DOCSLIB.ORG

Garden Sculpture Catalogue Volume II

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Garden Sculpture Catalogue Volume II FIGURATIVE & CONTEMPORARY SCULPTURE FIGURATIVE & CONTEMPORARY SCULPTURE GARDEN SCULPTURE GARDEN CATALOGUE VOLUME II Garden Sculpture Catalogue Volume II Unless otherwise stated the sculptures displayed in this catalogue are examples of the artist’s previously commissioned work. If you are interested to commission a similar or new work please contact us. Danny Lane Danny has an international reputation as one of the foremost sculpture artists working in glass and steel. After graduating from the Central St Martins School of Art in London, he came to prominence in the 1980’s following the introduction of his glass art furniture. Subsequently he went on to become an acknowledged master of large scale corporate and public sculpture including his ‘Borealis,’ believed to be the world’s largest glass sculpture. His highly accomplished engineering skills and track record for delivering complex architectural projects are hallmarks of his sculpture practice. Danny has received commissions from high profile corporate brands including Rolex, General Motors, Microsoft and SmithKline Beecham amongst others. His sculpture is exhibited in numerous public collections including the Victoria & Albert Museum (London), Vitra Design Museum (Germany), Musée des Arts Décoratifs (Paris) the Corning Museum of Glass (USA) and the National Museum (Stockholm) and is sought after by discriminating collectors worldwide. John Clapham & Company are appointed the exclusive representative in Vietnam for Danny Lane’s sculpture. Baby Solomon Danny Lane Materials: Low iron glass and stainless steel. H258 x D25 cm. Reeling Walls Sweden Danny Lane Materials: Low iron, glass, steel, concrete. H251 x L400 x D400 cm. Contraposta Danny Lane Sited at Haughley Park, UK. Persian Waterfall Danny Lane Materials: Low iron glass. H273.3 x W110.8 x 12.5 cm. Anne Curry Anne discovered the power of sculpture as a student, while working for a doctorate in Egyptology at Oxford University. She sees in the sculpture of Ancient Egypt the perfect combination of material, line, volume and tension. Those clean lines, pared down details and inner power are the fundamental principles of her work. She started sculpting in 1989 and was quickly recognised internationally as an accomplished portrait sculptor: her high profile commissions have included the busts of several prominent political and business figures, including a British Prime Minister. At the same time she started working on large outdoor Anne’s sculptures have been exhibited in several great gardens in sculptures based on close observation of organic shapes. England including the Royal Botanical Gardens at Kew, at the She remains fascinated by the development of natural forms 2017 Venice Biennale, in France and in the Netherlands. Her and their patterns. The spirals of growth, the unfolding of work is in collections in the United Kingdom, Europe, the United leaves and flowers, the bursting of seed pods, all imply States and the Far East including China. controlled movement, a disciplined progression and Anne is Member of the Royal Society of Sculptors. immense internal energy - what she calls the curves of life. John Clapham & Company is the exclusive representative in Vietnam for Anne Curry’s sculpture. Coup de Vent - 2019 Anne Curry Height: 1.80m. Length: 2.10m Width: 1.25m. Materials: Bronze or bronze resin. Edition of: 9. Jacaranda - 2019 Anne Curry Height: 1.7m. Length: 1.20m. Width: 1.16m. Materials: Bronze or bronze resin. Edition of: 9. Note: Steel base is available as an extra. The Dreamer - 2018 Anne Curry Height: 2.0m. Length: 1.80m. Width: 1.25m. Materials: Bronze or bronze resin. Edition of: 