War Memorial Architect and Sculptors Primary
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Hove and the Great
H o v e a n d t h e Gre a t Wa r A RECORD AND A R E VIE W together with the R oll o f Ho n o u r and Li st o f D i sti n c tio n s By H . M . WALBROOK ’ Im ied una er toe a u fbority cftfie Hov e Wa r Memorial Com m ittee Hove Sussex Th e Cliftonville Press 1 9 2 0 H o v e a n d t h e Gre a t Wa r A RECORD AND A REVIEW together with the R o ll o f Ho n o u r and Li st o f D i sti n c tio n s BY H . M . WALBROOK ’ In ned u nner toe a u tbority oftbe Have Wa r Memoria l Comm ittee Hove Sussex The Cliftonville Press 1 9 2 0 the Powers militant That stood for Heaven , in mighty quadrate joined Of union irresistible , moved on In silence their bright legions, to the sound Of instrumental harmony, that breathed Heroic ardour to adventurous deeds, Under their godlike leaders, in the cause O f ” God and His Messiah . J oan Milton. Fore word HAVE been asked to write a “ Foreword to this book ; personally I think the book speaks for itself. Representations have been ’ made from time to time that a record o fHove s share in the Great War should be published, and the idea having been put before the public meeting of the inhabitants called in April last to consider the question of a War Memorial , the publication became part, although a very minor part, of the scheme . -
The London List
The London List YEARBOOK 2010 FOREWORD 4 GAZETTEER 5 Commemorative Structures 6 Commercial Buildings 12 Cultural and Entertainment 18 Domestic 22 Education 32 Garden and Park 36 Health and Welfare 38 Industrial 44 Law and Government 46 Maritime and Naval 48 Military 50 Places of Worship 54 Street Furniture 62 Transport Buildings 65 Utilities and Communications 66 INDEX 68 TheListed London in London: List: yearbookyearbook 20102010 22 Contents Foreword ....................................................................................4 Gazetteer ...................................................................................5 Commemorative Structures .......................................................6 Commercial Buildings ..................................................................12 Cultural and Entertainment .....................................................18 Domestic ............................................................................................22 Education ............................................................................................32 Garden and Park ............................................................................36 Health and Welfare ......................................................................38 Industrial ..............................................................................................44 Law and Government .................................................................46 Maritime and Naval ......................................................................48 -
It Is Now a Number of Years Since the Bowman Sculpture Gallery Has Held
It is now a number of years since the Bowman Sculpture Gallery has held an exhibition solely focused on The New School of British Sculpture and it is a pleasure to see the Gallery again showing extensive examples of the leading artists involved. The New British School, also referred to as the New Sculpture, followed a period when the Neo Classicism of such sculptors as Canova, Thorvaldsen and Gibson was regarded as the acme of their art and they featured in many of the great Houses of the time. Towards the end of the 19th Century the expanding middle class, who had a growing interest in the Arts, created a demand for smaller and more domestic sculpture began. At the same time painters such as Lord Leighton, who sculpted Athlete Wrestling with a Python and The Sluggard, and George Frederick Watts, who produced the great monument Physical Energy, were bringing ‘colour’ into the subject by varied patination and their treatment of shape. This movement was undoubtedly fuelled by a reaction against what was seen to be the severity of the Neo Classicists but the principal initiators of this ‘New’, most attractive and impressive period of British Sculpture, were Jules Dalou who taught at The South Kensington School of Art, for eight years from 1871, his friend Édouard Lantéri, who taught at The National Art Training College (later renamed The Royal College of Art) and Alfred Stevens. The result was, as one critic has said, ‘a perfect synthesis of the spiritual and the sensual’. This approach to the subject was adopted by the ‘New’ sculptors. -
