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PRESS 2007 Eimear Mckeith, 'The Island Leaving The
PRESS 2007 Eimear McKeith, 'The island leaving the art world green with envy', Sunday Tribune, Dublin, Ireland, 30 December 2007 Fiachra O'Cionnaith, 'Giant Sculpture for Docklands gets go-ahead', Evening Herald, Dublin, Ireland, 15 December 2007 Colm Kelpie, '46m sculpture planned for Liffey', Metro, Dublin, Ireland, 14 December 2007 Colm Kelpie, 'Plans for 46m statue on river', Irish Examiner, Dublin, Ireland, 14 December 2007 John K Grande, 'The Body as Architecture', ETC, Montreal, Canada, No. 80, December 2007 - February 2008 David Cohen, 'Smoke and Figures', The New York Sun, New York, USA, 21 November 2007 Leslie Camhi, 'Fog Alert', The Village Voice, New York, USA, 21 - 27 November 2007 Deborah Wilk, 'Antony Gormley: Blind Light', Time Out New York, New York, USA, 15 - 21 November 2007 Author Unknown, 'Blind Light: Sean Kelly Gallery', The Architect's Newspaper, New York, USA, 14 November 2007 Francesca Martin, 'Arts Diary', Guardian, London, England, 7 November 2007 Will Self, 'Psycho Geography: Hideous Towns', The Independent Magazine, The Independent, London, England, 3 November 2007 Brian Willems, 'Bundle Theory: Antony Gormley and Julian Barnes', artUS, Los Angeles, USA, Issue 20, Winter 2007 Author Unknown, 'Antony Gormley: Blind Light', Artcal.net, 1 November 2007 '4th Annual New Prints Review', Art on Paper, New York, USA, Vol. 12, No. 2, November-December 2007 Albery Jaritz, 'Figuren nach eigenem Gardemaß', Märkische Oderzeitung, Berlin, Germany, 23 October 2007 Author Unknown, 'Der Menschliche Körper', Berliner Morgenpost, Berlin, Germany, 18 October 2007 Albery Jaritz, 'Figuren nach eigenem Gardemaß', Lausitzer Rundschau, Berlin, Germany, 6 October 2007 Natalia Marianchyk, 'Top World Artists come to Kyiv', What's on, Kyiv, Ukraine, No. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: 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. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETH-CENTURY ART COLLECTION SCIIEMES AND TIIEIR IMPACT ON LOCAL AUTHORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISH ART IN BRITAIN VOLUME If Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA.CT.................................................................................. ii ACKNOWLEDGEMENTS •........••.••....••........•.•.•....•••.......•....•...• xi CHAPTER 1:INTRODUCTION................................................. 1 SECTION 1 THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS.......................................................................... -
Contemporary Art Society Annual Report 1967-68
Front Cover: Henry Moore Knife Edge-Two Piece. Presented to the Nation by the Contemporary Art Society and the artist, 1967. Chairman's Report June 27th 1968 Foundation Collection. Our most recent Patron I have pleasure in presenting my report which covers the Society's activities party at the Tate was held on May 16th to mark the close of the Barbara Her Majesty Queen Elizabeth The Queen Mother from June last year until today. Peter Meyer, whom we were very pleased to Hepworth Exhibition. Dame Barbara welcome back on the Committee as was the Guest of Honour, first at a Executive Committee Honorary Treasurer at last year's buffet supper in the restaurant, and later Whitney Straight CBE MC DFC Chairman Annual Meeting, will be dealing with at a party in the Gallery, where Anthony Lousada Vice-Chairman the Society's financial affairs in his hundreds of our members were able to Peter Meyer Honorary Treasurer speech which follows mine and deals meet Dame Barbara and have a last The Hon John Sainsbury Honorary Secretary with our financial year which ended on look at the wonderful exhibition. This G. L. Conran was such a successful evening that we Derek Hill December 31st 1967. As well as welcoming Peter Meyer are very much hoping to repeat one on Bryan Robertson OBE similar lines at the end of the Henry The Hon Michael Astor back to the Committee we were very The Lord Croft happy to elect Joanna Drew, whose Moore Exhibition in September. We are, Alan Bowness knowledge will I am sure be of great as always, most grateful to the Trustees James Melvin value. -
