DOCSLIB.ORG

Colony 1485 Photo of Bateman's Meadow Showing the Anchor Studio and the Two-Storied Studio of Garstin and Bourdillon

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Colony 1485 Photo of Bateman's Meadow Showing the Anchor Studio and the Two-Storied Studio of Garstin and Bourdillon Colony RefNo Digital 1 Colony 918 Photo. Artists picnic at Lamorna. 917,918,919,921 and 922 seem to be the same occasion Colony 3857 Programme for Newlyn Artists' Dramatic Society (NADS) production She Stoops to Conquer, 14-15/1/1890. 2 pages Photocopy of Programme for 'She Stoops to Conquer', 16 & 17/12/1890. Cast: Docker, Forbes, Gotch, Ostrehan, Craft, Hart, Blackburne, Richards, Evans, Bird. Sent to member by great grandson of Ireland Blackburne Colony 3206 Unidentified artist at Newlyn. Douglas Williams Collection Colony 3220 Photo. In the Studio Garden of Stanhope Forbes, 1908. Forbes with his students including Dod Procter. From Cecily Jesse Album, Penlee House. Colony 3221 Photo. Painting class, Stanhope Forbes and students. From Cecily Jesse Album, Penlee House. Colony 467 Photo. Stanhope Forbes and students inside the Meadow studios c1930 Colony 932 Album of photographs and information about Dozmary Pool and the artists who used the Naper's hut there. Colony 922 Photo. Theatrical, 1907. Including TC Gotch. 917,918,919,921 and 922 seem to be the same occasion Colony 921 Photo. Theatrical, 1907. Including TC Gotch. 917,918,919,921 and 922 seem to be the same occasion Colony 2484 Extract from David Tovery, The Sidgwick Biography, Chapter 4 The War Years. Colony 90 Description of a cricket match between Penzance and the artists that took place in August 1888. Taylor. Rheim. Bramley. Bourdillon. Detmold. Cornishman 23/08/1888 Colony 919 Photo. Theatrical, 1907. Including TC Gotch. 917,918,919,921 and 922 seem to be the same occasion Colony 447 Photo. Stanhope Forbes, Elizabeth Forbes, Mrs Armstrong and other artists. Similar to 230 Colony 1485 Photo of Bateman's Meadow showing the Anchor Studio and the two-storied studio of Garstin and Bourdillon. Colony 917 Photo. Artists theatricals with Stanhope Forbes with Mrs Armstrong in the centre. Norman Garstin on the right. 917,918,919,921 and 922 seem to be the same occasion Colony 1487 Jessica Heath with Ella and Charly Naper and children Eileen and Nancy. Undated. Maryella Pigott Collection. Colony 1067 Millennium Calendar: The Newlyn Artists. 12 outstanding paintings. Colony 68 Paper: Margaret Perry, Artists and Newlyn, 12/9/2006 Colony 145 Collection of material about students of Stanhope Forbes not listed elsewhere. Agnes Joseph. Colony 1490 Artists at Dozmary Pool, 1915. Including Gol. Maryella Pigott Collection. Colony 1491 Artists at Sennen, 1930. Including Gluck. Maryella Pigott Collection. Colony 1492 Photo of a picnic at Nanzizel, undated. Mornie Birch, Linda Navissino, Joan Birch, Houghton Birch, Mrs Sidgwick Colony 1484 Photos taken at Dosmary Pool, showing the artists' accomodation outside and inside, c1914. Maryella Pigott Collection. Colony 946 Photo. Group of women and children at an artists cricket match Colony 198 Photo of Forbes Art School in the Meadow with Stanhope Forbes instructing students, 1937 ©Penlee House 12 July 2018 Page 1 of 52 RefNo Digital Colony 204 Thesis: Roderick Shaw, The Newlyn School and the Development of Late Nineteenth Century Painting in Britain. A Dissertation