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Description: 'Rose and Olive', an Arts and Crafts floral silkwork panel set into a firescreen by Morris & Co., the panel designed William Morris circa 1880 and worked by Mary Hodson, embroidered silks on a cotton panel, in a mahogany firescreen, 86cm high, 63cm wide. Exhibited: 'William Morris 1834-1896' Victoria & Albert Museum, 1996, see Parry, Linda (editor) 'William Morris 1834-1896' V&A exhibition catalogue 1996, p. 242, cat. M.18, illustrated. Smaller needleworks could be bought from Morris & Co. as kits, partially completed and fully completed by the Morris & Co. needleworkers. Mary Hodson was the wife of Laurence W. Hodson.View additional info
Description: A BELGIAN WOOL TAPESTRY, AFTER WILLIAM MORRIS AND EDWARD BURNE JONES (English, 1834-1896 and 1833-1898) The second panel from the Quest from the Holy Grail series, titled The Arming and Departure of the Knights, depicting the ladies of King Arthur's Court assisting the knights in preparation for their quest. On the far left, Queen Guinevere hands Sir Lancelot his shield. 4ft 6in x 6ft 5inView additional info
Description: MURGER (Henry). Scènes de la Bohême. Édition à la date de l'originale. William Morris (1834-1896) fut écrivain, dessinateur, poète, décorateur, typographe, socialiste et théoricien anglais. Le mouvement inspiré par Morris exerça une profonde influence sur le développement de l'Art Nouveau. EXTRAORDINAIRE RELIURE EN MAROQUIN MOSAÏQUÉ, INCRUSTÉE DE HUIT VÉRITABLES PERLES DU JAPON, EXÉCUTÉE PAR SANGORSKI ET SUTCLIFFE. Les relieurs londoniens Francis Sangorski et George Sutcliffe étaient tous deux élèves de Douglas Cockerell, puis ils fondèrent leur propre atelier de reliure en 1901. Ils étaient réputés pour leurs reliures incrustées de bijoux et pierres précieuses. Cet atelier de reliure est toujours en activité aujourd'hui. De la bibliothèque Mattew Chaloner Durfee Borden (1842-1912), avec ex-libris ; son père, Richard Borden, fut le fondateur de «Fall River iron works», l'une des plus importantes usines de fabrication de coton dans le Massachusetts.View additional info
Description: WILLIAM MORRIS (1834–1896) FOR MORRIS & COMPANY 'FLOWERPOT' EMBROIDERED FIRESCREEN, CIRCA 1890 the mahogany frame centred by an embroidered panel of an urn issuing flowers, frame with baluster turned uprights, scroll carved top rail, and latticed panel below, stamped maker's marks 70cm wide, 123.5cm highView additional info
Description: WILLIAM MORRIS (1834–1896) FOR MORRIS & COMPANY, MERTON ABBEY PAIR OF 'BIRD' PATTERN DOUBLE CLOTH CURTAINS, CIRCA 1890 jacquard woven wool, lined (2) 265cm x 134cm and 263cm x 129cmView additional info
Description: WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. 'BIRD' PATTERN JACQUARD-WOVEN WOOL CLOTH covering four cushions, and one cover without the cushion, red colourway (5) each cushion approximately 63cm x 50cm
Condition Report: All cushions are in good condition and are double sided The 5th cover does not have a cushion There is a faint ink mark to one and a slight stain to another with a little wear here and there but as the additional images show the general order is good. Condition Disclaimer Under the Conditions of Sale applicable to the sale of the lot, buyers must satisfy themselves as to each and every aspect of the quality of the lot, including (without limitation) its authorship, attribution, condition, provenance, authenticity, age, suitability and origin. Lots are sold on an 'as is' basis but the actual condition of the lot may not be as good as indicated by its outward appearance. In particular parts may have been replaced or renewed and lots may not be authentic or of satisfactory quality. Any statement in relation to the lot is merely an expression of opinion of the seller or Lyon & Turnbull and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition report has not been prepared by a professional conservator, restorer or engineer.View additional info and full condition report
Description: WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. 'TULIP & LILY' WOVEN WOOLLEN FABRIC PIECES, DESIGNED CIRCA 1875 faded, some damages (4) 52cm x 202cm; 111cm x 60cm; 104cm x 59cm; 170cm x 70cm (approx)View additional info
Description: A collection of socialist, anarchist, communist pamphlets and monographs, mainly 19th century, including numerous Socialist League pamphlets by William Morris (1834-1896), some annotated, signs of handling, stains, folds etc.View additional info
Description: WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ROLL OF 'INDIAN' WALLPAPER, CIRCA 1900 printed with a repeating foliate design 665cm x 56cmView additional info
Description: MORRIS WILLIAM: (1834-1896) English Textile Designer & Artist, associated with the Pre- Raphaelite Brotherhood and Arts & Crafts Movement. Brief A.L.S., William Morris, one page, 8vo, Kelmscott House, Upper Mall, Hammersmith, n.d. (annotated in pencil 14th April 1888), to a gentleman. Morris provides his autograph for a collector. A couple of ink blots and smudges, only very slightly affecting the text and signature. About VGView additional info
Description: 31 pp. Portrait frontispiece. Original Kelmscott leaf tipped in. (4to) original linen-backed boards. Large Paper Edition.
