1.
Hoxton
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Hoxton is a district in the East End of London, England, immediately north of the financial district of the City of London. Hoxton forms the part of Shoreditch, being part of the ancient parish. The area of Hoxton is bordered by Regents Canal on the side, Wharf Road and City Road to the west, Old Street to the south. Hoxton is also a ward, electing three councillors to Hackney London Borough Council and it forms part of the Hackney South and Shoreditch constituency. Hogesdon is first recorded in the Domesday Book, meaning an Anglo-Saxon farm belonging to Hoch, little is recorded of the origins of the settlement, though there was Roman activity around Ermine Street, which ran to the east of the area from the 1st century. In medieval times, Hoxton formed a part of Shoreditch parish. The Worshipful Company of Haberdashers remains Patron of the advowson of the parish of St Johns, the residents responded by harassing walkers to protect their fields. A century later, the hedges and ditches were destroyed, by order of the City, by Tudor times many moated manor houses existed to provide ambassadors and courtiers country air nearby the City. This included many Catholics, attracted by the house of the Portuguese Ambassador, one such resident was Sir Thomas Tresham, who was imprisoned here by Elizabeth I of England for harbouring Catholic priests. Jonson was able to prove his literacy, thereby claiming benefit of clergy to escape a hanging. Hoxtons public gardens were a popular resort from the overcrowded City streets, and it is reputed that the name of Pimlico came from the publican, Ben Pimlico, have at thee, then, my merrie boyes, and beg for old Ben Pimlico’s nut-brown ale. The gardens appear to have been situated near Hoxton Street, known at that time, the modern area of Pimlico derives its name from its former use in Hoxton. The letter may have been sent by his brother-in-law Francis Tresham, or he may have written it himself, the letter was read aloud at supper, before prominent Catholics, and then he delivered it personally to Robert Cecil at Whitehall. While the conspirators were alerted, by the reading, to the existence of the letter they persevered with their plot as their gunpowder remained undiscovered. William Parker accompanied Thomas Howard, the Lord Chamberlain, at his visit to the undercroft of Parliament, most of the conspirators fled on the discovery of the Gunpowder Plot, but Francis Tresham was arrested a few days later at his house in Hoxton. A commemorative plaque is attached to modern flats at the site of Parkers house in Hoxton Street, by the end of the 17th century the nobilitys estates began to be broken up. Many of these houses became to be used as schools, hospitals or mad houses. Askes Almshouses were built on Pitfield Street in 1689 from Robert Askes endowment for 20 poor haberdashers, Hoxton House, was established as a private asylum in 1695
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Greater London
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London, or Greater London, is a region of England which forms the administrative boundaries of London. It is organised into 33 local government districts, the 32 London boroughs, the Greater London Authority, based in Southwark, is responsible for strategic local government across the region and consists of the Mayor of London and the London Assembly. The county of Greater London was created on 1 April 1965 through the London Government Act 1963, administratively, Greater London was first established as a sui generis council area under the Greater London Council between 1963 and 1986. The area was re-established as a region in 1994, and the Greater London Authority formed in 2000, the region covers 1,572 km2 and had a population of 8,174,000 at the 2011 census. In 2012, it had the highest GVA per capita in the United Kingdom at £37,232, the Greater London Built-up Area—used in some national statistics—is a measure of the continuous urban area of London, and therefore includes areas outside of the administrative region. The term Greater London has been and still is used to different areas in governance, statistics, history. In terms of ceremonial counties, London is divided into the small City of London, outside the limited boundaries of the City, a variety of arrangements has governed the wider area since 1855, culminating in the creation of the Greater London administrative area in 1965. The Greater London Arterial Road Programme was devised between 1913 and 1916, one of the larger early forms was the Greater London Planning Region, devised in 1927, which occupied 1,856 square miles and included 9 million people. The LCC pressed for an alteration in its boundaries soon after the end of the First World War, noting that within the Metropolitan, a Royal Commission on London Government was set up to consider the issue. The LCC proposed a vast new area for Greater London, with a boundary somewhere between the Metropolitan Police District and the home counties, protests were made at the possibility of including Windsor, Slough and Eton in the authority. The Commission made its report in 1923, rejecting the LCCs scheme, two minority reports favoured change beyond the amalgamation of smaller urban districts, including both smaller borough councils and a central authority for strategic functions. The London Traffic Act 1924 was a result of the Commission, Greater London originally had a two-tier system of local government, with the Greater London Council sharing power with the City of London Corporation and the 32 London Borough councils. The GLC was abolished in 1986 by the Local Government Act 1985 and its functions were devolved to the City Corporation and the London Boroughs, with some functions transferred to central government and joint boards. Greater London was used to form the London region of England in 1994, a referendum held in 1998 established a public will to recreate an upper tier of government to cover the region. The Greater London Authority, London Assembly and the directly elected Mayor of London were created in 2000 by the Greater London Authority Act 1999, in 2000, the outer boundary of the Metropolitan Police District was re-aligned to the Greater London boundary. The 2000 and 2004 mayoral elections were won by Ken Livingstone, the 2008 and 2012 elections were won by Boris Johnson. The 2016 election was won by Sadiq Khan, Greater London continues to include the most closely associated parts of the Greater London Urban Area and their historic buffers. Thus it includes, in five boroughs, significant parts of the Metropolitan Green Belt which protects designated greenfield land in a way to the citys parks
3.
