DOCSLIB.ORG

Contemporary Art Society Annual Report 1952-53

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Contemporary Art Society Annual Report 1952-53 Speech by the Acting Chairman, Sir Colin Ai at the Annual General Meeting on 15 December 1953 Our Chairman, alas, is unable to be here today, for reasons an old-masterish assurance which, for some of them, was a which we all deplore and which will, I know, gain him our surprise and even something of an anti-climax. Let this unanimous sympathy. He is in hospital, following an not blind anyone to its importance. operation. Figures in their Setting Sir Edward Marsh The exhibition itself has been a great success from several In speaking for the Chairman there is one first and points of view. Already we have sold over 3500 catalogues, overwhelming duty before me, for this is our first Annual and on each such sale a tiny tinkle (albeit only of copper) Meeting since the death of Sir Edward Marsh and I must ask might have been heard dropping into our coffers. The you all to stand with me in tribute to him. I know quite exhibition has helped a large number of artists; it has been well that he would not have wanted us to be too solemn on the cause of an interesting and valuable public discussion his account, but really, in spite of our published symposium in the Press about the problems of the present state of in his name and in his honour (which we owe to the painting; it has enabled several Public Galleries, in various imagination and drive of Denis Mathews), it must here and parts ofthe British Isles, to buy (or to appear to be about now be recorded that Eddie Marsh was the C.A.S. as much to buy) works of importance which would not otherwise have as one man can be the soul of a corporate body. I shall say come their way. The Nottingham Gallery, for instance, has no more of him today than that; but I know that will not bought the Bateson Mason Sleeping Fisherman. Besides all prevent us from going on thinking of him with as much this it has been possible to arrange for the show itself, affection as ever. Of his works there remains much to be when it ceases here, to be divided into two travelling said. His complete collection — with some few exceptions - exhibitions, which have already been booked to visit a was bequeathed to us and has been shown at the Leicester number of important centres — among them Plymouth, Leeds, Galleries. It then toured various important centres outside Liverpool, Sheffield, and Preston. London and it is now back, exercising a magnetic attraction upon the directors of many public galleries, who are now The Buyer visiting us here to register their applications for an allocation Our buyer for the coming year is to be Mr Eardley Knollys, who from the Marsh collection. could scarcely be better qualified for the task. Once upon a May I digress here to remark how vividly this collection, time he used to sell pictures, and those of us who remember some pictures from which we took care to hang here today, the enlightened enthusiasm which informed their choice will shows the speed at which the contemporary style has welcome him as a worthy successor to Mr Eric Gregory, our changed. To the younger visitors the Marsh collection had retiring buyer, some of whose selections are on view here today. Speech by the Acting Chairman, (continued) The Committee their homes. To Lord Radciiffe, to Mr Mortimer (our Three of your Committee retire under our rules. Sir Edward Chairman), Mr Eardley Knollys and Mr Sackville-West, Marsh's death covers one such position. The other members and to Mr Bankes we owe this special kind of thanks. Those retiring are Sir Kenneth Clark and Lord Methuen. I need of them who have wives will, we hope, divert a large share scarcely say how much we regret their loss. of our thanks in their direction. It is no little thing to welcome a horde of strangers into one's home - come wet, To Sir Kenneth, of all our Committee now living, we owe come fine; but the fact remains that, as visitors, we all enjoy a particular debt for the most generous past gifts of such occasions with a particular kind of enthusiasm. pictures - not in ones or twos, but in stacks. This is the time to make public acknowledgement of our gratitude for A new social event in our year has been the invitation to the that and, we must add, for support in many other ways. C.A.S. from the Students' body of the Slade School, not We do not intend at this meeting to put forward any new only to take part in, but also to provide half the audience nominations for the Committee, but we will keep this under at an evening discussion of their current work. As one of active consideration and take such action as seems best. those