The Collections supported by Leeds Art Fund

Leeds Art Fund has contributed to 430 acquisitions and owns outright a collection of some 200 works some of which have been given by our members. It is a diverse and dynamic assortment of artworks including paintings, sculpture, and works of applied art including silver, furniture and ceramics. You can explore a selection of some of the items we have helped to purchase on this page.

The collection is maintained and cared for by Leeds Museums and Galleries, and all acquisitions comply with the Collections Development Policy of Leeds Museums and Galleries. While in the early years, Leeds Art Fund acquired a number of remarkable modern paintings and sculptures, by artists such as Moore , Hepworth, Bacon and Calder, today we only add to this collection on an occasional basis, when we receive works as gifts or bequests.

If you would like to gift or bequeath works to Leeds Art Fund please contact the Chair at chair@leedsartfund.org to discuss the matter.

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Precious Stones

Agar, Eileen

1936, Collage, 26 x 21

An artist best known as a Surrealist but who also experimented in many different media. A British artist, born in Buenos Aires, Eileen Agar moved with her family to England in 1911. She studied art first at the Byam Shaw School of Art and then spent a year at the Slade School of Art, followed by two years in Paris. During the 1930s Agar became one of the leading exponents of Surrealism. Her work was selected for the International Surrealist Exhibition in London in 1936 and she continued to exhibit her work at Surrealist exhibitions in England and abroad. Agar also experimented with other media: photography, collage and the creation of objects, often constructed from fabric and plaster. The collage Precious Stones was bought with the aid of a contribution from the LACF in 1986, to mark the retirement of George Black as chairman of the Fund.

Agar

Collage

La Liseuse (The Reader)

Albert Ernest, Carrier- Belleuse

1887

A quiet, contemplative figure intended to put us in mind of a late medieval figure of the Virgin Mary.

A French sculptor and painter, Carrier-Belleuse began by training as a goldsmith’s apprentice. He then decided to move to the decorative arts and studied briefly at the Ecole des Beaux Arts in Paris.

From 1850-55 he worked in England, creating ceramic designs for companies such as Minton and Wedgwood. In 1857 Carrier-Belleuse returned to Paris, where Emperor Napoleon III commissioned a number of public projects from him during the rebuilding of Paris. In 1862 Carrier-Belleuse was made an Officer of the Légion d’honneur. Between 1864 and 1870, Auguste Rodin worked with Carrier-Belleuse as an assistant in his workshop. The original of this sculpture won the Grand Prize at the Salon in Brussels and a large number of casts were subsequently made.

La Liseuse has no name but is intended to put us in mind of a luxurious, late medieval image of the Virgin Mary. A touch of exoticism is added by the metal patina which on the dress is silver with a gold border, enhancing the rich, brocaded pattern of the fabric. The figure was bought by an LAF member in an antique shop in north Leeds and given anonymously to the LAF in 1966.

Carrier- Belleuse Albert Ernest

Sculpture: bronze and carved ivory

The Queen Anne State Bed made for Earl Powlett of Hinton House, Somerset, Lord Steward to Queen Anne

The Queen Anne State Bed made for Earl Powlett of Hinton House, Somerset, Lord Steward to Queen Anne.

The Queen Anne State Bed. Made for Earl Poulett of Hinton House, Somerset, c1710. This magnificent bed was fully restored with grants from the Monument Trust, the Leeds Art Fund and the Ramsden Bequest Fund in 2012. Beds whose canopies are suspended from the ceiling without the support of front posts are often known as ‘angel’ beds and were popular in the period c1680 – 1725.

This example was made into a four post (or full tester) bed in the early 19th century and one of the tasks of the restoration project was to return it to its original appearance. This was achieved by recarving the cornice, replicating the silk damask and velvet curtains; replacing the outer valances; and reweaving the gold braid. The headboard and inner valances were conserved and re-integrated with the new elements. The remaining original features were conserved and put into store. Only the bed cover and feet are inventions. 

The bed was made as part of a major re-ordering of the State rooms at Hinton House for a possible visit of Queen Anne for whom Earl Poulett was Lord Steward. In the event this never happened; the bed was sold in the early 20th century and installed at Beaudesert, Staffordshire. In the 1920s it was sold to the Henry Ford Museum, Detroit from where it was de-accessioned in 1979.    Bought with the aid of grants from the V&A Purchase Grant Fund and the Art Fund  (1981.0017).  

Anon

Furniture

Beadwork Mirror

Anonymous Lady Embroiderer

1660s

A superb Charles II beadwork mirror

The LAF have recently helped Leeds Museums and Galleries to secure this superb Restoration period beadwork mirror for Temple Newsam. It must be one of the largest and most ambitious surviving examples of this rare form of embroidery associated with ladies from gentry families from the 1660s. The 'pictures' which surround the central looking glass are made from hundreds of coloured glass beads applied to a silk backing. Either side are figures of Charles II and Catherine of Braganza (married in 1662) with their attendants under canopies; in each corner are emblematic birds and beasts; above is a castle and below a fountain.

Interspersed between these are trees, flowers and foliage with occasional bugs and butterflies. The effect is remarkably vivid and colourful. Even more remarkable is the original hinged box, still covered in its original rich crimson silk velvet. This material has now disintegrated but traces can be seen in different places. it is the intention to replicate this in order to restore the full visual impact of the mirror as it was originally seen. The mirror is particularly relevant to the collections at Leeds since it was once at Farnley Hall near Otley and was probably made by one of the ladies of the Fawkes family."

Anonymous Lady Embroiderer

Embroidery

Painting 1950

Bacon, Francis

1950

Paining 1950, Francis Bacon (b.1909), oil on canvas, 198.1x132.1

Francis Bacon's tense and enigmatic masterpiece was bought by the Leeds Art Collections Fund from an exhibition in Leeds in 1951.

This is probably one of the first in a series in which the artist created images from photographs by Eadweard Muybridge of the human figure in motion - these photographs of walking and running people are taken against a regular grid (for measurement purposes).

Bacon has exploited - exaggerated, altered, added to, with intense emotional effect - both the grid and the figure.

Its ambiguous placing in space and its surprising shadow (is it another figure ?) gives this painting a mysterious urgency which contrasted with the public optimism of the Festival of Britain, the year in which the painting was bought by the LAF. Its acquisition was controversial and was decided only after a lengthy debate with the members being asked to vote.

Ernest Musgrave, Director of the Art Galleries and Secretary to the LAF, was determined to have it even at the large sum of £220, writing:'

It reflects the artist's conception of the state of the world, the tension, secretive and latent violence of which we are all conscious.    

Bacon

Oil on canvas

Three Rocks

Barns-Graham, Wilhelmina

1952, Oil on canvas, 61.6 x 106.7

A painter who set up a Trust to provide bursaries for students of art and art history. A Scottish artist, born in St. Andrews Fife, Wilhelmina Barns-Graham studied at the Edinburgh College of Art from 1931-37. In 1940 she moved to St. Ives in Cornwall, where she became a member of both the Newlyn Society of Artists and the St. Ives Society of Artists, leaving the latter after an acrimonious split to become founder of a breakaway group, the Penwith Society of Arts. In 1952 her studies of local forms became planar and two dimensional. Three Rocks, dated 1952, is an example of her style at this time. It was bought by the LACF in 1952. Barns-Graham was one of the foremost British abstract artists, but her importance declined and it was not until her old age that she received recognition. In 1992, Barns-Graham was awarded an honorary doctorate from the University of St. Andrews and this was followed by honorary degrees from several other universities. In 1999 she was elected an honorary member of both the Royal Scottish Academy and the Royal Scottish Watercolourists. In 2001 Barns-Graham was awarded the CBE. In 1987 she had set up a charitable trust, the aims of which were to advance knowledge of her work and to support art and art history students through grants and bursaries.

Barns-Graham

Oil on canvas

Horse Fair at the Barbican

Bevan, Robert

Drawing, pencil and crayon 33.5 x 29.2

An artist whose great knowledge of horses is reflected in much of his work. A British painter and lithographer, born in Hove, Sussex, His father ran the Brighton Union Bank and Bevan was brought up on an estate on the Sussex Downs, where he and his brothers enjoyed riding to hounds and other country pursuits. He was expected to join the Bank but was permitted instead to attend art school. He studied briefly at the Westminster School of Art and then at the Académie Julian in Paris In 1890 he visited Pont-Aven, the artists’ colony in southern Brittany, at the time when it was strongly influenced by Gaugin. The oil paintings he produced at Pont-Aven were all of horses and, on his return to England, Bevan spent three years living on Exmoor hunting and drawing hunting subjects. He later settled in London and became a founding member of the Camden Town Group (1911), the London Group (1914) and the Cumberland Market Group (1914). Horses remained his favourite subject throughout his painting career. [Oxford D.A, 20C] This pencil and crayon sketch was made c. 1913 and was bought with the aid of a contribution from the LACF in1985.

Bevan

Drawing

Composition

Bigge, John Selby

1940

23.5 x 36

This very ambiguous painting is one of a series with the same title, though with different subjects.

Bigge (Sir John Amherst Selby-Bigge) was born in Oxford in 1892, and attended the Slade School of Art in 1914, until he entered military service. After the First World War, he worked as a chicken farmer, then as an estate agent.

He continued to paint in his spare time and in the 1930s he exhibited 4 paintings with the Unit One group of artists. He was also involved for a short time in Surrealism and exhibited at the London Surrealist Exhibition in 1936.

His work is said to have been influenced by that of Edward Wadsworth. Dated 1940, was acquired by the LACF in 1986, following the Surrealist Exhibition of that year at the Leeds City Art Gallery

Bigge

Oil on board

Grandmother and Child

Bonnard, Pierre

1894, Painting, oil on panel, 34.4 x 41.9

A French artist who became best known for his paintings of intimate domestic scenes. Pierre Bonnard was born in Fontenay-aux-Rose, south-west of Paris. At the insistence of his father, a high-ranking official in the French Ministry of War, Bonnard studied for a degree in law at the University of Paris. At the same time, he attended evening classes at the Académie Julian. Later he studied at the École des Beaux Arts and decided to become an artist. Bonnard’s early works were influenced by Post-Impressionist art and depicted mainly scenes of Parisian life, landscapes, and still lifes. His paintings were exhibited with those of the group known as Les Nabis at the Salon des Indépendants and also with the Fauves at the Salon d’Automne. Bonnard later developed his own style and became well known for his interior scenes of domestic life, which reflected his own serene life. In 1940 Bonnard became one of the very few foreign artists to have been elected as a member of the Royal Academy. Grandmother and Child, dated 1894, was acquired by the LACF in 1939. A work by Sickert, bought in 1938, was traded in part exchange for this work.

Bonnard

Oil on panel

Cassolet

Boulton, Mathew

1775, Birmingham

H. 31

A tripod perfume burner of a type used to sweeten the air in the dining rooms of great 18th century houses.

Made from white marble and ormolu (gilt bronze), the cassolet, (from the French word for ‘perfume burner’) is in the form of a covered marble vase raised on an ormolu tripod bolted to a triangular marble plinth. The perforated cover is surmounted by a fruit-finial.

The design corresponds to a drawing in Boulton and Fothergill’s Pattern Book I, p.171 but probably originated from a plate in James Athenian Stuart and Nicholas Revett’s Antiquities of Athens, the first volume of which was published in London in 1762. More information about this cassolet can be found in N.P. Goodison’s, Matthew Boulton: Ormolu (2002), Shena Mason (ed), Matthew Boulton: Selling what the world desires (2009), and  Christopher Gilbert’s Furniture at Temple Newsam  House and Lotherton Hall, (1978).

Matthew Boulton

Tripod perfume burner, ormolu and white marble

Globe Inkstand

Boulton, Matthew (Attrib.)

H. 40

Globe inkstands of this design became fashionable during the last quarter of the eighteenth century.

The hollow spherical body is constructed in two halves, the divided upper section being formed of pivoted segments which open to reveal a circular tray with stands for a set of three blue glass ink and pounce jars and penholders.

The globe is mounted in an upright circular frame consisting of two rings supported by four carved stays ornamented with lions’ masks suspending floral festoons. The outspreading scroll legs terminate in hairy claw and ball feet.

At the apex is a winged Victory figure operating the pressure catch which opens the globe. The inkstand rests on a galleried plinth fronted by a shallow drawer with statuettes representing ‘Africa’, ‘Asia’ and ‘Europe’.

The sides are faced with blue glass panels contained within laurel borders and the sycamore base is set on fronded bracket feet. The inkstand was given anonymously through the LACF in 1969. (Gilbert, C., Furniture at Temple Newsam House and Lotherton Hall

Inkstand ormolu with blue glass panels and jars

Matthew Boulton

Tragic Group

Brown, Ralph

1953, Sculpture: bronze, 47 x 48.5 x 23.1

Born in Leeds, the son of a school caretaker, Brown was educated at Leeds Grammar School. Following National Service after the Second World War, he studied at Leeds School of Art from 1948-51 and at the Royal College of Art from 1952-56. He taught at Bournemouth Art College from 1956-58 and at the Royal College of Art from 1958-69. He worked as a sculptor for almost sixty years, concentrating mainly on the human figure. A visit to the Musée Rodin gave him an understanding of anatomical clay modelling which is reflected in his powerful early bronzes, of which his Tragic Group is one. This sculpture, dated 1953 was bought by the LACF, together with a second bronze, Running Girl with Wheel, dated 1954, in 1958.

Brown

Sculpture: bronze

Fly

Buchler, Pavel

2009, Installation

An artist whose work challenges our perception of life. Pavel Büchler was born in the Czech Republic and studied first at the Prague School of Graphic Arts and then, from 1973-76, at the Institute of Applied Arts, where he was influenced by images of Conceptual art from Western Europe. As a student, he formed the group K.Q.N, a form of resistance to state control through the clandestine printing of banned literature. He was evicted from Czechoslovakia in 1981 and settled in the UK. From 1992 to 1996, Büchler was head of the School of Fine Art at Glasgow School of Art and is currently Research Professor in Art and Design at Manchester Metropolitan University. Since the 1980s his work has been exhibited widely in Britain, Europe, China and America. Büchler’s installations are often made from abandoned objects and obsolete pieces of technical equipment. They invite interpretation by the viewer, acting to stimulate the imagination. Fly was bought with the aid of a contribution from the LACF in 2011.

Buchler

Installation

Girl

Butler, Reg

c, 1956, Sculpture, bronze, 147.3 x 45 x 37

A leading post-war British sculptor, draughtsman, architect and writer. Born in Buntingford, Hertfordshire, Butler trained as an architect but gave up his architectural practice to become the first Gregory Fellow in Sculpture at the University of Leeds from 1951-53. In 1953 he won first prize in the International Competition for a monument to The Unknown Political Prisoner with a design characterized by harsh metal forms suggesting a gallows on a rocky outcrop. This established Butler's reputation and during the 1950s and 1960s he became very well known. Many of his works are held by the Museum of Modern Art in New York and by the Tate Gallery, London. During the late 1950s, he returned to figurative work and produced a number of bronze female figures. Girl, made c. 1956, was bought by the LACF in 1957.

Butler

Sculpture

Chicago Black

Calder, Alexander

c. 1949, Mobile sculpture: aluminium, 450 x 210

The artist who invented the 'mobile'. An American artist, Alexander Calder was born in Lawnton, Pennsylvania. Calder’s father and grandfather were both sculptors, but he chose to study mechanical engineering, only beginning to be interested in art at the age of 24. He enrolled at the Art Students’ League, New York where he studied as a painter. Whilst he was a student, Calder became noted for his skill in sketching people in movement and he started to create wire sculptures which also suggested movement. He experimented with abstract constructions which were intended to be stationary and these he called ‘stabiles’. In 1931 Calder started making moving sculptures, calling them ‘mobiles’. Calder used the principles of weight and balance to make his mobiles change their patterns of movement, either when disturbed by currents of air or sometimes by motor power for large works. Chicago Black was bought by the LACF in 1963.

