DOCSLIB.ORG

RMM04612 Pub.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
RMM04612 Pub.Pdf This document is from the Cornell University Library's Division of Rare and Manuscript Collections located in the Carl A. Kroch Library. If you have questions regarding this document or the information it contains, contact us at the phone number or e-mail listed below. Our website also contains research information and answers to frequently asked questions. http://rmc.library.cornell.edu Division of Rare and Manuscript Collections 2B Carl A. Kroch Library Cornell University, Ithaca, NY 14853 Phone: (607) 255-3530 Fax: (607) 255-9524 E-mail: [email protected] WYNDHAM LEWIS CORNELL UNIVERSITY LIBRARY .- .- . The WYNDHAM LEWIS COLLECTION in CORNELL UNIVERSITY LIBRARY Red Nude Seated (Michel 253) WYNDHAM LEWIS A DESCRIPTIVE CATALOGUE of the Manuscript Material in the Department of Rare Books Cornell University Library Compiled by Mary F. Daniels Cornell University Library Ithaca, New York 1972 Abbreviations The abbreviations which appear in this catalogue are the standard forms utilized for the description of manuscript material. M - manuscript A - autograph (holograph) T - typed L - letter S - signed Aman. - amanuensis Init. - initialed Frag. - fragment Information in brackets has been supplied by the cataloguer. The letters of Wyndham Lewis have been identified when possible by the corresponding number of the published text in William K. Rose 's Letters of- Wyndham Lewis (London: Methuen, 1963): graphic works are identified by citations to Walter Michel 's Wyndham Lewis , Painting s and Drawings (London: Thames & Hudson, 197 1). For sale through the Department of Rare Books, Cornell University Library, Ithaca, New York 14850. Price $6.00, postpaid. Contents List of Illustrations vi Introduction vii Literary Manuscripts of Wyndham Lewis 1 Documents of Wyndham Lewis 20 Correspondence of Wyndham Lewis 2 0 Lewisiana 121 Graphic Material of Wyndham Lewis 123 Calendar of Manuscript Material and Corre spondence 128 of Other Writers Illustrations Composition (Michel 1107) Front cover Red Nude, Seated (Michel 253) Frontispiece Design V (Michel 945) Title -page Autobiographical fragment. 1908 Page 3 Final leaf of "Cantelman's Spring-Mate" 5 "Imaginary Letter IX" 10 Holograph and typescript text of an unpublished poem 14 "Synopsis of a Novel" 18 Sheet from a Vorticist Sketch Pad (Michel 92) 24 Meeting between the Tyro Mr. Segando and the Tyro Philip (Michel 1470) Sunset in Paradise (Michel 1124) 117 Male Nude (Michel 369) 124 Head of Mercury (Michel 68) Back cover The originals of these illustrations by Wyndham Lewis, both graphic works and manuscripts, are housed in the Department of Rare Books, Cornell University Library, and in the Andrew D. White Museum, Cornell University. Introduction Since the acquisition of the Wyndham Lewis Collection in 1960 and the publication in 196 1 of William K. Rose's Wyndham --Lewis at Cornell, the increasing interest in Lewis' multi-faceted career has made the preparation of a more detailed description of the collection both desirable and necessary. As limned in Rose's work and listed in this catalogue, the collection's contents include manuscript material spanning Lewis ' half- century of artistic activity and documenting literary friendships and feuds. Unpublished short stories, poetry, and novels are complemented by notes and working drafts for much of Lewis' most notable published work -- -The Apes ---of God, Self Condemned, and his masterwork, -The Human Age. Included in the listing of Lewis' literary manuscripts are proof copies of some works, amended and corrected by the author, The collection in the Department of Rare Books of Lewis ' printed books (not a part of this volume) numbers among its holdings many volumes from Lewis ' personal library; several, including -Hitler, ---The Ideal Giant, and -----The Art of Being Ruled,are annotated in his hand. Material listed in this catalogue has been arranged in two general formats. Individual catalogue cards