The Paul Mellon Centre for Studies in British Art Library New Accessions January 2015
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Levens Hall & Gardens
LAKE DISTRICT & CUMBRIA GREAT HERITAGE 15 MINUTES OF FAME www.cumbriaslivingheritage.co.uk Abbot Hall Art Gallery, Kendal Cumbria Living Heritage Members’ www.abbothall.org.uk ‘15 Minutes of Fame’ Claims Cumbria’s Living Heritage members all have decades or centuries of history in their Abbot Hall is renowned for its remarkable collection locker, but in the spirit of Andy Warhol, in what would have been the month of his of works, shown off to perfection in a Georgian house 90th birthday, they’ve crystallised a few things that could be further explored in 15 dating from 1759, which is one of Kendal’s finest minutes of internet research. buildings. It has a significant collection of works by artists such as JMW Turner, J R Cozens, David Cox, Some have also breathed life into the famous names associated with them, to Edward Lear and Kurt Schwitters, as well as having a reimagine them in a pop art style. significant collection of portraits by George Romney, who served his apprenticeship in Kendal. This includes All of their claims to fame would occupy you for much longer than 15 minutes, if a magnificent portrait - ‘The Gower Children’. The you visited them to explore them further, so why not do that and discover how other major piece in the gallery is The Great Picture, a interesting heritage can be? Here’s a top-to-bottom-of-the-county look at why they triptych by Jan van Belcamp portraying the 40-year all have something to shout about. struggle of Lady Anne Clifford to gain her rightful inheritance, through illustrations of her circumstances at different times during her life. -
Download Our Guide To
BEST OF CORNWALL 2020 Marianne Stokes, née Priendlsberger 1855 - 1927 Lantern Light, 1888 Oil on canvas, 82.5 x 102 cm Penlee House Gallery & Museum Purchased by private treaty from Mr & Mrs Allan Amey with assistance from The Art Fund, The MLA/V&A Purchase Grant Fund and the Friends of Penlee A brief and incomplete history of ... art and artists in Cornwall By Andrea Breton Cornwall has always appealed to the creative type; a land of mists and megaliths, it combines a wide variety of landscape, from perfectly sanded coves to dramatic cliffs and breakers; bleak, haunted moors to lush vegetal valleys. There are picturesque harbours and grand country houses set in vast acreages. There are impressive landmarks from the past such as Tintagel Castle, St Michael’s Mount and more standing stones and Neolithic sites than you can shake a stick at. They exist happily alongside the present day futuristic domes of Eden, the stately grey bulk of Tate St Ives, old Mine chimneys (sensibly bestowed with World Heritage status) and the spoil heaps of the clay pits near St Austell. 35 BEST OF CORNWALL 2020 However there is more to Cornwall’s appeal than It was clear that luck landmarks. It is the geographical distance to the rest of was needed. Fortunately, the England; the quirk of geology which makes Cornwall Victorian age was coming somewhat longer than it is wide. Surrounded by the sea, and with it the age of steam it gives the county an all enveloping bright light, allegedly powered travel and the artists’ a couple of lux higher than the mainland. -
R.B. Kitaj Papers, 1950-2007 (Bulk 1965-2006)
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf0wf No online items Finding Aid for the R.B. Kitaj papers, 1950-2007 (bulk 1965-2006) Processed by Tim Holland, 2006; Norma Williamson, 2011; machine-readable finding aid created by Caroline Cubé. UCLA Library, Department of Special Collections Manuscripts Division Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2011 The Regents of the University of California. All rights reserved. Finding Aid for the R.B. Kitaj 1741 1 papers, 1950-2007 (bulk 1965-2006) Descriptive Summary Title: R.B. Kitaj papers Date (inclusive): 1950-2007 (bulk 1965-2006) Collection number: 1741 Creator: Kitaj, R.B. Extent: 160 boxes (80 linear ft.)85 oversized boxes