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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and Britain (1876-1930) M.Phil thesis Mary Greensted University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties.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. -
The Stourbridge School of Art and Its Relations with the Glass Industry of the Stourbridge District, 1850-1905
A PROVINCIAL SCHOOL OF ART AND LOCAL INDUSTRY: THE STOURBRIDGE SCHOOL OF ART AND ITS RELATIONS WITH THE GLASS INDUSTRY OF THE STOURBRIDGE DISTRICT, 1850-1905 by JAMES SCOTT MEASELL A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History College of Arts and Law University of Birmingham April 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties.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. ABSTRACT Founded in 1851, the Stourbridge School of Art offered instruction in drawing, art and design to students engaged in industries, especially glass. Using social history methodology and primary sources such as Government reports, local newspapers and school records, this thesis explores the school’s development from 1850 to 1905 and explicates its relationships with the local glass industry. Within the context of political, economic, social and cultural forces, the school contributed to the town’s civic culture and was supported by gentry, clergy and industrialists. The governing Council held public meetings and art exhibitions and dealt with management issues. Working class men attended evening classes. Women from wealthy families attended morning classes. -
British Canvas, Stretcher and Panel Suppliers' Marks. Part 12, England Outside London
British canvas, stretcher and panel suppliers’ marks. Part 12, England outside London This guide surveys suppliers’ marks and labels on the reverse of picture supports. This part is devoted to suppliers in England excluding London. Marks relating to framing, restoration and picture dealing are not treated here. Part 14, devoted to restorers, includes the canvas stamps of R.W. King (Yarmouth and Norwich) and J.R. Taylor (Manchester). Several of the suppliers bought in materials from larger companies and applied their own label or stamp, often quite small. Examples include Keet (on a Roberson support), Mason (Ackermann & Co and Roberson & Miller), Lanham, Norton and Whitehead (Winsor & Newton), Tovey and Whitehead (G. Rowney & Co). Measurements of marks, given where known, are approximate and may vary according to the stretching or later conservation treatment of a canvas or the trimming of a label. Links are given to institutional websites where the dimensions of works can be found. For individual suppliers, see the database, British artists' suppliers, 1650-1950. Square brackets are used to indicate indistinct or missing lettering in transcripts, with readings sometimes based on other examples. Compiled by Jacob Simon, January 2019, updated February 2020, and based on the pioneering work of Cathy Proudlove and the suppliers’ database created by Jacob Simon. With thanks to Dr Joyce Townsend for providing information on paintings in Tate. The following suppliers appear in this resource: Birmingham: Mrs Elizabeth Norton, George Priest Brighton: William Mason Bristol: S.G. Tovey Bury St Edmunds, Suffolk: William Spanton Croydon: James Sheers Derby: Garth Cooper Dover, Kent: Underdown & Chettle Leamington, Warwickshire: William Whitehead Leicester: A.E. -
Restoring the Chamberlains' Highbury
Restoring The Chamberlains’ Highbury Contents Foreword 5 Restoring The Chamberlains’ Highbury 6-9 The Highbury Restoration Project 10-13 Historic Timelime 14-15 The Chamberlains 16-17 The Future 20-21 Further reading & Acknowledgements 22 Restoring The Chamberlains’ Highbury 3 Foreword Joseph Chamberlain (1836-1914), businessman, social reformer and controversial politician and imperialist, had an early involvement in civic leadership. He was elected mayor of Birmingham in 1873. His pioneering efforts in educational reform, slum clearance, improved housing, and municipalisation of public utilities led to Birmingham being described as the ‘best governed city in the world’ (The Harpers Monthly 1890). The house called ‘Highbury’ and its surrounding 30 acre estate form one of Birmingham’s most important heritage sites. Commissioned by Joseph Chamberlain and completed in 1880, the Grade II* listed house was Les Sparks OBE designed by the prominent Birmingham architect J. H. Chamberlain. Chair, Chamberlain Highbury Trust The grounds are listed Grade II on Historic England’s Register of Parks and Gardens of Special Historic Interest. The Chamberlain legacy is still the subject of debate and rightly so. Joe Chamberlain, as Churchill commented, ‘made the weather’ politically and was both adored and hated. The Commonwealth and the rich ethnic and cultural diversity we celebrate in today’s Birmingham, is distant from his time yet connected, for good or ill, to decisions made by ‘Brummagem Joe’. If modern Birmingham is to continue to grow and prosper, then the development of purposeful and ethical leadership models will be central to the stewardship of its public and private institutions and the promotion of successful entrepreneurship across its diverse population. -