9. The Keeper of the Place 2016 Anne Curry Height: 1.76m. Length: 1.50m. Width: 1.40m. Materials: Bronze or bronze resin. Edition of: 9. Vortex: Acacia Auriculiformis Seed Pod - 2015 Anne Curry Height: 1.74m. Length: 1.08m. Width: 1.0m. Materials: Bronze or bronze resin. Edition of: 9. Physalis - 2012 Anne Curry Height: 1.60m. Length: 1.20m. Width: 1.10m. Materials: Bronze or bronze resin. Edition of: 9. Shadow of the Dune - 2014 Anne Curry Height: 1.15m. Length: 1.65m. Width: 1.90m. Materials: Bronze or bronze resin. Edition of: 9. Wind Dancer - 2013 Anne Curry Height: 2.12m. Depth: 0.70m. Width: 1.10m. Materials: Bronze or bronze resin. Edition of: 9. La Promesse: Iris Foetida Seed Pod - 2013 Anne Curry Height: 1.57m. Length: 1.55m. Width: 1.25m. Materials: Bronze or bronze resin. Edition of: 9. The Flight of Keys: Sycamore - 2012 Anne Curry Height: 1.60m. Length: 1.70m. Width: 1.50m. Materials: Bronze or bronze resin. Edition of: 9. Helleborus Niger Seed Pod - 2010 Anne Curry Height: 1.40m. Length: 1.40m. Width: 1.40m. Materials: Bronze or bronze resin. Edition of: 6. Iris Germanica Bud - 2010 Anne Curry Height: 1.65m. Length: 0.50m. Width: 0.75m. Materials: Bronze or bronze resin. Edition of: 6. Nicandra Seed Pod - 2009 Anne Curry Height: 1.30m. Length: 1.30m. Width: 1.30m. Materials: Bronze or bronze resin. Edition of: 6. Magnolia Grandiflora Leaf - 2009 Anne Curry Height: 1.20m. Length: 2.40m. Width: 1.30m. Materials: Bronze or bronze resin. Edition of: 6. Magnolia Grandiflora Bud - 2008 Anne Curry Height: 1.40m. Length: 1.90m. Width: 1.50m. Materials: Bronze or bronze resin. Edition of: 6. Lime Leaf Bud - 2012 Anne Curry Height: 1.50m. Length: 2.20m. Width: 1.50m. Materials: Bronze or bronze resin. Edition of: 6. Philip Jackson CVO DL MA FRBS ʺIf I am asked what I do with my sculpture I reply that I look back at a previous age and render it in an impressionistic but contemporary manner." It is continuity and figurative tradition that roots Jackson as a sculptor, whether it is his gallery sculptures, many of which are inspired by Venice and the Maschera Nobile and are sought after by collectors all over the world, or his many public commissions such as the Bomber Command Memorial in London’s Green Park, or the statue of Bobby Moore that welcomes football fans to Wembley Stadium. ‘Philips ability to achieve respect and admiration embracing two such fields is rare and much to be admired. He has left an indelible footprint on his time.’ - The Right Hon the Lord Heseltine CH. John Clapham & Company is the exclusive representative in Vietnam for Philip Jackson’s sculpture. Swimmers Group Philip Jackson Material: Bronze Height: 2610mm Width: 1700mm Depth: 1700mm Edition of: 3 Signed: Jackson Bathing Belle Philip Jackson Material: Bronze Height: 1730mm Width: 1210mm Depth: 1230mm Edition of: 8 Signed: Jackson Bowling With Boccerini Philip Jackson Material: Bronze Height: 1630mm Width: 700mm Depth: 600mm Edition of: 8 Signed: Jackson The Sword Master Philip Jackson Material: Bronze Height: 2320mm Width: 130mm Depth: 900mm Edition of: 8 Signed: Jackson Gabrielli’s Apprentice Philip Jackson Material: Bronze Height: 2250mm Width: 710mm Depth: 800mm Edition of: 8 Signed: Jackson Skittles With Scarlatti Philip Jackson Material: Bronze Height: 2000mm Width: 600mm Depth: 810mm Edition of: 8 Signed: Jackson Last Ball of Summer Philip Jackson Material: Bronze Height: 2100mm Width: 790mm Depth: 890mm Edition of: 8 Signed: Jackson Venetian Belle Philip Jackson Material: Bronze Height: 1970mm Width: 1040mm Depth: 600mm Edition of: 8 Signed: Jackson John Clapham & Company The Hive, 26 Huynh Khuong Ninh District 1 Ho Chi Minh City VIETNAM Tel: +84 (0) 90 301 0830 email: [email protected] https://www.johnclaphamandcompany.com © 2021 John Clapham & Company .