Frognal
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Not to be confused with Frognal House, in Foots Cray near Sidcup, London Frognal is an area of Hampstead, North West London in the London Borough of Camden. Frognal is also the name of the road in the area. The first reference to Frognal is as a tenement in the 15th century, by the mid-eighteenth century it was a significant settlement, sought after by eminent lawyers, and infill development continued through the nineteenth and twentieth centuries. William Page, historian and general editor of the Victoria County History, sir Walter Besant, the author, lived at 106 Frognal, and died at 18 Frognal Gardens in 1901. The Labour Party leader Hugh Gaitskell lived at 10 Frognal and ran a salon of influence in the 1940s, general Charles de Gaulle lived from 1942 to 1944 in 99 Frognal. Kathleen Ferrier, the contralto, lived at Frognal Mansions,97 Frognal, kate Greenaway, the illustrator, lived in a house in Frognal designed for her by Richard Norman Shaw in 1885. Charles Forte, restaurant and hotel owner lived at Greenaway Gardens in Frognal, Dennis Brain, tamara Karsavina, the ballerina, lived at 108 Frognal in the 1950s. E. V. Knox, the editor of Punch, lived at 110 Frognal from 1945, anton Walbrook, the actor, died at 69 Frognal in 1967. Sir Bernard Spilsbury, the pathologist, died at 20 Frognal, Frognal has a diverse architecture, with many architecturally notable buildings. The central area, lacking large council estates, has undergone less change than some parts of Hampstead. University College School, an independent day school founded in 1830, frognall Grove, Grade II listed, was large house inherited by the architect George Edmund Street, who made additions to it. It was later subdivided into four semi-detached houses, Hampstead West Hampstead Swiss Cottage Kilburn Fortune Green Finchley Road & Frognal Hampstead tube station Finchley Road tube station Elrington, C. R. Baker, T. F. T. Bolton, Diane K, Croot, Patricia E. C, a History of the County of Middlesex, Volume 9
4.
Picture books
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A picture book combines visual and verbal narratives in a book format, most often aimed at young children. The images in picture books use a range of such as oil paints, acrylics, watercolor. Two of the earliest books with something like the picture books still retain now were Heinrich Hoffmanns Struwwelpeter from 1845. Some of the picture books are Robert McCloskeys Make Way for Ducklings, Dr. Seuss The Cat In The Hat. The Caldecott Medal and Kate Greenaway Medal are awarded annually for illustrations in childrens literature, from the mid-1960s several childrens literature awards include a category for picture books. Some picture books are published with content aimed at children or even adults. Tibet, Through the Red Box, by Peter Sis, is one example of a book aimed at an adult audience. There are several subgenres among picture books, including books, concept books, early readers, nursery rhymes. Another category is movable books, such as books, which employ paper engineering to make parts of the page pop up or stand up when pages are opened. The Wheels on the Bus, by Paul O. Zelinsky, is one example of a bestseller pop-up picture book, orbis Pictus from 1658 by John Amos Comenius was the earliest illustrated book specifically for children. It is something of an encyclopedia and is illustrated by woodcuts. A Little Pretty Pocket-Book from 1744 by John Newbery was the earliest illustrated storybook marketed as pleasure reading in English, the German childrens books Struwwelpeter from 1845 by Heinrich Hoffmann, and Max and Moritz from 1865 by Wilhelm Busch, were among the earliest examples of modern picturebook design. Andrew Langs twelve Fairy Books published between 1889 and 1910 were illustrated by among others Henry J. Ford and Lancelot Speed, lewis Carrolls Alices Adventures in Wonderland, illustrated by John Tenniel in 1866 was one of the first highly successful entertainment books for children. Toy books were introduced in the half of the 19th century. These had a proportion of pictures to words than earlier books. Heath Robinson, Howard Pyle, or Charles Robinson, generally, these illustrated books had eight to twelve pages of illustrated pictures or plates accompanying a classic childrens storybook. Beatrix Potters The Tale of Peter Rabbit was published in 1902 to immediate success, Peter Rabbit was Potters first of many The Tale of. Including The Tale of Squirrel Nutkin, The Tale of Benjamin Bunny, The Tale of Tom Kitten, swedish author Elsa Beskow wrote and illustrated some 40 childrens stories and picture books between 1897–1952
5.