Calder

Mobile sculpture: aluminium

Three Men of Exactly the Same Size in an Unequal Room

Campbell, Steven

1987, Painting, Oil on Canvas, 249 x 277

A former steelworks engineer who later 'helped to put Scottish art in an international context'. A former steelworks engineer who later 'helped to put Scottish art in an international context'. Born in Glasgow, Campbell left school at sixteen and worked as a steelworks engineer before studying as a mature student at the Glasgow School of Art from 1978-82. In 1982 Campbell won a Fulbright Scholarship which enabled him to go to New York. He held two exhibitions there in 1983. His work was very well received on the New York scene and his career took off. His paintings appeared in exhibitions throughout Europe and the United States. His reputation was established in America, but he was not so well known when he returned to Glasgow in 1986. However, after several exhibitions in Glasgow he was acclaimed as ‘one of the major figurative masters of our time’, who had ‘helped to put Scottish art in an international context’. (Sandy Moffat, obituary in the Guardian newspaper, 3rd September, 2007). Campbell’s paintings were made on a large scale; they are complex and often contain strange beasts and distorted figures in a space with changing perspective. Three Men of Exactly the Same Size in an Unequal Room was bought with the aid of a contribution from the LACF in 1989.

Campbell

Oil on canvas

National Grid

Caro, Sir Anthony OM

1978-79, Sculpture: Metal, 133 x 183 x 129

Possibly the finest British sculptor after Henry Moore. A British sculptor, Anthony Caro was born in New Malden, south-west London. His father was a stockbroker and wanted his son to join his firm. Caro did not want to do that, but at his parents' suggestion he began to train in an architect's office. He soon gave up architecture in order to study engineering at Cambridge University, graduating in 1944. During the Second World War Caro served in the Fleet Air Arm and afterwards studied sculpture at the Regent Street Polytechnic and then from 1947-52 at the Royal Academy Schools. From 1951-53 he also worked part-time as an assistant to Henry Moore. Until 1959 Caro's work was figurative, modelled using clay, but during a visit to America that year he became strongly influenced by the constructed sculpture of David Smith and on his return to London in 1960 he bought welding equipment and scrap metal and made his first constructed abstract sculpture. Caro's work then became characterized by abstract metal constructions and he gained international recognition. Caro was knighted in 1987 and awarded the OM in 2000. National Grid was bought, with the aid of a contribution from the LACF, to mark the reopening of Leeds City Art Gallery in 1982.

Caro

Sculpture: Metal

Writing Cabinet

Channon, John

H. 245; L. 117

This spectacular cabinet relates to a family of high quality rococo furniture, embellished with brass-inlay and a distinctive repertoire of gilt brass mounts, known as the ‘nymph and satyr’ group.

The exterior of the writing cabinet, which is of serpentine design, is richly styled with engraved brass-inlay and finely chased ormolu mounts. The lower stage contains four long drawers, the top one is fitted with a baize covered writing slide, with sliding pen trays with divisions for ink bottles at each side.

The front corners of the upper stage are headed by Nereid masks with pendants incorporating rococo foliage, cascade ornament, shells and rock work clusters. The base mounts feature scallop shells, rococo fronds and a waterfall. The main doors, veneered with a well-figured mahogany, are outlined with a shaped panel executed in padouk crossbanding. The doors are headed by a Bacchic mask above a pair of winged dragons surrounded by foliate strapwork with two naturalistic vine trails extending to the keyhole escutcheon.

The impressively equipped interior contains tiers of folio divisions, pigeon holes and shallow drawers within the depth of each door. The body of the interior is decorated with brass stringing-lines, edge beading and ring handles. It centres on a door enclosing an ingenious system of sliding panels which conceal seventeen secret compartments. The base mounts feature scallop shells, rococo fronds and a waterfall.

The evidence for attributing this cabinet to the Channon workshop is based on a pair of library bookcases at Powderham Castle, Devon, which have carved and gilt decoration and engraved brass-inlay inscribed ‘J. Channon Fecit 1740’. Other London firms were using this decorative technique during the early Georgian period but Channon remains a candidate for the authorship of this cabinet.

The cabinet was purchased with the aid of a contribution from the LACF in 1985.

Channon

Furniture: Writing Cabinet, Mahogany with engraved brass inlay

Lady’s Secretaire

Chippendale, Thomas

1773

A lacquer secretaire made by Thomas Chippendale for the State Bedroom at Harewood House.

Fall front secretaire (‘Lady’s Secretary’) Pine etc, veneered with Chinese lacquer and japanned. Assembled by Thomas Chippendale (1718 – 1779) for the State Bedroom at Harewood House, 1773.

This exquisite piece of furniture re-interprets the French form in the English neo-Classical style. The imported Chinese lacquer panels were supplied by Edwin Lascelles of Harewood House to be made up into furniture by Chippendale who made up matching additional parts for the top and interior. He described it as a Lady’s Secretary and charged £26 for the work. It stood against the green silk damask of the State Bedroom and was en suite with other lacquer pieces: a pier commode and two cabinets on stands. An identically configured secretaire in satinwood and marquetry was supplied to the State Dressing Room next door.

Chippendale’s commission for Harewood which lasted over 30 years was worth approximately £10,000 was probably the most lavish furnishing scheme anywhere in 18th century England. A second almost identical secretaire, possibly veneered with the residue of Lascelles’ Chinese lacquer, was supplied to Robert Child of Osterley Park, Middlesex. Bought after a temporary Export Licence Deferral by a large consortium of benefactors including the Leeds Art Fund in memory of Christopher Gilbert, Keeper, Temple Newsam 1961 - 83 and Director of Leeds Art Galleries 1983 – 95 (1999.0018).

Furniture

Thomas Chippendale

Collector’s Cabinet

Chippendale, Thomas (attrib)

H.173; W. 109; D. 49

OLYMPUS DIGITAL CAMERA

A cabinet made for a collector, the upper part of the cabinet is fitted with thirty shallow drawers.

A cabinet of upright rectangular design in two stages separated by a narrow ledge. The upper stage is enclosed by architecturally styled double doors and the frieze is carved with floral swags and ribbons. The upper part is fitted with thirty drawers, with sliding shelves above. The doors of the lower part of the cabinet are enhanced by crossbanding and corner rosettes.

The interior of the lower stage also has grooves for shelves and contains a deep tray, which travels forward on brass rollers. The sides and doors of the cabinet are of solid mahogany, the panelled back and internal partitions of oak and the top and baseboards of pine. The cabinet was bought by the LACF in 1960. (Gilbert, C., Furniture at Temple Newsam House and Lotherton Hall.

Furniture; cabinet, mahogany, oak, pine

Thomas Chippendale

Untitled Painting

Clough, Prunella

Mixed media, watercolour and gouoache on paper, 110 x 195

An 'artist's artist', described in the book accompanying the exhibition of her work at Tate Britain in 2007 as 'one of the most interesting and important British painters of the post-war period. Prunella Clough was born in Chelsea, London. Her father was a civil servant at the Board of Trade but he was also a poet who inspired in his daughter a love of art and literature. In 1937 Clough attended Chelsea School of Art, where she studied design, life drawing and sculpture as a part-time student. During the Second World War she worked in the American Office of War Information, drawing charts and maps. After the war, Clough studied, again part-time, at the Camberwell School of Art whilst making regular visits to the East coast, particularly Southwold. Clough’s early work demonstrated her fascination with industrial landscapes and those who worked in them: fishermen on the Lowestoft docks, lorry drivers in their cabs and telephone engineers were among her chosen subjects and during the 1940s she was associated with the Neo-Romantic group of artists. During the 1950s she continued to explore the theme of social realism but from 1960 onwards her work became more abstract. She was highly respected by her fellow artists but was a very private individual and declined to accept both an OBE in 1968 and a CBE in 1979. Prunella Clough worked all her life, both as a teacher and as a painter. She was awarded the Jerwood Prize for Painting just a very

Clough

Lovers

Colquhoun, Robert

Oil on canvas, 91.4 x 60.9

An artist who was very successful during the 1940s but whose reputation declined over the next two decades. A Scottish artist, born in Kilmarnock, Ayrshire, Colquhoun was encouraged by his head teacher at Kilmarnock Academy to specialize in drawing and painting. In 1929, because of the economic depression, he was forced to leave school and take an apprenticeship with an engineering company. Thanks, however, to funds raised by his head teacher, Colquhoun was able to resume his art studies and in 1932 he won a scholarhip to the Glasgow School of Art. There Robert Colquhoun and his fellow student Robert MacBryde formed a very close relationship which was to last all their lives. Together they spent five years at Glasgow School of Art, where they became known as ‘the Two Roberts’. Both Colquhoun and MacBryde were found to be unfit for military service during World War II and in 1941 they settled in London, in a spacious studio in Campden Hill. At first they shared the studio with John Minton and became drawn into the Neo-Romantic group of artists but by the mid-forties Colquhoun was painting in a bleaker, sharper and more aggressive style. This may have been due to the influence of Picasso’s brutal distortion of the human figure in his wartime paintings, which were exhibited at the V & A in 1945. In The Listener of 13th February,1947 Wyndham Lewis wrote that Colquhoun was ‘generally recognized as one of the best –perhaps the best – of the young artists’. His  painting, Lovers, was bought by the LACF in 1951. But success was short-lived. Colquhoun and MacBryde had become heavy drinkers and in 1947 their landlord evicted them from their studio because of their drunken behaviour. Their studio had been their home and losing it changed their lives. They lodged first with friends, then lived in a series of rented rooms, continuing to drink and in declining health. Colquhoun continued to paint but there was a noticeable lessening of his powers. Robert Colquhoun died suddenly from heart disease in September 1962.

Colquhoun

Oil on canvas

Ferring Grange

Conder, Charles

50.8 x 60.9

An artist described as 'best known for landscapes, arcadian fantasies and painted fans’ in 'A Dictionary of Modern and Contemporary Art', Oxford University Press, but one who was also known an artist who had lived for several years in Montmartre, the artistic quarter of Paris, where he had made the most of its nightlife, and drawn and painted the dancers of the Moulin Rouge.

Charles Conder was born in London in 1868 but at the age of two he was taken to India where his father had been appointed as an executive railway engineer. His mother died in India and after her death he was sent, aged five, back to England to be educated. His father opposed his wish to train as an artist and in 1884 Conder was sent to Australia to work with an uncle who was a surveyor.

After a while, Conder left his uncle’s employment and became apprenticed to a firm of lithographers. He maintained a strong interest in pursuing his wish to become an artist , beginning his studies at the Royal Art Society in Sydney and later moving to Melbourne. where he learned from artist friends how to paint landscapes in the manner of the Impressionists. Degas, Sickert and Toulouse-Lautrec London and Paris 1870-1910, London, Tate Publishing, 2005, p.220) .

In 1890 Conder left Australia for Paris, where he joined a circle of artists  which included Toulouse-Lautrec.  Working in Montmartre, the artistic quarter of Paris, Conder began to frequent its notorious  bars and cafés, taking part in the nightlife and producing  many sketches of dancers at the Moulin Rouge.  In 1897 Conder settled in London where he became well-known for his designs for fans, which he painted in watercolour on silk.  In  England, Conder's  choice of subject matter was very different, consisting mainly of landscapes and coastal scenes. 

Ferring Grange might perhaps be described as an ‘arcadian fantasy’, in which a group of fashionably-dressed young women, one seated on a swing and others playing croquet , are seen in an idyllic parkland setting. The picture was bought by the LACF in 1934.

Conder

Oil on canvas

West Door, St. Nicholas, King’s Lynn

Cotman, John Sell

c. 1811, Sketch, pencil and grey wash on wove paper

The Leeds Art Gallery has over six hundred watercolours and drawings by Cotman, one of the finest watercolour painters of the nineteenth century. The Leeds Art Gallery also has in its collection one of the few oil paintings made by Cotman; see under 'On the Yare'. Born in Norwich, John Sell Cotman was, like J.M.W. Turner, the son of a hairdresser. He attended Norwich Grammar School and probably worked in his father’s hairdressing shop until in 1798, aged sixteen, he moved to London where he worked for a publisher in the Strand. A year later, Cotman had joined Turner and Girtin as a member of the circle of Dr.Thomas Monro, Principal Physician at the Bethlem Hospital and an amateur artist, who encouraged the young artists to copy and colour the work of earlier landscape artists, such as Thomas Hearne. Like Girtin and Turner, Cotman realised there was growing demand for landscape pictures and he undertook sketching tours to the North of England. The first of his three tours in Yorkshire was made in 1803, when he was invited to stay with the Cholmeley family in Brandsby, North Yorkshire in order to give drawing lessons to the family. His third visit was followed by a visit to Rokeby Park and Greta Bridge, where he made studies of the River Greta and the bridge. In 1806, Cotman moved back to Norwich, where he set up a drawing school and exhibited his works, becoming first Vice-President of the Norwich Society of Artists in 1810 and President in 1811. Cotman’s sketch of the West Door, St. Nicholas, King’s Lynn, in pencil and grey wash on wove paper, was made c. 1811 and was intended for Cotman’s Architectural Antiquities of Norfolk, published in 1817. The drawing was bought by the LACF in 1926.

Cotman

Sketch, pencil and grey wash on wove paper

On the River Yare

Cotman, John Sell

c. 1809, Oil on canvas, 15.4 x 30.5

An oil painting, one of very few painted by Cotman in that medium. See also Cotman's sketch of the West Door, St. Nicholas, King's Lynn. On the River Yare. In 1812, Cotman moved to Yarmouth, under the patronage of Dawson Turner, a local banker. Bought by the LACF in 1934, On the River Yare is one of the few oil paintings made by Cotman. He had married in 1809 and, in order to support his family, he began a commercial venture, producing a ‘Circulating Library’ of six hundred drawings for subscribers to copy. Following three tours in Normandy, in 1818 and 1820, commissioned by his patron Dawson Turner, Cotman returned to Norwich in 1823, where he remained until he was appointed Professor of Drawing at King’s College School. In 1837, Cotman’s class was joined by Dante Gabriel Rossetti and his brother William, who later remembered Cotman as ‘an alert, forceful-looking man, of modest stature, with a fine well-moulded face, which testified to an impulsive nature, somewhat worn and worried’.

Cotman

Oil on canvas

Aspects of Lotherton Hall

Cove, Anne

109.5 x 132

A delightful wall hanging depicting Lotherton Hall and its surrounding grounds.

Anne Cove is a prolific textile artist who lives near Lotherton Hall and has drawn inspiration from the house, its gardens and its estate.  This wall hanging is a precise yet evocative portrait of the place and has already become a historical document since in some aspects Lotherton has changed since it was made. 

The central panel shows the house from the gardens to the south-east, while the fifteen smaller panels around the edge depict the stable block, the art collections, the garden sculpture, trees and shrubs in the gardens and birds from the Bird Garden. 

The inner border is taken from the mosaic floor of the Outer Hall and the outer border from the plaster frieze in the Drawing Room.It was bought with the aid of the LAF in 2003.

Anne Cove

Textile, pen, ink, acrylic and watercolour

Landscape, Two Hills and Cultivated Fields

Cozens, Alexander

Watercolour, 23.1 x 31.3

An 18th century artist who created landscapes from 'blots' of ink and his imagination. An English artist, born in Russia, the son and grandson of English shipbuilders employed by Peter the Great, Alexander Cozens lived in Archangel and St. Petersburg before being sent to school in London at the age of ten. He returned to Russia but in 1746 he went to Rome where he spent three years studying drawing and painting. In 1749, he returned to England and took up a position as drawing master at Christ’s Hospital, Berkshire, followed by teaching drawing at Eton College. At Eton College, Cozens began experimenting in painting in watercolour without a preliminary pencil or ink outline, using ‘blots’ to create landscape. These blots formed the basis of a system he set out in his treatise, A New Method of Assisting the Invention in Drawing Original Compositions in Landscape. To ‘blot’, he wrote, ‘ is to make varied spots and shapes with ink on paper, producing actual forms, without lines, from which ideas are presented to the mind’. His idea was to invent nature rather than to imitate it in his work. Alexander Cozens was the first English artist to work entirely as a landscape painter. His watercolour, Landscape, Two Hills and Cultivated Fields, was given to the LACF by Sir Michael Sadler in 1922.