Abstract: R.B. Kitaj was an influential and controversial American artist who lived in London for much of his life. He is the creator of many major works including; The Ohio Gang (1964), The Autumn of Central Paris (after Walter Benjamin) 1972-3; If Not, Not (1975-76) and Cecil Court, London W.C.2. (The Refugees) (1983-4). Throughout his artistic career, Kitaj drew inspiration from history, literature and his personal life. His circle of friends included philosophers, writers, poets, filmmakers, and other artists, many of whom he painted. Kitaj also received a number of honorary doctorates and awards including the Golden Lion for Painting at the XLVI Venice Biennale (1995). He was inducted into the American Academy of Arts and Letters (1982) and the Royal Academy of Arts (1985). -
The Connoisseur (Sir Gerald Ryan
1 TheConnoisseur An Illustrated Magazine For Collectors Edited by C. Reginald Grundy Vol. LIX. (JANUARY—APRIL. 1921) LONDON Published by the Proprietor, W. CLAUDE JOHNSON, at tiii., Editorial and Advertisement Okkices of The Connoisskuu, AT I, Duke Street, St. James's, S.W. i 192 1 MROSE AND SONS 1 DERIIY AND I.ONDO 8(i 1)656 NDEX ARTICLES AND NOTES A Beautiful Jacobean Hanging (Note) .Authors and Contributors—coiilinucd. "A Citv Banquet," by Fred Roc, K.I., R.B.C. Richardson, Mrs. Herbert. The Fashion Plates '(Note) of Horace Vernet (Art.) ... ... ... yy Adam and other Furniture (Note) ... Roberts, C. Clifton. Salopian China (Art.) ... 2.( Aitken, John E., Drawings by (Note) Roe. F. Gordon. The Life and Work of F. W. An Outpost of London, by Criticus (Note) Hayes, A.R.C.A., F.R.G.S. (Art.) 103 Angelica Kautfmann and Her .Art. by Lady Victoria Rusconi, Art. Jahn. The Tapestries of Mantua Manners (.\rt.) by Raphael (Art.) 77 Another New Gallery (Note) Williamson, Dr. G. C. Some Notes on the Portraits of Sir Pliilip Sidney (Art) ... Antique Business Extension (Note) 217 Antiques at Waring's (Note) Books Reviewed. Aquatints. Old (Note) A Bookseller's igo Authors and Contributor.s. Catalogue " A Catalogue of Etchings by Augustus John, Andrews, Cyril Bruyn. The Valencia Altar-piece 1901-1914." by Campbell Dodgson ... 5S (Art.) " A Dweller in Mcsnpntamia," by Donald Maxwell 1S7 Brochner, Georg. Old Danish Furniture (.Art.)... " A Hamll.".i. ..I Imlini Art," by E. B. Havell ... 188 Brockwell. Maurice W. Frans Hals Pictures at " Haarlem (Note) A Histiii\ <\ I \ri\,l,iy Things in England," by M. -
FRANCIS BACON Dublin, Ireland, 1909- Madrid, Spain, 1992
FRANCIS BACON Dublin, Ireland, 1909- Madrid, Spain, 1992 Francis Bacon was born in Dublin but moved to London in 1925, where he lived and worked from then on. His figurative painting became famous for his grotesque portrayal of his subjects and its somber depiction of the human condition. He represented Britain in the Venice Biennale of 1956 together with artists Ben Nicholson and Lucian Freud, and is considered one of the most remarkable British artists of all time, although anecdotically he turned down a CBE in 1960. Though his work was not well received at first (and as a result he destroyed most of his earlier paintings), his fame started to grow from the 40s until he became one of the better known and most valued artists in the world. His art has been shown internationally in places such as Mexico City (1977), Madrid (1978), Tokio (1983) Moscow (1988) or Washington (1989), and the Tate Modern of London dedicated three retrospective exhibitions to his work (in 1977, 1985, and posthumously in 2008). During his life he was represented by the Hannover Gallery and the Malborough Fine Art Gallery, and nowadays we can find his pieces in museums and art galleries all around the world, for example at the Reina Sofía of Madrid, the Centre Pompidou of Paris, the MoMA of New York or the Tate Modern in London, and a number of them are part of private collections. SOLO EXHIBITIONS (SELECTION) 2016 Francis Bacon: Invisible Rooms, Tate Liverpool, UK 2015 Francis Bacon And The Masters, Sainsbury Centre for Visual Arts, Norwich, UK 2014 Francis Bacon -