who took part in the discussion (Mr Erie Newton kindly undertook to bt the other) I found the evening rather a We have been given pictures by two other benefactor5, one strain. But this didn't prevent its being enjovabio, even for of them, a foundation Committee-member of the C.A.S., me, and it was a great privilege for manv of us just to be Mr Paul Maze, has given us an important work of Marehand - able to walk about the Slade. a figure study. The other, a present Committee-member, Mr Howard Bliss, has given us a picture bv Norman Adams. Finally, on behalf of the C.A.S., I must thank the Trustees of May we add to our thanks for both these generosities an the Tate Gallery for continuing to give us harbour here, a additional word of gratitude to Mr Bliss for his lending us, liberal act on their part, which greatly helps us to do our from his own collection, so many paintings. job to good effect. 1 cannot express in detail our thanks to those who, in one way or another, have this year provided opportunities of pleasure in seeing pictures, buildings, or even (should I whisper it?) ships. I will content myself by particularizing those to whom such events have meant the greatest persona] upheaval -- those private collectors who have opened to us Gifts to the Society Bequest to the C.A.S. in 1953 From Howard Bliss by Sir Edward Marsh Norman Adams. In the beginning Exhibited at the Leicester Galleries Memorial Exhibition, May 1953 From Miss Annea Spong Joseph Sydall. Figures by the sea Paintings Joseph Sydall. Sitting by the sea Leonard Appelbee. Fish John Armstrong. Still Life. 1924 From Alan Ward William Coldstream. Lords and Ladies Barnett Freedman. Kitchen Interior Michael Rothenstein. Design iviih blue background Mark Gertler. Agapanthus. 1914 From Paul Maze Mark Gertler. The Artist's studio. 1915 Jean Hyppolyte Marchand. Woman Reading Mark Gertler. The Jewish Family, c.1913 Mark Gertler. The artist's mother. 1913 Mark Gertler. Still life — bowl and apples. 1913 Spencer F. Gore. Suburban Street Lawrence Gowing. On the 'phone Lawrence Gowing. Decaying Apples Duncan Grant. Tulips. 1911 Duncan Grant. The Dancers Duncan Grant. Still life with bread and carrots Duncan Grant. Acrobats Tristram Hillier. Cutlers Green. 1944 Ivon Hitchens. Flower painting. 1933 J. D. Innes Arenig. c.1910 J. D. Innes. Ranunculus, c.1912 Henry Lamb. Lady with lizard, c. 1911-12 Lord Methuen. Widcombe Manor, Bath. 1945 Cedric Morris. African Birds Rodrigo Moynihan. Self-portrait John Nash. The Harbour Paul Nash. St Pancras. 1927 Bequest to the C.A.S in 1953 {continued) Paul Nash. Buckingham shirr landscape. 1929 Mark Gertler. Girl standing. 1924 Paul Nash. November Moon. 1943 Mark Gertler. Nude. October 1914 William Nicholson. Cornstooks Charles Gitmer. A. church in the Strand Winifred Nicholson. Flowers in a jug Kobin Ironside. Fountain and gate James Pryde. The green wave Augustus John. Sealed woman William Roberts. Sam Rabin v Black Eagle. 1934 Augustus John. Draped standing woman William Roberts. The return oj' Ulysses Augustus John. Early portrait of Ambrose McEvoy W. R. Sickert. Her Majesty's. 1934 David Jones. Stream and trees. 1932 W. U. Sickert. The New Bedford, c.1915 Henry Larnb. Breton peasants. 1911 Matthew Smith. Recumbent figure, c.1927 Wyudham Lewis. Woman s head. 1923 Matthew Smith. Landscape, South of France W. T. Monnington. Study of a woman Matthew Smith. Slill Life, hyacinth. 1920 .Henry Moore. Woman seated with hands clasped Gilbert Spencer. Allotments John Nash. Wood by the Shore.. Gower Stanley Spencer. Tree and chicken coops, Wangford John Nash. Cornfield Stanley Spencer. Sarajevo. 1922 Paul Nash. Tea caddy, c.1925 Stanley Spencer. Cookham Paul Nash. Elms. 1914 Stanley Spencer. Self-portrait Paul Nash. Iter Heath, c.1914 Stanley Spencer. Landscape William Nicholson. Turnips Stanley Spencer. Portrait of Richard Carline John Piper. Hamsev church. 1939 P. Wilson Steer. Poole Harbour. 1899 Eric Ravilious. The Yellow Funnel. 1938 Edward Wadsworth. Seafaring. 1922 William Roberts. Palmistry Carel Weight. Essex Landscape William Roberts. The Pigeon Fanciers Christopher Wood. Landscape, Ven.ce. 1927 Stanley Spencer. Study for Apple Gatherers. 1912 Christopher Wood. Angel fish, London Aquarium. 1929 Stanley Spencer. Early self-portrait. 1912-13 Christopher Wood. Landscape with rainbow Stanley Spencer. Head of a girl. 1912 Stanley Spencer. Miracle of the Loaves and Fishes Water-colours and drawings W. R. Sickert. The New Bedford Roger Fry. Landscape. 1903 Graham Sutherland. Holloiv tree trunk. 1938 H. Gaudier Brzeska. Male Nude. 1912 Ethel. Walker. Two nude figures. 1934 H. Gaudier Brzeska. Mate Nude. 1912 Rev Whistler. Roger Morris' Bridge at Wilton, built 1737 Mark Gertler.
