Annual Exhibition 2016 Royal Society of Portrait Painters 17 Carlton House Terrace, London S W1 Y 5BD Tel: 020 7930 6844

Total Page:16

File Type:pdf, Size:1020Kb

Annual Exhibition 2016 Royal Society of Portrait Painters 17 Carlton House Terrace, London S W1 Y 5BD Tel: 020 7930 6844 2016 Royal Society of Portrait Painters 2016 P R k u . o c . p r e h t Annual Exhibition 2016 Royal Society of Portrait Painters 17 Carlton House Terrace, London S W1 Y 5BD Tel: 020 7930 6844 www.therp.co.uk Cover painting ‘Sophia’ by Simon Davis VPRP RBSA Designed and produced by Chris Drake Design Printed by Duncan Print Group Published by the Royal Society of Portrait Painters © 20 16 Royal Society of Portrait Painters The Royal Society of Portrait Painters is a Registered Charity No. 32 7460 Royal Society of Portrait Painters Patron: Her Majesty The Queen Advisory Board Council Hanging Committee Anne Beckwith-Smith LVO Jane Bond Anthony Connolly Dame Elizabeth Esteve-Coll DBE Tom Coates Sam Dalby Lord Fellowes GCB GCVO QSO Sam Dalby Simon Davis Anupam Ganguli Sheldon Hutchinson Toby Wiggins Foreman Damon de Laszlo Susan Ryder Gallery Manager The Hon. Sandra de Laszlo Benjamin Sullivan John Deston Philip Mould Selection Committee Sir Christopher Ondaatje CBE OC Exhibitions Officer Jane Bond Mark Stephens CBE Alistair Redgrift Sam Dalby Daphne Todd OBE PPRP NEAC Hon. SWA Simon Davis Press and Publicity President Robin-Lee Hall Richard Fitzwilliams Robin-Lee Hall Sheldon Hutchinson Liberty Rowley Susan Ryder Vice President Head of Commissions Melissa Scott-Miller Simon Davis Annabel Elton Honorary Secretary Melissa Scott-Miller Honorary Treasurer Andrew James Honorary Archivist Toby Wiggins 3 Deceased Honorary Members Past Presidents 2001 – 2002 Andrew Festing MBE 2002 – 2008 Susan Ryder NEAC Sir Lawrence Alma-Tadema OM RA RWS 1891 – 1904 A. Stuart Wortley 2008 – 2014 Andrew James William Bowyer RA RP RWS NEAC 1906 – 1910 Sir W. Q. Orchardson RA HRSA Maurice Bradshaw OBE 1910 – 1924 Sir James J. Shannon RA Honorary Members 20 16 Derek Clarke RP RSW ARSA 1924 – 1930 Sir William Orpen KBE RA RHA Sir George Clausen RA 1932 – 1940 Sir John Lavery RA RSA RHA Etc Leonard McComb RA Hon. RBA Sir Arthur Cope RA 1944 – 1948 George Harcourt RA Tom Phillips CBE RA Hon. PS Cowan Dobson RBA 1948 – 1953 Augustus John OM RA Tai Shan Schierenberg William Dring RA RWS 1953 – 1965 Sir James Gunn RA LL.D John Wonnacott CBE Hugh de T. Glazebrook 1965 – 1971 Sir William Hutchison PPRSA Kenneth Green 1971 – 1980 Edward Halliday CBE PPRBA Members 20 16 Sir James Guthrie PRSA RA 1980 – 1983 Norman Hepple RA Alastair Adams PPRP Allan Gwynne-Jones DSO RA 1983 – 1991 David Poole ARCA Jane Bond RP NEAC J. McLure Hamilton 1991 Edward Hall Jason Bowyer RP PNEAC PS Claude Harrison ARCA 1991 – 1994 George J. D. Bruce Paul Brason PPRP Augustus John OM RA 1994 – 2000 Daphne Todd OBE Keith Breeden RP AGBI Steward 2 01 5- 16 Dame Laura Knight RA RWS 2000 – 2002 Paul Brason Peter Brown RP NEAC PS Hon. RBA ROI Leonard C. Lindsay FSA 2002 – 2008 Andrew Festing MBE George J. D. Bruce PPRP Sir William Llewellyn PRA 2008 – 2014 Alastair Adams Tom Coates RP PPPS PPRBA RWS Sir John Everett Millais PRA PPNEAC RWA A. T. Nowell Past Vice Presidents David Cobley RP RWA NEAC Herbert A. Oliver RI 1898 – 1934 The Hon. John Collier OBE Anthony Connolly RP