Condition Report: Light wear; near fine.View additional info
Description: WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. 'PEACOCK AND DRAGON' CURTAIN PANEL, CIRCA 1880 hand-loomed jacquard wool, in blue, salmon, rust and green 246cm x 153cmView additional info
Description: WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. 'BIRD' PATTERN WOVEN WOOLLEN DOUBLE CLOTH PANEL, DESIGNED 1878 contained within an ebonised glazed frame 95 x 77cm (frame)View additional info
Description: WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. 'BIRD' PANEL, CIRCA 1880 jacquard-woven woollen double cloth fragment, framed and glazed 47cm x 28cm
Condition Report: Panel in good overall condition, nicely presented in a contemporary frame There is a stitched repair or join to the panel on the RH side running vertically the length of the piece Condition Disclaimer Under the Conditions of Sale applicable to the sale of the lot, buyers must satisfy themselves as to each and every aspect of the quality of the lot, including (without limitation) its authorship, attribution, condition, provenance, authenticity, age, suitability and origin. Lots are sold on an 'as is' basis but the actual condition of the lot may not be as good as indicated by its outward appearance. In particular parts may have been replaced or renewed and lots may not be authentic or of satisfactory quality. Any statement in relation to the lot is merely an expression of opinion of the seller or Lyon & Turnbull and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition report has not been prepared by a professional conservator, restorer or engineer.View additional info and full condition report
Description: MORRIS WILLIAM: (1834-1896) English Textile Designer & Artist, associated with the Pre-Raphaelite Brotherhood and Arts & Crafts Movement. A.L.S., William Morris, one page, 8vo, Kelmscott House, Hammersmith, 9th July n.y., to Mr. Burns. Morris informs his correspondent that he cannot venture out on Sunday evenings 'on account of the necessity of my nursing the Hammersmith Branch' although adds that he could do it on a week day. Some minor, light overall staining, otherwise VGView additional info
Description: William Morris (1834-1896) pencil and crayon, Figure study, 8.5 x 3in.
Condition Report: Pencil and watercolour on paper, not laid down, a few small fox marks along with slight dirt smuding and a little discolouration around the margins, unevenly cropped around the edges, set against a washline mount which is a little discoloured and slim gilt frame, not signed but label verso from The Little Gallery of Kensington with attribution. Please submit your absentee bids on www.gorringes.co.uk or e-mail email@example.com FURTHER IMAGES ALREADY AVAILABLE AT WWW.GORRINGES.CO.UK Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.View additional info and full condition report
Description: Title: The Life and Death of Jason: A Poem Author: William MorrisPublisher: Bell and Daldy (London)Printing Year: 1867Condition/Details: Bound in red cloth with paper spine label, this antique volume is a scarce edition of this early publication by William Morris (1834-1896), an English architect, furniture and textile designer, artist, writer, socialist and Marxist associated with the Pre-Raphaelite Brotherhood and the English Arts and Crafts Movement. The volume shows external age/wear,with faded spine. The book is solidly bound with a text that is largely clean and unmarked. Preliminary and final pages show foxing. The book measures approximately 5 1/4" x 7 3/4" and contains 363 pages. Shipping cost (within the U.S.) for this lot will be: $4.50View additional info
Description: 4to, printed in red, blue and black, woodcut borders and initials, original holland-backed boards, slipcase, some spotting to preliminaries, binding slightly worn and soiled. 4to, printed in red, blue and black, woodcut borders and initials, original holland-backed boards, slipcase, some spotting to preliminaries, binding slightly worn and soiled Loosely inserted is a printed note from William Morris dated "Dec. 28th, 1896" relating to this work.View additional info
Description: William Bright Morris (1844-1896) Pair of watercolour sketches, portraits of young women, gallery labels verso, 8" x 6", framed.View additional info
