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Paul Mellon Centre for Studies in British Art Library: New Accessions March 2017
Paul Mellon Centre for Studies in British Art Library: New accessions March 2017 0730807886 Art Gallery Board of Claude Lorrain : Caprice with ruins of the Roman forum Adelaide: Art Gallery Board of South Australia, C1986 (44)7 CLAU South Australia (PAMPHLET) 8836633846 Schmidt, Arnika Nino Costa, 1826-1903 : transnational exchange in Milan: Silvana Editoriale, 2016 (450)7 COST(N).S European landscape painting 0854882502 Whitechapel Art William Kentridge : thick time London: Whitechapel Gallery, 2016 (63)7 KENT(W).B Gallery 0956276377 Carey, Louise Art researchers' guide to Cardiff & South Wales [London]: ARLIS UK & Ireland, 2015 026 ART D12598 Petti, Bernadette English rose : feminine beauty from Van Dyck to Sargent [Barnard Castle]: Bowes Museum, [2016] 062 BAN-BOW 0903679108 Holburne Museum of Modern British pictures from the Target collection Bath: Holburne Museum of Art, 2005 062 BAT-HOL Art D10085 Kettle's Yard Gallery Artists at war, 1914-1918 : paintings and drawings by Cambridge: Kettle's Yard Gallery, 1974 062 CAM-KET Muirhead Bone, James McBey, Francis Dodd, William Orpen, Eric Kennington, Paul Nash and C R W Nevinson D10274 Herbert Read Gallery, Surrealism in England : 1936 and after : an exhibition to Canterbury: Herbert Read Gallery, Canterbury College of Art, 1986 062 CAN-HER Canterbury College of celebrate the 50th anniversary of the First International Art Surrealist Exhibition in London in June 1936 : catalogue D12434 Crawford Art Gallery The language of dreams : dreams and the unconscious in Cork: Crawford Art Gallery, -
The Female Art of War: to What Extent Did the Female Artists of the First World War Con- Tribute to a Change in the Position of Women in Society
University of Bristol Department of History of Art Best undergraduate dissertations of 2015 Grace Devlin The Female Art of War: To what extent did the female artists of the First World War con- tribute to a change in the position of women in society The Department of History of Art at the University of Bristol is commit- ted to the advancement of historical knowledge and understanding, and to research of the highest order. We believe that our undergraduates are part of that endeavour. For several years, the Department has published the best of the annual dis- sertations produced by the final year undergraduates in recognition of the excellent research work being undertaken by our students. This was one of the best of this year’s final year undergraduate disserta- tions. Please note: this dissertation is published in the state it was submitted for examination. Thus the author has not been able to correct errors and/or departures from departmental guidelines for the presentation of dissertations (e.g. in the formatting of its footnotes and bibliography). © The author, 2015 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted by any means without the prior permission in writing of the author, or as expressly permitted by law. All citations of this work must be properly acknowledged. Candidate Number 53468 THE FEMALE ART OF THE FIRST WORLD WAR 1914-1918 To what extent did the female artists of the First World War contribute to a change in the position of women in society? Dissertation submitted for the Degree of B.A. -
Fttfe MUSEUM of MODERN1 ART
jr. ,•&-*- t~ V* *«4* /C^v i* 41336 - 2Z f± **e y^^A-^-^p, fttfE MUSEUM OF MODERN1 ART P WEST 53RD STREET, NEW YORK -uEPHONE: CIRCLE 5-89CO FOE IMMEDIATE RELEASE (Note* Photographs of paintings available) BRITAIN DELIVERS WAR PAINTINGS TO MUSEUMxOF MODERN ART. LORD HALIFAX TO OPEN EXHIBITION. On Thursday evening, May 22, Lord Halifax, Great Britain's Ambassador to the United States, will formally open at the Museum of Modern Art an exhibition of the Art of Britain At War, designed to show the wartime roles England assigns to her artists and de signers. It will be composed of oils, watercolors, drawings, prints, posters, cartoons, films, photographs, architecture and