Bridget Riley Born 1931 in London
This document was updated March 3, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Bridget Riley Born 1931 in London. Live and works in London. EDUCATION 1949-1952 Goldsmiths College, University of London 1952-1956 Royal College of Art, London SOLO EXHIBITIONS 1962 Bridget Riley, Gallery One, London, April–May 1963 Bridget Riley, Gallery One, London, September 9–28 Bridget Riley, University Art Gallery, Nottingham 1965 Bridget Riley, Richard Feigen Gallery, New York Bridget Riley, Feigen/Palmer Gallery, Los Angeles 1966 Bridget Riley, Preparatory Drawings and Studies, Robert Fraser Gallery, London, June 8–July 9 Bridget Riley: Drawings, Richard Feigen Gallery, New York 1967 Bridget Riley: Drawings, The Museum of Modern Art (Department of Circulating Exhibitions, USA): Wilmington College, Wilmington, February 12–March 5; and Talladega College, Talladega, March 24–April 16 Bridget Riley, Robert Fraser Gallery, London Bridget Riley, Richard Feigen Gallery, New York 1968 Bridget Riley, Richard Feigen Gallery, New York British Pavilion (with Phillip King), XXXIV Venice Biennale, 1968; Städtische Kunstgalerie, Bochum, November 23–December 30, 1968; and Museum Boijmans Van Beuningen, Rotterdam, 1969 1969 Bridget Riley, Rowan Gallery, London Bridget Riley: Drawings, Bear Lane Gallery, Oxford [itinerary: Arnolfini Gallery, Bristol; Midland Group Gallery, Nottingham] 1970 Bridget Riley: Prints, Kunststudio, Westfalen-Blatt, Bielefeld Bridget Riley: Paintings and Drawings 1951–71, Arts -
The Contemporary Art Society Annual Report and Statement of Accounts 1985 Tate Gallery 20 John Islip Street London SW1P4LL 01-82
The Contemporary Art Society Annual Report and Statement of Accounts 1985 Tate Gallery 20 John Islip Street London SW1P4LL 01-821 5323 The Annual General Meeting of The Contemporary Art Society will be held at the Warwick Arts Trust, 33 Warwick Square, London S.W.1. on Monday, 14 July, 1986, at 6.15pm. 1. To receive and adopt the report of the committee and the accounts for the year ended 31 December, 1985, together with the auditors'report. 2. To reappoint Neville Russeii as auditors of the Society in accordance with section 14 of the Companies Act, 1976, and to authorize the committee to • determine their remuneration for the coming year, 3. To elect to the committee the following who have been duly nominated: Sir Michael Culme-Seymour and Robin Woodhead. The retiring members are Alan Bowness and Belle Shenkman. 4. Any other business. By order of the committee Petronilla Silver Company Secretary 1 May, 1986 Company Limited by Guarantee Registered in London No. 255486 Charities Registration No. 208178 Cover: The Contemporary Art Society 1910-1985 Poster by Peter Blake {see back cover and inside lor details) Her Majesty Queen Elizabeth The Queen Mother The CAS celebrated its 75th birthday this year. My report will be shorter than usual in order to allow space to print the speech made by Sir John Sainsbury when proposing the toast to the Society at. our birthday party at Christie's. Although, in fact, our Nancy Balfour OBE celebrations took place at the beginning of 1988, we felt an account rightly belonged in this year's report. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: 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. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETII-CENTURY ART COLLECTION SCIIEMES AND THEIR IMPACT ON LOCAL AUTIIORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISII ART IN BRITAIN VOLUME III Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA eT...........................•.•........•........................................... ii ACKNOWLEDGEMENTS ......................................................... xi CHAPTER l:INTRODUCTION................................................. 1 SECTION J THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS.......................................................................... -