Cozens

Watercolour

Leeds

Creffield, Dennis

1965, Oil on canvas, 91 x 101

A London-born artist who taught and exhibited in Leeds. Born in London, Dennis Creffield studied at the Borough Polytechnic in south London from 1948-51 and from 1957-61, at the Slade School of Art, where he was awarded prizes for Life-Drawing and Landscape painting. In 1964 Creffield was awarded the Gregory Fellowship in Art at the University of Leeds. He taught at the University and at Leeds College of Art. His first solo exhibition was held at the Leeds City Art Gallery in 1966. Later Creffield taught at a number of colleges in Britain and abroad. In 1985 he was commissioned by the Arts Council to make drawings of every medieval cathedral in Britain. In order to carry out this commission, Creffield spent two years living in a camper van. His work culminated in the exhibition English Cathedrals at the Hayward Gallery, London, in 1988. Creffield subsequently received a commission to draw eleven of the medieval cathedrals of northern France. During the 1990s he received commissions from the House of Commons Fine Art Committee to draw the Palace of Westminster and from the National Trust to work at several of the Trust's properties. Leeds was bought by the LACF in 1966.

Creffield

Oil on canvas

Icon

Dalwood, Hubert

1958, Sculpture, aluminium, 144 x 76 x 23

A leading British sculptor of figurative and abstract forms. Born in Bristol, Dalwood served an engineering apprenticeship at  the Bristol Aeroplane Company from 1940-44, after which he served for two years in the Royal Navy.  After the war he studied at Bath Academy of Art and in 1951 was awarded an Italian Government Scholarship.  In Italy, he worked in a bronze foundry in Milan before returning to England and becoming a teacher at Newport School of Art.  He was awarded the Gregory Fellowship in Sculpture at the University of Leeds (1955-59) and in 1962 his work was chosen for display at the Venice Biennale.  From 1974 until his death in 1976 Dalwood was Head of Sculpture at the Central School of Arts and Crafts, London.  Two aluminium sculptures, Icon (1958) and Object:  Open Square (1959), were bought  by the LACF in 1960.

Dalwood

Sculpture

Pietre Dure Centre Table

Darmanin Family Workshop

Malta

76.5 x 86

A splendid example of the art of 'pietre dure' (or mosaic decoration in coloured marbles), thought to have been produced in Malta.

This table was commissioned by the Birmingham banker John Howard Galton (1794-1862) for his house ‘Hadzor’, near Droitwich in Worcestershire and is attributed to the Darmanin family, who ran a flourishing business at Senglea, on the opposite side of the Grand Harbour of Malta from Valletta.

The inlay makes full use of the decorative properties of heraldry, displaying his coat of arms and those of his wife Isabella Strutt in pretence (superimposed on a smaller shield in the centre). The couple married in 1819; two years later her brother Joseph died and she became co-heiress to her father, the art collector Joseph Strutt. ‘Hadzor’ was beautified and enlarged, clearly with the collection in mind.

Later it was partly dispersed in a series of sales while another part descended to John Howard Galton’s granddaughter, LauraGwendolen (1859-1949) who married the Yorkshire soldier and landowner Frederick Thomas Trench-Gascoigne of Lotherton Hall.  The table was bought with the aid of a contribution from the LACF in 2010.

Darmanin family workshop

Furniture: Centre table with inlaid marble

Commode Medailler

Dasson, Henri (attrib.)

1870

H.91 W.173

A nineteenth century copy of a very ornate piece of 18th century furniture.

The original of this commode was made as a medal cabinet for Louis XV at Versailles by Antoine Gaudreaux in 1738. Many copies of it were made. A pencil inscription shows that this model was made in France, possibly by Henri Dasson of Paris, c. 1870. The commode has a serpentine front, with doors on which ormolu medallions enclose classical figures mounted on blue plaques.

The spreading sides are veneered with diamond trellis patterns in kingwood and tulipwood parquetry. The commode is supported on four ormolu cabriole legs headed by ram’s masks. The top is Rouge Griotte marble. The Commode Medaillier was bought by the LACF in 1913. (Gilbert,C., Furniture at Temple Newsam House and Lotherton Hall, Vol. II, 1978.)

Furniture

Henri Dasson (attrib.)

Queen of the Circus

de Goya y Lucientes, Francisco

1877, Etching, aquatint and drypoint, 21.6 x 32.4

A Spanish painter whose imagination made him one of the most original painters of his time. A Spanish painter and graphic artist, Francisco de Goya y Lucientes was born near Saragossa, where his father worked as a gilder. After training with an artist in Saragossa, Goya moved to Madrid where he twice applied for travel scholarships awarded by the Real Academia de Bellas Artes but was unsuccessful.  He then spent a year in Italy, travelling at his own expense, before returning to Madrid. He married the sister of Bayeu, the Court Painter, and through his influence obtained employment at the Royal Tapestry Factory. Goya worked there for nearly twenty years, painting more than sixty large cartoons for tapestries to be woven for royal palaces. In addition to this, he painted portraits and religious subjects, His reputation grew and he began to move in high social circles. In 1789 he became court painter to King Charles IV but in 1792 he was greatly afflicted by an illness that left him completely deaf. In 1795, after a long period of recovery, Goya succeeded his brother-in-law, Bayeu, as Director of Painting at the Academy of San Fernando and in 1799 he was appointed First Court Painter to the King. He retained this title during the French occupation of Spain but retired from public life. In 1819 he bought a house on the outskirts of Madrid and it was there that he created many of the works in a series of prints in aquatint and etching known as Proverbios. There were originally eighteen prints, to which four more were added later. Queen of the Circus is one of those four. All the prints were left in Madrid when, in 1824, Goya obtained permission to leave the country for reasons of health and went to live in France. None of the prints were published during Goya's lifetime because of the repressive political climate in Spain and the four later additions were not published until 1877. 

de Goya y Lucientes

Etching

Charger

De Morgan, William

1885

Lustreware charger designed by William de Morgan and painted by Halsey Ricardo

William de Morgan (1839 - 1917) was a lifelong friend of William Morris and introduced the principles of the Arts and Crafts Movement into ceramic design and manufacture.

For ten years he worked in partnership with the architect and designer Halsey Ricardo (1854 - 1928). Together they brought the art of lustreware (ceramics decorated with metallic oxides) to new heights of technical and creative brilliance, drawing inspiration from the Middle East where the technique had evolved many centuries before.

Fantastical animals and birds were among their favorite motifs, as here. De Morgan's design for this charger is in the Victoria and Albert Museum. His work had a strong influence on the Burmantofts Pottery in Leeds where the monogrammist LK (recently identified as Leonard King) decorated 'Persian Ware' in his manner.

Earthernware lustre decoration

William de Morgan

The Flagellation

Durer, Albrecht

1497 – 1499

A German artist, influential in bringing the ideas of the Italian Renaissance to Northern Europe.

A German artist, painter, print-maker, and theoretician, Albrecht Dürer was born in Nuremberg, the second son of a goldsmith who had come there from Hungary.

After serving an apprenticeship with the principal artist of his hometown, Dürer traveled to Europe and first visited Italy in 1494. The light in Venice and the work of Venetian artists was to influence both his paintings and his prints.

From Renaissance Italy, he also brought back to Germany the idea of the painter as an artistic individual, not merely a craftsman. Italy and its art made a great impression on him, but Dürer’s temperament remained Germanic.

It was perhaps best expressed in his engraving Melencolia I of 1515, which he intended to represent the life of a secular genius in the worlds of art and science.

By 1497, Dürer had become a successful artist, with his own large workshop in Nuremberg. He benefited from the patronage of Frederick, Elector of Saxony, and moved into intellectual and humanist circles, writing books on geometry, perspective, and fortification.

The Flagellation, given to the LACF by R.H. Kitson in 1913, is part of a series of twelve woodcuts, entitled The Great Passion.

Along with the Mount of Olives, the Entombment, and the Lamentation, it was one of the earliest in the series, produced between 1497 and 1499.

During his lifetime, Dürer produced six versions of the  Great Passion, the last remaining uncompleted at the time of his death.

Durer

Woodcut

Flenite Relief

Epstein, Sir Jacob

1913, Relief sculpture in serpentine stone, 30.5 x 28 x 9

A British sculptor who created massive monumental figures and many portrait sculptures in bronze. Jacob Epstein was born in America, the son of Jewish-Polish immigrants who ran a business on the Lower East Side of New York City. As a teenager in New York, Epstein worked in a bronze foundry during the day and studied drawing and sculpture in the evenings.  In 1902 he moved to Paris and studied at the Ecole des Beaux Arts, where Rodin was his tutor. After visiting Britain in 1905, Epstein decided to settle in London and in 1911 he became a British citizen.  He was knighted in 1954. In  London, Epstein became part of the avante garde art scene but his first important commission, executed in 1907-8, and consisting of eighteen large nude figures, was destroyed on grounds of obscenity. His work continued to meet with disapproval from the public in the early years of the twentieth century.   His Flenite Relief of 1913 has been described on the Art Gallery’s website as a ‘provocative sculpture’, linking birth with death through the sculpture’s overall shape as a gravestone.  There are two sides to the sculpture, which cannot be viewed at the same time.  The work is intended to be read not in terms of the back and front of the same object but as a story normally separated by time. It is one of about six carvings made by Epstein on the theme of birth between 1910 and 1914.  The term ‘flenite’ was invented by Epstein to convey the importance of material quality by combining the words ‘flint’ and ‘granite’ to emphasize the hard quality of the stone. The Flenite Relief left Britain in 1966-67 but in 2006 it was brought over from the United States, where it had been in the collection of Epstein’s nephew.  It was put on view at the Leeds City Art Gallery and purchased in that year with the aid of a contribution from the LACF.

Epstein

Relief sculpture in serpentine stone

Rydal Bridge

Farington, Joseph

1786, Ink drawing with grey wash

A painter who combined the beauty of landscapes in the English Lake District with topographical accuracy, Farington is now perhaps more well-known as a diarist. A Topographical artist, son of the Rev. William Farington, Joseph Farington was born at Leigh, in Lancashire. His father encouraged his interest in painting and, after studying with the painter Richard Wilson, Farington was admitted as a student at the Royal Academy, at its formation in 1768. He became a full member, a Royal Academician, in 1785. Farington was not only an artist but a diarist. From 1793 until his death in 1821, he kept a diary, which has since provided art historians with much information about the London art scene at that time. As an artist, Farington is best known for two collections of engraved views of the English Lakes. The first, a series containing twenty plates, was published in 1789, the second, with forty-three plates, was issued in l816. Rydal Bridge, illustrated here, is dated 1786 and was given to the LACF by Sir Michael Sadler in 1922.

Farington

Ink drawing with grey wash

Sofa and side chairs

Fell, William and Turton, Lawrence

A sofa and four chairs

Chairs: H. 97; W. 71; D. 64. Sofa: H. 109; W. 211; D.74

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Part of a suite of furniture made for Sir Lawrence Dundas' Tapestry Room at Moor Park, Hertfordshire, 1771

These pieces are from a suite commissioned by Sir Lawrence Dundas for his tapestry drawing room at Moor Park, Hertfordshire. In 1784, the wall tapestries and furnishings were taken by his son to his London house, where they remained together until 1934, when the tapestries were taken to Aske Hall, Yorkshire, where they remain, and the tapestry furnishings were sold. Some passed to the Philadelphia Museum of Art and the remaining chairs and a sofa with two cushions are now at Temple Newsam House.

The gilt chairs have oval, slightly curved backs and square tapered legs. The serpentine-fronted seat rails are ornamented with fluting between pearl-beaded and twisted ribbon mouldings. The sofa is basically of identical design. The sofa and chairs were made in London and covered in tapestry commissioned from the Gobelins workshop, where they were woven to a standard cartouche-shaped size which would fit any normal chair frames.

The backs display colourful bunches of flowers tied with ribbons, the seats are strewn with floral sprays and the panels are all different. The sofa and chairs were bought with the aid of a contribution from the LACF in 1975. (Gilbert, C. Furniture at Temple Newsam House and Lotherton Hall, 1978).

Furniture covered in Gobelins tapestry

Turton

William Fell

Three by Fifteen

Foot, Winslow

c. 1960, Relief in wood and metal, 67 x 58

A sculptor who trained in America and later taught at Leeds College of Art. A sculptor, painter and teacher who studied in America at the Philadelphia Museum College of Art from 1956-59, specializing in sculpture and three-dimensional design. Foot later returned to England and from 1963-68 he taught at Leeds College of Art. In 1964 his work was included in the College’s exhibition The Teaching Image at the Leeds City Art Gallery. Foot also worked for some time in the product design department at Wolverhampton Polytechnic but in the 1980s he took up boat building, returning to sculpture in the early 1990s, when he created large site-specific and kinetic works. Three by Fifteen was bought by the LACF in 1965. Another work by Winslow Foot, Wire Five, was bought by the LACF in 1966.

Foot

Relief in wood and metal

Church of St. Francis, Assissi

Gethin, Percy Francis

Etching, 20.1 x 24.7

An Irish artist who taught in London and lost his life in the First World War. A painter, etcher and draughtsman, Gethin was born in Holywell, Sligo, Ireland. He studied at the Royal College of Art, at the Westminster School of Art and at the Atelier Colarossi in Paris. He settled in London in 1905. He worked mainly as an etcher of architectural subjects and was a teacher of life-drawing at the Central School of Arts and Crafts. In 1916 he was killed during the Battle of the Somme. The etching, Church of St. Francis, Assissi, was bought by the LACF in 1925.

Etching

Gethin

In Gloucestershire

Gilman, Harold

1916, Oil on canvas, 118.1 x 46.3

An artist recorded in the 'Oxford Dictionary of Art and Artists' as 'one of the most gifted English painters of his generation'. Born in Somerset, the second son of the Rev. John Gilman, Harold Gilman began studies at Brasenose College, Oxford but had to leave after one year owing to ill health. After tutoring a family in Odessa for a year, he decided to become a painter. He spent a year at Hastings Art School, then attended the Slade School from 1897 to 1901. In 1906 he became a member of Sickert’s Fitzroy Street circle and a founder member of the Camden Group.  Gilman was elected the first President of the London Group when that was formed to bring in a wider range of artists. In 1910, he was deeply moved on seeing the Manet and the Post-Impressionists exhibition in London and his feelings for their art are reflected in his brilliant colours and simplification of planes. Gilman was deemed unfit for military service in World War I. He taught at the Westminster School of Art in 1915. In 1916 he went to Sapperton in Gloucestershire, where he made a number of paintings of trees and woods, using heightened colours. Sadly, Gilman's life was cut short at the age of forty-six by the influenza epidemic that followed the First World War.  His work is represented in London (Tate), Manchester (Whitworth), Ottawa and Yale. In Gloucestershire was acquired by the LACF in 1944.

Gilman

Oil on canvas

A Girl’s Head

Gilroy, John Thomas Young

1927, Pencil drawing, 27.8 x 22.6

Gilroy is perhaps best known as the designer of posters advertising the Irish brewery firm Guiness. A graphic artist and portrait painter, Gilroy was born in Newcastle upon Tyne, where he attended King Edward VII School and from where he gained a scholarship to Armstrong College Art School, part of the University of Durham. His studies there were interrupted by military service during the First World War, when he served with the Royal Field Artillery. In 1919 Gilroy gained a scholarship to the Royal College of Art, where he stayed on as a teacher. In 1928, Bensons advertising agency, for which Gilroy had at one time been employed before taking on freelance work, secured a contract with the Irish brewery firm of Guinness. Between 1930 and 1961, Gilroy designed adverts for Guinness which were to become icons of British advertising. In addition to his design work, Gilroy  also practised as a portrait painter, receiving many commissions from the royal family. He was made a Freeman of the City of London in 1981.This pencil drawing, A Girl’s Head, dated 1927, was bought by the LACF in that same year.