Sir Edward Poynter PRA RWS 1934 – 1944 George Harcourt RA Saied Dai RP NEAC Hugh G. Riviere 1944 – 1952 Sir Oswald Birley RA Sam Dalby RP Carlos Sancha 1952 – 1953 T. C. Dugdale RA Simon Davis VPRP RBSA Vice President C. Sanders RA 1953 – 1957 Simon Elwes ARA Frederick Deane RP John S. Sargent RA RWS 1959 – 1964 Sir William Hutchison PPRSA John Edwards RP Howard Somerville 1966 – 1980 Norman Hepple RA Andrew Festing MBE PPRP Trevor Stubley RBA RSW RWS 1980 – 1985 John Ward CBE RA RWS Richard Foster RP A. R. Thompson RA 1985 – 1991 George J. D. Bruce David Graham RP G. F. Watts OM RA 1991 Edward Hall Valeriy Gridnev RP PS ROI T. Fiddes Watt RSA 1991 – 1994 Richard Foster Robin-Lee Hall PRP President J. McNeill Whistler HRSA LL.D 1994 – 1999 Trevor Stubley RWS RBA Geoffrey Hayzer RP Walter Woodington RBA NEAC 1999 – 2001 Paul Brason Sheldon Hutchinson RP 4 Andrew James RP Hon. Treasurer Honorary Friends Professor Kenneth McConkey Brendan Kelly RP David Messum Esq. Ms Philippa Abrahams Peter Kuhfeld RP NEAC Dr Mark Moody-Stuart Ms Anne Allport James Lloyd RP Ms Jans Ondaatje-Rolls Sir Ian Amory June Mendoza AO OBE RP ROI Hon. SWA Richard Ormond Esq. The R t. Ho n. Lord Archer of Anthony Morris RP NEAC William Packer Esq. NEAC Hon. RBA Hon. PS Weston Super Mare Michael Noakes PPROI RP James Partridge OBE DSc. Ms Pim Baxter Anastasia Pollard RP Ms Liz Rideal Baroness Bottomley David Poole PPRP ARCA Alasdair Riley Esq. Gyles Brandreth Esq. Susan Ryder RP NEAC The Hon. Maurice Robson Robin Buchanan-Dunlop Esq. Melissa Scott-Miller RP NEAC Hon. Secretary Sir Timothy Sainsbury Gerald Carroll Esq. Stephen Shankland RP Dr Charles Saumarez Smith Colonel William Chesshyre Jeff Stultiens RP Sir David Scholey Mrs Peter Cookson Benjamin Sullivan RP NEAC The Lord Selborne Conrad Dehn Esq. Jason Sullivan RP Robin Simon Esq. Ms Susan Engledow Michael Taylor RP Peyton Skipwith Esq. Ms Katherine Eustace Daphne Todd OBE PPRP NEAC Hon. SWA Peter Spira Esq. Michael Fawcett Esq. Jason Walker RP Prof. Dame Marilyn Strathern Lord Fellowes of West Stafford John Walton RP The Lord Vinson of Roddam Dene LVO DL Ms Frances Gandy Emma Wesley RP Ian Wallace Esq. Dr Rita Gardner Toby Wiggins RP Hon. Archivist Anthony Weale Esq. Martin Gayford Esq. Antony Williams RP PS NEAC Duncan Wilson Esq. David Goldstone Esq. Neale Worley RP Andrew Wilton Esq. Philip Harley Esq. Robbie Wraith RP Sir Max Hastings Associate Members Sir Michael Holroyd David Houchin Esq. Frances Bell Assoc RP Ms Sarah Howgate Miriam Escofet Assoc RP Ms Dotti Irving Joseph Galvin Assoc RP Mrs Lucy Jenkins David Miller Assoc RP Dr Gillian Jondorf David R Newens Assoc RP The Rt. Hon. Tessa Jowell MP Mark Roscoe Assoc RP Sir Henry Keswick The Lady Fellowes LVO Sir Kirby and Lady Laing Ms Christina Leder 5 FIGURATIVE ART TODAY THE COLUMBIA THREADNEEDLE PRIZE 2016 Columbia Threadneedle Investments is pleased to support Mall Galleries and The Columbia Threadneedle Prize, a leading FRPSHWLWLRQ IRU ƂJXUDWLYH DQG UHSUHVHQWDWLRQDO SDLQWLQJ DQG sculpture. Since its establishment in 2008 The Columbia Threadneedle Prize has become recognised as one of the country’s major art prizes and a vibrant and engaging forum for creative talent. As well as supporting new techniques that stretch the potential of young, emerging and established artists, it provides an exciting