DOCSLIB.ORG

Modern British and Irish Art Wednesday 28 May 2014

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Modern British and Irish Art Wednesday 28 May 2014 Modern British and irish art Wednesday 28 May 2014 MODERN BRITISH AND IRISH ART Wednesday 28 May 2014 at 14.00 101 New Bond Street, London duBlin Viewing Bids enquiries CustoMer serViCes (highlights) +44 (0) 20 7447 7448 London Monday to Friday 08.30 to 18.00 Sunday 11 May 12.00 - 17.00 +44 (0) 20 7447 4401 fax Matthew Bradbury +44 (0) 20 7447 7448 Monday 12 May 9.00 - 17.30 To bid via the internet please +44 (0) 20 7468 8295 Tuesday 13 May 9.00 - 17.30 visit bonhams.com [email protected] As a courtesy to intending bidders, Bonhams will provide a london Viewing Please note that bids should be Penny Day written Indication of the physical New Bond Street, London submitted no later than 4pm on +44 (0) 20 7468 8366 condition of lots in this sale if a Thursday 22 May 14.00 - 19.30 the day prior to the sale. New [email protected] request is received up to 24 Friday 23 May 9.30 - 16.30 bidders must also provide proof hours before the auction starts. Saturday 24 May 11.00 - 15.00 of identity when submitting bids. Christopher Dawson This written Indication is issued Tuesday 27 May 9.30 - 16.30 Failure to do this may result in +44 (0) 20 7468 8296 subject to Clause 3 of the Notice Wednesday 28 May 9.30 - 12.00 your bid not being processed. [email protected] to Bidders. Live online bidding is available Ingram Reid illustrations sale number for this sale +44 (0) 20 7468 8297 Front cover: lot 108 21769 Please email [email protected] [email protected] Back cover: lot 57 with ‘live bidding’ in the subject Inside front cover: lot 13 Catalogue line 48 hours before the auction Jonathan Horwich Inside back cover: lot 105 £20.00 to register for this service Global Director, Picture Sales Opposite: lot 84 +44 (0) 20 7468 8280 [email protected] Please note that we are closed Monday 26 May 2014 for the Irish Representative Spring Bank Holiday Jane Beattie +353 (0) 87 7765114 iMportant inforMation [email protected] The United States Government has banned the import of ivory into the USA. Lots containing ivory are indicated by the symbol Ф printed beside the lot number in this catalogue. Bonhams 1793 Limited Bonhams 1793 Ltd Directors Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Chairman, Colin Sheaf Chairman, Jonathan Baddeley, Andrew McKenzie, Simon Mitchell, Jeff Muse, Registered Office: Montpelier Galleries Colin Sheaf Deputy Chairman, Antony Bennett, Matthew Bradbury, Mike Neill, Charlie O’Brien, Giles Peppiatt, Montpelier Street, London SW7 1HH Malcolm Barber Group Managing Director, Harvey Cammell, Simon Cottle, Andrew Currie, Peter Rees, Julian Roup, Iain Rushbrook, Matthew Girling CEO UK and Europe, David Dallas, Paul Davidson, Jean Ghika, John Sandon, Tim Schofield, Veronique Scorer, +44 (0) 20 7393 3900 Geoffrey Davies, Jonathan Horwich, Charles Graham-Campbell, Miranda Grant, James Stratton, Roger Tappin, Ralph Taylor +44 (0) 20 7393 3905 fax James Knight, Patrick Meade, Robin Hereford, Asaph Hyman, Charles Lanning, Shahin Virani, David Williams, Caroline Oliphant, Hugh Watchorn. Sophie Law, Camilla Lombardi, Fergus Lyons, Michael Wynell-Mayow, Suzannah Yip. Paul Maudsley, Gordon McFarlan, Central Middlesex sale Hospital inforMation Park Royal Coronation Road W Bonhams, e d s P t Park Royal a e a rn r o A k R v e R e s A4 o 0 a y Park a h l C Royal Western Ave A40 R o 0 Station a 0 d Acton 0 4 Cemetery North A Acton d Station a o R a i r o t c i V West Acton Horn Lane Bids Collection and Storage StationAll other sold lots will remain in Important Notice +44 (0) 20 7447 7448 after sale Bonhams New Bond Street A surcharge of 2% is applicable +44 (0) 20 7447 7401 fax Lots marked with ‘W’ will be Collections department until when using Mastercard, Visa [email protected] transferred to the warehouse at Wednesday 11 June 2014. Lots and overseas debit cards. www.bonhams.com 5pm on the day of the Sale and not collected by then will be will be available for collection as removed to Bonhams The following symbol is used to Payments from 2pm on Friday 30 May warehouse. These lots will also denote that VAT is due on the Buyers 2014 from Bonhams Park Royal be subject to transfer and hammer price and buyer’s +44 (0) 20 7447 7447 Warehouse at: storage charges. Please refer premium +44 (0) 20 7447 7401 fax to the department. Address: † VAT 20% on hammer price Sellers Unit 1, Sovereign Park Lots may be released from and buyer’s premium Payment of sale proceeds Coronation Road Bonhams warehouse on +44 (0) 20 7447 7447 Park Royal