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 -
Cht Highbury Landscape History 1878-Present and Restoration Proposals
1 CHT HIGHBURY LANDSCAPE HISTORY 1878-PRESENT AND RESTORATION PROPOSALS © Chamberlain Highbury Trust 2021 2 CHT HIGHBURY LANDSCAPE HISTORY 1878-PRESENT AND RESTORATION PROPOSALS Introduction The gardens of Highbury are of considerable historic importance and a great asset to Birmingham. They were laid out from 1879 to 1914 and were the creation of Joseph Chamberlain the head of Birmingham’s most distinguished political family, who employed the well-known landscape architect, Edward Milner, and subsequently his son Henry. In their day the gardens of Highbury were the most renowned in Birmingham, and possibly the West Midlands. They were widely written about in the national press and provided the setting for Chamberlain’s entertaining of leading politicians and his Birmingham associates. The fame of Highbury was due to the fact that within the thirty acres there were many different features and these contributed to the feel of being in the country on a large estate rather than in the suburbs of a major industrial city. They display the quintessence of high Victorian taste in gardening, and, moreover the taste of one man having been created on an undeveloped agricultural site and having remained largely intact and substantially unaltered since Joseph Chamberlain’s death in 1914. The fact that much of the grounds became a public park in 1921and the rest remained with Chamberlain’s former home which became an institution, has resulted in their preservation from development. The significance of the Highbury landscape is recognised by its listing at Grade 11 on the E H Register of Gardens and Parks of Special Historical Significance. -
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. -
Southall, Joseph
Joseph Southall, Contentment Nottingham 1861 - 1944 Birmingham watercolor on vellum, nailed to a linen-covered stretcher 14 ½ by 10 ¾ inches (36.7 by 27.5 cm) signed in monogram and dated lower right: ‘1928’; inscribed on verso: ‘PORTRAITS OF BESSIE & TODDIE / watercolor on Vellum / Joseph Southall 1928’ provenance: Mrs. A E Southall, her sale, Edwards Birmingham (March 23, 1948, lot 249); Sotheby’s, Belgravia (March 19, 1979, lot 17); The Fine Art Society; Mr. & Mrs. Alan Fortunoff exhibited: London, NEAC, Summer Exhibition, 1928 (99). Birmingham, RBSA, Autumn Exhibition, 1928 (143). Paris, Société National des Beaux-Arts, Salon, 1929 (1573). London, Leicester Galleries, Joseph Southall, 1931 (46). Birmingham, RBSA, Joseph Southall, 1933 (57). Birmingham; London, RWS & Bournemouth, Memorial Exhibition, 1945 (65). Birmingham & FAS, 1980 (E12). literature: ‘Up Front’, The Observer Colour Magazine, March 18, 1979, p. 23. Sixty Works by Joseph Southall, 1861-1944 from the Fortunoff Collection, Fine Art Society, 2005, pp 98-99, no. 23, illus. note: Joseph Edward Southall was born in Nottingham on August 23, 1861, the son of a grocer, Joseph Sturge Southall, and his wife Elizabeth Maria Baker, both scions of distinguished Quaker families.1 The elder Joseph died the following year aged only twenty-seven and his widow and baby removed to her mother’s house in Edgbaston, Birmingham. The young Joseph’s childhood and schooling followed the traditional pattern for a family of his class and background; he attended the Friends’ School at Ackworth and later, in 1872, the Friends’ School at Bootham, York, where he was taught watercolor painting by Edwin Moore, a brother of the marine painter Henry Moore and the even better known artist, Albert Moore, whose stylish arrangements of classically-draped young women came to epitomize the Aesthetic Movement of the 1870s. -
Women, Art, and Feeling at the Fin De Siècle Meaghan Clarke