and varied exhibition for everyone to see. columbiathreadneedle.com Important information: Columbia Threadneedle Asset Management Limited (TAML) registered in England and Wales, no.3701768, 60 St Mary Axe, London EC3A 8JQ. TAML is authorised and regulated by the Financial Services Authority. Threadneedle Investments is a brand name and both the Threadneedle Investments name and logo are trademarks or registered trademarks of the Threadneedle group of companies. columbiathreadneedle.com J23187 President’s review of the year Welcome to the 125th show of the Royal Society of Portrait Painters. It is hard to believe that a year has already passed since I wrote my first review as the new President. This year, we had almost 2,000 submissions, Honorary Member and Royal Academician, encouragingly, 488 were from artists under William Bowyer passed away last year. The 35. We also had a good international Bowyer family have kindly donated one of submission of 243 entries from countries as his portraits to the collection. The portrait far ranging as Taiwan, the United States, will be unveiled in September. Canada and Russia, with many entries from Europe. During the 2015 show, we ran a successful free education programme taught by some The standard remains high and I would like of our members. We had a very good take-up to thank the Council, Selection and Hanging including quite a few students from art Committees for giving up valuable ‘studio colleges across the country. This year, Vice time’ to make our annual exhibition what it President, Simon Davis and Hon. Secretary, is. As you can see from the show, we try to Melissa Scott-Miller, have planned an accept a broad selection of approaches to exciting programme of events including portraiture. demonstrations, talks, tours and an evening hosted by myself on the 18th May with It has been a year where our members’ artists, Daphne Todd OBE PPRP, Phil Hale talents have featured prominently. Daphne and Anthony Eyton RA talking about four Todd, our Past President, starred in the favourite portraits that have inspired them. BBC’s Big Painting Challenge, whilst Honorary Member, Tai Shan Schierenberg, I would like to thank Christopher Ondaatje was a judge on Sky TV’s Landscape Artist of for continuing to support us with our major the Year. Brendan Kelly followed on from prize for the most outstanding portrait in his success painting the Speaker of the the exhibition, The de Laszlo Foundation for House of Commons, John Bercow, with a the under 35 award, the Prince of Wales for fine portrait of Nick Clegg commissioned by the drawing prize, William Bortrick from Robin-Lee Hall, President of the RP the Parliamentary Works of Art Committee. Burke’s Peerage, James Partridge from Changing Faces and John Tehan from We are very grateful to Girton College, Smallwood Architects. Their generous Cambridge for continuing to house, contributions help to make our exhibition a maintain and promote our People’s premier event showcasing some of the Portraits collection, where one member finest examples of portraiture today. donates a painting each year. Sadly, Robin-Lee 7 The People’s Portraits Collection Conceived as a millennial exhibition by the Royal Society of Portrait Painters, the People’s Portraits Collection has been housed at Girton College, Cambridge, since 2002.
