Academy Architectvre and Arch1tectvral Review

Total Page:16

File Type:pdf, Size:1020Kb

Academy Architectvre and Arch1tectvral Review ACADEMY ARCHITECTVRE AND ARCH1TECTVRAL REVIEW. A REVIEW OF THE ROYAL ACADEMY ARCH1TECTVRAL EXHIBITION LONDON. AN ARCHITECTURAL REVIEW OF GARDEN ARCHITECTURE PUBLIC BUILDINGS BANKS MONUMENTS & MEMORIALS COTTAGE HOMES AND HOUSING SCHEMES VOLUME 51 o 1920 A\\\\\U i \\i\n if r substantial work is, and always has been "worth while." To earn a reputation for skilful tradesmanship and BOUNDthorough execution is to place yourself in the position of being able to select your own jobs and name your own price. To such an end this House tenders its services. If you are in any our Chemists are difficulty or are up against any unusual problem your Chemists and our Laboratories your Laboratories whilst as to goods, remember we, too, have earned a reputation. PINCHIN, JOHNSON &, CO., Ltd Sole Proprietors <anc? Manufacturers of MINERVA Pizre Paints SYRONITE Iron Preservative and Fiaxe VarnisKe^ FENCOL Wood Preservative SATINETTE Enamel. N.DK.CeniiUcayJ Stone Preservative DEVDOL Distemper PIXV POLISHES'. WooifiUars Stains , Japans. Lacquers, etc for every class at work C*t^effu*t*,xiSlJr Card, njD<w j5-. an j-eyuMe Head ! Office. General Buildings, ALDWYCH, LONDON, W.C.2 KJ S3JfcL24fcS' WORKS: SILVER-TOWN. POPLAR .nd WEST DRAYTON. BRANCHES AND AGENTS* TuT' OVER"'""WORLD B Y-AFFOIMTMBNT ELSLEY'S- FIREPLACES BASKET GRATE, in the late Seventeenth Centuru- suitable for stijle, burning either wood or coal ;matj be had with a, brass or bronze front and terminals; it is finished hi$hlij , and fitted with bright bars and fire lump D&ck. REGISTER GRATE % with highly finished steel front-? bright mouldin&s, bright shaped b&rs,and fire lump Tj^ckjitis adapted to fit either in a marble mantle piece or with marble surrounds . A curious old Trade CaKlo<Jue from which the Qrate ha.3 been c&refulltj reproduced states that it w^s made for William, Prince of Orange . The TUDOR QRATE is fitted with & br&ss panel, bright iron frame and bars fire either with tile and & lump b^ck , and can be used ormarble surrounds . VENTILATING WARM AIR to introduce fresh a?r from external sources thereby ens-urinA an agreeable and healthful the or air &c atmosphere % as supply rnau be regulated bt) valve above the fire. This Grate is ntted with a brass |3ane1 and bright iron mouldin4s,and is adapted for either tile or marme surrounds. MANTLE REQISTER GRATE fitted with tile sides, wood shelf, and fire tump back . WE invite BUILDER3, DECORATORS, HOUSE FURNISHERS, SHIPPERS, etc., to introduce their cus- tomers, with the assurance that we shall make every effort to suit the requirements of those who may favour us with a visit. THOMAS ELSLEY, LIMITED. Wholesale Ironmongers and Fireplace Manufacturers. PORTLAND METAL WORKS SO 2,24,2,6,28,30 Great Titchfield Street. LONDON . W. 1 . Telephone. Museum, 3442.. Telegrams. E1sleys,Wesdo, London. PORTFOLIOS OF PLATES FROM "ACADEMY ARCHITECTURE." A Comprehensive Series of Illustrations of MODERN ARCHITECTURE, DECORATIVE ART and SCULPTURE, including many Plans, Elevations and Perspectives. Inland Postage, 8d. per Portfolio extra. Postage abroad, Is. per Portfolio extra. MUNICIPAL BUILDINGS. & COUNTY OFFICES (100 Plates) 15/- LIBRARIES 2 Portfolios (75 Plates each) TOWN HALLS (55 Plates) - SCHOOLS 2 Portfolios (100 Plates each) - UNIVERSITIES & COLLEGES (100 Plates) ELEVATIONS & HALF-INCH DETAILS 4 Portfolios (100 Plates each) THEATRES & CONCERT HALLS (100 Plates) - HOSPITALS & INFIRMARIES (75 Plates) HOTELS, INNS & RAILWAY STATIONS (100 Plates) VILLAGE HALLS, INSTITUTES & CLUBS 2 Portfolios (75 - - - Plates each) / - SKETCHES AND STUDIES (75 Plates) - GOVERNMENT OFFICES (75 Plates) MUSEUMS, ART GALLERIES & EXHIBITION BUILDINGS (75 Plates) FIRE STATIONS, PUBLIC BATHS & MARKETS CHURCH EXTERIORS 2 Portfolios (100 Plates each) - - CHURCH INTERIORS 2 Portfolios (100 Plates each) CHURCH EXTERIOR DETAILS (75 Plates) CHURCH INTERIOR DETAILS 2 Portfolios (75 Plates each)- WORKMEN'S DWELLINGS & COTTAGES (75 Plates) DOMESTIC ARCHITECTURE, EXTERNAL DETAILS 2 Portfolios (75 Plates each) DOMESTIC ARCHITECTURE, TOWN HOUSES (90 Plates) ENGLISH DOMESTIC ARCHITECTURE 3 Portfolios (100 Plates each) AMERICAN DOMESTIC ARCHITECTURE 2 Portfolios (75 Plates each) CONTINENTAL DOMESTIC ARCHITECTURE 3 Portfolios (100 Plates each) - - BUSINESS PREMISES 3 Portfolios (100 Plates each) GARDEN ARCHITECTURE 2 Portfolios (75 Plates each) DINING ROOMS & DRAWING ROOMS 4 Portfolios (75 Plates each) HALLS, SMOKING & BILLIARD ROOMS 3 Portfolios (75 Plates each) - IDEAL IN SCULPTURE 7 Portfolios (75 Plates each) MONUMENTS, TOMBS & MEMORIALS 4 Portfolios (75 Plates each) _________ ARCHITECTURAL SCULPTURE 2 Portfolios (75 Plates each) DECORATIVE SCHEMES IN LOW RELIEF 2 Portfolios (75 - Plates each) ______ - DECORATIVE SCHEMES, PANELS 2 Portfolios (100 Plates each) COLOUR PRINTS FROM ACADEMY ARCHITECTURE Portfolio I ELEVATIONS HALF-INCH DETAILS FROM BRITISH COM- PETITIONS. Portfolio I, GENERAL COMPETITIONS (75 Plates) Portfolios II & III, L.C.C. HALL COMPETITION (75 Plates each) __________ ACADEMY ARCHITECTVRE AND ARCHTTECrVRAL REVIEW. VOLUME 51. 1920. A. E. MARTIN-KAYE, PROPRIETOR. EDITORIAL OFFICES: 44 DOUGHTY STREET. W.C.I. CONTENTS I. A SELECTION OF PROMINENT DRAWINGS hung at the Exhibition of the Royal Academy of Arts, Burlington House, Piccadilly, London, W. * ^ An Architectural Review of Current Work : f t II. GARDEN ARCHITECTURE. , I ll/^" III. PUBLIC BUILDINGS, BANKS, &c., &c. IV. MONUMENTS AND MEMORIALS. V. COTTAGE HOMES AND HOUSING SCHEMES. Published Kivice a Year. LONDON : HOLBORN. Published by B. T. BATSFORD, LTD., 94 HIGH P. MARUYA & Co.. LTD.). Tokyo, Osaka. Kyoto. JAPAN. -THE MARUZEN-KABUSHIKI-KAISHA (Z. Fukuoka and Sendai. S1MSON & CO. LTD., PRINTERS, HERTFORD, WARE & LONDON ACADEMY ARCHITECTURE AND ARCHITECTURAL REVIEW LIST OF CONTENTS. VOLUME 51. ROYAL ACADEMY EXHIBITION REVIEW. Inn, W.C. 1. GUNFIELD, E. B., Raymond Buildings. Gray's BAH LIE SCOTT. H. M, 8. Gray's Inn Square. W.C. The Victory Hall Corner House, Portsmouth Plans Waterlow Court ... Interior ... Seal Hollow. Sevcnoaks : Garden Front Inn C. 1 Hall G:;ICE, W. STANLEY, Gray's Square, W. Woodend Beaconstield BXKFR HERBERT. 14. Barton Street. Westminster, S.W. SIR EDWIN L., A.R.A., 17, Anne's Gate, Delhi, the Great Hall of the Secretarial LUTYENS. Queen Imperial S.W. Processional Way and Great Stairway Westminster, Government House. New Delhi, Entrance Facade, North Carriage Entrance the Secretarial Interior, Garden Loggia Buildings W. A.. SON & FAIRWEATHER, 116, Street, St. BANKART G P.. Verulam Buildings. Gray's Inn. W.C. PITE, Jermyu S.W. The Woodlands. Harrow. Plaster Ceiling in Hall James's, on the Mediterranean ... Hi OMHKI.II. SIK REGINALD. R.A., 1. New