Frederick Coates, First World War 'Facial Architect'
Frederick Coates: First World War 'facial architect' Article Accepted Version Gehrhardt, M. and Steele, S. (2017) Frederick Coates: First World War 'facial architect'. Journal of War and Culture Studies, 10 (1). pp. 7-24. ISSN 1752-6280 doi: https://doi.org/10.1080/17526272.2016.1238564 Available at http://centaur.reading.ac.uk/66446/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1080/17526272.2016.1238564 Publisher: Taylor and Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Frederick Coates: First World War ‘facial architect’ Abstract: The role of artists in the First World War is often understood only in terms of their artistic response to the conflict in paint, music, sculpture or photography. In fact, artists’ contributions were also engaged at an applied level, in the areas of propaganda, camouflage, map-making and many other trades. Beyond this, a small number actively participated as artists in repairing the damage caused by the conflict. Frederick Coates, a British-born sculptor who emigrated to Canada in 1913, was one of these artists. After enlisting with the Canadian Expeditionary Force, he worked for three years alongside surgeons and other artists in England to try and help give new features to facially injured combatants. -
Making New Histories of 20Th Century British Sculpture
University of Huddersfield Repository Crellin, Sarah Bodies of Evidence: Making New Histories of 20th Century British Scuplture Original Citation Crellin, Sarah (2015) Bodies of Evidence: Making New Histories of 20th Century British Scuplture. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/27075/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ BODIES OF EVIDENCE: MAKING NEW HISTORIES OF 20TH CENTURY BRITISH SCULPTURE SARAH CRELLIN A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy by publication September 2015 2 Copyright Statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and she has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. -
Contemporary Art Society Report 1934-1935
CONTEMPORARY ART SOCIETY REPORT 1934-1935 THE CONTEMPORARY ART SOCIETY For the Acquisition of Works of Modern Art for Loan or Gift to Public Galleries President: LORD HOWARD DE WALDEN Treasttrer and Chairman: SIR C. KENDALL-BUTLER, K.B.E. Bourton House, Shrivenham Honorary Secretary : LORD IVOR SPENCER-CHURCHILL 4 John Street, Mayfair, W. 1 Committee : SIR C. KENDALL-BUTLER, K.B.E. (Chairman) Lord Balniel, M.P. Edward Marsh, C.B., C.M.G., Muirhead Bone C.V.O. Samuel Courtauld Ernest Marsh Sir A. M. Daniel, K.B.E. The Hon. Jasper Ridley Campbell Dodgson, C.B.E. Sir Michael Sadler, K.C.S.I., C.B. A. M. Hind, O.B.E. Earl of Sandwich St. John Hutchinson, K.C. Montague Shearman J. Maynard Keynes, C.B. Lord Ivor Spencer-Churchill J. B. Manson C. L. Stocks, C.B. Assiffant Secretary: Mr. H. S. EDE I THF. BLUE BARGE, WEYMOUTH Richard Eurich REPORT THIS Report of the activities of the Society during the past two years is circulated in the hope that it may encourage members to talk about the Society, and make it widely known amongst their friends. In these days of economy, when people hesitate to spend much on pictures, it should at least be possible for them, if they are interested in art and artists, to spend a guinea on becoming a member of the Society. By so doing, they would be helping to acquire works of art to be given eventually to the Nation's public galleries, and at the same time they would be assisting artists. -
The Role of the Royal Academy in English Art 1918-1930. COWDELL, Theophilus P