Recommended publications
  • Paul Mellon Centre for Studies in British Art Library: New Accessions March 2017
    Paul Mellon Centre for Studies in British Art Library: New accessions March 2017 0730807886 Art Gallery Board of Claude Lorrain : Caprice with ruins of the Roman forum Adelaide: Art Gallery Board of South Australia, C1986 (44)7 CLAU South Australia (PAMPHLET) 8836633846 Schmidt, Arnika Nino Costa, 1826-1903 : transnational exchange in Milan: Silvana Editoriale, 2016 (450)7 COST(N).S European landscape painting 0854882502 Whitechapel Art William Kentridge : thick time London: Whitechapel Gallery, 2016 (63)7 KENT(W).B Gallery 0956276377 Carey, Louise Art researchers' guide to Cardiff & South Wales [London]: ARLIS UK & Ireland, 2015 026 ART D12598 Petti, Bernadette English rose : feminine beauty from Van Dyck to Sargent [Barnard Castle]: Bowes Museum, [2016] 062 BAN-BOW 0903679108 Holburne Museum of Modern British pictures from the Target collection Bath: Holburne Museum of Art, 2005 062 BAT-HOL Art D10085 Kettle's Yard Gallery Artists at war, 1914-1918 : paintings and drawings by Cambridge: Kettle's Yard Gallery, 1974 062 CAM-KET Muirhead Bone, James McBey, Francis Dodd, William Orpen, Eric Kennington, Paul Nash and C R W Nevinson D10274 Herbert Read Gallery, Surrealism in England : 1936 and after : an exhibition to Canterbury: Herbert Read Gallery, Canterbury College of Art, 1986 062 CAN-HER Canterbury College of celebrate the 50th anniversary of the First International Art Surrealist Exhibition in London in June 1936 : catalogue D12434 Crawford Art Gallery The language of dreams : dreams and the unconscious in Cork: Crawford Art Gallery,
    [Show full text]
  • Contemporary Art Society Report 1942-43
    TH E C O N TEM P O R A R Y A R T SO CIETY FOR TH E A CQU I SI TION OF WOR KS OF MOD ERN AR T FOR L OAN OR G I FT TO PU BL I C GALL ER I E S President L O R D H OWA R D D E W A L D E N Chairman SIR E DWA R D M A RSH, K .C .V.O ., C.B ., C.M .G . Treasurer TH E H O N. J AS P E R R I D LE Y 440 Strand, W.C.2 Hon. Secretary L O R D IV O R S P E N C E R -C H U R C HI L L g Dilke Street, S.W.3 Committee S1R EDWARD MA RSH , K .c.v.o., c .B ., c .M.G. ( Chairman) The Earl of Crawford and Balcarres Lord Keynes, c.B. Major Sir Muirhead Bone, R.M. T. E. Lowinsky Mrs. Cazalet Keir, M.P. Ernest Marsh Sir Kenneth Clark, K.C.B. The Hon. Jasper Ridley Samuel Courtauld J. K. M. Rothenstein Sir A. M. Daniel, K.B.E . The Earl of Sandwich Campbell Dodgson, C.B.E. Lord Ivor Spencer-Churchill _ A. M. Hind, o.B.E. C. L. Stocks, c.B. Assistant Secretary: R OB I N I R O NSIDE Speech by the Chairman at the Thirteenth Ordinary General Meeting of the C.A.S. held at the Tate Gallery on 21 April 1944 Ladies and Gentlemen, I find it a pleasing reflection that we are able to meet here on this annual occasion for the fifth time since the war began, with at least a part of our minds free to consider a sphere of human activity which is concerned neither with war nor with politics.
    [Show full text]
  • The Haunting of LS Lowry
    Societies 2013, 3, 332–347; doi:10.3390/soc3040332 OPEN ACCESS societies ISSN 2075-4698 www.mdpi.com/journal/societies Article The Haunting of L.S. Lowry: Class, Mass Spectatorship and the Image at The Lowry, Salford, UK Zoë Thompson School of Cultural Studies and Humanities, Leeds Metropolitan University, Broadcasting Place A214, Woodhouse Lane, Leeds, LS2 9EN, UK; E-Mail: [email protected]; Tel.: +44-0113-812-5721 Received: 4 September 2013; in revised form: 16 October 2013 / Accepted: 17 October 2013 / Published: 18 October 2013 Abstract: In a series of momentary encounters with the surface details of The Lowry Centre, a cultural venue located in Salford, Greater Manchester, UK, this article considers the fate of the image evoked by the centre’s production and staging of cultural experience. Benjamin’s notion of ‘aura’ as inimical to transformations of art and cultural spectatorship is explored, alongside its fatal incarnation in Baudrillard’s concept of ‘simulation’. L.S. Lowry, I argue, occupies the space as a medium: both as a central figure of transmission of the centre’s narrative of inclusivity through cultural regeneration, and as one who communes with phantoms: remainders of the working-class life and culture that once occupied this locale. Through an exploration of various installations there in his name, Lowry is configured as a ‘destructive character’, who, by making possible an alternative route through its spaces, refuses to allow The Lowry Centre to insulate itself from its locale and the debt it owes to its past. Keywords: aura; simulation; The Lowry; cultural regeneration; haunting; class I have been called a painter of Manchester workpeople.