Gilroy

Interior with Nude

Gore, Spencer F.

c. 1907, Oil on canvas 55.8 x 40.6

A progressive English artist greatly influenced by the works of modern French painters shown at the Post-Impressionist exhibitions of 1910 and 1912. The son of a Wimbledon tennis champion, also named Spencer Gore, Spencer Gore was born in Epsom, educated at Harrow School, and later studied painting at the Slade School. He worked in Paris from 1904-6, whilst also becoming associated with several groups of artists in London. Gore was a progressive artist, strongly influenced by the Post-Impressionist exhibitions organized by Roger Fry and he became part of a nucleus of developing painters who met at a house in Fitzroy Street in Bloomsbury , where he and Sickert rented space on two floors for group exhibitions and storage. In 1911 the Fitzroy circle became formalized as the Camden Town Group. As the most respected of the younger members of the new group, Gore was elected as its president.  In his Modern English Painters, first published in 1956, John Rothenstein  notes that when Sickert wrote 'The artist is he who can take a flint and wring out attar of roses', he had Spencer Gore in mind.  In 1913 Gore moved his young family out of London to Richmond, near to Richmond Park, where he painted out of doors. In March 1914 he got wet whilst painting and died from pneumonia a few days later. During the 1930s, The LACF purchased two oil paintings by Spencer Gore. His Interior with Nude, from c.1907, was bought in 1932, and was followed in 1936 by the colourful landscape Letchworth, painted in 1912.

Gore

Oil on canvas

Head of a Woman

Grant, James A.

Pastel, 48 x 40.3

A striking portrait of an unknown woman. A painter and etcher, born in Liverpool, Grant studied at Liverpool School of Art and in London and Paris. He moved to London in 1913 and exhibited at the Royal Academy and the New England Art Club. He became Vice-Principal of the LCC Central School of Art and Crafts. His subject matter was mostly figure and portrait studies. His Head of a Woman, in pastel, was bought by the LACF in 1930.

Grant

Pastel

Leeds from Woodhouse Ridge

Grimshaw, John Atkinson

1868, Watercolour

Leeds Museums and Galleries have recently acquired an early Atkinson Grimshaw watercolour with the help of the Leeds Art Fund.

The view is painted from Batty's Wood, Woodhouse Ridge, Leeds, looking towards St Chad's church, Far Headingley. The spot is just a short walk from Grimshaw's house at The Villas, Cliff Road. The girl with the black hair may be Grimshaw's wife, Theodosia. The painting shows a mixture of techniques, with in the foreground a minute delicacy in the painting of the grass and flowers, and very broad sweeps of the brush in the factory buildings right of centre. The sky is very Turneresque.

Grimshaw

Watercolour

Landscape Through Trees

Gross, Anthony, CBE

1968, Oil on Canvas, 129 x 198

A distinguished artist who recorded the scenes of battle during the Second World War. Born in Dulwich,  the son of the Hungarian cartographer Alexander Gross, Anthony Gross was educated at Repton School. He went on to study art at the Slade School and the Central School of Arts and Crafts in London and later studied engraving at the Académie Julian in Paris. During the 1930s Gross spent some time working in France and he exhibited in French galleries before bringing his wife and children to England in 1940. From 1941-45 he worked as an Official War Artist, attached to the Army with the rank of captain. He was present at a number of battle fronts and in 1945 had a one-man exhibition of his wartime drawings and paintings at the National Gallery. From 1948-54 Gross taught life-drawing at the Central School of Arts and Crafts, after which he became Head of Printing at the Slade School of Fine Arts. In 1981 Anthony Gross became a Senior Academician at the Royal Academy of Arts and he received a CBE in 1982. Landscape Through Trees, dated 1968, was bought by the LACF in 1973.

Gross

Oil on canvas

Writing Table

Hallett, William

H. 82; L. 94

A writing table commissioned by Henry, 7th Viscount Irwin, for the newly-created Library at Temple Newsam House.

Made from mahogany, the writing table is of break-sided design. Its rectangular, leather-lined top is enriched with a tooled and gilt border. The top, the drawer divisions, the kneehole and the end roundels are ornamented with ribbon-and-rosette mouldings and the frieze is edged with acanthus carving.

The writing table is attributed to William Hallett, London, for two reasons. First, because of its affinities with the only known piece of furniture signed by Hallett, and secondly because Arthur, Viscount Irwin of Temple Newsam, is Hallett’s earliest recorded patron, having purchased a number of pieces from the firm for his London house in 1735.

The richly styled Library at Temple Newsam was created by York craftsmen in 1744-5. The table is recorded in the Library in an inventory of 1808 and came by descent to the Earl of Halifax, who sold it in 1930. It was bought with the aid of a contribution from the LAF in 1987.

Furniture: writing table, mahogany and leather

William Hallett

Mentone

Harpignies, Henri

A late starter who became a very prolific and successful artist. His landscapes are held in many public collections in France and Britain.

A  landscape painter and engraver,  Henri Harpignies was born in Valenciennes in France.

He was determined to become an artist but his parents intended that he should take up a career in business and it was not until the age of twenty-seven that he was able to study in Paris.

From 1846 onwards he began to paint, mostly landscapes with children in them. Many of his paintings were made in central France.

He produced a prolific amount of work and became a very successful artist, exhibiting at the Paris for the first time in 1861. His work is sometimes classed with that of the Barbizon School, but it was also considerably influenced by that of Corot.

The charcoal drawing shown here is dated 1909 and was given to the LACF by Sir Michael Sadler in 1913.

Charcoal

Harpignies

Torso

Hart, Barry

Sculpture: Alabaster, 102 x 26 x17

A sculptor who taught Henry Moore at the Royal College of Art. Barry (Herbert) Hart was born in Fulham, the son of a stonemason. He is recorded as a teacher at the Royal College of Art in 1921, when Henry Moore was one of his students. Hart and Moore became friends and Hart was best man at Moore’s wedding in 1929. Hart’s commissions include a memorial in the entrance hall of BBC Broadcasting House and the carving of a war memorial in Brasenose College chapel. Torso was bought with the aid of a contribution from the LACF in 2004.

Hart

Sculpture: Alabaster

North East View of Durham

Hearne, Thomas

Watercolour, 32.7 x 45.4

A Topographical artist whose use of watercolour was to influence a younger generation which included Girtin and Turner. This picture is a splendid example of Thomas Hearne’s ability to draw topographical subjects in precise detail, whilst exhibiting great skill in the handling of watercolour. Born near Malmesbury in Wiltshire, Thomas Hearne was to become one of the founders of the English School of Watercolours. He left home to go to London, where he worked as a pastry cook before taking up a six-year apprenticeship with an engraver. Hearne then spent several years in the Leeward Islands as official artist to the Governor-General, Lord Lavington. On his return to London, Hearne established himself as one of the leading topographical artists of his day. Topographical drawings at that time were usually made using pen and ink with a grey wash, sometimes with added colour. They were often made for practical purposes such as military surveys and architectural projects. In 1777 Hearne began to make tours in Scotland and the Lake District in search of Picturesque abbeys, castles and ancient ruins. His work differed from that of previous topographical draughtsmen in that Hearne studied nature closely and invested his topographical drawings with effects of light and atmosphere that had not previously been attempted. Fifty-two of the drawings Hearne made during these tours were published in his most important work, The Antiquities of Great Britain. North East View of Durham was bought by the LACF in 1929.

Hearne

Watercolour

Configuration: Phira

Hepworth, Dame Barbara

1955, Sculpture: Guarea Wood, 81.3 x 74 x65

A Yorkshire artist, one of very few women artists to gain international prominence. Barbara Hepworth was born in Wakefield, Yorkshire, the eldest child of Herbert Hepworth, a civil engineer, and his wife Gertrude.  Hepworth attended Leeds College of Art from 1929-21.  Henry Moore was a fellow student and became a friend.  Hepworth then worked in Florence and Rome with her first husband, John Skeaping, carving naturalistic sculptures in stone.  Returning to London in 1928, they took a studio in Hampstead.   In 1931 Hepworth met Ben Nicholson and through his influence moved away from figurative to contemporary  abstract art. With Nicholson she visited Paris and met the European avant-garde.  She and Nicholson became members of  British avant-garde groups, including Seven and Five and Unit One.  In 1939, following bomb damage to her Hampstead studio, Hepworth moved to St. Ives, Cornwall, to a studio in which she lived for the rest of her life. The first major retrospective exhibition of her work was held at Temple Newsam House, Leeds in 1943.  Barbara Hepworth was created a Dame of the British Empire in 1965. <em> Configuration:  Phira</em> was bought by the LACF in 1958.

Hepworth

Sculpture: Guarea Wood

The Beach Runswick Bay

Hess, Florence Adelina

Best known as a landscape painter, Hess was a member of the Staithes group of artists in the early 20th century.

Born in Leeds, Florence Hess first studied at the Leeds School of Art. 

Later she became a pupil and friend of Mark Senior, a prominent artist within the Staithes group of artists, and was influenced by his style of painting. 

She was also a member of the Fylingdales Group, which was formed in 1925 and met in Robin Hood's Bay.  The Beach Runswick Bay reflects the influence of these groups upon her work but her interest also extended to the work of other artists. 

In 1928 she visited St. Ives at a time when Barbara Hepworth and Ben Nicholson were there.  During her time at St. Ives, she became fascinated by the work of Alfred Wallis and made a painting showing small boats in a harbor with a lighthouse but with a lack of perspective similar in style to that of Wallis. 

Hess was a well-respected artist who exhibited her work at the Royal Academy, the New English Art Club, the Women's International Art Club, and the Yorkshire Union of Artists.  This painting was bought by the LACF in 1925.

Hess

Oil on canvas

Monument (Colonial Version)

Hiller, Susan

1980-81, Installation, photographs, head phones

A British installation artist of American birth. Susan Hiller was born in Tallahassee, Florida in 1940. She gained a Ph.D. in Anthropology at Tulane University, New Orleans but later decided to become an artist.  She moved to London in the 1960s and took up British residency in 1967.  Her works include installation, video, and photography and she has been described as one of the most influential artists of her generation. Monument consists of forty-one photographs of Victorian ceramic plaques from a London park, arranged in a diamond shape on the gallery wall.  In front of them is a park bench on which rest a cassette player and headphones through which a voice is heard.  It was bought with the aid  of a contribution from the LACF in 1988.

Hiller

Installation, photographs, head phones

December Water 1976

Hilliard, John

1976, Three photographs, 57 x 38 each

An artist who first used photography in order to record his work as a sculptor, Hilliard went on to use it as a creative medium. John Hilliard studied sculpture at St. Martin’s School of Art and he first used photography as a means of recording his work in that medium. However, he grew tired of taking photographs of his constructed steel sculpture and decided to make photography itself his subject. An important part of his photographic work has been the time sequence, where an image can be altered by using different speeds and apertures in the camera. His December Water of 1976 is a creative portrait of winter, exploiting the possibilities of different exposures and the effect on the viewer of a change in the individual titles. It consists of three photographs, each measuring 57 x 38 cm and was bought with the aid of a contribution from the LACF in 1979.

Hilliard

Blean Colliery

Holmes, Sir Charles J.

Drawing with watercolour, 25.8 x 34.4

A self-taught artist who became Director of the National Gallery. Born in Preston, Lancashire, the son of a clergyman, Charles Holmes was educated at Eton and won a scholarship to Brasenose College, Oxford. He was self-taught as a painter, etcher, learning from his studies of the Old Masters. His stature as an artist was established when he was admitted as a member to the New English Art Club. From 1904 to 1910 Holmes was Slade Professor of Fine Art at Oxford University, during which time he also edited The Burlington Magazine (founded in 1903). In 1909 he was appointed director of the National Portrait Gallery, resigning from that post in 1916 to become director of the National Gallery. Holmes was the author of many books on art and art history. . His approach to art history was that of an artist – focusing on the materials used by the painters. He received a knighthood in 1921. Holmes is known for his industrial landscapes, which formed an important part of his oeuvre. This drawing was bought by the LACF in 1926, two years before Holmes retired as Director of the National Gallery in 1928.

Holmes

Portrait of Master Hugo Meynell

Hone, Nathaniel the Elder (Attrib.)

1770

74 x 62

A portrait of a member of the family who later inherited Temple Newsam and attributed to Nathaniel Hone, a fashionable Irish artist who was particularly renowned for his portraits of children.

An Irish painter, born at Wood Quay in Dublin, the son of a Dublin merchant, Nathaniel Hone may have been self-taught as an artist. Whilst quite young Hone moved to England, where he found work as an itinerant portrait painter. He studied in Italy for a time but in 1742 he married an heiress and settled in St. James’s Place, London.

He became well-known as a painter of portraits and miniatures and received commissions from many famous contemporaries, including Frederick, Prince of Wales. In 1768 Hone was a founding member of the Royal Academy, although he had little sympathy for its first President, Sir Joshua Reynolds, whom he accused of copying the masters of the Italian Renaissance. The portrait of Master Hugo Meynell shows Hugo Meynell (1759-1800) at about ten years of age.

In 1783 Meynell married the Hon. Elizabeth Ingram, third daughter of the ninth and last Viscount Irwin of Temple Newsam. Their son Hugo Charles Meynell Ingram eventually inherited Temple Newsam and all his mother’s family’s vast estates. The portrait was bought with the aid of a contribution from the LACF (Anthony Wells-Cole Anniversary Fund) in 2010.


Nathaniel Hone the Elder (Attrib.)

Oil on canvas

The Hands of Sir John Barbirolli

Horner, Jocelyn

Sculpture: bronze, 127

A sculptor described in The Halifax Courier as "one of Halifax's greatest daughters". Jocelyn Horner was born, lived, worked and died in Halifax. In 1920 she studied at Leeds College of Art where she was a contemporary of Barbara Hepworth and Henry Moore. Her work was exhibited at Leeds City Art Gallery and between 1928 and 1949 was regularly shown in the Yorkshire Artists Exhibitions. One of Horner’s best known works is a group in bronze of the three Bronte sisters, commissioned by the Bronte Society to be placed in the garden of the Parsonage. Horner was a member of the Barbirolli Society and a personal friend of Sir John Barbirolli. Her bronze sculpture, The Hands of Sir John Barbirolli, was bought by the LACF, with the aid of a contribution from Adam Jones, in 1972.

Horner

Sculpture: bronze

Portrait of Jacob Epstein

John, Augustus

Given to Leeds Art Collection Fund by W.R Childe in 1913

The date when Augustus John made this portrait of the sculptor Jacob Epstein is not known. Epstein came to live in England in 1905 and the etching was given to the LACF in 1913, so it is most likely that it was made between these dates.

Etching

John

Four-Fold Screen

Khan, E.H. & Co

1910

SONY DSC

An example of the artistic leather screens that were fashionable in the first decade of the 20th century.

The screen is constructed from four painted and gilt-leather panels mounted on a simple pine framework. Each leaf has a serpentine top rail and the folds are decorated in oil colours and gold.

The central parts of each panel show idealized rustic scenes with shepherds, shepherdesses, musicians and children; the upper parts contain pastoral landscapes and the lower parts exotic fruits. The screen was illustrated in the trade catalogue of E.H. Khan & Co. with the title.  The screen was given through the LAF by Lady Martin in 1956.(C. Gilbert, Furniture at Temple Newsam House and Lotherton Hall, Vol. II, 1978).

Furniture

Khan E.H. & Co

Adam and Eve Garden Roller

Kindersley, David

c. 1935, Sculpture: Portland stone, iron, length 71cm

An English stone letter carver and typeface designer. David Kindersley, the son of a stockbroker and MP, was born in Codicote, Hertfordshire. He studied at Marlborough College but left after three years because of rheumatoid arthritis. On his recovery, Kindersley was sent to Paris to learn French and study sculpture at the Academie St. Julian. He read books by Eric Gill (1882-1940) and decided to become a stone-cutter. With the support of his father, he became apprenticed to Eric Gill, with whom he worked on several important commissions. He left Gill’s workshop in 1936 and set up on his own, carving plaques and inscriptions for churches and public buildings. In 1961 he designed the Octavian font for Monotype. The sculpture was bought with the aid of a contribution from the LACF in 1990.

Kindersley

Sculpture: Portland stone, iron

A portrait of an important statesman with a family connection to Temple Newsam.

Born in London, the son of a prosperous bookseller in Ludgate, George Knapton was educated at St. Martins Lane Academy and later spent several years in Italy (1725-1732). In the 1740s Knapton became the first official portraitist for the Society of Dilettanti, of which he was a founder member. This portrait of Robert Darcy, Earl of Holderness, dated 1752, suggests his role as a diplomat and statesman.

