slade school art (16 Ergebnisse)

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New.

Zustand: Good. Poster showing the Neoclassical Building with Corinthian columns and relaxed staff behind a lush lawn. 23.5 x 16.5 inches.

Taschenbuch. Zustand: Neu. Neuware.

Taschenbuch. Zustand: Neu. Neuware.

Taschenbuch. Zustand: Neu. Neuware.

18.5 x 25cm. Oblong paperback, 36pp + 24pp. The 1971 exhibition marked the centenary of the Slade School, drawing upon the School's collection of drawings and paintings built up over the years from work by students while they were at the Slade and a number of works lent from outside the School. Forewords by William Coldstream and Bruce Laughton. The first section of the book comprises text, followed by Spine sunned. Small in-text correction in ink, and a clarification in ink added to one of the plates.

Buch. Zustand: Neu. Neuware.

Buch. Zustand: Neu. Neuware - This innovative book poses two, deceptively simple, questions: what is a sculpture garden, and what happens when you give equal weight to the main elements of landscape, planting and artwork.

Hardcover. Zustand: Very Good. First Editions. Hardbacks. 2 vols 4tos. pp 91 and 17 tissue-guarded plates; 1897 vol: pp 93 and 12 tissue-guarded plates and other illustrations. Quarto, original publisher's green cloth with gilt lettering and decoration to front cover and spine; decorative endpapers. Only 4 issues were produced between 1896-1898, featuring works by unknown or young artists who had studied at The Slade School of Fine Art. The publisher's gold stars on the spines show that these are issues no 1 and 3. Occasional minor rubbing to extremities, spine ends a little bumped. Bright and attractive. VG+. loosely inserted publisher's 4pp flyer.

Whaite was first cousin twice removed of his more famous namesake. He was himself an excellent artist and teacher, and there is a large collection of his work at the Whitworth Gallery in Manchester. 2pp., 12mo. Fair, on aged, creased paper with slight rust spotting. Mawson begins: 'Mr. H. Clarence Whaite first came under my notice a few years ago when attending my lecture on Decoration & Ornamental Design at the Slade School - and from the first I was much struck with his understanding and grasp of the principles[.] This enabled him to carry out work of exceptional merit. He has designed for fabrics, pottery, metal work, word cuts, painted decoration, medals, &c. [.] He has a broad outlook on life and his character could make him an excellent companion in any artistic pursuit. All I know of him is to his credit.' From the Whaite papers. Image on application.

Zustand: Very Good. First edition hard back binding in publisher's original salmon cloth covered boards, blocked and lettered gilt back over green ground, illustrated end papers by the author. 8vo. 8½'' x 6½''. Contains (vi), 216 pp with monochrome illustrations by the author throughout. Ink message verso the front free end paper. Very Good condition book in Good condition price clipped dust wrapper with internally repaired tears to the spine ends, coffee ring marks to the front cover. The Daily Telegraph Obituary cutting dated Thursday October 13, 1988 loosely inserted. Dust wrapper supplied in archive acetate film protection. Member of the P.B.F.A. ART [British].

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.