camouflage of the present war as well as work of British artists during the first World War. The exhibition will open to the public Friday morning, May 23, and will remain on view throughout the summer. It will then be sent by the Museum to other cities in the United States and Canada, The nucleus of the exhibition opening in May will be the group of paintings, watercolors and prints which the Museum expected to open as a much smaller exhibition in November 1940. After several postponments the Museum was finally forced to abandon it as, due to wartime shipping conditions, the pictures did not arrive although word had been received that the shipment had left London early in November. The Museum received the shipment late in January. After weeks of further negotiation with British officials in this country and by cable with London the Museum decided that it would be possible to augment the material already received with other work done by British artists since the first material was sent. -
T. E. Lawrence Papers: Finding Aid
http://oac.cdlib.org/findaid/ark:/13030/c8bg2tr0 No online items T. E. Lawrence Papers: Finding Aid Finding aid prepared by Gayle M. Richardson, April 30, 2009. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2129 Email: [email protected] URL: http://www.huntington.org © 2009 The Huntington Library. All rights reserved. T. E. Lawrence Papers: Finding mssTEL 1-1277 1 Aid Overview of the Collection Title: T. E. Lawrence Papers Dates (inclusive): 1894-2006 Bulk dates: 1911-2000 Collection Number: mssTEL 1-1277 Creator: Lawrence, T. E. (Thomas Edward), 1888-1935. Extent: 8,707 pieces. 86 boxes. Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2129 Email: [email protected] URL: http://www.huntington.org Abstract: The collection consists of papers concerning British soldier and author T.E. Lawrence (1888-1935) including manuscripts (by and about Lawrence), correspondence (including over 150 letters by Lawrence), photographs, drawings, reproductions and ephemera. Also included in the collection is research material of various Lawrence collectors and scholars. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Boxes 82-86 -- Coin & Fine Art, Manuscript & Rare Book Dealers. Restricted to staff use only. These boxes include provenance, price and sale information; please see Container List for an item-level list of contents. Publication Rights All photocopies, for which the Huntington does not own the original manuscript, may not be copied in any way, as noted in the Container List and on the folders. -
Fine Printing & Illustration
Fine Printing & Illustration ¶ Item 68. Jones (David). Coleridge (Samuel Taylor). The Rime of the Ancient Mariner. Modern Fine Printing & Illustration Catalogue 1484. Maggs Bros Ltd 48 Bedford Square London 2018 Wood-engraving by Simon Brett of the keystone above the front door at 48 Bedford Square, reproduced here in memory of Cobden-Sanderson’s sacrifice of his type to theThames. Front endpapers: Item 64. Henry (Avril K.). Toys. Back endpapers: Item 3.The endpapers for Donald Glaister's binding of the Ashendene Boccaccio. Maggs Bros Ltd., 48 Bedford Square, London WC1B 3DR Contents of Catalogue The William Lang Doves Press collection. 1. Margaret Adams calligraphic album. 2. Art Workers’ Guild. Sketches made on Lithography Night. 1905. 3–7. Ashendene Press. 8. Edward Bawden. How to Make Money. c. 1929. 9. Aubrey Beardsley. The Pierrot of the Minute. 1897 10 & 11. Ian Beck. Fugitive Lyrics. 2013. 12. Edward Burne-Jones. Mezzotint, signed, of Pan and Psyche. 1887. 13. Michael Caine. Lament for Ignacio Sanchez mejias. 1995. 14–16. Corvinus Press. Three rare T.E. Lawrence books. 17–19. Cresset Press. 20. Nancy Cunard, John Banting, John Piper, Ithell Colquhoun and others. Salvo for Russia. 1942. 21–22. Doves Press. 23. Eragny Press. Les Ballades de Villon. 1900. 24–26. Essex House Press. 27. Fleece Press. To the War with Paper & Brush. 2007. 28–30. Robert Gibbings. 31–36. Eric Gill. 37–54. Golden Cockerel Press. 55–61. Gregynog Press. 63. Temporary Culture. Forever Peace: To Stop War. 64. Avril Henry. Original illustrated manuscript of Toys. 65. High House Press. A Marriage Triumph. -
