British Canvas, Stretcher and Panel Suppliers' Marks. Part 12, England Outside London
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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. -
The Arts and Crafts Movement: Exchanges Between Greece and Britain (1876-1930)
The Arts and Crafts Movement: exchanges between Greece and Britain (1876-1930) M.Phil thesis Mary Greensted University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Contents Introduction 1 1. The Arts and Crafts Movement: from Britain to continental 11 Europe 2. Arts and Crafts travels to Greece 27 3 Byzantine architecture and two British Arts and Crafts 45 architects in Greece 4. Byzantine influence in the architectural and design work 69 of Barnsley and Schultz 5. Collections of Greek embroideries in England and their 102 impact on the British Arts and Crafts Movement 6. Craft workshops in Greece, 1880-1930 125 Conclusion 146 Bibliography 153 Acknowledgements 162 The Arts and Crafts Movement: exchanges between Greece and Britain (1876-1930) Introduction As a museum curator I have been involved in research around the Arts and Crafts Movement for exhibitions and publications since 1976. I have become both aware of and interested in the links between the Movement and Greece and have relished the opportunity to research these in more depth. It has not been possible to undertake a complete survey of Arts and Crafts activity in Greece in this thesis due to both limitations of time and word constraints. -
Thomas Cooper Gotch (1854-1931)
THOMAS COOPER GOTCH (1854-1931) The strategic career choices of Thomas Cooper Gotch illustrate the diverse options available to a British painter in the 1890s. Dissatisfied with his initial lack of success working in the French-influenced naturalist style of the Newlyn School in Cornwall, he eventually became a recognized contributor to turn-of-the- century art by re-introducing into his work academic realist detail, tightly painted surfaces, and bright colours, along with a Symbolist subject matter focused primarily on children. Born in Kettering, Northamptonshire, in 1854 to a family of bankers and shoe factory owners, Gotch broke with family expectations by choosing a career in art. Arthur Tanner. Mr. T. C. Gotch, 1895, Photograph, Somewhat unusually for an English Black and White: A Weekly Illustrated Record and Review, 21 Sept. 1895, p. 379. painter, his art training was international, 1 beginning at Heatherley’s, an independent drawing academy in London (1876–1877; 1878) and continuing at the Koninklijke Academie in Antwerp (1877–1878). He then returned to London, to study first with portrait painter Samuel Lawrence (1878) and then with the French artist Alphonse Legros at the Slade School of Art (1878–1880). Seeking a variety of influences and experiences, Gotch next moved to Paris to become a pupil in the atelier of Jean-Paul Laurens (1880–1883). From 1883 to 1887, he was based in London again, finally moving more permanently to Newlyn in 1887 to participate in its art colony. A break with the dominant Newlyn style earned Gotch a measure of prominence in the 1890s, and he exhibited internationally at the Columbian Exposition in Chicago (1893); the Paris Salon (1895, medal; 1896, medal); the Berlin International (1896, medal); the Brussels International Exhibition (1897), and the Exposition Universelle de Paris (1900, hon. -
The Book Can Be Downloaded Here. Every Corner Was a Picture 4Th