Annual Report 2018/2019
Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership. -
Screening Assessment – Onshore HVDC Converter/HVAC Substation
Hornsea Project Three Offshore Wind Farm Hornsea Project Three Offshore Wind Farm Preliminary Environmental Information Report: Annex 5.4 – Screening Assessment – Onshore HVDC Converter/HVAC Substation Date: July 2017 Annex 5.4 – Screening Assessment – Onshore HVDC Converter/HVAC Substation Preliminary Environmental Information Report July 2017 Environmental Impact Assessment Preliminary Environmental Information Report Liability Volume 6 Annex 5.4 – Screening Assessment – Onshore HVDC Converter/HVAC Substation This report has been prepared by RPS, with all reasonable skill, care and diligence within the terms of their contracts with DONG Energy Power (UK) Ltd. Report Number: P6.6.5.4 Version: Final Date: July 2017 This report is also downloadable from the Hornsea Project Three offshore wind farm website at: www.dongenergy.co.uk/hornsea-project-three-development DONG Energy Power (UK) Ltd. 5 Howick Place, Prepared by: RPS London, SW1P 1WG Checked by: Jennifer Brack © DONG Energy Power (UK) Ltd. 2017. All rights reserved Accepted by: Sophie Banham Front cover picture: Kite surfer near one of DONG Energy's UK offshore wind farms © DONG Energy Hornsea Approved by: Sophie Banham Project Three (UK) Ltd., 2016. i Annex 5.4 – Screening Assessment – Onshore HVDC Converter/HVAC Substation Preliminary Environmental Information Report July 2017 Table of Contents Unit Description 1. Screening Assessment – Onshore HVDC Converter/HVAC Substation .............................................................. 1 m Metre (length) 1.1 Introduction ................................................................................................................................................. -
Heritage-Statement
Document Information Cover Sheet ASITE DOCUMENT REFERENCE: WSP-EV-SW-RP-0088 DOCUMENT TITLE: Environmental Statement Chapter 6 ‘Cultural Heritage’: Final version submitted for planning REVISION: F01 PUBLISHED BY: Jessamy Funnell – WSP on behalf of PMT PUBLISHED DATE: 03/10/2011 OUTLINE DESCRIPTION/COMMENTS ON CONTENT: Uploaded by WSP on behalf of PMT. Environmental Statement Chapter 6 ‘Cultural Heritage’ ES Chapter: Final version, submitted to BHCC on 23rd September as part of the planning application. This document supersedes: PMT-EV-SW-RP-0001 Chapter 6 ES - Cultural Heritage WSP-EV-SW-RP-0073 ES Chapter 6: Cultural Heritage - Appendices Chapter 6 BSUH September 2011 6 Cultural Heritage 6.A INTRODUCTION 6.1 This chapter assesses the impact of the Proposed Development on heritage assets within the Site itself together with five Conservation Areas (CA) nearby to the Site. 6.2 The assessment presented in this chapter is based on the Proposed Development as described in Chapter 3 of this ES, and shown in Figures 3.10 to 3.17. 6.3 This chapter (and its associated figures and appendices) is not intended to be read as a standalone assessment and reference should be made to the Front End of this ES (Chapters 1 – 4), as well as Chapter 21 ‘Cumulative Effects’. 6.B LEGISLATION, POLICY AND GUIDANCE Legislative Framework 6.4 This section provides a summary of the main planning policies on which the assessment of the likely effects of the Proposed Development on cultural heritage has been made, paying particular attention to policies on design, conservation, landscape and the historic environment. -
Architects of the Hall of Memory.Indd
Architects of the Hall of Memory [v1 03.05.2011] Birmingham’s Hall of Memory, 1923-4, First World War memorial by S.N.Cooke and W.N.Twist, with sculptures by Albert Toft (b. 1862 Handsworth - d. 1949 Worthing) and sculptural reliefs by William Bloye (b. Birmingham 1890 - d. Arezzo, Italy, 1975), and built by John Barnsley and Sons of Birming- ham (contractors for H.R Yeoville Thomason’s Birmingham Council House 1874-1879 and Birmingham Museum & Art Gallery 1879-1887). Both Samuel Nathaniel Cooke and Walter Norman Twist served in the 1914-1918 War that the Hall of Memory commemorates: Cooke as a Second Lieutenant in the Royal Flying Corp, and Twist as a Sec- ond Lieutenant in the Worcestershire Regiment. Their earliest collaboration seems to have been on a competition (Building News No. 3054 18 July 1913) for a