View allAll Photos Tagged c1919
Title: [Aerial view of the White House, the Treasury, the Old Executive Office Building and surrounding area, Washington, D.C.]
Date Created/Published: c1919.
War Memorial. Brookside, East Leake, Nottinghamshire, c1919.
A hexagonal column with moulded base and scalloped capital surmounted by a single copper cross.
Grade ll listed.
Graves Art Gallery, Surrey Street, Sheffield.
Exhibition.
Colour and Light: Scottish Colourists from the Fleming Collection.
14 July - 9 December 2023.
Kirkcudbright.
Samuel John Peploe (1871-1935).
Oil on canvas, c1919.
In 1915, Peploe made the first of a number of visits to Kirkcudbright. His paintings of the picturesque Scottish town emphasise the geometry of its architecture and, in doing so, reveal Paul Cezanne's influence on Peploe's analysis of form, colour and tone.
Samuel John Peploe was the oldest of the Scottish Colourists. He lived almost all his life in Edinburgh, but he often visited France, studied briefly at the Académie Julian, and made his home in Paris, 1910–13. During this time in Paris he moved from an Impressionist style to one influenced by Cézanne and the Fauves, but later his work became less aggressively modern. In the 1920s he frequently visited the island of Iona, which—together with still-life—was his favourite subject.
At The New Art Gallery, Walsall
A brief visit and a chance to look again at some of my favourite pieces.
Hands of the risen Christ C1919.
Bronze by Jacob Epstein
War memorial window in the north aisle by Arthur L. Moore, c1919.
Great Bowden lies immediately to the north east of Market Harborough but still retains its separate vintage village charm with an attractive centre from which the spire of its church peeps at over the trees. I say peep rather than peer as the spire is remarkably short, more of an octagonal pyramid crowning the handsome 14th century tower, but all the more delightful for being a break from the norm.
The church itself is mainly 14th century with modifications from the following century (such as the clerestory and most of the fenestration). All is rendered in the lovely honey-coloured ironstone with limestone dressings for the windows, and attractive mix common in the east Midland counties. The interior feels open and spacious thank to the handsome nave arcades which almost touch the corbel supporting the roof, the clerestory windows looking a little squashed inbetween. The stonework is left explosed in the nave but the chancel and aisles are still plaster-rendered which cheers them up somewhat, a good balance.
The most remarkable feature here is in the north chapel, a substantial 15th century wall painting of the Last Judgement, degraded by time but still discernable. Nearby in the chancel is an imposing late Georgian monument and a tiny late medieval palimpsest brass, both on the north side of the sanctuary. The 18th century organ case nearby has some fine carved detail but frustratingly I seem to have neglected to get a decent photo of it. There are a few striking late Victorian or Edwardian windows, the best being the large Arts & Crafts window in the south aisle.
This church is well worth a look and Colin and I were made very welcome here. I'm not sure what normal opening arrangements are so probably best to check ahead if planning a visit.
Walker Art Gallery, Liverpool.
The Wise and Foolish Virgins.
Charles Haslewood Shannon (1863-1937).
Oil on Canvas, c1919-20.
This painting by Charles Haslewood Shannon recounts the parable of the Ten Virgins, recorded in the Gospel of St Matthew in the Bible. In the story 10 women are instructed to wait overnight for the arrival of the bridegroom. According to Matthew, "It was already midnight when the cry rang out, 'Here is the bridegroom! Come and meet him!' The ten girls woke up and trimmed their lamps. Then the foolish ones said to the wise ones, 'Let us have some of your oil, because our lamps are going out.' 'No indeed,' the wise ones answered, 'there is not enough for you and for us. Go to the shop and buy some for yourselves.' So the foolish girls went off to buy some oil; and while they were gone, the bridegroom arrived.'(Matthew, chapter 25 v 6 -10.) The 5 women were not adequately prepared for their task and so not allowed in when they returned.
The marriage feast is a metaphor for heaven in this story. The parable teaches us that we must always be practically and spiritually prepared to be judged by God or we risk being shut out of heaven forever.
Shannon may have been questioning whether he was prepared to be judged by God when he made this painting. He lived with Charles de Sousy Ricketts, the son of an English father and a French mother. The pair met at 19 and 16 respectively as students at the City and Guilds Art School in Kennington in 1882.
The couple were artistic and personal partners for more than fifty years. They designed and illustrated books, established the occasional art journal ‘The Dial’ in 1889 and founded the Vale Press in 1894. The Press published around 75 books, including a complete reprint of the works of Shakespeare. They closed Vale Press following a fire in 1899 when most of the book stock and decorative materials were destroyed.