A Local's Guide to Falmouth, Cornwall: 10 Top Tips This Working Harbour
A local’s guide to Falmouth, Cornwall: 10 top tips This working harbour town also has a creative buzz thanks to its thriving art school. The result is a winning blend of beach life, bohemian bars and great seafood Maritime museum To understand Falmouth (and arguably the rest of our island nation) you need to understand its relationship with the sea. The cavernous National Maritime Museum Cornwall, a beautiful building in itself, contains several floors of exhibitions that explore the changing influence of the sea on our lives – stories of discovery, survival and tragedy – and an active traditional boat workshop. Highlights include the undersea gallery in which visitors can watch fish swimming in the harbour from the sea bed, and the 30-metre lookout tower from which they can track the comings and goings of naval ships, superyachts, dinghies and cruise liners. The museum is popular with families who come for the performances, storytelling and treasure trails during the holidays, and warrants multiple visits, which is handy, especially when the weather turns. Celebrating its 15th birthday in 2018, the museum was central to the regeneration of Discovery Quay, now the focus for the town’s many festivals. The museum’s major exhibition, Titanic Stories explores the controversies, myths and stories that surround the best-known sinking of the 20th century. • Adult £13.50, child £6 (pay once, get in all year), open daily, nmmc.co.uk Gastro pub with rooms Once a spit-and-sawdust pub that served the crews of the Falmouth Working Boats, the Star and Garter, which opened in 1892, is now a smart gastro pub that prides itself on its nose-to- tail menu. -
Forward Plan 2015-2020
FORWARD PLAN 2015-2020 Owner: Henrietta Boex Next Review Date: April 2016 This policy was passed by Falmouth Town Council on 20th June 2015 This document can be made available in standard and large size print and on tape Forward Plan 2015-2020 Contents 1. Summary ......................................................................................................................................... 3 2. Introduction .................................................................................................................................... 4 3. Falmouth Art Gallery History .......................................................................................................... 4 4. Review of the Previous Forward Plan ............................................................................................. 5 5. Why We Exist .................................................................................................................................. 7 5.1. Vision (where we want to be) ................................................................................................. 7 5.2. Mission .................................................................................................................................... 7 5.3. Aims......................................................................................................................................... 7 5.4. Objectives................................................................................................................................ 7 6. -
Work Placement Handbook
Work Placement Handbook 2012 CONTENTS • Background to Falmouth Art Gallery • Falmouth Art Gallery’s Work placement Policy • Work placement Benefits • Getting the most from the placement • Guidelines General Safety Health Object Handling Supervision • Staff Lists • Forms Falmouth Art Gallery Falmouth Art gallery is a service funded by Falmouth Town Council. It is an accredited museum and complies with standards laid down for the Registration of Museums in the United Kingdom and works in partnership with: Age Concern, The Art Fund, Arts Council England, Brightwater Holidays, Combined Universities of Cornwall, Cornwall and Devon Media, Cornwall College, Cornwall Council Conservation Department, Cornwall Heritage Trust, CSV RSVP, Earls Retreat, Falmouth Arts Society, Falmouth