submitted to Newcastle on 21/3/1986 for BA in Fine Art. Colony 230 Photo. Stanhope Forbes, Elizabeth Forbes, Mrs Armstrong and other artists probably at Lamorna. Similar to 447 Colony 1059 Finding Inspiration on the Moor by John Yeats. The Field, May 1995. About sporting artists on Exmoor including Alfred Munnings Colony 1110 Extract from Studio Vol 13 Issue 61 1898:195. Mentions paintings of E & S Forbes, TC Gotch, Sherwood Hunter. Colony 1125 Copy of final accounts for the Newlyn Artists Belgian Relief Fund signed by TC Gotch, Wheal Betsy, December 1915. Includes: Letter; List of Donations and Subscriptions; and Statement of Accounts. Colony 154 Copy of Diary of Carolina, 1890-1892, the great aunt of Sally Bullard (Lamorna Society). Also edited copy with an index by Pam Lomax. Carolina met many of the Newlyn artists and other folk from West Penwith including: Blackmore, Bodilly, Bolitho, Bramley, Forbes, Gotch, Whitmore and others. Set in Penzance and Newlyn. Colony 153 Thesis: Artists of the Lamorna Valley, 1983. Carol Brewster (O'Toole Tandy). Colony 332 Thesis: Betsy Cogger Rezelman, The Newlyn Artists and their place in late Victorian Art. Colony 3205 Photo of artists (not identified) painting including one wearing a pith helmet. A coachman keeps guard c1890. See Mounts Bay by Douglas Williams Colony 403 Photo. Group of artists at Newlyn. Left to right standing: Frank Bodilly, Fred Millard, Frank Bramley, William Blandford Fletcher, William Breakspeare, Ralph Todd, Alexander Chevalier Tayler and Henry Scott Tuke. Left to right seated: William Wainwright, Edwin Harris, and Stanhope Forbes. Colony 3842 Newlyn 'Drencie', 1919. Photo including named artists. Cross 1994:180. The studios not only proved to be a centre of work and study but also provided the girls with an amusing social life, some of the highlights of which were the fancy dress parties which became known as ‘drencies’. For these everyone used to scrub and polish the studios, except Dod, who would ‘appear dressed in time for the dance, looking superbly handsome’. Fryniwed described Dod at one of these ‘drencies’ dressed in a Turkish outfit ‘in white butter-muslin bags, veil and tunic, real red Turkish slippers and everybody's silver ornaments.’ Colony 1324 Poster for 'Lubly Lobengula's Impecunious Impi. Newlyn Artists' Dramatic Society (NADS) performance 5-6/3/1894. Taken from Roger Langley's book. Colony 945 Photo of group of artists: Craft, Wainwright, Bodilly, Harris, Todd, Millard, Bramley (standing); Langley, Fletcher, Tayler (seated) Forbes (front). Colony 3129 Arrival the of the artists in Newlyn in 1882 with picture of Frank Bodilly and others. Colony 944 2 Photos. Artists painting on Cliff, including Frank Bodilly c1885/1886. Colony 1380 Collection of material related to George Bednar's book 'Every Corner was a Picture'. Colony 125 Angela Wheeler, Dozmary Pool. Published Flagstaff Spring 2001 Colony 943 Artists cricket match, 1890 including TCG. 2 pictures. Colony 1399 Artists at Dozmary Pool, 1914. Includes Alfred and Cecily Sidgwick, Harold and Laura Knight, Charles and Ella Naper. Maryella Pigott Collection. Colony 96 Collection of adverts for School(s) of Painting run by artist(s) associated with Newlyn, Lamorna and West Cornwall. Forbes. Foweraker. Garstin. Grier. Harvey. Olsson. Talmage. Colony 1051 Article. Crozier, 'The Newlyn School of Painting', The Girls Realm, November 1904. Colony 1692 Artists picnic. Unidentified photo, undated. Colony 2420 Image. Artists at work in the Julien School, etching by Margaret Jacobs. Colony 859 Digital collection of notes by Pam Lomax on letters written by or about members of the Newlyn Colony of Artists in 1884. Some letters reproduced. 