DOCSLIB.ORG

PRESENTATIONINPROGRESS.Compressed.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PRESENTATIONINPROGRESS.Compressed.Pdf 1898 Building of the studios started in 1898. One of a group of eight, it was originally known as number 4 Egerton Place Studios. They were built as live / work spaces for artists / photographers and architects. So the initial starting point is to loose the contemporary done up to sell look, and go back to the artist studio history of the house. It’s why it was built and its initial owners were all artists of various sorts. So think Victorian bohemia, lots of wood, rich painterly colours, draped fabrics and rugs, a warm but decadent feel where you might expect Oscar wilde to pass you an opium pipe. George Charles Bereseford 1864 - 1938 The first owner of the house was George Charles Beresford grandson of the Marquess of Waterford and an early portrait photographer. He photographed a colourful mix of artists, aristocrats and writers. He was close friends with Rudyard Kipling (who based one of his key charactors on him), Augustus John, Virginia Woolf and Sir William Orpen. So very much the Bloomsbury set / Chelsea Arts Club scene. There are over 300 of his portraits which one can buy from the National Portrait Gallery (for around £50 a pop). I really like the idea that one knows all of them have been sitting there in the studio for the shots. Augustus John Rodin J.M.Barrie Charles Ricketts Virginia Woolf Lady Morrell Queen Victoria of Spain Lady Cooper H G Wells Lord Douglas Winston Churchill William Yeats William Rothenstein Vanessa Bell Jacob Epstein Gabreille Enthoven Lionel Burleigh High Speed Artist A true Chelsea eccentric Lionel resided at number 20 in the 1940’s after the war An ex-alcoholic he re-directed his enrgies into painting, producing an average of 27 paintings a day. The only drawback is they’re not very good! I have found one though that could look great as a mural in the downstairs toilet. The other amusing thing about him is that he did also start Englands first independent newspaper The Com- monwealth Sentinel. He was frustrated that newspapers printed nonsense and figured he’d start his own. Unfortunatly he forgot to arrange any kind of distribution, so the 50,000 copies were delivered to him at Browns Hotel, and the Police were called due to them blocking traffic. Sir William Orpen On the first floor the scheme has been inspired by the William Orpen portrait above. The Classic masculine lines of a panelled library are softened with touches of pastel pink, a fur throw, and delicate chadeliers. Marchesa Casati An Italian heiress who blew her entire fortune on art, parties and fashion. She had to sell her palace in Venice and moved over to London just around the corner in Beaufort Gardens. Above is a portrait of her by her close friend Augustus John, in turn the closest friend of the studios first owner Mr G.C.Beresford. Balcony-terrace Roof light WARDROVE Bedroom 1 SHELVES SLIDING DOORS OPEN SOFA/BED CLOSED BED DOWN Bedroom 2 WARDROVE SIDE TABLE 1 AND 2 SHELVES join together to make the coffe table 17 16 15 14 13 18 19 12 down 11 Toilet WARDROVE 2 up WARDROVE Linen Cupboard Bedroom 3 Toilet SLIDING DOOR 4 SHUT Bathroom 2 WARDROVE PROPOSED GA FIRST FLOOR PLAN (final version ) Scale 1:50 A3 20 Yeomans Row PV9-902 London, SW3 2AH Proposed First Floor FRANCISCO A. GUTIERREZ JOHN TEALL 1/50 23-12-14 PROPOSED GA FIRST FLOOR VERSION 9 Rudyard Kipling The spare room is dedicated to Rudyard Kipling who spent a great deal of time in the studio being best friends with G C Beresford on whom he based Mc’Turk. Virgnia Woolf As photographed above in the room that is now to be the top bedroom, Virginia was a close friend of the original owner G.C. Beresford. This photo was also on the British Stamp in 2006. The proposals for the bedroom are based on the designs of her country home Monk’s House in Charleston. The house was decortaed by her sister Vanessa Bell and Duncan Grant. .