Load more

Recommended publications
  • Download New Glass Review 15
    eview 15 The Corning Museum of Glass NewGlass Review 15 The Corning Museum of Glass Corning, New York 1994 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, daB sie inner- the 1993 calendar year. halb des Kalenderjahres 1993 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 Telephone: (607) 937-5371 Fax: (607) 937-3352 All rights reserved, 1994 Alle Rechte vorbehalten, 1994 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-87290-133-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Library of Congress 81-641214 unter der Nummer 81 -641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 10 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 58 etztes Jahr an dieser Stelle beklagte ich, daB sehr viele Glaskunst- Jury Statements Ller aufgehort haben, uns Dias zu schicken - odervon vorneherein nie Zeit gefunden haben, welche zu schicken. Ich erklarte, daB auch wenn die Juroren ein bestimmtes Dia nicht fur die Veroffentlichung auswahlen, alle Dias sorgfaltig katalogisiert werden und ihnen ein fester Platz in der Forschungsbibliothek des Museums zugewiesen ast year in this space, I complained that a large number of glass wird.
    [Show full text]
  • New Glass Review 10.Pdf
    'New Glass Review 10J iGl eview 10 . The Corning Museum of Glass NewG lass Review 10 The Corning Museum of Glass Corning, New York 1989 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dal3 sie the 1988 calendar year. innerhalb des Kalenderjahres 1988 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare des New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 (607) 937-5371 All rights reserved, 1989 Alle Rechtevorbehalten, 1989 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Dusseldorf FRG Gedruckt in Dusseldorf, Bundesrepublik Deutschland Standard Book Number 0-87290-119-X ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der KongreB-Bucherei 81-641214 unter der Nummer 81-641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstler und Objekte 10 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Verzeichnis der Eigennamen und Orte 53 er Wunsch zu verallgemeinern scheint fast ebenso stark ausgepragt Jury Statements Dzu sein wie der Wunsch sich fortzupflanzen. Jeder mochte wissen, welchen Weg zeitgenossisches Glas geht, wie es in der Kunstwelt bewer- tet wird und welche Stile, Techniken und Lander maBgeblich oder im Ruckgang begriffen sind. Jedesmal, wenn ich mich hinsetze und einen Jurybericht fur New Glass Review schreibe (dies ist mein 13.), winden he desire to generalize must be almost as strong as the desire to und krummen sich meine Gedanken, um aus den tausend und mehr Dias, Tprocreate.
    [Show full text]
  • Arts for India Diwali Celebration Exhibition and Auction the House of Diwali
    Arts for India Diwali Celebration Exhibition and Auction The House of Diwali Supporting the International Institute of Fine Arts (IIFA) and its educational partnerships: the Prince’s Drawing School and the University of the Arts London. Kent House, Knightsbridge November 7th 2013 Picture from left to right: Prince’s Drawing School alumni teacher Konrad Gabriel with IIFA students Painting by Pooja Paliwal, a recent IIFA graduate Shivani Gauran, IIFA alumnus now a leading Indian fashion designer recently participating in Bangalore Fashion Week, Kalkata Fashion Week and Chandigarh International Fashion Week. ‘We had an absolutely amazing time and I am still digesting it all!’ ‘I came back to my studio and teaching practice in New Hampshire charged with inspiration.’ ‘I continue to work on the extraordinary imagery gathered throughout the residency.’ Prince’s Drawing School Alumni following visit to IIFA October – December 2012 Thank you to our catalogue sponsor Knight Frank For clear and focused property advice speak to our South Asia desk on In the spotlight +44 20 7861 1089 [email protected] We are proud to sponsor the Arts for India House of Diwali Celebration KnightFrank.com 3237 Arts for India Sponsorship advert_V3.indd 1 18/10/2013 12:42 Thank you to the Arts for India Fundraising Committee 2013 Royce Angelo, Countess Sheena de Boisgelin, Aisha Caan, Nandita Chaudhuri, Caroline Curtis Dolby, Michael Cuthbert, Camilla Dueser, Thorsten Düser, Elizabeth Mitford Ferguson, Ales- sandra Fremura, Ritu Ghulati, Ethan Hall, Laura Harold, David Hawkins, Bianka Hellmich, Nick Hornby, James Lindon, Valentina Joulebina, Raj Manek, Premala Matthen, Abha Modi, Satish Modi, Afsi Moshiri, Aliona Muchinskaya, Saketh Patnam, Tony Pontone, Ruby Sandhu, Philipp Schoeller, Farah Shariff, Krystyna Szumelukowa, Peter de Vink, Ryszard Varisella, Hema Virani Thank you to our sponsors and corporate partners: Arts for India was established in 2010 to support the development of the Delhi-based International Institute of Fine Arts (IIFA).
