Lifeguard Escort - the Coronation £4,600 REF: 2299 Artist: FELIKS TOPOLSKI

Total Page:16

File Type:pdf, Size:1020Kb

Lifeguard Escort - the Coronation £4,600 REF: 2299 Artist: FELIKS TOPOLSKI Lifeguard Escort - The Coronation £4,600 REF: 2299 Artist: FELIKS TOPOLSKI Height: 46 cm (18") Width: 53 cm (20 3/4") Framed Height: 71 cm - 27 1/1" Framed Width: 78 cm - 30 3/4" 1 Sarah Colegrave Fine Art By appointment only - London and North Oxfordshire | England +44 (0)77 7594 3722 https://sarahcolegrave.co.uk/lifeguard-escort-the-coronation 26/09/2021 Short Description FELIKS TOPOLSKI (1907-1989) Lifeguard Escort - The Coronation Signed and inscribed: To Slim – Feliks Topolski Pen and ink, red crayon and watercolour on tinted paper 46 by 53 cm., 18 ¼ by 21 in. (frame size 71 by 78 cm., 28 by 30 ¾ in.) Provenance: Slim Hewitt, photographer, and thence by descent. Topolski was born in Warsaw, Poland and studied at the Warsaw Academy of Fine Arts (1925-30). He was a prolific contributor of illustrations to books and periodicals in Poland but at the outbreak of World War II he settled in England, becoming a naturalized British subject in 1947. In Britain he became an official war artist to the Polish Forces, depicting the Blitz and the Battle of Britain, recording the bombed streets and scenes of wartime London life. In 1941 he travelled to Russia as a member of a Polish Diplomatic Mission and went on to serve widely overseas. Following the war he published selections of drawing and began designing for the theatre. In 1951 he made a series of largescale decorations for the Festival of Britain. Works by him are in the British Museum, Tate Gallery, Imperial War Museum and in Poland. In 1958, Prince Philip, Duke of Edinburgh commissioned Topolski to create a large scale mural for Buckingham Palace depicting the coronation of Queen Elizabeth II. The mural contains 14 friezes divided into two narratives; one narrative, entitled “In The Streets” shows various processions to Westminster Abbey, while the second, entitled “In the Abbey”, depicts the procession out of the Abbey after the coronation. 2 Sarah Colegrave Fine Art By appointment only - London and North Oxfordshire | England +44 (0)77 7594 3722 https://sarahcolegrave.co.uk/lifeguard-escort-the-coronation 26/09/2021.
Recommended publications
  • Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell
    Copyrights sought (Albert) Basil (Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell) Filson Young (Alexander) Forbes Hendry (Alexander) Frederick Whyte (Alfred Hubert) Roy Fedden (Alfred) Alistair Cooke (Alfred) Guy Garrod (Alfred) James Hawkey (Archibald) Berkeley Milne (Archibald) David Stirling (Archibald) Havergal Downes-Shaw (Arthur) Berriedale Keith (Arthur) Beverley Baxter (Arthur) Cecil Tyrrell Beck (Arthur) Clive Morrison-Bell (Arthur) Hugh (Elsdale) Molson (Arthur) Mervyn Stockwood (Arthur) Paul Boissier, Harrow Heraldry Committee & Harrow School (Arthur) Trevor Dawson (Arwyn) Lynn Ungoed-Thomas (Basil Arthur) John Peto (Basil) Kingsley Martin (Basil) Kingsley Martin (Basil) Kingsley Martin & New Statesman (Borlasse Elward) Wyndham Childs (Cecil Frederick) Nevil Macready (Cecil George) Graham Hayman (Charles Edward) Howard Vincent (Charles Henry) Collins Baker (Charles) Alexander Harris (Charles) Cyril Clarke (Charles) Edgar Wood (Charles) Edward Troup (Charles) Frederick (Howard) Gough (Charles) Michael Duff (Charles) Philip Fothergill (Charles) Philip Fothergill, Liberal National Organisation, N-E Warwickshire Liberal Association & Rt Hon Charles Albert McCurdy (Charles) Vernon (Oldfield) Bartlett (Charles) Vernon (Oldfield) Bartlett & World Review of Reviews (Claude) Nigel (Byam) Davies (Claude) Nigel (Byam) Davies (Colin) Mark Patrick (Crwfurd) Wilfrid Griffin Eady (Cyril) Berkeley Ormerod (Cyril) Desmond Keeling (Cyril) George Toogood (Cyril) Kenneth Bird (David) Euan Wallace (Davies) Evan Bedford (Denis Duncan)
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Gordon