production of the Collection * VAT on imported items at a +44 (0) 20 7447 7401 fax London NW10 7QP Order obtained from cashiers preferential rate of 5% on Tel: +44 (0) 87 0811 3867 office at Bonhams, Knightsbridge hammer price and the prevailing Valuations, taxation and Hours of opening 9.30am to or New Bond Street and a form rate on buyer’s premium heritage 4.30pm Monday to Friday of photographic ID. If a third party +44 (0) 20 7468 8340 is collecting on behalf of the VAT refunds on exports from +44 (0) 20 7468 5860 fax These lots will be subject to client, the client must provide the EU [email protected] transfer and storage charges if Bonhams with written authority To submit a claim for refund of they are not collected within the prior to collection. The third party VAT HMRC require lots to be Catalogue subscriptions period outlined below. must present a photographic exported from the EU within To obtain any Bonhams form of ID when collecting. strict deadlines. catalogue or Handling and storage to take out an annual charges Payment in advance For lots on which Import VAT subscription: Transfer and storage charges Tel: +44 (0) 20 7393 3912/3913 has been charged; marked in Subscriptions Department for ‘W’ items will commence on to ascertain amount due by: the catalogue with a * or Ω, lots +44 (0) 1666 502200 Wednesday 11 June 2014 and cash, cheque with banker’s must be exported within 30 +44 (0) 1666 505107 fax will be applicable for each card, credit card, bank draft or days of Bonhams’ receipt of [email protected] working day. traveller’s cheque. payment and within 3 months of the sale date. For all other lots Shipping The charges levied by Bonhams Payment at time of collection export must take place within 3 For information and estimates are as follows: By credit card / debit card months of the sale date. on domestic and international shipping as well as export All lots marked with W For further VAT information licenses please contact Bonhams please contact: Shipping Department on: Transfer per lot £35.00 [email protected] +44 (0) 20 8963 2849 Daily storage per lot £3.60 +44 (0) 20 8963 2850 +44 (0) 20 7629 9673 fax All other objects [email protected] Transfer per lot £20.00 Daily storage per lot £1.90 All the above charges are exclusive of VAT. 1 AR Vaughan had always been interested in the theme of assembling Keith Vaughan (1912-1977) groups of figures and had been particularly struck by the exotic Group of Figures crowds he discovered gathering in the markets at Marrakech and signed ‘Keith Vaughan’ (lower right); titled and dated ‘Group of Taroudannt in 1965. The intensity of mood, light and, in particular, the Figures/1965’ (on a label attached to the backboard) concentration of rich Moroccan colours impressed him: gouache, ink and wax resist 15.2 x 13.9 cm. (6 x 5 1/2 in.) The cotton djellabas start a deep indigo blue and bleach in the sun through every tone of the colour until they reach a bluish white. The £6,000 - 8,000 same dye must be used in the paint on all the shutters in Essaouira €7,300 - 9,700 which are indigo inside and pale cobalt outside (Keith Vaughan: US$10,000 - 13,000 Journals & Drawings, Alan Ross, 1966, p.212). Provenance 1965 was a veritable gouache year for Vaughan and he produced Private Collection, U.K. a huge number of them. He described his gouache technique as a ‘volatile medium’ and combined his pigment with ink, pastels and wax-resist. We are grateful to Anthony Hepworth for his assistance in cataloguing this lot and to Gerard Hastings, author of Keith Vaughan: The Photographs (Pagham Press, 2013), for compiling the catalogue entry. Modern British and Irish Art | 7 2 AR Keith Vaughan (1912-1977) This work, in mixed media, is closely related to Winter Landscape, Winter Landscape one of eight lithographic prints that Vaughan made during the late signed and inscribed ‘Lithograph in 3 colours/From: Keith 1940s and early 1950s. It appears to be a trial run for the lithograph Vaughan/37 Hamilton Terrace/N.W.8/CUN:8836’ (verso) or an experimental attempt to resolve the composition, balance gouache, crayon and collage out the forms and work out how the coloured ink overlays could be 28.9 x 38.1 cm. (11 3/8 x 15 in.) managed. Making a collage, mixed media piece before producing Executed circa 1951 his drawing on the lithographic stone seems to be Vaughan’s usual method of working. A comparable example, using collage, gouache £7,000 - 10,000 and lithographic pencil, exists for his lithograph Figure with Boat, €8,500 - 12,000 made the same year (see Keith Vaughan: Figure and Landscape, US$12,000 - 17,000 Victoria Art Gallery, Bath, 2007, p.20).
