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Mary and George Watts, Can Be Viewed As A
The following extract has kindly been provided by Dr Lucy Ella Rose, from her published work Suffragists Artists in Partnership. Edinburgh University Press (2018), Chapter 1 - Mary and George Watts. We are grateful to Lucy for allowing this to be used as part of ‘The March of the Women’ project resource. Practice and Partnership Much has been written about the famous Victorian artist George Watts, and yet the life and work of Mary Watts, and the couple’s progressive socio-political positions as conjugal creative partners and women’s rights supporters, are comparatively neglected. Long-eclipsed by the dominant critical focus on her husband, and known primarily as the worshipping wife of a world-famous artist, Mary was a pioneering professional woman designer and ceramicist as well as a painter, illustrator and writer. Despite her prominence in her own lifetime, she is little-known today. The lack of critical and biographical material on her is disproportionate to the originality, high quality and multi-faceted nature of her oeuvre, encompassing fine art, gesso relief, sculpture, ceramic and textile design, and architecture. Art historian Mark Bills’s chapter on the Wattses in An Artists’ Village: G. F. Watts and Mary Watts at Compton (Bills 2011: 9–23) incorporates the brief sections ‘Married Life’ and ‘A Partnership’, and yet they perpetuate rather than challenge traditional views of the couple. The former section presents Mary ‘in awe of [George], overwhelmed by his reputation […] as devoted and admiring as ever […] in her subservient role’ (2011: 14–15). Bills alludes to, without contesting, the popular public perception of Mary as George’s ‘nurse’ and ‘slave’ who ‘worshipped him blindly’ (2011: 15-16). -
The Kensington District
The Kensington District By G. E. Mitton The Kensington District When people speak of Kensington they generally mean a very small area lying north and south of the High Street; to this some might add South Kensington, the district bordering on the Cromwell and Brompton Roads, and possibly a few would remember to mention West Kensington as a far- away place, where there is an entrance to the Earl's Court Exhibition. But Kensington as a borough is both more and less than the above. It does not include all West Kensington, nor even the whole of Kensington Gardens, but it stretches up to Kensal Green on the north, taking in the cemetery, which is its extreme northerly limit. If we draw a somewhat wavering line from the west side of the cemetery, leaving outside the Roman Catholic cemetery, and continue from here to Uxbridge Road Station, thence to Addison Road Station, and thence again through West Brompton to Chelsea Station, we shall have traced roughly the western boundary of the borough. It covers an immense area, and it begins and ends in a cemetery, for at the south-western corner is the West London, locally known as the Brompton, Cemetery. In shape the borough is strikingly like a man's leg and foot in a top-boot. The western line already traced is the back of the leg, the Brompton Cemetery is the heel, the sole extends from here up Fulham Road and Walton Street, and ends at Hooper's Court, west of Sloane Street. This, it is true, makes a very much more pointed toe than is usual in a man's boot, for the line turns back immediately down the Brompton Road. -
Journal of the Short Story in English, 50 | Spring 2008 “In the Circle of the Lens”: Woolf’S “Telescope” Story, Scene-Making and Memory 2
