DOCSLIB.ORG

HOME & Interiors

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
HOME & Interiors HOME & interiors KNIGHTSBRIDGE, LONDON Tuesday 14 March 2017 HOME & interiors Ӏ Knightsbridge, London Ӏ 14 March 2017 14 March THIS SALE FEATURES Old Master Paintings, Silver, Carpets, Works of Art and Furniture AT HOME WITH 24163 Dame Zandra Rhodes, celebrated fashion and textile designer HOME & interiors KNIGHTSBRIDGE, LONDON SALE TUESDAY 14 MARCH 2017 VIEWINGS THURSDAY 9 MARCH 2017 09:00-16:30 FRIDAY 10 MARCH 2017 09:00-16:30 SUNDAY 12 MARCH 2017 11:00-15:00 MONDAY 13 MARCH 2017 09:00-16:30 VENUE BONHAMS MONTPELIER STREET KNIGHTSBRIDGE LONDON, SW7 1HH CATALOGUE £10 MEET THE TEAM Mark Wilkinson Laurel Kemp Head of Sale Senior Sale Coordinator [email protected] [email protected] 020 7393 3855 020 8963 3855 Poppy Harvey-Jones Michael Lake Old Master Paintings Sculpture, Clocks & Works of Art [email protected] [email protected] 020 7468 8308 020 8963 2813 Thomas Moore Ellis Finch Furniture Silver [email protected] [email protected] 020 8963 2816 020 7393 3973 Nicholas Faulkner Carpets [email protected] 020 8963 2845 STORAGE INFORMATION SALE NUMBER STORAGE AND HANDLING CHARGES 24163 ON SOLD LOTS RETURNED TO * VAT on imported items at CADOGAN TATE a preferential rate of 5% on hammer price and the BUYERS COLLECTION & STORAGE STORAGE prevailing rate on buyer’s premium AFTER SALE INFORMATION Storage will be free of charge for the first 14 calendar days from & including the sale date Y These lots are subject to All sold lots marked TP will only remain at Tuesday 14 March 2017. CITES regulations, please Knightsbridge until 12pm Wednesday 15 March read the information in the 2017 providing the buyer has informed the sale Charges will apply from 9am Tuesday 28 back of the catalogue. coordinator by 5pm on the day of the sale that March 2017. they wish to collect their lot(s) & that we can IMPORTANT NOTICE accommodate their request please email your Pictures and small objects: A surcharge of 2% is applicable when using requests to: Laurel Kemp Email: laurel.kemp@ £2.85 per day + VAT MasterCard & Visa credit cards and overseas bonhams.com or by phone 020 7393 3855. If Furniture, large pictures debit cards. no such requests are received all sold TP lots will and large objects: be removed to Cadogan Tate immediately after £5.70 per day+ VAT PAYMENT the sale. (Note: Charges apply every day including All charges due to Cadogan Tate may be paid weekends and Public Holidays) to them in advance or at the time of collection Sold TP lots not collected by this time will be from their warehouse. Payment may be made by removed to Cadogan Tate & will be available HANDLING cash, cheque with banker’s card, credit, or debit for collection from 12pm Friday 17 March 2017 After the first 14 calendar days card (Please note: Amex is not accepted). and then every working day between 9am following the sale, the following and 4.30pm on production of photographic handling charges apply per Lot: Information on charges identification and written authorisation for third due is available by email at party collections. Pictures and small objects: [email protected] £21.00+ VAT or telephone on +44 (0) 800 988 6100 A booking email to collections@cadogantate. Furniture, large pictures: com or telephone call to +44 (0)800 988 6100 £42.00+ VAT Payment in Advance will be required to ensure lots are ready at time of (Telephone to ascertain amount due) collection. LOSS AND DAMAGE by: cash, cheque with banker’s Extended Liability cover to the value of the card, credit or debit card. All other sold lots will remain in the collections Hammer Price will be charged at 0.6% but department at Bonhams Knightsbridge until capped at the total value of all other charges. Payment at time of collection by: 5.30pm Monday 27 March 2017. cash, cheque with banker’s card, VAT credit or debit card Lots not collected by this time will be removed Will be applied at the current rate on all above to Cadogan Tate & will be available for collection charges. from 9am Wednesday 29 March 2017. Transfer & storage charges will apply. The following symbol is used to denote that VAT is due on the hammer price and buyer’s premium † VAT 20% on hammer price and buyer’s premium Central Middlesex Acton Ln Hospital Park Royal Acton Ln Cadogan Tate Contact details for Cadogan Tate Limited: Coronation Road 241 Acton Lane, Park Royal W e d s P a t o London NW10 7NP e a r r n R k A v e R e s +44 (0) 800 988 6100 A o 40 a y h a Park l C www.collectmylot.com for map R Royal iWestern Ave A40 o Station a 0 d 0 and further information