    [Show full text]
  • Untitled, 1959
    92 Fulham Road, London, SW3 6HR, United Kingdom - Tel: +44 (20) 7584 2200 - Web: www.godsonandcoles.co.uk Sandra Blow ( 1925 - 2006) Untitled, 1959 P745 Framed size: Height: 31 in (79 cm) Width: 25 in (63.5 cm) £ 22000 DESCRIPTION Oil and charcoal on paper and board Signed and dated 'Blow 59' on the reverse ARTIST'S BIOGRAPHY Sandra Blow (1925 - 2006) was born in London and studied at the St Martins School of Art under Ruskin Spear from 1942 – 1946 and at the Academy in Rome from 1947-1948. In 1961 she won second prize for painting at the John Moores Liverpool exhibition and in the same year began teaching at the Royal College of Art. She has worked in a number of abstract styles, including gestural abstraction and Colour Field Painting, and she has experimented with adding various substances and or objects to the canvas. Sandra Blow considered herself an ‘academic abstract painter’, primarily concerned with such problems as balance and proportion – ‘issues that have been important since art began’. She has exhibited extensively all over the world, notably at The Institute of Contemporary Arts, The Tate Gallery, Camden Arts Centre, Gulbenkian Hall - Royal College of Art, The Hayward Gallery (London), The Royal Institute of Fine Arts (Glasgow), The Tate Gallery St Ives, The Newlyn Art Gallery (Cornwall), Galleria Origine, The Art Foundation (Rome), Palazzo Grassi (Venice), The Art Club (Chicago), Saidenburg Gallery, Albright Knox Gallery, Buffalo (New York), North Carolina Museum of Art, Raleigh (N. Carolina), The Carnegie Institute (Pittsburg), British Council Travelling Exhibitions to Canada, Australia & New Zealand and in The Stedelijk Museum (Amsterdam).
    [Show full text]
  • Painting, 1960
    92 Fulham Road, London, SW3 6HR, United Kingdom - Tel: +44 (20) 7584 2200 - Web: www.godsonandcoles.co.uk Sandra Blow ( 1925 - 2006) Painting, 1960 P825 Height: 51 ¼ in (130cm) Width: 57 in (145cm) PROVENANCE Gimpel Fils £ 75000 EXHIBITION North Carolina Museum of Art, September 1964 DESCRIPTION Oil and sand on board Signed and dated verso S Blow 1960 ARTIST'S BIOGRAPHY Sandra Blow (1925 - 2006) was born in London and studied at the St Martins School of Art under Ruskin Spear from 1942 – 1946 and at the Academy in Rome from 1947-1948. In 1961 she won second prize for painting at the John Moores Liverpool exhibition and in the same year began teaching at the Royal College of Art. She has worked in a number of abstract styles, including gestural abstraction and Colour Field Painting, and she has experimented with adding various substances and or objects to the canvas. Sandra Blow considered herself an ‘academic abstract painter’, primarily concerned with such problems as balance and proportion – ‘issues that have been important since art began’. She has exhibited extensively all over the world, notably at The Institute of Contemporary Arts, The Tate Gallery, Camden Arts Centre, Gulbenkian Hall - Royal College of Art, The Hayward Gallery (London), The Royal Institute of Fine Arts (Glasgow), The Tate Gallery St Ives, The Newlyn Art Gallery (Cornwall), Galleria Origine, The Art Foundation (Rome), Palazzo Grassi (Venice), The Art Club (Chicago), Saidenburg Gallery, Albright Knox Gallery, Buffalo (New York), North Carolina Museum of Art, Raleigh (N. Carolina), The Carnegie Institute (Pittsburg), British Council Travelling Exhibitions to Canada, Australia & New Zealand and in The Stedelijk Museum (Amsterdam).