Journal of the Short Story in English Les Cahiers de la nouvelle 50 | Spring 2008 Special issue: Virginia Woolf “In the Circle of the Lens”: Woolf’s “Telescope” Story, Scene-making and Memory Laura Marcus Édition électronique URL : http://journals.openedition.org/jsse/702 ISSN : 1969-6108 Éditeur Presses universitaires de Rennes Édition imprimée Date de publication : 1 juin 2008 ISSN : 0294-04442 Référence électronique Laura Marcus, « “In the Circle of the Lens”: Woolf’s “Telescope” Story, Scene-making and Memory », Journal of the Short Story in English [En ligne], 50 | Spring 2008, mis en ligne le 01 juin 2011, consulté le 10 décembre 2020. URL : http://journals.openedition.org/jsse/702 Ce document a été généré automatiquement le 10 décembre 2020. © All rights reserved “In the Circle of the Lens”: Woolf’s “Telescope” Story, Scene-making and Memory 1 “In the Circle of the Lens”: Woolf’s “Telescope” Story, Scene-making and Memory Laura Marcus 1 Virginia Woolf noted in her diary for 31st January 1939: “I wrote the old Henry Taylor telescope story that has been humming in my head these 10 years” (Woolf 1984: 204). The short story to which she was referring was published as “The Searchlight”, in the posthumous A Haunted House and Other Stories.The “humming” had, however, already been transferred to the page ten years previously, when Woolf wrote a story which she entitled “What the Telescope Discovered”, followed a year later by the incomplete “Incongruous/Inaccurate Memories”. In all, Woolf produced some fourteen different drafts of “the telescope story”, with fragments of other drafts. -
ACS Members Mar 2021
ACS Members Mar 2021 ACS Artist Name Date ACS Collects From Adam Bruce Thomson 02/05/2014 Adam Koukoudakis 23/02/2014 Adam White 30/10/2012 Adia Wahid 28/09/2016 Adrian George 29/01/2015 Adrian Green 10/05/2010 Adrian Wiszniewski 14/06/2018 Afifa Aleiby 26/03/2017 Agenor Asteriadis 01/01/2012 Ahmet Güneştekin 24/06/2011 Alan Gard 24/04/2017 Alan Glasby 01/01/2012 Alan Gouk 17/11/2015 Alan Kingsbury 30/01/2011 Alan Sorrell 01/01/2012 Alan Thornhill 24/10/2012 Alastair Michie 22/03/2016 Albert Henry Collings ● 27/06/2013 Albert Houthuesen 17/05/2012 Albert Louden 01/05/2007 Albert Rutherston / Albert Rothenstein 13/02/2014 Alberto Morrocco 17/06/2011 Alecos Kondopoulos 01/01/2012 Alex Russell Flint 26/07/2011 Alexander Goudie ©+ 12/01/2011 Alexander Talbot-Rice 30/07/2006 Alexandra Cowan 11/08/2006 Alexandros (Alekos) Alexandrakis 01/01/2012 Alfred Bestall 31/03/2014 Alfred Drury ● 01/01/2012 Alfred Fontville de Breanski Jr 01/01/2012 Alfred Janes 14/03/2013 Alfred John Billinghurst 25/02/2013 Alfred Reginald Thomson 20/07/2013 Alfred Wallis ● 01/01/2012 Algernon Newton 01/01/2012 Alice Boyle 21/01/2017 Alice McVicker 28/06/2013 Alison Cooper 18/07/2006 Alison Pullen 04/02/2009 Alistair Little 04/02/2018 Amanda Cornish 27/09/2007 Amelia Kleiser 18/07/2006 1 Amy Katherine Browning 01/01/2012 Ana Maria Pacheco 28/10/2013 Andras Kaldor 27/03/2012 Andrea Vecchi 20/01/2018 Andrew Cranston 18/09/2012 Andrew Festing 22/07/2008 Andrew Flint Shipman 12/09/2012 Andrew Gadd 18/09/2007 Andrew Gifford 28/06/2018 Andrew Macara 25/03/2007 Andy Hope 1930 -
GULDEN-DISSERTATION-2021.Pdf (2.359Mb)
A Stage Full of Trees and Sky: Analyzing Representations of Nature on the New York Stage, 1905 – 2012 by Leslie S. Gulden, M.F.A. A Dissertation In Fine Arts Major in Theatre, Minor in English Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dr. Dorothy Chansky Chair of Committee Dr. Sarah Johnson Andrea Bilkey Dr. Jorgelina Orfila Dr. Michael Borshuk Mark Sheridan Dean of the Graduate School May, 2021 Copyright 2021, Leslie S. Gulden Texas Tech University, Leslie S. Gulden, May 2021 ACKNOWLEDGMENTS I owe a debt of gratitude to my Dissertation Committee Chair and mentor, Dr. Dorothy Chansky, whose encouragement, guidance, and support has been invaluable. I would also like to thank all my Dissertation Committee Members: Dr. Sarah Johnson, Andrea Bilkey, Dr. Jorgelina Orfila, and Dr. Michael Borshuk. This dissertation would not have been possible without the cheerleading and assistance of my colleague at York College of