Victorian era
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The Victorian era was the period of Queen Victorias reign, from 20 June 1837 until her death on 22 January 1901. It was a period of peace, prosperity, refined sensibilities. Some scholars date the beginning of the period in terms of sensibilities, the era followed the Georgian period and preceded the Edwardian period. The later half of the Victorian age roughly coincided with the first part of the Belle Époque era of continental Europe, culturally there was a transition away from the rationalism of the Georgian period and toward romanticism and mysticism with regard to religion, social values, and arts. The end of the saw the Boer War. Domestically, the agenda was increasingly liberal with a number of shifts in the direction of political reform, industrial reform. Two especially important figures in period of British history are the prime ministers Benjamin Disraeli and William Gladstone. Disraeli, favoured by the queen, was a gregarious Conservative and his rival Gladstone, a Liberal distrusted by the Queen, served more terms and oversaw much of the overall legislative development of the era. The population of England and Wales almost doubled from 16.8 million in 1851 to 30.5 million in 1901, Scotlands population also rose rapidly, from 2.8 million in 1851 to 4.4 million in 1901. However, Irelands population decreased sharply, from 8.2 million in 1841 to less than 4.5 million in 1901, mostly due to the Great Famine. Between 1837 and 1901 about 15 million emigrants departed the UK permanently, in search of a life in the United States, Canada, South Africa, New Zealand, Australia. During the early part of the era, politics in the House of Commons involved battles between the two parties, the Whigs/Liberals and the Conservatives. These parties were led by such prominent statesmen as Lord Melbourne, Sir Robert Peel, Lord Derby, Lord Palmerston, Gladstone, Disraeli, Victoria became queen in 1837 at age 18. Her long reign until 1901 was mainly a time of peace, Britain reached the zenith of its economic, political, diplomatic and cultural power. The era saw the expansion of the second British Empire, Historians have characterised the mid-Victorian era as Britains Golden Years. There was prosperity, as the income per person grew by half. There was peace abroad, and social peace at home, opposition to the new order melted away, says Porter. The Chartist movement peaked as a movement among the working class in 1848, its leaders moved to other pursuits, such as trade unions
6.
Children's book
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Childrens literature or juvenile literature includes stories, books, magazines, and poems that are enjoyed by children. Modern childrens literature is classified in two different ways, genre or the age of the reader. Childrens literature can be traced to stories and songs, part of an oral tradition. The development of childrens literature, before printing was invented, is difficult to trace. Even after printing became widespread, many childrens tales were originally created for adults. Since the 15th century, a quantity of literature, often with a moral or religious message, has been aimed specifically at children. The late nineteenth and early centuries became known as the Golden Age of Childrens Literature as this period included the publication of many books acknowledged today as classics. There is no single or widely used definition of childrens literature and it can be broadly defined as anything that children read or more specifically defined as fiction, non-fiction, poetry, or drama intended for and used by children and young people. The International Companion Encyclopedia of Childrens Literature notes that the boundaries of genre. are not fixed but blurred, sometimes, no agreement can be reached about whether a given work is best categorized as literature for adults or children. Rowlings Harry Potter series was written and marketed for young adults, the series extreme popularity led The New York Times to create a separate best-seller list for childrens books. Despite the widespread association of childrens literature with picture books, spoken narratives existed before printing, seth Lerer, in the opening of Childrens Literature, A Readers History from Aesop to Harry Potter, says, This book presents a history of what children have heard and read. The history I write of is a history of reception, early childrens literature consisted of spoken stories, songs, and poems that were used to educate, instruct, and entertain children. It was only in the 18th century, with the development of the concept of childhood, that a genre of childrens literature began to emerge, with its own divisions, expectations. French historian Philippe Ariès argues in his 1962 book Centuries of Childhood that the concept of childhood only emerged in recent times. He explains that children were in the past not considered as different from adults and were not given significantly different treatment. Pre-modern childrens literature, therefore, tended to be of a didactic and moralistic nature, with the purpose of conveying conduct-related, educational, during the 17th century, the concept of childhood began to emerge in Europe. Adults saw children as separate beings, innocent and in need of protection, the English philosopher John Locke developed his theory of the tabula rasa in his 1690 An Essay Concerning Human Understanding. A corollary of this doctrine was that the mind of the child was born blank, and he also suggested that picture books be created for children
7.