Ricketts and Shannon moved in a wide circle of artist friends and were key figures in the London art world from the 1890s onwards. Their friends included the poet and playwright Gordon Bottomley, the book illustrator Edmund Dulac, the portrait painter William Rothenstein and Oscar Wilde. Ricketts and Shannon also worked as illustrators for Wilde. Ricketts, for example, illustrated The Sphinx in 1895.
Shannon and Ricketts never publicly identified themselves as a homosexual couple. Shannon seems to have occasionally been attracted to women. His close relationship with Kathleen Bruce was upsetting to Ricketts, who wrote of his terror that they might marry. However, the two men were completely committed to each other. Rickett’s even gave up his own painting career as a young man so that the couple could afford to support Shannon’s own artistic aspirations. Their relationship was clearly spiritual and romantic. If not necessarily physical, it was certainly devoted.
Instances such as this demonstrate how difficult it can be to talk retrospectively about relationships using contemporary language and concepts. The prosecution and imprisonment of their good friend Oscar Wilde for homosexual acts made it impossible for Ricketts, Shannon and their peers to make their sexuality public.
Shannon tragically fell off a ladder in 1929. He suffered brain damage and required extensive nursing. Ricketts died two years later in 1931, devastated by Shannon’s suffering and exhausted from work. Shannon lived on until 1937.
Date:c1919
Location: Bridgetown, Nova Scotia
Photographer: Paul Yates
Accession No.:93.665 - 32
Copyright: Annapolis Heritage Society
Picture # 908, negative # 6-0167 with note that it is related to 6-348 in Yates inventory
Date:c1919
Location: Annapolis Royal, Nova Scotia
Photographer: Paul Yates
Accession No.:93.665 - 184
Copyright: Annapolis Heritage Society
“Big Day Annapolis Banner” on car with three men and a horn. Picture # 881, Yates #5-488, negative # 5-0777 in Yates inventory.
War memorial window in the north aisle by Arthur L. Moore, c1919.
Great Bowden lies immediately to the north east of Market Harborough but still retains its separate vintage village charm with an attractive centre from which the spire of its church peeps at over the trees. I say peep rather than peer as the spire is remarkably short, more of an octagonal pyramid crowning the handsome 14th century tower, but all the more delightful for being a break from the norm.
The church itself is mainly 14th century with modifications from the following century (such as the clerestory and most of the fenestration). All is rendered in the lovely honey-coloured ironstone with limestone dressings for the windows, and attractive mix common in the east Midland counties. The interior feels open and spacious thank to the handsome nave arcades which almost touch the corbel supporting the roof, the clerestory windows looking a little squashed inbetween. The stonework is left explosed in the nave but the chancel and aisles are still plaster-rendered which cheers them up somewhat, a good balance.
The most remarkable feature here is in the north chapel, a substantial 15th century wall painting of the Last Judgement, degraded by time but still discernable. Nearby in the chancel is an imposing late Georgian monument and a tiny late medieval palimpsest brass, both on the north side of the sanctuary. The 18th century organ case nearby has some fine carved detail but frustratingly I seem to have neglected to get a decent photo of it. There are a few striking late Victorian or Edwardian windows, the best being the large Arts & Crafts window in the south aisle.
This church is well worth a look and Colin and I were made very welcome here. I'm not sure what normal opening arrangements are so probably best to check ahead if planning a visit.
Date:c1919
Location: Annapolis Royal, Nova Scotia
Photographer: Paul Yates
Accession No.:93.665 - 184
Copyright: Annapolis Heritage Society
“Big Day Annapolis Banner” on car with three men and a horn. Picture # 881, Yates #5-488, negative # 5-0777 in Yates inventory.
The church of Clippesby St Peter is one of 124 existing round-tower churches in Norfolk. St. Peter's is adjacent to Clippesby Hall once the residence of the artist Peregrine Feeney. The Hall and presumably the Church were visited regularly by the noted Pre-Raphaelite John William Waterhouse. In another artistic link the church was the subject of a painting by John Sell Cotman. Another distinction is a fine Arts and Crafts style stained glass window "Suffer little children", the first professional commission by M. E. Aldrich Rope, c1919.
The church of St. Peter's at Clippesby is thought to date from Saxon times. Curiously however there is no mention of it in the Domesday Book. The round tower is certainly of Saxon construction as is a small (now sealed) window, whereas the North doorway with its characteristic zig-zag moulding is Norman. The tower was augmented with an octagonal bell tower in the early 1900s.