Court. Temple, E.C. Hospital Plans Design for Memorial at Glosiop. Derbyshire CACKETT & BURNS DICK. House, Newcastle-on-Tyne VERITY, Frank T., 7, Sackville Street, W. Pilgrim Corner Shortstown. Hanowden, Bedford Hotel at Hvde Park Sketch for theatre. Cross Road I) UVIIKK. Gcv E.. 18. Maddox Street. Hanover Squa e, W. 1 Charing WEBB. M.C. Nether Swell Manor. Gloucestershire WEBB, SIR ASTON, p. R. A & MAURICE, E. D.S.O., Anne's Gate KAREY CYRIL A., 5. De Vaux Place. The Close, Salisbury 19, Queen of Sussex Proposed War Memorial. Exeter Groups Proposed Cottages Layout Oi-oup of three Houses in Frognal Lane, N.W Plans ARCHITECTURAL REVIEW. GARDEN ARCHITECTURE. PUBLIC BUILDINGS, BANKS, &c. ATKINSON. ROBERT. 36. Bedford Square. W.C. BRIGGS, WOLSTENHOLM THORNELY, STONES, STONES AND Garden Pool ATKINSON. Associated Architects. Royal Liver Build- GI'THRIE, ROME L. CAIT., 10, Conduit Street, W. ings, Pier Head, Liverpool Townhill Park New Garden 13 Police and Sessions Courts, Blackburn, Exterior Alternative Scheme. Townhill I 'ark, Xew Garden 14 Police and Sessions Courts Blackburn. Interior 15 BRIGGS AND THORNLEY, Royal Liver Buildings, Pier Head, Garden Sketch. Ascot Place ... 16 Liverpool MAWS .s. T. H.. & SONS. High Street. I-ancaster West Africa House. Liverpool, Detail Garden House. Thornton Manor. Cheshire 3 BROMLEY & W ATKINS, Prudential Buildings, Nottingham Interior Stone Garden Seat : The Palace of Peace. The Hague ... 5 National Provincial Bank, Wolverhampton, UXSWORTH & TRHIUS, Little Boarhtint. Liphook. Hants, Exterior Design for a Garden 1 COPESTICK GEORGE, C., County Council Offices, St. Mary's Garden Pools 2 Gate. Derby Garden with Gate Council Offices Extension, Derby, Interior Model Garden Layout Exterior BAII LIE. Scorr. ". Gray's Inn Square, W.C. 1 HEATHCOTE CHARLES & SONS, 4, St. Mary's Parsonage, Garden. Sebtord Ferris. Banbury Manchester, and 110, Cannon Street, London G. & A GILBERT SCOTT. 7. Gray s Inn Square. W.C. 1 Lloyds Bank, Manchester, Exterior 129. Grosvenor Road ..." 6-7 Interior The Loggia 10-11 METCALF & GRIEG, Imperial Buildings, Kingsway. W.C. 1. The late W. WATSON. Architect Imperial Buildings, Kingsway, The Board Room The Long Walk Cottage. Pine Ridge, Farnham ... Entrance Details TANNER. H.. WILLS F. ].. and the late W. S. ANCKLL, 12 Regent Street, S.W. Regent Palace Hotel, Exterior View Exterior View The Lounge MEMORIALS AND MONUMENTS. ANGEL IOHN. Eaton Studio. Eaton Terrace. St. John's JONES, ADRIAN, 147, Church Street, Chelsea, S.W. \\ ood. N W A Memorial for Cavalry or Mounted Troops St. George .......... BAYES. GILBERT, 40. Boundary Road. St. John'* Wood, N.w'.' LEDWARD GILBERT. A Relief erected at Alderburv. Suffolk... ... ' The Mourners U|CK "'' St ' hn S W<X><i Stu '"os s J ' Queen Terraclf N W LUTYENS, SIR E. L., A.R.A., 17, Queen Anne's Gate, S.W. Design for a Bronze Tablet War Cenotaph, a sketch by Raffles Davison Proposed Memorial ......... Commemoration Column, Government House, New Delhi R A DHI-KY. ALFREI>. Lancaster Lodge, Lancaster Gardens'. \> imbledon The I^te R. M. HAIG PHILP, Architect A Memorial Roll of Honour ... '" A Monument to Commemorate the Bringing of Water to FEHR. H. C.. Avenue Studios. 76. Fulham Road. s'.W. Design for a Memorial ...... " WEIR. ROBERT W. S., Gray's Inn Square, W.C. 1 Pantheon of the Five Dominions, Design for a Wai- William \Vhiti-ley Memorial Memorial . Memorial morial Tablet, Embankment. London List of Contents (continued.) COTTAGE HOMES AND HOUSING SCHEMES. S. S., 26. Orchard Bristol ALLEN, J., GORDON, Hampstead, N.W.