    UNIVERSITY OF CALIFORNIA Los Angeles Gordon Cullen and the “Cut-and-Paste” Urban Landscape A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Architecture by Miriam Engler 2013 © Copyright by Miriam Engler 2013 ABSTRACT OF THE DISSERTATION Gordon Cullen and the “Cut-and-Paste” Urban Landscape by Miriam Engler Doctor of Philosophy in Architecture University of California, Los Angeles, 2013 Professor Sylvia Lavin, Chair The new rules of the emerging consumer economy radically reconfigured both the discourse and practice of architecture during the postwar era. Architecture became a commodity whose products were sold through mass media to mass audiences, via images that performed as advertising. In this world, image makers, rather than theorists, stood at the forefront of the architectural production, performing as “visual marketers.” Thomas Gordon Cullen (1914–1994), the subject of this dissertation and one of the best-known twentieth-century architectural draftsmen to emerge from Britain, flourished during this visual consumerist push. Cullen gained widespread acclaim in the 1960s and 1970s following the publication of his book Townscape (1961) and its abbreviated edition, The Concise Townscape (1971). Cullen is therefore closely associated with the three decades-long Townscape campaign, initiated and promoted by the prestigious London-based magazine The Architectural Review, which espoused a visual modern-picturesque approach to city design. Though Cullen is well known, he is little studied and—owing specifically to the malleability of and contradictions in ii his legacy—even less understood. In examining his urban ideas, most scholars have placed him in the history of urban design.
    [Show full text]
  • Review2003/2004
    NPG_AR_04_text.film 10/12/05 9:52 AM Page 1 Review 2003/2004 2 Preface by the Chairman of the Trustees 3 Foreword by the Director 4 The Collections 8 Photographs Collection 10 Heinz Archive and Library 12 Conservation 14 The Galleries 16 Exhibitions 18 Education 20 Partnerships and National Programmes 24 Information Technology 26 Visitors 28 Trading 30 Fundraising and Development 36 Financial Report 40 Research 42 List of Acquisitions 48 Staff The Regency in the Weldon Galleries © Andrew Putler Front cover Mary Moser by George Romney, c.1770–71 Back cover David David Beckham by Sam Taylor-Wood, 2004 © the artist NPG_AR_04_text.film 10/12/05 9:52 AM Page 2 This Review records another highly successful During the year we welcomed two new Trustees, 2 year for the Gallery under the energetic leadership Amelia Chilcott Fawcett, an investment banker, and comprehensive management approach of recently appointed to chair our Development Sandy Nairne in his first full year as our Director. Board, and Professor Robert Boucher, an engineer and Vice-Chancellor of Sheffield University. We have continued to develop the collection We lost an ex-officio Trustee with the tragically with some outstanding acquisitions and untimely death of Lord Williams of Mostyn. exciting commissions. Three of the galleries, He has been succeeded by Baroness Amos, the refurbished Weldon Regency Galleries, the Lord President of the Council. Tudor and the Early Twentieth Century Galleries, were imaginatively rehung, while the frequent We relish and revel in our responsibility to rotation of portraits in the Contemporary build and exhibit a collection of portraits of Galleries continues to attract wide approval.
    [Show full text]
  • The University of Arizona
    Erskine Caldwell, Margaret Bourke- White, and the Popular Front (Moscow 1941) Item Type text; Electronic Dissertation Authors Caldwell, Jay E. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 10:56:28 Link to Item http://hdl.handle.net/10150/316913 ERSKINE CALDWELL, MARGARET BOURKE-WHITE, AND THE POPULAR FRONT (MOSCOW 1941) by Jay E. Caldwell __________________________ Copyright © Jay E. Caldwell 2014 A Dissertation Submitted to the Faculty of the DEPARTMENT OF ENGLISH In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2014 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Jay E. Caldwell, titled “Erskine Caldwell, Margaret Bourke-White, and the Popular Front (Moscow 1941),” and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. ________________________________________________ Date: 11 February 2014 Dissertation Director: Jerrold E. Hogle _______________________________________________________________________ Date: 11 February 2014 Daniel F. Cooper Alarcon _______________________________________________________________________ Date: 11 February 2014 Jennifer L. Jenkins _______________________________________________________________________ Date: 11 February 2014 Robert L. McDonald _______________________________________________________________________ Date: 11 February 2014 Charles W. Scruggs Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College.