Description: The portiere designed by J.H. Dearle, the motto probably designed by May Morris, manufactured by Morris & Co, circa 1890 Silk on linen, the mushroom ground decorated with a pair of pigeons perched on scrolling foliage, with a fruit laden tree and two flowering shrubs, the background with polychrome flowers and foliage, the upper border decorated with a furled banner bearing the inscription: "All wrought by the worm in the peasant - Carle's cot. On the mulberry leafage when the summer was hot.", with seven suspension loops 9ft.11in. by 5ft.21/2in. (297cm. by 158.8cm.) LITERATURE Linda Parry, William Morris Textiles, London, 1983, p. 30 (similar example illustrated, without inscription, the pattern embroidered on silk damask by Mrs Battye) NOTES Though the design of this portiere is recorded as that of Henry Dearle, the additional motto is attributed to the hand of William Morris' daughter, May, who managed the embroidery section of the company from 1885-1896 and whose known contemporary designs closely match the style of lettering seen here. The very high quality of the stitching and colouring indicates that the piece was almost certainly executed in the embroidery workshops of Morris & Co. as opposed to having been completed by the company's clients, as was sometimes the case. We are grateful to Peter Cormack of the William Morris Gallery, Walthamstow for his help in preparing this catalogue entry.View additional info
Description: God Speed signed and dated 'E.BLAIR LEIGHTON.1900.' (lower left) oil on canvas 63 x 455/8 in. (160 x 116 cm.) ENGRAVED A photogravure was published by Louis Wolff & Co. Ltd. before 1913. LITERATURE Royal Academy Pictures, 1900, London, 1900, illustrated, p. 55. Academy Notes, 1900, London, 1900, pp. 24, 118 (illustrated). Alfred Yockley, 'The Art of Edmund Blair Leighton', Art Annual, London, Christmas 1913, pp. 11 (illustrated), 31. EXHIBITION London, Royal Academy, 1900, no. 606. NOTES Edmund Blair Leighton was well known in his day. He contributed a total of sixty-six pictures to the Royal Academy summer exhibitions. Often large and eye-catching works, they were popular with the public and widely reproduced. 'No work is more popular than his among publishers', wrote a critic in 1900, and his Times obituary noted that his pictures were, 'in photogravure form,...seen in so many homes.' The Art Journal devoted an article to him in 1900, and at Christmas 1913 he was the subject of its Art Annual . He had an entry in Who's Who, and not only the Times but the Connoisseur carried an obituary. Yet today Blair Leighton is a somewhat mysterious figure. His pictures are by no means unknown in the saleroom, even if they are seldom as imposing as the two offered here. There is a major example in the Leeds Art Gallery ( Lady Godiva, 1892). One of his earliest works ( A Flaw in the Title, 1878) is at Royal Holloway College, and a characteristic eighteenth-century genre scene ( Launched in Life, 1894) will be familiar to those who patronise the St James's Restaurant at Fortnum and Mason's. But there was never a Chantrey picture in the Tate to appear from time to time and, even in the days when such works were ridiculed, keep his memory green. Nor, so far as we know, has any modern scholar made him the subject of research. His father, Charles Blair Leighton (1823-1855), was a short-lived painter of portraits, historical subjects and genre. He studied under Benjamin Robert Haydon, being a fellow pupil of Landseer, Eastlake, George Lance and William Bewick, and exhibited for several years at the Royal Academy and the British Institution. His chalk drawing of the radical politician Joseph Hume (1777-1855) is in the National Portrait Gallery. He also conducted research into colour lithography, being a senior partner in a family firm, Leighton Bros, which specialised in lithographic reproduction. From 1852 he had a studio at 4 Red Lion Square in London's bohemian quarter, Bloomsbury, but he can hardly have had any contact with the famous occupants of no. 17. Rossetti and Walter Howell Deverel had moved out in 1851, and Morris and Burne-Jones did not arrive until 1856, by which time Charles Leighton was dead. Edmund was born in London on 21 September 1858, one of three children of whom the other two were girls. Since he lost his father two years later, there was obviously no question of receiving parental guidance in even the rudiments of art. Indeed, no sooner had he finished his formal education at University College School than, at the age of fifteen, he was sent to work for a tea merchant in the City. Possibly money was short, or perhaps the fact that the family and always been involved in commerce made this seem a natural course. At all events, the boy was determined to follow his father's profession. He attended evening classes at South Kensington and Heatherley's, and in 1874, at the age of twenty-one, he left his job and entered the Royal Academy Schools. He was to remain an RA student for five years, winning a œ10 premium for the best drawing done in the Life