for the literary manuscripts of Wyndham Lewis have been ordered alphabetically by title, documents have been listed chronologically, and cards for his correspondence are viii arranged alphabetically by the surname of the recipients. Individual catalogue cards for "Lewisiana" and for graphic works housed in the Department of Rare Books have also been reproduced. Graphic works in the Andrew D. White Museum of Art are listed chronologically, by date of their composition, with a brief description of medium and dimensions. The manuscripts, documentary material, and correspondence of writers other than Lewis have been arranged in a calendar, alphabetically by author, with an inclusive dating of the material. Reference works utilized in the preparation of this catalogue include William K. Rose's Letters -of Wyndham Lewis (London: Methuen, 1963); Geoffrey Wagner's Wyndham Lewis,-- A Portrait ----of the Artist as Enemy (New Haven: Yale University Press, 1957); Walter Michells Wyndham Lewis, Paintings and- Drawings (London: Thame s & Hudson, 197 1); the special Wyndham Lewis numbers of Agenda (Vol. 7, no. 3 and Vol. 8, no. 1, 1969); and Canadian Literature, published by the University of British Columbia, 197 1. Portions of unpublished manuscript material are reproduced through the kindne s s of Mrs. Anne Wyndham Lewis. LEWIS LS1\IS Lewis, hyndham, 18Q2-1957. America and Cosmic Lewis, Wyndham, l087-1957. m AM [Notes made repardine litigation over For mzterial dealine with the America and Cosmic Manl re-negotiated contract. in publish LITERARY MANUSCRIPTS Amer?ca and Co-mic An OF WYNDHAM LEWIS Information, including a.chronology, most Nicholson h Watson, lid. TD probably drawn up for the use of kwis' lawyers. [Graft of a rev contrast ...1 ?1.12.47. Rare Lewis, Wyndham, 1882-1957. America and Cosmic LEWIS PR -%n. Lewis, Wyndham, 1RR2-1957. --..Cln7-4, &956++ Lewis, blyndham, 1882-1957. AM America. I Pre+ume [Two additional LEWIS America and cosmic man. Londoh, chanters not used in the aublished text1 Broadside Editions Poetry London. 1946. Box 152 1. 69cm. fold. to 25cm. c1930-19401 [NPV YorkP Sag Harbour71 78 11. Galley proofs of Part I, wit.h revisions by Lewis. These charters presrnt an undo3ibted paro- Lacks last two mrapraphs of Chapter 1. dy of Lewis' visit to Geoffrey Stone's Conrecticut farm at this period. Se? the Levis-Stone corres wndence. LEWIS Rare Lewis, Wyndham. 1882-1957. America and Casmio "lan. LRk IS Lewis, 'dvndham, 1882-1957. PR Lewis, wdham, 1882-1957. Levis, Eyndham, 1RW-1957. 6023 America and cosmic man. Iondon, AY [drafts, rotes] ["About Myself"] ~956~ Editions Poetry Iondon r19461. AM Anelosaxonv cFnllow-up material EWIS 41 1. 69cm. fold. to 25cm. relatine to A1.41 Saxony and a prospectus c194J&?1 [St. Louis, BROADSIDE for a pamphlet] 32 11. EOX Galley proofs of Chapters 1-18 only. With Lewis' corrections. Notes for , lecture (composed of reminiscen- ces and autobiographical material) delivered before the b'ednesday Club. Th? proposed rnmphlet is tentatively titled How Will Democracv Evolve? SEE ALSO: Cata?opued printed version of Anglosaxonv bearing Lewis ' corr- ections. LEWIS UwlS Lewis, Wyndham, 1882-1957. America and Cosmic Rare Lewis, ldyndham, 1882-1957. Anelosaxony. Lewis, hlyndham, 1882-1957. -Nan PR 6023 Lewis, Wyndham. 1882-1957. AM [draft, frae.1 "Abstract Art" Doubleday & Co. &956++ Anplosaxony; a leaella that works. LEWIS Toronto, Ryerson Press ~194171 August 1943 [Windsor] DS [Contract to publish the American edition Broadside 75 p. 19cm. 5 11. of America and Cosmic Man] Box Combination typescript and proof. Partial draft and notes for a lecture 6th October 1048 New York hblished bv Rverson in 1941. delivered at the summer school of Assumption 1 1. College. Levis' copy, signed hy representative of Doubleday & Co. LhWIS LEWIS Lewis, Wyndham, 1382-1957. America and Cosmic LmIS Lewis* 'yndham* 1882-1957. Anelos'xon~' "- - Levis. Wyndham, 11182-1957. LrLd r, - For the text of a radio address AN~draft,notes, "Address to French Lewis, h'yndham, 