BIDS, Falcare (formerly Mencap), Falmouth Marine School, Falmouth Stroke Club, Heritage Lottery Fund, Hine Downing Solicitors, Jason Thomas Dance Company, Kerrier Pupil Referral Unit, Kids in Museums, Langholme, Little Parc Owles Trust, Local schools, MLA (Museums, Libraries and Archives Council), MLA/V&A Purchase Grant Fund, Museums Association, National Maritime Museum Cornwall, Newquay Zoo, Penlee House Gallery & Museum, Royal Cornwall Museum, Royal Cornwall Polytechnic Society, Sully’s Picture Framing Penryn, Susie Group (victims of domestic abuse), Swamp Circus, Tate St Ives, The Tanner Trust, Truro and Penwith College, U3A, University College Falmouth, University of Exeter, Wayfarers,The West End Group – Murdoch and Trevithick Centre, The WILD Young Parents Group Falmouth Art Gallery The Origins of the Collection The first Falmouth Art Gallery was opened in Grove Place in 1894 under the Directorship of William Ayerst Ingram and Henry Scott Tuke. It featured their own work along with that of Sophie Anderson, Richard Harry Carter, Charles Davidson, Topham Davidson, Winifred Freeman and Charles Napier Hemy. -
Acquisitions at the National Portrait Gallery, London, 2009–17
The Michael Marks Charitable Trust Supplement Acquisitions at the National Portrait Gallery, London, 2009–17 THE COLLECTION OF the National Portrait Gallery, London, holdings. Most notably, this year, we fulfilled an ambition provides a fascinating insight into and commentary on Brit- held for more than 150 years, to acquire a portrait of the ish art, history and culture. Under the Museums and Galler- Duke of Wellington that does justice to such a national ies Act 1992, the Gallery maintains a collection of portraits hero. Painted for the Duke’s friend and admirer Lady Jersey, of the most significant people in British history, from the Thomas Lawrence’s last portrait of Wellington is a powerful, early Tudor period to the present – from Katharine Parr to yet strikingly intimate, portrait of one of the most iconic and Martin Parr. In practice, this means that works are acquired influential men in British history. according to the identity of the sitter and on the basis that We have benefited from the work of the Arts Council, the person represented should have made – or be making most recently in the allocation of the Lucian Freud archive – a substantial contribution to British history and culture. under the Acceptance in Lieu scheme. The allocation in- Within these essential criteria, the Gallery places great im- cludes an unfinished self-portrait (c.1985) and forty-seven portance on ensuring that its portraits reflect social and cul- sketchbooks, plus other drawings, watercolours and letters; tural diversity and represent a broad range of activities and the last-mentioned are currently the subject of a cataloguing achievements. -
One Hundred Drawings One Hundred Drawings
One hundred drawings One hundred drawings This publication accompanies an exhibition at the Matthew Marks Gallery, 523 West 24th Street, New York, Matthew Marks Gallery from November 8, 2019, to January 18, 2020. 1 Edgar Degas (1834 –1917) Étude pour “Alexandre et Bucéphale” (Study for “Alexander and Bucephalus”), c. 1859–60 Graphite on laid paper 1 1 14 ∕8 x 9 ∕8 inches; 36 x 23 cm Stamped (lower right recto): Nepveu Degas (Lugt 4349) Provenance: Atelier Degas René de Gas (the artist’s brother), Paris Odette de Gas (his daughter), Paris Arlette Nepveu-Degas (her daughter), Paris Private collection, by descent Edgar Degas studied the paintings of the Renaissance masters during his stay in Italy from 1856 to 1859. Returning to Paris in late 1859, he began conceiving the painting Alexandre et Bucéphale (Alexander and Bucephalus) (1861–62), which depicts an episode from Plutarch’s Lives. Étude pour “Alexandre et Bucéphale” (Study for “Alexander and Bucephalus”) consists of three separate studies for the central figure of Alexandre. It was the artist’s practice to assemble a composition piece by piece, often appearing to put greater effort into the details of a single figure than he did composing the work as a whole. Edgar Degas, Alexandre et Bucéphale (Alexander and Bucephalus), 1861–62. Oil on canvas. National Gallery of Art, Washington, DC, bequest of Lore Heinemann in memory of her husband, Dr. Rudolf J. Heinemann 2 Odilon Redon (1840 –1916) A Man Standing on Rocks Beside the Sea, c. 1868 Graphite on paper 3 3 10 ∕4 x 8 ∕4 inches; 28 x 22 cm Signed in graphite (lower right recto): ODILON REDON Provenance: Alexander M. -