School in 1878, and in 1879 narrowly losing the Gold Medal for Painting to Henry La Thangue. Meanwhile, like so many young artists at this date, including his exact contemporary Frank Dicksee, he was finding employment as an illustrator with the prolific publishers, Cassell's. He began to exhibit the same year that he became a probationer in the RA Schools, sending a picture called An Answer Required to the Society of British Artists in Suffolk Street, modestly priced at 10 guineas. Four years later he had two pictures accepted by the Royal Academy, A Flaw in the Title, already mentioned as at Royal Holloway College, and Witness my Act and Seal, which was sold in these Rooms on 29 March 1996, lot 108. Seventeenth and eighteenth-century genre scenes with legal connotations, they were clearly the work of an ambitious young artist eager to show his mantle. Their careful finish betrayed an anxiety to forestall criticism, and in fact they were well received. The Times admired the way in which the artist had avoided the 'besetting fault' of so many genre paintings, 'too strong a smack of the stage,' while the Illustrated London News observed that although 'the faces [were] limned with well-nigh Holbein-like minuteness, and the details of furniture and drapery [were] all handled with exact care,... the general effect...[was], nevertheless, broad and powerful.' A Flaw in the Title was bought by Thomas Taylor, a wealthy cotton manufacturer, and entered Thomas Holloway's collection when Taylor's pictures were sold at Christie's in 1883. Blair Leighton's debut at the Royal Academy occurred the same year that Frederic Leighton became President, and it is possible that he emphasised his second forename, making it almost part of his surname, to avoid confusion with his famous but totally unrelated namesake. He identified closely with the RA, and maintained an unbroken record of exhibiting there for forty-two years (1878-1920). He continued to show occasionally at Suffolk Street until 1883, and towards the end of his life he became a member of the Royal Institute of Painters in Watercolours. Otherwise his loyalty to the RA seems to have been complete. He certainly never supported the Grosvenor or New Galleries, which represented a seemingly more advanced and liberal alternative. Given this loyalty, it is curious that the Academy failed to make Blair Leighton an associate, let alone a full member. As early as 1900 the Art Journal was hinting that it was only a matter of time before these honours materialised, but they never did. The contrast with Dicksee, who was already an ARA by 1881 and ended his career as President, is striking. It is true that parallel cases of neglect exist. The somewhat younger academic history painter Herbert Draper was likewise never welcomed into the RA fold. But at least Draper had a picture bought for the Chantrey Bequest, the well-known Lament for Icarus of 1898 (Tate Gallery). Blair Leighton failed to receive this accolade, even though, from today's perspective, his work seems almost the embodiment of Chantrey taste. Perhaps he was simply uninterested in scaling the academic heights. Certainly he chose not to live in one of the enclaves of RA painters, such as Holland Park or St John's Wood, preferring the more radical yet easygoing neighbourhood of Bedford Park. This garden suburb between Chiswick and Acton had sprung up in the late 1870s, largely to designs by Norman Shaw. A revolutionary concept in domestic architecture and suburban planning, it epitomised the so-called 'Queen Anne' taste and was a showcase for the artistic, moral and social priorities of the Aesthetic movement. As Mark Girouard, its historian, has written, 'light gushed out of it, its sweetness was almost overpowering... A 'Queen Anne' church, a 'Queen Anne' art-school, shop, club and inn, and nearly five-hundred 'Queen Anne' houses were set amid green fields and along tree-lined avenues. Almost every house was equipped with a suitably progressive or artistic family. Children in Kate Greenaway clothes bowled their hoops along the street on their way to co-educational school. Fashionable ladies rode out from the West End to stare at all these odd people; parties of architectural students came on pilgrimages...' ( Sweetness and Light; The Queen Anne Movement: 1860-1900, London, 1977, p. 160). Blair Leighton was among the first settlers, and lived to be one of the area's most senior inhabitants. Having bought 20 Queen Anne's Grove (the name, of course, is significant) in 1881, he moved to 7 Priory Road in 1889, and finally, in 1902, to 14 Priory Road, where he died twenty years later. In 1885 he married Katharine Nash; they had two