On Tempera and Temperament: Women, Art, and Feeling at the Fin de Siècle Meaghan Clarke She saw — no, not saw, but felt — through and through a picture; she bestowed upon it all the warmth and richness of a woman’s sympathy; not by any intellectual effort, but by this strength of heart, and this guiding light of sympathy.1 In her recent book Women Writing Art History in the Nineteenth Century, Hilary Fraser observes that in Nathaniel Hawthorne’s The Marble Faun (1860), Hilda’s visual agency is subsumed into the vision of the master painter.2 Hilda is widely regarded as being modelled on Hawthorne’s wife, the painter and illustrator Sophia Peabody Hawthorne. Hawthorne’s refer- ence to a ‘woman’s sympathy’ prompts a wider consideration of the gender- ing of aesthetic response in novels of the period. Indeed, The Marble Faun is one of numerous texts, most famously Ruskin’s Sesame and Lilies (1865), which set out artistic roles for women in the Victorian period. Descriptions and images of women as viewers of art and art gallery visitors offer one avenue for exploring women’s aesthetic experience. Although public, museums and galleries quickly became identified as preferred spaces for women visitors. Victorian writers and theorists pos- ited a gendered dichotomy between the temperaments of the sexes.3 The temperament of feminine viewers meant they were uniquely capable of a 1 Nathaniel Hawthorne, The Marble Faun; or, The Romance of Monte Beni, 2 vols ( Boston: Ticknor and Fields, 1860), i, 75–76. 2 Hilary Fraser, Women Writing Art History in the Nineteenth Century: Looking Like a Woman, Cambridge Studies in Nineteenth-Century Literature and Culture, 95 (Cambridge: Cambridge University Press, 2014), p. -
19Th Century European, Victorian and British Impressionist Art New Bond Street, London | 26 September 2019
19th Century European, Victorian and British Impressionist Art New Bond Street, London | 26 September 2019 19th Century European, Victorian and British Impressionist Art New Bond Street, London | Thursday 26 September 2019 at 2pm VIEWING BIDS ENQUIRIES PHYSICAL CONDITION OF Thursday 19 September +44 (0) 20 7447 7447 Peter Rees (Head of Sale) LOTS IN THIS AUCTION 9am to 4.30pm +44 (0) 20 7447 7401 fax +44 (0) 20 7468 8201 Friday 20 September To bid via the internet please [email protected] PLEASE NOTE THAT THERE IS 9am to 4.30pm visit bonhams.com NO REFERENCE IN THIS Saturday 21 September Charles O’Brien CATALOGUE TO THE PHYSICAL 11am to 3pm TELEPHONE BIDDING (Head of Department) CONDITION OF ANY LOT. Sunday 22 September Bidding on telephone will only +44 (0) 20 7468 8360 INTENDING BIDDERS MUST 11am to 3pm be accepted on lots with a lower [email protected] SATISFY THEMSELVES AS TO Monday 23 September estimate in excess of £1,000. THE CONDITION OF ANY LOT 9am to 4.30pm Emma Gordon AS SPECIFIED IN CLAUSE 14 Tuesday 24 September Please note that bids should be +44 (0) 20 7468 8232 OF THE NOTICE TO BIDDERS 9am to 4.30pm submitted no later than 4pm on [email protected] CONTAINED AT THE END OF Wednesday 25 September the day prior to the sale. New THIS CATALOGUE. 9am to 4.30pm bidders must also provide proof Deborah Cliffe Thurday 26 September of identity when submitting bids. +44 (0) 20 7468 8337 As a courtesy to intending 9am to 12pm Failure to do this may result in [email protected] bidders, Bonhams will provide a your bid not being processed. -
English Romantic Art Romantic Art
1850-1920 English Romantic Art Romantic Art shepherd gallery ENGLISH ROMANTIC ART 1850–1920 autumn 2005 English Romantic Art 1850-1920 English Romantic Art 1850-1920 September 20th – October 22nd, 2005 Shepherd & Derom Galleries in association with Campbell Wilson Christopher Wood cat. 1 Herbert Gustave Schmalz (1856–1935) A Fair Beauty Signed and dated 1889; oil on canvas, 24 × 20 ins Provenance: George Hughes, Newcastle; Mawson, Swan & Morgan, Newcastle; Private Collection. ‘Another Victorian worthy who enjoyed a great reputation in his day was Herbert Schmalz. He painted subjects from classical and biblical history, only choosing episodes which offered opportunities for elaborate and exotic architectural settings.’ (Christopher Wood, Olympian Dreamers p. 254.) In 1890 he visited Jerusalem and the Holy Land to collect material for his biblical subjects, many of which were turned into prints. He also painted portraits, and romantic figurative subjects. After the First World War, he changed his name to Carmichael. cat. 2 cat. 3 Henry John Stock (1853–1930) Arthur Gaskin (1862–1928) Portrait of The Hon.Mrs George Leveson-Gower Portrait of Joscelyne Verney Gaskin, aged 12 yrs, Signed and signed and inscribed on an old label on the reverse; oil on canvas, 28½ × 22½ ins the Artist’s Daughter Born in Soho, Stock went blind in childhood but recovered his sight on being sent to Inscribed and signed on the reverse; oil on canvas, 14 × 11 ins live in the New Forest. He studied at St Martin’s School of Art and the RA Schools and Provenance: Joscelyne Turner, née Gaskin, the artist’s daughter and thence by direct descent to present.