Acton 0 North 4 Cemetery A Acton d Station a o R a i r o t c i V West Acton Horn Lane Station SALE INFORMATION CUSTOMER SERVICES PAYMENTS SYMBOLS Monday to Friday 8.30 to 18.00 Buyers The following symbol is used to denote that +44 (0) 20 7447 7447 +44 (0) 20 7447 7447 vat is due on the hammer price and buyer’s +44 (0) 20 7447 7401 fax premium BIDS +44 (0) 20 7447 7447 SELLERS † VAT 20% on hammer price +44 (0) 20 7447 7401 fax Payment of sale proceeds and buyer’s premium To bid via the internet please +44 (0) 20 7447 7447 visit bonhams.com +44 (0) 20 7447 7401 fax * VAT on imported items at a preferential rate of 5% on hammer price and the prevailing rate on Please note that bids should be submitted VALUATIONS, TAXATION AND buyer’s premium no later than 4:00pm on the day prior to the HERITAGE sale. New bidders must also provide proof of +44 (0) 20 7468 8340 VAT refunds on exports from the EU identity when submitting bids. Failure to do this +44 (0) 20 7468 5860 fax To submit a claim for refund of VAT HMRC may result in your bid not being processed. [email protected] require lots to be exported from the EU within Telephone bidding will only be accepted on strict deadlines. lots with a low estimate at or above £500. CATALOGUE SUBSCRIPTIONS To obtain any Bonhams catalogue or For lots on which import VAT has been charged; LIVE ONLINE BIDDING IS AVAILABLE to take out an annual subscription: marked in the catalogue with a * or †, lots Please email [email protected] with ‘live Subscriptions department must be exported within 30 days of Bonhams’ bidding’ in the subject line 48 hours before the +44 (0) 1666 502200 receipt of payment and within 3 months of the auction to register for this service. +44 (0) 1666 505107 fax sale date. For all other lots export must take [email protected] place within 3 months of the sale date. PHYSICAL CONDITION OF LOTS Please note that any reference in this catalogue SHIPPING For further VAT information to the physical condition of any lot is for general For information and estimates on domestic and Please contact: guidance only. Intending bidders must satisfy international shipping as well as export licenses [email protected] themselves as to the condition of any lot as please contact Alban Shipping on: specified in clause 14 of the notice to bidders +44 (0) 1582 493 099 ELECTRICAL EQUIPMENT contained at the end of this catalogue. [email protected] All electrical equipment in this sale has either been tested by a suitably qualified electrician or As a courtesy to intending bidders, Bonhams CITES REGULATIONS has been operationally disabled. If the intention will provide a written indication of the physical Please be aware that all lots marked with the is to reconnect this equipment we recommend condition of lots in this sale if a request is symbol Y are subject to cites regulations when that this is carried out by a suitably qualified received up to 24 hours before the auction exporting these items outside the EU. The electrician. starts. This written indication is issued subject to regulations may be found at www.ukcites.gov.uk clause 3 of the notice to bidders. or may be requested from: FURNITURE UPHOLSTERED Whilst we take every care in cataloguing IMPORTANT INFORMATION UK Cites Management Authority furniture which has been upholstered we offer The United States government has banned the Zone 117 no guarantee as to the originality of the wood import of ivory into the USA. Lots containing Temple Quay House covered by fabric or upholstery. ivory are indicated by the symbol ф printed 2 The Square beside the lot number in this catalogue. Temple Quay Bristol BS1 6EB Bonhams 1793 Limited Bonhams International Board Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Gordon McFarlan, Andrew McKenzie, Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Harvey Cammell Deputy Chairman, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Antony Bennett, Matthew Bradbury, Charlie O’Brien, Giles Peppiatt, India Phillips, Matthew Girling CEO, Lucinda Bredin, Simon Cottle, Andrew Currie, Peter Rees, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Patrick Meade Group Vice Chairman, Paul Davidson, Jean Ghika, Veronique Scorer, James Stratton, Ralph Taylor, +44 (0) 20 7393 3905 fax Jon Baddeley, Rupert Banner, Geoffrey Davies, Charles Graham-Campbell, Matthew Haley, Charlie Thomas, David Williams, Jonathan Fairhurst, Asaph Hyman, James Knight, Richard Harvey, Robin Hereford, David Johnson, Michael Wynell-Mayow, Suzannah Yip. Caroline Oliphant, Shahin Virani, Charles Lanning, Miranda Leslie, Edward Wilkinson, Leslie Wright.
