The Age of Innocence £4,800 REF: 2017 Artist: ALFRED DRURY

Total Page：16

File Type：pdf, Size：1020Kb

The Age of Innocence £4,800 REF: 2017 Artist: ALFRED DRURY Height: 45.5 cm (17 1/1") 1 Sarah Colegrave Fine Art By appointment only - London and North Oxfordshire | England +44 (0)77 7594 3722 https://sarahcolegrave.co.uk/the-age-of-innocence 26/09/2021 Short Description ALFRED DRURY, RA (1856-1944) The Age of Innocence Signed: A DRURY Bronze on green marble base Height including base 45.5 cm., 18 in. Born in Islington, London, Drury was raised in Oxford where his father owned and inn. He attended Oxford School of Art and then the National Art Training School, South Kensington (1877-1881) where he was taught by F W Moody and then by the French sculptor Jules Dalou. Between 1881-5 Drury worked in Paris with Dalou and on his return to London he worked briefly as an assistant to Sir Edgar Boehm. He was a key artist of the New Sculpture movement and during his long career he completed many architectural groups and figure pieces. His major commissions for architectural and monumental works including groups for Leeds City Square, the front of the Victoria and Albert Museum, Vauxhall Bridge and the War Office Building, Whitehall. This a version of Drury’s 1897 marble bust exhibited at the Royal Academy in 1897 (now in the collection of the Victoria & Albert Museum, London). It was so successful that Drury made a number of versions in bronze, some being full size of head and shoulders with other reduced version of the head only. The sitter was Grace Doncaster, the daughter of a friend of the artist. More Information Year c 1900 Medium Bronze on a green marble base Country United Kingdom Signed Signed: A DRURY 2 Sarah Colegrave Fine Art By appointment only - London and North Oxfordshire | England +44 (0)77 7594 3722 https://sarahcolegrave.co.uk/the-age-of-innocence 26/09/2021.

Copy Link

Recommended publications

Secondary and FE Teacher Resource for Teaching Key Stages 3–5 Sculpture in the RA Collection a Sculpture Student at Work in the RA Schools in 1953
Secondary and FE Teacher Resource For teaching key stages 3–5 Sculpture in the RA Collection A sculpture student at work in the RA Schools in 1953. © Estate of Russell Westwood Contents Introduction Illustrated key works with information, quotes, key words, questions, useful links and art activities for the classroom Glossary Further reading To book your visit Email studentgroups@ royalacademy.org.uk or call 020 7300 5995 roy.ac/teachers ‘...we live in a world where images are in abundance and they’re moving, [...] they’re doing all kinds of things, very speedily. Whereas sculpture needs to be given time, you need to just wait with it and become the moving object that it isn’t, so this action between the still and the moving is incredibly demanding for all. ’ Phyllida Barlow RA The Council of the Royal Academy selecting Pictures for the Exhibition, 1875, Russel Cope RA (1876). Photo: John Hammond Introduction What is the Royal Academy of Arts? The Royal Academy (RA) was Every newly elected Royal set up in 1768 and 2018 was Academician donates a work of art, its 250th anniversary. A group of known as a ‘Diploma Work’, to the artists and architects called Royal RA Collection and in return receives Academicians (or RAs) are in charge a Diploma signed by the Queen. The of governing the Academy. artist is now an Academician, an important new voice for the future of There are a maximum of 80 RAs the Academy. at any one time, and spaces for new Members only come up when In 1769, the RA Schools was an existing RA becomes a Senior founded as a school of fine art.
[Show full text]
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..........................................................................