children, a son, J.E. Blair Leighton, who also became an artist, and a daughter. Whether these were among the hoop-bowling infants who attended the local co-educational school, it is clear from photographs of Blair Leighton's house and studio that the family's domestic surroundings were conventionally 'aesthetic', cluttered with what the author of the 1900 article described as 'quite a collection of old furniture, arms, metal-work, pottery, and other unique relics of the past.' Blair Leighton took sufficient pride in his collection to mention it in his Who's Who entry. Formed partly as an aid to his elaborate reconstructions of historical events, it was no doubt larger than most. Yet interiors crowded with picturesque bric-…-brac were not unusual in the homes of Bedford Park's 'artistic', 'progressive', or sometimes just 'odd', inhabitants. Blair Leighton's neighbours included T.M. Rooke, Burne-Jones's studio assitant and a prot‚g‚ of Ruskin; W.B. Yeats and his family, both his father and brother being artists; the Arts and Crafts architect C.F.A. Voysey; the dramatist Arthur Pinero and the actor William Terriss; Frederick York Powell, socialist, Icelandic scholar, and Professor of Modern History at Oxford; Sydney Cockerell, secretary to William Morris's Kelmscott Press and later a distinguished director of the Fitzwilliam Museum at Cambridge; the 'advanced' American clergyman Moncure Conway; Canon J.W. Horsley, the chaplain of Clerkenwell prison, who devoted himself to the reclamation of burglars; C.S. Loch, secretary to the Charity Organisation Society; the Fenian revolutionary John O'Leary; and the Russian anarchist Sergius Stepniac, who was killed by a train in 1895 when he absentmindedly strayed onto a level-crossing. Blair Leighton seems to have played his part in this lively community. According to the 1913 Art Annual, he was 'an authority on [the area's] history, ancient and modern', and when his funeral took place at Bedford Park church, St Michael and All Angels, on 4 September 1922, it was attended by at least three other artists who lived locally: J.C. Dollman, who, like Blair Leighton himself, specialised in historical genre and showed regularly at the RA, the popular landscape painter Harry Sutton Palmer, and James Clark. Frank Dicksee was also among the mourners, and the RA sent a wreath. Blair Leighton never abandoned the pictorial territory he had staked out at the beginning of his career. This was more remarkable than it might seem since historical and literary subjects, so popular during the middle decades of the century, became increasingly less fashionable as impressionism and other forms of French realism strengthened their hold on British taste in the 1880s and '90s. Burne-Jones, who died in 1898, was vividly aware of this development, observing stoically in his declining years that 'the rage for me is over'; and many younger artists who had begun their careers in the same tradition turned to portraiture and other more profitable areas in later life. J.W. Waterhouse and Frank Dicksee are typical examples. Blair Leighton may not have followed this course, but he did tailor his historical subjects to popular taste. Like Alma-Tadema, whose figures are sometimes characterised as 'Victorians in togas,' he tended to choose sentimental and anecdotal subjects in which his audience could see a reflection of their own everyday hopes, fears, woes and aspirations. As the author of the Art Annual put it, 'as often as not he has painted contemporary life, but it has always been under the guise of the past.' The most familiar of these costume pieces are those set in the late eighteenth century or the Regency period - The Question (1892). Next-Door Neighbours (1894), In 1816 (1895), A Summer Shower (1896), A Favour (1898), and many more. They are comparable to the work of Marcus Stone, the leading exponent of star-crossed Regency lovers, although the 'Queen Anne' ethos of Bedford Park is also relevant. But there was more to Blair Leighton than this. He explored many other historical periods, and his work sometimes has an intensity which may surprise those who only know his essays in easy viewing. The two early legal subjects, each rather sombre in mood, have already been noted. They were followed two years later by The Dying Copernicus, and in 1884 by a possibly harrowing Roman subject, The Gladiator's Wife, and an account of one of the most famous (and ill-fated) medieval love-stories, Abelard and his pupil Heloise . The Secret and The Confessional (1885-6) were historical psychodramas in the manner of John Pettie or Seymour Lucas. Romola (1887) illustrated George Eliot's novel set in Renaissance Florence, and