Load more

Recommended publications
  • Frederick Coates, First World War 'Facial Architect'
    Frederick Coates: First World War 'facial architect' Article Accepted Version Gehrhardt, M. and Steele, S. (2017) Frederick Coates: First World War 'facial architect'. Journal of War and Culture Studies, 10 (1). pp. 7-24. ISSN 1752-6280 doi: https://doi.org/10.1080/17526272.2016.1238564 Available at http://centaur.reading.ac.uk/66446/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1080/17526272.2016.1238564 Publisher: Taylor and Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Frederick Coates: First World War ‘facial architect’ Abstract: The role of artists in the First World War is often understood only in terms of their artistic response to the conflict in paint, music, sculpture or photography. In fact, artists’ contributions were also engaged at an applied level, in the areas of propaganda, camouflage, map-making and many other trades. Beyond this, a small number actively participated as artists in repairing the damage caused by the conflict. Frederick Coates, a British-born sculptor who emigrated to Canada in 1913, was one of these artists. After enlisting with the Canadian Expeditionary Force, he worked for three years alongside surgeons and other artists in England to try and help give new features to facially injured combatants.
    [Show full text]
  • Making New Histories of 20Th Century British Sculpture
    University of Huddersfield Repository Crellin, Sarah Bodies of Evidence: Making New Histories of 20th Century British Scuplture Original Citation Crellin, Sarah (2015) Bodies of Evidence: Making New Histories of 20th Century British Scuplture. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/27075/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ BODIES OF EVIDENCE: MAKING NEW HISTORIES OF 20TH CENTURY BRITISH SCULPTURE SARAH CRELLIN A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy by publication September 2015 2 Copyright Statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and she has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes.
    [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]
  • 31 July 2014
    31st July 2014 - Gavin Stamp & Jon Wright Introduction. The United Kingdom National Inventory of War Memorials, (UKNIWM) now has over 60,000 sites on its database and the number continues to grow each year. The variety and diversity of them is staggering. Today, we are going to look at twenty or so C20th/21st London memorials chosen to show the range of artistic responses to commemoration, both after major conflict and more recently, to address retrospective concerns about the lack of monuments to various groups. When our previous chairman Gavin Stamp curated the Silent Cities exhibition at the Heinz Gallery in 1977, there were many who thought it wrong to focus in on the ‘art’ of war memorials, as if in some way that in so doing, one would be ignoring, or at least lessening their importance as sites of remembrance. We are still to fully understand the architectural significance of the huge number of sites built by Lutyens, Herbert Baker, Charles Holden and others, but as Gavin has continued to show through his foreign trips and publications, the building programme for overseas cemeteries and domestic memorials easily eclipsed any public works undertaking before or since. The C20 Society looks at memorials rather differently than the vital organisations set up to document, conserve and care for memorial sites specifically. The War Memorials Trust, whose conservation work remains vitally important to the upkeep of UK memorials is foremost among these groups. English Heritage have listed a significant amount of memorials, and like us, they do judge the monuments for architectural and artistic significance, while bearing in mind the inherent importance of the sites in a social and historic context.
