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The Architecture of Sir Ernest George and His Partners, C. 1860-1922
The Architecture of Sir Ernest George and His Partners, C. 1860-1922 Volume II Hilary Joyce Grainger Submitted in fulfilment of the requirements for the degree of Ph. D. The University of Leeds Department of Fine Art January 1985 TABLE OF CONTENTS Notes to Chapters 1- 10 432 Bibliography 487 Catalogue of Executed Works 513 432 Notes to the Text Preface 1 Joseph William Gleeson-White, 'Revival of English Domestic Architecture III: The Work of Mr Ernest George', The Studio, 1896 pp. 147-58; 'The Revival of English Domestic Architecture IV: The Work of Mr Ernest George', The Studio, 1896 pp. 27-33 and 'The Revival of English Domestic Architecture V: The Work of Messrs George and Peto', The Studio, 1896 pp. 204-15. 2 Immediately after the dissolution of partnership with Harold Peto on 31 October 1892, George entered partnership with Alfred Yeates, and so at the time of Gleeson-White's articles, the partnership was only four years old. 3 Gleeson-White, 'The Revival of English Architecture III', op. cit., p. 147. 4 Ibid. 5 Sir ReginaldýBlomfield, Richard Norman Shaw, RA, Architect, 1831-1912: A Study (London, 1940). 6 Andrew Saint, Richard Norman Shaw (London, 1976). 7 Harold Faulkner, 'The Creator of 'Modern Queen Anne': The Architecture of Norman Shaw', Country Life, 15 March 1941 pp. 232-35, p. 232. 8 Saint, op. cit., p. 274. 9 Hermann Muthesius, Das Englische Haus (Berlin 1904-05), 3 vols. 10 Hermann Muthesius, Die Englische Bankunst Der Gerenwart (Leipzig. 1900). 11 Hermann Muthesius, The English House, edited by Dennis Sharp, translated by Janet Seligman London, 1979) p. -
2006, Stand 64
ESTABLISHED 1884 CLOCK Designed and painted by Lewis F. Day English, circa 1877 Furniture and Works of Art 119 Mount Street, London W1K 3NL, England e-mail: [email protected] Telephone: 020 7493 0444 Facsimile: 020 7495 0766 www.blairman.co.uk Open Monday – Friday, 9 am – 6 pm and on Saturday by appointment STOVE TILE Designed by A.W.N. Pugin and manufactured by Minton English, circa 1850 All objects are offered for sale, subject to their remaining unsold. Dimensions are in inches (and centimetres), height × width × depth. Exhibiting The Grosvenor House Art & Antiques Fair, London 15–22 June 2006, Stand 64. The International Fine Art and Antique Dealers Show, New York 20–26 October 2006, Booth B16. TEFAF, Maastricht 9–18 March 2007, Stand 183 © H. Blairman & Sons Ltd, 2006 ISBN 0–9542530–4–3 MEMBER OF THE BRITISH ANTIQUE DEALERS’ ASSOCIATION Now and again in the history of art, works appear that over time come to be recognised as iconic. Within the field of furniture history, the Godwin sideboard (below) and the Mackintosh ‘Argyle’ chair (no. 17), both the creations of architect-designers, undoubtedly fall into this category. Artists and craftsmen also contributed some of the nineteenth- century’s finest achievements. Such highlights are reflected, respectively, in two objects that passed through our hands last year: the wall clock designed and painted by Lewis F. Day (see page 1) and the richly damascened table clock created by Placido Zuloaga (see final page). The opportunity to offer the Bullock cabinet (no. 1) is the culmination of a story that began nearly twenty years ago. -
The Arts and Crafts Movement: Exchanges Between Greece and Britain (1876-1930)
The Arts and Crafts Movement: exchanges between Greece and Britain (1876-1930) M.Phil thesis Mary Greensted 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. Contents Introduction 1 1. The Arts and Crafts Movement: from Britain to continental 11 Europe 2. Arts and Crafts travels to Greece 27 3 Byzantine architecture and two British Arts and Crafts 45 architects in Greece 4. Byzantine influence in the architectural and design work 69 of Barnsley and Schultz 5. Collections of Greek embroideries in England and their 102 impact on the British Arts and Crafts Movement 6. Craft workshops in Greece, 1880-1930 125 Conclusion 146 Bibliography 153 Acknowledgements 162 The Arts and Crafts Movement: exchanges between Greece and Britain (1876-1930) Introduction As a museum curator I have been involved in research around the Arts and Crafts Movement for exhibitions and publications since 1976. I have become both aware of and interested in the links between the Movement and Greece and have relished the opportunity to research these in more depth. It has not been possible to undertake a complete survey of Arts and Crafts activity in Greece in this thesis due to both limitations of time and word constraints. -
LAHS Newsletter Autumn 2012
