DOCSLIB.ORG

Raverat's River Interactive

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Raverat's River Interactive The River Cam According to Gwen Raverat Introduction Gwen Raverat, the granddaughter of naturalist Charles Darwin, was born and brought up in Cambridge and pursued an artistic path, including study at The Slade School of Fine Art, London. Her practice was, to a great extent, a diary of her life as a woman in the early and mid 1900’s, depicting scenes from her home city, of her husband, painter Jacques Raverat, as well as imagery from a short period living in the south of France. Substantial collections of her work rest in two Cambridge institutions, Murray Edwards College (Raverat’s work is part of the New Hall Art Collection) and The Fitzwilliam Museum. Working in paint and relief printmaking (usually woodcuts or wood engravings), Gwen Raverat paid great attention to detail and drew on her surroundings for her subject matter. The river Cam appears regularly in her works, as part of the landscape or as the central character of the works, taking the viewer’s eye under bridges and along the buildings of Cambridge. This publication sets out and maps a selection of Raverat’s work, pinpointing the location where she captured her chosen subjects. In the course of the research, discoveries and connections that have been found are noted alongside each work, together with relevant other material such as geographical and access information. Created as part of a project capturing contemporary visual responses to Raverat’s rivers, the publication forms a component of a wider enquiry entitled To The River. To The River is a public art commission to celebrate the story of the river Cam in Cambridge. The commission is being undertaken by artist Caroline Wright during 2018/19 and comprises community engagement events, and a public artwork for the river. The project website can be seen here: https://totheriver.info The contents of this document have been compiled as accurately as possible and in good faith, however identified locations are based on historic and sometimes variable information and cannot therefore be guaranteed. - 1 - The Family Tree Father’s Side William Sara Sedgwick m 1839 - 1914 1839 - 1902 1877 (Uncle William) (Aunt Sara) Gwen m Jacques Raverat Henrietta R.B Litchfield m b. 1885 1843 - 1927 1832 - 1903 1871 (Aunt Etty) (Uncle Richard) Charles m Katherine Pember b. 1887 George Maud Du Puy m 1845 - 1912 1861 - 1947 Margaret m Geoffrey Keynes 1884 (Father) (Mother) b. 1890 William m Monica Slingsby Elizabeth (Billy) b. 1894 1847 - 1926 Charles Darwin (Aunt Bessy) 1809 - 1882 Amy Ruck Bernard m Elinor Monsell (Grandfather) 1874 m 1839 1850 - 1876 b. 1876 Emma Wedgwood Francis 1808-1896 Ellen Crofts Francis m Francis Cornford 1848 - 1925 m (Grandmamma) 1883 1856-1903 b. 1886 (Uncle Frank) (Aunt Ellen) Florence Maitland 1913 d 1920 Elizabeth Frazer 1882 1846 - 1898 Leonard (Aunt Bee) 1850 - 1943 m (Uncle Lenny) Mildred Erasmus Massingberd 1900 b. 1881-1915 1868 - 1940 (Mildred) Ruth m W.Rees Thomas b. 1883 Horace Ida Farrer m 1851 - 1943 1854-1946 1880 Nora m Alan Barlow (Uncle Horace) (Aunt Ida) b. 1885 Gwen Raverat: Wood Engravings of Cambridge and Surroundings, ed. by Rosemary Davidson (Cambridge: Broughton House Books, 2003), p. 81-84 - 2 - The Family Tree Mother’s Side John Du Puy The Rev. John (of Philadelphia) Reynolds Charles Meredith Du Puy of Ellen Reynolds Caroline Reynolds (1) 1856 Adam Slemmer m m Philadelphia (Grandmother) (Great Aunt) d. 1868 1853 1823 - 1898 1833 - 1898 1840 - 1930 (Grandfather) (2) 1874 Richard Jebb d. 1905 Maud Du Puy 1861 - 1947 (Mother) Gwen Raverat: Wood Engravings of Cambridge and Surroundings, ed. by Rosemary Davidson (Cambridge: Broughton House Books, 2003), p. 81-84 - 3 - Timeline 1885 Gwendolen Mary born at Newnham Grange in Cambridge, the eldest child of George Darwin, son of Charles Darwin, and Maud Darwin (nee Du Puy), from Philadelphia. 