Load more

Recommended publications
  • Portrait of Charles Haslewood Shannon, R.A. Pencil and Coloured Chalks on Light Brown Paper
    William Rothenstein (Bradford 1872 - Far Oakridge, Gloucestershire 1945) Portrait of Charles Haslewood Shannon, R.A. Pencil and coloured chalks on light brown paper. Signed, dedicated and dated WMR to ClH.S / Jan. 96 at the lower left. 380 x 298 mm. (15 x 11 3/4 in.) A portrait of the printmaker, draughtsman and book illustrator Charles Haslewood Shannon (1863- 1937), at the age of thirty-three. Shannon was a key figure in the London art world between 1890 and 1930 and, together with his lifelong partner Charles Ricketts, designed and illustrated a large number of books, published an art journal entitled The Dial, and in 1894 established the Vale Press, named after their home in Chelsea. It was through Oscar Wilde that Rothenstein first met Shannon and Ricketts in 1893, soon after his return to London from Paris. As he recalled in his memoirs, ‘Oscar Wilde had taken me to the Vale to see Ricketts and Shannon before I came to live in Chelsea, when I was charmed by these men, and by their simple dwelling, with its primrose walls, apple-green skirting and shelves, the rooms hung with Shannon’s lithographs, a fan-shaped watercolour by Whistler, and drawings by Hokusai – their first treasures, to be followed by so many others.’ Ricketts and Shannon formed an impressive collection of Old Master drawings and paintings, antiquities, Persian miniatures and Japanese prints. In 1894 Rothenstein and Shannon shared a joint exhibition of their drawings and lithographs at E. J. van Wisselingh’s Dutch Gallery on Brook Street, London. This was to be Rothenstein’s first major London exhibition, and included thirty-one of his works, mostly portrait lithographs as well as some drawings and pastels.
    [Show full text]
  • Bernard Fleetwood-Walker (1893-1965) By
    The Social, Political and Economic Determinants of a Modern Portrait Artist: Bernard Fleetwood-Walker (1893-1965) by MARIE CONSIDINE A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham April 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT As the first major study of the portrait artist Bernard Fleetwood-Walker (1893- 1965), this thesis locates the artist in his social, political and economic context, arguing that his portraiture can be seen as an exemplar of modernity. The portraits are shown to be responses to modern life, revealed not in formally avant- garde depictions, but in the subject-matter. Industrial growth, the increasing population, expanding suburbs, and a renewed interest in the outdoor life and popular entertainment are reflected in Fleetwood-Walker’s artistic output. The role played by exhibition culture in the creation of the portraits is analysed: developing retail theory affected gallery design and exhibition layout and in turn impacted on the size, subject matter and style of Fleetwood-Walker’s portraits.
    [Show full text]
  • Indian Angles
    Introduction The Asiatic Society, Kolkata. A toxic blend of coal dust and diesel exhaust streaks the façade with grime. The concrete of the new wing, once a soft yellow, now is dimmed. Mold, ever the enemy, creeps from around drainpipes. Inside, an old mahogany stair- case ascends past dusty paintings. The eighteenth-century fathers of the society line the stairs, their white linen and their pale skin yellow with age. I have come to sue for admission, bearing letters with university and government seals, hoping that official papers of one bureaucracy will be found acceptable by an- other. I am a little worried, as one must be about any bureaucratic encounter. But the person at the desk in reader services is polite, even friendly. Once he has enquired about my project, he becomes enthusiastic. “Ah, English language poetry,” he says. “Coleridge. ‘Oh Lady we receive but what we give . and in our lives alone doth nature live.’” And I, “Ours her wedding garment, ours her shroud.” And he, “In Xanadu did Kublai Khan a stately pleasure dome decree.” “Where Alf the sacred river ran,” I say. And we finish together, “down to the sunless sea.” I get my reader’s pass. But despite the clerk’s enthusiasm, the Asiatic Society was designed for a different project than mine. The catalog yields plentiful poems—in manuscript, on paper and on palm leaves, in printed editions of classical works, in Sanskrit and Persian, Bangla and Oriya—but no unread volumes of English language Indian poetry. In one sense, though, I have already found what I need: that appreciation of English poetry I have encountered everywhere, among strangers, friends, and col- leagues who studied in Indian English-medium schools.