    [Show full text]
  • Ron Arad & Danny Lane Seminal Works of 1980'S
    RON ARAD & DANNY LANE SEMINAL WORKS OF 1980'S BRITISH AVANT-GARDE Jeudi 13 décembre 2018 Le Molière 40, rue de Richelieu 75001 Paris Détail du lot 203 PARIS 21, rue Drouot 75009 Paris MARSEILLE 5, rue Vincent Courdouan 13006 Marseille T. +33 (0)4 91 50 00 00 F. +33 (0)4 91 67 36 59 E. [email protected] Catalogues / résultats / live / actualités sur www.leclere-mdv.com DESIGN Jeudi 13 décembre 2018 à 20h00 / Le Molière - 40, rue de Richelieu 75001 Paris Exposition Samedi 8 décembre, Lundi 10 décembre, Mardi 11 décembre et Mercredi 12 décembre de 11h à 19h Jeudi 13 décembre de 11h à 13h Le Molière - 40, rue de Richelieu 75001 Paris Commissaires-priseurs Damien Leclère & Delphine Martin-Orts Responsable du département François Epin +33 (0)6 16 50 30 63 - [email protected] © droits réservés © droits REPARTIR TEXTE + VISUEL MANIFESTO 04 "Il y’a une énergie et une difficulté de modifier ce que l’on réalise, c’est ce qui rend excitant ce que nous faisons." "Certaines oeuvres sont totalement ratées, d’autres sont géniales. C’est ce qui arrive lorsque vous êtes ignorant, jeune et naïf. " TOM DIXON Au début des années 80 la Grande Bretagne semblait être au bord de Le mouvement connaît ses premières émulations dans le groupe la guerre civile. La paupérisation de la population dans les secteurs Funkapolitain de Dixon et Nick Jones et la création, plus tardive, d’un industriels de Brixton, Birmingham et Liverpool soulevant de nom- club de hip-hop londonien, le Laboratoire de langue.
    [Show full text]
  • Mass Glass Structures
    Challenging Glass 2 – Conference on Architectural and Structural Applications of Glass, Bos, Louter, Veer (Eds.), TU Delft, May 2010. Copyright © with the authors. All rights reserved. Mass Glass Structures Antony Smith IPIG Ltd. England. [email protected] www.ipig.biz Glass has a long tradition as a medium for art and sculptural design. Yet, with a few notable exceptions, these items remain small and studio based. Over the last six years, the author has developed a number of larger scale projects which bridge the gap between architecture and sculpture. These projects incorporate predominantly annealed glass and rely on gravity and mass for stability, yet their simplicity of form belies a complexity of construction. This paper explains the typologies of mass glass structures and explores the geometrical, engineering, manufacturing and installation challenges which have been encountered and overcome in their realization. Keywords: Mass Glass Structure, Glass Sculpture, Layered Glass. 1. Introduction Glass has a long tradition as a decorative material in both jewellery and artefacts. These items have exploited the colors, and more importantly, the light changing characteristics of the basic material. In the last fifty years the architectural use of glass has expanded rapidly with float glass becoming a regular construction material in the windows and curtain walling of our built environment. The mass production of glass has led to a common construction typology which utilizes glass to maximize daylight and control the internal environment in buildings, whilst minimizing material usage. This paper deals with a completely different form of glass construction which synthesizes modern day glass production, gravity based or mass structures, and sculptural or decorative forms to create mass glass structures.