    [Show full text]
  • HOW IT HAPPENED THERE 50 Years Ago Hitler Came to Power
    Volume XXXVIil No. 1 January 1983 INFORMATION ISSUED BY THE MSSOaOHHI OFjmiSH REHmES IH GRUTBiarUH C. C. Aronsfeld Hatred doesn't lead anywhere, one must meet them with sympathy and understanding. And those who said simply, I refuse to believe it". Many Jews took comfort in the thought that not every Nazi voter was necessarily an antisemite but HOW IT HAPPENED THERE rather, because of the widespread unemployment, "simply desperate". Others were sceptical. They 50 years ago Hitler came to power believed that those who had shown themselves in favour of power being entrusted to avowed, radical Jew-baiters, would have no objection to a persecu­ tion of the Jews and that even those who did not vote Nazi were least averse to the antisemitism in the Nazi The Nazi experience, in its present perspective of man into "the slaves of leaders, of political parties, programme. 50 years, is one of those paradoxes that seem near, at of fraudulent ideologies" sworn to deny all value to This was a sensible reaction but those who felt like least to those who survived it, and yet so remote as to human life and drench the earth in blood. that failed in the courage of their convictions, which seem increasingly incredible. We all have suffered; But these prophets counted for little, least perhaps is a reproach only in idle hindsight. Three months the scars on body and mind will never disappear, among Jews. The bold flights into poetic speculation before the sheetli^tning of the elections in September and indeed the whole world has been transformed by and inspired essays in pessimism were duly admired 1930, Jews were warned by a then unknown voice the events of those twelve years.
    [Show full text]
  • Feliks Topolski
    Feliks Topolski: An Inventory of His Collection in the Art Collection at the Harry Ransom Center Descriptive Summary Creator: Topolski, Feliks, 1907-1989 Title: Feliks Topolski Art Collection Dates: 1939-1968 Extent: 2 boxes, 6 flat file folders, 24 paintings (23 framed); (159 items) Abstract: The collection consists of artworks by Feliks Topolski, a visual chronicler, portrait artist, illustrator, and author. Language: English Access: Open for research. A minimum of twenty-four hours is required to pull art materials to the Reading Room. Administrative Information Acquisition: Purchases (R189, R210) 1960, (R313) 1961, (R1201) 1962, (R2738, R2767) 1965, (R4731) 1969 Processed by: Helen Young, 2006 Repository: The University of Texas at Austin, Harry Ransom Center Topolski, Feliks, 1907-1989 Biographical Sketch Feliks Topolski, a visual chronicler, portrait artist, illustrator, and author, was born in Warsaw, Poland, on August 14, 1907, the only child of actor Edward Topolski and Stanislawa Drutowska. He was a student at the Mikolaj Rey School. He studied at the Warsaw Academy of Art from 1927 to 1932, during which time he also served as a cadet at the Artillery Officers' School. While still a student, he contributed drawings to the periodical Cyrulik Warszawski (The Warsaw Barber), and received a commission to paint a mural for the hall of the Polish Institute for the Promotion of Modern Art. Topolski spent time studying on his own in France and Italy before traveling to England in 1935 to record George V's Silver Jubilee for a Polish magazine. He remained in London and connected with the group that included Graham Greene, Evelyn Waugh, J.
    [Show full text]
  • Annual Report 2010-2011 Contents
    Annual Report 2010-2011 Contents 3 Foreword – Julia Somerville, Chairman of the Advisory Committee 5 Director’s Report – Penny Johnson 14 Advisory Committee members and GAC staff 15 Acquisitions 24 Annex 1 – List of works lent to public exhibitions 27 Annex 2 – List of long-term loans outside Government Our aim is to improve the quality of life for all through cultural and sporting activities, support the pursuit of excellence, and champion the tourism, creative and leisure industries. 2 Foreword As you will see from the Director’s comprehensive account of the GAC’s year it’s been an exceptionally busy one. A change of Government meant a change of aesthetic choices in Whitehall. Ministers came and went making their selections with the expert help of Penny Johnson and her team. It was striking how many of the incoming politicians had a clear vision of what they wanted. We were pleased by the degree of the ministers’ enthusiasm for, and appreciation of, the Collection and its role. One way or another, our public profile is increasing and the work towards publication of the first book on our role and history, beautifully illustrated, has been going apace. So, too, the plans for our rolling exhibition at the Whitechapel Gallery - which will be going on tour afterwards to Birmingham and Belfast - giving the wider public an opportunity to see what we are about. Inevitably, given the stringent economic times, there was no commissioning for new buildings. And there was a small reduction in our budget. Like everyone else, we are having to stretch our resources to go further.