Recommended publications
  • The London List
    The London List YEARBOOK 2010 FOREWORD 4 GAZETTEER 5 Commemorative Structures 6 Commercial Buildings 12 Cultural and Entertainment 18 Domestic 22 Education 32 Garden and Park 36 Health and Welfare 38 Industrial 44 Law and Government 46 Maritime and Naval 48 Military 50 Places of Worship 54 Street Furniture 62 Transport Buildings 65 Utilities and Communications 66 INDEX 68 TheListed London in London: List: yearbookyearbook 20102010 22 Contents Foreword ....................................................................................4 Gazetteer ...................................................................................5 Commemorative Structures .......................................................6 Commercial Buildings ..................................................................12 Cultural and Entertainment .....................................................18 Domestic ............................................................................................22 Education ............................................................................................32 Garden and Park ............................................................................36 Health and Welfare ......................................................................38 Industrial ..............................................................................................44 Law and Government .................................................................46 Maritime and Naval ......................................................................48
    [Show full text]
  • It Is Now a Number of Years Since the Bowman Sculpture Gallery Has Held
    It is now a number of years since the Bowman Sculpture Gallery has held an exhibition solely focused on The New School of British Sculpture and it is a pleasure to see the Gallery again showing extensive examples of the leading artists involved. The New British School, also referred to as the New Sculpture, followed a period when the Neo Classicism of such sculptors as Canova, Thorvaldsen and Gibson was regarded as the acme of their art and they featured in many of the great Houses of the time. Towards the end of the 19th Century the expanding middle class, who had a growing interest in the Arts, created a demand for smaller and more domestic sculpture began. At the same time painters such as Lord Leighton, who sculpted Athlete Wrestling with a Python and The Sluggard, and George Frederick Watts, who produced the great monument Physical Energy, were bringing ‘colour’ into the subject by varied patination and their treatment of shape. This movement was undoubtedly fuelled by a reaction against what was seen to be the severity of the Neo Classicists but the principal initiators of this ‘New’, most attractive and impressive period of British Sculpture, were Jules Dalou who taught at The South Kensington School of Art, for eight years from 1871, his friend Édouard Lantéri, who taught at The National Art Training College (later renamed The Royal College of Art) and Alfred Stevens. The result was, as one critic has said, ‘a perfect synthesis of the spiritual and the sensual’. This approach to the subject was adopted by the ‘New’ sculptors.