12 July 2018 Page 2 of 52 RefNo Digital Colony 1761 'Revue du Vrai et du Bea 25/6/ 1924, Paris. So green covers, illustrated. 11’ by 9’. Written in French. Contains information about Geoffrey Garnier including 3 images of his work and infromation about Ruth and Charles Simpson. Colony 4877 Thesis: Polly Holbrook, A Comparison between the work of Stanhope Forbes and Walter Langley in the early years of the Newlyn School (1882-1897). Unpublished Thesis. No other information. Colony 1758 Images for David Evans NADFAS talk Painting in Newlyn 1880-1914 Colony 1529 Various lists about Newlyn and the Artists Colony 1880-1900. Colony 1757 Images for David Evans NADFAS talk Painting in Newlyn 1914-1960 Colony 2200 Article: Rob Jenkins, 'Different Strokes' about Newlyn Art School in late nineteenth century. Pictures include Langley, Lingering Hope; Forbes, Chadding in Mounts Bay; Garstin, The Rain it Raineth. Also photos of Langley and Forbes. In My Cornwall September 2010 Colony 1754 Images for David Evans NADFAS talk Summer in February, Colony 1693 Photo. Lauren's students, c1882. Colony 44 Pam Lomax, The Newlyn Artists’ Dramatic Society 1886-1890, in 9Ed Jine Palmer) Treasures of the Morrab, PLHG 2005. Colony 866 Photo of Pog Inglesias and two artists probably Laura and Harold Knight. Colony 1634 3 Photos of the Meadow Studios from Gladys Beattie Crozier, The Newlyn School of Painting, in The Girls Realm, November 1904. See 1635 Colony 2302 Watching cricket/ Newlyn and St Ives. Photo of artist community. No details Colony 3867 Image. Percy Craft's sketch of the Newlyn Artists' Dramatic Society (NADS) studio. Published in the Pall Mall Gazette, 25/12/1890 Colony 3869 Image. Percy Craft's sketch of the 1890 Newlyn Artists' Dramatic Society (NADS) production, She Stoops to Conquer with Percy Craft as Tony Lumpkin, Frank Richards as Jeremy, Stanhope Forbes as Mr Hardcastle and Elizabeth Forbes as Mrs Hardcastle. Published in the Pall Mall Gazette, 25/12/1890 Colony 1753 Signed menu. A group of the Artists meet at the Cheshire Cheese, November 7th 1910. The menu was sent to Gilbert Evans from London while he was back in Cornwall. He had still only been down there for under a year, but clearly from the comments on the menu, he was already considered a much liked friend. Munnings is already asking him to find somewhere for him to live in Autumn 2011. At this stage, Munnings was already engaged to Edith Florence Carter-Wood (Blote). David Evans Collection. Colony 4064 Photo of the Anchor Studio or Meadow Studio in the meadow off Trewarveneth Street where Stanhope Forbes had his Painting School. These photos were taken by Ron Hogg when the studios were open to the public in June 2011. Colony 3868 Image. Percy Craft's sketch of the 1890 Newlyn Artists' Dramatic Society (NADS) production, She Stoops to Conquer with Caroline Gotch as Miss Hardcastle, Miss Bird as Miss Neville, Mr Ostrehan as Hastings and Tom Gotch as Mr Marlow. Published in the Pall Mall Gazette, 25/12/1890 Colony 3876 Map of the Meadow where the artists built glass houses as studios.