1qQ2-1957. which includes many of the penera1 con- Csnada" cepts discussed in Anelosaxony, AM [Notes msde reg2rdinp litigation over America and Cosmic Man] SEE: ~19L171 clondon~ Lewis, Wyndham, 1882-1957. TM~copy~ Written in French, this radio address em- 5 11. [Radio address on the use of "democratic" phasizes the unity of western culture as an propaganda] ... [Decembr 19401. encouragement to French Canadians to join Irformation, includine a chronology, most in the war effort. probably drawn up for the use of Lewls' lawyers. LWIS Lewis, Uyndham, 1582-1957. Anerica and LC'nIS LEWIS Cosmic Van Levis, Gyndham, 1882-1957. Lewis, G'yndhnm, 1R87-1957. Nicholson & Watson, Ltd. & TM AM & TN America and Cosmic Man [Holograph AM. M[aman.]. The Apes of G-d and typesrript notes a-d drafts] [Drafts and clean typescript of introdur- DS [Contract to publish America and tory matprial apparently written to pre- Cosmic Manl r194.5 - , rlnndonl face the reprint edition of the a] ;a. i50 il.. 26 January 1948 London 195-1 London 4 11. Heavilv corrected and arended. ca. 70 11. kith Goof of jacket design. Levis' copy, signed by representatives of Galley proofs separately catalogued as Varying texts in holograph: partially Nicholson & Watson, Ltd., and their subsidiary, in the hand of Anne Uyndham Lewis. printed items. Editions Poetry London. LEWIS LEdIS Lewis, Ir!yndham, 1W2-1957. America and Cosmic L~WIS Lewis, Wyndham, 1882-1957. Man Lewis, Girndham, IRP2-1957. AM [Notes for] America and Cosmic Man For correspondence concerning the publica- M The Apes of God [Galley proof of the tion of this work and the litieation "Extract from Encyclical Addressed to Daniel ~1945, [Ottawa which preceded its publication, see the Boleyn by Mr. Zagre~s"~ 11 11. correspondence between Wyndham Lewis, Editions Poetry bndon, the lepal firm of [March-April 19241, [London] Two groups of notes dealing with topics Clifford-Turner & Co.. and Nicholson 8 4 11. discussed in America and Cosmic Man; identified Watson. Ltd. in Lewis' hand as "Notes for political book." kith minor correctiond in Lewis' hand, as published in the Criterion, 11, No.
Load more

Recommended publications
  • Cecil Beaton (1904–80) Was One of the Great Creative Figures of the British Twentieth Century
    Access Guide Please return at the end of your visit We hope this guide supports your visit. Please speak to any member of staff for more information. VERSION 2 Map Entrance Contents TBC Introduction Cecil Beaton (1904–80) was one of the great creative figures of the British twentieth century. Chiefly known as a photographer of portraits and fashion, through his work for Vogue magazine from 1924 to 1979, he was also recognised as a significant war photographer. An illustrator and caricaturist, a writer and commentator on taste and manners, Beaton was a theatre designer and art director of world renown and an influential stylist of his own homes. This exhibition focuses on Beaton’s early years. Born in Hampstead to a then prosperous timber merchant, Ernest Beaton and his wife Esther (‘Etty’), Cecil was first given a camera in 1914, aged ten. His first subjects were his mother and his willing sisters, Nancy and Barbara (‘Baba’). His transformation from middle-class suburban schoolboy to dazzling society figure against the backdrop of the Roaring Twenties and the Age of Jazz revealed a social mobility barely thinkable before the First World War. Here, then, are the Bright Young Things who brought an extraordinary era vividly to life and in so doing, nurtured and refined a remarkable photographic talent. The strength of his singular vision is such that, when we think of the Bright Young Things, we think of them in Beaton’s costumes, through Beaton’s lens and as Beaton’s friends. For full details of all events please see the What’s On guide or npg.org.uk/events Friday 20 March, 19.00 Lecture ‘When I die I want to go to Vogue’: Cecil Beaton’s Most Enduring Patron with Robin Muir Curator Robin Muir looks at the Cecil Beaton’s long working relationship with Vogue.