[Show full text]
The Unitarian Heritage an Architectural Survey of Chapels and Churches in the Unitarian Tradition in the British Isles
UNITARIP The Unitarian Heritage An Architectural Survey of Chapels and Churches in the Unitarian tradition in the British Isles. Consultant: H.1. McLachlan Text and Research: G~ahamHague Text and Book Design: Judy Hague Financial Manager: Peter Godfrey O Unitarian Heritage 1986. ISBN: Q 9511081 O 7 Disrributur. Rev P B. Codfrey, 62 Hastlngs Road, Sheffield, South Yorkshirc. S7 2GU. Typeset by Sheaf Graphics, 100 Wellington Street, Sheffield si 4HE Printed in England. The production of this book would have been impossible without the generous help and hospitality of numerous people: the caretakers, secretaries and ministers oi chapels, and those now occupying disused chapels; the staff of public libraries and archives in many towns and cities; the bus and train dr~verswho enabled us to visit nearly every building. We would like to record grateful thanks to the staff of Dx Williams's Library and the National Monument Record for their always courteous help; Annette Percy for providing the typescript; Charrnian Laccy for reading and advising on the scnpt; and to the North Shore Unitarian Veatch Program, and District Associations in the British Isles for their generous financial help. Sla~rmsa.Burv St Edmunds. Unirarjan Chapel. 5 Contents: Introduction Chapter 1: The Puritans before 1662 2: The Growth of Dissent 1662-1750 Gazetteer 1662-1750 3: New Status, New Identity, New Technology 1750-1 840 Gazetteer 1750-18411 4: The Gothic Age 1840-1918 Gazetteer 1840-1918 5: Decay, Destruction and Renewal 1918-1984 Top photogruph c. 1900 cf Bessels Green Old Meeting House (1716). Gazetteer 1918-1984 Below. engravmg of 1785 91 Slockron-on-Tees,meeung-house on nghr 6: The Unitarian Chapels of Wales Gazetteer 7: The Unitarian Chapels of Scotland by Andrew Hi11 Gazetteer 8: Chapels of the Non-Subscribing Presbyterian Church of Ireland by John McLachlan Gazetteer Maps and Plans Bibliography Index Chapters I to 8 are each composcd a/ an introduction, an alp~ab~t~ca.
[Show full text]
King George and the Royal Family
ICO = 00 100 :LD = 00 CD "CO KING GEORGE AND THE ROYAL FAMILY KING GEORGK V Bust by Alfred Drury, K.A. &y permission of the sculptor KING GEORGE j* K AND THE ROYAL FAMILY y ;' ,* % j&i ?**? BY EDWARD LEGGE AUTHOR OF 'KING EDWARD IN HIS TRUE COLOURS' VOLUME I LONDON GRANT RICHARDS LTD. ST. MARTIN'S STREET MCMXVIII " . tjg. _^j_ $r .ffft* - i ' JO^ > ' < DA V.I PRINTED IN OBEAT BRITAIN AT THE COMPLETE PRESS WEST NORWOOD LONDON CONTENTS CHAP. PAQB I. THE KING'S CHARACTER AND ATTRIBUTES : HIS ACCESSION AND " DECLARATION " 9 II. THE QUEEN 55 " III. THE KING BETWEEN THE DEVIL AND THE DEEP SEA" 77 IV. THE INTENDED COERCION OF ULSTER 99 V. THE KING FALSELY ACCUSED OF " INTER- VENTION " 118 VI. THE MANTLE OF EDWARD VII INHERITED BY GEORGE V 122 VII. KING GEORGE AND QUEEN MARY IN PARIS (1914) 138 VIII. THE KING'S GREAT ADVENTURE (1914) 172 IX. THE MISHAP TO THE KING IN FRANCE, 1915 180 X. THE KING'S OWN WORDS 192 XI. WHY THE SOVEREIGNS ARE POPULAR 254 XII. THE KING ABOLISHES GERMAN TITLES, AND FOUNDS THE ROYAL HOUSE AND FAMILY OF WINDSOR 286 " XIII. " LE ROY LE VEULT 816 XIV. KING GEORGE, THE KAISER, HENRY THE SPY, AND MR. GERARD : THE KING'S TELE- GRAMS, AND OTHERS 827 f 6 CONTENTS CHAP. PAGE XV. KING GEORGE'S PARENTS IN PARIS 841 XVI. THE GREATEST OF THE GREAT GARDEN PARTIES 347 XVII. THE KING'S ACTIVITIES OUTLINED : 1910-1917 356 XVIII. THE CORONATION 372 ILLUSTRATIONS To face page KING GEORGE V Frontispiece His LATE MAJESTY KING EDWARD VII 40 PORTRAIT OF THE LATE PRINCESS MARY OF CAMBRIDGE 56 THE CHILDREN OF THE ROYAL FAMILY 74 THE KING AND QUEEN AT THE AMERICAN OFFICERS' CLUB, MAYFAIR 122 THE KING AND PRESIDENT POINCARE 138 THE QUEEN AND MADAME POINCARE 158 " HAPPY," THE KING'S DOG 176 A LUNCHEON PARTY AT SANDRINGHAM 190 His MAJESTY KING GEORGE V IN BRITISH FIELD-MARSHAL'S UNIFORM 226 FACSIMILES OF CHRISTMAS CARDS 268 H.R.H.