    [Show full text]
  • Essay by Julian Pooley; University of Leicester, John Nichols and His
    'A Copious Collection of Newspapers' John Nichols and his Collection of Newspapers, Pamphlets and News Sheets, 1760–1865 Julian Pooley, University of Leicester Introduction John Nichols (1745–1826) was a leading London printer who inherited the business of his former master and partner, William Bowyer the Younger, in 1777, and rose to be Master of the Stationers’ Company in 1804.1 He was also a prominent literary biographer and antiquary whose publications, including biographies of Hogarth and Swift, and a county history of Leicestershire, continue to inform and inspire scholarship today.2 Much of his research drew upon his vast collection of seventeenth- and eighteenth-century newspapers. This essay, based on my ongoing work on the surviving papers of the Nichols family, will trace the history of John Nichols’ newspaper collection. It will show how he acquired his newspapers, explore their influence upon his research and discuss the changing fortunes of his collection prior to its acquisition by the Bodleian Library in 1865. 1 For useful biographical studies of John Nichols, see Albert H. Smith, ‘John Nichols, Printer and 2 The first edition of John Nichols’ Anecdotes of Mr Hogarth (London, 1780) grew, with the assistance Publisher’ The Library Fifth Series 18.3 (September 1963), pp. 169–190; James M. Kuist, The Works of Isaac Reed and George Steevens, into The Works of William Hogarth from the Original Plates of John Nichols. An Introduction (New York, 1968), Alan Broadfield, ‘John Nichols as Historian restored by James Heath RA to which is prefixed a biographical essay on the genius and productions of and Friend.
    [Show full text]
  • Government Art Collection Annual Report 2015-2016
    Annual Report 2015-2016 Contents 2 3 Director’s Report 8 Acquisitions 15 List of works lent to public exhibitions 17 List of long-term loans outside Government 23 Advisory Committee members 24 GAC staff Cover Image: Andy Goldsworthy working on the re-installation of Slate Cone at the British Embassy, Copenhagen Director’s Report 3 This year has been another busy one for the Government Art Collection (GAC) with a wide range of activities and events. We continue to emphasise the broader diplomatic function that art can play by selecting works that link Britain with the rest of the world in embassies and diplomatic buildings abroad, which this year included Copenhagen, Cairo and Moscow. Acquisitions Outset/Government Art Collection Fund This year saw the establishment of a new partnership, the Outset/ Government Art Collection Fund. Founded in 2003, Outset is an independent international organisation that supports new art within the public arena through private funding. The aim of the Fund is to add 12 important new works of art to the Collection over three years. The first work given to the GAC as a result of the Fund was a large-scale photograph by Isaac Julien, followed by an acrylic painting on vintage textile by Shezad Dawood. Aside from the Outset/GAC Fund acquisitions, other new works were acquired, including an abstract painting by the late Jon Thompson, an oil painting by Dexter Dalwood and a portfolio of 20 prints including Gillian Ayres, Gordon Cheung and Howard Hodgkin. We also purchased a rare historical portrait of King Henry VIII by an Unknown 16th-Century Anglo-Flemish artist.
    [Show full text]
  • Modern Aids to Bibliographical Research
    Modern Aids to Bibliographical Research DAVID FOXON THE TITLE ASSIGNED to this article is an ample one and, of necessity, the author has concentrated on the general sub­ jects which seem to be the most significant. Those developments which affect particular periods are covered in preceding articles. In general, the modern aids discussed here are only developments of earlier tech­ niques. If R. B. McKerrow were to survey the bibliographical scene today he would see little that was not implicit in his own work. The Hinman collating machine must take first place, not only be­ cause it is the one piece of equipment developed purely for biblio­ graphical purposes (and a very impressive and rather expensive ma­ chine, too) but also because it was developed to study the text of Shakespeare, a study which has inspired much of the most brilliant bibliographical work in the English-speaking countries. In the early seventeenth century it was the practice when a form of type had been set up to pull a proof (and perhaps a revise), but it was often impossible in those small printing shops to keep type stand­ ing and pressmen idle while the proof was being read. Accordingly the pressmen started printing-off sheets while the proof was read, stopped while the necessary corrections were made, and then printed-off the remainder of the sheets. As a result, only some copies of the sheet would be correct, and since this could be true of many or all the gather­ ings, which were assembled at random into books, the likelihood of any copy containing all the text in its corrected state is small.