    [Show full text]
  • Coversheet for Thesis in Sussex Research Online
    A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details Nancy Cunard: Collector, Cosmopolitan by Jenny Greenshields Dissertation submitted for the degree of Doctor of Philosophy in English Literature University of Sussex February 2015 2 I hereby declare that this thesis has not been and will not be submitted in whole or in part to another university for the award of any other degree. Signed ....................................................... 3 Nancy Cunard: Collector, Cosmopolitan Jenny Greenshields Dissertation submitted for the degree of Doctor of Philosophy in English Literature, University of Sussex, February 2015 Summary of Thesis Part One of my thesis reads Nancy Cunard (1896-1965) as a modernist collector, situating her material and literary collections in relation to the vogue nègre of the 1920s and 30s, when European fascination with black expressive culture reached unprecedented heights. It also looks at how Cunard’s collecting practices translate into an ‘aesthetic of assemblage’ in her work as an anthologist, and shows how the African sculpture section of her Negro anthology (1934) reflects the collecting cultures of early twentieth-century Europe.
    [Show full text]
  • Nancy Cunard
    Lois Gordon NANCY CUNARD Heiress, Muse, Political Idealist Columbia University Press • New York Contents List of Illustrations ix Preface xi Acknowledgments xv 1 Golden Girl 1 2 Coming of Age During a Revolution in the Arts 20 3 Counterpoint of War in London 51 4 Postwar Breakdown 71 5 Return to the World in Paris 90 6 Reluctant Icon 125 7 Nancy as Publisher 140 8 Prelude to Negro 156 9 Negro 181 10 Nancy as Journalist: Scottsboro, Ethiopia, Spain 196 11 On the Front Lines in the Spanish Civil War 220 12 Exposing the Concentration Camps After Franco's Victory 13 Exile and Resistance in World War II 269 14 Surviving Reanville 300 15 Escaping La Mothe 322 16 The Last Great Glare 343 Epilogue 372 Notes 377 Index 429 Illustrations Following page 70 1. Nancy, holding Buster 2. Nevill Holt 3. Irish patriot Robert Emmet, Nancy's "great-granduncle" 4. Maud and Bache Cunard 5. Nancy, at school 6. Iris Tree 7. The menu of the Eiffel Tower 8. Augustus John, self-portrait 9. Wyndham Lewis xo. Blast, the voice of Vorticism 11. Edward, Prince of Wales 12. Ezra Pound 13. T.S.Eliot 14. Virginia Woolf 15. Nancy and her friends volunteer for war charity 16. Nancy in a tableau vivant at a war-bond event 17. The announcement of Nancy's engagement 18. Sydney Fairbairn, Nancy's husband 19. Outlaws is published Following page 124 20. Nancy and Tristan Tzara at a ball in Paris, as photographed by Man Ray 21. Louis Aragon 22. Janet Flanner 23.