Catalogue 22 Sophie Schneideman Rare Books
Catalogue 22 Sophie Schneideman RaRe BookS We prefer to give customers on our mailing list the opportunity to buy books from catalogues before we put items up for sale on our website. Items in this catalogue will be posted onto www.ssrbooks.com a week or so after the catalogue has been sent out and in many cases there will be additional pho- tographs to view there. If you are interested in buying or selling rare books, need a valuation or just honest advice please contact me at: SCHNEIDEMAN GALLERY Open by appointment 7 days a week or by chance - usually Mon-Fri 10-4. The gallery is open on Saturday 11-5 but if you want to view the books please let me know in advance. 331 Portobello Road, London W10 5SA 020 8354 7365 07909 963836 [email protected] www.ssrbooks.com We aRe pRoUd To Be a MEMBeR oF THE aBa, pBFa & iLaB AND aRe pLEASED To FoLLoW THEIR CODES oF CONDUcT Prices are in sterling and payment to Sophie Schneideman Rare Books by bank transfer, cheque or credit card is due upon receipt. All books are sent on approval and can be returned within 10 days by secure means if they have been wrongly or inadequately described. Postage is charged at cost. EU members, please quote your vat/tva number when ordering. The goods shall legally remain the property of Sophie Schneideman Rare Books until the price has been discharged in full. Cover: Binding for item 7. I · ILLUSTRATED BOOKS ITEMS AESOP 16, 44, 45, 65, 68 BASKIN, Leonard 1 BLAKE, William 2 & 3 BUCKLAND WRIGHT, John 4-6, 89 & 90 GENTLEMAN, David 7 GIBBINGS, Robert 58 GILL, Eric, including -
Visual Narratives of History a Close Reading Into the Portrayal of World
International Journal of Art and Art History December 2017, Vol. 5, No. 2, pp. 44-105 ISSN: 2374-2321 (Print), 2374-233X (Online) Copyright © The Author(s).All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijaah.v5n2p5 URL: https://doi.org/10.15640/ijaah.v5n2p5 Visual Narratives of History A Close Reading into the Portrayal of World War II in the Paintings of Paul Nash, Eric Kennington and Graham Sutherland: Aptitude for Report or Tendency to Mislead. Nada Ben Hammouda1 Abstract The present thesis aims at providing an insight on the extent to which official British war paintings were capable of producing a pictorial record of Britain during World War Two. Through a qualitative research approach and a comprehensive analysis of selected paintings, this dissertation will point out the strengths and weaknesses of using art as a tool of reportage. The focus will be mainly centralized on three painters: Paul Nash, Eric Kennington and Graham Sutherland who signed contracts as official artists for the War Artists Advisory Committee. A comprehensive analysis will allude to both the propagandist as well as the informative task these paintings carried on. The analysis of selected paintings will be the backbone of this dissertation. Iconology will be applied to read artworks and assess their historical value. This study will also involve a comparison between artists in terms of style, backgrounds and experiences. Similarities as well as disparities will be pointed out and their effect on the artistic output will be examined. Despite not being the focal point of this research, this comparison will highlight the reasons why some art may be referred to as a record of events and other may not. -
Claire Bowen PAUL NASH