Under the Window
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Under the Window, Pictures & Rhymes for Children was Kate Greenaways first childrens picture book, composed of her own verses and illustrations. Although Greenaway illustrated over 150 books, Under the Window is one of two books that she wrote and illustrated, the other was Marigold Garden. In the late 1870s, Greenaway—who had been illustrating greeting cards—persuaded her father, Evans explains, I was at once fascinated by the originality of the drawings and the ideas of the verse, so I at once purchased them. Evans considered Greenaways illustrations to be appealing and encouraged Routledge to publish the book. Reprinting kept on till 70,000 was reached, under the Window, Pictures and Rhymes for Children consists of rhymes and traditional nursery rhymes. Greenaway wrote her own verse for the book, in Under the Window, Greenaway presented drawings of children dressed in styles based on the fashions of the turn-of-the-century. Her books were so popular that the clothing the children in them came back into fashion. The colouring is pale with gently modulated tints favored by the Aesthetes, mainly soft yellows, other fashionable motifs illustrated in the book are sunflowers, blue and white china, and Queen Anne Style architecture. Also evident within the book is the influence of Japanese woodblocks with their definite block outline, flat, delicate colours, the emphasis is placed largely on the illustrations which are accompanied by verse. The images reflect the English countryside, childhood fantasies, and adult parodies, under the Window appeared in stores in October 1879, in time for Christmas. A further 70,000 copies were printed and sold in England, with separate editions for America, the book was published in 1879, Edmund Evans produced 100,000 copies of Under the Window which helped launch Greenaways career as an author and illustrator of childrens books. Under the Window was followed by The Birthday Book, Mother Goose, Little Ann, within weeks of publication of Under the Window, several imitations appeared, frustrating Greenaway. One fairly well-known artist from the North of England wanted me to buy a copy of a book he had drawn, painted, of course I could have nothing to do with such a bare faced copy of K. G. s book. It was, of course, bought and published by another firm of publishers, Greenaways friends considered Afternoon Tea to be a crude exploitation and urged legal action. Frederick Locker denounced the book as an imitation of your manner. The Reminiscences of Edmund Evans, Wood Engraver and Colour Printer, international Companion Encyclopedia of Childrens Literature. Under the Window and Afternoon Tea, Twirling the Same Blade of Grass, the Illustrator and the book in England from 1790 to 1914. The art of Kate Greenaway, a portrait of childhood
8.
Watercolor painting
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Watercolor or watercolour, also aquarelle, a diminutive of the Latin for water, is a painting method in which the paints are made of pigments suspended in a water-based solution. Watercolor refers to both the medium and the resulting artwork, the traditional and most common support—material to which the paint is applied—for watercolor paintings is paper. Other supports include papyrus, bark papers, plastics, vellum, leather, fabric, wood, Watercolor paper is often made entirely or partially with cotton, which gives a good texture and minimizes distortion when wet. Watercolors are usually translucent, and appear luminous because the pigments are laid down in a form with few fillers obscuring the pigment colors. Watercolors can also be made opaque by adding Chinese white, in East Asia, watercolor painting with inks is referred to as brush painting or scroll painting. In Chinese, Korean and Japanese painting it has been the dominant medium, india, Ethiopia and other countries have long watercolor painting traditions as well. Fingerpainting with watercolor paints originated in mainland China, however, its continuous history as an art medium begins with the Renaissance. The German Northern Renaissance artist Albrecht Dürer, who painted several fine botanical, wildlife, an important school of watercolor painting in Germany was led by Hans Bol as part of the Dürer Renaissance. Despite this early start, watercolors were used by Baroque easel painters only for sketches, copies or cartoons. Notable early practitioners of watercolor painting were Van Dyck, Claude Lorrain, Giovanni Benedetto Castiglione, however, botanical illustration and wildlife illustration perhaps form the oldest and most important traditions in watercolor painting. Botanical illustrations became popular during the Renaissance, both as hand-tinted woodblock illustrations in books or broadsheets and as tinted ink drawings on vellum or paper. Wildlife illustration reached its peak in the 19th century with such as John James Audubon. Several factors contributed to the spread of watercolor painting during the 18th century, Watercolor artists were commonly brought with the geological or archaeological expeditions, funded by the Society of Dilettanti, to document discoveries in the Mediterranean, Asia, and the New World. This example popularized watercolors as a form of personal tourist journal, the confluence of these cultural, engineering, scientific, tourist, and amateur interests culminated in the celebration and promotion of watercolor as a distinctly English national art. William Blake published several books of hand-tinted engraved poetry, provided illustrations to Dantes Inferno, from the late 18th century through the 19th century, the market for printed books and domestic art contributed substantially to the growth of the medium. Satirical broadsides by Thomas Rowlandson, many published by Rudolph Ackermann, were extremely popular. Among the important and highly talented contemporaries of Turner and Girtin, were John Varley, John Sell Cotman, Anthony Copley Fielding, Samuel Palmer, William Havell, the Swiss painter Louis Ducros was also widely known for his large format, romantic paintings in watercolor. These societies provided annual exhibitions and buyer referrals for many artists, in particular, the graceful, lapidary, and atmospheric watercolors by Richard Parkes Bonington created an international fad for watercolor painting, especially in England and France in the 1820s
9.