    [Show full text]
  • Dal 22 Al 27 Aprile 2009 DILMOS PRESENTA "Compression" Di
    Dal 22 al 27 aprile 2009 DILMOS PRESENTA "Compression" di Danny Lane A series of works in glass realized for Dilmos by Danny Lane, under the sign of "compression". In 1988 Dilmos presented the seminal works of Danny Lane in the exhibition "In Vitro Crjstallisation"and now,twenty years on, Dilmos is showing a collection of historical and new pieces of the american artist. "The structural virtue of glass is it's ability to sustain compression. Glass is 20 times as strong as concrete, under compression. It is a metaphor of the dynamic of resistance and containment. The unrefined flow of the creative impulse is strengthened and qualified by 'that which resists us' . The artist's right and fight to play! " Famed for his large-scale Sculpture in float glass which, like the seminal "Against The Wall"(2001), shown here for the first time in Europe, defy gravity with breathtaking elegance. Danny Lane has moved into colour. Process has always been integral to Danny Lane’s vision, so typically, for an artist who’s driven by vision rather than the possible, he is making his own, extraordinarily vibrant, coloured glass. The process is intense, alchemical, and an integral part of the work. Like the British visionary tradition Danny Lane sees himself as a part of, from William Blake to Cecil Collins, and unlike many contemporary artists, this is a practice forged in making, in physical process, and firmly based in the studio. When Danny Lane’s first furnace was destroyed when his studio burnt down in 2001, he emerged Phoenix-like from the ashes of his past, and here reveals the triumphant products of his new furnaces.
    [Show full text]
  • Download New Glass Review 12.Pdf
    The Corning Museum of Glass NewGlass Review 12 The Corning Museum of Glass Corning, New York 1991 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dal3 sie the 1990 calendar year. innerhalb des Kalenderjahres 1990 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Expemplare der New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 (607) 937-5371 All rights reserved, 1991 Alle Rechte vorbehalten, 1991 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-i 1-124-6 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der KongreB-Biicherei 81-641214 unter der Nummer 81-641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstler und Objekte 10 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 55 ach der Review des letzten Jahres, sind in den laufenden Ausga- Jury Statements Nben von Neues Glas verschiedene kritische Kommentare er- schienen. Eines haben sie deutlich gemacht: Wir haben verabsaumt, herauszustellen was die New Glass Review eigentlich ist. Das ist frustrierend, denn jedes Jahr, seit genau 14 Jahren*, haben meine ollowing last year's New Glass Review, various critical comments einfuhrenden Worte versucht, darauf hinzuweisen, daB die Review sich Fwere printed in the subsequent issue of Neues Glas.
    [Show full text]
  • 2021 the Design Circle Welcome June Events July Events September Events October Events Coming Soon Art and Design Fairs the Design Circle
    the design circle welcome december events january/february events april events may/june events july events art and design fairs the design circle 2021 the design circle welcome june events july events september events october events coming soon art and design fairs the design circle Design Patrons £1,000 + Membership as a Patron offers behind-the-scenes access to the museum and to events throughout the year such as curator-led tours, studio visits and conversations. Design Fellows £5,000 + Membership as a Fellow offers a more exclusive level of access with tours of private collections, trips with the Director and the chance to spend time with some of the most creative designers and architects in the world. At this level we also offer a complimentary room hire to host a private breakfast or lunch (terms and conditions apply). Design Benefactors £10,000 + Membership as a Benefactor offers a unique relationship with the Director of the Museum and the opportunity to make a philanthropic gift to support our core activities, which will be recognised accordingly against an exhibition or programme of your choice. the design circle welcome june events july events september events october events coming soon art and design fairs director’s introduction I would like to thank DCMS, Arts Council “Sneakers Unboxed: Studio to Street” will England and all of our supporters, focus on the global footwear phenomenon visitors and staff, whose generosity and its impact on performance design, new and commitment, have given us a strong subcultures and fashion. We continue with foundation for the year ahead.