Claire Bowen PAUL NASH AND THE FIRST WORLD WAR OFFICIAL WAR ARTISTS SCHEME Art and the British Propaganda Effort Formal British propaganda activity began within weeks of the declaration of war. By August 1914, Lloyd George had personally asked Charles Masterman, his Chancellor of the Duchy of Lancaster, to look into ways of countering the propaganda campaign already begun by Germany in the U.S.A. By Septem- ber, the Propaganda Department had been established in Wellington House in Central London, under the aegis of the Foreign Office and with Masterman as its Director. It was the first time that such a department had existed in Britain and it was the first war in which all the belligerents came to possess such an institution. The purpose of the Department was to gain the sympathy of influential neutrals and reinforce home support for the war. A good deal of its work, therefore, involved the production and distribution of material presenting the war from the Allied point of view. At this stage the material in question in- cluded articles, write-ups of interviews, photographs, maps, lantern slides, posters, post-cards, etc.—essentially information that lent itself to easy repro- duction by mechanical means and that, generally speaking, echoed the type of didactic entertainment so appreciated by the late Victorians and Edwardians. The Department was staffed by distinguished academics, civil serv- ants, journalists and museum personnel organized into sections dealing with specific activities or targets. From the first, it was clear that the Department was to be the preserve of the intellectuals. This was to be an extremely impor- tant factor in determining the nature of the British propaganda machine. -
Wrb-Cat22web.Pdf
CATALOGUE 22 121 E. Union St., Pasadena, Ca 91103 · Tel. (626) 714-7720 · [email protected] www.WhitmoreRareBooks.com Books may be reserved by email: [email protected] and by phone: (626) 714-7720 We welcome you to come visit our shop during normal business hours: 121 E. Union St., Pasadena, Ca 91103 For our complete inventory, including many first editions, signed books and other rare items, please visit our website at: www.WhitmoreRareBooks.com Follow us on social media! @WRareBooks @whitmorerarebooks whitmorerarebooks Charles Dickens’ Works (in 32 vols.) - Dickens, Charles - item 13 Catalogue 22 Author and Bibliophile Maria Graham’s collection of Austen’s full published works, predating the official Collected Works 1. Austen, Jane [Graham, Maria] Complete collection of First and Early Editions of Jane Austen’s Works (in 15 vols.) London: T. Egerton; J. Murray, 1813-1818. Various editions. Preceding the first Collected Works of Jane Austen (1833) by over a decade. First, second, and third editions, uniformly bound, without half titles, in 19th century half vellum, blue cloth boards, spines lettered in black. Overall a pleasing set, showing only occasional scattered foxing, small marginal tears or early paper repairs not affecting text. Belonging to author and bibliophile Maria Graham and compiled by Austen’s publishers, the present exceptional collection of Austen works predates the first official Collected Works by over a decade and “might then be thought of as forming in a sense the first collected edition of Jane Austen’s works” (Gilson). Passed down through four generations of women, Northanger Abbey’s front blanks contain details on the set’s wonderful provenance; and volumes bear the ownership inscriptions of M. -
To Download a Brave New World Catalogue
A BRAVE NEW WORLD BRITISH ART IN THE 20TH CENTURY 1 A BRAVE NEW WORLD BRITISH ART IN THE 20TH CENTURY Gerrish Fine Art By Appointment 35a Jermyn Street, London SW1Y 6DT 0207 871 3089 [email protected] www.gerrishfineart.com Members of the International Fine Print Dealers Association (IFPDA) 2 3 TWOTWO YOUNG YOUNG RADICALS RADICALS GAUDIER-BRZESKAGAUDIER-BRZESKA & & BOMBERG BOMBERG 4 5 HENRI GAUDIER-BRZESKA (1891-1915) HENRI GAUDIER-BRZESKA (1891-1915) Signed by Brodzky and numbered ‘imp. 31/50’ in black This is the only linocut produced by the sculptor Henri ink. Printed on thick wove paper. It is unlikely the projected Gaudier-Brzeska. In his 1933 biography, Brodzky wrote, edition of 50 was completed. Printed posthumously. ‘Brzeska saw me at work, cutting designs at my home, and he decided to do some also. Being near Christmas time he Collections: V & A; British Museum; Metropolitan cut a version of his ‘Wrestlers’ to be used as a card’. Museum of Art; The Art Institute of Chicago; Princeton University Art Museum; Museum of Fine Arts Boston; Gaudier based his design on a 1914 plaster relief of the Harvard Art Museums