Load more

Recommended publications
  • The First World War Centenary Sale | Knightsbridge, London | Wednesday 1 October 2014 21999
    ALE S ENARY ENARY T WORLD WAR CEN WORLD WAR T Wednesday 1 October 2014 Wednesday Knightsbridge, London THE FIRS THE FIRST WORLD WAR CENTENARY SALE | Knightsbridge, London | Wednesday 1 October 2014 21999 THE FIRST WORLD WAR CENTENARY SALE Wednesday 1 October 2014 at 1pm Knightsbridge, London BONHAMS ENQUIRIES SALE NUMBER IMPORTANT INFORMATION Montpelier Street 21999 The United States Government Knightsbridge Books, Manuscripts, has banned the import of ivory London SW7 1HH Photographs and Ephemera CATALOGUE into the USA. Lots containing www.bonhams.com Matthew Haley £20 ivory are indicated by the symbol +44 (0)20 7393 3817 Ф printed beside the lot number VIEWING [email protected] Please see page 2 for bidder in this catalogue. Sunday 28 September information including after-sale 11am to 3pm Medals collection and shipment. Monday 29 September John Millensted 9am to 4.30pm +44 (0)20 7393 3914 Please see back of catalogue Tuesday 30 September [email protected] for important notice to bidders 9am to 4.30pm Wednesday 1 October Militaria ILLUSTRATIONS 9am to 11am David Williams Front cover: Lot 105 +44 (0)20 7393 3807 Inside front cover: Lot 48 BIDS [email protected] Inside back cover: Lot 128 +44 (0) 20 7447 7448 Back cover: Lot 89 +44 (0) 20 7447 7401 fax Pictures and Prints To bid via the internet Thomas Podd please visit www.bonhams.com +44 (0)20 7393 3988 [email protected] New bidders must also provide proof of identity when submitting Collectors bids. Failure to do this may result Lionel Willis in your bids not being processed.
    [Show full text]
  • Laing Art Gallery First Floor Display January 2019 Paintings from the Collection – Label Texts in Display Order
    Laing Art Gallery first floor display January 2019 Paintings from the collection – Label texts in display order James Orrock (1829-1913) The Solway, Criffel in the distance 1896 Oil on canvas Bequest from John Lamb 1909 Criffel, an imposing hill in south-west Scotland, rises in the distance of this view of the wide sands of the Solway Firth at low tide. James Orrock was originally from Edinburgh, and had returned to Scotland in search of wild landscape to paint. Orrock greatly admired the breezy landscape views of David Cox. Orrock was originally a dentist, first in Edinburgh and then Nottingham. He became an artist after moving to London in around 1866, and was an important collector of British art. Benjamin Williams Leader (1831-1923) Sand dunes on the Conwy, about 1868 Oil on canvas Given by Susan Cowell 2013 The sea at Conwy Bay in North Wales provides the backdrop to this study of sand dunes. It’s a slightly unusual subject for Benjamin Leader, who focused on landscapes of meadows, hills and streams. He was particularly fond of sketching in Wales, and his naturalistic style was very popular during his lifetime. As a boy, he had gone on sketching trips with his father, an amateur artist who knew and admired John Constable. Anne Redpath (1895-1965) The Valley of San Martino di Lota about 1955 Oil on canvas Purchased 1961 San Martino di Lota is on the French island of Corsica, where Scottish artist Anne Redpath spent some time in 1955. She used thick paint and bold brushstrokes to describe this windswept landscape, also using a palette knife for the rough white stones in front of the house.
    [Show full text]
  • Download Our Guide To
    BEST OF CORNWALL 2020 Marianne Stokes, née Priendlsberger 1855 - 1927 Lantern Light, 1888 Oil on canvas, 82.5 x 102 cm Penlee House Gallery & Museum Purchased by private treaty from Mr & Mrs Allan Amey with assistance from The Art Fund, The MLA/V&A Purchase Grant Fund and the Friends of Penlee A brief and incomplete history of ... art and artists in Cornwall By Andrea Breton Cornwall has always appealed to the creative type; a land of mists and megaliths, it combines a wide variety of landscape, from perfectly sanded coves to dramatic cliffs and breakers; bleak, haunted moors to lush vegetal valleys. There are picturesque harbours and grand country houses set in vast acreages. There are impressive landmarks from the past such as Tintagel Castle, St Michael’s Mount and more standing stones and Neolithic sites than you can shake a stick at. They exist happily alongside the present day futuristic domes of Eden, the stately grey bulk of Tate St Ives, old Mine chimneys (sensibly bestowed with World Heritage status) and the spoil heaps of the clay pits near St Austell. 35 BEST OF CORNWALL 2020 However there is more to Cornwall’s appeal than It was clear that luck landmarks. It is the geographical distance to the rest of was needed. Fortunately, the England; the quirk of geology which makes Cornwall Victorian age was coming somewhat longer than it is wide. Surrounded by the sea, and with it the age of steam it gives the county an all enveloping bright light, allegedly powered travel and the artists’ a couple of lux higher than the mainland.