Load more

Recommended publications
  • Downloaded from Brill.Com10/04/2021 08:07:20AM This Is an Open Access Chapter Distributed Under the Terms of the CC BY-NC-ND 4.0 License
    INTERNATIONAL JOURNAL FOR HISTORY, CULTURE AND MODERNITY www.history-culture-modernity.org Published by: Uopen Journals Copyright: © The Author(s). Content is licensed under a Creative Commons Attribution 4.0 International Licence eISSN: 2213-0624 L’Art pour l’Art or L’Art pour Tous? The Tension Between Artistic Autonomy and Social Engagement in Les Temps Nouveaux, 1896–1903 Laura Prins HCM 4 (1): 92–126 DOI: 10.18352/hcm.505 Abstract Between 1896 and 1903, Jean Grave, editor of the anarchist journal Les Temps Nouveaux, published an artistic album of original prints, with the collaboration of (avant-garde) artists and illustrators. While anar- chist theorists, including Grave, summoned artists to create social art, which had to be didactic and accessible to the working classes, artists wished to emphasize their autonomous position instead. Even though Grave requested ‘absolutely artistic’ prints in the case of this album, artists had difficulties with creating something for him, trying to com- bine their social engagement with their artistic autonomy. The artistic album appears to have become a compromise of the debate between the anarchist theorists and artists with anarchist sympathies. Keywords: anarchism, France, Neo-Impressionism, nineteenth century, original print Introduction While the Neo-Impressionist painter Paul Signac (1863–1935) was preparing for a lecture in 1902, he wrote, ‘Justice in sociology, har- mony in art: same thing’.1 Although Signac never officially published the lecture, his words have frequently been cited by scholars since the 1960s, who claim that they illustrate the widespread modern idea that any revolutionary avant-garde artist automatically was revolutionary in 92 HCM 2016, VOL.
    [Show full text]
  • TURNER PRIZE: Most Prestigious— Yet Also Controversial
    TURNER PRIZE: Most prestigious— yet also controversial Since its inception, the Turner Prize has been synonymous with new British art – and with lively debate. For while the prize has helped to build the careers of a great many young British artists, it has also generated controversy. Yet it has survived endless media attacks, changes of terms and sponsor, and even a year of suspension, to arrive at its current status as one of the most significant contemporary art awards in the world. How has this controversial event shaped the development of British art? What has been its role in transforming the new art being made in Britain into an essential part of the country’s cultural landscape? The Beginning The Turner Prize was set up in 1984 by the Patrons of New Art (PNA), a group of Tate Gallery benefactors committed to raising the profile of contemporary art. 1 The prize was to be awarded each year to “the person who, in the opinion of the jury, has made the greatest contribution to art in Britain in the previous twelve months”. Shortlisted artists would present a selection of their works in an exhibition at the Tate Gallery. The brainchild of Tate Gallery director Alan Bowness, the prize was conceived with the explicit aim of stimulating public interest in contemporary art, and promoting contemporary British artists through broadening the audience base. At that time, few people were interested in contemporary art. It rarely featured in non-specialist publications, let alone in the everyday conversations of ordinary members of the public. The Turner Prize was named after the famous British painter J.