    [Show full text]
  • Paul Mellon Centre for Studies in British Art Library: New Accessions
    Paul Mellon Centre for Studies in British Art Library: New accessions May 2015 D10738 Holburne Museum of In the public eye : treasures from the West of England : an Bath: Holburne Museum of Art, [2002] 062 BAT-HOL Art exhibition at the Holburne Museum of Art, Bath, organised by Sotheby's in association with the Historic Houses Association, 15th October to 8th December 2002 D11728 Sutherland, Adam After Ford 151 : Blackwell’s dark place [Coniston]: Grizedale Arts, 2014 062 BOW-BLA 1902671902 Hammer, Martin My generation : a festival of British Art in the 1960s [Kent]: University of Kent, [2015] 062 CAN-UNI 1907052445 Durant, Stuart The John Scott Collection : truth, beauty, power : the designs of Dr London: The Fine Art Society, 2014 062 LON-FIN Christopher Dresser, 1834-1904. Volume five 1907052526 Morgan-Cox, Rowena The John Scott Collection : art nouveau : continental design & London: The Fine Art Society, 2015 062 LON-FIN sculpture. Volume seven 1855144867 National Portrait BP Portrait Award 2014 London: National Portrait Gallery, 2014 062 LON-NPG Gallery 1855144875 National Portrait Taylor Wessing Photographic Portrait Prize 14 London: National Portrait Gallery, c2014 062 LON-NPG Gallery D11659 Tate Britain Salt and silver : early photography 1840-1860 [London]: Tate Britain, [2015] 062 LON-TAT 1854378392 Tate Britain Turner prize 10 London: Tate, 2010 062 LON-TAT D11931 Tate Britain Turner Prize 2000 London: Tate, c2000 062 LON-TAT 1854374656 Tate Britain Turner Prize 2002 : Fiona Banner, Liam Gillick, Keith Tyson, London: Tate, c2002
    [Show full text]
  • Fttfe MUSEUM of MODERN1 ART
    jr. ,•&-*- t~ V* *«4* /C^v i* 41336 - 2Z f± **e y^^A-^-^p, fttfE MUSEUM OF MODERN1 ART P WEST 53RD STREET, NEW YORK -uEPHONE: CIRCLE 5-89CO FOE IMMEDIATE RELEASE (Note* Photographs of paintings available) BRITAIN DELIVERS WAR PAINTINGS TO MUSEUMxOF MODERN ART. LORD HALIFAX TO OPEN EXHIBITION. On Thursday evening, May 22, Lord Halifax, Great Britain's Ambassador to the United States, will formally open at the Museum of Modern Art an exhibition of the Art of Britain At War, designed to show the wartime roles England assigns to her artists and de­ signers. It will be composed of oils, watercolors, drawings, prints, posters, cartoons, films, photographs, architecture and camouflage of the present war as well as work of British artists during the first World War. The exhibition will open to the public Friday morning, May 23, and will remain on view throughout the summer. It will then be sent by the Museum to other cities in the United States and Canada, The nucleus of the exhibition opening in May will be the group of paintings, watercolors and prints which the Museum expected to open as a much smaller exhibition in November 1940. After several postponments the Museum was finally forced to abandon it as, due to wartime shipping conditions, the pictures did not arrive although word had been received that the shipment had left London early in November. The Museum received the shipment late in January. After weeks of further negotiation with British officials in this country and by cable with London the Museum decided that it would be possible to augment the material already received with other work done by British artists since the first material was sent.