Walter Crane
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Walter Crane was an English artist and book illustrator. Cranes work featured some of the colourful and detailed beginnings of the child-in-the-garden motifs that would characterize many nursery rhymes. He was part of the Arts and Crafts movement and produced an array of paintings, illustrations, childrens books, ceramic tiles, Crane is also remembered for his creation of a number of iconic images associated with the international Socialist movement. Crane was the son of Thomas Crane, a portrait painter and miniaturist, and Marie Crane. His older brother Thomas would also go into illustration, and sister Lucy a noted writer, a set of coloured page designs to illustrate Tennysons Lady of Shalott gained the approval of wood-engraver William James Linton to whom Walter Crane was apprenticed for three years in 1859–62. He was a student who admired the masters of the Italian Renaissance, a further and important element in the development of his talent was the study of Japanese colour-prints, the methods of which he imitated in a series of toy books, which started a new fashion. From the early 1880s, initially under William Morriss influence, Crane was closely associated with the Socialist movement and he did as much as Morris himself to bring art into the daily life of all classes. With this object in view he devoted attention to designs for textiles and wallpapers, and to house decoration. For a long time he provided the cartoons for the Socialist organs Justice, The Commonweal. Many of these were collected as Cartoons for the Cause and he devoted much time and energy to the work of the Art Workers Guild, of which he was master in 1888 and 1889 and to the Arts and Crafts Exhibition Society, which he helped to found in 1888. He was also a Vice President of the Healthy and Artistic Dress Union and they produced numerous pamphlets setting out their cause, including one entitled How to Dress Without a Corset which Crane illustrated. Although not himself an anarchist, Crane contributed to several publishers, including Liberty Press. He is credited with the design and decoration of the front facade of The Bomb Shop, Hendersons bookshop at 66 Charing Cross Road specialising in left-wing, Crane was controversial in his support of the four Chicago anarchists executed in 1887 in connection with the Haymarket affair. Financial support was withdrawn and planned dinners in Cranes honor were cancelled, the incident was memorialized in the press as probably the most dramatic episode in the artists career. Walter Crane died on 14 March 1915 in Horsham Hospital, West Sussex and his body was cremated at the Golders Green Crematorium, where his ashes remain. He was survived by three children, Beatrice, Lionel and Lancelot, in 1863 the printer Edmund Evans employed Crane to illustrate yellowbacks, and in 1865 they began to collaborate on toy books of nursery rhymes and fairy tales. From 1865 to 1876 Crane and Evans produced two to three toy books each year and these are a few of his illustration suites, In 1864 he began to illustrate a series of sixpenny toy books of nursery rhymes in three colours for Edmund Evans. He was allowed more freedom in a beginning with The Frog Prince which showed markedly the influence of Japanese art
10.
Randolph Caldecott
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Randolph Caldecott was an English artist and illustrator, born in Chester. The Caldecott Medal was named in his honour and he exercised his art chiefly in book illustrations. His abilities as an artist were promptly and generously recognised by the Royal Academy, Caldecott greatly influenced illustration of childrens books during the nineteenth century. Two books illustrated by him, priced at a shilling each, were published every Christmas for eight years, Caldecott was born at 150 Bridge Street, Chester, where his father, John Caldecott, was a Chester accountant, twice married with 13 children. Caldecott was his child by his first wife Mary Dinah. In 1848 the family moved to Challoner House, Crook Street and he spent the last five years of his schooling at The Kings School which, in those days, was in the cathedral precinct in the centre of the city. In his early childhood Caldecott drew and modelled, mostly animals, on leaving school at the age of fifteen, Caldecott went to work at the Whitchurch branch of the Whitchurch & Ellesmere Bank and took lodgings at Wirswall, a village near the town. After six years at Whitchurch, Caldecott moved to the office in Manchester of the Manchester & Salford Bank. He lodged variously in Aberdeen Street, Rusholme Grove and at Bowdon and he took the opportunity to study at night school at the Manchester School of Art and practised continually, with success in local papers and some London publications. A number of his letters have been reprinted with their illustrations in Yours Pictorially, encouraged by this evidence of his ability to support himself by his art, Caldecott decided to quit his job and move to London, this he did in 1872 at the age of 26. Within two years he had become a magazine illustrator working on commission. His work included individual sketches, illustrations of other articles and a series of illustrations of a holiday which he, the latter became the first of a number of such series. He remained in London for seven years, spending most of them in lodgings at 46 Great Russell Street just opposite the British Museum, in the heart of Bloomsbury. While there he met and made friends with many artistic and literary people, among them Dante Gabriel Rossetti, George du Maurier, John Everett Millais and Frederic Leighton. His friendship with Frederic Leighton led to a commission to design peacock capitals for four columns in the Arab room at Leightons rather exotic home, in 1869 Caldecott exhibited a picture in the Royal Manchester Institute. He had a picture exhibited in the Royal Academy for the first time in 1876 and he was also a watercolourist and was elected to the Royal Institute of Painters in Water Colours in 1882. The results were The House that Jack Built and The Diverting History of John Gilpin and they were an immediate success, so much so that Caldecott produced two more each year for Evans until he died. The stories and rhymes were all of Caldecotts choosing and in cases were written or added to by himself
11.
