slade artist (6 risultati)

Paperback. Condizione: Brand New. 146 pages. 5.50x0.34x8.50 inches. In Stock.

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.

Sheet Music. Condizione: Brand New. 8.43x5.85x0.73 inches. In Stock.

Condizione: New. Hare, Nicholas, arr. ||Title as recorded by ||Slade|Kaleidoscope 22.

Condizione: new. Expédition le jour même. Libraire depuis 23 ans. Envoi soigné avec suivi.

Two 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.