    [Show full text]
  • The Book Can Be Downloaded Here. Every Corner Was a Picture 4Th
    EVERY CORNER WAS A PICTURE 165 artists of Newlyn and the Newlyn Art Colony 1880–1900 a checklist compiled by George Bednar Fourth Edition 1 2 EVERY CORNER WAS A PICTURE 165 artists of Newlyn and the Newlyn Art Colony 1880–1900 Fourth Edition a checklist compiled by George Bednar ISBN 978 1 85022 192 0 1st edition published 1999 West Cornwall Art Archive 2nd edition © Truran 2004, revised 2005 3rd edition © Truran 2009, revised 2010, 2015 4th edition © Truran 2020 Published byTruran, an imprint of Tor Mark, United Downs Ind Est, St Day, Redruth TR16 5HY Cornwall www.truranbooks.co.uk Printed and bound in Cornwall by R. Booth Ltd, The Praze, Penryn, TR10 8AA Cover image: Walter Langley The Breadwinners/Newlyn Fishwives (Penlee House Gallery & Museum) Insert photographs: © Newlyn Artists Photograph Album, 1880s, Penlee House Gallery & Museum & Cornwall Studies Centre, Redruth ACKNOWLEDGEMENTS I take this opportunity to thank Heather and Ivan Corbett, as well as Yvonne Baker, Steve Baxter, Alison Bevan (Director, RWA, formerly Director, Penlee House), John Biggs, Ursula M. Box Bodilly, Cyndie Campbell (National Gallery of Canada), Michael Carver, Michael Child, Robin Bateman, Michael Ginesi, Iris M. Green, Nik Hale, Barbara B. Hall, Melissa Hardie (WCAA), James Hart, Elizabeth Harvey-Lee, Peter Haworth, Katie Herbert (Penlee House, who suggested Truran), Jonathan Holmes, Martin Hopkinson, Ric and Lucy James, Tom and Rosamund Jordan, Alice Lock, Huon Mallallieu, David and Johnathan Messum, Stephen Paisnel, Margaret Powell, M.C. Pybus, Claus Pese, Brian D. Price, Richard Pryke, John Robertson, Frank Ruhrmund, Denise Sage, Peter Shaw, Alan Shears, Brian Stewart, David and Els Strandberg, Leon Suddaby, Sue and Geoffrey Suthers, Peter Symons, Barbara Thompson, David Tovey, Archie Trevillion, Ian Walker, Peter Waverly, John and Denys Wilcox, Christopher Wood, Laura Wortley, Nina Zborowska, and Valentine and John Foster Tonkin.
    [Show full text]
  • Men in the Fiction of D
    il.Lk'q\ "ANOTHER KIND OF LOVE": THE DYNAMICS OF LOVE AND POWER BETWEEN MEN IN THE FICTION OF D. H. LAWRENCE. Kym McCauley B.A. (Hons.) Thesis submitted for the degree of Master of Arts. Department of English The University of Adelaide December 1993 At onde cl, \At f1 Errata. "'Another Kind of Love': The Dynamics of Love and Power Between Men in the Fiction of D.H. Lawrence" by Kym McCauley' p.3 for compliment read comqlement p.10 for Lawrence's' read Lawrence's p.19 for order read establishment p. 20 for advise read advice pp. 22, 23n.,48, 50, 51, 54, 55, 64, 93 and 122 in each instance for Ctitch read Crich p. 35 for Morels' read Morel's p. 36 for lljre drags...fire. read [He drags...fire'] for weeks read week's p. 38 for Morels' read Morel's for fatherc' read father's p. 45 for rclaces read rePlaces p. 51 for Brennen read Brennan p. 52 for womens' read women's p. 53 for womens' read women's for her children read their children p. 59 for contribution read contributions p. 68 for discerned read distinguished p. 100 for principal read PrinciPle p. 107 for Gran Ellis' (second occurrence) read Gran Ellis p. 109 /or Somers (first occurrence) read Somers' Declaration This thesis contains no material which 'has been accepted for the award of any other degree or diploma at any university and, to the best of my knowledge and belief, it contains no material written or published by another person except where reference is made in the text.