    [Show full text]
  • The London Group Open – Exhibiting Artists
    The London Group Open 2017 Part One: 8 - 17 November 2017 Part Two: 22 November - 1 December 2017 The Cello Factory 33-34 Cornwall Road, London SE1 8TJ 2pm - 6pm daily The UK’s longest-running and most prestigious artists’ collective, The London Group, is delighted to announce the artists selected from open call, to exhibit alongside its members, in rd the 83 London Group Open. The exhibition is a wonderful opportunity for the selected artists to raise their profile, win cash and material prizes, and exhibit their work to the public alongside the Group’s esteemed members. From a wide range of submissions, The London Group Selection Committee – which consists of existing members – carefully selected 79 artists to each exhibit a work across two exhibitions at The Cello Factory, London from 8 – 17 November 2017 and 22 November – 1 December 2017. Part 1: 8 - 17 November 2017 Jonathan Alibone Belinda Bailey Rosalind Barker Maria Bouquet Day Bowman Anita Bryan Stephen Calcutt Adrienne Cameron Stephen Carley Tom Cartmill Michael Coombs Shona Davies, Dave Monaghan and Jon Klein Richard Dickson Jo Evans Jane Eyton Garry Flinders Chloe Fremantle Nicholas Gentilli Lyndsey Gilmour David Gould Ashley Greaves Gudrun Sigridur Haraldsdottir Joshua Hilton Beverley Isaacs Aubrey Laret Jockel Liess Rebekah Miller Blake O'Donnell Sarah Pager Sumi Perera Angela Smith Louise Whittles Emma Witter Eleanor Wood LJ Wright Part 2: 22 November – 1 December 2017 Susan Absolon Jackie Berridge Jo Brown Stephen Buckeridge Sara Choudhrey Liz Collini Richard Colson Tim
    [Show full text]
  • Open Art Exhibitions 2016
    Submitting Work Checklist The Columbia Threadneedle Prize The Columbia Threadneedle Prize Check for results: 1 Mar Several of Britain’s leading national art societies host their Annual Open Artists are encouraged to submit fresh and £300, unframed prints £120. Submit online: 13 July to 16 Oct 2015 Unaccepted collection: 3 Mar intriguing figurative or representational works Exhibitions at Mall Galleries, London. Non-member artists may submit their Attend show: 5 to 20 May Awards & Prizes Login for results: 23 Oct that are strong and topical observations on, or Call For Entries First Prize £20,000 plus a solo exhibition at work, which, if accepted, will be hung in the Annual Exhibition alongside Receiving Day: 21 Nov Unsold collection: 26 May interpretations of, the world around us. Mall Galleries work by the well-established member artists. Check for results: 26 Nov Acceptable media: Painting, sculpture, drawing, Visit www.columbiathreadneedleprize.com Submit your work Unaccepted collection: 28 Nov New English Art Club (NEAC) original framed prints (please detail edition). Why submit? Selling Price & Commission Submit online: 30 Nov ‘15 to 4 Mar 2016 Receiving Day (if pre-selected) Attend show: 3 to 20 Feb 2016 All work must be submitted online • Opportunity to exhibit at a prestigious All work must be for sale (excluding Royal Saturday 21 November, 10am to 5pm Unsold collection: 25 Feb Login for results: 11 Mar Opens: Monday 13 July 2015, 12 noon gallery in the heart of London, alongside Society of Portrait Painters). The price of Notification of acceptance posted on Receiving Day: 9 Apr Closes: Friday 16 October 2015, 12 noon well established and admired artists works stated on the registration form must www.mallgalleries.org.uk on Thursday 26 Check for results: 12 Apr Notification of pre-selectionLog in on Friday • Have your work seen by thousands of include commission of 45% (plus VAT).