Darcy was ambassador to Venice and The Hague and was Secretary of State from 1951-61. The picture is one of 23 portraits Knapton painted of his fellow members of the Dilettante Society and was exhibited at the third Exhibition of National Portraits in 1868. Robert Darcy’s family had historical links to Temple Newsam; he was a direct descendant of Thomas, Lord Darcy, the original builder of Temple Newsam c.1500.

Robert Darcy (1718-1778) was Lord Lieutenant of the North Riding of Yorkshire from 1740-1778. His main seat was at Hornby Castle in North Yorkshire. The picture was bought with the aid of a contribution from the LACF in 2000.

Knapton

Oil on canvas

Cheyne Walk Chelsea

Knight, Dame Laura

1909

Although Dame Laura Knight later chose to portray brighter, more colourful scenes, this almost monochrome picture of a winter scene in London is very successfully brought to life by the bright red of the pillar box.

Laura Knight was born Laura Johnson at Long Eaton in Derbyshire and was enrolled in the Nottingham School of Art at the age of thirteen. 

Later she went to Staithes, where she made drawings and paintings of the local people in the fishing village and nearby farms. 

The picture of Cheyne Walk in Chelsea was made around 1909 and donated to the Leeds Art Collections Fund by J.C. Lyon in 1913. 

During the 1920s Knight painted portraits of the members of Sergei Diaghilev's Ballets Russes and of the performers at Bertram Mills' Circus at Olympia. 

In the '30s she painted groups of gypsies on the racecourses at Ascot and Epsom and also in their settlements.  

Her colourful paintings were very popular and Knight became one of the most highly regarded British artists of the first half of the 20th century.  In 1929 she was made a Dame Commander of the Order of the British Empire and in 1936 she became the first woman to be elected as a Royal Academician since 1769. 

During the Second World War, Knight worked as an Offical War Artist, depicting women in the roles they had undertaken when male workers were conscripted into the Army. 

In 1946 she spent three months at the war crimes trials in Nuremberg, observing inside the courtroom and creating a pictorial record of the proceedings.  In the post-war years, she returned to her earlier themes and continued to paint right up to her death at the age of ninety-two.

Knight

Watercolour and Gouache

Fidelma No.1

Kossoff, Leon

Oil on board, 124.5 x 92.7

In this powerful portrait of an elderly woman, Kossoff's long sweeping brushstrokes create an emotive response in the viewer. A British artist, born in Islington, London to Russian Jewish parents, Kossoff studied at St. Martin’s College of Art and Design and the Royal College of Art. After three years of military service in the Royal Fusiliers, attached to the 2 Battalion Jewish Brigade, Kossoff returned to study at the Borough Polytechnic, where David Bomberg was one of his teachers and Frank Auerbach one of his contemporaries. Both Kossoff and Auerbach employed the use of heavy impasto in their work and Kossoff’s subject matter is largely taken from the area around the East End of London, where he grew up. Frances Spalding writes ‘No other post-war artists come remotely near Auerbach and Leon Kossoff in their portrayal of the shuddering sprawl of London’. (Spalding, F.,British Art Since 1900, Thames & Hudson, London, 1996) The portrait was bought with the aid of a contribution from the LACF in 1990

Kossoff

Oil on board

Industrial Landscape

Kramer, Jacob

1914

Leeds Art Fund was delighted to help with the recent purchase of this important Kramer drawing.

Though Leeds Art Gallery already has a strong collection of Jacob Kramer works this new acquisition is a significant addition - both to the collection and to the knowledge of Kramer's personal history, as he so rarely made landscapes.

Drawn in 1914, this bleak view of a northern town seems to signify the industrial power needed to equip modern warfare whilst at the same time foreseeing the waste of life the war would bring.

This drawing begins to place Kramer within the landscape tradition, something that his practice had not previously been associated with.

Drawing

Kramer

Ruhula

Kramer, Jacob

c. 1917, Oil on canvas, 91.5 x 71

An important Leeds-based artist, in whose honour Leeds Branch College was renamed. Born in the Ukraine to Jewish parents who came to England in 1900, Jacob Kramer attended the Leeds School of Art and studied at the Slade School in London in 1912. In March 1915, Kramer accepted an invitation to exhibit as an independent artist at the first (and only) Vorticist exhibition. He was not a member of the Vorticist group, although he applied their semi-abstract style to Jewish subjects. Kramer became a significant figure in Leeds, painting portraits of many local businessmen and professional people. He became president of the Leeds Fine Art Club in1959. After his death, Leeds Branch College, where Kramer had taught, was renamed as Jacob Kramer College.  Ruhala, c. 1917,was bought with the aid of a bequest through LACF in 1999.Two other paintings were  also bought in 1999. The Talmudists, c. 1919, was bought with the help of an anonymous donation through LACF and Rite of Spring, 1920, a painting inspired by Stravinski’s ballet music, was also bought by the LACF in that year.

Kramer

Oil on canvas

The Talmudists

Kramer, Jacob

1919, Oil on canvas, 63.5 x 76.2

An important Leeds-based artist, in whose honour Leeds Branch College was renamed Jacob Kramer College. Born in the Ukraine to Jewish parents who came to England in 1900, Jacob Kramer attended the Leeds School of Art and studied at the Slade School in London in 1912. In March 1915, Kramer accepted an invitation to exhibit as an independent artist at the first (and only) Vorticist exhibition. He was not a member of the Vorticist group, although he applied their semi-abstract style to Jewish subjects. Kramer became a significant figure in Leeds, painting portraits of many local businessmen and professional people. He became president of the Leeds Fine Art Club in1959. After his death, Leeds Branch College, where Kramer had taught, was renamed as Jacob Kramer College. The Talmudists, c. 1919, was bought with the help of an anonymous donation through the LACF in 1999.

Kramer

Oil on canvas

Rite of Spring

Kramer, Jacob

1920, Oil on canvas, 63.4 x 76

An important Leeds-based artist, in whose honour Leeds Branch College was renamed Jacob Kramer College. Born in the Ukraine to Jewish parents who came to England in 1900, Jacob Kramer attended the Leeds School of Art and studied at the Slade School in London in 1912. In March 1915, Kramer accepted an invitation to exhibit as an independent artist at the first (and only) Vorticist exhibition. He was not a member of the Vorticist group, although he applied their semi-abstract style to Jewish subjects. Kramer became a significant figure in Leeds, painting portraits of many local businessmen and professional people. He became president of the Leeds Fine Art Club in1959. After his death, Leeds Branch College, where Kramer had taught, was renamed as Jacob Kramer College.

Kramer

Oil on canvas

Untitled Textile Hanging

Kramer, Jacob

textile hanging (canvas), 2370 cm x 1630 cm

This large, abstracted and unstructured (unstretched) canvas is quite possibly unique in Jacob Kramer's output. The canvas seems to hover between the figurative and the abstract.  It may have been commissioned by Edward Standish and perhaps formed part of a decorative scheme for his London house.  It has echoes of the Omega Workshop, of which Kramer would have been aware although he was not directly associated with it.  The received view of Jacob Kramer is of a provincial Jewish <span style="font-family: Arial, Helvetica, sans-serif;">émigré ‘expressionist’ figurative painter, but his interest in and contribution to abstraction was significant. He wrote for Wyndham Lewis’ Blast, corresponded with Herbert Read and came under the influence of Kandinsky.  In this vein his Abstract Composition, c. 1917, The Rite of Spring, c. 1920 and an unexecuted design for Mining for Leeds Town Hall are all in Leeds Art Gallery’s collection, together with some seventy other works.  Jacob Kramer is in many ways Leeds’ ‘Modernist’ artist, formed by the thinking of Alfred Orage’s Leeds Art Club and the contemporary of artists such as Bomberg, Gertler, Meninsky, Nevinson and William Roberts. The hanging was bought in 2014 with the aid of grants from the LAF and   from  the Leeds Art Fund Patrons through Deborah Davis.

Kramer

textile hanging (canvas)

Mother and Child 1915

Kramer, Jacob

1915, Oil on canvas, 89 x 70 cm

Bequeathed by Dr William and Mrs Elizabeth Whitaker 2014. Bequeathed to the Leeds Art Fund in 2014 this painting is traditionally recognised as Kramer's first major work and he described it as 'one of my best and biggest pictures'. First displayed in 1915 at the New English Art Club Winter Exhibition it caused some controversy. Lucien Pissarro commented that 'the picture of a mother openly breastfeeding her infant lacked taste'. The donor was Kramer's doctor for a time and apparently he often paid his bills with his paintings. This example was bought as a wedding present for the donor's wife in 1960.

Kramer

Oil on canvas

George Frederick Broadley

Lancaster, Mark

1970

This is actually a 'portrait' of a building named 'George Frederick Bodley'.

Born in Holmfirth in 1938, Mark Lancaster studied in the Department of Fine Art at the University of Newcastle.

In 1972 Lancaster moved to New York where he worked with Andy Warhol, taking part in some of his films, and as an assistant to Jasper Johns. From 1975 to 1984 he was designer and artistic advisor to the Merce Cunningham Dance Company in New York.

He returned to England in 1985 and worked in Sandgate, Kent. This painting is one of six named after the architects of college buildings at King’s College, Cambridge. George Frederick Bodley (1827-1907) was a major figure in shaping the architecture of the Gothic Revival style in Victorian England. 

The picture was painted in 1970 while Lancaster was artist-in-residence at King’s College and bought in the same year by the LACF. The painting, in acrylic on canvas, is based on a subdivision of the canvas into a grid pattern and then painting swathes of paint, suggested by the colours of the stonework, diagonally across the divisions.

This produced complex surfaces in which the original grid, marked on the canvas by small white crosses, is almost lost.

Lancaster

Clevedon Belle

Lanyon, Peter

1964, Gouache, 57.5 x 75.6

A Cornish artist whose art always related to the Cornish landscape.

Born in St. Ives, Cornwall, Peter Lanyon studied at Clifton College, at the Penzance School of Art and briefly under Victor Pasmore at the Euston Road School. In 1939 he met Barbara Hepworth, Ben Nicholson and Naum Gabo who had moved to St. Ives at the outbreak of World War II. Their influence was one that changed the direction of his work. He was also one of the first British artists to become aware of American Abstract Expressionism. His paintings became more abstract in terms of shape and space but his interests remained related to the Cornish landscape. From 1940 to 1945 Lanyon served in the Royal Air Force. His work was first exhibited in London in 1949 (at the Lefevre Gallery) and during the 1950s he became a leading figure in the St. Ives group of artists. Peter Lanyon died in 1964 as a result of a gliding accident. This painting, in gouache, is dated 1964 and was bought by the LACF, with the aid of a contribution from Adam Jones, in 1972

Gouache

Lanyon

Lyndra

Lees, Derwent

1913, Oil on panel

An Australian artist, born in Brisbane, Derwent Lees studied in Paris and at Melbourne University. When he came to England he worked as a teacher of drawing at the Slade School and travelled widely in Europe. In1912 he took a cottage at Ffestiniogg in North Wales, where he attained intensity of colour and mood in his work. The portrait in oils, Lyndra, showing a woman seated on rocks with a landscape in the distance, was painted in 1914. It was bought by the LACF in 1930. In 1933, in memory of J.E. Town, the LACF also purchased two watercolours by Lees, both of which are entitled Evening, Wales and are undated. Mental illness confined Derwent Lees to an asylum from 1918 until his death in 1931.

Lees

Oil on panel

Inner Sea

Lewty, Simon

Pencil, crayon, watercolour, ink, on paper

An artist whose works sometimes mix text with picture. A British painter, born in Sutton Coldfield, West Midlands, Lewty studied first at Mid-Warwickshire School of Art, then, from 1957 to 1960, at Hornsey College of Art. He came to prominence in the 1980s with a solo exhibition at the Serpentine Gallery. Lewty creates work that mixes text with picture. Some of his pictures are based on a map of Warwickwhire, where he used to live, and he draws images symbolizing his memories of the place. His work is represented in a number of public collections, including the British Museum and the V & A. Inner Sea was bought with the aid of a contribution from the LACF in 1995.

Lewty

Side Table

Linnell, William

1755 – 1760

top. H. 99; L. 170

 

This magnificent pier table was made for Bramshill House, Hampshire, and was originally ensuite with a lofty and equally elaborate mirror. The design corresponds closely to a drawing attributed to William Linnell from c1755, an older contemporary and rival of Thomas Chippendale.  

The Florentine marble slab is supported on cabriole legs lavishly carved in the rococo taste with fronded scrolls, palm branches and bold satyr-masks. The frieze is styled with a vigorous flame border and the front centres on a pierced apron featuring a basket of grapes surrounded by leafy C-scrolls. The gilt surface is richly tooled, burnished and textured. The table was exhibited at the Royal Academy English Taste in the 18th Century, Winter 1955/6. It was given through the LACF by Lady Martin in 1940. (Gilbert, C. Furniture at Temple Newsam House and Lotherton Hall, Vol. II, 1978)."

Furniture: side table, carved and gilt pine with a Florentine marble

William Linnell

Extracts from Landscape III

Loker, John

1075, Pencil drawing with acrylic, 30.5 x 50.5

A Leeds-born graphic artist and painter who was a contemporary of David Hockney at the Bradford College of Art and Design. Born in Leeds, John Loker studied Graphic Design at Bradford College of Art and Design from 1954-8, (where he was a contemporary of David Hockney, and painting at the Royal College of Art from 1960-63. There are three of his works in the collection of the Leeds Art Fund. Extracts from Landscape III, a pencil drawing with acrylic, dated 1975, was bought in that year by the LACF. Three Horizons, an etching dated 1974 was also bought by the LACF in 1975. Four Extracts IV, dated 1977, was bought in 1979, the same year in which Loker’s work became represented in the Tate Gallery. Loker has exhibited widely in the UK, in Europe and in Sydney, Australia. He now lives and works in Norfolk.

Loker

Pencil drawing with acrylic

Woman Seated In Front of a Leaded Window

MacBryde, Robert

Oil on canvas, 114.2 x 144.8

An artist who was successful during the 1940s but whose reputation declined during the following decade. A Scottish artist, born in Maybole, Ayrshire, Robert MacBryde worked in a factory for five years after leaving school.  He then began to study at the Glasgow School of Art, where he met Robert Colquhoun, with whom he formed a life-long partnership. The Two Roberts, as they were known, spent five years at the Glasgow School of Art and were then awarded travelling scholarships, which enabled them to study for two years in France and Italy before returning to Ayrshire in 1939.Both Macbryde and Colquhoun were found to be unfit for military service in World War II and in 1941 they came to London, settling in a spacious studio in Campden Hill and immediately gaining recognition. Woman Seated in Front of a Leaded Window was bought by the LACF in 1941. The Two Roberts first exhibited their art at the Lefévre Gallery in 1942, in an exhibition entitled Six Scottish Painters. During the 1940s, they continued to exhibit together at the Lefévre Gallery. Although MacBryde became a very well regarded artist, and had the more dominant personality of the two, it seems that he always considered Colquhoun to be the more dominant figure in their artistic output. After the death of Colquhoun in 1962, MacBryde ceased to paint and drank more heavily. He went to live in Ireland and was run over and killed by a car in Dublin in 1966 after a night of drinking.

MacBryde

Oil on canvas

Suffolk Cottage

Mahoney, Charles Cyril

Oil on canvas, 49.5 x 62.2

An idyllic scene of a couple working in the flower garden of a thatched cottage. Born in Lambeth, London in 1903, Mahoney was christened Cyril, but adopted the name Charles when he was ‘rechristened’ with that name by a fellow student at the Royal Academy, which he attended from 1922-6. From 1928-30, Mahoney painted murals at Morley College with his colleagues Edward Bawden and Eric Ravilious and later with Evelyn Dunbar at Brockley School in Kent. Known as an outstanding teacher, Mahoney taught at the Byam Shaw School of Drawing and Painting from 1954-63 and at the Royal Academy Schools from 1961-68. His work is represented at the Tate Gallery and he was elected a Royal Academician in 1968. The picture was bought by the LACF in 1933.

Mahoney

Oil on canvas

Trunky Wild Hedgerow Vase

Malone, Kate

33 x 27 x 23

A piece by a ceramic artist whose work is inspired by natural forms.

Kate Malone is one of Britain's leading ceramic artists.  She was born in London and studied at Bristol Polytechnic and the Royal College of Art.  After graduating, she set up a studio in London and used her own home to display her work. 