1885-1892 Early childhood spent largely in the company of the Darwin tribe of cousins who lived in nearby large houses - Wychficld, The Grove and The Orchard. Learned to play the piano and later the flute. Lessons in reading, writing, poetry, geometry and arithmetic from her mother. Visits all through childhood to Down House, the Darwin family House in Kent. 1892 Started lessons with a day governess. 1894 French governess in summer vacation. Started drawing lessons with Miss Green. 1895 Visit to America. 1898 Accompanied her father to Geodetic Congress in Stuttgart, visited Heidelberg and Amsterdam to see Rembrandt exhibition - ‘Rembrandt became my God’. 1898-1901 Studied French, German, Latin, English Literature and experimental Physics with various tutors. Discovered the work of the father of modern wood engraving, Thomas Bewick. 1902-04 Attended Levana, a small private boarding school at Wimbledon Park. 1903 Accompanied her father to a conference in Copenhagen, visited Sweden. 1904-06 Cambridge again - music lessons, drawing classes, life classes, first attempts at painting. Began to be interested in social questions, became involved in a survey on poverty in Cambridge. 1905 Visit to Switzerland to keep her cousin Frances company during a depression, stopping in Paris to visit the Louvre, the Tuileries and Notre Dame. 1906 Accompanied her father to a conference in Budapest, visited Prague and Vienna. Time spent at a small private art school in London. Start of contact with the Stephen family (Vanessa, Thoby, Virginia, Adrian) and group of friends to become known as ‘Bloomsbury’. Attended a woman’s suffrage meeting in London. 1907 Another spell at a private art school. Visit to Frances in Switzerland. Saw Marlowe Society’s production of Marlowe’s ‘Doctor Faustus’, Rupert Brooke playing Mephistophilis. 1908 Met Rupert Brooke through involvement in Marlowe Society’s production of Milton’s ‘Comus’: casting, designing and making costumes with her cousin Frances. Entered Slade school of Painting and Drawing in London. She was taught drawing by Henry Tonks, painting by Philip Wilson Steer, art history by D.S.MacColl and Roger Fry. Met fellow students Mark Gertler and Stanley Spencer. Interest in graphic art, began to experiment in printmaking, particularly woodcuts. Gwen Raverat: Wood Engravings of Cambridge and Surroundings, ed. by Rosemary Davidson (Cambridge: Broughton House Books, 2003), p. 81-84 - 4 - Timeline 1909 Began to see more of the Stephen family in London. Visited Augustus John and entourage at Grantchester. Met Rupert Brooke’s friend Jacques Raverat (who had been at Emmanuel) now back in Cambridge and in love with Rupert’s friend Ka Cox. 1910 Jacques enrolled at the Slade, became close to Gwen. Gwen visited Holland, and Paris with Ka Cox. Met by Jacques, who took them off to his father’s chateau at Prunoy. Back in London, working on paintings and series of small wood engravings, exhibited at Friday Club exhibition. Good reviews, seven sales and a commission resulted. Visited Roger Fry’s ‘Manet and the Post-Impressionists’ exhibition. Rupert’s group of friends - Jacques, Ka, Frances and Gwen - dubbed ‘Neo-Pagans’ by Bloomsbury. 1911 Jacques and Gwen engaged. Reception for 350 at Newnham Grange, according to Darwin’s parents’ wishes, followed by fancy-dress supper party for friends. A week later Registry Office marriage. Painting honeymoon at West Lulworth, then at Prunoy. Summer at Protigny (meeting of philosophers and poets including André Gide) and in the Alps. Moved to St Paul’s Studios in London. 1912 West Lulworth and Alpes Maritimes. Gwen’s first experience of mountain climbing. Summer at Prunoy. Returned to Cambridge, staying at Newnham Grange - Gwen’s father ill with cancer. Returned Manor Farm at Croydon, 15 miles from Cambridge. Second Post- Impressionist exhibition organised by Roger Fry in London. Gwen lent Stanley Spencer’s ‘John Donne arriving in Heaven’. Started making wood engravings of religious subjects, some originating in Jacques’ drawings, influenced by Eric Gill. ‘The Visitation’ accepted for Friday Club exhibition in London. Death of her father. 