LOUGHBOROUGH ARCHAEOLOGICAL AND Registered Charity HISTORICAL SOCIETY No. 513032 Founded in 1955 AUTUMN NEWSLETTER 2012 Old Rectory Wins Heritage Award Three of the independent museums in Loughborough - The Old Rectory Museum, The Great Central Railway Museum and the Carillion War Memorial Museum - all expressed similar needs for support around managing their collections. A new partnership (Loughborough Museums Together Project) was formed with the help of Amanda Hanton, the Volunteer Development Officer for Leicestershire CC, to support them with this. The aim of the project was to recruit a new pool of volunteers to support Loughborough Museums and provide a comprehensive training programme to enable those new volunteers to fulfill all necessary roles; Modes, accessioning of collections, care of collections, labeling, documentation, photography etc A very successful event was held at Loughborough Library when 30 new volunteers of all ages and background were recruited. After visiting each museum the new volunteers indicated which one they would like to be involved with and those that chose the Old Rectory have been meeting there every Wednesday morning since January. Grants financed training, the purchase of a laptop and the MODES software, to enable the museum’s objects to be digitally catalogued, and the recruitment of a paid volunteer support worker who attended each session at each museum for six months giving advice on collections care and management. “Great introduction into museums work and what was going to be expected.” “Lots of team work, everyone works well and efficiently. Lots of interesting artifacts. Shows reality of ‘behind the scenes’ work in a small museum.” Objects have been cleaned (if needed), described, accessioned, index cards updated and information passed to the Modes imputers. -
Steep Buildings and Monuments
Steep Buildings and Monuments Contents Introduction 1 Preface 3 Steep Parish Map 4 Ridge Common Lane 5 Lythe Lane 7 Dunhill and Dunhurst 7 Stoner Hill 9 Church Road 12 Mill Lane 25 Ashford Lane 28 Steep Hill and Harrow Lane 34 Steep Marsh, Bowers Common and London Road, Sheet 39 Bedales 42 The Hangers 47 Architects A - Z 48 The following reports also form part of the work of the Steep Parish Plan Steering Group and are available in separate documents, either accessible through the Steep Parish Plan website www.steepparishplan.org.uk or from the Steep Parish Clerk Steep Parish Plan 2012 Steep Settlements Character Assessment Steep Local Landscape Character Assessment October 2012 2 Introduction Steep is at the western edge of the Weald, within the Bedales grounds, the Memorial at the foot of the Hangers, with the Downs Library and Lupton Hall are outstanding and to the south. The earliest buildings were are Grade I listed. The influence of the Arts amongst a sporadic pattern of farmsteads and Crafts Movement can also be seen at at the foot of the Hangers’ scarp, which Ashford Chace, the War Memorial and Whiteman in the ‘Origins of Steep’ suggests Village Hall. were settled in early Saxon times. The The other influence that Bedales had on Hampshire Archaeology and Historic Build- Steep was through the parents of its pupils, ings Record confirms these suggestions. All who decided to live locally while their chil- Saints Church dates from 1125 and dren were educated at the School, Edward ‘Restalls’, a timber framed house on its east Thomas and his family being the prime ex- side is thought to be the oldest dwelling in ample. -
Reading Groups Collection Multiple-Copy Titles Available for Loan Master List Revised May 2019
Reading Groups Collection Multiple-Copy Titles Available for Loan Master list revised May 2019 Susan ABULHAWA - Mornings in Jenin (2011, 352 pages) Palestine, 1948. A mother clutches her six-month-old son as Israeli soldiers march through the village of Ein Hod. In a split second, her son is snatched from her arms and the fate of the Abulheja family is changed forever. Forced into a refugee camp in Jenin , the family struggles to rebuild their world. Their stories unfold through the eyes of the youngest sibling, Amal, the daughter born in the camp who will eventually find herself alone in the United States; the eldest son who loses everything in the struggle for freedom; the stolen son who grows up as an Israeli, becoming an enemy soldier to his own brother. Mornings in Jenin is a novel of love and loss, war and oppression, and heartbreak and hope, spanning five countries and four generations of one of the most intractable conflicts of our lifetime. Ayobami ADEBAYO - Stay with me (2017, 298 pages) Yejide is hoping for a miracle, for a child. It is all her husband wants, all her mother-in-law wants, and she has tried everything - arduous pilgrimages, medical consultations, dances with prophets, appeals to God. But when her in- laws insist upon a new wife, it is too much for Yejide to bear. It will lead to jealousy, betrayal and despair. Unravelling against the social and political turbulence of '80s Nigeria, Stay with Me sings with the voices, colours, joys and fears of its surroundings. Ayobami Adebayo weaves a devastating story of the fragility of married love, the undoing of family, the wretchedness of grief and the all-consuming bonds of motherhood. -
'Perhaps the Greatest Artist of the Lot'