She is known for her use of colour glazes and vases based on natural forms.  The vase is an exquisite example of work that she produced during a residency at the arts and crafts house, Blackwell, in Cumbria.  In this piece, she uses cage-work techniques to make an intricate lattice of hedgerow plants arouond the vase. 

Many of her pots are made in the form of vessels but this is not intended as their prime functiion - Malone descibes hereself as 'a maker of decorative objects' (British Council Art Collection).  The muted colours of the work in a unique crystalline glaze reflect the decoration of the house.  

The vase was bought with the aid of the LACF in 2006.

Ceramic: crystalline glazed stoneware

Malone

A piece inspired by plants and creatures from the seabed.

A  jug decorated with plants and creatures of the sea.  It was bought with the aid of the LACF in 1988.

Ceramic: Earthernware with green lead glaze

Malone

The Jungle

Mann, Bezalel

c. 1964, Sculpture: wood, 78.7

An Israeli sculptor, born in Transylvania, Bezalel Mann lives in Israel and works using wood and iron scraps.  The Jungle was given anonymously to the LACF in 1964.

Mann

Sculpture: wood

Portrait of Louis de Jean

Mercier, Philip

Portrait

75.9 cm x 63.4 cm

This fine portrait of the elegant Major Louis de Jean, of His Majesty’s First Troop of Horseguards, was painted by Philip (Philippe) Mercier, an artist of French extraction who had settled in England. Both the sitter and the artist were Huguenots (French Protestants) whose families had left France in the wake of Louis IV’s religious laws.

Major Louis de Jean, of His Majesty’s First Troop of Horse Guards, was a successful career soldier who became a prominent member of the expatriate French community in London. He later rose to the rank of Major-General, married a Swiss heiress and settled in Dublin.

Philip Mercier was born in Berlin, where he trained at the academy of painting.  He travelled in Italy and France and visited Hanover. Whilst in Hanover, Mercier painted a portrait of Frederick Prince of Wales and was appointed page of the bedchamber to the prince.  Mercier arrived in England in about 1716, where he introduced a French taste based on thestyles of Watteau and Chardin.

His work became  popular  and in 1727 he was appointed painter  to the Prince and Princess of Wales. He fell out of favour at court and moved to York for twelve years where he became sought-after for portraits by the leading families.  The Irwins of Temple Newsam were painted by him and there are four large full-length portraits still in the collection.  This picture is recorded at Temple Newsam in 1862 but may have been acquired much earlier, possibly at the sale of Mercier’s studio when he departed from York in 1751.  It left the house in 1922 and descended in the family of the late Lord Halifax until sold in April 2014.    

The picture was bought with the aid of a grant from the Leeds Art Fund  (Christopher Gilbert Fund) and now hangs in Lady William Gordon’s Room at Temple Newsam. 

Oil on canvas

Philip Mercier

The Sower

Millet, Jean-Francois

Lithograph, 19.1 x 16.1

A French painter who was accused of Socialism because he chose to depict the hard life of peasant families. A French painter and graphic artist, born into a peasant family who lived near Cherbourg in Normandy, Millet studied art locally before moving to Paris in 1837. His early works were mainly genre paintings and mythological scenes but after The Winnower, a peasant subject, was exhibited at the Paris Salon in 1848, Millet turned away from idealized rustic scenes and began to depict the hard toil of those who worked in the countryside. When The Sower was exhibited at the Salon of 1850 it produced some hostility and Millet was accused of Socialism. Millet rejected this accusation, saying his aim was ‘to make the trivial express the sublime’. [Concise Ox. Dict. Of Art and Artists] In 1849 Millet moved to Barbizon, a small village near the Forest of Fontainebleau, where he lived in poverty and continued to paint scenes of peasant life and landscapes. This lithograph was bought by the LACF in 1914.

Lithograph

Millet

Untitled/Horse

Milow, Keith

c. 1970, Sculpture: resin and fibreglass, 122 x 244

An artist associated with the British avant-garde during the 1970s. Born in London, Keith Milow studied at Camberwell School of Art from 1962-1967 and at the Royal College of Art from 1967-1968. The Gregory Fellowship in Art at the University of Leeds was awarded to Milow in 1970.and during the 1970s he was regarded as one of the British avant-garde group of artists. From 1980-2002, Milow worked in America and from 2002-2014, he lived and worked in Amsterdam. The works Milow creates are influenced by minimalism and conceptual art and he makes two- or three-dimensional objects using a variety of materials. Milow’s work is included in public collections in Britain, America and Australia. Untitled/Horse was bought by the LACF in 1972.

Milow

Sculpture: resin and fibreglass

Seated Nude Man

Moore, Henry

c. 1921, Sculptor, plaster, 22.5

A seated male figure, apparently deep in thought. A male figure seated, with his arms resting on a plinth.  The figure was bequeathed to the LACF by Jocelyn Horner in memory of Ernest Musgrave, 1973.

Moore

Sculpture

Enamelled Plate

Moore, Henry OM, CH

1919-1921, Enamelled Plate, earthenware; diam. 23.2

A decorative plate with a design by the sculptor Henry Moore. An earthenware plate enamelled with an abstract design in bold colours  on a light background. Bequeathed to the LACF by Jocelyn Horner in memory of Ernest Musgrave, 1973.

Enamelled Plate, earthenware

Moore

Nude Man (Dancing Figure)

Moore, Henry OM, CH

Sculpture, relief in plaster, 31.7 x 20.e

A carved relief of a dancing male nude. This relief in plaster of a dancing smale nude, partly constrained within a rectangular framework, was bequeathed to LACF by Jocelyn Horner in memory of Ernest Musgrave 1973.

Moore

Sculpture

Eight maquettes

Moore, Henry, OM, CH

1954, Plaster, six upright 28; 2 panels 15 x 13

A sculptor and graphic artist born in Yorkshire and recognized world-wide as one of the greatest sculptors of the 20th century. Henry Moore was born in Castleford, the son of a coal miner. Following the wishes of his father, he trained and worked as a teacher. He enlisted in the British Army during the First World War and was gassed at the battle of Cambrai. After spending two months recovering in hospital, Moore returned briefly to teaching but an ex-serviceman’s grant made it possible for him to study at Leeds School of Art and from there he obtained a scholarship to the Royal College of Art (1919-23). He taught at the Royal College of Art from 1925-32 and at Chelsea School of Art from 1932-39. During the 1930s Moore lived in Hampstead, where he joined a small group of avante-garde artists, including Ben Nicholson and Barbara Hepworth and gained repute as an avante-garde sculptor. When his studio was bombed in 1940 he moved to Much Hadham in Hertfordshsire, where he lived for the rest of his life. The image shown is of one of the eight plaster maquettes Moore made for proposed stone sculptures for Marconi House, The Strand, London. They are dated 1954, but the project remained unrealised. Moore carried out many public commissions in Britain in the 1950s and during this time bronze replaced stone as his preferred medium. Moore often worked on a very large scale and, through the commissions he received for his monumental figures, became very wealthy. In 1977, Moore gave his estate at Perry Green to the trustees of the Henry Moore Foundation, which he established for education and promotion of the fine arts. The Henry Moore Institute, adjacent to the Leeds Art Gallery, was set up in partnership with the Leeds City Council as a centre for the study of sculpture in the city of Leeds. The eight maquettes were bought with the aid of a contribution from the LACF in 1989.

Moore

Plaster

Location Piece

Morris, Robert

1973, Sculpture relief in lead and aluminium, 53.5 x 53.5

An American painter, sculptor and writer on art who pioneered several different artistic movements during the 1960s and 1970s. Robert Morris was born in Kansas City, Missouri. He studied engineering at the University of Kansas from 1948-50 and then art at the Kansas City Art Institute. From 1950-51, Morris served in the United States Army. Later he studied in California and in about 1960 moved to New York City, where he studied for a Masters degree in art history and began to create sculpture in the form of small-scale lead reliefs. Before he became a sculptor, Morris’s interests had included Abstract Expressionism, performance and dance, Minimalism, art criticism and art theory. In 1971 Morris designed an exhibition for the Tate Gallery, London, in which the whole of the central sculpture gallery was filled with ramps and cubes. Morris’s Location Piece, dated 1973, was bought with the aid of a contribution from the LACF in 1975.

Morris

Sculpture relief in lead and aluminium

Spatial Construction in Steel

Moss, Marlow

1956-57, Sculpture, 130 x 81.2 x 22.8

One of Britain’s most important Constructivist artists, Moss was "radically experimental in art and life" (Jessica Lack, Art Quarterly, Summer 2014, p. 17). Marlow Moss was born in Kilburn, London, to a well-off Jewish family. Against the wishes of her parents, she decided to become an artist, studying first at the Slade School of Art and later, after suffering a nervous breakdown, moving to Cornwall, where she studied architecture in Penzance. Returning to London, Moss set up her own studio and became very interested in European Modernism. She moved to Paris, where she apprenticed herself to Fernand Léger but became more influenced by the work of Piet Mondrian, producing highly stylised paintings reminiscent of those created by Mondrian. She changed her name from Marjorie Jewel Moss to Marlow Moss, cropped her hair and began to wear masculine clothes, favouring jodhpurs and a cravat. In Paris, Moss met Nettie Nijhoff, the wife of a Dutch poet, who became her lifelong partner. From 1940 they lived in Cornwall, in the fishing village of Lamorna, but Moss seems to have been reclusive and to have had no contact with the abstractionist artists, Hepworth and Nicholson, at nearby St. Ives. Her ‘Spatial Construction in Steel’ dating from 1956-7, was bought with a contribution from the LACF in 2004 and was exhibited at Leeds Art Gallery as part of the Yorkshire Festival in the summer of 2014.

Moss

Sculpture

A Young Girl Seated by her Window

Naylor, Martin

1973, Sculpture: mixed media, 205 x 287 x 84

An enigmatic work, giving only half its meaning to the viewer. Born in Morley, near Leeds, Martin Naylor first studied art at Dewsbury and Batley Technical and Art School (1961-65) followed by a year at Leeds Art College and three years at the Royal College of Art (1967-1970). From 1973-74, he was Gregory Fellow in Sculpture at Leeds University. A Young Girl Seated by her Window is one of the works Naylor made during this period. It was bought with aid of a contribution from the LACf in 1975. In his works, Naylor makes innovative use of various media, in combinations including painting, sculpture, found objects, photography and installations. He was Britain’s representative at the 1977 Sao Paulo Biennal, Brazil and between 1971 and 1985, won a number of prestigious awards, including An Arts Council Award, a Gulbenkian Foundation Visual Arts Award and a Henry Moore Foundation Award.

Naylor

Searchlights

Nevinson, Christopher Richard Wynne

1915

Given to the Leeds Art Collections Fund in 1916, reputedly after it had been turned down by the Tate Gallery.

Nevinson, Christopher Richard Wynne (1889-1946)

This remarkable 'war' painting shows the searchlights at Hungerford Bridge at Charing Cross in 1915, surely a remarkable and new visual experience for anyone at that time.

For the artist, Nevinson, an admirer of the Italian Futurists, especially Marinetti, it was almost a symbol of the modern world. He and his fellow Vorticists - the first genuinely avant-garde art movement to emerge in England just before the First World War - believed that the machine age represented the future for art as well as life.

Their art derived from the multi viewpoint imagery of Cubism while the jagged lines, busy surface, and shattered forms seemed particularly appropriate to the machine imagery of war scenes.

Nevinson lived in Paris 1912 - 13 where he shared a studio with Modigliani and came to know the Italian Futurists. He began plans for an English version of the movement and published 'Vital English Art: A Futurist Manifesto' in June 1914.

When war broke out Nevinson joined up and eventually he became an official war artist specialising in views of planes and land from the air.   

Nevinson

Pair of Vase Knife Cases

Not Known

1795

H. (Closed) D.28

A pair of vase-shaped knife boxes designed for an elegant 18th-century dining room.

This unusual pair of vase knife cases is made from satinwood, birch, tulipwood, mahogany, pine, ebony and box. The stem, dome cover and carcase are of turned birch. The domed covers, topped by acorn finials, are segmented with herringbone strings in light, dark and green-stained woods.

The lids are raised on square mahogany rods that slide within central tubes. The interior is designed to hold 21 knives, 18 forks and 12 spoons. The vases may have been placed one at each end of a dining-room sideboard.. The vase knife cases were given through the LACF by Lady Martin in 1955.  (C. Gilbert, Furniture at Temple Newsam House and Lotherton Hall

Furniture

Not Known

Pedestal, Italian

Not Known

1800

H.107

A marble-effect pedestal , ideal for displaying a portrait bust.

A pedestal in scagliola marble, given by the LACF in 1925.

Not Known

Pedestal Scagliola Marble

Sideboard Cabinet

Not Known

H. 99; W. 120; D. 59

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A fine example of a characteristic late 18th century Dutch sideboard cabinet.

The top of the sideboard lifts to reveal an oval pewter basin fitted in a well. A pewter urn fixed inside the lid discharges water into the basin. The lid itself is held open by hinged wooden brackets, which also support two pairs of folding shelves for glasses. The basin and cistern are stamped with Rotterdam pewter marks. The carcase of the sideboard is made from oak, veneered with mahogany. Formerly at Farfield Hall, Addingham, Yorkshire, the sideboard cabinet was given through the LACF by Lady Martin in 1952. (Gilbert, C., Furniture at Temple Newsam House and Lotherton Hall,1978)

Furniture: a sideboard cabinet oak and mahogany

Not Known

Maquette for Festival Hall Relief; the Sunbathers

Peri, Peter Laszlo

c. 1950, Sculpture

A social realist sculptor whose small concrete figures depicted ordinary people engaged in everyday activities. Peter Peri was born Ladislas Weisz in Budapest, Hungary. When he was in his teens his parents changed the family name to Peri, to avoid increasing antisemitism in Hungary. Peri began training to become a lawyer but developed a strong interest in both art and communist politics. He became apprenticed to a stone mason and studied art at evening classes. When he later moved to Berlin, he joined Der Sturm, a group of avante-garde artists, and was known as Laszlo Peri. In 1933, Peri was one of the founders of the anti-fascist Artists International Association. In 1933 he moved to England and in 1939 he became a British citizen. During the Second World War Peri made small concrete figures of people engaged in everyday activities, developing a technique of modelling from wet concrete that he had first used in Berlin. This maquette, entitled The Sunbathers, was for a sculptural mural, a relief that jutted out from the wall of the Royal Festival Hall. Subsequently, Peri received a large number of commissions from education authorities, typically to create concrete reliefs representing children at play. The maquette was given to the LACF by William Peri in 2000.

Peri

Sculpture

What Things Say About Us

Perry, Grayson

Earthenware, H. 56.5

A Turner Prize winner who collected his prize dressed as his alter-ego, Claire. An English potter, painter, textile artist and broadcaster, Grayson Perry was born in Chelmsford, Essex. During his childhood he was interested in drawing and in building model aeroplanes. He discovered at an early age that he liked to dress up in women’s clothes. Perry studied for a BA in Fine Art at Portsmouth Polytechnic and, after graduating in 1982, went on to study pottery at evening classes, where he met his wife, a psychotherapist and writer. Perry’s pots refer to classical traditions, such as ancient Greek pottery. For him, the classical shapes of his pots make them an ‘invisible’ base on which to make his statements. They are not intended for decorative effect, but to express his ideas and to provoke thought. In 2003, when Perry won the Turner Prize, it was the first occasion on which it had been awarded to a ceramic artist. Perry collected his prize dressed as Claire, his alter-ego, wearing a little girl style party frock. In 2013, Perry was appointed a CBE for his services to contemporary art. In 2014 Perry gave the BBC’s annual Reith Lectures, the first visual artist to be invited to do so. He gave a series of talks, entitled Playing to the Gallery, in which he spoke about contemporary art. Perry has also won a BAFTA award as a documentary maker, for ‘The Best Specialist Factual Programme’. In addition to pottery and film-making, Perry has also worked in textile art, creating tapestries and embroidery. His pot entitled What Things Say About Us was bought with the aid of a contribution from the LAFC in 2003.