1913 Large oil painting of same subject, now entitled ‘Two Women’, accepted for New English Art Club exhibition. 1914 Two wood engravings accepted by the New English Art Club. Visit with Jacques to Italy: Padua, Ravenna, Florence (with André Gide), Arezzo, San Sepolcro, Gubbio, Assisi. Gwen moved out of Manor Farm, joined Jacques in France, illness now diagnosed as multiple sclerosis. 1915 Returned to Newnham Grange, holidayed in Cornwall. Worked on wood engravings to illustrate Frances Cornford’s poems, ‘Spring Morning’. Moved into Conduit Head (Cornfords’ House). Death of Rupert Brooke devastated Gwen and Jacques and drew many friends to Cambridge and Conduit Head. Jacques and Gwen painted fresco, ‘Mediterranean Landscape’ (resembling landscape where Rupert Brooke died), in the house. Moved to Darnall’s Hall, Weston, near Stevenage. 1916 Elisabeth Jacqueline Raverat born to Gwen and Jacques at Newnham Grange. Back at Weston Gwen concentrated on looking after the baby and growing vegetables. Jacques spent all the time his health allowed painting. 1918 Visit of Gide to Weston and Cambridge. Both Gwen and Jacques had paintings in New English Art Club exhibition; increasingly her work as wood engraver attracting critical attention - illustrations to old ballads and small landscapes. 1919 Sophie Jane Raverat born at Newnham Grange. Gwen Raverat: Wood Engravings of Cambridge and Surroundings, ed. by Rosemary Davidson (Cambridge: Broughton House Books, 2003), p. 81-84 - 5 - Timeline 1920 Gwen exhibited 92 prints at Herbert Furst’s Little Art Rooms in London and later 20 to 30 paintings and prints in the Cambridge Magazine Shop in Cambridge. Gwen became one of ten founder members of the Society of Wood-Engravers, showed ten prints in opening exhibition and then regularly at annual exhibitions. Monograph on her work by Herbert Furst (including 14 prints) published in ‘Modern Wood-cutters’. Recognised as main figure in revival of wood engraving. Darnall’s Hall sub-let, Jacques, Gwen and children set off for France: first to Escures (where Jacques’ father now lived) and then to Vence, 1000 feet up, six miles from the Mediterranean.
Load more

Recommended publications
  • Charles Darwin: a Companion
    CHARLES DARWIN: A COMPANION Charles Darwin aged 59. Reproduction of a photograph by Julia Margaret Cameron, original 13 x 10 inches, taken at Dumbola Lodge, Freshwater, Isle of Wight in July 1869. The original print is signed and authenticated by Mrs Cameron and also signed by Darwin. It bears Colnaghi's blind embossed registration. [page 3] CHARLES DARWIN A Companion by R. B. FREEMAN Department of Zoology University College London DAWSON [page 4] First published in 1978 © R. B. Freeman 1978 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the permission of the publisher: Wm Dawson & Sons Ltd, Cannon House Folkestone, Kent, England Archon Books, The Shoe String Press, Inc 995 Sherman Avenue, Hamden, Connecticut 06514 USA British Library Cataloguing in Publication Data Freeman, Richard Broke. Charles Darwin. 1. Darwin, Charles – Dictionaries, indexes, etc. 575′. 0092′4 QH31. D2 ISBN 0–7129–0901–X Archon ISBN 0–208–01739–9 LC 78–40928 Filmset in 11/12 pt Bembo Printed and bound in Great Britain by W & J Mackay Limited, Chatham [page 5] CONTENTS List of Illustrations 6 Introduction 7 Acknowledgements 10 Abbreviations 11 Text 17–309 [page 6] LIST OF ILLUSTRATIONS Charles Darwin aged 59 Frontispiece From a photograph by Julia Margaret Cameron Skeleton Pedigree of Charles Robert Darwin 66 Pedigree to show Charles Robert Darwin's Relationship to his Wife Emma 67 Wedgwood Pedigree of Robert Darwin's Children and Grandchildren 68 Arms and Crest of Robert Waring Darwin 69 Research Notes on Insectivorous Plants 1860 90 Charles Darwin's Full Signature 91 [page 7] INTRODUCTION THIS Companion is about Charles Darwin the man: it is not about evolution by natural selection, nor is it about any other of his theoretical or experimental work.