[Show full text]
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.
[Show full text]
Katharine Esdaile Papers: Finding Aid
http://oac.cdlib.org/findaid/ark:/13030/c8x63sn4 No online items Katharine Esdaile Papers: Finding Aid Finding aid prepared by John Houlton, Marilyn Olsen, Catherine Wehrey, and Diann Benti. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © November 2016 The Huntington Library. All rights reserved. Katharine Esdaile Papers: Finding mssEsdaile 1 Aid Overview of the Collection Title: Katharine Esdaile Papers Dates (inclusive): 1845-1961 Bulk dates: 1900-1950 Collection Number: mssEsdaile Collector: Esdaile, Katharine Ada, 1881-1950 Extent: 101 boxes Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2203 Email: [email protected] URL: http://www.huntington.org Abstract: This collection contains the papers of English art historian Katharine Ada Esdaile (1881-1950). Much of the collection relates to her research of British monumental sculpture. Notably the collection includes more than 600 chiefly pre-World War II visitor booklets and pamphlets produced locally by British churches and approximately 3500 photographs taken or collected by Esdaile of sculpture, often funerary monuments in English churches. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities. The responsibility for identifying the copyright holder, if there is one, and obtaining necessary permissions rests with the researcher.
[Show full text]
Bertram Mackennal and the Sculptural Femme Fatale in the 1890S
Circe 1893 (detail) bronze 240 x 79.4 x 93.4 cm National Gallery of Victoria, Melbourne The Felton Bequest 1910 ‘Her invitation and her contempt’: Bertram Mackennal and the sculptural femme fatale in the 1890s DAVID J GETSY In the early 1890s Bertram Mackennal still struggled to find audiences, patrons and critical recognition. After having moved between Melbourne, London and Paris, he had been unsuccessful in garnering what he considered sufficient attention, and his letters from the period are fraught with anxieties and plans for his career. In 1892 he began working on a major life-size ‘statue’ in the ‘ideal’ or ‘imaginative’ genre that would, he hoped, establish his name. ‘I am trying to make a big work of this figure and at present am full of hope,’ he remarked.1 Such a gambit was common enough for an aspiring sculptor in the competitive market of the late 19th century. British sculpture, in particular, had been reinvigorated in the 1880s by artists who staked their reputations on similar highly-conceptualised life-size statues. This movement to modernise the theory and practice of sculpture in Britain would be dubbed the ‘New Sculpture’ in 1894 – the same year Mackennal’s own contribution to it could be seen at the Royal Academy of Art’s summer exhibition.2 As Mackennal knew himself from his brief time at the Royal Academy schools and from the contacts he made there, polemical statues such as his could be the statements through which debates about the theory, practice and future of sculpture occurred.3 Even after his move to Paris, Mackennal seems to have identified with these formulations of modern sculpture in London and kept a close eye on the British capital and the better market possibilities it offered for an Australian sculptor.4 His ambitious life-size statue, although first exhibited at the 1893 Paris Salon, drew deeply on his familiarity and sympathy with the aims of the New Sculpture, and it was in London where it made its more lasting impact.