    [Show full text]
  • Annual Report 2018/2019
    Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership.
    [Show full text]
  • Nathaniel Hitch and the Making of Church Sculpture Claire Jones
    Nathaniel Hitch and the Making of Church Sculpture Claire Jones Housed at the Henry Moore Institute in Leeds is the archive of the now little-known sculptor, architectural sculptor, and sculptor’s modeller, Nathaniel Hitch (1845–1938).1 Unlike the extensive manuscript, printed, and visual material in Hamo Thornycroft’s archive, also held at the Henry Moore Institute, Hitch’s consists of hundreds of photographs pasted into two albums. These demonstrate the range of sculptural activity undertaken by Hitch, including figurative work, architectural sculpture, and anima- lier sculpture. Above all, they represent sculpture intended for Christian places of worship: recumbent effigies; altars; free-standing figures of saints, bishops, and biblical figures; reliefs of biblical scenes; Christ on the cross; Christ in groups; the Virgin Mary and Child; and sculpture for church fur- niture and furnishings. Hitch’s archive therefore offers significant docu- mentation for the study of Victorian sculpture practice outside the more familiar areas of the Academy and ideal classical sculpture: namely, church sculpture. The photographs are taken within Hitch’s studio or workshop. The space itself is only fragmentarily visible, and the sculptor himself is noticea- bly absent from all the photographs. This is distinct to the ‘at home’ and ‘in studio’ photographs of society sculptors such as Thornycroft, which recent scholarship has usefully examined in terms of the private-public domain of the artist’s studio and the role of these studios and photographs in an I would like to thank Claire Mayoh, archivist at the Henry Moore Institute, her maternity cover Janette Martin, and Georgia Goldsmith at the Bulldog Trust for assisting me in my research and for kindly providing the images for this publication.
    [Show full text]
  • Review2003/2004
    NPG_AR_04_text.film 10/12/05 9:52 AM Page 1 Review 2003/2004 2 Preface by the Chairman of the Trustees 3 Foreword by the Director 4 The Collections 8 Photographs Collection 10 Heinz Archive and Library 12 Conservation 14 The Galleries 16 Exhibitions 18 Education 20 Partnerships and National Programmes 24 Information Technology 26 Visitors 28 Trading 30 Fundraising and Development 36 Financial Report 40 Research 42 List of Acquisitions 48 Staff The Regency in the Weldon Galleries © Andrew Putler Front cover Mary Moser by George Romney, c.1770–71 Back cover David David Beckham by Sam Taylor-Wood, 2004 © the artist NPG_AR_04_text.film 10/12/05 9:52 AM Page 2 This Review records another highly successful During the year we welcomed two new Trustees, 2 year for the Gallery under the energetic leadership Amelia Chilcott Fawcett, an investment banker, and comprehensive management approach of recently appointed to chair our Development Sandy Nairne in his first full year as our Director. Board, and Professor Robert Boucher, an engineer and Vice-Chancellor of Sheffield University. We have continued to develop the collection We lost an ex-officio Trustee with the tragically with some outstanding acquisitions and untimely death of Lord Williams of Mostyn. exciting commissions. Three of the galleries, He has been succeeded by Baroness Amos, the refurbished Weldon Regency Galleries, the Lord President of the Council. Tudor and the Early Twentieth Century Galleries, were imaginatively rehung, while the frequent We relish and revel in our responsibility to rotation of portraits in the Contemporary build and exhibit a collection of portraits of Galleries continues to attract wide approval.