    [Show full text]
  • Cornwall Artists Index
    6/29/2014 Arthur HAYWARD | cornwall artists index cornwall artists index Arthur HAYWARD 1889—1971 Born at Southport, Lancashire, Hayward studied architecture at South Kensington but gave it up for painting, and subsequently studied at the Warrington School of Art and under Stanhope FORBES (/cornw all-artists/stanhope-forbes) at Newlyn. During WWI he served with Royal Field Artillery, and returned to Newlyn, being addressed as Captain Hayward. He joined the Committee of the NSA (/cornw all-artists/nsa) , serving specifically on the Entertainments sub-committee, as his organisation skills were well known. After working at Newlyn and Paul, he moved to St Ives, and established a St Ives School of Painting (c1924) of which he was the named Principal - not the same School of Painting now in existence, begun in the 1930s with Leonard John FULLER (/cornw all-artists/leonard-john-fuller) in charge. He worked from Treveneth and Shore Studio (Illus, Tovey, p110), and played an important role in STISA (/cornw all- artists/stisa) . After 1932 he refused to have anything more to do with that organisation, but continued to play a part in St Ives and Newlyn's artistic life through the formation of an exhibiting set calling themselves the CORNWALL GROUP. The HARVEYS (Harold HARVEY (/cornw all-artists/harold-harvey) & Gertrude HARVEY (/cornw all-artists/gertrude-harvey) ), the PROCTERS (Ernest PROCTER (/cornw all-artists/ernest-procter) & Dod PROCTER (/cornw all-artists/dod-procter) ), Hugh GRESTY (/cornw all-artists/hugh-gresty) , Alison ROSE and Midge BRUFORD (/cornw all-artists/midge-bruford) were those who banded together for some years.
    [Show full text]
  • 08 Tate Modern in the Studio
    1 Antony Gormley (b. 1950), Untitled (for Francis), 1985 (Room 1), lead, plaster, polyester resin and fibreglass 1900 × 1170 × 290cm Giovanni Bellini, St Francis in Ecstasy, 1479-85 • Finding Meaning. In this room we have two apparently contrasting works. Over there an abstract work by Eva Hesse and here a human figure by Antony Gormley. They represent contrasting approaches that are explored in the following rooms. Gormley is best known for The Angel of the North (see Visual Aids) an enormous sculpture on a hill near Newcastle. • Construction. This work is called Untitled (for Francis) and was made in 1985. Like many of his other works it was made directly from his own body. He was wrapped in clingfilm by his wife, who is also an artist, and then covered in two layers of plaster. When it had dried the cast was cut from his body, reassembled and then covered in fibreglass and resin. Twenty-four sheets of lead were then hammered over the figure and soldered together. If you look closely you will see that the figure has been pierced in the breast, hands and feet by small holes cut in the lead. • St. Francis. The attitude of the eyeless figure, standing with head tilted back, feet apart and arms extended to display the palms of its hands, resembles that of a Christian saint receiving the stigmata. Stigmata are the five marks left on Christ’s 2 body by the Crucifixion although one of the wounds here is in the breast, rather than, as tradition dictates, in the side.