    [Show full text]
  • Camille Pissarro Letters to His Son Lucien Ebook, Epub
    CAMILLE PISSARRO LETTERS TO HIS SON LUCIEN PDF, EPUB, EBOOK Lionel Abel | 432 pages | 15 Mar 2007 | Kessinger Publishing | 9781432592974 | English | Whitefish MT, United States Camille Pissarro Letters to His Son Lucien PDF Book People love only the mediocre. He claims that the worst is over. Add to Basket Used Condition: good. We shall see. It features fresh and spontaneous brushwork along with a pleasant analogous color scheme. Thus Pissarro found himself almost completely isolated. As for Durand, it is impossible to separate him from a single penny. It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character. I am at the moment reading about the terrible explosion in Victoria Station, 2 and I am beginning to think there is no security for anyone in London now, it would be wiser, my boy, to come home and work with me, — don't you think so? Send me word about the family and about the catastrophe in London. Some, like Cezanne, sought refuge in total solitude, others, like Renoir and Monet, abandoning their comrades, tried to exhibit at the official Salon, still others like Gauguin, hoped to find new inspiration in far off countries, while Pissarro turned to the new generation, anxious to guide it and ready to accept in exchange a share of its ideas. One has only to read such or such a newspaper to be suspected and put on the index. I am going to look at houses at Meaux.
    [Show full text]
  • The First World War Centenary Sale | Knightsbridge, London | Wednesday 1 October 2014 21999
    ALE S ENARY ENARY T WORLD WAR CEN WORLD WAR T Wednesday 1 October 2014 Wednesday Knightsbridge, London THE FIRS THE FIRST WORLD WAR CENTENARY SALE | Knightsbridge, London | Wednesday 1 October 2014 21999 THE FIRST WORLD WAR CENTENARY SALE Wednesday 1 October 2014 at 1pm Knightsbridge, London BONHAMS ENQUIRIES SALE NUMBER IMPORTANT INFORMATION Montpelier Street 21999 The United States Government Knightsbridge Books, Manuscripts, has banned the import of ivory London SW7 1HH Photographs and Ephemera CATALOGUE into the USA. Lots containing www.bonhams.com Matthew Haley £20 ivory are indicated by the symbol +44 (0)20 7393 3817 Ф printed beside the lot number VIEWING [email protected] Please see page 2 for bidder in this catalogue. Sunday 28 September information including after-sale 11am to 3pm Medals collection and shipment. Monday 29 September John Millensted 9am to 4.30pm +44 (0)20 7393 3914 Please see back of catalogue Tuesday 30 September [email protected] for important notice to bidders 9am to 4.30pm Wednesday 1 October Militaria ILLUSTRATIONS 9am to 11am David Williams Front cover: Lot 105 +44 (0)20 7393 3807 Inside front cover: Lot 48 BIDS [email protected] Inside back cover: Lot 128 +44 (0) 20 7447 7448 Back cover: Lot 89 +44 (0) 20 7447 7401 fax Pictures and Prints To bid via the internet Thomas Podd please visit www.bonhams.com +44 (0)20 7393 3988 [email protected] New bidders must also provide proof of identity when submitting Collectors bids. Failure to do this may result Lionel Willis in your bids not being processed.
    [Show full text]
  • DAME BARBARA HEPWORTH 1903 Wakefield - St
    LE CLAIRE KUNST SEIT 1982 DAME BARBARA HEPWORTH 1903 Wakefield - St. Ives 1975 Marble Form Oil and pencil over gesso-prepared board. Signed and dated lower left Barbara Hepworth 1963. Further signed, titled, dated and inscribed on the reverse. 455 x 660 mm PROVENANCE: Mr and Mrs H. Davidson, Toronto – Private collection, U.S.A. EXHIBITIONS: Barbara Hepworth: Sculpture and Drawings, Gimpel-Hanover Galerie, Zurich, 16 November 1963 - 11 January 1964 (drawings not listed) – Barbara Hepworth: Sculptures and Drawings, Gimpel Fils, London, 2 - 27 June 1964 (drawings not listed) – Focus on Drawings, Art Gallery of Toronto, Toronto, 15 October – 7 November 1965, cat. no. 117. RELATED DRAWINGS IN PUBLIC COLLECTIONS: Art Gallery of Ontario, Toronto – Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C. – National Gallery of Australia, Canberra – Manchester City Art Gallery – Milwaukee Art Gallery – Piers Art Centre, Stromness, Orkney Islands – Rijksmuseum Kröller-Müller, Otterlo – Tate, London Vision is not sight ‒ it is the perception of the mind. It is the discernment of the reality of life, a piercing of the superficial surfaces of material existence that gives a work of art its own life and purpose and significant power.1 (Barbara Hepworth, 1937) In 1966, in her autobiographical essay A Sculptor’s Landscape, Barbara Hepworth reiterated the mental, rather than the visual inspiration that informed virtually all of her abstract, sculptural drawings from the early 1940s onwards, when she wrote: I rarely draw what I see – I draw what I feel in my body.2 By sculp- tural, I mean that the drawings echoed, were a two-dimensional exploration of her current three- dimensional obsessions.