INTRODUCTION ‘PERHAPS THE GREATEST ARTIST OF THE LOT’ By all accounts Henry Wilson was a quiet man, modest to a fault. At first sight, apart from his distinctive aquiline profile, his appearance was unremarkable. He was not widely known to the general public, and even amongst friends it was hard to get him to talk much about his own works, which were mostly unsigned. When he died in Menton, France in 1934, he was buried in a leased plot, long since obliterated. Such unassuming worldly credentials belie the powerful originality of his work and his prodigious skills as a craftsman. In dramatic architectural schemes, and in the expressiveness of his executed buildings and sculptures; in his richly evocative jewellery and fine metalwork, in inspirational lectures and writings; in all these, he displays an exceptional intensity of invention and insight. The works summon up deep-seated meanings which often surpass their material reality. They, and the thinking that underlies them, most thoroughly represent Henry Wilson. And it is through the diverse, yet linked, aspects of his creativity that his character and impact is most properly revealed. As he himself wrote in 1902 ‘design is the expression of your personality in terms of the material in which you work’.1 Janet, the astute and observant wife of Wilson’s fellow designer and ideologist C.R. Ashbee, testified to the admiration felt for Wilson in arts and crafts circles when she described a group of Art Workers’ Guild members gathering for a rehearsal of their masque Beauty’s Awakening in May 1899. Gradually they assemble: Selwyn Image, Walter Crane, Louis Davis .. -
Little Chapel V2
RODBOROUGH TABERNACLE UNITED REFORMED CHURCH Welcome to our Little Chapel a place o spiritual serenity and a valued example o Arts and Cra ts Movement design. The Little Chapel is a place o tran)uillity and prayer a retreat rom the hustle and bustle o everyday li e. It is used regularly or worship and or special occasions such as weddings and baptisms. Its under- cro t is still used as meeting,room and head)uarters by the local Scout group. providing a valued lin/ with the wider community. We also wel, come visitors who are interested in the Arts 0 Cra ts Movement. as well as those simply see/ing a place to re lect. The Little Chapel was built circa 1835, originally as a coach house and stables to the Church, at a time when the sanctuary in the main church building was enlarged to accommodate a growing congregation. Subsequently, during the pastorate o the Rev. C. Ernest Watson (1909-1942) the number o young people in the church increased considerably. This began in 1909 when Rev. Watson was inspired to start a Scout Troop. , -uide Company was added in 1914. .n Sunday a ternoons, meetings attracted about i ty young people and Rev. Watson had the vision o converting the coach house into a worship centre or what was to become the -uild o the Tri-Sigma. The idea caught the imagination o local businessman Reginald Tyrell, who lived about hal a mile away on Wal/ley 0ill. 1n 1925 he generously inanced the cost o the conversion. -
Owlpen Manor Gloucestershire
Owlpen Manor Gloucestershire A short history and guide to a romantic Tudor manor house in the Cotswolds Owlpen Press 2006 OWLPEN MANOR, Nr ULEY, GLOUCESTERSHIRE GL11 5BZ Ow lpe n Manor is one mile east of Uley, off the B4066, or approached from the B4058 Nailsworth to Wotton-under-Edge road: OS ref. ST800984. The manor house, garden and grounds are open on Tuesdays, Thursdays and Sundays every week from 1st May to 30th September. Please check the up-to-date opening times (telephone: 01453-860261, or website: www.owlpen.com). There is a licensed restaurant in the fifteenth-century Cyder House, also available for functions, parties, weddings and meetings. There are nine holiday cottages on the Estate, including three listed historic buildings. Sleeping 2 to 10, they are available for short stays throughout the year. Acknowledgements When we acquired the manor and estate in 1974, we little realized what a formidable task it would be—managing, making, conserving, repairing, edifying—absorbing energies forever after. We would like to thank the countless people who have helped or encouraged, those with specialized knowledge and interests as well as those responsible, indefatigably and patiently, for the daily round. We thank especially HRH The Prince of Wales for gracious permission to quote from A Vision of Britain; long-suffering parents, children, and staff; David Mlinaric (interiors); Jacob Pot and Andrew Townsend (conservation architecture); Rory Young and Ursula Falconer (lime repairs); John Sales, Penelope Hobhouse and Simon Verity (gardens); Stephen Davis and Duff Hart-Davis (fire brigades); and Joan Gould and Martin Fairfax-Cholmeley (loans). -
Liverpool and the Raw Cotton Trade