    [Show full text]
  • Ethnic Diversity in the Making of Britain
    DOCUMENT RESUME ED 429 155 UD 032 881 AUTHOR Frow, Mayerlene TITLE Roots of the Future: Ethnic Diversity in the Making of Britain. INSTITUTION Commission for Racial Equality, London (England). ISBN ISBN-1-85442-179-4 PUB DATE 1997-03-00 NOTE 138p.; For the companion "education pack", see UD 032 882. Photographs may not reproduce clearly. AVAILABLE FROM Central Books, 99 Wallis Road, London E95LN, England, United Kingdom (9.95 British pounds). PUB TYPE Books (010) EDRS PRICE MF01/PC06 Plus Postage. DESCRIPTORS *Cultural Awareness; Cultural Differences; *Ethnicity; Foreign Countries; History; *Immigrants; Immigration; Instructional Materials; Multicultural Education; *Racial Differences; *Social Change; Urban Areas IDENTIFIERS *Great Britain ABSTRACT The aim of this book is to show that Britain has benefited enormously from immigration and ethnic diversity throughout history. The first part of the book, "Immigrants Past and Present," gives an account of the role played by a few of the migrant communities who came to Britain and settled before the end of World War II. The contributions they have made and the difficulties they have faced are outlined. The second part of the book, "The Contributions of Britain's Ethnic Minorities," focuses on the 50 years since the end of World War II through a selection of "snapshots" of key areas of society where immigration and ethnic diversity have enriched life in Britain. The final section, "Roots of the Future," emphasizes the importance of recognizing ethnic diversity in planning for Britain's future. A list of key dates in British history is included. (Contains 77 references.)(SLD) ******************************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document.
    [Show full text]
  • Feliks Topolski: Eye Witness to the 20Th Century Transcript
    Feliks Topolski: Eye witness to the 20th Century Transcript Date: Monday, 22 March 2010 - 12:00AM Location: Museum of London Feliks Topolski: Eye Witness to the 20th Century Delivered by Daniel Topolski 22/3/2010 My father Feliks Topolski fell in love with London when he first came to Britain in 1935 to fulfil a commission for Polish newspapers to cover the Silver Jubilee celebrations of King George V. It was, he said, London's 'exotic otherness' - the revered yet absurd world of British social custom and distinctions - that fired his imagination: judges in wigs, City gents in bowler hats, grand state ceremonial parades with the military in exuberant costumes, Henley Royal Regatta and Ascot - this was meat and drink for an artist in thrall to humanity and all its endless foibles. Compared to what he described as drab central Europe, London was bliss. His urge, his mission in life, was to 'bear witness', to chronicle the major political and social events and the iconic historical personalities that defined and fashioned the 20th Century. His reach was global but his base, heart and centre was London. It was from here that he sallied forth to draw our worlds- unfolding history as it happened - on the spot. An eye-witness to our lives, spanning 9 decades. His love of London though meant that he focussed a huge amount of his attention on the city and its inhabitants and the extraordinary social changes that were taking place after the war: art, royal weddings and coronations, hippies, punks, theatre, famous personalities. Topolski was, according to playwright George Bernard Shaw, 'an astonishing draughtsman - perhaps the greatest of the impressionists in black and white'.