[Show full text]
The Arts and Crafts Movement, Modernism, and Sculpture in Britain 1890–1914
Sarah Victoria Turner “Reuniting What Never Should Have Been Separated”: The Arts and Crafts Movement, Modernism, and Sculpture in Britain 1890–1914 Nineteenth-Century Art Worldwide 14, no. 2 (Summer 2015) Citation: Sarah Victoria Turner, “‘Reuniting What Never Should Have Been Separated’: The Arts and Crafts Movement, Modernism, and Sculpture in Britain 1890–1914,” Nineteenth- Century Art Worldwide 14, no. 2 (Summer 2015), http://www.19thc-artworldwide.org/ summer15/turner-on-the-arts-and-crafts-movement-modernism-and-sculpture-in-britain. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Turner: The Arts and Crafts Movement, Modernism, and Sculpture in Britain 1890–1914 Nineteenth-Century Art Worldwide 14, no. 2 (Summer 2015) “Reuniting What Never Should Have Been Separated”: The Arts and Crafts Movement, Modernism, and Sculpture in Britain 1890–1914 by Sarah Victoria Turner The bonds between Modernist sculpture, the New Sculpture and the Arts and Crafts Movement . helped critics and the public to understand the products and claims of avant-garde sculptors before the First World War. —S. K. Tillyard[1] Chronologies of Sculpture “on or about” 1890 to 1914[2] In 1987, the writer and historian Stella Tillyard proffered an argument in her book The Impact of Modernism that went against the grain of most conceptualizations of British sculpture of the late nineteenth and early twentieth
[Show full text]
Queen Victoria Memorials in New Zealand Mark Stocker
‘A token of their love’: Queen Victoria Memorials in New Zealand Mark Stocker New Zealand makes a particularly apposite case study as the sole colonial focus in this issue of 19, although this writer must declare a certain bias. As not just part of the British world but in its self-image a ‘Better Britain’,1 late-colonial New Zealand honoured its first head of state in the form of the Queen Victoria public memorials erected in its four major metropoli- tan centres: Auckland, Christchurch, Dunedin, and Wellington. With New Zealand’s population of 815,862 in the 1901 census, Victoria was thus over twice as visible to her subjects as she was in the United Kingdom, indeed enjoying a more prominent profile than anywhere else in the British Empire apart from the Bahamas, Malta, and Mauritius, which were all far smaller colonies.2 Her memorials were erected, as the quotation in the title of this article suggests, as tokens of colonial love and loyalty. To some visi- tors, such a relationship appeared comically enduring. In 1978 Bob Hope quipped: ‘New Zealand is the only country where “God Save the Queen” is a love song.’3 Yet any study of the memorials reveals that a keen sense of local politics coexisted, often symbiotically, with the global, in a kind of imperial ‘cementing’ evident in their iconographic content, as well as what was said at the time of their erection. With the fascinating exception of the Queen Victoria at Ohinemutu, near Rotorua, colonial eyes were set on British sculptors as the sole providers of worthy memorials to her.
[Show full text]
Samplers from the Victoria and Albert Museum Free
FREE SAMPLERS FROM THE VICTORIA AND ALBERT MUSEUM PDF Clare Browne,Jennifer Wearden | 144 pages | 08 Oct 2003 | V & A Publishing | 9781851772902 | English | London, United Kingdom Sampler (needlework) - Wikipedia Sampler, Unknown, 19th century. Museum no. This power to perform magic with a needle comes through the embroiderer's familiarity with stitches: with their structure, with the hand movements required to make them and with their seemingly infinite variation. In Mrs Christie classified stitches by their structure and, in a more rigorously scientific way, so did Irene Emery in Both demonstrated that a great variety has developed from two or three basic stitches. The straight stitch evolved into satin, brick, long and short, tent, Gobelin, Florentine, Hungarian and others, while the running stitch evolved into double running, outline, stem, darning and more. It is this variety that often causes confusion. Sampler, Gerarda Gerritsen, Given by Mrs Grove. This plethora of stitch names is not a recent phenomenon. This almost hypnotic list of stitches, many of them with unimaginable form, serves to illustrate the problem of a nomenclature that has varied over the centuries and across countries and continents. The great variety of stitches has evolved because each stitch has a particular function. Even the slightest variation — in the length of the stitch, the axis of the stitch or the angle of the needle — subtly changes the role that particular stitch plays in an embroidery. It is the understanding of function that gives the embroiderer power to create. The patterns in samplers had their functions too. What could be more functional than a darning sampler with its exercises in how to repair holes and worn areas in woven fabrics? In the most carefully worked samplers holes were actually cut into the fabric, in others right there was no hole and the darning was worked entirely on the fabric.