    [Show full text]
  • Bloomsbury Scientists Ii Iii
    i Bloomsbury Scientists ii iii Bloomsbury Scientists Science and Art in the Wake of Darwin Michael Boulter iv First published in 2017 by UCL Press University College London Gower Street London WC1E 6BT Available to download free: www.ucl.ac.uk/ ucl- press Text © Michael Boulter, 2017 Images courtesy of Michael Boulter, 2017 A CIP catalogue record for this book is available from the British Library. This book is published under a Creative Commons Attribution Non-commercial Non-derivative 4.0 International license (CC BY-NC-ND 4.0). This license allows you to share, copy, distribute and transmit the work for personal and non-commercial use providing author and publisher attribution is clearly stated. Attribution should include the following information: Michael Boulter, Bloomsbury Scientists. London, UCL Press, 2017. https://doi.org/10.14324/111.9781787350045 Further details about Creative Commons licenses are available at http://creativecommons.org/licenses/ ISBN: 978- 1- 78735- 006- 9 (hbk) ISBN: 978- 1- 78735- 005- 2 (pbk) ISBN: 978- 1- 78735- 004- 5 (PDF) ISBN: 978- 1- 78735- 007- 6 (epub) ISBN: 978- 1- 78735- 008- 3 (mobi) ISBN: 978- 1- 78735- 009- 0 (html) DOI: https:// doi.org/ 10.14324/ 111.9781787350045 v In memory of W. G. Chaloner FRS, 1928– 2016, lecturer in palaeobotany at UCL, 1956– 72 vi vii Acknowledgements My old writing style was strongly controlled by the measured precision of my scientific discipline, evolutionary biology. It was a habit that I tried to break while working on this project, with its speculations and opinions, let alone dubious data. But my old practices of scientific rigour intentionally stopped personalities and feeling showing through.
    [Show full text]
  • The Project Gutenberg Ebook #35588: <TITLE>
    The Project Gutenberg EBook of Scientific Papers by Sir George Howard Darwin, by George Darwin This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Scientific Papers by Sir George Howard Darwin Volume V. Supplementary Volume Author: George Darwin Commentator: Francis Darwin E. W. Brown Editor: F. J. M. Stratton J. Jackson Release Date: March 16, 2011 [EBook #35588] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK SCIENTIFIC PAPERS *** Produced by Andrew D. Hwang, Laura Wisewell, Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (The original copy of this book was generously made available for scanning by the Department of Mathematics at the University of Glasgow.) transcriber's note The original copy of this book was generously made available for scanning by the Department of Mathematics at the University of Glasgow. Minor typographical corrections and presentational changes have been made without comment. This PDF file is optimized for screen viewing, but may easily be recompiled for printing. Please see the preamble of the LATEX source file for instructions. SCIENTIFIC PAPERS CAMBRIDGE UNIVERSITY PRESS C. F. CLAY, Manager Lon˘n: FETTER LANE, E.C. Edinburgh: 100 PRINCES STREET New York: G. P. PUTNAM'S SONS Bom`y, Calcutta and Madras: MACMILLAN AND CO., Ltd. Toronto: J. M. DENT AND SONS, Ltd. Tokyo: THE MARUZEN-KABUSHIKI-KAISHA All rights reserved SCIENTIFIC PAPERS BY SIR GEORGE HOWARD DARWIN K.C.B., F.R.S.
    [Show full text]
  • Commentary: Who Was Leonard Darwin? Commentary on Darwin L: 'Heredity and Environment: a Warning to Eugenists' in the Eugeni
    International Journal of Epidemiology, 2017, 1–4 doi: 10.1093/ije/dyx241 Commentary Commentary Commentary: Who was Leonard Darwin? Commentary on Darwin L: ‘Heredity and environment: a warning to eugenists’ in the Eugenics Review 1916 Tim M Berra Research Institute for the Environment and Livelihoods, Charles Darwin University, Darwin, NT 0909, Australia and Department of Evolution, Ecology and Organismal Biology, The Ohio State University, Mansfield, Ohio 44906, USA. E-mail: [email protected] Accepted 25 October 2017 Leonard Darwin (1850–1943) was the fourth son and Leonard had a 20-year career in the military, rising to eighth of 10 children born to first cousins Charles and the rank of major in 1889, and was sent on several expedi- Emma (nee Wedgwood) Darwin.1 Leonard showed an tions to photograph various astronomical events around early interest in photography and was encouraged by his the world. He married Elizabeth (‘Bee’) Frances Fraser in father in this pursuit. He was a rather sickly child, but 1882, and their honeymoon was spent near Brisbane, grew into a healthy adult who lived a long, full life. Queensland, Australia, as Leonard attempted to photo- Leonard’s nearly fatal bout of scarlet fever in 1862 likely graph a transit of Venus. The Royal Society sent Leonard to prevented Gregor Mendel from visiting Charles Darwin photograph a total eclipse of the sun in Grenada, West when Mendel was in Downe. Leonard never forgave him- Indies, in 1886, and Bee went with him. His observations self for this intrusion into history, and 80 years later he on photographing the corona and solar prominences with a reminisced ‘If I prevented my father from meeting Mendel, prismatic camera were published in the Philosophical do you not think that I even now ought to be hung, drawn Transactions of the Royal Society in 1889.3 and quartered?’2 When doctors recommended a long sea voyage for Bee’s failing health, Leonard resigned his commission in 1890, and they sailed to New York, crossed to California and Pre-eugenics life then on to Japan, China and Egypt.