EVERY CORNER WAS A PICTURE 165 artists of Newlyn and the Newlyn Art Colony 1880–1900 a checklist compiled by George Bednar Fourth Edition 1 2 EVERY CORNER WAS A PICTURE 165 artists of Newlyn and the Newlyn Art Colony 1880–1900 Fourth Edition a checklist compiled by George Bednar ISBN 978 1 85022 192 0 1st edition published 1999 West Cornwall Art Archive 2nd edition © Truran 2004, revised 2005 3rd edition © Truran 2009, revised 2010, 2015 4th edition © Truran 2020 Published byTruran, an imprint of Tor Mark, United Downs Ind Est, St Day, Redruth TR16 5HY Cornwall www.truranbooks.co.uk Printed and bound in Cornwall by R. Booth Ltd, The Praze, Penryn, TR10 8AA Cover image: Walter Langley The Breadwinners/Newlyn Fishwives (Penlee House Gallery & Museum) Insert photographs: © Newlyn Artists Photograph Album, 1880s, Penlee House Gallery & Museum & Cornwall Studies Centre, Redruth ACKNOWLEDGEMENTS I take this opportunity to thank Heather and Ivan Corbett, as well as Yvonne Baker, Steve Baxter, Alison Bevan (Director, RWA, formerly Director, Penlee House), John Biggs, Ursula M. Box Bodilly, Cyndie Campbell (National Gallery of Canada), Michael Carver, Michael Child, Robin Bateman, Michael Ginesi, Iris M. Green, Nik Hale, Barbara B. Hall, Melissa Hardie (WCAA), James Hart, Elizabeth Harvey-Lee, Peter Haworth, Katie Herbert (Penlee House, who suggested Truran), Jonathan Holmes, Martin Hopkinson, Ric and Lucy James, Tom and Rosamund Jordan, Alice Lock, Huon Mallallieu, David and Johnathan Messum, Stephen Paisnel, Margaret Powell, M.C. Pybus, Claus Pese, Brian D. Price, Richard Pryke, John Robertson, Frank Ruhrmund, Denise Sage, Peter Shaw, Alan Shears, Brian Stewart, David and Els Strandberg, Leon Suddaby, Sue and Geoffrey Suthers, Peter Symons, Barbara Thompson, David Tovey, Archie Trevillion, Ian Walker, Peter Waverly, John and Denys Wilcox, Christopher Wood, Laura Wortley, Nina Zborowska, and Valentine and John Foster Tonkin. -
Cornwall Artists Index
6/29/2014 Arthur HAYWARD | cornwall artists index cornwall artists index Arthur HAYWARD 1889—1971 Born at Southport, Lancashire, Hayward studied architecture at South Kensington but gave it up for painting, and subsequently studied at the Warrington School of Art and under Stanhope FORBES (/cornw all-artists/stanhope-forbes) at Newlyn. During WWI he served with Royal Field Artillery, and returned to Newlyn, being addressed as Captain Hayward. He joined the Committee of the NSA (/cornw all-artists/nsa) , serving specifically on the Entertainments sub-committee, as his organisation skills were well known. After working at Newlyn and Paul, he moved to St Ives, and established a St Ives School of Painting (c1924) of which he was the named Principal - not the same School of Painting now in existence, begun in the 1930s with Leonard John FULLER (/cornw all-artists/leonard-john-fuller) in charge. He worked from Treveneth and Shore Studio (Illus, Tovey, p110), and played an important role in STISA (/cornw all- artists/stisa) . After 1932 he refused to have anything more to do with that organisation, but continued to play a part in St Ives and Newlyn's artistic life through the formation of an exhibiting set calling themselves the CORNWALL GROUP. The HARVEYS (Harold HARVEY (/cornw all-artists/harold-harvey) & Gertrude HARVEY (/cornw all-artists/gertrude-harvey) ), the PROCTERS (Ernest PROCTER (/cornw all-artists/ernest-procter) & Dod PROCTER (/cornw all-artists/dod-procter) ), Hugh GRESTY (/cornw all-artists/hugh-gresty) , Alison ROSE and Midge BRUFORD (/cornw all-artists/midge-bruford) were those who banded together for some years. -
Jan 2002 Exhibition