Load more

Recommended publications
  • Intangible Heritage(S): an Interplay of Design, Social and Cultural Critiques of the Built Environment
    TANGIBLE - INTANGIBLE HERITAGE(S): AN INTERPLAY OF DESIGN, SOCIAL AND CULTURAL CRITIQUES OF THE BUILT ENVIRONMENT • Paper / Proposal Title: ‘ARCHITECTS – WHERE IS YOUR VORTEX? VORTICISM, THE CITY AND URBAN EXPERIENCE • Author(s) Name: Dr. JONATHAN BLACK FRSA • University or Company Affiliation: KINGSTON SCHOOL OF ART, KINGSTON UNIVERSITY • Presentation Method. I would like to: i. present in person (with/without a written paper)* • Abstract (300 words): From its conception in the spring of 1914 the British avant garde art movement known as Vorticism was obsessed with the city and urban existence as central to the forward march of technologically innovative modernity. Indeed, the movement largely owed its very name to the American poet Ezra Pound having already identified London as the ‘great modern vortex’, the end point for all the energies of modern life and of British/Imperial power. My paper is rooted in many years of research into Vorticism and British Art before, during and after the First World War. It will focus on some of the many images that evoked the strikingly positive Vorticist vision of the city – one that as much looked to the example of vertically vertiginous New York as that by experimental thinkers on the European continent – by leading adherents of the movement such as: Wyndham Lewis, Edward Wadsworth, Frederick Etchells, Jessica Dismorr and Helen Saunders. Living in London much of their imagery was indebted to that city. However, examples will be discussed alongside a group of woodcut prints produced c. 1914-18 by Wadsworth inspired by the cities and industrial towns of his native Yorkshire such as Leeds, Bradford, Halifax and Huddersfield.
    [Show full text]
  • Get Book # Benton End Remembered: Cedric Morris, Arthur Lett
    TQOTPZQN4L5T » Doc Benton End Remembered: Cedric Morris, Arthur Lett-Haines and the East Anglian School... Benton End Remembered: Cedric Morris, A rth ur Lett-Haines and th e East A nglian Sch ool of Painting and Drawing (Paperback) Filesize: 3.92 MB Reviews It in a of the best publication. It is among the most remarkable publication i have read through. Your lifestyle period will be change once you complete reading this article publication. (Crystal Rolfson) DISCLAIMER | DMCA 5Q6DUZU54SXK > Kindle < Benton End Remembered: Cedric Morris, Arthur Lett-Haines and the East Anglian School... BENTON END REMEMBERED: CEDRIC MORRIS, ARTHUR LETT-HAINES AND THE EAST ANGLIAN SCHOOL OF PAINTING AND DRAWING (PAPERBACK) Unicorn Publishing Group, United Kingdom, 2018. Paperback. Condition: New. Language: English . Brand New Book. In 1940, Cedric Morris and Arthur Lett-Haines, both established artists with international reputations who had become disillusioned with the commercial aspects of the art world, moved to Benton End, overlooking the River Brett on the outskirts of Hadleigh, Suolk. What they found there was a somewhat ramshackle but capacious sixteenth-century farmhouse, standing in over three acres of walled gardens lost beneath brambles and elder trees; the house had not been lived in for fieen years. But Benton End became both their home and the new premises of the East Anglian School of Painting and Drawing which, in 1937, they had founded together in Dedham, Essex. From 1940 until Lett Haines died in 1978 and Cedric Morris in 1982, Benton End was an exotic world apart where art, literature, good food, gardening and lively conversation combined to produce an extraordinarily stimulating environment for amateurs and professionals alike.