PA, Kim Fahle Peck, who served as an early draft reader and advisor. I wish to acknowledge the love and support of my partner, Wesley Hannon, who encouraged me at every step in the process. I would like to dedicate this dissertation in loving memory of my mother, Evelyn Novinger Gulden, whose last Christmas gift to me of a massive dictionary has been a constant reminder that she helped me start this journey and was my angel at every step along the way. Texas Tech University, Leslie S. Gulden, May 2021 TABLE OF CONTENTS ACKNOWLEDGMENTS………………………………………………………………ii ABSTRACT …………………………………………………………..………………...iv LIST OF FIGURES……………………………………………………………………..v I. -
Coversheet for Thesis in Sussex Research Online
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details ‘At home’ in Standen: A study of the Beale family’s lived experience of their late-nineteenth century Arts and Crafts home, 1890-1914 Anne Stutchbury Submitted for the degree of Doctor of Philosophy University of Sussex 2016 1 Statement: I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another University for the award of any other degree. Signature:……………………………………… 2 Contents Abstract 3 Acknowledgements 4 List of Figures 5 List of Abbreviations 19 Introduction 20 Part One: Dwelling on family history: 1840-1890 38 1.1 The early years: Birmingham and Leamington 1.2 The London years Part Two: A ‘house in the country’ 74 2.1 Locating Standen 2.2 Collaborating with Philip Webb Part Three: The ‘artists’ 98 3.1 Inspired by nature: Margaret Beale’s garden artistry 3.2 ‘A connoisseur of things beautiful’: Margaret S. Beale Part Four: Styling Standen 127 4.1 Questioning ‘Arts and Crafts’ 4.2 Aesthetic interiors: Beauty, harmony and visions of femininity Part Five: Travelling and collecting 171 5.1 Holiday hunting for furniture 5.2 European excursions and objets d'art 5.3 Exotic visions and ‘Oriental’ objects Part Six: ‘Identifying’ the Beales 197 6.1 Treasured family possessions 6.2 Renewing and refashioning old furniture Conclusion 215 Bibliography 222 Appendices A. -
Rosse Papers Summary List: 17Th Century Correspondence
ROSSE PAPERS SUMMARY LIST: 17TH CENTURY CORRESPONDENCE A/ DATE DESCRIPTION 1-26 1595-1699: 17th-century letters and papers of the two branches of the 1871 Parsons family, the Parsonses of Bellamont, Co. Dublin, Viscounts Rosse, and the Parsonses of Parsonstown, alias Birr, King’s County. [N.B. The whole of this section is kept in the right-hand cupboard of the Muniment Room in Birr Castle. It has been microfilmed by the Carroll Institute, Carroll House, 2-6 Catherine Place, London SW1E 6HF. A copy of the microfilm is available in the Muniment Room at Birr Castle and in PRONI.] 1 1595-1699 Large folio volume containing c.125 very miscellaneous documents, amateurishly but sensibly attached to its pages, and referred to in other sub-sections of Section A as ‘MSS ii’. This volume is described in R. J. Hayes, Manuscript Sources for the History of Irish Civilisation, as ‘A volume of documents relating to the Parsons family of Birr, Earls of Rosse, and lands in Offaly and property in Birr, 1595-1699’, and has been microfilmed by the National Library of Ireland (n.526: p. 799). It includes letters of c.1640 from Rev. Richard Heaton, the early and important Irish botanist. 2 1595-1699 Late 19th-century, and not quite complete, table of contents to A/1 (‘MSS ii’) [in the handwriting of the 5th Earl of Rosse (d. 1918)], and including the following entries: ‘1. 1595. Elizabeth Regina, grant to Richard Hardinge (copia). ... 7. 1629. Agreement of sale from Samuel Smith of Birr to Lady Anne Parsons, relict of Sir Laurence Parsons, of cattle, “especially the cows of English breed”. -
EXHIBIT of INTERNATIONAL THEATRE ART to OPEN January 13, 1934
