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Critical Values: the Career of Charles Rennie Mackintosh 1900-2015 Professor Pamela Robertson It Is a Great Pleasure to Be Back
Keynote Speech Strand 4 Critical Values: The Career of Charles Rennie Mackintosh 1900-2015 Professor Pamela Robertson It is a great pleasure to be back in Barcelona for this exciting Congress. I am grateful to the organisers, in particular Lluis Bosch and Mireia Freixa, for the invitation to speak to you today on Mackintosh, and to all those whose hard work has delivered such a successful and stimulating event. The strand this afternoon is research, specifically research in progress. This session invites us to reflect, for a moment, on critical values and critical fortunes. How are reputations and understandings formed? What value systems are they based on? How do they shift, and why? What are the future directions for us as curators, scholars, teachers? What I aim to present briefly today is threefold: an overview of the critical literature and research surrounding the career of Charles Rennie Mackintosh from around 1900 to 2015 (Fig. 1) – in the hope that this case study will provide some parallels with your individual experiences as researchers, whether working with male and/or female subjects; some reflections on the recently launched Mackintosh Architecture research website; and finally some general remarks on future directions for research. What emerges is the significance of context and individuals; the catalyst of curators and exhibitions; the gradual transference of Mackintosh's artistic legacy into the public domain; and, for Mackintosh at least, the central role of one institution, the University of Glasgow. In 1996, Alan Crawford divided Mackintosh's 'life after death' into three phases which comprised Mackintosh and the Architects, the Enthusiasts, and the Market.1 The trajectory of the scholarly presentation of Mackintosh’s work can, I believe, be divided into five broad phases, though of course at times these overlap: 1. -
Quaker Values and Arts and Crafts Principles Pamela
THE BRYNMAWR EXPERIMENT 1928-1940 QUAKER VALUES AND ARTS AND CRAFTS PRINCIPLES by PAMELA MANAS SEH A thesis submitted to the University of Plymouth in partial fulfilment for the degreeof DOCTOR OF PHILOSOPHY Faculty of Art and Design University College, Falmouth October, 2009 2 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author's prior consent. PAMELA MANASSEH THE BRYNMAWR EXPERIMENT, 1928-1940: QUAKER VALUES AND ARTS AND CRAFTS PRINCIPLES ABSTRACT This is a study of the social work of Quakers in the town of Brynmawr in South Wales during the depressions of the 1920s and 1930s. The work, which took place during the years 1928 to 1940, has become known as the Brynmawr Experiment. The initial provision of practical and financial relief for a town suffering severely from the effects of unemployment, was developed with the establishment of craft workshops to provide employment. Special reference is made to the furniture making workshop and the personnel involved with it. The thesis attempts to trace links between the moral and aesthetic values of Quakerism and the Arts and Crafts Movement and explores the extent to which the guiding principles of the social witness project and the furniture making enterprise resemble those of the Arts and Crafts Movement of the inter-war years, 1919-1939. All aspectsof the Quaker work at Brynmawr were prompted by concern for social justice and upholding the dignity of eachindividual. -
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 Century Guild Hobby Horse Mitchell, Rebecca
The Century Guild Hobby Horse Mitchell, Rebecca DOI: 10.1086/696259 License: None: All rights reserved Document Version Peer reviewed version Citation for published version (Harvard): Mitchell, R 2018, 'The Century Guild Hobby Horse' Papers of the Bibliographical Society of America, vol. 112, no. 1, pp. 75-104. https://doi.org/10.1086/696259 Link to publication on Research at Birmingham portal Publisher Rights Statement: Version accepted for publication by Papers of the Bibliographical Society of America on 11/09/2015. Final version of record available at: https://www.journals.uchicago.edu/doi/10.1086/696259 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. -