    [Show full text]
  • News Release
    News Release CECIL BEATON’S DAZZLING BRIGHT YOUNG THINGS BROUGHT TOGETHER FOR THE FIRST TIME IN MAJOR NEW EXHIBITION Rarely exhibited prints by renowned photographer Cecil Beaton go on display at National Portrait Gallery London L-R: Mrs Freeman-Thomas by Cecil Beaton, 1928. © The Cecil Beaton Studio Archive; Cecil Beaton by Paul Tanqueray, 1937. National Portrait Gallery, London © Estate of Paul Tanqueray; The Bright Young Things at Wilsford by Cecil Beaton, 1927. © The Cecil Beaton Studio Archive. Cecil Beaton’s Bright Young Things National Portrait Gallery, London 12 March – 7 June 2020 Cecil Beaton’s portraits from a golden age are brought together for the first time in a major new exhibition at the National Portrait Gallery, London. Featuring 170 works, many of which are rarely exhibited, Cecil Beaton’s Bright Young Things explores the extravagant world of the glamorous and stylish ‘Bright Young Things’ of the twenties and thirties, seen through the eye of renowned British photographer Cecil Beaton. Through the prism of Beaton’s portraits the exhibition presents the leading cast, to many of whom he would become close, and who in these early years helped refine his remarkable photographic style - artists and friends Rex Whistler and Stephen Tennant, set and costume designer Oliver Messel, composer William Walton, modernist poets Iris Tree and Nancy Cunard, glamorous socialites Edwina Mountbatten and Diana Guinness (née Mitford), actresses and anglophiles Tallulah Bankhead and Anna May Wong, among many others. Brought to vivid life each of them has a story to tell. There are the slightly less well known too – style icons Paula Gellibrand, the Marquesa de Casa Maury and Baba, Princesse de Faucigny-Lucinge, the eccentric composer and aesthete Lord Berners, modernist poet Brian Howard, part model for Brideshead Revisited’s mannered ‘Anthony Blanche’, ballet dancer Tilly Losch and Dolly Wilde Oscar’s equally flamboyant niece.
    [Show full text]
  • De Nancy Cunard Negro Anthology, 1931-1934
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositori d'Objectes Digitals per a l'Ensenyament la Recerca i la Cultura «El Atlántico Negro» de Nancy Cunard Negro Anthology, 1931-1934 Sarah Frioux-Salgas ¿Qué decir de mí misma? Me gusta: la paz, el campo, la España republicana y la Italia antifascista, los negros y su cultura africana y afroamericana, toda la Amé- rica Latina que conozco, la música, la pintura, la poesía y el periodismo. Desde que tuve la posibilidad en 1920, he vivido siempre en Francia. Odio: el fascismo [...]. Y el esnobismo y todo lo que conlleva. Dos obras: Negro, gran antología sobre los negros; Authors Take Sides, cuestionario dirigido a los escritores britá- nicos sobre la Guerra Civil española y el fascismo. Varios volúmenes de poesía. (Nancy Cunard, Poèmes à la France. 1939-1944, París, Seghers, 1947, p. 7). Hace ochenta años, el 15 de febrero de 1934, la editorial londinense Wishart and Company publica mil ejemplares de Negro Anthology de la inglesa Nancy Cunard.1 Este libro de ciento cincuenta y cinco páginas, cargado de ilustraciones, dedicado a la Historia de África, de Madagascar y de las Américas negras, reúne doscientos cincuenta artículos escritos por ciento cincuenta y cinco autores.2 El aspecto único y original de este compendio no solo se refiere a su concepto y su realización, similar a una gran investigación documental, sino igualmente a sus autores. Los participantes son militantes, intelectuales, periodistas, artistas, poetas, universitarios, antropólogos, afroamericanos, antillanos, africanos, mal- gaches, latinoamericanos, americanos, europeos, mujeres y hombres.