Edmund Evans
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Edmund Evans was a prominent English wood engraver and colour printer during the Victorian era. Evans specialized in printing, which, in part because of his work. He employed and collaborated with such as Walter Crane, Randolph Caldecott, Kate Greenaway. Although little is known about his life, he wrote an autobiography before his death in 1905 in which he described his life as a printer in Victorian London. After finishing an apprenticeship, Evans went into business for himself, by the early 1850s, he had established a reputation as a printer of covers for a type of cheap novels known as yellow-backs. In the early 1860s, he began to print childrens toy books and picture books in association with the printing house Routledge and his intention was to produce books for children that were beautiful and inexpensive. For three decades he produced multiple volumes each year, first illustrated by Crane, and later by Caldecott, Evans used a woodblock printing technique known as chromoxylography, which was used primarily for inexpensive serialised books and childrens books requiring few colours, so as to maximize profits. However, chromoxylography allowed a variety of hues and tones to be produced by mixing colours, the process was complicated and required intricate engraving to achieve the best results. Evans possessed a meticulous eye for detail and used a hand-press and he went on to become the preeminent wood engraver and colour printer in Britain during the second half of the 19th century. Evans was born in Southwark, London, on 23 February 1826 and he attended school in Jamaica Row, where he enjoyed mathematics but wished he had learned Latin. As a 13-year-old he began work as a boy at the printing house of Samuel Bentley in London in 1839. However, he was reassigned as an errand boy because his stutter interfered with his duties. The hours were long—from seven in the morning until nine or ten at night—but the printmaking process itself, Evans started with Landells in 1840. His duties included delivering proofs of drawings to be approved by such as Edward Dalziel. A year later, Landells launched Punch magazine, and as early as 1842 had Evans illustrate covers for the new publication, Evans worked and became friends with Myles Birket Foster, John Greenaway and George Dalziel. Foster and Evans became lifelong friends, toward the end of his apprenticeship, the demands of the Illustrated London News caused Evans to work late into the night and return early in the morning. When his apprenticeship ended in 1847, Evans, then 21, refused an offer of employment from Landells, deciding instead to go into business for himself as a wood-engraver, in 1848 Evans engraved a title-page illustration, among other commissions, for the Illustrated London News. However, the Illustrated London News stopped employing him on the basis that his wood engraving was too fine for newspaper work and his final print for the Illustrated London News showed the four seasons, and was illustrated by Foster
12.
Charles Dickens
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Charles John Huffam Dickens was an English writer and social critic. He created some of the worlds best-known fictional characters and is regarded by many as the greatest novelist of the Victorian era and his works enjoyed unprecedented popularity during his lifetime, and by the twentieth century critics and scholars had recognised him as a literary genius. His novels and short stories enjoy lasting popularity, born in Portsmouth, Dickens left school to work in a factory when his father was incarcerated in a debtors prison. Dickenss literary success began with the 1836 serial publication of The Pickwick Papers, within a few years he had become an international literary celebrity, famous for his humour, satire, and keen observation of character and society. His novels, most published in monthly or weekly instalments, pioneered the publication of narrative fiction. The instalment format allowed Dickens to evaluate his audiences reaction, and he modified his plot. For example, when his wifes chiropodist expressed distress at the way Miss Mowcher in David Copperfield seemed to reflect her disabilities and his plots were carefully constructed, and he often wove elements from topical events into his narratives. Masses of the poor chipped in hapennies to have each new monthly episode read to them, opening up. Dickens was regarded as the literary colossus of his age and his 1843 novella, A Christmas Carol, remains popular and continues to inspire adaptations in every artistic genre. Oliver Twist and Great Expectations are also adapted, and, like many of his novels. His 1859 novel, A Tale of Two Cities, set in London, Dickens has been praised by fellow writers—from Leo Tolstoy to George Orwell and G. K. Chesterton—for his realism, comedy, prose style, unique characterisations, and social criticism. On the other hand, Oscar Wilde, Henry James, and Virginia Woolf complained of a lack of depth, loose writing. The term Dickensian is used to something that is reminiscent of Dickens and his writings. Charles John Huffam Dickens was born on 7 February 1812, at 1 Mile End Terrace, Landport in Portsea Island and his father was a clerk in the Navy Pay Office and was temporarily stationed in the district. He asked Christopher Huffam, rigger to His Majestys Navy, gentleman, Huffam is thought to be the inspiration for Paul Dombey, the owner of a shipping company in Dickenss eponymous Dombey and Son. In January 1815 John Dickens was called back to London, when Charles was four, they relocated to Sheerness, and thence to Chatham, Kent, where he spent his formative years until the age of 11. His early life seems to have been idyllic, though he himself a very small. Charles spent time outdoors but also read voraciously, including the novels of Tobias Smollett and Henry Fielding, as well as Robinson Crusoe
13.