    [Show full text]
  • Three Centuries of British Art
    Three Centuries of British Art Three Centuries of British Art Friday 30th September – Saturday 22nd October 2011 Shepherd & Derom Galleries in association with Nicholas Bagshawe Fine Art, London Campbell Wilson, Aberdeenshire, Scotland Moore-Gwyn Fine Art, London EIGHTEENTH CENTURY cat. 1 Francis Wheatley, ra (1747–1801) Going Milking Oil on Canvas; 14 × 12 inches Francis Wheatley was born in Covent Garden in London in 1747. His artistic training took place first at Shipley’s drawing classes and then at the newly formed Royal Academy Schools. He was a gifted draughtsman and won a number of prizes as a young man from the Society of Artists. His early work consists mainly of portraits and conversation pieces. These recall the work of Johann Zoffany (1733–1810) and Benjamin Wilson (1721–1788), under whom he is thought to have studied. John Hamilton Mortimer (1740–1779), his friend and occasional collaborator, was also a considerable influence on him in his early years. Despite some success at the outset, Wheatley’s fortunes began to suffer due to an excessively extravagant life-style and in 1779 he travelled to Ireland, mainly to escape his creditors. There he survived by painting portraits and local scenes for patrons and by 1784 was back in England. On his return his painting changed direction and he began to produce a type of painting best described as sentimental genre, whose guiding influence was the work of the French artist Jean-Baptiste Greuze (1725–1805). Wheatley’s new work in this style began to attract considerable notice and in the 1790’s he embarked upon his famous series of The Cries of London – scenes of street vendors selling their wares in the capital.
    [Show full text]
  • “He Hath Mingled with the Ungodly”
    ―HE HATH MINGLED WITH THE UNGODLY‖: THE LIFE OF SIMEON SOLOMON AFTER 1873, WITH A SURVEY OF THE EXTANT WORKS CAROLYN CONROY TWO VOLUMES VOLUME I PH.D. THE UNIVERSITY OF YORK HISTORY OF ART DECEMBER 2009 2 ABSTRACT This thesis focuses on the life and work of the marginalized British Pre-Raphaelite and Aesthetic homosexual Jewish painter Simeon Solomon (1840-1905) after 1873.This year was fundamental in the artist‘s professional and personal life, because it is the year that he was arrested for attempted sodomy charges in London. The popular view that has been disseminated by the early historiography of Solomon, since before and after his death in 1905, has been to claim that, after this date, the artist led a life that was worthless, both personally and artistically. It has also asserted that this situation was self-inflicted, and that, despite the consistent efforts of his family and friends to return him to the conventions of Victorian middle-class life, he resisted, and that, this resistant was evidence of his ‗deviancy‘. Indeed, for over sixty years, the overall effect of this early historiography has been to defame the character of Solomon and reduce his importance within the Aesthetic movement and the second wave of Pre-Raphaelitism. It has also had the effect of relegating the work that he produced after 1873 to either virtual obscurity or critical censure. In fact, it is only recently that a revival of interest in the artist has gained momentum, although the latter part of his life from 1873 has still remained under- researched and unrecorded.
    [Show full text]
  • University of Birmingham Recovering Robert Ross
    University of Birmingham Recovering Robert Ross: Criticism, Commerce and Networking in the Edwardian Art World Hatchwell, Sophie License: None: All rights reserved Document Version Peer reviewed version Citation for published version (Harvard): Hatchwell, S 2017, Recovering Robert Ross: Criticism, Commerce and Networking in the Edwardian Art World. in S Shaw, S Shaw & N Carle (eds), Edwardian Culture: Beyond the Garden Party. Among the Victorians and Modernists, Routledge, New York, pp. 172-190. Link to publication on Research at Birmingham portal Publisher Rights Statement: Final Version of record published in: Edwardian Culture: Beyond the Garden Party (pub 2017) General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version. Take down policy While the University of Birmingham exercises care and attention in making items available there are rare occasions when an item has been uploaded in error or has been deemed to be commercially or otherwise sensitive.
    [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]
  • 'An Embryonic Vorticist'?: William Rothenstein and Wyndham Lewis
    ‘An embryonic Vorticist’?: William Rothenstein and Wyndham Lewis ________ Samuel Shaw I could draw up a list for an ideal Royal Academy; and in any list so composed Sir William Rothenstein would be my President. Wyndham Lewis, 1938 1 ‘Though he is not with them, he is not divorced’, claimed a reviewer of William Rothenstein’s second volume of memoirs in 1932, reflecting on the artist’s relationship to the ‘changing aims and technique, aspirations and revolts, of the younger artists’. 2 Rothenstein is the kind of artist or critic, the reviewer contends, who ‘keeps to the middle of the road’. This is a relatively typical assessment; one which was given glorious physical form in a television debate several years later – an event which marked the television debut of both Rothenstein and his old friend Wyndham Lewis. The circumstances are well known. In 1939, the BBC sought to stage a debate on modern art. To this purpose they brought together two teams: the council for the defence represented by Lewis and Geoffrey Grigson; the council for the prosecution by Sir Reginald Blomfield and A. K. Lawrence. Keeping order – and thus sitting in the very centre of the group – was Sir William Rothenstein, whom Grigson described as ‘perched up above us to see fair play, like a little owl on the table, who blinked slowly as owls do.’ 3 The debate was not terribly successful. Hubert Nicholson, watching from the wings, was ‘not impressed with the quality of the debate’, and felt that ‘no single aesthetic doctrine was soundly presented by either side’.