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. -
Japonisme in Britain - a Source of Inspiration: J
Japonisme in Britain - A Source of Inspiration: J. McN. Whistler, Mortimer Menpes, George Henry, E.A. Hornel and nineteenth century Japan. Thesis Submitted for the Degree of Doctor of Philosophy in the Department of History of Art, University of Glasgow. By Ayako Ono vol. 1. © Ayako Ono 2001 ProQuest Number: 13818783 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 com plete 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 13818783 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 GLASGOW UNIVERSITY LIBRARY 122%'Cop7 I Abstract Japan held a profound fascination for Western artists in the latter half of the nineteenth century. The influence of Japanese art is a phenomenon that is now called Japonisme , and it spread widely throughout Western art. It is quite hard to make a clear definition of Japonisme because of the breadth of the phenomenon, but it could be generally agreed that it is an attempt to understand and adapt the essential qualities of Japanese art. This thesis explores Japanese influences on British Art and will focus on four artists working in Britain: the American James McNeill Whistler (1834-1903), the Australian Mortimer Menpes (1855-1938), and two artists from the group known as the Glasgow Boys, George Henry (1858-1934) and Edward Atkinson Hornel (1864-1933). -
Arts & Crafts in the Cotswolds
Arts & Crafts in the Cotswolds Travel The tour commences and concludes at the Blunsdon House Hotel, Swindon. Blunsdon Swindon Wiltshire SN26 7AS England Tel: 0844 387 6035 Please note that transport to the hotel is not included in the price of the tour. Transport If you are travelling by car: From the South: Leave the M4 at junction 15 and take the A419 north for approx. 6 miles. Leave the A419 at Turnpike junction and turn right at the traffic lights signposted Highworth / Blunsdon (B4019). After 300 yards turn right at the lights signposted B4019 and continue over the bridge. At the mini roundabout turn left for Blunsdon, then right into the village. The hotel is situated on the left just off the High Street. From the North: Leave the M5 at junction 11a and follow the A417 / A419 for Cirencester / Swindon. Continue along the dual carriageway and after approx. 26 miles leave the A419 signposted for Swindon N & W. Turn left at the top of the slip road and then left at the mini roundabout for Blunsdon, then right into the village. The hotel is situated on the left just off the High Street. From Oxford: Take the second exit off the roundabout after ‘Sainsbury’s’ onto the A419 heading for Cirencester. Leave the A419 at Turnpike junction and continue directions ‘From the South’. If you are travelling by train: The nearest train station is Swindon – 5 miles away Accommodation Blunsdon House Hotel Located on the edge of the Cotswolds in the village of Broad Blunsdon near Swindon, the four-star family owned Blunsdon House Hotel offers comfortable, individually decorated and tastefully furnished bedrooms with en-suite bathroom, TV, mini bar, safe and tea & coffee making facilities in the room. -
The Pro-Jerusalem Society and Ronald Storrs, 1917–1926
chapter 20 “The Preservation and Safeguarding of the Amenities of the Holy City without Favour or Prejudice to Race or Creed”: The Pro-Jerusalem Society and Ronald Storrs, 1917–1926 Roberto Mazza The Beginnings in the Middle of Transition On September 6, 1918, twelve individuals met at the residence of the military governor of Jerusalem.1 The room was filled with tension as the governor was trying to win the confidence of those who were still skeptical and suspicious of British rule. A few months earlier, in December 1917, General Allenby had led the British troops into Jerusalem, ending Ottoman rule in the city and pav- ing the way for greater British success in the region. Though the conquest of Jerusalem proved to be a relatively easy military task, the control of the city required a larger set of skills. All aspects of the conquest and the takeover had been carefully planned in London. While Allenby’s military operations were unfolding