Slade artist (6 risultati)
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Da: Revaluation Books, Exeter, Regno UnitoRevaluation Books
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Paperback. Condizione: Brand New. 146 pages. 5.50x0.34x8.50 inches. In Stock.
Editore: Charels H. Scott Gallery, Emily Carr Institute of Art and Design, Vancouver, 2000
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Da: Purpora Books, Comox, BC, CanadaPurpora Books
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Thin Trade Paperback Original. Condizione: Near Fine Plus. First Edition. Smallish, 4" x 7 1/2", cover with flaps, 47 pages. Reproduction of works in exhibition. Exhibition Catalogue.
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- Spartito
Da: Revaluation Books, Exeter, Regno UnitoRevaluation Books
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Sheet Music. Condizione: Brand New. 8.43x5.85x0.73 inches. In Stock.
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Da: moluna, Greven, Germaniamoluna
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Condizione: New. Hare, Nicholas, arr. ||Title as recorded by ||Slade|Kaleidoscope 22.
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Da: Livre et Partition en Stock, Marseille, FranciaLivre et Partition en Stock
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Condizione: new. Expédition le jour même. Libraire depuis 23 ans. Envoi soigné avec suivi.
[ Franklin White, Australian artist. ] 24 items from his papers, including drafts and copies of his letters to the feminist Thelma Cazalet-Keir and the artist Harold Copping, and an ALS to him from Louis McCubbin, National Gallery of South Australia.
Franklin White (1892-1975), Australian artist, teacher at the Slade Art School, London; Harold Copping (1863-1932), artist;; Louis McCubbin (1890-1952), Director, National Gallery of South Australia ]
Editore: Several of White's letters on letterheads of The Reedbeds Shoreham Nr. Sevenoaks Kent. Between and 1968, 1921
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Da: Richard M. Ford Ltd, London, Regno UnitoRichard M. Ford Ltd
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Aggiungi al carrelloTwo years after arriving in England from Australia in 1913, Franklin White entered the Slade School. His studies were interrupted by the First World War, during which he worked as a draughtsman at the Admiralty. In 1919 he re-entered the Slade, and was soon invited by Tonks to join the teaching staff. On his retirement in 1957,…he devoted his full energies to the Samuel Palmer School of Art, which he had run from his home in Shoreham since 1924, when he first held summer classes in landscape painting for his Slade students. In the 1950s the school expanded to take in residential students, and despite ill-health, White continued his teaching through his later years. White's work is to be found in the permanent collections of a number of major galleries in Britain and Australia, including the British Museum, Victoria and Albert Museum, the Ashmolean, and the National Gallery of Australia. The present collection of material from White's papers mainly consists of drafts and copies of letters, although at least one, addressed to Thelma Cazalet-Keir (Item Ten below) would appear to be the original letter, and White admitted (in Item One below) to a habit of writing letters and not sending them. The draft letters contain material of biographical interest, with FW discussing his home and studio, business affairs, teaching methods. A number of items concern the setting up of his residential school at Shoreham (see Items Two and Three, to 'Fleming', and Eight and Nine). (In the 1920s Shoreham previously the home of William Blake's disciple Samuel Palmer had become something of an artistic enclave, along the lines of St Ives.) The collection is in good condition, with light signs of age and wear. The following description is divided into fourteen parts, the first nine of which describe material in FW's autograph. ONE: Autograph draft or copy of letter to 'Mr. Holland'. 15 February 1921. On Reedbeds letterhead. 2pp., 4to. FW and his wife are 'comfortably settled' in their new home 'the new "Reedbeds"', which dates from the fifteenth century: 'In sorting out and arranging letters, accounts & papers I found no less than five written to you and never posted. Mr. Syrett would say he quite expected as much from me, however my business methods are improving now that I have my place to arrange as suits me. I am getting on well with my work at the Slade School, London University, I like the work and it brings me in touch with the top people in the art world. I am selling work and get an occasional commission for a portrait and this summer I am taking a pupil at £4 a week and with my £225 a year from the Slade, you see I am now able to do a little for myself. The Slade is a good thing for me as it brings me in contact with people and only takes up three days of the week, the rest of the week I can devote to producing work for exhibitions & selling.' After a reference to 'Miss Fricker' he discusses his 'visits to the class': 'I should like it clearly understood that I cannot have outside people coming in while the class is in progress whether it is anyone connected with art the Education Board or Sevenoaks Counsellors or anyone else. We must treat the class with absolute seriousness or I cannot afford to give the time to it.' TWO: Part of autograph draft of letter to 'Fleming' (originally 'Mr Syret'). 2 May 1921; on Reedbeds letterhead. 2pp., 4to. In what appears to be a response to a proposal from Fleming that FW find London artists to teach a class at Sevenoaks, he writes: 'I am afraid you would not be able to get anyone of any standing to give up the time it would require to come all the way from town. I ventured it at the Slade, the fee etc but although a desire for a better feeling in art should be encouraged they could not see how anyone could afford to give up the time. [] The class of students would be very distasteful to me (then of course I partly imagine & partly judge from the visit to Sevenoaks)'. Nevertheless, he gives conditions which would have to met for him to consider the engagement. THREE: Autograph draft or copy of letter to 'Dear Fleming'. 11 June 1921. On Reedbeds letterhead. 2pp., 4to. 'The days of Gold Medallists at the Slade were days long before the present Slade tradition and it goes for nothing at all, in fact, you might say that ithas nothing to do with the Slade and is more akin to the hard work done at South Kensington and other places.' FOUR: First part (1p., 4to) of autograph draft or copy of letter to 'Mr. Syrett'. From the Reedbeds. Concerning the question of deductions 'from the sum received from the Richardsons', he writes: 'I do not believe for one moment [that] the vague artistic temperament cannot be businesslike in the very least. [] I have now overcome the big difficulty a painter has to overcome to certain degrees to [be] able to work more rapidly. I find that I am developing a bigger interest in more pecuniary affairs.' FIVE and SIX: Autograph drafts of two letters to 'Mr Copping', i.e. the artist and FW's Shoreham neighbour Harold Copping (1863-1932). The first a short note. 10 February 1921; Redbeds. 1p., 4to. The second an autograph draft of the beginning of a letter. 17 February 1921; on Reedbeds letterhead. 1p., 4to. He invites the Coppings to supper, 'so we can settle the question you wish settled, [] I consider [it] a rather small affair, which all village matters must of necessity be in relation to life'. SEVEN: Autograph draft of letter to the owner of a cottage possibly 'the new "Reedbeds"' mentioned in Item One which he appears to be looking to buy or let. 2pp., 12mo. 'I have not had a definite answer [from 'Mr. Dowdy', see Item Nine] about the room to work in and put my things into. If this is satisfactory I shall be able to put all my goods into the room. I am sure you will find we shall take care of everything in your cottage.' EIGHT: 12mo Reedbeds letterhead, carrying parts of autograph drafts of two letters. Recto, dated 13 February 1922.