[Show full text]
Franco-British Exhibition, London, 1908 : Fine Arts Catalogue
>rice • Sixpence OFTHB FINE ART SECTION FRANCO- BRITISH EXHIBITION LONDON 10OÔ fRINTED 6 PUBLISHED 9Y BEMROSE & SONS LTD.. LONDON. Copyright.] [Entered at Stationers' Hall. 67<^ Third Edition.] "TTC?" ^ Franco* British Exhibition, LONDON, 1908. FINE ARTS CATALOGUE. Part I.—British Section. Part II.—French Section. PRINTED AND PUBLISHED BY BEMROSE AND SONS LIMITED, DERBY AND LONDON. Copyright.'] [Entered at Stationers' Hall, 1 CONTENTS. PAGE Preface ........ iii. PART L—BRITISH SECTION. — Oil Paintings Old and Deceased Masters . i — Oil Paintings Living Artists . .11 Water Colour Paintings—Old and Deceased Masters ........ 39 — Water Colour Paintings Living Artists . 47 Miniatures . .67 Black and White Drawings, Etchings, and Engravings 74 Architecture . .105 Sculpture . .119 Index to Artists . 139 Private Contributors 154 PART IL—FRENCH SECTION. Peinture ........ 161 Aquarelles Dessins, Pastels Dessins, Miniatures 186 Gravure .... 192 Gravure en Médailles . 199 Architecture 201 Arts Appliques 205 Sculpture .... 21 (") THE ART PALACE. THE Palace of Fine Arts, which is situated to the east of the Stadium, measures 350 feet by 200 feet. The space is divided equally between France and Great Britain; that on the right of the centre-line running North and South in the Sculpture Gallery is devoted to British Art, and the space on the left of it to French Art. Of the sixteen British galleries ten have been allotted to Oil Paintings by living and deceased artists, four to Water-Colours, one each to Architecture and Black-and- White work. In the French Section eleven galleries have been allotted to Oil Paintings, one to Architecture, and one to Water- Colours, Black-and-White Drawings, and Engravings.
[Show full text]
Fine European Works of Art & Clocks (29 Sep 2020 B) Lot 69
Fine European Works of Art & Clocks (29 Sep 2020 B) Tue, 29th Sep 2020 Viewing: Thu 24 Sept, 11am - 5pm Fri 25 Sept, 11am - 5pm Sat 26 Sept, 11am - 4.30pm Sun 27 Sept, 11am - 4.30pm Mon 28 Sept, 11am - 5pm Email Specialist, Harry Fletcher to book a viewing appointment. Lot 69 Estimate: £5000 - £8000 + Fees A LARGE LATE 19TH CENTURY PATINATED BRONZE FIGURE OF A BOY BY A FOLLOWER OF THE 'NEW SCULPTURE' SCHOOL A LARGE LATE 19TH CENTURY PATINATED BRONZE FIGURE OF A BOY BY A FOLLOWER OF THE 'NEW SCULPTURE' SCHOOL by repute titled 'Garçon avec toupie' or 'Boy with spindle', modelled as a young nude boy in a contrapposto stance holding a yarn drop spindle in his outstretched hand, signed indistinctly to base and dated 1890, foundry stamp for E. Gruet Jeune of Paris (this stamp active circa 1891-1904) 'E.GRUET, JEUNE, FONDEUR, 44 bis AVENUE DE CHATILLON, PARIS', on a round black marble plinth base, 82cm high (including base) This large and well cast bronze bears many of the defining features of the 'New Sculpture' School and in particular resembles the work of Sir William Goscombe John RA (Welsh 1860-1952). The facial expression and modelling of the limbs are strongly reminiscent of 'A Boy at Play' by Goscombe John dated circa 1895, now in the collection of the Tate. Although this sculpture predates it by five years it strongly demonstrates the qualities of the naturalistic representation of the body and the detailed rendering of its surface variations. It also embodies of the new 'ideal body type' as created by Goscombe John.
[Show full text]