    [Show full text]
  • Public Art in Central Christchurch
    PUBLIC ART IN CENTRAL CHRISTCHURCH A STUDY BY THE ROBERT MCDOUGALL ART GALLERY 1997 Public Art In Central Christchurch A Study by the Robert McDougall Art Gallery 1997 Compiled by Simone Stephens Preface Christchurch has an acknowledged rich heritage of public art and historically, whilst it may not be able to claim the earliest public monument in New Zealand, it does have the earliest recognised commissioned commemorative sculpture in the form of the Godley statue by Thomas Woolner. This was unveiled in August 1867. Since that date the city has acquired a wide range of public art works that now includes fountains and murals as well as statues and sculpture. In 1983 the Robert McDougall Art Gallery, with the assistance of two researchers on a project employment scheme, undertook to survey and document 103 works of art in public places throughout Christchurch. Unfortunately even though this was completed, time did not permit in-depth research, or funding enable full publication of findings. Early in 1997, Councillor Anna Crighton, requested that the 1983 survey be reviewed and amended where necessary and a publication produced as a document describing public art in the city. From June until December 1997, Simone Stephens carried out new research updating records, as many public art works had either been removed or lost in the intervening fourteen years. As many of the more significant public art works of Christchurch are sited between the four Avenues of the inner city, this has been the focus of the 1997 survey the results of which are summarised within this publication.
    [Show full text]
  • Trafalgar Square Conservation Area Audit 2 Trafalgar Square Conservation Area Audit 3 CONTENTS
    TRAFALGAR 18 CONSERVATION AREA AUDIT AREA CONSERVATION SQUARE This conservation area audit is accurate as of the time of publication, February 2003. Until this audit is next revised, amendments to the statutory list made after 19 February 2003 will not be represented on the maps at Figure 7. For up to date information about the listing status of buildings in the Trafalgar Square Conservation Area please contact the Council’s South area planning team on 020 7641 2681. This Report is based on a draft prepared by Conservation, Architecture & Planning. Development Planning Services, Department of Planning and City Development City Hall, 64 Victoria Street, London SW1E 6QP www.westminster.gov.uk Document ID No: 1130 PREFACE Since the designation of the first conservation areas in 1967 the City Council has undertaken a comprehensive programme of conservation area designation, extensions and policy development. There area now 53 conservation areas in Westminster, covering 76% of the City. These conservation areas are the subject of detailed policies in the Unitary Development Plan and in Supplementary Planning Guidance. In addition to the basic activity of designation and the formulation of general policy, the City Council is required to undertake conservation area appraisals and to devise local policies in order to protect the unique character of each area. Although this process was first undertaken with the various designation reports, more recent national guidance (as found in Planning Policy Guidance Note 15 and the English Heritage Conservation Area Practice and Conservation Area Appraisal documents) requires detailed appraisals of each conservation area in the form of formally approved and published documents.
    [Show full text]
  • Bertram Mackennal and the Sculptural Femme Fatale in the 1890S
    Circe 1893 (detail) bronze 240 x 79.4 x 93.4 cm National Gallery of Victoria, Melbourne The Felton Bequest 1910 ‘Her invitation and her contempt’: Bertram Mackennal and the sculptural femme fatale in the 1890s DAVID J GETSY In the early 1890s Bertram Mackennal still struggled to find audiences, patrons and critical recognition. After having moved between Melbourne, London and Paris, he had been unsuccessful in garnering what he considered sufficient attention, and his letters from the period are fraught with anxieties and plans for his career. In 1892 he began working on a major life-size ‘statue’ in the ‘ideal’ or ‘imaginative’ genre that would, he hoped, establish his name. ‘I am trying to make a big work of this figure and at present am full of hope,’ he remarked.1 Such a gambit was common enough for an aspiring sculptor in the competitive market of the late 19th century. British sculpture, in particular, had been reinvigorated in the 1880s by artists who staked their reputations on similar highly-conceptualised life-size statues. This movement to modernise the theory and practice of sculpture in Britain would be dubbed the ‘New Sculpture’ in 1894 – the same year Mackennal’s own contribution to it could be seen at the Royal Academy of Art’s summer exhibition.2 As Mackennal knew himself from his brief time at the Royal Academy schools and from the contacts he made there, polemical statues such as his could be the statements through which debates about the theory, practice and future of sculpture occurred.3 Even after his move to Paris, Mackennal seems to have identified with these formulations of modern sculpture in London and kept a close eye on the British capital and the better market possibilities it offered for an Australian sculptor.4 His ambitious life-size statue, although first exhibited at the 1893 Paris Salon, drew deeply on his familiarity and sympathy with the aims of the New Sculpture, and it was in London where it made its more lasting impact.