Gorry Gallery 15. FRANCIS WILLIAM TOPHAM FRONT COVER: Samuel Lover R.H.A. 1797 - 1868 Catalogue Number 12. (Detail) © GORRY GALLERY LTD. GORRY GALLERY An Exhibition of 18th, 19th and 20th Century Irish Paintings 31st January – 8th February, 2002 1. HOWARD HELMICK 4 12. SAMUEL LOVER R.H.A. (1797-1868) ‘Procession to “The roiall iusts [jousts] holden in Smithfield, London.” A.D. 1390.’ Oil on canvas, 61 x 92 Signed and dated: ‘S. Lover 1825’ Framed in an Irish 1820s gilt frame. Illustrated front cover (detail) Exhibited: 1829, Royal Hibernian Academy Annual Exhibition (no.87). Catalogue entry affixed to the frame. Provenance: Private Collection, Dublin. Literature: Caffrey, P., ‘Samuel Lover’s Achievement as a Painter.’ Irish Arts Review, vol. III, no. 1, pp. 51-54. Caffrey, P., Treasures to Hold, Dublin, National Gallery of Ireland, pp. 135-139. Samuel Lover was born in Dublin where he was taught to paint by John Comerford (c.1770-1830). He attended some drawing lessons at the Dublin Society Schools although his name is not recorded in the lists of pupils educated there. He began exhibiting work at the Royal Hibernian Academy in 1826 and was elected a full academician in 1828. Lover worked in a wide range of media, painting full-scale oil pictures, as well as watercolours, drawing caricatures and painting miniature portraits. During the period 1815-1835 he worked mainly as a painter but throughout his life he wrote poetry, songs, operas, novels, plays and was a theatrical impresario. Historical subjects that were inspired by medieval history, literature and the 1820s vogue for the historical novel were the inspiration for many of Lover’s works. -
New Dynamics of Migration in Urban Settings an Interdisciplinary and International Conference 12Th and 13Th October 2015 • Cutler’S Hall, Sheffield
Faculty Of Social Sciences. #migrantsinthecity Migrants in the City. New Dynamics of Migration in Urban Settings An interdisciplinary and international conference 12th and 13th October 2015 • Cutler’s Hall, Sheffield Inclusive Society • World class research, making a difference Methods Institute. Contents Introducing your hosts p3 Programme for the conference p6 Programme for the public debate p9 Biographies of plenary and public debate speakers p10 Workshop session plan and overview p14 Workshop descriptions and abstracts: p19 Stream 1 Workshop 1 p20 Workshop 2 p21 Workshop 3 p23 Workshop 4 p24 Workshop 5 p26 Stream 2 Workshop 1 p28 Workshop 2 p29 Workshop 3 p29 Workshop 4 p30 Workshop 5 p31 Stream 3 Workshop 1 p34 Workshop 2 p35 Workshop 3 p37 Workshop 4 p38 Workshop 5 p40 Stream 4 Workshop 1 p41 Workshop 2 p42 Workshop 3 p44 Workshop 4 p46 Workshop 5 p47 Stream 5 Workshop 1 p49 Workshop 2 p50 Workshop 3 p52 Guidance for Chairs of workshop sessions p54 Guidance for Presenters of workshop sessions p54 Stalls and Posters showing at the conference p55 General Information (including health and safety, wifi code) p58 Social Events p59 Welcome to Sheffield p60 After Conference Hours p62 Places to visit / Attractions p65 Forthcoming events related to the conference p67 Welcome and Introductions A warm welcome to Sheffield and to what promises to be a superb event. Migrants in the City: New Dynamics of Migration in Urban Settings is an interdisciplinary and international conference brought to you by an interdisciplinary collaborative team spanning the Faculty of Social Sciences, the Sheffield Methods Institute, the Migration Research Group and the ESRC Applied Quantitative Methods Network. -
Norman Garstin (1847-1926): Self
man Garstin was born Carolus-Duran for three years. I was one Co.Limerick, and, as a of a group of young painters who made young man, studied thezr headquarters at the Hotel St. Malo engineering and architec- and there we always dined. We were an ture. During the 1870s, he enthusiastic crew, and used to have in the diamond rush in eternal discussions about art over little South Africa, then became a successful restaurant tables!5' journalist. He returned to Ireland in 1877. Garstin could have been at Duran's at the Curiously, after an accident in which he same time as Helen Trevor and Gernon. lost the sight