    [Show full text]
  • Sculpting Lives S1E1, Barbara Hepworth
    Sculpting Lives podcast transcript Series 1, Episode 1: Barbara Hepworth This document is an accessible transcript of the podcast audio. Subscribe and listen: https://audioboom.com/posts/7525504-sculpting-lives-barbara-hepworth [music] Sara Matson: She managed her brand, fair play. Eleanor Clayton: A normal person from Wakefield; A remarkable artist but a remarkable woman. Stephen Feeke: Hepworth was odd because she didn't see herself as a feminist at all and didn't see herself as “I'm a pioneering woman”. She just felt she was a pioneering sculptor. Barbara Hepworth: I was born with the ideas of certain shapes in my mind. At least I remember as far back as seven. The whole time one's been working at it and working, trying to simplify and make more mature, get the right scale, and develop it according to the development of society. [music] Jo Baring: Hello, and welcome to Sculpting Lives the podcast by me, Jo Baring. Sarah Victoria Turner: And me, Sarah Turner. Jo, this is our first podcast and episode. Why are we doing this? Jo Baring: We met in our professional lives. You are Deputy Director of the Paul Mellon Centre, and I am Director of the Ingram Collection. We have a shared interest in art, but we realised when we met that we are really fascinated by sculpture in particular. Also, during the course of our discussions, we realised that women artists and women sculptors, in general, are less commercially successful than men, less represented in national institutions, museums, possibly have less gallery shows and we really wanted to unpick why that happens.
    [Show full text]
  • Auckland City Art Gallery
    Frances Hodgkins 14 auckland city art gallery modern european paintings in new Zealand This exhibition brings some of the modern European paintings in New Zealand together for the first time. The exhibition is small largely because many galleries could not spare more paintings from their walls and also the conditions of certain bequests do not permit loans. Nevertheless, the standard is reasonably high. Chronologically the first modern movement represented is Impressionism and the latest is Abstract Expressionism, while the principal countries concerned are Britain and France. Two artists born in New Zealand are represented — Frances Hodgkins and Raymond Mclntyre — the former well known, the latter not so well as he should be — for both arrived in Europe before 1914 when the foundations of twentieth century painting were being laid and the earlier paintings here provide some indication of the milieu in which they moved. It is hoped that this exhibition may help to persuade the public that New Zealand is not devoid of paintings representing the serious art of this century produced in Europe. Finally we must express our sincere thanks to private owners and public galleries for their generous response to requests for loans. P.A.T. June - July nineteen sixty the catalogue NOTE: In this catalogue the dimensions of the paintings are given in inches, height before width JANKEL ADLER (1895-1949) 1 SEATED FIGURE Gouache 24} x 201 Signed ADLER '47 Bishop Suter Art Gallery, Nelson Purchased by the Trustees, 1956 KAREL APPEL (born 1921) Dutch 2 TWO HEADS (1958) Gouache 243 x 19i Signed K APPEL '58 Auckland City Art Gallery Presented by the Contemporary Art Society, 1959 JOHN BRATBY (born 1928) British 3 WINDOWS (1957) Oil on canvas 48x144 Signed BRATBY JULY 1957 Auckland City Art Gallery Presented by Auckland Gallery Associates, 1958 ANDRE DERAIN (1880-1954) French 4 LANDSCAPE Oil on canvas 21x41 J Signed A.