To Arms! (1888), in which a youth leaving a church with his bride on his arm is confronted by an armed knight demanding that he immediately enlist, is set in Lutheran Germany. Lady Godiva (1892) examined the famous legend from a new angle, focusing not on the heroine riding naked through the streets of Coventry but the tense encounter between her and her husband which led to her noble action. Melodrama pure and imsple was the object of In Nomine Christi (1896). A group of nuns give refuge to one elderly Jew while the mother superior repels his pursuers by brandishing a cross. In the late 1890s Blair Leighton's work took on a more poetical and even symbolist tinge. A King and a Beggar Maid (1898) looked again at a theme popularised by Tennyson and Burne-Jones. Elaine (1899) was also Tennysonian, illustrating a subject from the Idylls of the King which inspired an astonishing number of Victorian artists, not to mention the photographer Julia Margaret Cameron. Blair Leighton continued to explore the Arthuriad in Tristram and Isolde (1907), this time choosing a story to which Swinburne and Wagner had given memorable form; while Pell‚as and M‚lisande (1910) kept up the symbolist reference, in this case evoking thoughts of Maeterlinck and Debussy. Ultimately, however, this was a passing phase. Perhaps because symbolism itself was losing its hold on popular imagination, or perhaps because it was not Blair Leighton's natural territory, he was soon returning to more literal historical themes. The Boyhood of Alfred the Great (1913), Crusaders (1918), and Evicted (1919), an imaginary scene from the suppression of the English monasteries in 1536, were all among his last exhibits at the Royal Academy. God Speed, which appeared at the RA in 1900, shows a young woman binding an embroidered sleeve on the arm of her knight as he departs, horsed, fully armed, and bearing a lance decorated with a pennant, for the tournament. Other knights have already passed beneath the portcullis and are entering the field of battle. The picture was the first of several painted by Blair Leighton in the 1900s in which a knight and his lady are seen in incidents illustrative of the code of chivalry; The Accolade (Fig.2) followed in 1901, and The Dedication in 1908. The arms and armour which feature in all these pictures were no doubt in the artist's own collection, which is known to have included many examples. Although not specifically Arthurian in subject matter, these pictures represent a late phase of the Victorian revival of interest in the national legend. Pictorially, they have many antecedents. Perhaps the most obvious are William Dyce's nurals in the Queen's Robing Room in the House of Lords, in which the artist used incidents from the Arthurian stories to embody such abstract concepts as religion, chivalry, generosity and mercy, and the chivalric subjects that Rossetti and his followers were so fond of in the late 1850s. Blair Leighton's approach, of course, was much more academic, and may owe something to a picture such as John Pettie's The Vigil (Tate Gallery), bought for the Chantrey Bequest in 1884. As for his literary source, this is not so much Malory's Morte d'Arthur itself as Malory seen, in the words of the Art Annual, 'through the interpretation of Tennyson.' Nor is this surprising since in the Idylls of the King Tennyson adopted an approach analogous to that of Alma-Tadema or Blair Leighton, deliberately casting the stories in terms which encouraged his audience to identify with the protagonists. It was Swinburne who wickedly called the poem 'the Morte d'Albert, or Idylls of the Prince Consort', and many of the Laureate's more sophisticated readers had their doubts about the way his work was developing. With the public, however, the Idylls were an enormous success. Written over many years, they were all in print by 1872 with the exception of 'Balin and Balan,' which followed in 1885. The Victorians' tendency to use history as a mirror for their own preoccupations was often thrown into higher relief by current events, and never was this more the case than in 1900. The Boer War was raging, and the Royal Academy was full of its reflections, not only A.S. Cope's full-length portrait of Lord Kitchener but subject pictures such as John Bacon's Ordered South (young officer in khaki takes leave of wife and child). George Harcourt's Good-Bye! (more heart-rending partings, this time as the Grenadier Guards leave Waterloo Station), G.D. Leslie's In Time of War (young widow mourns in a poignantly beautiful garden) or David Farquharson's War News (fisherfolk reading a newspaper). These, however, by no means exhausted the references to the