The Pickwick Papers
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The Posthumous Papers of the Pickwick Club was Charles Dickenss first novel. He was asked to contribute to the project as a writer following the success of Sketches by Boz. Dickens increasingly took over the monthly publication after the original illustrator Robert Seymour had committed suicide. With the introduction of Sam Weller in chapter 10, the became the first real publishing phenomenon, with bootleg copies, theatrical performances, Sam Weller joke books. A firm of London publishers, Messrs. Chapman & Hall, was projecting a series of cockney sporting plates by illustrator Robert Seymour. There was to be a club, the members of which were to be sent on hunting and fishing expeditions into the country and their guns were to go off by accident, fishhooks were to get caught in their hats and trousers. All these and other misadventures were to be depicted in Seymours comic plates, only in a few instances did Dickens adjust his narrative to plates that had been prepared for him. Typically, he led the way with an instalment of his story. The story thus became the source of interest, and the illustrations merely of secondary importance. By this reversal of interest, Dickens transformed, at a stroke, simple as the process may appear, others who had tried the plan had all failed. Pierce Egan partially succeeded in his Tom and Jerry, a novel in which the pictures, in future years, however, Dickens was suspiciously eager to distance himself from suggestions that Pierce Egans Life in London had been a formative influence. Robert Seymour provided the illustrations for the first two instalments before his suicide, Robert Buss illustrated the third instalment, but his work was not liked by Dickens and the remaining instalments were illustrated by Phiz who went on to illustrate most of Dickens novels. The instalments were first published in form in 1837. Written for publication as a serial, The Pickwick Papers is a sequence of loosely related adventures, the action is given as occurring 1827–8, though critics have noted some seeming anachronisms. It has been stated that Dickens satirized the case of George Norton suing Lord Melbourne in The Pickwick Papers, the novels main character, Samuel Pickwick, Esquire, is a kind and wealthy old gentleman, the founder and perpetual president of the Pickwick Club. Their travels throughout the English countryside by coach provide the theme of the novel. A distinctive and valuable feature of the work is the accurate description of the old coaching inns of England. Its main literary value and appeal is formed by its numerous memorable characters, each character in The Pickwick Papers, as in many other Dickens novels, is drawn comically, often with exaggerated personality traits
14.
Islington
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Islington is a district in Greater London, England, and part of the London Borough of Islington. Islington grew as a sprawling Middlesex village along the line of the Great North Road and this gave rise to some confusion, as neighbouring districts may also be said to be in Islington. This district is bounded by Liverpool Road to the west and City Road and its northernmost point is in the area of Canonbury. The main north-south high street, Upper Street splits at Highbury Corner to Holloway Road to the west, Islington was originally named by the Saxons Giseldone, then Gislandune. The name means Gīslas hill from the Old English personal name Gīsla, the name later mutated to Isledon, which remained in use well into the 17th century when the modern form arose. In medieval times, Islington was just one of many small manors thereabouts, along with Bernersbury, some roads on the edge of the area, including Essex Road, were known as streets by the medieval period, possibly indicating a Roman origin, but little physical evidence remains. What is known is that the Great North Road from Aldersgate came into use in the 14th century and this was along the line of modern Upper Street, with a toll gate at The Angel defining the extent of the village. The Back Road, the modern Liverpool Road, was primarily a road where cattle would be rested before the final leg of their journey to Smithfield. Pens and sheds were erected along this road to accommodate the animals, the first recorded church, St Marys, was erected in the twelfth century and was replaced in the fifteenth century. Islington lay on the estates of the Bishop of London and the Dean, there were substantial medieval moated manor houses in the area, principally at Canonbury and Highbury. In 1548, there were 440 communicants listed and the atmosphere, with access to the City and Westminster, made it a popular residence for the rich. The local inns, however, harboured many fugitives and recusants, the Royal Agricultural Hall was built in 1862 on the Liverpool Road site of William Dixons Cattle Layers. The hall was 75 ft high and the glass roof spanned 125 ft. It was built for the annual Smithfield Show in December of that year but was popular for other purposes, including recitals and it was the primary exhibition site for London until the 20th century and the largest building of its kind, holding up to 50,000 people. It was requisitioned for use by the Mount Pleasant sorting office during World War II, the main hall has now been incorporated into the Business Design Centre. The hill on which Islington stands has long supplied the City of London with water and these included Sadlers Wells, London Spa and Clerkenwell. The river was opened on 29 September 1613 by Sir Hugh Myddelton and his statue still stands where Upper Street meets Essex Road. The course of the river ran to the east of Upper Street, the Regents Canal passes through Islington
15.