in Palestine, the Foreign Office and War Office were discuss- ing the future asset of Jerusalem. Most of the policies adopted in relation to Jerusalem were a reflection of wartime agreements, including the Sykes–Picot Agreement and Balfour Declaration. British policy makers, starting with Mark Sykes, were aware of and sensitive to the tensions between the different reli- gious communities in Jerusalem. From the very early stages, the British aimed to avoid clashes between the Christians and Muslims, and among the different 1 Jerusalem Municipal Archives (JMA), 361, Pro-Jerusalem Society, Minutes, no. 1, Jerusalem, September 6, 1918. The twelve individuals were: Ronald Storrs, Ferdinando Diotallevi (Custos of the Custody of the Holy Land), Dr Eder (representative of the Jewish community), Father Ippolytos (representative of the Greek Orthodox Church), Kamil Effendi Husayni (Grand Mufti), Musa Kasim Pasha (president of the municipality), Bishop Kud (representative of the Armenian Orthodox Church), S. -
The English Country House Garden: Traditional Retreats to Contemporary Masterpieces Free
FREE THE ENGLISH COUNTRY HOUSE GARDEN: TRADITIONAL RETREATS TO CONTEMPORARY MASTERPIECES PDF George Plumptre,Marcus Harpur | 208 pages | 01 Oct 2014 | Frances Lincoln Publishers Ltd | 9780711232990 | English | London, United Kingdom Cothay Manor - Wikipedia George Plumptre is an author, journalist, and lecturer, acknowledged as an international authority on gardens and gardening. A former gardening correspondent for the Times, he has been Chief Executive of the National Gardens Scheme since He has lect. Colourful Gardening? George Plumptre. There is something special about the English country house garden: from its quiet verdant The English Country House Garden: Traditional Retreats to Contemporary Masterpieces to its high yew hedges, this is a style much-desired and copied around the world. The English country house is most often conceived as a private, intimate place, a getaway from working life, and here you will see gardens with meandering walks amongst greenery and contemplative pools of water. A sundial, a pergola, a croquet lawn, a herbaceous border of soft planting; here is a space to share secrets, to wander and relax, and above all to enjoy English afternoon tea. But even the most peaceful of gardens also take passion and hard work to create. This new book takes a fresh look at the English country house garden, starting with the owners and the stories behind the making of the gardens. With spectacular photos by Marcus Harpur, the text presents thirty gardens - some grand, some personal, some celebrated, some never-before-photographed - to explore why this garden style has been so very enduring and influential. Rodmarton Manor - Wikipedia Rodmarton Manor is a large country house, in Rodmarton The English Country House Garden: Traditional Retreats to Contemporary Masterpieces, near CirencesterGloucestershirebuilt for the Biddulph family. -
Lawrence Rinder the Possible: a Thread of Change
video production, dance, music, scent The Possible: design, artists’ correspondence, photography, A Thread of instruction, song-writing, poetry, book- making, sculpture, drawing, printmaking, Change felting, games, yoga, lectures, meditation, hiking, bathing, fashion, collage, kite-making, Lawrence Rinder cooking, and display. The designers of the exhibition’s furnishings, the craft specialists who facilitated the various workshops, and the guest artists were all given equal weight, so that the exhibition offered a creative environment without hierarchy among design, craft, and art. More than one hundred people, children as well as adults, participated as core creators, deepening existing collaborative relation- ships and creating new ones across many disciplines. The exhibition had no clear 27 beginning or end: it evolved over two and a half years of preparation through a series of correspondence projects and gatherings that took place across the country. Even after the galleries opened to the public the exhibition continued to evolve: new artists were welcomed, and surprising objects appeared in the galleries. Visitors’ experiences of the show were never the same twice. David Wilson, the