Earthenware

Perry

Wells Farm Bridge, Acton

Pissarro, Lucien

1907, Oil on Canvas

Wells Farm Railway Bridge, Acton, Lucien Pissarro

The first modern painting bought by the newly formed Leeds Art Collections Fund in 1913.

The painting was exhibited at the New English Art Club in 1907 and subsequently at the Camden Town Group in 1911. Railway subjects were favoured by French Impressionists (of whom Lucien's father Camille Pissarro was a leading member) as particularly typical of modern urban life, a theme central to the beliefs of the Camden Town painters.

Oil on canvas

Pissarro

Silver chinoiserie epergne

Pitts, Thomas

1759

 

 

Silver Chinoiserie Epergne
Silver Chinoiserie Epergne

'One of the prettiest things I ever saw'. Parson Woodforde, 1783 The Leeds Art Fund made a generous grant towards the acquisition of this silver chinoiserie epergne from the Pippa Rakusen Bequest Fund.

The silver epergne (or table centrepiece) is in the chinoiserie style, one of the alternative forms of decoration which became immensely popular in the middle years of the 18th century.Artists, architects, designers and craftsmen were inspired by ideas of so-called 'Chinese' landscapes, buildings and decoration which they adapted freely for new and imaginative luxury goods. 

In this case the centrepiece is in the form of a Chinese pagoda or garden pavilion, complete with upturned eaves, hanging bells, pierced baskets and dishes. They would have contained fruits and delicacies for the dessert course at dinner and the table might have had additional ornaments such as porcelain figures and sugared sculptures. In the mid 20th century this example was owned by the legendary fashion writer and hostess the Hon Mrs Daisy Fellowes.  

Silver

Thomas Pitts

Portrait of a Man

Pourbus, Frans The Younger

49.5 x 37.5 cm

1591

This arresting portrait of an unidentified young man, aged 32, is one of the earliest portraits by Frans Pourbus the Younger.

The portrait is dated 1591 at the top left.  At the top right is an inscription in Latin which reads 'Atatis sue 32', which can be translated as meaning 'in the 32nd year of his life'. Frans Pourbus the Younger was born into a family of portrait painters - his grandfather, Pieter Pourbus,  and his father, Frans Pourbus the Elder, were both respected artists working in Bruges and Antwerp. The cool realism of this portrait, with its subtle use of directed light around the head and ruff, its carefully observed detail, and its psychological insight, is in sharp contrast to the hieratic style prevalent in England at this date. Frans the Younger is now  the most highly regarded of his family.  He became one of the principal court portrait painters in Europe, working first in Brussels for the Court of the Spanish Regents of the Netherlands, then in 1600 as court painter to Vicenzo I Gonzaga at his court in Mantua,  working also in Naples and Turin.  In 1609 he was summoned to Paris by Marie de Medici, to be painter at the French court, where he remained until his death. This picture was bought for the Leeds Art Gallery  with support from the LACF in 1914.  It was purchased from a Monsieur Neumann of Bellgium who had arrived in Leeds almost destitute as a refugee fleeing the advancing German armies.  

Frans Pourbus the Younger

Oil on panel

Amber Peach Bowl

Qing Dynasty, Chinese

10.5 x 18.5 x 25.5

Single piece of amber

An amber bowl carved to hold a single peach, possibly made for an Emperor of China.

This exceptionally large single piece of amber is carved as a 'nest' to contain a single peach. It was  made during the Qing dynasty, probably during the Qianlong reign (1736-1796).   In China, the peach is a symbol of long life and plenty. The bowl is full of other auspicious symbols:  bats for happiness, monkeys for long life, insects for immortality and resurrection.  The amber itself is symbolic of strength and courage.  The interior of the bowl is carved with a fiery dragon, which represents the Chinese Emperor for whom this sculpture may have been intended.  The bowl was given to the LACF by Audrey Burton, in memory of Stanley Burton, in 1992.

Amber

Qing Dynasty Chinese

Coromandel Screen

Qing dynasty, Kangxi Reign

China

H. 285; W. 572

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This screen is an unaltered example of what, in the late 17th century, would have been known as 'Bantam work' or 'Coromandel lacquer', from the Javanese port and Indian district through which they were imported from northern or central China.

The twelve leaves of this screen are joined by iron pin and staple hinges, numbered from left to right in Chinese characters. The front, surfaced with polished dark brown and black lacquer, is incised with a garden palace scene enhanced with soft distemper colours and gilt enrichment. The composition centres on a courtyard with a pavilion in which a dignitary sits receiving guests who carry gifts.

Ladies playing musical instruments occupy pavilions set amongst trees, while other buildings fly banners bearing the symbol of a general.. Panel ten illustrates a narrative scene from the Dream of Red Chambers, a famous Qing dynasty novel, a memorial to the women the author, Cao Zhan, had known. The border, which incorporates vases of flowers, utensils and traditional Taoist symbols, is guarded by an inner dragon pattern surround and an outer band of lotus motifs. Such screens were hugely expensive and were often cut up for wall panelling or made into furniture.

The screen was bought in 1940 by Philip Hendy, then Director of Leeds Art Galleries, for the exhibition Chinese Art at Temple Newsam House, with support from the LACF. (Gilbert, C., Furniture at Temple Newsam House and Lotherton Hall, Vol. II, 1978)

Furniture: panelled screen hardwood

Qing dynasty Kangxi Reign

The Artist in her Studio

Rego, Dame Paula

1993, Painting; acrylic on canvas, 180 x 130

An artist whose work sometimes refers to her memories of the scary folk tales told to her by her grandmother in Portugal. A British painter and printmaker of Portuguese birth, Paula Rego was born in Lisbon. Her father was posted to England and Rego was left in the care of her grandmother until she was four years old. In Portugal she attended a school where the pupils were taught in English. Later she came to a finishing school in England and then won a place at the Slade School of Art, London, where she studied from 1952-56.  In 1962-3 Rego received a bursary from the Calouste Gulbenkian Foundation headquarters in Lisbon. She married a British artist, Victor Willing and in 1976 she settled permanently in London with her husband. Her work often refers to memories of the folk tales told to her by her grandmother and is also associated with feminism. Rego’s first major solo exhibition was in Lisbon but in 1988 her work was shown at the Serpentine Gallery, London and began to be bought by collectors and institutions. In 1990 Rego was appointed the First National Gallery Associate Artist (artist in residence). In 2009 a new museum dedicated to Rego’s work was opened in Cascais, Portugal and in 2010 she was created a Dame of the British Empire. The Artist in her Studio was bought with the aid of a contribution from the LACF in 1994.

Painting; acrylic on canvas

Rego

Après le Bain

Renoir, Pierre Auguste

Pastel drawing, 65.5 x 52.9

A painter who was perhaps the most well known of the French Impressionists. Pierre-Auguste Renoir was born in Limoges, where his father was a tailor and his mother a seamstress. The family moved to Paris when Renoir was five years old. In 1854, at the age of thirteen, Renoir was apprenticed to a porcelain painter in Paris, where he gained experience of painting in the fresh, light colours that he would later apply to his own paintings. In 1861 Renoir entered the studio of Charles Gleyre in Paris, where he met other artists including Monet and Sisley, with whom he painted near the village of Barbizon, on the outskirts of the Forest of Fontainebleau. In 1870 Renoir was drafted into the French army to serve in the war against Germany. However, he became seriously ill and did not see active service. After the war, Renoir returned to Paris and in 1874 he helped to organize and took part in the first exhibition by the artists who came to be known as the Impressionists. This first exhibition was not successful but Renoir was supported by wealthy patrons and their friends, a number of whom commissioned portraits from him. From the 1880, Renoir painted many pictures of young women and girls as a celebration of female beauty These paintings were very popular and Renoir became wealthy. In 1907 he bought a piece of land at Cagnes on the French Riviera. On it he grew olives, vines and oranges and then had a house and studio built on his property. He lived there for the rest of his life but suffered increasingly from rheumatism, which affected his fingers and made painting difficult. Après le Bain was bought by the LACF in 1945.

Pastel drawing

Renoir

Bureau – Plat (Writing Table)

Risenburgh, Bernard II van

1745

H. 81; L. 211

A writing table made in Paris for the owner of Allerton Park, Yorkshire.

Made in Paris  for Richard Arundale of Allerton Park,Yorkshire , this table formed part of the furnishings either at  Allerton Park or at Arundale's London house.  To design his Yorkshire house, Arundale commissioned John Vardy (1718-1765,) a celebrated eighteenth century architect.

 An elegant pen and wash drawing by Vardy shows that this writing table was originally surmounted by an imposing cartonnier with a clock, ormolu candlebranches and a sloping desk.  Both this and the table are recorded in an inventory made in 1774, but the cartonnier has since disappeared. 

 The table is veneered in kingwood and its rectangular top is lined with tooled red leather, rimmed by a moulded brass border. The frieze contains five drawers; the long central one is recessed and is flanked by a pair of narrow drawers concealed behind the shaped wings of the drawer fronts at either side. The tapering cabriole legs bear rich knee mounts of elaborately scrolled rococo design. 

Bernard van Risenburgh, the maker of this table, had become a tre-ebéniste by 1730 and the earliest precisely datable  bureau-plat  made by him was for the French  Dauphin at Versailles in 1745. It is thought that the most satisfactory provisional date for this piece is c. 1745. 

The table was bought with the aid of a contribution from the LACF in 1972. (Gilbert, C., Furniture at Temple Newsam House and Lotherton Hall, Vol. II, 1978) (Vardy's drawing is now held in the Drawing Collection of the Royal Institute of British Architects.)

Bernard II van Risamburgh

Furniture: writing table kingwood, walnut rosewood

The Age of Bronze

Rodin, Auguste

1877 (this cast 1907), Bronze, 178 x 60 x 610

A French sculptor who, after a slow start, became world-famous. Born in Paris, Auguste Rodin’s nearsightedness made him unable to see what his teachers were writing on the blackboard, so, instead, he drew during lessons. He made three applications to study at the École des Beaux Arts in Paris but all were rejected and Rodin worked as a decorative bricklayer for almost twenty years. Then he visited Italy, from where he returned inspired to create sculpture. The Age of Bronze, originally called The Vanquished, was his first piece. The nude man is clenching both his fists, with his right hand hanging over his head. It depicts suffering but also hope for the future. It was made in 1877 and first exhibited in 1878. This cast dates from 1907. The cast was bought with the aid of a contribution from the LACF in 1994.

Bronze

Rodin

Lord Raby’s Silver Wine Cistern

Rollos, Philip

Lord Raby’s silver wine cistern

 

One of the largest pieces of silver ever made in England this magnificent cistern or wine cooler was bought for Temple Newsam after an Export Licence Deferral in 2011.

The massive cistern or wine cooler, weighing almost 2,600 ounces, was supplied to Thomas Wentworth, Lord Raby (later Earl of Strafford) when he was appointed ambassador to Berlin in 1705. All ambassadors were entitled to take with them silver objects weighing up to 5,893 oz of white silver and 1,066 of gilt in order that they could entertain in an appropriate style in the name of their sovereign. On return home they were generally allowed to retain this 'official' silver, emblazoned ith the royal arms, as recompense for their services. Massive silver wine cisterns or coolers were the most impressive and often the most sculptural objects made by goldsmiths for dining rooms in the baroque period (c1660 - c1730). They were filled with packed ice for keeping bottles cool and frequently formed an 'eyecatcher' on the sideboard together with other ceremonial and useful pieces. After being used at Berlin (where it would have rivalled the King of Prussia's magnificent silver) Lord Raby's cistern would have joined the rest of his accumulated silver at his seat at Wentworth Castle, near Barnsley (designed by the purssian court architect Jan de Bodt).      

Philip Rollos

Silver

Bad Hat

Rothschild, Eva

Sculpture: Perspex, 239 x 163 x 142

Described on the website of the Tate Gallery as "one of the most interesting artists of her generation". Born in Dublin, Ireland, Rothschild studied first at the University of Ulster, Belfast (1990-1993) and at Goldsmiths College, London (1998-1999). She works in materials that include, Perspex, Plexiglas, leather and paper and she also makes videos. Her work was exhibited at the Tate Triennial, New British Artists in 2006 and has been shown in Europe, Australia and America. The floor-based sculpture Bad Hat was bought with the aid of a contribution from the LACF in 2002.

Rothschild

Sculpture: Perspex

Head of a Man

Rouault, Georges

1926, Aquatint, 577 x 43.7

A French painter whose pictures of the outcasts of society the public found disquieting. A French painter and graphic artist, who had already completed his apprenticeship in a stained- glass workshop before entering the École des Beaux Arts in 1891. His paintings, with strong outlines and vivid colours reflected his work as designer of stained glass. Rouault was a prolific painter, producing paintings of the outcasts of society which expressed his hatred of cruelty and vice but which were disturbing to the public. Rouault was also the illustrator of numerous books. The acquatint Head of a Man, dated 1926, was bought by the LACF in 1948. It was executed as one of the illustrations for two books that were to be written. The project was begun in 1916 but was never completed. For this work, Rouault used a special process, first making a study in gouache which was then transferred photographically to a copper plate which was then worked the artist using acquatint, drypoint and direct biting with acid. [Leeds Art Calendar, Summer 1948, p.2]

Aquatint

Rugg, Matt

1962, Relief in wood

A carver and sculptor highly regarded by his contemporaries and students. Born in Bridgwater, Somerset, Rugg studied in the Department of Fine Art, King’s College, University of Newcastle upon Tyne. He originally studied painting but moved to take up carving, relief work and sculpture. Rugg exhibited his work widely during the 1960s and in 1965 he moved to London to teach in the sculpture department at Chelsea College of Art. Two of his reliefs in wood, Unit Relief, dated 1962 and Sign Elements III, dated 1963, were bought by the LACF in 1963.

Relief in wood

Rugg

Lamia No. 2

Sargent, Francis William

c. 1910, Sculpture: bronze, 31

A British sculptor who worked for many years in Italy. Born in Hampstead, London, the son of a barrister, Sargant studied at the Slade School of Art, London and later in Florence and Munich. For most of his career he lived in Florence, where he had a studio and where he worked largely in the medium of marble. He exhibited his work in London, Paris and Munich. Lamia was given anonymously through the LACF in 1958.

Sargent

Sculpture: bronze

Old Man’s Head

Sichel, Ernest Leopold

Drawing, coloured chalks, 23.3 x 20

Born in Bradford, Ernest Sichel was a contemporary of William Rothenstein, another Bradford artist. A Bradford-born Jewish artist, the son of a manufacturer from Frankfurt am Main, Sichel studied at the Slade School of Art. He was an artist, sculptor and modeller. From 1891, Sichel exhibited his work at the Royal Academy and the New English Art Club. At some time between 1885 and 1890 he returned to Bradford, where he lived and worked until his death in 1941. Old Man’s Head, in coloured chalks, was bought by the LACF in 1924.

Drawing

Sichel

Juliet and the Nurse

Sickert, Walter Richard

1935 – 6

During the 1930s Sickert, who had always been attracted to the theatre, frequently attended performances, made friends with the actors and made paintings on their subjects.

The paintings were usually derived from press photographs and Edith Evans - here as the nurse - features in at least one other painting, and Peggy Ashcroft - here as Juliet - in several others. 

The technique of painting from photographs (or other graphic sources such as prints) was widely used by Sickert in the 1930s - it encouraged a tonal (as opposed to linear) vision and Sickert used - or had his assistants use - a dry 'scraped' brushwork, showing often bare canvas between paint areas, with a concentration on large masses curiously flattened - unparalleled before Andy Warhol.  

Sickert

Raku Vase

Smith, Martin

1978

30 x 29

A vase decorated with a striking geometric design by one of Britain's foremost ceramic artists.

Born in Essex, Martin Smith studied at the Ipswich School of Art, the Bristol Polytechnic Faculty of Art and the Royal College of Art.  After teaching at Loughborough College of Art and Design and Camberwell College, Smith joined the staff of the Royal College of Art in 1989 and was appointed Professor of Ceramics and Glass in 1999. 

Martin Smith is one of Britain's most highly regarded ceramic artists and was one of the first to consider pottery pieces as primarily aesthetic forms divorced from function as vases, jugs, etc.  This early work, decorated with incised geometric sgrafitto,  marks the beginning of his longstanding interest in architecture. 