    [Show full text]
  • Stillorgan 1878 - London 1931
    William ORPEN (Stillorgan 1878 - London 1931) Portrait of Grace Knewstub Orpen Coloured chalks, with framing lines in black chalk, on dark grey paper. 165 x 130 mm. (6 1/2 x 5 1/8 in.) [image] 366 x 196 mm. (14 3/8 x 7 3/4 in.) [sheet] The younger sister of Alice Knewstub, the wife of the painter William Rothenstein, Grace Knewstub (1877-1948) first met William Orpen in the summer of 1899, when she, Orpen, Augustus John and Charles Conder joined the newly married Rothensteins on holiday in Normandy. Both Orpen and John fell in love with Grace, and she maintained a correspondence with the former throughout the winter of 1899-1900. She first posed for Orpen in 1900, and the two were married in August 1901, with Grace becoming one of his most faithful models. The present sheet is a preparatory study for Orpen’s three-quarter length double portrait of himself and Grace painted in 1901, the year of their wedding, and shown at the Society of Portrait Painters exhibition at the New Gallery in London that year. (The present whereabouts of the painting are unknown.) As Orpen’s biographer Bruce Arnold noted of the artist, ‘He painted a large canvas of himself and Grace, side by side. A study for this double portrait was included subsequently in the Carfax exhibition as No.7, ‘Two Portraits’ priced at £6, while the painting was sent in to the Society of Portrait Painters, Orpen’s first work to be exhibited with that group. It is remarkable. Orpen, even then, was a creator of fact, not of myth.
    [Show full text]
  • Roger Casement, His Head Now Becoming Crowned by the Vertical Swans
    EXHIBITION GUIDE: ARTWORKS PLEASE RETURN TO HOLDER WHEN YOU HAVE FINISHED Gallery 13 Hall Gallery 13 (artworks left to right) Gallery 12 (artworks left to right) LEO BROE b. Dublin 1899 – d. 1966 PATRICK PEARSE 1932 Marble, 46 x 41 x 10.5 cm Presented by Aonac na Nodlag for Thomas Kelly T.C., T.D., 1933. Collection Dublin City Gallery The Hugh Lane. Reg. 701 Like Patrick Pearse (1879-1916), Leo Broe was a member of the Irish Volunteers which was formed in 1913. Much of his oeuvre consists of ecclesiastical work and monuments to Irish republicans which are located throughout the country. Patrick Pearse’s father James was a sculptor who had come to Ireland from England to work. Pearse studied law and while called to the Bar, never practiced. He was deeply interested in the Irish language and became the editor of An Claidheamh Soluis (The Sword of Light), the newspaper of The Gaelic League. While initially a cultural nationalist, Pearse’s views became increasingly more inclined towards physical force republicanism and social revolution. The 1913 Lockout had a significant impact on his thinking and Pearse wrote an economic critique of British rule, citing the high rent paid by those living in dire tenement conditions in Dublin in contrast to those living in cities in Britain. In this he found common ground with James Connolly who three years later, on 24 April 1916, was Commandant of the Dublin Brigade during the Easter Rising. Of the Lockout and the role of James Larkin, Patrick Pearse said: ‘I do not know whether the methods of Mr James Larkin are wise methods or unwise methods (unwise, I think, in some respects), but this I know, that here is a most hideous wrong to be righted, and that the man who attempts honestly to right it is a good man and a brave man.’ GALLERY 13 ELIZABETH MAGILL b.
    [Show full text]