war, which were often cast in historical form. Marcus Stone's A Soldier's Return re-trod his familiar Regency ground, while Seymour Lucas's ' I could not love thee, dear, so much,/Loved I not honour more ' showed a young seventeenth-century soldier writing to his sweetheart from the front, using the top of his drum as a makeshift desk. Most numerous of all were the medieval parallels. Briton Riviere's St George, Sigismund Goetze's Dream of the Knight Errant, W. Onslow Ford's Joan of Arc, Solomon J. Solomon's Equipped (knight being armed by kneeling page) and Frank Dicksee's The Two Crowns (knightly hero catches glimpse of a crucifix as he returns in triumph) - all these gain resonance from the events in South Africa and seem to embody some aspect of the complex emtions that the war evoked at home. Blair Leighton's God Speed is clearly another example of this genre. It is, in effect, a medievalist version of Harcourt's Good-Bye! or Bacon's Ordered South, and perhaps spoke all the more potently to its audience precisely because it cloaked 'contemporary life...under the guise of the past.' Historical and literary subject matter may have been losing ground to realism, but they still retained an extraordinary hold on popular imagination, especially when powerful emotions were involved or the artist was required to distance reality and allow space for self-delusion. Dicksee's Two Crown was, after all, voted 'the best picture' in the exhibition by readers of the Daily News, and bought for the Chantrey Bequest for the then considerable sum of œ2,000. Fig.1 Edmund Blair Leighton Fig.2 Edmund Blair Leighton The Accolade (Private Collection).View additional info
Description: Resting fishermen Pencil 9x8 inches (24x20 cm) Initial.View additional info
Description: WILLIAM MORRIS (1834-1896) SIGNED HANDWRITTEN LETTER English textile designer associated with the English Arts and Crafts Movement. Morris was also a poet and translator and a founder of the Socialist League in 1884. In this handwritten 1878 letter Morris declines an invitation to dinner.
Condition Report: As stated in the description.View additional info
Description: [Venice, c.1420] 272 x 205mm. 168 + ii leaves: 1-2 1 0, 3 9(of 10, v cancelled blank), 4-8 1 0, 9 8, 10 1 0, 11 8, 12-16 1 0, 17 7, 18 5, 19 1 (of 2, lacking ii), catchwords in centre lower margin of most final versos, two columns of up to 37 lines of very variable script in two sizes, the commentary written in a small semi-cursive bookhand moving from gothic to humanistic and the sections of the Apocalypse in a script of two-lines height, all between four verticals and 38 horizontals ruled in ink, justification: 177 x 124mm, rubrics and paragraph marks in red, one- to three-line initials alternately of red and blue with flourishing of lilac and red, FIFTY-TWO LARGE ILLUMINATED INITIALS of two styles both with staves of pink and infills of blue containing green, red and yellow foliate shapes, all against grounds of burnished gold and with sprays, penwork tendrils and golden disks into the margin, HISTORIATED INITIAL accompanied by three-sided border of similar forms, TITLEPAGE MINIATURE in colours and liquid gold and FRONTISPIECE MINIATURE with evangelists' symbols and prophets in six medallions in brown ink and yellow wash (small pigment losses to titlepage miniature, a few spots and smudges in margins, dampstain in lower outer corner of final 65 leaves, four wormholes in final leaves). Brown panelled morocco by J. Leighton tooled in blind (extremities scuffed). A FASCINATING EXAMPLE OF CROSS-CULTURAL INFLUENCE IN A MEDIEVAL MANUSCRIPT OWNED BY WILLIAM MORRIS PROVENANCE: 1. The style of the illumination suggests that the manuscript was made in Venice. 2. Convent of San Pietro, Padua: a note dated 1700 by Isabella Papafava, nun of the convent recording the discovery of the volume in the possession of an 'antichissima religiosa' and her rescue of it. 3. William Morris (1834-1896), Kelmscott House, Hammersmith: his bookplate inside front cover 4. Leo S. Olschki 1937 CONTENT: Federigo da Venezia: Commentary on the Apocalypse, lacking final few lines ff.2-168v; St Augustine: In Johannis evangelium tractatus, cxxiv (Migne 35, 1386), folded folio from a 12th-century Italian manuscript as two final endleaves Federigo de Rinaldo, usually known as Federigo da Venezia, moved between the convents of northern Italy. A Dominican who matriculated as a doctor of theology at Bologna around 1380, he taught both in that city and at Padua, where, in 1389, he was granted licence to send two of the order to Venice whenever he wished. Later that year he was ordered to return to the convent in Venice all the books that he had