    [Show full text]
  • Portraits of the FAMOUS & INFAMOUS
    portraits of the FAMOUS & INFAMOUS rex nan kivell collection Portraits of the Famous and Infamous– Sir Rex Nan Kivell’s Collection Reginald Nan Kivell, born in Christchurch in 1898, assistance of many people who had helped him lived as a boy surrounded by streets named after with his book and his acquisitions. Individual staff Bligh and the mutiny on the Bounty. As a child, from the National Library, dealers, friends, his then as an adult, he was obsessed with voyaging, business partners and his partner of many years, mapping and explorers’ accounts of their travels Mizouni Nouari (born 1929), are all mentioned, and conquests. He was intrigued by the process of some feature a portrait. Nan Kivell’s processes of reinvention that led to someone like James Cook, reinvention helped to secure his public reputation a modestly educated Yorkshire lad, becoming the as a man with roots, heritage and a productive most famous mariner and explorer of the 18th colonial past, something that could overwrite his century, and by the fame and acclaim that such illegitimacy and homosexuality in the public people could attract. For Nan Kivell, the process eye. This reinvention also meant that he could of reinvention began early and continued until his never risk returning to New Zealand and being knighthood in the last year of his life. To escape unmasked, despite entreaties over decades to visit his humble and inopportune origins (he was as a special guest of the government. Nor did he illegitimate, gay and modestly educated), he fled visit Australia, gently declining numerous requests New Zealand in late 1916 to serve, ingloriously, from Prime Minister Menzies and Harold White, in the First World War.
    [Show full text]
  • David Mckitterick. a History of Cambridge University Press. Vol. I
    179 Books in Review / Comptes rendus David McKitterick. A Historyof Cambridge University Press. Vol. I: Printing and the Book Trade in Cambridge, I534-£698. Cam- bridge: Cambridge University Press, 1992. xxiv, 500 pp.; £65 (cloth). IsBN o-521-308ol-I. This is the first volume of a projected three-volume history of the university press at Cambridge. Its author, David McKitterick, librarian of Trinity College and a leading scholar in the history of the book, takes the press from a very modest foundation in the sixteenth century to its thriving activity as a busy academic publisher by the end of the seventeenth century, just short of the age of Richard Bentley. A university press in England in the early modern period was quite a different thing from a university press today. The university's right to publish books was established by the charter of I534 (transcribed with slight inaccuracies on pp. 35-6, if figure I is indeed the original). Yet generally the university kept a distance from the day-to-day activities of those individuals who had been given the right to print and sell books within the community, but who in themselves were not really 'university publishers.' The work they produced ranged widely: academic pamphlets and Latin verse miscellanies, printed forms, manuals of logic, editions of the Bible, grammar texts, psalm books, books of English poetry (Herbert's Temple), even almanacs and other popular publications, and now and then what we would today call a scholarly publication, such as the splendidly produced Bede edited by Whelock. By the end of the period surveyed, the press had become very active with scholarly books, though the almanacs were still crucial for commer- cial survival.
    [Show full text]
  • Modern British and Irish Art Montpelier Street, London | 16 September 2020
    Modern British and Irish Art Montpelier Street, London | 16 September 2020 Modern British and Irish Art Montpelier Street, London | Wednesday 16 September 2020, at 1pm BONHAMS BIDS ENQUIRIES IMPORTANT INFORMATION Montpelier Street +44 (0) 20 7447 7447 Janet Hardie The United States Government Knightsbridge +44 (0) 20 7447 7401 fax Specialist has banned the import of ivory into London SW7 1HH [email protected] +44 (0) 20 7393 3949 the USA. Lots containing ivory are www.bonhams.com [email protected] indicated by the symbol Ф printed To bid via the internet please beside the lot number in this visit www.bonhams.com Catherine White catalogue. VIEWING Junior Cataloguer Sunday 13 September Please note that bids should be +44 (0) 20 7393 3884 REGISTRATION 11am -3pm submitted no later than 4pm [email protected] IMPORTANT NOTICE Monday 14 September on the day prior to the auction. Please note that all customers, 9am- 4.30pm New bidders must also provide PRESS ENQUIRIES irrespective of any previous activity Tuesday 15 September proof of identity when submitting [email protected] with Bonhams, are required to 9am-4.30pm bids. Failure to do this may result complete the Bidder Registration Wednesday 16 September in your bids not being processed. Form in advance of the sale. The CUSTOMER SERVICES 9am - 11am form can be found at the back of Bidding by telephone will only be Monday to Friday every catalogue and on our website Viewing is by timed appointment accepted on a lot with the lower 8.30am – 6pm at www.bonhams.com and should only, please contact Catherine estimate in excess of £500.
    [Show 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.
    [Show full text]