Student Hostel in Exeter (listed as “S. N. Cooke and W. N. Twist, Birmingham.” Samuel Nathaniel Cooke Samuel Nathaniel Cooke junior, born Birmingham 1883, was the son of Samuel Nathaniel Cooke the elder (b. Birmingham 1854 - d. Birmingham 1927) and the grandson of Samuel Nathaniel Cooke (b. Hammersmith 1823 - d. King’s Norton 1892) who had established the family haberdashery business (S. E. Cooke Ltd) at 19 New Street, Birmingham, before 1862. Under the later management of Samuel Nathaniel Cooke the elder, the business expanded to include premises at 20 New Street, 38 Great Western Arcade, and 66 City Arcade Union Street (all Birmingham) by 1915, as well as a shop at 12 Pier Street, Aberystwyth, by 1895. -
Design for Eltham Palace Frieze £1,750 REF: 1527 Artist: GILBERT LEDWARD
Design for Eltham Palace Frieze £1,750 REF: 1527 Artist: GILBERT LEDWARD Height: 12.5 cm (4 1/1") Width: 49.5 cm (19 1/2") Framed Height: 36 cm - 14 1/4" Framed Width: 67 cm - 26 1/2" 1 Sarah Colegrave Fine Art By appointment only - London and North Oxfordshire | England +44 (0)77 7594 3722 https://sarahcolegrave.co.uk/design-for-eltham-palace-frieze 01/10/2021 Short Description GILBERT LEDWARD, RA, PRBS (1888-1960) Tennis, Golf, Shooting, Ice-Skating, Dreaming – Proposed Design for Decorative Frieze in the Italian Drawing Room at Eltham Palace, commissioned by Stephen Courtauld Signed and dated July 9th 1933 Watercolour and pencil 12.5 by 49.5 cm., 5 by 19 ½ in. (frame size 36 by 67 cm., 14 ¼ by 26 ¼ in.) Exhibited: The artist’s daughter; London, The Fine Art Society, A Centenary Tribute, Feb 1988, no. 43. Gilbert Ledward was born in London. He was educated at St Mark’s College, Chelsea. In 1905 he entered the Royal College of Art to study sculpture under Edouard Lanteri and in 1910 he entered the Royal Academy Schools. In 1913 he won the Prix de Rome for sculpture, the Royal Academy’s travelling award and gold medal, which allowed him to travel in Italy until the outbreak of the Wold War I. During the war he served as a lieutenant in the Royal Garrison Artillery and was appointed as an official war artist in 1918. Following the war he was largely occupied as a sculptor of war memorials including the Guards Division memorial in St James’s Park and the Household Division’s memorial in Horse Guards Parade. -
Donald Gibson and Coventry
Original citation: Campbell, Louise (2007) Paper dream city/modern monument : Donald Gibson and Coventry. In: Boyd Whyte, Iain, (ed.) Man-made future : planning, education and design in mid-twentieth-century Britain. London ; New York: Routledge, pp. 121-144. ISBN 9780415357883. Permanent WRAP URL: http://wrap.warwick.ac.uk/53223 Copyright and reuse: The Warwick Research Archive Portal (WRAP) makes this work by researchers of the University of Warwick available open access under the following conditions. Copyright © and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable the material made available in WRAP has been checked for eligibility before being made available. Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. Publisher’s statement: This is an Accepted Manuscript of a book chapter published by Routledge in Man-made future : planning, education and design in mid-twentieth-century Britain on 2007, available online: http://www.routledge.com/Man-Made-Future-Planning-Education-and-Design-in- Mid-20th-Century-Britain/Whyte/p/book/9780415357883 A note on versions: The version presented here may differ from the published version or, version of record, if you wish to cite this item you are advised to consult the publisher’s version. -
The Festival of Britain 1951
BANK OF ENGLAND ISSUED BY THE COURT OF DIRECTORS ON THE OCCASION OF THE FESTIVAL OF BRITAIN 1951 Bank of England Archive (E6/8) The Bank of England completed III I939 to the design of Sir Herbert Baker Bank of England Archive (E6/8) [Copyright BUII/� 0/ Ellglalld HE BANK OF ENGLAND came into being to provide funds for the T war that was being fought between 1689 and 1697 by William III against Louis XIV of France. In return for a loan of £1,200,000 to the King the subscribers, who numbered 1,272, were granted a Royal Charter on the 27th July, 1694, under the title " The Governor and Company of the Bank of England ". The Bank of England Act of I 946 brought the Bank into public ownership, of the but provided for the continued existence of the " Governor and Company ; Bank of England " under Royal Charter. The affairs of the Bank are administered by the Court of Directors, appointed by the King and comprising a Governor and Deputy Governor, each appointed for five years, and 16 Directors, each appointed for four years. The Court may appoint four of their members as Executive· . Directors, who, together with the senior officials and a number of specialists as advisers, assist the Governors in the day-ta-day management of the Bank. Over the years the Bank of England has become the " bankers' bank ". and banker to the Government. The description " bankers' bank" indicates that the principal banks in the United Kingdom deposit with it their reserves of cash. -