The role of the Royal Academy in English art 1918-1930. COWDELL, Theophilus P. Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20673/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version COWDELL, Theophilus P. (1980). The role of the Royal Academy in English art 1918-1930. Doctoral, Sheffield Hallam University (United Kingdom).. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk onemeia u-ny roiyiecnmc 100185400 4 Mill CC rJ o x n n Author Class Title Sheffield Hallam University Learning and IT Services Adsetts Centre City Campus Sheffield S1 1WB NOT FOR LOAN Return to Learning Centre of issue Fines are charged at 50p per hour Sheffield Haller* University Learning snd »T Services Adsetts Centre City Csmous Sheffield SI 1WB ^ AUG 2008 S I2 J T 1 REFERENCE ProQuest Number: 10702010 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10702010 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. -
HOME & Interiors
HOME & interiors KNIGHTSBRIDGE, LONDON Tuesday 14 March 2017 HOME & interiors Ӏ Knightsbridge, London Ӏ 14 March 2017 14 March THIS SALE FEATURES Old Master Paintings, Silver, Carpets, Works of Art and Furniture AT HOME WITH 24163 Dame Zandra Rhodes, celebrated fashion and textile designer HOME & interiors KNIGHTSBRIDGE, LONDON SALE TUESDAY 14 MARCH 2017 VIEWINGS THURSDAY 9 MARCH 2017 09:00-16:30 FRIDAY 10 MARCH 2017 09:00-16:30 SUNDAY 12 MARCH 2017 11:00-15:00 MONDAY 13 MARCH 2017 09:00-16:30 VENUE BONHAMS MONTPELIER STREET KNIGHTSBRIDGE LONDON, SW7 1HH CATALOGUE £10 MEET THE TEAM Mark Wilkinson Laurel Kemp Head of Sale Senior Sale Coordinator [email protected] [email protected] 020 7393 3855 020 8963 3855 Poppy Harvey-Jones Michael Lake Old Master Paintings Sculpture, Clocks & Works of Art [email protected] [email protected] 020 7468 8308 020 8963 2813 Thomas Moore Ellis Finch Furniture Silver [email protected] [email protected] 020 8963 2816 020 7393 3973 Nicholas Faulkner Carpets [email protected] 020 8963 2845 STORAGE INFORMATION SALE NUMBER STORAGE AND HANDLING CHARGES 24163 ON SOLD LOTS RETURNED TO * VAT on imported items at CADOGAN TATE a preferential rate of 5% on hammer price and the BUYERS COLLECTION & STORAGE STORAGE prevailing rate on buyer’s premium AFTER SALE INFORMATION Storage will be free of charge for the first 14 calendar days from & including the sale date Y These lots are subject to All sold lots marked TP will only remain at Tuesday 14 March 2017. -
31 July 2014
31st July 2014 - Gavin Stamp & Jon Wright Introduction. The United Kingdom National Inventory of War Memorials, (UKNIWM) now has over 60,000 sites on its database and the number continues to grow each year. The variety and diversity of them is staggering. Today, we are going to look at twenty or so C20th/21st London memorials chosen to show the range of artistic responses to commemoration, both after major conflict and more recently, to address retrospective concerns about the lack of monuments to various groups. When our previous chairman Gavin Stamp curated the Silent Cities exhibition at the Heinz Gallery in 1977, there were many who thought it wrong to focus in on the ‘art’ of war memorials, as if in some way that in so doing, one would be ignoring, or at least lessening their importance as sites of remembrance. We are still to fully understand the architectural significance of the huge number of sites built by Lutyens, Herbert Baker, Charles Holden and others, but as Gavin has continued to show through his foreign trips and publications, the building programme for overseas cemeteries and domestic memorials easily eclipsed any public works undertaking before or since. The C20 Society looks at memorials rather differently than the vital organisations set up to document, conserve and care for memorial sites specifically. The War Memorials Trust, whose conservation work remains vitally important to the upkeep of UK memorials is foremost among these groups. English Heritage have listed a significant amount of memorials, and like us, they do judge the monuments for architectural and artistic significance, while bearing in mind the inherent importance of the sites in a social and historic context.