'Kurt Schwitters in England', Baltic, No 4, Gateshea
1 KURT SCHWITTERS IN ENGLAND, Sarah Wilson, Courtauld Institute of Art, ‘Kurt Schwitters in England', Baltic, no 4, Gateshead, np, 1999 (unfootnoted version); ‘Kurt Schwitters en Inglaterra el "Anglismo" o la dialéctica del exilio’, Kurt Schwitters, IVAM Centre Julio González, Valencia, pp. 318-335, 1995 ‘Kurt Schwitters en Angleterre’, Kurt Schwitters, retrospective, Centre Georges Pompidou, Paris, pp. 296-309 `ANGLISM': THE DIALECTICS OF EXILE' Three orthodoxies have dictated previous accounts of the life of Kurt Schwitters in England: that England was simply `exile', a cultural desert, that he was lonely, unappreciated, that his late figurative work is too embarrassing to be displayed in any authoritative retrospective. Scholars ask `What if?' What if Schwitters had got a passport to United States and had joined other artists in exile? He would have continued making Merz with American material. He would have had no `need' to paint figuratively.1 Would he have fitted his past into an even more `modernist' mould like his friend Naum Gabo, to please the New Yorkers?2 Surely not. `Emigration is the best school of dialectics' declared Bertold Brecht.3 Schwitters' last period must be investigated not in terms of `exile' but the dialectics of exile: as a future which cuts off a past which lives on through it all the more intensely in memory, repetition, recreation. `Exile' moreover is a purely negative term, foreclosing all the inspirational possibilities of a new `genius loci', a spirit of place: England. The Germany Schwitters knew was disfigured, disintegrating, self-destructing. His longing was for place which was no more. His Merzbau was destroyed by Allied bombing in 1943; Helma died in 1944: `Hanover a heap of ruins, Berlin destroyed, and you're not allowed to say how you feel.'4 The English period was a both a death and a birth, a question of identity through time, of new and old languages. -
Modern British and Irish Art Montpelier Street, London | 16 September 2020
Modern British and Irish Art Montpelier Street, London | 16 September 2020 Modern British and Irish Art Montpelier Street, London | Wednesday 16 September 2020, at 1pm BONHAMS BIDS ENQUIRIES IMPORTANT INFORMATION Montpelier Street +44 (0) 20 7447 7447 Janet Hardie The United States Government Knightsbridge +44 (0) 20 7447 7401 fax Specialist has banned the import of ivory into London SW7 1HH [email protected] +44 (0) 20 7393 3949 the USA. Lots containing ivory are www.bonhams.com [email protected] indicated by the symbol Ф printed To bid via the internet please beside the lot number in this visit www.bonhams.com Catherine White catalogue. VIEWING Junior Cataloguer Sunday 13 September Please note that bids should be +44 (0) 20 7393 3884 REGISTRATION 11am -3pm submitted no later than 4pm [email protected] IMPORTANT NOTICE Monday 14 September on the day prior to the auction. Please note that all customers, 9am- 4.30pm New bidders must also provide PRESS ENQUIRIES irrespective of any previous activity Tuesday 15 September proof of identity when submitting [email protected] with Bonhams, are required to 9am-4.30pm bids. Failure to do this may result complete the Bidder Registration Wednesday 16 September in your bids not being processed. Form in advance of the sale. The CUSTOMER SERVICES 9am - 11am form can be found at the back of Bidding by telephone will only be Monday to Friday every catalogue and on our website Viewing is by timed appointment accepted on a lot with the lower 8.30am – 6pm at www.bonhams.com and should only, please contact Catherine estimate in excess of £500.