    [Show full text]
  • The J. Paul Getty Trust 2007 Report the J
    THE J. PAUL GETTY TRUST 2007 REPORT THE J. PAUL GETTY TRUST 2007 REPORT 4 Message from the Chair 7 Foreword 10 The J. Paul Getty Museum Acquisitions Exhibitions Scholars Councils Patrons Docents & Volunteers 26 The Getty Research Institute Acquisitions Exhibitions Scholars Council 38 The Getty Conservation Institute Projects Scholars 48 The Getty Foundation Grants Awarded 64 Publications 66 Staff 73 Board of Trustees, Offi cers & Directors 74 Financial Information e J. Paul Getty Trust The J. Paul Getty Trust is an international cultural and philanthropic institution that focuses on the visual arts in all their dimensions, recognizing their capacity to inspire and strengthen humanistic values. The Getty serves both the general public and a wide range of professional communities in Los Angeles and throughout the world. Through the work of the four Getty programs–the Museum, Research Institute, Conservation Institute, and Foundation–the Getty aims to further knowledge and nurture critical seeing through the growth and presentation of its collections and by advancing the understanding and preservation of the world’s artistic heritage. The Getty pursues this mission with the conviction that cultural awareness, creativity, and aesthetic enjoyment are essential to a vital and civil society. e J. Paul Getty Trust 3 Message from the Chair e 2007 fi scal year has been a time of progress and accomplishment at the J. Paul Getty Trust. Each of the Getty’s four programs has advanced signifi cant initiatives. Agreements have been reached on diffi cult antiquities claims, and the challenges of two and three years ago have been addressed by the implementation of new policies ensuring the highest standards of governance.
    [Show full text]
  • The Destiny and Representations of Facially Disfigured Soldiers During the First World War and the Interwar Period in France, Germany and Great Britain
    The Destiny and Representations of Facially Disfigured Soldiers during the First World War and the Interwar Period in France, Germany and Great Britain Submitted by Marjorie Irène Suzanne Gehrhardt to the University of Exeter as a thesis for the degree of Doctor of Philosophy in French in September 2013 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 2 Abstract The frequency and seriousness of facial injuries during the First World War account for the presence of disfigured men in significant numbers in European interwar society. Physical reconstruction, psychological and social consequences had long-term consequences for experts and lay people alike. Despite the number of wounded men and the impact of disfigurement, the facially injured soldiers of the First World War have rarely been the focus of academic research. This thesis aims to bridge this gap through a careful investigation of the lives and representations of gueules cassées, as they came to be known in France. It examines the experience and perceptions of facial disfigurement from the moment of the injury and throughout the years following, thereby setting the parameters for a study of the real and the mediated presence of disfigured veterans in interwar society. The chronological frame of this study begins in 1914 and ends in 1939, since the perception and representations of facial disfigurement were of particular significance during the First World War and its aftermath.
    [Show full text]
  • Francis Henry Newbery and the Glasgow School of Art
    Rawson, George Mansell (1996) Francis Henry Newbery and The Glasgow School of Art. PhD thesis. http://radar.gsa.ac.uk/5419 Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given RADAR http://radar.gsa.ac.uk/ [email protected] FRANCIS HENRY NEWBERY AND THE GLASGOW SCHOOL OF ART Thesis presented to the Department of Architecture of the University of Glasgow for the Degree of Doctor of Philosophy by GEORGE MANSELL RAWSON October 1996 © George Rawson This is a one volume 1216 edition of the original two volume thesis held in Glasgow University Library with slightly different pagination. 1 ABSTRACT This thesis takes the form of a biographical study of the art teacher and painter Francis Henry Newbery. Its focus is Newbery’s thirty-three year association with the Glasgow School of Art. The first two chapters examine Newbery’s early life and his educational background in Dorset and London where he attended the National Art Training School at South Kensington. John Beard, Newbery’s headmaster at the Bridport General School in Dorset, the educational theory of Friedrich Froebel and the modern approach to art teaching of Edward Poynter the Principal of the National Art Training School are all identified as formative influences in the development of Newbery’s own approach to pedagogy at Glasgow.