    [Show full text]
  • Mia Weiner Press
    OCHI WWW.OCHIGALLERY.COM ​ MIA WEINER Lives and works in Chicago, IL EDUCATION 2020 School of the Art Institute of Chicago (SAIC), MFA Fiber and Material Studies 2013 Maryland Institute College of Art (MICA), BFA Fiber (graduated cum ​ laude) ​ 2008 Bard College at Simon’s Rock SOLO & TWO-PERSON EXHIBITIONS 2021 Head(less): Adam Beris & Mia Weiner, Ochi Gallery, Ketchum, ID ​ 2020 Mia Weiner: Artist Projects, The Suburban, Milwaukee, WI ​ 2019 Abstract Naked Lunch with Ricardo Partida, School of the Art Institute of Chicago, IL ​ ​ 2014 Attached, Gallery 788, Baltimore, MD ​ SELECTED EXHIBITIONS 2020 Utopian Living, Kleinart/James Center for the Arts, Woodstock, NY ​ 2019 Terrain Biennial, Iowa City, IA ​ Ideal: the World as We Want It, School of the Art Institute of Chicago, IL ​ Real: the World as We See It, School of the Art Institute of Chicago, IL ​ Gender in the Balance, Barrett Art Center, Poughkeepsie, NY ​ Frayed: Fiber Beyond Craft, Arc Gallery, Chicago, IL ​ Coming into Being, School of the Art Institute of Chicago, IL ​ 22nd International Open, Women Made, Chicago, IL ​ 2018 MFA Open Studios, School of the Art Institute of Chicago, IL 2017 Preserve/Subvert, Sager Braudis Gallery, Columbia, MO ​ Permanent Parabasis, Gallery 99, Providence, RI ​ OCHI WWW.OCHIGALLERY.COM ​ 2015 Breathe in Gold Light, New Door Creative Gallery, Baltimore, MD ​ ArtPalmBeach, Irreversible Projects, West Palm Beach, FL ​ 2014 Late Summer Exhibit, PS Gallery, Columbia, MO ​ Kinsey Institute Juried Art Show, Grunwald Gallery of Art, Bloomington, IN Love Shack, Nave Gallery Annex​ , Somerville, MA ​ 2013 London Calling 013, Factory-Art Gallery, London ​ Pop-Up, Pop-Up Gallery, Berlin, Germany ​ Fabrications, Gallery 788, Baltimore, MD ​ Touchy Subjects - Sex, Humor, and Risk: Selections from the Kinsey Institute, Allen W.
    [Show full text]
  • May Edition 2016
    Alan J. Poole Promoting British & Irish Contemporary Glass. 43 Hugh Street, London SW1V 1QJ. ENGLAND. Tel: (00 44) Ø20 7821 6040. Email: [email protected] Alan J. Poole’s Contemporary Glass Newsletter. A monthly newsletter listing information relating to British & Irish Contemporary Glass events and activities, within the UK, Ireland and internationally. Covering British and Irish based Artists, those living elsewhere and, any foreign nationals that have ever resided or studied for any period of time in the UK or Ireland. MAY EDITION 2016. * indicates new or amended entries since the last edition. 2015. EXHIBITIONS, FAIRS, MARKETS & OPEN STUDIO EVENTS. 20/10/1528/11/16. “New Glass Work By Ana Rosa Hopkins”. Ana Rosa Hopkins Solo Exhibition. Harris Museum & Art Gallery. Preston. GB. Tel: 01772 258 248. Email: [email protected] Website: www.harrismuseum.org.uk/exhibitions/1015-new- glass-works-by-ana-rosa-hopkins#.VlwT4ou9Sfo.hotmail 2016. 22/01/1624/06/16. “Life Is Not A Beach”. inc: Philip Baldwin & Monica Guggisberg, Dong Hai Guan, Luke Jerram, Richard Meitner & Yi Peng. Alexander Tutsek-Stiftung. Munich. D. Tel: 00 49 89 343 856. Email: [email protected] Website: www.atutsek-stiftung.de/en.html 23/01/1605/06/16. “In The Making: Ruskin, Creativity& Craftsmanship”. Mixed Media Exhibition. inc: Amber Hiscott. Millennium Gallery. Museums Sheffield. Sheffield. GB. Tel: 0114 278 2754. Email: [email protected] Website: www.museums- sheffield.org.uk/museums/millennium-gallery/exhibitions/coming-soon/in-the-making-ruskin-creativity- and-craftsmanship 23/01/1618/12/16. “Surface Deep”. Mixed Media Collection Exhibition.