    [Show full text]
  • A Short History of the Cornwall Council Schools Works of Art Collection
    A Short History of the Cornwall Council Schools Works of Art Collection Beginnings On 6th May, 1961 Cornwall County Council received an anonymous donation of £100, made up of twenty £5 notes, with a short note saying simply ‘To help Primary School Funds’. Attempts were made to trace the source of the donation through Plympton post office, from which it was sent, however these efforts failed. Various meetings of the Education Sub-Committee were held to try and decide what best to do with the money, it was felt that it should be used for something specific rather than just subsumed into general funds, and finally art was agreed upon. In September 1961 the Council’s Secretary for Education, Jim Harries, wrote to the artists John Piper, Peter Lanyon and Barbara Hepworth and Jacob Epstein’s recent widow, Lady Epstein explaining what had happened and asking if they might be able to sell something at a reasonable price, or had any other suggestions. They all replied; Piper thought that due to costs of original works buying a group of prints would be more effective, Lanyon was supportive but wanted £100 to supply two small paintings, Hepworth was also very enthusiastic and suggested a scheme of approaching a range of artists to asking them to each supply a piece at a minimal cost and finally Lady Epstein offered to sell a small bronze sculpture by her late husband for a reduced cost of £130. Finally, it was agreed that the opportunity to acquire an Epstein sculpture was too good an offer to refuse and the expenditure of the additional £30 to secure the piece was agreed in January 1962.
    [Show full text]
  • Download Our Exhibition Catalogue
    FOREWORD Published to accompany the exhibition at We are delighted to welcome you to the second exhibition at Two Temple Place, London 26th January 2013 – 14th April 2013 Two Temple Place, Amongst Heroes: the artist in working Cornwall. Published in 2013 by Two Temple Place 2 Temple Place, London, wc2r 3bd The Bulldog Trust launched its Exhibition Programme at our Copyright © Two Temple Place headquarters on the Embankment in 2011. In welcoming the public to Two Temple Place we have three objectives: to raise Raising the Worker: awareness of museums and galleries around the UK by displaying Cornwall’s Artists and the Representation of Industry Copyright © Roo Gunzi part of their collections; to promote curatorial excellence by offering up-and-coming curators the opportunity to design a What are the Cornish boys to do? How Changing Industry Affected Cornwall’s Population high profile solo show with guidance from our experienced Copyright © Dr Bernard Deacon curatorial advisor; and to give the public the opportunity to Trustee of the Royal Institution of Cornwall and Honorary Research Fellow, University of Exeter visit and enjoy Two Temple Place itself. A catalogue record for this publication is available from the British Library Two Temple Place was originally built as an office for William Waldorf Astor in the late 19th century and the Bulldog Trust isbn 978-0-9570628-1-8 have been fortunate to own the house since 1999. For our curators, Designed and produced by NA Creative devising a show for the ornate and intricately decorated space is a huge challenge that calls for imagination and ingenuity.
    [Show full text]
  • British Figurative Painters of the 20Th Century Whose Development Can Be Adequately Discussed Without Reference to Sickert's Subject-Matter Or Innovative Techniques
    • Question from last week • Where is the Fry Art Gallery that has Eric Ravilious Tea at Furlongs (1939)? The Fry Art Gallery is an art gallery in Saffron Walden, Essex that is best known for its displays of work by the Great Bardfield Artists, including Edward Bawden and Eric Ravilious. The Great Bardfield Artists were a community of artists living in Great Bardfield, north west Essex. They were diverse in style but shared a love for figurative art, making the group distinct from the better known St Ives School of artists in St Ives, Cornwall, who, after the war, were chiefly dominated by abstractionists. • Figurative art runs as a theme through all British art. The extremes of modernism—Fauvism, Dada, Surrealism and even abstraction—never took hold in Britain but there was a continued interest in the human body, psychological insights and representing the full range of emotions. This means that most of the artists we have dealt with have been figurative, that is not abstract, artists. • This means it has been difficult to choose a small number of artists to represent the tradition and I have selected painters who stayed with the figurative tradition throughout their lives with the exception of Victor Pasmore as I use his work to create a link with British art of the 1950s and 60s. 1 Notes • Figurative art is a term used to describe paintings and sculptures that are derived from real objects. Figurative art is therefore representational. Note that human figures are often shown in figurative art but the term does not mean figures painting.