HE MUSEUM OF MODERN ART WEST 53RD STREET, NEW YORK LEPHONE: CIRCLE 7-7471 FOR RELEASE Saturday Afternoon or Sunday Morning, January 13 or 14, 1934. The Museum of Modern Art, 11 West 53 Street, announces an Inter national Exhibition of Theatre Art to open to the public on Tuesday, January 16, and to continue until February 26. The Exhibition is under the direction of Lee Simonson, one of the directors of the Theatre Guild. Mr. Simonson was abroad for several months last summer, collecting the foreign material to be shown, and has been assembling the American exhibits since his return. The Exhibition will include more than 700 items consisting of scene and costume designs and lighted stage models. The thirteen European countries lending their finest examples of stage art to the Exhibition are Austria, Czechoslovakia, Denmark, England, Finland, France, Germany, Hungary, Italy, Latvia, Sweden, Switzerland, and the U.S.R.R. The works shown are divided into three general classifications: Theatre Art of the Renaissance and Baroque Period, Pioneers of Modern Theatre Art, and Modern Stage Design. In the earliest of these periods Italy is most profusely repre sented, as that country was the birthplace of scenic design and in fluenced theatre art throughout Europe for nearly two centuries. Among the Italians whoso work is shown are Serlio, Primaticcio, Buontalcnti, Sabbattini, and Vigarani—all of the Sixteenth and very early Seventeenth Centuries. Of oqual importanco in this period is Inigo Jones, father of English stagecraft and design, who created the stage spectacle of splendor and magnificence for Ben Jonson's Basques. -
Stage & Screen
STAGE & SCREEN Wednesday, April 28, 2021 DOYLE.COM STAGE & SCREEN AUCTION Wednesday, April 28, 2021 at 10am Eastern EXHIBITION Friday, April 23, Noon – 8pm Saturday, April 24, 10am – 6pm Sunday, April 25, Noon – 5pm Monday, April 26, 10am – 6pm And by Appointment at other times Safety protocols will be in place with limited capacity. Please maintain social distance during your visit. LOCATION Doyle Auctioneers & Appraisers 175 East 87th Street New York, NY 10128 212-427-2730 This Gallery Guide was created on (date) Please see addendum for any changes The most up to date information is available On DOYLE.COM Sale Info View Lots and Place Bids Doyle New York 1 6 CELESTE HOLM CELESTE HOLM Two Gold Initial Stickpins.14 kt., of the letters Celeste Holm's monogrammed luna mink "C" and "H" for Celeste Holm, signed Schubot, coat and cap. A floor length vintage fur coat, the ap. 3 dwts. interior labeled Robert Payne and the lining C The Celeste Holm Collection embroidered Celeste Holm. $300-500 C The Celeste Holm Collection $1,000-1,500 2 CELESTE HOLM Triple Strand Cultured Pearl Necklace with Gold and Garnet Clasp. Composed of three strands of graduated pearls ap. 9.5 to 6.5 mm., completed by a stylized flower clasp centering one oval garnet, framed by 7 round garnets, further tipped by 14 oval rose-cut garnets. Length 16 inches. C The Celeste Holm Collection $500-700 7 CELESTE HOLM Celeste Holm's monogrammed ranch mink 3 coat, hat and muffler. A three-quarter length CELESTE HOLM vintage fur coat, the interior labeled Robert Van Cleef & Arpels Gold, Cabochon Sapphire Payne and the lining with a label embroidered and Diamond Compact. -
Download Publication
COUNCI L *Sir Kenneth Clark, C.H ., K .C.B., D.Litt ., LL .D . (Chairman) *Wyn Griffith, O .B.E ., D.Litt. (Vice-Chairman) T. E . Bean, C.B.E . *Benn W. Levy, M.B.E . Ernest Boden !Professor Anthony Lewis *Sir William Coldstream, C .B.E . *Sir John McEwen, Bart ., LL .D . *Joseph Compton, C .B.E . The Viscount Mackintosh of Halifax, D .L., Mrs . Hugh Dalton LL .D. Sir Emrys Evans, LL.D. Miss C . V . Wedgwood, C .B.E . *Professor Gwyn Jones Hugh Willatt Robert Kemp *Member of Executive Committee SCOTTISH COMMITTE E Sir John McEwen of Marchmont, Bart ., LL .D. (Chairman) D. K . Baxandall, C .B.E . Mrs . Eric Linklater Ernest Boden The Hon. Mrs . Michael Lyle Charles Carter, F .M .A., F.S.A. James McNaught Colin Chandler William MacTaggart, P.R.S.A., Hon. R .A. Charles Graves Hugh Marshal l J. A . Henderson John M. Playfair Robert Kemp Miss Violet C. Youn g WELSH COMMITTE E Professor Gwyn Jones (Chairman ) The Marquess of Anglesey Thomas Parry, D.Litt . S. Kenneth Davies, C .B.E . Lady Amy Parry-Williams T. Glyn Davies Robert E . Presswood Sir Emrys Evans, LL .D . Miss Frances Rees, O .B.E . Alex J . Gordon, Dip .Arch ., A .R.I.B.A. Ceri Richard s David Dilwyn John, T.D., D.Sc., F .M .A. Alun Llylwelyn Williams Dr. Daniel Jones D. E . Parry Williams, D.Mus . STAF F HEADQUARTER S 4 St . James's Square, London, S . WA (Whitehall 9737 ) Secretary-General : Sir William Emrys Williams, C .B.E. -
George Eliot and the Victorian Art World
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln The George Eliot Review English, Department of 2005 George Eliot and the Victorian Art World Leonee Ormond Follow this and additional works at: https://digitalcommons.unl.edu/ger Part of the Comparative Literature Commons, Literature in English, British Isles Commons, and the Women's Studies Commons Ormond, Leonee, "George Eliot and the Victorian Art World" (2005). The George Eliot Review. 492. https://digitalcommons.unl.edu/ger/492 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in The George Eliot Review by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. GEORGE ELIOT AND THE VICTORIAN ART WORLD By Leonee Ormond Reading the letters and diaries of Victorian practitioners of the different arts reminds us that their social world differed markedly from that of artists today. In nineteenth-century London the number of people involved was sufficiently small for artists of all kinds to meet each other regularly. Among the public functions at which such meetings could take place were the various events at the Royal Academy, held in the National Gallery building in Trafalgar Square until 1868 and, after that, in the Academy's grand new residence at Burlington House in Piccadilly. The Private View of the summer exhibition in May was not only an important opportunity to sell paintings and sculptures, but also the traditional opening of the London 'season'. A fashionable soiree was held later in the exhibition, and, at the other end of the year, the opening of the winter Old Master exhibitions, inaugurated in the 1870s, again drew together a large group of powerful and talented people as artists, writers, painters, and composers mingled with politicians, aristocrats, and senior civil servants. -
The Shakespearean Performances of Sir John Gielgud
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. 2nd of 2 files Chapters 4-6 Appendices and Bibliography THE SHAKESPEAREAN PERFORMANCES OF SIR JOHN GIELGUD by Robert James Frost Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy of the University of Birmingham. The Shakespeare Institute October 1983 243 CHAPTER FOUR MUCH ADO ABOUT NOTHING Much Ado About Nothing is to be distinguished from the other comedies of Shakespeare that are its nearest contemporaries because of its concern with one circumscribed social unit. Unlike As You Like It,Twelfth Night, The Merchant of Venice and A Midsummer Night's Dream,which play off different kinds of worlds against each other, the problems arising in one being resolved by a retreat to the next or alternatively by a foreign visitor, the action of Much Ado About Nothing is focussed on a single, indigenous group. (That Don Pedro,strictly speaking,is an outsider from Aragon seems less important than the fact that he and the other guests freely interact with Leonato's household, making themselves at home there.) If the intervention of Dogberry and the Watch is required to restore harmony, then Dogberry, although of a different class, is quite clearly part of the civic life of Messina.