of one eye, he became a Apparently he met Degas in Paris. He painter.") wrote about Manet as early as 1884, Garstin gives a brief summary of his admiring career (quoted in Artists of the Newlyn a delicious brightness and happzness ... School, 1880-1900): He lets in light and air. Pictures like his I met a painter sportsman who seriously later ones amongst the brown bitumen advised me to take up Art as a canvases of the average exhzbition seem profession. After a lot of thought I was like patches of sunlight on a prison wall. determined to have a good try and so From the Hotel St.Malo (off the started for Antwerp, in which Academy I Boulevard Montparnesse), he sent his studied for a couple of years under first picture to the R.A. in 1883. In the Charles Verlat, at the same time as same year he sent a picture to the R.H.A. -
Stanhope Alexander Forbes Oil Paintings
Stanhope Alexander Forbes Oil Paintings Stanhope Alexander Forbes [Irish Realist Painter, 1857-1947] A Fish Sale on a Cornish Beach picture ID 35235-A Fish Sale on a Cornish Beach.jpg Oil Painting ID: 35235 | Order the painting Amongst the Pines picture ID 35236-Amongst the Pines.jpg Oil Painting ID: 35236 | Order the painting Contemplation picture ID 35237-Contemplation.jpg Oil Painting ID: 35237 | Order the painting Preparations for Market picture ID 35238-Preparations for Market.jpg Oil Painting ID: 35238 | Order the painting Total 1 page, [1] Forbes, Stanhope Alexander (Nationality : Irish Realist Painter, 1857-1947) Stanhope Alexander Forbes R.A., (18 November 1857, - 2 March 1947), was an artist and member of the then influential Newlyn school of painters. He was married to fellow painter Elizabeth Adela Stanhope Forbes (1859-1912). Forbes was born in Dublin. He studied art at the Lambeth School of Art (now the City and Guilds of London Art School), then in Paris under Léon Bonnat. He moved to Newlyn in Cornwall in 1884, which was to be his home for the rest of his life, and where he died. • We provide hand painted reproductions of old master paintings. You will be amazed at their accuracy. • If you can't find what you are looking for? Please Click Here for upload images for quote. • We can also create custom portrait painting especially for you from photos or digital images. Our Passion Is Art And Art Is Our Profession. Your Satisfaction, Our Pursuit Oil Painting Manufacturer - Xiamen RuoYa Arts And Crafts Co., Ltd. -
The Greatest Living Critic”: Christiana Herringham and the Practise of Connoisseurship
The Greatest Living Critic”: Christiana Herringham and the practise of connoisseurship Meaghan Clarke Christina Herringham(1851–1929) was a founder and benefactor of the National Art- Collections Fund in 1903. 1 Her career as an artist and art writer is less well known. Herringham undertook early experimentation with tempera painting alongside her translation of Cennino Cennini’s (c.1370-c.1440) treatise on painting techniques. Herringham’s meticulous approach to understanding “medieval art methods” was a catalyst for the foundation of the Society of Painters in Tempera. Her writing for the art press, most notably for the Burlington Magazine where she was on the Consultative Committee, reveals her expertise on the technical aspects of connoisseurship. This paper traces the development of Herringham’s “scientific” method and highlights her pivotal role in a series of interconnecting networks. Knowledge and understanding of techniques and materials gave her a particular authority, just at the point that art history as a discipline was developing. Herringham’s interventions point to the need for a re-evaluation of male-centred narratives about the formation of art history. Key words: Connoisseurship; Christiana Herringham; (1851–1929); Cennino Cennini (DATES),; Sandro Botticelli (ca. 1445–1510); Burlington Magazine; Society of Painters in Tempera; Gender I have recently argued that women’s involvement in connoisseurship has been relatively unexplored, although figures such as Bernard Berenson and Fry have both been given considerable scholarly -