    [Show full text]
  • The Stones of London's War Memorials
    Urban Geology in London No. 23 The Stones of London’s War Memorials ‘If I should die, think only this of me; That there’s some corner of a foreign field That is forever England’ The Soldier, Rupert Brooke (1887-1915) Memorial at the Tower of London for the centenary of the outbreak of WWI: 'Blood Swept Lands and Seas of Red' by ceramicist Paul Cummins. The opening lines of Rupert Brooke’s famous poem (above) illustrates muCh of the sentiments assoCiated with the design of war memorials and war graves. It has beCome traditional, on the most part, for stones representing the soldiers’ Countries of origin to be used in memorials ConstruCted to Commemorate them. For example, the war memorials commemorating the British Forces killed during WWI in FranCe and Belgium, such as Thiepval and the Menin Gate, are built from briCk, with piers, vaults, Columns and the panels bearing the insCriptions of names in Portland Stone. As we will see below, stones have been imported from all over the World to Commemorate the soldiers from those Countries who fought in the European theatres of the first half of the 20th Century. Indeed there are Corners of foreign fields, or in faCt London, that are forever Australian, Canadian or Maltese. I am predominantly foCusing on memorials to WWI and WWII. Many of the War Memorials and their stones catalogued below have been previously desCribed in other Urban Geology in London Guides. These inClude the memorials in the vicinity of Hyde Park Corner (Siddall & Clements, 2013), on the ViCtoria Embankment (Siddall & Clements, 2014) and the Malta Memorial near the Tower of London (Siddall, 2014).
    [Show full text]
  • The Timeline of the New Sculpture Movement
    The Timeline of the New Sculpture Movement 1856 – Alfred Stevens wins the commission for the Wellington Monument at St. Pauls Cathedral. 1859 – Frederic Leighton settles and starts exhibiting in London. 1863 – The Government School of Design (South Kensington) is renamed National Training Art School. Alphone Legros moves to England from France. 1868 – Leighton is elected ARA. Watts completes his model Clytie in marble. 1871 – Aimé-Jules Dalou moves to London and starts teaching at the South Kensington National Art Training School (and later at the Lambeth Art School in South London). The firm H. Young & Co is established in Pimlico – the first major art-bronze foundry in the country, employing French bronze- moulders and chasers. 1874 – Cox & Sons set up a factory designed for casting statuary at Thames Ditton, Surrey. 1875 – Hamo Thornycroft wins the RA gold medal for the best work of sculpture on a given theme with A Warrior Carrying a Wounded Youth from the Field of Battle, beating Alfred Gilbert. Gilbert moves from London to Paris to study under the sculptor Pierre-Jules Cavalier (1814-1894). Alfred Stevens dies on 1 May. 1876 – Alphone Legros is appointed Professor of Art at University College, London. 1877 – Leighton’s An Athlete Wrestling with a Python goes on display at the Royal Academy. Dalou’s Charity is installed at the Royal Stock Exchange. 1878 – Leighton is elected president of the RA. Thornycroft exhibits the marble Lot’s Wife at the RA. Frampton moves to Paris aged 18 to work as an architectural decorator on the Hôtel de Ville. 1880 – Thornycroft exhibits his marble Stone Putter at the RA.