    [Show full text]
  • Dorothy Todd's Modernist Experiment in British Vogue, 1922 -1926, by Amanda
    This work is protected by copyright and other intellectual property rights and duplication or sale of all or part is not permitted, except that material may be duplicated by you for research, private study, criticism/review or educational purposes. Electronic or print copies are for your own personal, non- commercial use and shall not be passed to any other individual. No quotation may be published without proper acknowledgement. For any other use, or to quote extensively from the work, permission must be obtained from the copyright holder/s. “A plea for a renaissance”: Dorothy Todd’s Modernist experiment in British Vogue, 1922 -1926 Figure 1 Amanda Juliet Carrod A thesis submitted for the degree of Doctor of Philosophy in English Literature June 2015 Keele University Abstract This is not a fashion paper: Modernism, Dorothy Todd and British Vogue "Style is thinking."1 In 1922, six years after its initial inception in England, Vogue magazine began to be edited by Dorothy Todd. Her spell in charge of the already renowned magazine, which had begun its life in America in 1892, lasted until only 1926. These years represent somewhat of an anomaly in the flawless history of the world's most famous fashion magazine, and study of the editions from this era reveal a Vogue that few would expect. Dorothy Todd, the most enigmatic and undocumented figure in the history of the magazine and, arguably within the sphere of popular publications in general, used Vogue as the vehicle through which to promote the innovative forms in art and literature that were emerging at the beginning of the twentieth century.
    [Show full text]
  • Issues 1 – 71 Spring 2004 – Autumn 2021 NB the Number in Square Brackets Indicates the Andrews, Michael: the Life That Lives on Bailey, E
    An Index to issues 1 – 71 spring 2004 – autumn 2021 NB The number in square brackets indicates the Andrews, Michael: The Life that Lives on Bailey, E. McDonald: If It’s Speed You’re After, Baum, L. Frank: The Wonderful Wizard of Oz, issue number of Slightly Foxed. Man, [14] 11 [62] 79 [39] 71 Angus, James Stout: A Glossary of the Shetland Bainbridge, Beryl: the novels of, [43] 26 Baynes, Jenny: article by, [1] 46 Dialect, [49] 36 Baker, J. A.: The Peregrine, [45] 31 Baynes, Pauline: illustrations of, [41] 44 Animals in fiction: Justin Cartwright on, Baker, Nicholson: The Everlasting Story of BB: see Watkins-Pitchford, Denys [1] 38 Nory, [35] 80; The Mezzanine, [69] 87 Beanland, David: article by, [53] 68 A Annan, Noel: Our Age, [63] 44 Bakewell, Sarah: article by, [49] 46 Beasant, Pamela: article by, [53] 76 Abbey, Edward: Desert Solitaire, [30] 82 Annesley, Horace: article by, [56] 75 Balchin, Nigel: The Small Back Room, Beauman, Nicola: The Other Elizabeth Taylor, Achebe, Chinua: Things Fall Apart, [22] 37 Anon.: Sir Gawain and the Green Knight, [24] 60; Mine Own Executioner [51] 58 [58] 46 Acknowledgements: Oliver Pritchett on, [60] 34 Baldwin, James: Giovanni’s Room, [6] 42 Becoming a writer: Tim Mackintosh-Smith [28] 90 Ardizzone, Edward: The Young Ardizzone, Banffy, Miklos: The Writing on the Wall: The on, [63] 89 Adam, Ruth: A House in the Country, [57] 46 [28] 14, [41] 6; & Gorham, Maurice: The Transylvanian Trilogy, [5] 54 Bede, Cuthbert: The Adventures of Mr Verdant Adams, Matthew: articles by, [44] 33; [47] 39; Local; Back to the Local, [28] 32 Bankes, Ariane: articles by, [3] 7; [5] 26; Green, [55] 7 [49] 51 Arlen, Michael: The Green Hat, [7] 27 [12] 62; [15] 36; [20] 18; [28] 64; [33] 77; Bedford, Sybille: A Legacy, [38] 45; A Visit to Adams, Richard: Watership Down, [54] 30 Arseniev, V.