    [Show full text]
  • Impressionist and Modern Art Introduction Art Learning Resource – Impressionist and Modern Art
    art learning resource – impressionist and modern art Introduction art learning resource – impressionist and modern art This resource will support visits to the Impressionist and Modern Art galleries at National Museum Cardiff and has been written to help teachers and other group leaders plan a successful visit. These galleries mostly show works of art from 1840s France to 1940s Britain. Each gallery has a theme and displays a range of paintings, drawings, sculpture and applied art. Booking a visit Learning Office – for bookings and general enquires Tel: 029 2057 3240 Email: [email protected] All groups, whether visiting independently or on a museum-led visit, must book in advance. Gallery talks for all key stages are available on selected dates each term. They last about 40 minutes for a maximum of 30 pupils. A museum-led session could be followed by a teacher-led session where pupils draw and make notes in their sketchbooks. Please bring your own materials. The information in this pack enables you to run your own teacher-led session and has information about key works of art and questions which will encourage your pupils to respond to those works. Art Collections Online Many of the works here and others from the Museum’s collection feature on the Museum’s web site within a section called Art Collections Online. This can be found under ‘explore our collections’ at www.museumwales.ac.uk/en/art/ online/ and includes information and details about the location of the work. You could use this to look at enlarged images of paintings on your interactive whiteboard.
    [Show full text]
  • Copyright Statement
    COPYRIGHT STATEMENT This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and no quotation from the thesis and no information derived from it may be published without the author’s prior consent. i ii REX WHISTLER (1905 – 1944): PATRONAGE AND ARTISTIC IDENTITY by NIKKI FRATER A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities & Performing Arts Faculty of Arts and Humanities September 2014 iii Nikki Frater REX WHISTLER (1905-1944): PATRONAGE AND ARTISTIC IDENTITY Abstract This thesis explores the life and work of Rex Whistler, from his first commissions whilst at the Slade up until the time he enlisted for active service in World War Two. His death in that conflict meant that this was a career that lasted barely twenty years; however it comprised a large range of creative endeavours. Although all these facets of Whistler’s career are touched upon, the main focus is on his work in murals and the fields of advertising and commercial design. The thesis goes beyond the remit of a purely biographical stance and places Whistler’s career in context by looking at the contemporary art world in which he worked, and the private, commercial and public commissions he secured. In doing so, it aims to provide a more comprehensive account of Whistler’s achievement than has been afforded in any of the existing literature or biographies. This deeper examination of the artist’s practice has been made possible by considerable amounts of new factual information derived from the Whistler Archive and other archival sources.
    [Show full text]
  • Elements of Innovators' Fame
    Elements of Innovators’ Fame: Social Structure, Identity and Creativity Mitali Banerjee Submitted in partial fulfilment of the requirement for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences Columbia University 2017 © 2017 Mitali Banerjee All rights reserved Abstract Elements of Innovators’ Fame: Social Structure, Identity and Creativity Mitali Banerjee What makes an innovator famous? This is the principal question of this dissertation. I examine three potential drivers of the innovators’ fame – their social structure, creativity and identity. My empirical context is the early 20th century abstract artists in 1910-25. The period represents a paradigmatic shift in the history of modern art, the emergence of the abstract art movement. In chapter 2, I operationalize social structure by an innovator’s local peer network. I find that an innovator with structurally and compositionally diverse local network is likely to be more famous than the one with a homogenous local network. I find no statistical evidence for creativity as a link between social structure and fame. Instead, the evidence suggests that an innovator’s creative identity and access to promotional opportunities are the key drivers of her fame. In Chapter 3, I find that the creativity identity resulting from an innovator’s creative trajectory can lead to obscurity despite early fame and acclaim. The drastic change in the nature of a producer’s output can dilute her identity and cost her her niche. In combination with her peer network characteristics, these dynamics can mean obscurity even for talented and prolific innovators. In chapter 4, I undertake a large-scale analysis of the relationship between creativity and fame.