    [Show full text]
  • A Chronology of Wyndham Lewis
    A Chronology of Wyndham Lewis 1882 Percy Wyndham Lewis born, Amherst Nova Scotia 1888-93 Isle of Wight 1897-8 Rugby School 1898-1901 Slade School of Art (expelled) 1902 Visits Madrid with Spencer Gore, copying Goya in the Prado 1904-6 Living in Montparnasse, Paris. Meets Ida Vendel (‘Bertha’ in Tarr) 1906 Munich (February – July). 1906-7 Paris 1907 Ends relationship with Ida 1908 – 11 Writes first draught of Tarr, a satirical depiction of Bohemian life in Paris 1908 London 1909 First published writing, ‘The “Pole”’, English Review 1911 Member of Camden Town Group. ‘Cubist’ self-portrait drawings 1912 Decorates ‘Cave of the Golden Calf’ nightclub Exhibits ‘cubist’ paintings and illustrations to Timon of Athens at ‘Second Post-Impressionist Exhibition’ 1913 Joins Fry’s Omega Workshops; walks out of Omega in October with Frederick Etchells, Edward Wadsworth and Cuthbert Hamilton after quarrel with Fry. Portfolio, Timon of Athens published. Begins close artistic association with Ezra Pound 1914 Director, ‘Rebel Art Centre’, Great Ormond Street (March – July) Dissociates self from Futurism and disrupts lecture by Marinetti at Doré Gallery (June) Vorticism launched in Blast (July; edited by Lewis) Introduced to T. S. Eliot by Pound 1915 Venereal infection; Blast no. 2 (June); completes Tarr 1916-18 War service in Artillery, including Third Battle of Ypres and as Official War Artist for Canada and Great Britain 1918-21 With Iris Barry, with whom he has two children 1918 Tarr published. It is praised in reviews by Pound, Eliot and Rebecca West Meets future wife, Gladys Hoskins 1919 Paints A Battery Shelled.
    [Show full text]
  • 1 All Work, No Play … : Representations of Child Labour In
    All Work, No Play … : Representations of Child Labour in Films of the First World War Stella Hockenhull University of Wolverhampton During the First World War, even though cinema was still in its infancy, it was seen as a viable tool for propagandist purposes. Furthermore, despite the domination of battle scenes and fighting at the front, a number of Home Front films were also produced to encourage patriotism and to advertise the effort required by the populace to support the troops.1 Indeed, Home Front newsreels were seen by the Government as mobilising useful moral support through nationalism, and, notably, a number featured children in their campaign. However, unlike preceding imagery of childhood, particularly that which had dominated the work of film directors such as Cecil Hepworth (1874-1953), these films did not depict them as embodiments of innocence and in need of protection, nor were they sentimentalised or represented as victims.2 Instead, propaganda cinema of the First World War displayed infancy and youth in military style and as willing individuals ready to serve the nation; this was achieved by detailing their day to day activities in which they were seen as capable, and physically able to help with important tasks such as animal husbandry and food production. Indeed, depictions of children standing in line and operating in perfunctory fashion were habitually displayed, rather than engaged in play activities. and this chimed with the work of artists of the period, and contemporaneous and modernist art movements such as Vorticism.3 One such example, Even Children Help (1917), shows a group of schoolchildren working the land in an orderly and 1 mechanistic way, and Children Grow Vegetables (1914-18) is comprised of shots of disciplined adolescent gardeners, these children dedicated to their task, and demonstrating the correlation between food and survival.