    [Show full text]
  • Alphabet B Ooks Book Beautiful Cambridge Dodgson
    a l phabet b ooks the b ook beautiful ambridge c odgson d from the library of christopher hogwood BERNARD QUARITCH LTD 40 SOUTH AUDLEY STREET, LONDON W1K 2PR +44 (0)20 7297 4888 [email protected] www.quaritch.com For enquiries about this catalogue, please contact: Anke Timmermann ([email protected]) or Mark James ([email protected]) Bankers: Barclays Bank PLC, 1 Churchill Place, London E14 5HP Sort code: 20-65-82 Swift code: BARCGB22 Sterling account IBAN: GB98 BARC 206582 10511722 Euro account IBAN: GB30 BARC 206582 45447011 US Dollar account IBAN: GB46 BARC 206582 63992444 Mastercard, Visa and American Express accepted. VAT number: GB 840 1358 54 Cheques should be made payable to: Bernard Quaritch Limited. List 2016/17 © Bernard Quaritch Ltd 2016 christopher hogwood cbe (1941- 0114 Throughout his 50-year career, conductor, musicologist and keyboard player Christopher Hogwood applied his synthesis of scholarship and performance with enormous artistic and popular success. Spearheading the movement that became known as ‘historically-informed performance’, he promoted it to the mainstream through his work on 17th- and 18th-century repertoire with the Academy of Ancient Music, and went on to apply its principles to music of all periods with the world’s leading symphony orchestras and opera houses. His editions of music were published by the major international houses, and in his writings, lectures and broadcasts he was admired equally for his intellectual rigour and his accessible presentation. Born in Notingham, Christopher was educated at Notingham High School, The Skinners' School, Royal Tunbridge Wells, and Pembroke College, University of Cambridge, where he read Classics and Music.
    [Show full text]
  • The Completion of John Bradfield Court and New Studentships: with Grateful Thanks to Darwinians Worldwide
    WINTER 2019/20 DarwinianTHE The completion of John Bradfield Court and new studentships: with grateful thanks to Darwinians worldwide A New Portrait John Bradfield Court Nobel Laureate Eric Maskin is interviewed by Andrew Prentice NewS FOR THE DArwin COLLEGE COMMUNITY A Message from Mary Fowler Master Above: even wonderful years ago I followed someone who makes the world better. A wonderful The College’s new portrait Willy Brown as Master of Darwin. As you man, Willy is deeply missed not just here in Darwin, of Mary Fowler at its unveiling, with that of her may know, he died very unexpectedly in in Cambridge and in the UK, but around the world. predecessor Willy Brown August. Much-loved as Master, Willy was He gave his skills and knowledge freely. Fortunate behind. distinguished in labour economics and were those who worked with him, or were taught or industrial relations and a founder of the tutored by him, who experienced his generosity and Low Pay Commission. His work, which friendship. A full tribute to him is on page 10. was characterised by the use of statistics, and careful research, centred around the concept of Now I’m myself in my last year as Master (but S“fairness”. That reflected his own nature, modest, fair, certainly not my last year in Cambridge). September generous, kind, a man of integrity. He was a mediator, saw a ritual – the unveiling of my portrait. Darwin DarwinianTHE 2 members and friends gathered in the Dining Hall where the portrait was waiting, covered. Portraits “A wonderful man, Willy Brown is can be a controversial matter.