The Lutyens Trust America Have Been Working Together to Find at Least a Partial Substitute for the Members’ Events Programme, Which Is in Forced Suspension
THE LUTYENS TRUST To protect and promote the spirit and substance of the work of Sir Edwin Lutyens O.M. NEWSLETTER WINTER 2020 REPORT ON PROGRESS MADE AT DROGO AND LINDISFARNE CASTLES BEFORE AND AFTER THE SPRING LOCKDOWN Castle Drogo By Ben Dale, Collections & House Manager Like all National Trust houses, Castle Drogo went into lockdown in mid-March, which seems an age away now. Everything was put on hold – our interpretation plans, collections conservation work and a major building project to address the long- term water ingress issues at Drogo. All but a handful of staff were put on furlough and the whole site was closed with the exception of the countryside. This has remained open throughout to offer everyone an escape to nature, which has been and continues to be so important at this time. Nine weeks later, in June, we got the green light to resume our building project, although strict Castle Drogo and exterior, post-conservation work. measures were in place to operate safely while we © National Trust/ Alice Ealdmoor were in the grips of the pandemic. The lantern window in the kitchen has been reinstated and the pointing has been completed. The masonry to the west of the window has also been rebuilt as has the roof over the scullery and larders. Above: The kitchen’s lantern window. Courtesy of the National Trust/ Castle Drogo Right: An aerial view of the lightwell for Drogo’s larders. This drew indirect light into them and helped keep the rooms at a low temperature. Courtesy of the National Trust/ Castle Drogo 1 In early August, the builders gave us access again to the kitchens and scullery; it was a breathtaking moment for me to see them without scaffolding and site equipment. -
Of Australia's First Woman Sculptor and Her War Memorials
In Memoriam: World War I memorials by the Australian sculptor Margaret Baskerville (1861-1930). Margaret A. Rose, FAHA, FRHistS Margaret Francis Ellen (“Nell”) Baskerville was born in Melbourne, Victoria in 1861 and was one of the first Australian-born women artists to become a professional sculptor. This brief illustrated account of her war memorials is based on my study of her work and that of her husband and fellow sculptor C. Douglas Richardson, which was published for the Brighton (now Bayside) City Council collection of their paintings and sculpture under the title Victorian Artists. Margaret Baskerville (1861-1930) and C. Douglas Richardson (1853-1932) in 1988. Several memorials to the fallen were commissioned and completed by sculptors as well as by stonemasons in Australia in the aftermath of the “Great War”. Many are recorded, and some are illustrated, in the numerous editions of Sacred Places: War Memorials in the Australian Landscape by K.S. Inglis, assisted by Jan Brazier, of 1998, as well as – more recently – on websites such as those for the “Monument Australia” and “Victorian Heritage” databases. As Inglis has noted, the majority of the war memorials unveiled in the public spaces of Australian towns following World War I had been for – and had illustrated – the male soldiers who had fought and fallen in battle. Amongst the memorials built and unveiled following World War I were, however, also two by the Australian sculptor Margaret Baskerville (1861-1930) for the British nurse Edith Louisa Cavell. Cavell (born in Norfolk, England in 1865) had trained as a nurse in London under a friend of Florence Nightingale (Matron Eva Luckes), had taken up work in Belgium and been executed there at dawn on 12 October 1915 by order of the German Military Governor of Brussels for having assisted in the escape of allied soldiers, and despite the fact that she had tended the wounded of both sides.