    [Show full text]
  • De Nancy Cunard, Negro Anthology, 1931-1934
    Gradhiva Revue d'anthropologie et d'histoire des arts 19 | 2014 « L’Atlantique Noir » de Nancy Cunard . Negro Anthology 1931–1934 Introduction « L’Atlantique noir » de Nancy Cunard, Negro Anthology, 1931-1934 Sarah Frioux-Salgas Édition électronique URL : http://journals.openedition.org/gradhiva/2771 DOI : 10.4000/gradhiva.2771 ISSN : 1760-849X Éditeur Musée du quai Branly Jacques Chirac Édition imprimée Date de publication : 1 mars 2014 Pagination : 4-29 ISBN : 978-2-35744-073-9 ISSN : 0764-8928 Référence électronique Sarah Frioux-Salgas, « Introduction « L’Atlantique noir » de Nancy Cunard, Negro Anthology, 1931-1934 », Gradhiva [En ligne], 19 | 2014, mis en ligne le , consulté le 22 septembre 2020. URL : http:// journals.openedition.org/gradhiva/2771 ; DOI : https://doi.org/10.4000/gradhiva.2771 © musée du quai Branly dossier 2014 19 7603_01_CS6_FRIOUX_E_BAT 4 29/01/14 09:06 Introduction « L’Atlantique noir » de Nancy Cunard, Negro Anthology, 1931-1934 par Sarah Frioux-Salgas Que vous dire de moi-même ? J’aime : la paix, la campagne, l’Espagne 1. Nancy Cunard républicaine et l’Italie antifasciste, les Noirs et leur culture africaine et (10 mars 1896-15 mars 1965). Plusieurs biographies lui sont afro-américaine, toute l’Amérique latine que je connais, la musique, consacrées par Hugh Ford la peinture, la poésie et le journalisme. J’ai toujours vécu en France (1968), Anne Chisholm (1980) et plus récemment François depuis que j’en ai eu la possibilité en 1920. Je hais : le fascisme […]. Buot (2008). L’ouvrage de Et le snobisme et tout ce qui va avec. Deux œuvres : Negro, grande Ford est particulièrement intéressant car il rassemble anthologie sur les Noirs ; Authors Take Sides, enquête adressée aux de nombreux témoignages écrivains britanniques au sujet de la guerre d’Espagne et du fas- très éclairants sur les multiples vies de Cunard.
    [Show full text]
  • MODERNISMS Blackwell’S Rare Books 48-51 Broad Street, Oxford, OX1 3BQ
    BLACKWELL’S RARE BOOKS MODERNISMS Blackwell’s Rare Books 48-51 Broad Street, Oxford, OX1 3BQ Direct Telephone: +44 (0) 1865 333555 Switchboard: +44 (0) 1865 792792 Email: [email protected] Fax: +44 (0) 1865 794143 www.Blackwells.co.uk/rarebooks Our premises are in the main Blackwell bookshop at 48-51 Broad Street, one of the largest and best known in the world, housing over 200,000 new book titles, covering every subject, discipline and interest, as well as a large secondhand books department. There is lift access to each floor. The bookshop is in the centre of the city, opposite the Bodleian Library and Sheldonian Theatre, and close to several of the colleges and other university buildings, with on street parking close by. Oxford is at the centre of an excellent road and rail network, close to the London - Birmingham (M40) motorway and is served by a frequent train service from London (Paddington). Hours: Monday–Saturday 9am to 6pm. (Tuesday 9:30am to 6pm.) Purchases: We are always keen to purchase books, whether single works or in quantity, and will be pleased to make arrangements to view them. Auction commissions: We attend a number of auction sales and will be happy to execute commissions on your behalf. Blackwell’s Rare Books online Blackwells.co.uk/rarebooks Our website contains listings of our stock with full descriptions and photographs, along with links to PDF copies of previous catalogues, and full details for contacting us with enquiries about buying or selling rare books. Please mention Modernisms Catalogue when ordering.
    [Show full text]
  • Art Appreciation 11-07-19 Report. 1 – Anne Williams : Pere Borrell Del Caso
    Art Appreciation 11-07-19 Report. 1 – Anne Williams: Pere Borrell del Caso (1835 – 1910); ‘Escaping Criticism’ (1874); oil on canvas; location – Banco de Espana, Madrid. Anne gave a short biography of Borrell del Caso: a Catalan artist, the son of a carpenter, he got his artistic training at the renowned Escola de la Llotja, in Barcelona, working as a chest maker to pay for his classes. As a young man Borrell distanced himself from the Romanticism that dominated the education at the academy. He rejected the idealization and insincerity that, in his eyes, were so typical of Romantic art and chose to change to the novel style of Realism. He founded his own art academy, the Sociedad de Bellas Artes. Here, students were encouraged to work ‘en plein air’, a rare phenomenon in those days. The painting is in the style of trompe-l’oeil, which means ‘the eye is deceived’. This painting shows an ill-clothed boy who clambers out of a picture frame to enter the world outside it. The symbolism of the painting tells of the artist’s need to escape the confinement of traditional artistic styles. Comments about the painting included: the boy’s eyes portray that he is listening hard, and possibly is being startled; the ‘picture frame’ appears three-dimensional; the boy is grubby and there is realistic detail in the painting. 2 – Dianne Bullough: Ivan Lackovic-Croata (1932 – 2004); ‘Winter’, ‘Winter Landscapes’, ‘Zima’. Dianne began by giving a short biography: Ivan Lacković Croata was a Croatian painter. Born to a peasant family in the village of Batinske near Kalinovac, after completing his primary education, he worked as a labourer in fields and forests.