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ResearchArchive at Victoria University of Wellington Liverpool and the Raw Cotton Trade: A Study of the Port and its Merchant Community, 1770-1815 Alexey Krichtal A thesis submitted in fulfilment of the requirements for the degree of Master of Arts at Victoria University of Wellington 2013 TABLE OF CONTENTS Abstract ii Acknowledgements iii List of Tables and iv Figures Abbreviations vi Introduction 1 Chapter One: Liverpool cotton imports, 1770-1815 10 Chapter Two: Liverpool Merchants, Networks, and the Atlantic 33 Cotton Trade, 1770-1815 Chapter Three: Cotton, Specialisation, and the Changing Structure of 79 Liverpool‘s Business Community Conclusion 108 Appendix A: Newspapers documenting Liverpool cotton imports 111 Appendix B: Cargo unit standardisation approach 115 Appendix C: Consignee and partnership variation 118 Appendix D: Liverpool merchants in the Portuguese cotton and 120 wine trades, 1795 Appendix E: Converting weights and measurements of major Liverpool 122 commodities into pounds sterling. Bibliography 124 i ABSTRACT This thesis examines the port of Liverpool, its merchant community, and the growth of the raw cotton trade from its initial rise c. 1770 to the end of the Napoleonic period in 1815. By constructing a large database from Liverpool import lists published in Lancashire newspapers, combined with surviving cotton planter, merchant, and manufacturer papers, this thesis analyses: first, the rise of Liverpool as a major British cotton port and the geographical shifts in the port‘s cotton supply from the West Indies to Guyana, Brazil, and the United States; then second, the organisation of Liverpool‘s cotton trade in the Atlantic basin and at home. -
Cotswold Craftsmen
For Immediate Release: 16th July 2007 Contact: Iona Sale, IONA PR, 01451 832 268, 07721 030 825 or [email protected] LOAN EXHIBITION: Prinknash Abbey Park Gloucestershire COTSWOLD CRAFTSMEN GL4 8EX 1894 to the present day T: 01452 344499 F: 01452 814533 13th – 21st October 2007 [email protected] www.simonchorley.com Cotswold Craftsmen, a loan exhibition of historic and contemporary examples of work in the Cotswold Arts & Crafts tradition, organised by the Stroud Valleys Craftsmen in association with the auctioneers and valuers, Simon Chorley Art & Antiques, will be held at the auction rooms, Prinknash Abbey Park, Gloucestershire from Saturday 13th to Sunday 21st October 2007. The exhibition marks the centenary of Norman Jewson’s arrival in Sapperton and 70 years since the death of Peter Waals and is a celebration of Cotswold craftsmanship. The ideals of John Ruskin and William Morris inspired the Cotswold Arts & Crafts Movement, which began with the architects, Ernest Gimson and Ernest and Sidney Barnsley and continued with their later associates Norman Jewson, Peter Waals (Gimson’s foreman), and Alfred and Norman Bucknell. Gimson and the Barnsleys settled in Gloucestershire in the 1890s, first at Pinbury Park, then in Sapperton, and set up their workshops, making furniture to a high standard and unique design characterised by the use of exposed joints , stop-chamfers, gouged and chipped carved decoration. Whilst their work drew inspiration from the local materials and the rural surroundings it also incorporated exotics wood used in decorative inlays such as ebony and rosewoods. The exhibition will show over 140 examples of historic work by the Cotswold group, mainly from private collections, including an Ernest Gimson Cabinet, a hand mirror by Peter Waals, a William Simmonds carving of a Calf , metalwork by Normal Bucknell, textiles by Rita Beales and Barron & Larcher, Ceramics decorated by Louise and Alfred Powell, and stained glass and paintings by Edward Payne. -
This Tour Begins on Saturday, May 12, 2018 in Oxford Where Morris Met So Many Who Changed His History and the Future He Had Planned
May 12 – 20, 2018 This tour begins on Saturday, May 12, 2018 in Oxford where Morris met so many who changed his history and the future he had planned. It was here he met Edmund Burne-Jones, with whom he decorated the Debating Union which is our first stop. It was also here that he met Jane Burden who became his wife. Dante Gabriel-Rossetti was also one of those he met and worked with on projects for some time. We are so pleased that Peyton Skipwith, who is a past Master of the Art Workers Guild, and has written extensively on the work of many of the artists we will see, and is a charming and knowledgeable traveling companion, has agreed to accompany our tour again. In addition we will be joined by such experts as Peter Cormack, Mary Greensted, Mark Eastment, and Paul Reeves. Our hosts include Malcolm Rogers, Detmar Blow, John Biddulph and Sir Nicholas and Lady Mander. We spend our first two nights at the Old Bank Hotel and our guides will be Peter Cormack and Mark Eastment. Here we’ll visit a number of sites important to Morris and other artists and architects of the Arts and Crafts Movement. Among our visits will be to the Oxford Debating Union where Morris and Burne-Jones met and painted the ceiling, anticipating the beginnings of the Pre-Raphaelites. We will visit several of the colleges that were significant to Morris – Exeter when he went to school, Manchester which has the largest set of Morris & Company windows in Oxford – seen below and St Michael’s where he and Jane were married.