    [Show full text]
  • The Arts and Crafts Movement, Modernism, and Sculpture in Britain 1890–1914
    Sarah Victoria Turner “Reuniting What Never Should Have Been Separated”: The Arts and Crafts Movement, Modernism, and Sculpture in Britain 1890–1914 Nineteenth-Century Art Worldwide 14, no. 2 (Summer 2015) Citation: Sarah Victoria Turner, “‘Reuniting What Never Should Have Been Separated’: The Arts and Crafts Movement, Modernism, and Sculpture in Britain 1890–1914,” Nineteenth- Century Art Worldwide 14, no. 2 (Summer 2015), http://www.19thc-artworldwide.org/ summer15/turner-on-the-arts-and-crafts-movement-modernism-and-sculpture-in-britain. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Turner: The Arts and Crafts Movement, Modernism, and Sculpture in Britain 1890–1914 Nineteenth-Century Art Worldwide 14, no. 2 (Summer 2015) “Reuniting What Never Should Have Been Separated”: The Arts and Crafts Movement, Modernism, and Sculpture in Britain 1890–1914 by Sarah Victoria Turner The bonds between Modernist sculpture, the New Sculpture and the Arts and Crafts Movement . helped critics and the public to understand the products and claims of avant-garde sculptors before the First World War. —S. K. Tillyard[1] Chronologies of Sculpture “on or about” 1890 to 1914[2] In 1987, the writer and historian Stella Tillyard proffered an argument in her book The Impact of Modernism that went against the grain of most conceptualizations of British sculpture of the late nineteenth and early twentieth
    [Show full text]
  • 2015 · Maastricht TEFAF: the European Fine Art Fair 13–22 March 2015 LONDON MASTERPIECE LONDON 25 June–1 July 2015 London LONDON ART WEEK 3–10 July 2015
    LOWELL LIBSON LTD 2 015 • New York · annual exhibition British Art: Recent Acquisitions at Stellan Holm · 1018 Madison Avenue 23–31 January 2015 · Maastricht TEFAF: The European Fine Art Fair 13–22 March 2015 LONDON MASTERPIECE LONDON 25 June–1 July 2015 London LONDON ART WEEK 3–10 July 2015 [ B ] LOWELL LIBSON LTD 2 015 • INDEX OF ARTISTS George Barret 46 Sir George Beaumont 86 William Blake 64 John Bratby 140 3 Clifford Street · Londonw1s 2lf John Constable 90 Telephone: +44 (0)20 7734 8686 John Singleton Copley 39 Fax: +44 (0)20 7734 9997 Email: [email protected] John Robert Cozens 28, 31 Website: www.lowell-libson.com John Cranch 74 John Flaxman 60 The gallery is open by appointment, Monday to Friday The entrance is in Old Burlington Street Edward Onslow Ford 138 Thomas Gainsborough 14 Lowell Libson [email protected] Daniel Gardner 24 Deborah Greenhalgh [email protected] Thomas Girtin 70 Jonny Yarker [email protected] Hugh Douglas Hamilton 44 Cressida St Aubyn [email protected] Sir Frank Holl 136 Thomas Jones 34 Sir Edwin Landseer 112 Published by Lowell Libson Limited 2015 Richard James Lane 108 Text and publication © Lowell Libson Limited Sir Thomas Lawrence 58, 80 All rights reserved ISBN 978 0 9929096 0 4 Daniel Maclise 106, 110 Designed and typeset in Dante by Dalrymple Samuel Palmer 96, 126 Photography by Rodney Todd-White & Son Ltd Arthur Pond 8 Colour reproduction by Altaimage Printed in Belgium by Albe De Coker Sir Joshua Reynolds 18 Cover: a sheet of 18th-century Italian George Richmond 114 paste paper (collection: Lowell Libson) George Romney 36 Frontispiece: detail from Thomas Rowlandson 52 William Turner of Oxford 1782–1862 The Sands at Barmouth, North Wales Simeon Solomon 130 see pages 116–119 Francis Towne 48 Overleaf: detail from William Turner of Oxford 116 John Robert Cozens 1752–1799, An Alpine Landscape, near Grindelwald, Switzerland J.M.W.