    [Show full text]
  • A Stevens Competition to Remember
    Issue Number 49 Summer 2 01 6 Special Glaziers’ Art Fair edition A Stevens Competition to remember MICHAEL HOLMAN reports on the 2016 Stevens Competition and its link to remembering the Titanic. Stevens Architectural Glass Competition First Prize winner Sarah Knighton Stevens Architectural Glass Competition First Prize winner Sarah Knighton’s with Master Glazier Duncan Gee. winning entry. The awards ceremony held in the Court glass artists Mel Howse, Alex R, Martin Donlin presentation of the winning entries. Earlier Room on 31 May was the culmination of a and chairman Helen Whittaker, backed by in the day she and her co-judges had Stevens Architectural Glass Competition Michael Weakley, the architect for St. Mary’s. conducted a seminar to review the entries which attracted 47 entries – the highest for He went on to thank Michael Holman and his and provide feedback to the entrants. many years. This year’s test window was team for their contribution and the effort one in St. Mary’s Church in Southampton made to promote the competition. Awards presented close to the docks. The challenge was to The Master then presented the awards, design a memorial to the 550 members of Highly appreciative with Sarah Knighton from Holy Well Glass the crew of the Titanic who came from the The Rector of St. Mary’s, Revd. Dr. Julian taking a cheque for £1,000 for the First Prize area and who lost their lives in the disaster Davies, stated he was highly appreciative of and the Brian Thomas Memorial prize. Anne- in 1912. the commitment and support he had received Catherine Perreau from Barley Studios and Andy Lane, chairman of the Crafts and from the Glaziers’ Company.
    [Show full text]
  • A Glimpse Into the Showroom of the Wiener Werkstaette of America
    a glimpse into the showroom of the wiener werkstaette of america, 1922-23 by janis staggs-flinchum One hundred years ago, the Viennese art critic and invites you to the opening of the Wiener Hermann Bahr anticipated the founding of the Werkstaette. 581 Fifth Avenue, New York City." Those Wiener Werkstatte: "We have plenty of artists at who were fortunate enough to attend one of the present, we have the craftsmen as well, all we now private openings would have found the showroom lack is the organization. What is missing is a great located between Forty-Seventh and Forty-Eighth organization to link art and craftsmanship.... Let there Streets, on the east side, situated on the second floor be a bridge! These two must meet at long last. A of a six-story building which also contained a tremendous studio, a colony of workshops where the cabinetmaker's shop, a men's clothing boutique, a artists will work with the craftsmen..."1 Bahr’s hat shop, and a photography studio. prescience is a fitting foreword to unveiling a largely Pre-opening press revealed a tempting list of what unknown chapter in the history of the Wiener would be on display: "interior art, original works in Werkstatte. While the firm's seminal role in the devel­ gold, silver, brass, ceramics, glass and ivory, silks, laces opment of modern design is legendary, the and wallpapers in new designs."2 The New York short-lived branch in New York City is largely forgot­ Globe's description proved apt: "The work of these ten.
    [Show full text]