    [Show full text]
  • Feliks Topolski: Drawing Debden 1
    Topical articles Feliks Topolski: Drawing Debden 1 Feliks Topolski: Drawing Debden By Jennifer Adam, Curator of the Bank of England Museum. An exhibition in the Bank of England Museum showcases a series of drawings of the Bank of England’s Printing Works from 1957, the year after it opened for production. The Bank of England’s Printing Works at Debden, Essex, opened for business in March 1956. This was a landmark moment for the Bank. The spectacular new Production Hall accommodated the whole production line for the first time, creating a dramatic improvement in efficiency, security and working conditions compared to the old St Luke’s Printing Works at Old Street. To commemorate the move, the Bank of England commissioned artist Feliks Topolski to capture scenes of the new Printing Works in operation. This new exhibition displays Topolski’s drawings and paintings together within the Bank for the first time. As a group, they form a compelling and engaging record — not just of the process of making money, but of the staff who carried out the work, and of the building itself. Figure 1 Feliks Topolski, The Printing Works 5.45pm, 1957 (Bank of England Museum, 1978/025). Quarterly Bulletin 2018 Q3 2 Feliks Topolski Feliks Topolski RA (1907–89) was born in Warsaw, Poland. He travelled to Britain in 1935 and quickly became part of the artistic scene, drawing for illustrated newspapers such as the Illustrated London News and the News Chronicle. This period saw the beginning of enduring friendships and collaborations with celebrated literary and artistic figures of the day — Augustus John, Grahame Green and George Bernard Shaw among others.
    [Show full text]
  • Bahamas SOLD REF: 1375 Artist: FELIKS TOPOLSKI
    Bahamas SOLD REF: 1375 Artist: FELIKS TOPOLSKI Height: 297.18 cm (117") Width: 119.38 cm (47") Framed Height: 359.41 cm - 141 1/2" Framed Width: 177.8 cm - 70" 1 Sarah Colegrave Fine Art By appointment only - London and North Oxfordshire | England +44 (0)77 7594 3722 https://sarahcolegrave.co.uk/bahamas 28/09/2021 Short Description Feliks Topolski was born in Poland and studied at the Warsaw Academy of Fine Arts. He settled in London in 1935 after being commissioned to record George V’s Silver Jubilee. During World War II he became an official war artist to the Polish Government in Exile and was also appointed a British Official War Artist. In that position he depicted scenes and characters involved in the Battle of Britain and the Blitz and travelled widely, joined the first Arctic convoy to Russia in 1941 and was in Bergen-Besen concentration camp two weeks after its liberation. He also attended and drew the Nuremberg Trials. During the war he published two selections of drawings: Britain in Peace and War in 1941 and Russia in War in 1942. In peace- time he established a studio under the arches of Hungerford Bridge on London’s South Bank where there is still a free permanent exhibition of his work. He published several selections of drawings, designed for the theatre and drew his huge Cavalcade of the Commonwealth for the Festival of Britain in 1951 which still hangs in an open arch of Hungerford Bridge. In 1958 Prince Philip commissioned him to paint a mural of Queen Elizabeth II’s coronation for Buckingham Palace.
    [Show full text]
  • Lifeguard Escort - the Coronation £4,600 REF: 2299 Artist: FELIKS TOPOLSKI
    Lifeguard Escort - The Coronation £4,600 REF: 2299 Artist: FELIKS TOPOLSKI Height: 46 cm (18") Width: 53 cm (20 3/4") Framed Height: 71 cm - 27 1/1" Framed Width: 78 cm - 30 3/4" 1 Sarah Colegrave Fine Art By appointment only - London and North Oxfordshire | England +44 (0)77 7594 3722 https://sarahcolegrave.co.uk/lifeguard-escort-the-coronation 26/09/2021 Short Description FELIKS TOPOLSKI (1907-1989) Lifeguard Escort - The Coronation Signed and inscribed: To Slim – Feliks Topolski Pen and ink, red crayon and watercolour on tinted paper 46 by 53 cm., 18 ¼ by 21 in. (frame size 71 by 78 cm., 28 by 30 ¾ in.) Provenance: Slim Hewitt, photographer, and thence by descent. Topolski was born in Warsaw, Poland and studied at the Warsaw Academy of Fine Arts (1925-30). He was a prolific contributor of illustrations to books and periodicals in Poland but at the outbreak of World War II he settled in England, becoming a naturalized British subject in 1947. In Britain he became an official war artist to the Polish Forces, depicting the Blitz and the Battle of Britain, recording the bombed streets and scenes of wartime London life. In 1941 he travelled to Russia as a member of a Polish Diplomatic Mission and went on to serve widely overseas. Following the war he published selections of drawing and began designing for the theatre. In 1951 he made a series of largescale decorations for the Festival of Britain. Works by him are in the British Museum, Tate Gallery, Imperial War Museum and in Poland.
    [Show full text]