporary British art. Throughout his long life (he died in London in 2000) he remained true to his conviction that art and morality should never be far apart, that technique, though important, should always be subservient to subject-matter and that working men and women – whether in Poland, Wales, Suffolk, Mexico or Israel - embody a profound and universal human archetype. Yet, as this seminar will reveal, his oeuvre is far more diverse and complex than even his admirers will have suspected. It precedes the first major exhibition of Herman’s work for many years, to be held at Flowers Gallery, London, between 15 November 2019 and 1 February 2020. -
Jay Drinkall – Storm Index Montez Press Writers Grant -4ºC in March
Jay StoDrinkall r m Index Jay Drinkall – Storm Index Montez Press Writers Grant -4ºC in March. In the north of England spring conceals winter like a knife. Ascending slowly, vapours rise from the high ground ahead. The storm they are calling the BEAST FROM THE EAST has rolled chaotically in, snow is baked onto the mountainside in crystalline swirls. Everything is wracked in ice. Clough is the dialect word for steep valley or ravine. From Old English clōh, itself thought to stem from the Proto-Germanic klanhaz (‘cleft’, ‘sluice’, ‘abyss’). Many slice this scrunchy, sprawling mountain: one between each named protrusion of its southerly faces. We’re climbing the western edge of one gradu- ated panhandle called Saddle Fell. Wolf Fell threatens directly to the west, separated craggily from our outcrop by White Stone Clough. The gentler slopes of Burnslack protrude benignly to the east, their roundness belying the twist of a steep ravine below. Desperation is knowing I am red. With this morning’s coffee the climb has made me embarrassingly ruddy. I half- hope the man I’m with – let’s call him Keir – won’t look back to catch my eye. He doesn’t. Farm specifically ‘sheep farm’, which is how Keir dismisses our surroundings. He hates sheep, not as individ- uals but for what they represent en masse: you might call it the ovine-industrial complex. He is frown- ing at the convincingly rugged landscape, one aggressively shaped by agro-industry and then cunningly re-packaged as wilderness. Still, it was first carved by a deep and glacial memory. -
Notices and Proceedings: North West of England: 18 October 2017
OFFICE OF THE TRAFFIC COMMISSIONER (NORTH WEST OF ENGLAND) NOTICES AND PROCEEDINGS PUBLICATION NUMBER: 2781 PUBLICATION DATE: 18/10/2017 OBJECTION DEADLINE DATE: 08/11/2017 Correspondence should be addressed to: Office of the Traffic Commissioner (North West of England) Hillcrest House 386 Harehills Lane Leeds LS9 6NF Telephone: 0300 123 9000 Fax: 0113 249 8142 Website: www.gov.uk/traffic-commissioners The public counter at the above office is open from 9.30am to 4pm Monday to Friday The next edition of Notices and Proceedings will be published on: 25/10/2017 Publication Price £3.50 (post free) This publication can be viewed by visiting our website at the above address. It is also available, free of charge, via e-mail. To use this service please send an e-mail with your details to: [email protected] Remember to keep your bus registrations up to date - check yours on https://www.gov.uk/manage-commercial-vehicle-operator-licence-online NOTICES AND PROCEEDINGS Important Information All correspondence relating to public inquiries should be sent to: Office of the Traffic Commissioner (North West of England) Suite 4 Stone Cross Place Stone Cross Lane North Golborne Warrington WA3 2SH General Notes Layout and presentation – Entries in each section (other than in section 5) are listed in alphabetical order. Each entry is prefaced by a reference number, which should be quoted in all correspondence or enquiries. Further notes precede sections where appropriate. Accuracy of publication – Details published of applications and requests reflect information provided by applicants. The Traffic Commissioner cannot be held responsible for applications that contain incorrect information. -
Allerdale Unclassified Roads - Published January 2021
Allerdale Unclassified Roads - Published January 2021 • The list has been prepared using the available information from records compiled by the County Council and is correct to the best of our knowledge. It does not, however, constitute a definitive statement as to the status of any particular highway. • This is not a comprehensive list of the entire highway network in Cumbria although the majority of streets are included for information purposes. • The extent of the highway maintainable at public expense is not available on the list and can only be determined through the search process. • The List of Streets is a live record and is constantly being amended and updated. We update and republish it every 3 months. • Like many rural authorities, where some highways have no name at all, we usually record our information using a road numbering reference system. Street descriptors will be added to the list during the updating process along with any other missing information. • The list does not contain Recorded Public Rights of Way as shown on Cumbria County Council’s 1976 Definitive Map, nor does it contain streets that are privately maintained. • The list is property of Cumbria County Council and is only available to the public for viewing purposes and must not be copied or distributed. STREET NAME TOWN DISTRICT ROAD NUMBER Abbey Close WORKINGTON ALLERDALE U2412 Abbotsford Place MARYPORT ALLERDALE U2741 Abbotsford Place [Back Lane] MARYPORT ALLERDALE U7099/14 Access leading to Netto off Moss Bay Road WORKINGTON ALLERDALE U7169 Acorn Street -
Get Book Sheila Fell: a Passion for Paint
H1KDJSQQRMQM ^ PDF « Sheila Fell: A Passion for Paint Sh eila Fell: A Passion for Paint Filesize: 3.01 MB Reviews A fresh e-book with a new viewpoint. Better then never, though i am quite late in start reading this one. I am happy to explain how here is the very best ebook i actually have study during my individual lifestyle and may be he greatest pdf for actually. (Diana Flatley) DISCLAIMER | DMCA 63RUGCFLZGRE // Kindle Sheila Fell: A Passion for Paint SHEILA FELL: A PASSION FOR PAINT Lund Humphries Publishers Ltd. Hardback. Book Condition: new. BRAND NEW, Sheila Fell: A Passion for Paint, Cate Haste, Frank Auerbach, Born into a mining family in rural Cumberland, British painter Sheila Fell (1931-79) studied at Carlisle College of Art, then at St Martin's School of Art in London. Though she spent her adult life in London, her artistic inspiration came from the dramatic images of the landscape of her childhood in the tough northern fells, which she interpreted with a unique intensity, authenticity and expressive power. With her narrow focus on place, she found a poetic language to express the interdependence of earth, people and work, and the universal struggle between nature and humanity's precarious survival in an unforgiving landscape. Talented, determined and charismatic, Sheila Fell was one of the very few women artists to achieve national recognition in the 1950s and 1960s and was one of the youngest artists ever to be elected a Royal Academician in 1974. L.S. Lowry praised her as the best landscape painter of the age and became her lifelong supporter and patron.