The use of contrast in this piece is typical of Smith who frequently juxtaposes different materials and colours in his work.

Ceramic: raku vase

Martin Smith

Christ’s Entry into Jerusalem

Spencer, Stanley

1920

One of the first in a series of large religious paintings by Spencer bought by the Leeds Art Collections Fund in 1941.

The scene is set in the High Street at Cookham, Spencer's home village to which he had returned following war service with the Royal Army Medical Corps.

Although the setting of a religious scene in a contemporary context may seem unconventional, it does in fact have a tradition stretching back to the Middle Ages.

This is one of a series of large scale religious paintings which Spencer began in 1920, the same year in which he was invited to submit designs for murals for Leeds Town Hall, a project which never came to fruition.

Spencer's is the personal vision of an artist whose beliefs were unorthodox and often disconcerting.

Spencer

Christ’s Entry Into Jerusalem

Spencer, Stanley

Oil on canvas, 114.2 x 144.8

An artist perhaps best known for his biblical scenes, set in the village where he lived and worked for most of his life. An English artist, Stanley Spencer was born in Cookham, Berkshire. His father was a music teacher and Stanley was the eighth child in a family where religion, music and literature were of the greatest importance. Spencer studied at the Slade School of Art from 1908-12 and won prizes. His work was exhibited at the Second Post-Impressionist Exhibition in 1912. At the beginning of the First World War, Spencer enlisted, serving first in the Royal Army Medical Corps at a hospital in Bristol and later in Macedonia. His experiences of wartime service were movingly expressed in his art ten years afterwards when he painted murals for the Sandham Memorial Chapel at Burghclere, commissioned by the parents of a soldier who, like Spencer, had served in Macedonia. During the Second World War , Spencer again served as an official war artist, this time in Glasgow, where he painted large canvases showing the work of shipbuilders on the Clyde. Stanley Spencer was created a CBE in 1950 and was knighted a few months before his death in 1959. Religion played an important part in Spencer’s life, as did the village of Cookham, where he was born and lived for many years. He is said to have thought of Cookham as ‘a village in heaven’. Christ’s Entry into Jerusalem is shown taking place in a street in Cookham. The painting was bought by the LACF in 1941. The Leeds Art Fund has also bought three other works by Stanley Spencer: Madonna Lilies, Cookham, oil on panel, (bought 1936); Gardens in the Pound, Cookham, oil on canvas (bought 1940) and Study for Leeds Decoration, watercolour (bought 1973).

Oil on canvas

Spencer

The Music of the Wind

Stirling Lee, Thomas

c. 1907, Sculpture in wax, 66 x 25 x 23.5

A sculptor who specialized in reliefs and portrait medallions. Thomas Stirling Lee was born in Lambeth, London, the son of a surveyor. He was educated at Westminster School and after serving as an apprentice in the studio of John Birnie Philip, studied at the Royal Academy Schools (1876-80) where he was awarded a gold medal and a travelling scholarship to study in Paris. Stirling Lee specialized in making reliefs and portrait medallions. He made bas-reliefs for Leeds Town Hall and was a member of the National Portrait Society from 1910-15. The Music of the Wind, a sculpture in wax, is the model for the silver statuette in the Sam Wilson bequest, given to the LACF by Sam Wilson in 1913.

Sculpture in wax

Stirling Lee

Large Plate

Taylor, Sutton

D47.5

A work which shows the taste for rich colour and abstract design of this Yorkshire-born potter.

Sutton Taylor is one of Britain’s leading potters and his work is exceptionally well represented in the Leeds collection. He is a Yorkshireman, born in Keighley.  He trained as a teacher and worked in Manchester before moving to Jamaica and travelling in America. .  In 1970 he returned to England and  for a time lived in the stable block at Temple Newsam House.

He then moved to the Old House at Lotherton Hall where a ceramic nameplate still bears witness to his presence. There he had his kiln and wrestled with the extraordinary technical problems of firing lustreware – while managing not to burn the house down!

This magnificent charger shows his taste for working with rich colour and abstract design, sometimes fluid, sometimes geometrical and often with a mixture of both. It makes a telling comparison with the Victorian lustreware of William de Morgan (1839-1917) with its symmetry and use of figurative design – see the Charger painted to a design by William de Morgan of c. 1885, also at Lotherton Hall.

Ceramic: Earthernware with lustre decoration

Sutton Taylor

The Gladiators

Thornton, Leslie

Sculpture, bronze, copper, brass; 79.5 x 55.5 x 48.5

A British sculptor, born in Skipton, Yorkshire, Leslie Thornton first studied at Keighley Art School from 1940-42. In 1943 he was conscripted to work in the coalmines but from 1945-48 he studied at Leeds School of Art and from 1948-51 at the RCA Sculpture School. In 1955 Thornton’s work was included in the New Sculptures Exhibition at the ICA in London and later that year he participated in the Young British Sculptors exhibition organized by the British Council. In 2004 Thornton's work was included in the exhibition 100 Years of Sculpture at the Henry Moore Institute in Leeds. The Gladiators was bought by the LACF c. 1958.

Sculpture

Thornton

Red Circle

Thubron, Harry

c. 1964, Relief sculpture in wood, 68.5 x 71 x 21

Christened Henry James Thubron, Harry Thubron was born in Bishop Auckland, County Durham. He studied at Sunderland School of Art (1933-8) and at the Royal College of Art (1938-40). He served in the Armed Forces from 1941-46. In the early part of his career as an artist Thubron produced figurative works but later changed to creating reliefs in resin, metal and wood. Thubron taught at Leeds College of Art from 1955-64 and at Goldsmiths School of Art from early in1970. A major exhibition of his work was held at the Serpentine Gallery, London in 1976. In 2007 a number of his works were shown in a one-man exhibition at Austin/Desmond Fine Art. All were acquired by Damien Hirst, who had been a student of Thubron’s at Goldsmiths in the early 1980s. Red Circle was bought by the LACF in 1964. Another work by Thubron, Uomo, an Assemblage, was bought with the aid of a contribution from the LACF in 1985.

Relief sculpture in wood

Thubron

Series No. 2

Tucker, William

1968, Sculpture; fibre glass, 83 x 228 x 210

Two cylindrical pieces, provide the viewer with a complicated pattern of angles and intersections. Born in Cairo to British parents who returned to England in 1937, William Tucker is a modernist sculptor and modern art scholar. He read Modern History at Oxford University, whilst also attending the Ruskin School of Drawing. He then studied sculpture at Saint Martin’s School of Art, London, where Anthony Caro was one of his teachers. From 1968-1970, Tucker was Gregory Fellow in Sculpture at the University of Leeds. Series No. 2 is one of a series of four variations on the theme of interlocking cylinders that he made in 1968. Series A No. 2 is composed of two H-shaped cylindrical pieces, one laid above the other and turned at an angle to it. The arrangement provides the viewer with a complicated pattern of angles and intersections, where the arms of the H-shapes are not parallel and are not of the same length. It was bought by the LACF in 1969. In 1972, Tucker was Britain’s representative at the Venice Biennale. He moved to New York in 1978 and became an American citizen in 1985. He has received a number of awards, winning the Royal Academy Summer Exhibition Sculpture Prize in 2009 and was a recipient of the International Sculpture Center’s Lifetime Achievement in Contemporary Sculpture Award in 2010.

Sculpture; fibre glass

Tucker

Valley of the Washburn

Turner, J.M.W

1818

Watercolour with bodycolour on buff paper

This scene was painted by Turner during one of his many visits to Farnley Hall, near Otley, in Yorkshire, the seat of Walter Hawksworth Fawkes, a wealthy landowner who began collecting Turner's work in 1803 and became one of the artist's greatest patrons.

One of many views of the landscape of the Lower Wharfe Valley painted by Turner for Walter Fawkes of Farnley Hall. 

It shows the view to the south from the Washburn Valley, looking towards Caley Park, with Wharfedale in the distance. 

Caley Park was at that time part of the Farnley Hall, estate where Turner was a regular visitor between 1808 and 1824.  These were social visits;  Turner greatly enjoyed the country pursuits of shooting and fishing and was regarded almost as a member of the Fawkes family.  

In April 1919, Walter Fawkes opened the rooms of his house in Grosvenor Place, London to the public.  Turner's watercolors constituted by far the greatest part of the exhibition. 

Fawkes dedicated the exhibition catalogue to Turner, writing that he did so as 'an Offering of Friendship'. Turner never returned to Farnley Hall after the death of his patron and great friend Walter Fawkes. 

The picture was bought with the aid of a contribution from the LACF in 1997.   

Turner

Watercolour

Pair of Console Tables and Pier Glasses

Vile, William and Cobb, John

H. 244, W. 137; Tables, H. 89, W. 152

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The Royal cabinet-makers, William Vile and John Cobb, Long Acre, London, invoiced this pair of console tables and pier glasses to the Earl of Coventry on 6th December, 1761.

Made from pine,  painted white and gilt, this pair of console tables and mirror plates was commissioned by the Earl of Coventry for the saloon at Croome Court, Worcestershire.  The mirror plates are set  in oval frames, H. 244, W. 137.  The  console tables have Breccia Corallina marble tops resting on cabriole legs, H. 89, W. 152.  They were bought with the aid of a contribution from the LACF in 1974.

Cobb

Furniture: Mirror Plates

William Vile

Billingsgate – Fishing Boats

Whistler, James Abbott McNeill

c. 1859, Etching, 15.1 x 22.5

An American-born artist who came to Europe and was one of the most cosmopolitan artist of the nineteenth century. Whistler was born in Lowell, Massachusetts. His father, Major George Washington Whistler, had studied civil engineering at the US Military Academy at West Point.   Since America was at peace during Whistler’s early childhood, Major Whistler became a successful railway engineer. In 1842 Czar Nicholas I invited him to design the first railway in Russia and the family moved to St. Petersburg. James was educated at the czar’s court, where he learned to speak French and took drawing at the Imperial Academy of Fine Arts. His father died in 1849 and his mother moved back to America with her two sons. Because of her late husband’s connections, Mrs. Whistler gained a place for her son James at West Point in 1851. Whistler achieved only low grades at West Point and was discharged, after which he joined the U.S. Coast and Geodesic Survey in Washington D.C. but resigned after three months. In 1855, Whistler left America for Paris, where he lived and worked with other painters, including Fantin-Latour, until he settled London in 1859, although still he made regular visits to Paris. It was in that year that Whistler began a series of sixteen etchings known as the ‘Thames Set’, of which ‘Billingsgate – Fishing Boats’ is one. In the mid nineteenth-century, Billingsgate was the main covered fish market in Britain and fishing boats would enter this small inlet on the Thames to deliver their catch. This etching was bought by the LACF in 1917.  Another work by Whistler, Old Battersea Bridge, dated 1879, is also illustrated  here.

Etching

Whistler

Old Battersea Bridge

Whistler, James Abbott McNeill

1879, Lithograph, 20.8 x 34.4

An American-born artist who came to Europe and was one of the most cosmopolitan artists of the nineteenth century. Whistler was born in Lowell, Massachusetts. His father, Major George Washington Whistler, had studied civil engineering at the US Military Academy at West Point. Since America was at peace during Whistler’s early childhood, Major Whistler became a successful railway engineer. In 1842 Czar Nicholas I invited him to design the first railway in Russia and the family moved to St. Petersburg. James was educated at the czar’s court, where he learned to speak French and took drawing at the Imperial Academy of Fine Arts. His father died in 1849 and his mother moved back to America with her two sons. Because of her late husband’s connections, Mrs. Whistler gained a place for her son James at West Point in 1851. Whistler achieved only low grades at West Point and was discharged, after which he joined the U.S. Coast and Geodesic Survey in Washington D.C. but resigned after three months. In 1855, Whistler left America for Paris, where he lived and worked with other painters, including Fantin Latour.  He moved to London in 1859 but continued to make regular visits to Paris. Whistler was a dandy, a wit and a lavish host, whose lifestyle led him to be almost permanently in debt. He was awarded many honours during his career, perhaps the most prestigious of which was that of his appointment as an officer of the French Legion of Honour, after his most famous work, Arrangement in Grey and Black: Portrait of the Painter’s Mother, was purchased by the French state. The entry for James Abbot McNeill Whistler in the Dictionary of National Biography states that ‘Few painters have exercised a deeper or wider influence over their contemporaries than Whistler.’  The lithograph, Old Battersea Bridge, was donated to the Leeds Art Fund by R.H. Kitson in 1920.

Lithograph

Whistler

Temper (1991-92)

Wilding, Alison

1991-92, Sculpture, Perspex, steel, brass and rubber

A sculpture which may relate to a basic element of our psychology. A British sculptor, born in Blackburn, Lancashire, Alison Wilding grew up in St. Ives, Huntingdon. From 1967-70 she studied at Ravensbourne College of Art and Design, Bromley, Kent and from 1970-73 at the Royal College of Art. After leaving the RCA, Wilding incorporated numerous materials into her work, including beeswax, transparent plastics, textiles and a variety of pigments, enabling her to set up contrasts of form and colour. In the summer of 1991 she exhibited ten years’ work at the Tate Gallery Liverpool and five new works at the Henry Moore Sculpture Trust at Dean Clough in Halifax. She chose one of the new works to show at the Turner Prize exhibition in 1992. Her work was short-listed but she did not win the Prize. Temper (1991-92) was made at the time when Wilding’s work was becoming well-known and was bought with the aid of a contribution from the LACF in 1996.

Sculpture, Perspex, steel, brass and rubber

Wilding

The Doppelganger

Willats, Stephen

1984, Photographic print, mixed media, 2 panels each 136 x 98

An English conceptual artist and sculptor for whom the making of art is a social practice. Stephen Willats was born in London and studied at Ealing School of Art in 1962-3. During the 1960s Willats became a pioneer of conceptual art. His multi-media works often involve creative social projects.  For Willats, the making of art is a social practice, concerned with the effects the structure of modern urban society has on the individual. The Doppelganger, in which a City worker is by night transformed into a skinhead, is one of a series of works made by Willats in 1984, exploring the night-time world of alternative cultures. This work was bought with the aid of a contribution from the LACF in 1988.

Photographic print, mixed media

Willats

Small Stone Bridge

Williams, Glynn

1988, Sculpture: Hopton Wood Stone, 45.7 x 15.2 x 11.4

A sculptor of the Figurative tradition. Born in Shrewsbury, Glynn Williams attended Wolverhampton College of Art from 1955-61. On graduation, Williams was awarded the British Prix de Rome Scholarship. From 1961-63 he lived and worked in the British School in Rome.  Since 1967 Williams’ work has been widely exhibited, both in one-person and group exhibitions  He taught at the Royal College of Art, becoming Head of Sculpture in 1990 and Head of the School of Fine Art from 1995-2010. Williams’ public works include memorials to David Lloyd George in Parliament Square and Henry Purcell in Westminster, London. Small Stone Bridge was given anonymously to the LACF in 1988.

Sculpture: Hopton Wood Stone

Williams

Dress, designed by Charles Frederick Worth

Worth, Charles Frederick

1881

An English-born textile salesman who became a world-famous Paris fashion designer.

Charles Frederick Worth was born in Bourne, Lincolnshire and worked first as an apprentice and clerk for two textile merchants in London. Having acquired an expert knowledge of fabrics through his work, he moved to Paris in 1845 to join a French textile company.

Whilst working as one of their leading salesmen, he opened a small dressmaking department within the company and in 1858 set up his own firm. His designs were known for his use of luxurious fabrics and Worth’s name came to dominate the Parisian fashion scene in the latter part of the nineteenth century. This dress was made for Mary Holden Illingworth of Bradford (1838-1908), who wore it to her daughter’s wedding in 1881.

Mary came from a wealthy Yorkshire mill owning family. Her father, Isaac Holden, was a self-made man who made a fortune in the weaving industry, with mills in both Bradford and Paris. His daughter Mary was interested in fashion and this was not her first dress from Worth.

She later recounted how ‘fittings were of dubious delight, as Monsieur Worth was of the habit of taking a cup of warm fresh blood straight from the local abatoir at 11a.m.’  The dress was bought with the aid of a contribution from the LACF in 2011.

Textile; silk, velvet, glass, metal

Worth

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