    [Show full text]
  • Charles Ginner, A.R.A
    THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com Charles Ginner, A.R.A. (Cannes 1878 – 1952 London) St. Just in Cornwall – A landscape with cottages Signed ‘C. GINNER’ (lower left) Pen and ink and watercolour on paper 9 ¾ x 11 ¾ in. (25 x 30 cm.) Provenance Gifted by the Artist to Mrs. Frank Rutter. The Fine Art Society, 1985. Henry Wyndham Fine Art Ltd, London. Private Collection. Exhibited London, St George's Gallery, Charles Ginner and Randolph Schwabe, March 1926 (details untraced). London, The Fine Art Society, Charles Ginner, 7th - 25th October 1985, cat. no.13, illustrated. Literature Charles Ginner, List of Paintings, Drawings, etc. of Charles Ginner, Book II, 1919-1924, p. 135. Primarily a townscape and landscape painter, Charles Ginner grew up in France where his father, a doctor, practised, but settled in London in 1910. He was heavily influenced by Vincent van Gogh, Paul Gauguin and Paul Cézanne. In 1909, Ginner visited Buenos Aires, Argentina, where he held his first one-person show, which helped to introduce post-Impressionism to South America. Thos Agnew & Sons Ltd, registered in England No 00267436 at 21 Bunhill Row, London EC1Y 8LP VAT Registration No 911 4479 34 THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com He was a friend of Harold Gilman and Spencer Gore and through them was drawn into Walter Sickert’s circle, becoming a founder member of the Camden Town Group in 1911 and the London Group in 1913.
    [Show full text]
  • Simon Carter 2013 Complete.Pdf
    Simon Carter Front cover (detail) Winter Sea, 2011 (catalogue no. 46) Photograph: Noah Carter Noah Photograph: Simon Carter The Shapes of Light 2013 www.messums.com 8 Cork Street, London W1S 3LJ Telephone: +44 (0)20 7437 5545 … how days pass in the studio Today is the 22nd November. It is Thursday and, like most I trace over some of the drawings on the light box, taking a days, I have been down to the beach to make drawings. The degree of expression out of the lines to see how they work as sun was beginning to dissolve amongst a vast Turneresque glow. design. With some paintings I repeatedly copy drawings on the The wind was blowing pale rivers of sand across the beach and light box; I like the way that unexpected outcomes sometimes corrugating the sea, waves coming in small and packed together. arise from the imperfections of this process. I might square up There were a few gulls and a few sanderling at the water’s edge. one of these copies and use it to rework the canvas. This as a On the horizon freight ships were lining up to enter Felixstowe way of forcing change onto the painting and of not allowing a and wind farms flickered in distant sunlight. There was a single sense of satisfaction with it. As the painting develops over the yacht passing. next few weeks and months, I will return to the beach many times. I will also make drawings from the painting and from I made 7 drawings quickly and without much attempt at revision the location drawings; edging forward looking for something or second thought.
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETH-CENTURY ART COLLECTION SCIIEMES AND TIIEIR IMPACT ON LOCAL AUTHORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISH ART IN BRITAIN VOLUME If Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA.CT.................................................................................. ii ACKNOWLEDGEMENTS •........••.••....••........•.•.•....•••.......•....•...• xi CHAPTER 1:INTRODUCTION................................................. 1 SECTION 1 THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS..........................................................................
    [Show full text]
  • Contemporary Art Society Annual Report 1967-68
    Front Cover: Henry Moore Knife Edge-Two Piece. Presented to the Nation by the Contemporary Art Society and the artist, 1967. Chairman's Report June 27th 1968 Foundation Collection. Our most recent Patron I have pleasure in presenting my report which covers the Society's activities party at the Tate was held on May 16th to mark the close of the Barbara Her Majesty Queen Elizabeth The Queen Mother from June last year until today. Peter Meyer, whom we were very pleased to Hepworth Exhibition. Dame Barbara welcome back on the Committee as was the Guest of Honour, first at a Executive Committee Honorary Treasurer at last year's buffet supper in the restaurant, and later Whitney Straight CBE MC DFC Chairman Annual Meeting, will be dealing with at a party in the Gallery, where Anthony Lousada Vice-Chairman the Society's financial affairs in his hundreds of our members were able to Peter Meyer Honorary Treasurer speech which follows mine and deals meet Dame Barbara and have a last The Hon John Sainsbury Honorary Secretary with our financial year which ended on look at the wonderful exhibition. This G. L. Conran was such a successful evening that we Derek Hill December 31st 1967. As well as welcoming Peter Meyer are very much hoping to repeat one on Bryan Robertson OBE similar lines at the end of the Henry The Hon Michael Astor back to the Committee we were very The Lord Croft happy to elect Joanna Drew, whose Moore Exhibition in September. We are, Alan Bowness knowledge will I am sure be of great as always, most grateful to the Trustees James Melvin value.