Report of the Curator of Art, Hull Museums
Report to the Corporate Trustees Committee Wards All Potential Purchase of art works by Arthur Gaskin and John Smith Report of the Curator of Art, Hull Museums 1. Purpose of the Report and Summary 1.1. To request the use of the Ferens Endowment Fund to support the purchase of two art works for the Ferens Art Gallery; Georgie 1898 by Arthur Gaskin and The Black Tower 1985 -87 by John Smith. 2. Recommendations 2.1 That a contribution of £5,600 (five thousand six hundred pounds) from the Ferens Endowment Fund is approved for purchase of the art work by Arthur Gaskin. 2.2 That a contribution of up to the equivalent of 21 500 euros £18,858 (eighteen thousand eight hundred and fifty eight pounds) from the Ferens Endowment Fund is approved for the purchase of the artwork by John Smith. This is a non-key decision 3. Background The Gallery seeks to continue to add to and strengthen its collections and the Ferens Endowment Fund exists to support this activity. Arthur Gaskin (Birmingham 1862 - 1928) Georgie 1898 30.5 x 23 cm tempera on wooden panel The Maas Gallery, Clifford Street, London, W1S 4JZ Georgie is a signed and dated work of secure provenance by an artist not currently represented in the permanent collection but linked closely to other artist’s that are. The picture will significantly enhance the Gallery’s holding of works in the tempera medium and its collection of portraits which are an acknowledged strength. John Smith (London 1952) The Black Tower (Number 1 of an edition of 5) 1985-87 Duration 24 minutes 16mm colour film Tanya Leighton Gallery, Kurfurstenstrasse 156, 10785 Berlin The decision to purchase this work follows the Ferens Art Gallery’s two year involvement in the Contemporary Art Society’s new Acquisitions Scheme, from 2009- 2011. -
Annual Report 2005
NATIONAL GALLERY BOARD OF TRUSTEES (as of 30 September 2005) Victoria P. Sant John C. Fontaine Chairman Chair Earl A. Powell III Frederick W. Beinecke Robert F. Erburu Heidi L. Berry John C. Fontaine W. Russell G. Byers, Jr. Sharon P. Rockefeller Melvin S. Cohen John Wilmerding Edwin L. Cox Robert W. Duemling James T. Dyke Victoria P. Sant Barney A. Ebsworth Chairman Mark D. Ein John W. Snow Gregory W. Fazakerley Secretary of the Treasury Doris Fisher Robert F. Erburu Victoria P. Sant Robert F. Erburu Aaron I. Fleischman Chairman President John C. Fontaine Juliet C. Folger Sharon P. Rockefeller John Freidenrich John Wilmerding Marina K. French Morton Funger Lenore Greenberg Robert F. Erburu Rose Ellen Meyerhoff Greene Chairman Richard C. Hedreen John W. Snow Eric H. Holder, Jr. Secretary of the Treasury Victoria P. Sant Robert J. Hurst Alberto Ibarguen John C. Fontaine Betsy K. Karel Sharon P. Rockefeller Linda H. Kaufman John Wilmerding James V. Kimsey Mark J. Kington Robert L. Kirk Ruth Carter Stevenson Leonard A. Lauder Alexander M. Laughlin Alexander M. Laughlin Robert H. Smith LaSalle D. Leffall Julian Ganz, Jr. Joyce Menschel David O. Maxwell Harvey S. Shipley Miller Diane A. Nixon John Wilmerding John G. Roberts, Jr. John G. Pappajohn Chief Justice of the Victoria P. Sant United States President Sally Engelhard Pingree Earl A. Powell III Diana Prince Director Mitchell P. Rales Alan Shestack Catherine B. Reynolds Deputy Director David M. Rubenstein Elizabeth Cropper RogerW. Sant Dean, Center for Advanced Study in the Visual Arts B. Francis Saul II Darrell R. Willson Thomas A.