same subject now in the permanent collection of the Museum of Fine Arts Boston. Gaudier-Brzeska’s interest Literature: Carey & Griffiths, ‘Avant-Garde British in the subject of wrestlers was inspired by his visits to the Printmaking 1914-1960’, British Museum Publications London Wrestling Club, off Fleet Street, in 1912-1913. Ltd, 1990, cat. no. 18, p. 45 He made numerous drawings from life there, and wrote, in a letter to Sophie Gaudier Brzeska dated December 1912: ‘Last night I went to see the wrestlers – God! I have seldom seen anything so lovely – two athletic types, large shoulders, taut, big necks like bulls, small in the build with firm thighs and slender ankles, feet sensitive as hands, and not tall. -
T. E. Lawrence
THE ARMCHAIR TRAVELLER V ‘ LAWRENCE OF ARABIA’ FIRST & LIMITED EDITIONS PRIVATE PRESS BOOKS MANUSCRIPTS & EPHEMERA BY & RELATING TO T . E . LAWRENCE FROM OR FORMERLY IN THE COLLECTIONS OF THE REV. E.W. COX • R.E.D. RAWLINS • DAVID ENDERS • PETER DANBY-SMITH • &C. BERNARD QUARITCH LIMITED Antiquarian Booksellers since 1847 Some of the evil of my tale may have been inherent in our circumstances • For years we lived anyhow with one another in the naked desert, under the indifferent heaven • By day the hot sun fermented us; and we were dizzied by the beating wind • At night we were stained by dew, and shamed into pettiness by the innumerable silences of stars • We were a self-centred army without parade or gesture, devoted to freedom, the second of man’s creeds, a purpose so ravenous that it devoured all our strength, a hope so transcendent that our earlier ambitions faded in its glare. T.E. LAWRENCE, SEVEN PILLARS OF WISDOM . Bankers: Barclays Bank PLC, 1 Churchill Place, London For enquiries about this catalogue, please contact: E14 5HP Mark James ([email protected]) or Sort code: 20-65-82 Swift code: BARCGB22 Anke Timmermann ([email protected]) Sterling account: IBAN GB98 BARC 206582 10511722 Euro account: IBAN GB30 BARC 206582 45447011 Bernard Quaritch Limited US Dollar account: IBAN GB46 BARC 206582 63992444 40 South Audley Street, London W1K 2PR Tel.: +44 (0)20 7297 4888 Fax: +44 (0)20 7297 4866 Mastercard and Visa accepted. Website: www.quaritch.com Please make cheques payable to ‘Bernard Quaritch Limited’. Front cover: item 3 VAT number: GB 840 1358 54 © Bernard Quaritch Limited 2017 LIST 2017/6 BERNARD QUARITCH LIMITED Antiquarian Booksellers since 1847 THE ARMCHAIR TRAVELLER V ‘ LAWRENCE OF ARABIA’ I. -
1 This Is an Accepted Manuscript of a Book Chapter Published By
1 This is an Accepted Manuscript of a book chapter published by Routledge in The Great War and the British Empire : culture and society on 25/11/16, available online: https://www.routledge.com/The- Great-War-and-the-British-Empire-Culture-and-society/Walsh-Varnava/p/book/9781472462275 2 ‘Our Warrior Brown Brethran: Identity and Difference in Images of Non-White Soldiers serving with the British Army in British Art of the First World War.’ There can be no doubt that the peoples of the British Empire made an immense contribution to the British war effort during the First World War. There has been much greater recognition in recent years of the important part played by soldiers from the so-called White Dominions: ANZACS at Gallipoli and the impressive fighting reputation of the Canadian and Australian Corps, New Zealand Division and South African Brigade, on the Western Front.1 The wider British general lay public is only just now beginning to appreciate the undoubted heroism of men of the Indian Army – who held the line on the Western Front for a critical period in 1914-15 and without whom the British could not have defeated the forces of the Ottoman Empire in Mesopotamia and Palestine.2 India contributed by far the most non-white combat and support troops to the British Imperial war effort, over 1.1 million. In August 1914 the Indian Army had numbered 242,000; between 1914 and 1918 a further 862,855 Indians volunteered for the Indian Army; from this a total 552,000 served overseas: in France, Palestine and Mesopotamia, and at Gallipoli.3