    [Show full text]
  • Sir Hugh Lane and Mrs. Ruth Shine Papers
    Leabharlann Naisiúnta na hÉireann National Library of Ireland Collection List No. 58 SIR HUGH LANE AND MRS. RUTH SHINE PAPERS (Mss 35,822-35,828) ACC. No. 5073 1 CONTENTS History and Organization of the Collection 3 1. LETTERS FROM LANE 4 2. LETTERS TO LANE 5-20 3. LETTERS TO RUTH SHINE 21-22 4. OTHER LETTERS 23-24 5. LANE’S DEATH AND ESTATE 25-26 6. ADDITIONAL PRINTED ITEMS 27-28 7. MISCELLANEOUS 29-30 Index 31-37 2 History and Organization of the Collection After the death of Sir Hugh (Percy) Lane on the Lusitania in 1915 his papers passed on to his sister Mrs. Ruth Shine (Later Mrs. A. R. Heaven). Material mostly relating to his death and his controversial will were added by Shine. On her death in 1959 the papers came into the custody of her executors, Mrs. G. de B. West (a cousin) and Mrs. Thistlethwaite, daughter of Harold Lane, brother of Sir Hugh Lane and Ruth Shine. The material was acquired by the National Library between 1960 and 2000 and the various accessions have been catalogued at various times: 1. Accession 2155: donated by Mrs. West in August 1960. 2. Accession 2293: purchased in July 1962. 3. Accession 2298: donated by Col. D.S.E. West, August 1962. 1-3 above are listed as Mss. 9975, 10,907-10,908, 10,929, 13,071-13,072 in Manuscript Sources for the History of Irish Civilization vol. 3, p. 15. 4. Accession 4136: NLI Collection List 10; Mss. 27,736-27,793; donated by Mrs.
    [Show full text]
  • Copyright Statement
    COPYRIGHT STATEMENT This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and no quotation from the thesis and no information derived from it may be published without the author’s prior consent. i ii REX WHISTLER (1905 – 1944): PATRONAGE AND ARTISTIC IDENTITY by NIKKI FRATER A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities & Performing Arts Faculty of Arts and Humanities September 2014 iii Nikki Frater REX WHISTLER (1905-1944): PATRONAGE AND ARTISTIC IDENTITY Abstract This thesis explores the life and work of Rex Whistler, from his first commissions whilst at the Slade up until the time he enlisted for active service in World War Two. His death in that conflict meant that this was a career that lasted barely twenty years; however it comprised a large range of creative endeavours. Although all these facets of Whistler’s career are touched upon, the main focus is on his work in murals and the fields of advertising and commercial design. The thesis goes beyond the remit of a purely biographical stance and places Whistler’s career in context by looking at the contemporary art world in which he worked, and the private, commercial and public commissions he secured. In doing so, it aims to provide a more comprehensive account of Whistler’s achievement than has been afforded in any of the existing literature or biographies. This deeper examination of the artist’s practice has been made possible by considerable amounts of new factual information derived from the Whistler Archive and other archival sources.
    [Show full text]
  • Laing Art Gallery First Floor Display January 2019 Paintings from the Collection – Label Texts in Display Order
    Laing Art Gallery first floor display January 2019 Paintings from the collection – Label texts in display order James Orrock (1829-1913) The Solway, Criffel in the distance 1896 Oil on canvas Bequest from John Lamb 1909 Criffel, an imposing hill in south-west Scotland, rises in the distance of this view of the wide sands of the Solway Firth at low tide. James Orrock was originally from Edinburgh, and had returned to Scotland in search of wild landscape to paint. Orrock greatly admired the breezy landscape views of David Cox. Orrock was originally a dentist, first in Edinburgh and then Nottingham. He became an artist after moving to London in around 1866, and was an important collector of British art. Benjamin Williams Leader (1831-1923) Sand dunes on the Conwy, about 1868 Oil on canvas Given by Susan Cowell 2013 The sea at Conwy Bay in North Wales provides the backdrop to this study of sand dunes. It’s a slightly unusual subject for Benjamin Leader, who focused on landscapes of meadows, hills and streams. He was particularly fond of sketching in Wales, and his naturalistic style was very popular during his lifetime. As a boy, he had gone on sketching trips with his father, an amateur artist who knew and admired John Constable. Anne Redpath (1895-1965) The Valley of San Martino di Lota about 1955 Oil on canvas Purchased 1961 San Martino di Lota is on the French island of Corsica, where Scottish artist Anne Redpath spent some time in 1955. She used thick paint and bold brushstrokes to describe this windswept landscape, also using a palette knife for the rough white stones in front of the house.
    [Show full text]