    [Show full text]
  • Gwen and Jacques Raverat. Paintings and Wood-Engravings, De L.M
    LM. Newman and D.A. Steel, Gwen and Jacques Raverat. Paintings and Wood-Engravings. University of Lancaster Library, [G.-B.], 1989, 70 p., 6 ±:1. par Michael TILBY En juin, 1989 quelques amateurs de l'oeuvre des Raverat, dont notre ami David Steel, ont eu l'heureuse idée de monter, dans le cadre du vingt­ cinquième anniversaire de l'Université de Lancaster, une importante exposition consacrée à la vie artistique de ces deux amis de Gide. Pour ceux qui n'ont pu s'offrir le plaisir de voir de leurs propres yeux les quelque 180 tableaux et gravures que les organisateurs ont réussi à rassembler pour le profit de leurs visiteurs, gidiens et autres, il reste toujours ce catalogue, guère moins précieux. Orné d'une sélection de gravures sur bois de Gwen Raverat fort intéressante (dont une de 1930 qui a pour sujet l'abbaye de Pontigny), le catalogue proprement dit est précédé d'une élégante et très riche introduction (due à D. Steel) et suivi d'une bibliographie qui, sans prétendre être exhaustive, sera désormais le point de départ essentiel pour quiconque aura en vue une étude biographique de ces deux conjoints dont les dons artistiques et intellectuels, pour être essentiellement complémentaires, furent loin d'être négligeables. Que Mme Newman et l'imprimerie de l'Université de Lancaster trouvent ici d'ailleurs l'expression de notre admiration devant la qualité de la production matérielle de cette belle brochure de 70 pages. On ne saurait guère reprocher aux docteurs Newman et Steel le fait de n'avoir réuni en tout que cinq tableaux de Jacques Raverat, d'autant plus que ceux-ci étaient en provenance tous les cinq de collections privées, donc très peu connus.
    [Show full text]
  • The Auchincloss Collection of Fine Printing & Press Books
    The Auchincloss Collection of Fine Printing & Press Books Catalogue o ne: a–D SoPhie SChneidemAn RARe BookS item 5 THE KENNETH AUCHINCLOSS COLLECTION OF FINE PRINTING & PRESS BOOKS catalogue one: a–d Including works from the allen, arion, ashendene, Barbarian, Bird & Bull, Bremer, Chamberlain, Colt, Cresset, Curwen & Doves Presses, as well as books illustrated and designed by thomas Bewick and W. a. Dwiggins SOPHIE SCHNEIDEMAN RARE BOOKS london If you are interested in buying or selling rare books, need a valuation or just hon- est advice please contact me at: SCHNEIDEMAN GALLERY open by appointment 7 days a week or by chance – usually Mon–Fri 11–2.30 331 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. Images of all the books are available on request and will be on the website 2 weeks after the catalogue has arrived. Set in emerson [designed by Joseph Blumenthal] and Sistina [designed by Hermann Zapf ] types.
    [Show full text]
  • (2021) (R)Evolutionary Animal Tropes in the Works of Charles Darwin and Virginia Woolf
    McCracken, Saskia (2021) (R)evolutionary animal tropes in the works of Charles Darwin and Virginia Woolf. PhD thesis. https://theses.gla.ac.uk/82313/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work 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 Enlighten: Theses https://theses.gla.ac.uk/ [email protected] (R)evolutionary Animal Tropes in the Works of Charles Darwin and Virginia Woolf Saskia McCracken BA (Hons) MLitt Submitted in fulfilment of the requirements for the Degree of PhD School of Critical Studies College of Arts University of Glasgow July 2021 © Saskia McCracken 2021 1 Abstract This thesis is the first full-length study of Woolf’s preoccupation, across her writing, with Darwin’s works. I will draw on the recent animal turn in literary criticism to provide original insight into the politics of Darwin’s animal tropes, and Woolf’s Darwinian animal tropes. My central research questions are how, to what extent, and with what effect, did Woolf engage with Darwin’s works, particularly his animal tropes? I will make two key claims in this thesis. First, I will argue that Woolf’s engagement with Darwin’s works – particularly the critically overlooked Descent of Man (1871) – was more sustained, extensive, and subversive than previously recognised.
    [Show full text]
  • PRIVATE PRESSES Blackwell Rare Books 48-51 Broad Street, Oxford, OX1 3BQ
    Blackwell Rare Books Blackwell rare books PRIVATE PRESSES Blackwell 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.blackwell.co.uk/ rarebooks Our premises are in the main Blackwell bookstore 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 bookstore 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 online bookshop www.blackwell.co.uk Our extensive online catalogue of new books caters for every speciality, with the latest releases and editor’s recommendations. We have something for everyone. Select from our subject areas, reviews, highlights, promotions and more. Orders and correspondence should in every case be sent to our Broad Street address (all books subject to prior sale).
    [Show full text]