    [Show full text]
  • 19TH CENTURY EUROPEAN VICTORIAN and BRITISH IMPRESSIONIST ART Wednesday 14 March 2018
    19TH CENTURY EUROPEAN VICTORIAN AND BRITISH IMPRESSIONIST ART Wednesday 14 March 2018 19TH CENTURY EUROPEAN, VICTORIAN AND BRITISH IMPRESSIONIST ART Wednesday 14 March at 2.00pm New Bond Street, London VIEWING BIDS ENQUIRIES PHYSICAL CONDITION OF Friday 9 March +44 (0) 20 7447 7447 Peter Rees (Head of Sale) LOTS IN THIS AUCTION 2pm to 5pm +44 (0) 20 7447 7401 fax +44 (0) 20 7468 8201 Saturday 10 March To bid via the internet please [email protected] PLEASE NOTE THAT THERE IS 11am to 3pm visit bonhams.com NO REFERENCE IN THIS Sunday 11 March Charles O’Brien CATALOGUE TO THE PHYSICAL 11am to 3pm Please note that bids should be (Head of Department) CONDITION OF ANY LOT. Monday 12 March submitted no later than 4pm on +44 (0) 20 7468 8360 INTENDING BIDDERS MUST 9am to 4.30pm the day prior to the sale. New [email protected] SATISFY THEMSELVES AS TO Tuesday 13 March bidders must also provide proof THE CONDITION OF ANY LOT 9am to 4.30pm of identity when submitting bids. Emma Gordon AS SPECIFIED IN CLAUSE 14 Wednesday 14 March Failure to do this may result in +44 (0) 20 7468 8232 OF THE NOTICE TO BIDDERS 9am to 12pm your bid not being processed. [email protected] CONTAINED AT THE END OF THIS CATALOGUE. SALE NUMBER TELEPHONE BIDDING Alistair Laird 24741 Bidding by telephone will only +44 (0) 20 7468 8211 As a courtesy to intending be accepted on a lot with a [email protected] bidders, Bonhams will provide a CATALOGUE lower estimate of or in written Indication of the physical £25.00 excess of £1,000 Deborah Cliffe condition of lots in this sale if a +44 (0) 20 7468 8337 request is received up to 24 ILLUSTRATIONS Live online bidding is available [email protected] hours before the auction starts.
    [Show full text]
  • The Future Fund of the Republic of Austria Subsidizes Scientific And
    The Future Fund of the Republic of Austria subsidizes scientific and pedagogical projects which foster tolerance and mutual understanding on the basis of a close examination of the sufferings caused by the Nazi regime on the territory of present-day Austria. Keeping alive the memory of the victims as a reminder for future generations is one of our main targets, as well as human rights education and the strengthening of democratic values. Beyond, you will find a list containing the English titles or brief summaries of all projects approved by the Future Fund since its establishment in 2006. For further information in German about the content, duration and leading institutions or persons of each project, please refer to the database (menu: “Projektdatenbank”) on our homepage http://www.zukunftsfonds-austria.at If you have further questions, please do not hesitate to contact us at [email protected] Project-Code P06-0001 brief summary Soviet Forced Labour Workers and their Lives after Liberation Project-Code P06-0002 brief summary Life histories of forced labour workers under the Nazi regime Project-Code P06-0003 brief summary Unbroken Will - USA - Tour 2006 (book presentations and oral history debates with Holocaust survivor Leopold Engleitner) Project-Code P06-0004 brief summary Heinrich Steinitz - Lawyer, Poet and Resistance Activist Project-Code P06-0006 brief summary Robert Quintilla: A Gaul in Danubia. Memoirs of a former French forced labourer Project-Code P06-0007 brief summary Symposium of the Jewish Museum Vilnius on their educational campaign against anti-Semitism and Austria's contribution to those efforts Project-Code P06-0008 brief summary Effective Mechanisms of Totalitarian Developments.
    [Show full text]