borrowed from it or, otherwise, to make restitution. In 1393 he delivered the oration at the funeral of Francesco I da Carrara, Lord of Padua -- he was described as 'distinguished in doctrine and eloquence' --and his commentary on the Apocalypse is believed to have been completed around this time on the command of Francesco II. He returned to Bologna as inquisitor in 1395 but in February 1398 he was again in Padua and was elected Priore della provincia di Lombardia inferiore in 1401. His commentary was primarily concerned with examining the text and grammar of the Apocalypse -- regarding it as the only book of the Bible of which Christ was the author, with St John merely acting as the scribe. Written in a literary version of Venetian dialect Federigo's commentary was 'one of the very first biblical commentaries composed directly in an Italian tongue': A. Luttrell, 'Federigo da Venezia's Commentary on the Apocalypse 1393/4', Journal of the Walters Art Gallery', xxvii-xxviii (1964-5), pp.57-65. In both the early printed edition and some manuscripts, including the present example, it was mistakenly identified as merely a translation of Nicolas de Lyra. As it was copied during the 15th century the text gradually became Tuscanised. Luttrell identified 16 Italian manuscripts of the text, including this one ('untraced') and one destroyed, and Gargan added a further two, again one of them lost: L. Gargan, Lo studio teologico e la biblioteca dei domenicani a Padova nel Tre e Quattrocento (1971). Two of the earlier copies are of particular interest in relation to the present manuscript: Walters Art Gallery W.335 and Paris, BnF, Ms ital.86. Although neither of these exactly duplicates the text and illustration of our manuscript -- the text is closer to ital.86, which is unillustrated -- they do explain its appearance and genesis. Both of these manuscripts were copied in Candia, the chief town of the Venetian colony of Crete, W.335 in 1415 and ital.86 in 1409. They were clearly not the only examples made on the island; a literal translation into Greek was also made at around the same time, leading Luttrell to claim 'The work of an obscure friar thus took a minor place among the important series of translations...through which Byzantine theologians acquired a knowledge of Roman theology. This process helped to produce that measure of understanding which made possible the serious attempt to secure the reunion of the churches which took place at the council of Florence a few decades after Federigo's death'. It is clear from a comparison with the illustration on f.2v of the Walters manuscript, showing the Evangelist having fallen to the ground on seeing the Son of Man between seven candlesticks, holding seven stars, with a sword in his mouth, that it was just such an illustration that served as the model for the frontispiece of the Foyle manuscript. The use of a manuscript produced in Crete as an exemplum would also account for the form of the display script on both the frontispiece and opening folio of the present manuscript. In contrast, the ink and wash frontispiece on the verso, with roundels containing the symbols of the Evangelists and the heads of two prophets, appears to depend upon an earlier northern European model. The illuminated initials and borders are more straightforwardly Venetian. The decorative vocabulary and technique of the borders up to folio 36v is that of manuscripts produced in the workshop of Cristoforo Cortese at this date, for example the Promissione of Doge Francesco Foscari of 1422: Miniature a Brera 1100-1422, ex. cat.1997. eds M. Boskovits, G. Valagussa & M. Bollati, p.239. Clearly the manuscript was not completed in a single campaign and the refined and richly coloured initials from f.42 on are the work of a north Italian illuminator of around 1470.View additional info
Description: 1834-1896 hall sofa designed and made for the entrance hall of stanmore hall, middlesex, circa 1890 rosewood frame, rectangular buttoned back and serpentine sprung seat upholstered in oak leaf patterned chintz, the three turned, spiral-fluted and square front legs joined by stretchers, on castors 106.5 cm., 42 in. ht by 195 cm., 76 3/4 in. width by 65 cm., 20 5/8 in. depth Provenance: William Knox D'Arcy, Stanmore Hall, Middlesex. Literature: For an illustration of one of these specially commissioned sofas in situ in the entrance hall of Stanmore Hall see: Jeremy Cooper, Victorian and Edwardian Furniture and Interiors, London, 1987, p. 178, fig. 476.View additional info
Description: WILLIAM MORRIS (1834-1896) HAMMERSMITH CARPET, CIRCA 1890 hand-knotted wool 184 in. (467.3 cm) high; 93 in. (236 cm.) wideView additional info