    [Show full text]
  • Punks and Professionals: the Identity of the Sculptor 1900-1925, in P
    The identity of the sculptor 1900-25 ; 9 David Getsr"."Punks and Professionals: The Identity of the Sculptor 1900-1925, In P. CurtiS, et aI., eds., Sculpture in 20th-Century Britain: The first decades of the 20th century saw an increasing competition IdentJty, Infrastructure, Aesthetics, Display, Reception, vol. I of 2 (Leeds: Henry Moore Institute, 2003), 9-20. between two different, yet related, definitions of the sculptor. Both established professional sculptors - sometimes referred to in derisory fashion as 'gentlemen artists' - and younger, less conventionally trained artists shaped sculpture in these years. One cannot adequately understand the complex range of sculptural options in the early 20th century without taking both these 'professionals' and these young 'punks' seriously, for the members of each group constructed their identities in relation to the other. Pwfession2is Beginning in the late 1870s and early 1880s, a new set of parameters for sculptural practice and theory developed in Britain. This modernising movement, which would in 1894 become dubbed the 'New Sculpture', reconsidered the foundations of sculptural tradition and re-evaluated the roles played by sculpture in both public and private.' After gaining momentum in the 1880s, the New Sculpture style came to dominate sculpture in Britain, and by the Edwardian period many of its major players were firmly established. 1 Williams Reynolds­ Stephens, 'A Royal Game'. 1906-11 IDENTITY 1900-25 11 2 William Goscombe John, Broadly, a predominant theme in the many manifestations of the though the production of monuments went on in the 'Memorial to the Engine New Sculpture movement was its renewed concern with how viewers 20th century, there emerged far fewer opportunities Room Heroes', 1916 and publics engaged with sculptural objects.
    [Show full text]
  • Arthur Rackham from the Library of an English Bibliophile
    the works of arthur rackham from the library of an English bibliophile Peter Harrington london All items are fully described and photographed at peterharrington.co.uk 2 Peter Harrington 127 3 the library of an english bibliophile 126 catalogues in the series Peter Harrington 119: Lewis Carroll (Charles L. Dodgson) Peter Harrington 122: Beatrix Potter Peter Harrington 127: Arthur Rackham VAT no. gb 701 5578 50 Peter Harrington Limited. Registered office: WSM Services Limited, Connect House, 133–137 Alexandra Road, Wimbledon, London SW19 7JY. Registered in England and Wales No: 3609982 Peter Harrington london catalogue 127 arthur rackham 126 All items from this catalogue are on display at Dover Street mayfair chelsea Peter Harrington Peter Harrington 43 Dover Street 100 Fulham Road London w1s 4ff London sw3 6hs uk 020 3763 3220 uk 020 7591 0220 eu 00 44 20 3763 3220 eu 00 44 20 7591 0220 usa 011 44 20 3763 3220 usa 011 44 20 7591 0220 Dover St opening hours: 10am–7pm Monday–Friday; 10am–6pm Saturday www.peterharrington.co.uk ntroduced in 1905 with Rip Van Winkle, Rackham’s illustrated gift books were issued in two primary formats: the deluxe edition, typically a signed limited edition bound in vellum, printed on handmade paper, with the colour plates mounted, or tipped-in, on thick paper, with captioned tissue guards. These were published at the same time as the normal trade editions of the book, case-bound in cloth, with the plates printed on ordinary plate paper. Occasionally the publisher issued improved versions of the trade editions with special leather bindings.
    [Show full text]