    [Show full text]
  • Pallant House Gallery
    __ The Economic Contribution of Pallant House Gallery 16 June 2016 Contents 5. Economic Model ............................................................................... 20 5.1 Additionality Analysis .......................................................................... 21 1. Executive Summary ........................................................................... 3 5.2 Economic Multipliers ........................................................................... 23 1.1 Growing Organisation ........................................................................... 3 5.3 GVA and FTE Conversion .................................................................. 23 1.2 Dedicated Audience ............................................................................. 3 5.4 Economic Modelling Results ............................................................... 24 1.3 Overall Economic Impact ..................................................................... 3 5.4.1 Audience Analysis ............................................................................... 24 1.4 Expansion since 2008 .......................................................................... 4 5.4.2 Organisation Analysis ......................................................................... 25 2. Introduction ........................................................................................ 5 5.4.3 Overall Assessment ............................................................................ 25 2.1 Methodological Overview ....................................................................
    [Show full text]
  • Our New Acquisitions the St. Edmund Hall Ceri Richards Altarpiece Newsletter 15 — Spring 2016 Running Head 1 Dr
    NO.15 — SPRING 2016 NEWSLETTER £1.00 WHERE SOLD Enhancing the Collection: Our New Acquisitions The St. Edmund Hall Ceri Richards Altarpiece Newsletter 15 — Spring 2016 Running Head 1 Dr. Jonathan Koestlé-Cate on Contemporary Art and Sacred Places NO.15 — SPRING 2016 DEAR FRIEND THE COLLECTION ON FILM Once again, it gives me great Friends who have been with us for the past few years may recall that those pleasure to bring you the responsible for hosting the Collection in Preston, in 2012, put together some first Newsletter of 2016. Our delightful footage. This highlighted the part played by the Methodist Modern dedicated production team at Art Collection in that year’s City’s Guild Celebrations. A substantial part of Cultureshock Media continue the Collection was on display, under the title ‘Visible Faith’, at St. Peter’s Art to do a marvellous job for us, Centre, Lancaster University. as I’m sure you will agree. They Those of you who regularly visit our website will, no doubt, are currently working hard already have taken the opportunity to view a similar, recent initiative; on the 2015 Annual Report an excellent short film that was produced ahead of the visit of the which you should be receiving Collection to Lincoln where it is currently on exhibition at the (electronically via MailChimp in Cathedral and ‘The Collection’. Well worth five minutes of your time, if the majority of cases) within a you have not already done so. couple of months. We are delighted to confirm that while the Collection is at Bath We have no Exhibition Abbey, over the month of October, we shall be engaging the services of Reports to feature in this an experienced team of documentary film makers.
    [Show full text]
  • Modern British, Irish and East Anglian Art Tuesday 19 November 2013 at 1Pm Knightsbridge, London
    Modern British, Irish and East Anglian Art Tuesday 19 November 2013 at 1pm Knightsbridge, London Modern British, Irish and East Anglian Art Tuesday 19 November 2013 at 1pm Knightsbridge Bonhams Bids Enquiries Please see page 2 for bidder Montpelier Street +44 (0) 20 7447 7448 Modern British & Irish Art information including after-sale Knightsbridge +44 (0) 20 7447 7401 fax Emma Corke collection and shipment London SW7 1HH To bid via the internet please visit +44 (0) 20 7393 3949 www.bonhams.com www.bonhams.com [email protected] Please see back of catalogue for important notice to bidders Viewings Please note that bids should be Shayn Speed submitted no later than 24 hours +44 (0) 20 7393 3909 Illustration [email protected] East Anglian Pictures only before the sale. Front cover: Lot 91 The Guildhall Back cover: Lot 216 East Anglian Pictures Guildhall Street New bidders must also provide Inside front: Lot 46 Daniel Wright Bury St Edmunds proof of identity when submitting Inside back: Lot 215 +44 (0) 1284 716195 Suffolk, IP33 1PS bids. Failure to do this may result [email protected] in your bids not being processed. Tuesday 5 November 9am to 7pm Bidding by telephone will only be Customer Services Monday to Friday 8.30am to 6pm Wednesday 6 November accepted on a lot with a lower +44 (0) 20 7447 7447 9am to 4pm estimate in excess of £400. ----------- St Michael’s Hall Sale Number: 20779 Church Street Live online bidding is Reepham available for this sale Catalogue: £12 Norfolk, NR10 4JW Please email [email protected] with “Live bidding” in the subject Tuesday 12 November line 48 hours before the auction 9am to 7pm to register for this service.
    [Show full text]