curator of The Possible, The Possible grew out of Wilson’s prior is an artist. He brought an artist’s sensibility to work creating site-specific installations the exhibition, creating an open-ended, and festivals; however, whereas these earlier nondidactic framework for the generation of projects usually took place in and responded creativity, collaboration, and community. to natural settings (for example, Angel The Possible encompassed furniture design, Island, Wildcat Canyon, and Rodeo Beach), mail art, historical archives, video, ceramics, The Possible was set in the dramatic BAM/ textile dyeing, weaving, sound recording, PFA building, a 1960s Brutalist structure fig.1 designed by Mario Ciampi. -
AC Art Nouveau 4C.Qxp
Art Nouveau Jean Lahor Text: Jean Lahor (adaptation) Translator: Rebecca Brimacombe Layout: Baseline Co. Ltd 61A-63A Vo Van Tan Street 4th Floor District 3, Ho Chi Minh City Vietnam © Confidential Concepts, Worldwide, USA © Parkstone Press International, New York, USA © Mathilde Augé © Germaine Boy © Carlo Bugatti, Artists Rights Society (ARS), New York, USA/ADAGP, Paris © Louis Chalon © Edouard Colonna © Charles-Henri Delanglade © Jean Delville, Artists Rights Society (ARS), New York, USA/SABAM, Brussels © Fernand Dubois © R. Evaldre © Georges de Feure, Artists Rights Society (ARS), New York, USA/BEELDRECHT, Amsterdam © Georges Fouquet, Artists Rights Society (ARS), New York, USA/ADAGP, Paris © René Foy © Adria Gual-Queralt © Hector Guimard © Gustav Gurschner © JosefHoffmann © Victor Horta/Droits SOFAM - Belgique © Prince Bojidar Karageorgevitch © Keller et Guérin © René Lalique, Artists Rights Society (ARS), New York, USA/ADAGP, Paris © Lindgren © Charles Rennie Mackintosh © Arthur Heygate Mackmurdo © Herbert McNair © Bernhard Pankok © Charles Plumet © J. Prémont © Victor Prouvé, Artists Rights Society (ARS), New York, USA/ADAGP, Paris © Richard Riemerschmid, Artists Rights Society (ARS), New York, USA/VG Bild-Kunst, Bonn © Saarinen © St Petersburg Imperial Glassworks, copyright reserved © Tony Selmersheim © Henry Van de Velde, Artists Rights Society (ARS), New York, USA/SABAM, Brussels © Henri Vever © Ely Vial © Zsolnay Porcelánmanufaktúra Zrt., copyright reserved All rights reserved. No part ofthis publication may be reproduced or adapted without the permission ofthe copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification. ISBN: 978-1-78042-790-4 2 Art Nouveau - Contents - I. -
Bookbinding: the Classic Arts and Crafts Manual Ebook
BOOKBINDING: THE CLASSIC ARTS AND CRAFTS MANUAL PDF, EPUB, EBOOK Douglas Cockerell, Noel Rooke | 352 pages | 28 Oct 2005 | Dover Publications Inc. | 9780486440392 | English | New York, United States Bookbinding: The Classic Arts and Crafts Manual PDF Book Cite article. Published by Createspace Independent Publishing Platform Cities likewise became doused regularly with pollution from a bevy of new factories. My training in the intricacies of good design, and in the benefits of using refined materials and excellent tools, have influenced me as much as the artistic guidance of my parents, and watching my mother paint or my father become a typographer after his carreer. Products of this store will be shipped directly from Germany to your country. Kayte rated it it was amazing Aug 06, In winkelwagen Op verlanglijstje. Het is echter in een enkel geval mogelijk dat door omstandigheden de bezorging vertraagd is. Seller Rating:. Anderen bekeken ook. I wish I had known that it was such an old book prior to purchasing it. Updated and modified regularly [Accessed ] Copy to clipboard. More information about this seller Contact this seller 3. Phiip J rated it really liked it Aug 11, Trade paperback in near fine conditon. Douglas Bennett Cockerell was a British bookbinder who revolutionised modern bookbinding. Quick view Read more. Following that he worked in a Germany bindery before moving to London in where he worked as a self-employed bookbinder and tutor until early You can download the book by following easy steps that are suggested in the website. My husband constructed a simple press and a sewing frame, and with the help of a small Italian dictionary I put together two books without knowing very well what I had been doing.