    [Show full text]
  • Visions of the End in Interwar British Art Thomas Bromwell Phd
    Visions of the End in Interwar British Art Thomas Bromwell PhD University of York History of Art September 2019 Abstract The cessation of hostilities to the Great War with the signing of the Armistice on 11 November 1918 brought the largest and most devastating war hitherto known to an end. It was meant to be the “War to End War”, yet a little over twenty years later in 1939 it was eclipsed by the devastation of the Second World War. The shadow of war loomed over the intervening years, which were marked by pronounced speculation on where human society was going; for every prophet of doom anticipating collapse into degradation, animosity, and self-annihilation there was a contrasting viewpoint awaiting the move towards a better new world. Further, these assessments often overlapped. This thesis examines the impact of apocalyptic ideas within British art in the interwar years. It looks at painting, drawings, prints, and sculpture, addressing the use and development of apocalyptic concepts during the period 1918-1939, and explicitly relates contemporary anxieties and apocalyptic evocations with Christian apocalyptic narratives. Interwar British society at large identified with Christian traditions, either as products of a Christian education and state, or through belief. The Apocalypse is central to Christian hope. The project surveys this underappreciated aspect of the period in order to recognize the influence of Judeo-Christian apocalyptic traditions. The apocalyptic orientation, both in its religious and secular forms, has been recognised as a manifestation arising from anxiety in the contemporary context. This thesis reveals a British permutation of a general (European) trend.
    [Show full text]
  • An Exhibition from the Antony Wallace Archive of BAPRAS
    An exhibition from the Antony Wallace Archive of BAPRAS 1 FOREWORD The meeting of the European plastic and reconstructive surgeons so close to the outbreak of the First World War set BAPRAS and its Antony Wallace Archive to thinking about the development of the specialty brought about by the conflict. There is ample information available from Sir Harold Gillies’ papers and the clinical notes rescued from the Queens Hospital at Sidcup on the early days of plastic surgery in Britain. However our knowledge of the situation across the Channel is deficient. This exhibition A Strange New Art is intended to display what we know, stimulate discussion and collect information, particularly from the Continent about this important time for plastic and reconstructive surgery. Brian Morgan Honorary Archivist, Antony Wallace Archive (BAPRAS) Exhibition curated by Kristin Hussey (Assistant Curator) and Brian Morgan (Honorary Archivist) Written by Kristin Hussey 3 Two Canadian wounded, INTRODUCTION heavily bandaged, being removed by motor This was a strange new art, and unlike the student today, who is ambulance from the weaned on small scar excisions and gradually graduated to a single Battle of Passchendaele, harelip, we were suddenly asked to produce half a face. 1917. Courtesy of the Harold Gillies, The Principles and Art of Plastic Surgery (1957) Imperial War Museums (IWM), IWM: CO 1636 Plastic surgery techniques have been in use for over 2,000 years, however it was not until the First World War (1914–1918) that these practices were brought together as a distinct specialty. Mechanised conflict on a global scale resulted in traumatic facial injuries never before encountered by surgeons.
    [Show full text]
  • American Women and the Veteranist-Commemoration of the First World War, 1917-1945
    ABSTRACT Title of Document: CARRY ON: AMERICAN WOMEN AND THE VETERANIST-COMMEMORATION OF THE FIRST WORLD WAR, 1917-1945 Allison Sarah Finkelstein, Ph.D., 2015 Directed By: Associate Professor Saverio Giovacchini, Department of History The commemoration of the First World War deeply impacted American culture between 1917 and 1945, and incited a contentious debate about the best forms of military memorialization. All kinds of American women participated in commemorations alongside men, the government, veterans, and the military. Even more frequently, they took part in predominantly female memorialization projects, many of which aided veterans. Organizations composed of American women who believed they served or sacrificed during the First World War defined community service and veterans advocacy as forms of commemoration that they pursued in addition to, or sometimes instead of, more permanent forms of commemoration. In keeping with women’s contributions to the war effort and their Progressive era service and reform activities, many American women pursued service-based commemorative projects to serve the nation in ways normally prohibited to them because of gender-based restrictions on their citizenship. This dissertation investigates how American women who served during the First World War commemorated the conflict during the interwar period and through the end of World War Two. It employs the term “veteranist-commemorations” to describe the service-based memorialization projects these women advocated, and designates these women as female “veteranist-commemorators.” Rejecting traditional monuments, female veteranist-commemorators placed the plight of male and female veterans at the center of their memorialization efforts. Women’s veteranist- commemorations did not solely address veterans of strictly defined military service, but included anyone who sacrificed during the war.
    [Show full text]