    [Show full text]
  • Steidl Spring/Summer 2016
    Steidl Spring/Summer 2016 1 IN MAKING FILMS I CONTINUE TO LOOK AROUND ME, BUT I AM NO LONGER THE SOLITARY OBSERVER TURNING AWAY AFTER THE CLICK OF THE SHUTTER. INSTEAD I’M TRYING TO RECAPTURE WHAT I SAW, WHAT I HEARD AND WHAT I FEEL. WHAT I KNOW! THERE IS NO DECISIVE MOMENT, IT’S GOT TO BE CREATED. I’VE GOT TO DO EVERY THING TO MAKE IT HAPPEN IN FRONT OF THE LENS: SEARCHING_ EXPLAINING_ DIGGING_ WATCHING_ JUDGING_ ERASING_ PRETENDING_ DISTORTING_ LYING_ JUDGING_ RECORDING_ TRYING_ TRYING_ TRYING_ RUNNING_ TELLING A TRUTH_ RUNNING_ CRAWLING_ WORKING TOWARDS THE TRUTH_ UNTIL IT IS DONE ROBERT FRANK THE LINES OF MY HAND 1971 2 Film stills from Robert Frank’s Me and My Brother (1968) 3 Index Contents Artists / Editors Mehta, Suketu 99 Fancy Pictures 125 3 Editorial 75 William A. Ewing (ed.) Ernst Haas. Color Mocafico, Guido 137 Funeral 45 4 Index Correction 1952–1986 Adams, Robert 31–35 Moffat, Curtis 149 Golden Decade, The 127 5 Contents 77 Timm Rautert Josef Sudek, Prag 1967 Aldridge, Miles 69 Mofokeng, Santu 45 Heroes of Labour 115 6 How to contact us 79 Colin Westerbeck A Democracy of Imagery Anotani, Masaho 89 Moser, Walter 71 Imprudences 143 Press enquiries 81 Keith F. Davis (ed.) The Life and Work of Ball, Ken 127 Neville, Mark 125 In Booksburg — resumed 29 How to contact our imprint partners Sid Grossman Baltz, Lewis 101 Nozolino, Paulo 121 In My Room 27 83 Peter Hujar Lost Downtown Banier, François-Marie 143 Odermatt, Arnold 123 Invisible Man 37 85 Tod Papageorge Seeing Things: New York, Barnes, Martin (ed.) 149 Papageorge, Tod 85
    [Show full text]
  • University of Huddersfield Repository
    University of Huddersfield Repository White, Corinne Jane How has the art education that I have received impacted on my practice as an art maker? Original Citation White, Corinne Jane (2015) How has the art education that I have received impacted on my practice as an art maker? Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/24471/ 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/ HOW HAS THE ART EDUCATION THAT I HAVE RECIEVED IMPACTED ON MY PRACTICE AS AN ART MAKER? By CORINNE J WHITE Thesis Submitted to the University of Huddersfield in Partial Fulfilment of the Requirements for the Degree of Masters of Arts January 2015 1 ABSTRACT This thesis is a written account of my analysis of the art education that I received during my undergraduate Interdisciplinary Art and Design BA(hon)s degree and University Campus Barnsley.
    [Show full text]