The Illustrated London News
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The Illustrated London News appeared first on Saturday 14 May 1842, as the worlds first illustrated weekly news magazine. Founded by Herbert Ingram, it appeared weekly until 1971, then less frequently thereafter, the company continues today as Illustrated London News Ltd, a publishing, content and digital agency in London, which holds the publication and business archives of the magazine. As a newsagent, Ingram was struck by the increase in newspaper sales when they featured pictures. Ingram began to plan a weekly newspaper that would contain pictures in every edition, Ingram rented an office, recruited artists and reporters, and employed as his editor Frederick William Naylor Bayley, formerly editor of the National Omnibus. The first issue of The Illustrated London News appeared on Saturday,14 May 1842, Ingram hired 200 men to carry placards through the streets of London promoting the first edition of his new newspaper. Costing sixpence, the first issue sold 26,000 copies, despite this initial success, sales of the second and subsequent editions were disappointing. Its circulation soon increased to 40,000 and by the end of its first year was 60,000, in 1851, after the newspaper published Joseph Paxtons designs for the Crystal Palace before even Prince Albert had seen them, the circulation rose to 130,000. Andrew Spottiswoodes Pictorial Times lost £20,000 before it was sold to Ingram by Henry Vizetelly, Ingram folded it into another purchase, The Ladys Newspaper, which became The Ladys Newspaper and Pictorial Times. Vitezelly was also behind a competitor, The Illustrated Times in 1855. Ingrams other early collaborators left the business in the 1850s, nathanial Cooke, his business partner and brother-in-law, found himself in a subordinate role in the business and parted on bad terms around 1854. 1858 saw the departure of William Little, who, in addition to providing a loan of £10,000, was printer and publisher of the paper for 15 years, littles relationship with Ingram deteriorated over Ingrams harassment of their mutual sister-in-law. By 1863, The Illustrated London News was selling more than 300,000 copies every week, the death of Herbert and his eldest son left the company without a director and manager. Control passed to Ingrams widow Ann, and his friend Sir Edward William Watkin, once Ingrams two younger sons, William and Charles, were old enough, they took over as managing directors, although it was William who took the lead. It was also a period of expansion and increased competition for the ILN, as reading habits and the illustrated news market changed, the ILN bought or established a number of new publications, evolving from a single newspaper to a larger-scale publishing business. As with Herbert Ingrams purchases in the 1850s, this expansion was also a way of managing competition, dominating markets. As too with the acquisitions of the 1850s, several similar illustrated publications were established in this period by former employees of The Illustrated London News. Serious competition for the ILN appeared in 1869, with the establishment of The Graphic, Thomas was a former wood engraver for The Illustrated London News, and brought his expertise in illustrated publishing to his new magazine. The Graphic was highly popular, particularly for its coverage of the Franco-Prussian War in 1870, William Ingram became chief proprietor of The Illustrated Sporting and Dramatic News, and The Ladys Pictorial, which may have been a later title of The Ladys Newspaper and Pictorial Times
16.
John Leech (caricaturist)
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John Leech was an English caricaturist and illustrator. He is best known for his work for Punch, a magazine for a broad middle-class audience, combining verbal. Leech catered to contemporary prejudices, such as anti-Americanism and anti-Semitism, Leechs critical yet humorous cartoons on the Crimean War help shape public attitudes toward heroism, warfare, and Britons role in the world. John Leech was born in London and his mother was descended from the family of Richard Bentley. It was from his father that Leech inherited his skill with the pencil, when he was only three, he was discovered by John Flaxman, who was visiting, seated on his mothers knee, drawing with much gravity. The sculptor admired his sketch, adding, Do not let him be cramped with lessons in drawing, let his genius follow its own bent, a mail-coach, done when he was six years old, is already full of surprising vigour and variety in its galloping horses. His nickname also being Blicky stuck with him during his life and he was eighteen when his first designs were published, a quarto of four pages, entitled Etchings and Sketchings by A. Pen, Esq. comic character studies from the London streets. In company with the elder master Leech designed for the Ingoldsby Legends and Stanley Thorn, then in the 1850s come the numerous etchings of sporting scenes, contributed, together with woodcuts, to the Handley Cross novels by Robert Smith Surtees. Amid all the squalor which they depict, they are full of beauties in the delicate or touching expression of a face. It was in work for the wood-engravers that Leech was most prolific and it was in 1841 that Leechs connection with Punch began, a connexion which subsisted until his death, and resulted in the production of the best-known and most admirable of his designs. His first contribution appeared in the issue of 7 August, a full-page illustration—entitled Foreign Affairs of character studies from the neighbourhood of Leicester Square, in 1862 Leech appealed to the public with a very successful exhibition of some of the most remarkable of his Punch drawings. These were enlarged by a process, and coloured in oils by the artist himself, with the assistance. Millais had earlier painted a portrait of a child reading Leechs comic book Mr Briggs Sporting Tour, Leech was a rapid and indefatigable worker. Dean Hole claims to have observed the artist produce three finished drawings on the wood, designed, traced, and rectified, without effort as it seemed. Turning to the qualities of his art, it would be a mistaken criticism which ranked him as a comic draughtsman. The purity and manliness of Leechs own character are impressed on his art and we find in it little of the exaggeration and grotesqueness, and none of the fierce political enthusiasm, of which the designs of James Gillray are so full. Compared with that of his contemporary, George Cruikshank, his work is restricted both in compass of subject and in artistic dexterity. Biographies of Leech have been written by John Brown Frederick G. Kitton, John Leech, artist and humorist, Leech, John, Oxford Dictionary of National Biography, online edn,2014 accessed 13 June 2015 Houfe, Simon
17.
John Gilbert (painter)
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Sir John Gilbert RA was an English artist, illustrator and engraver. Gilbert was born in Blackheath, Surrey, and taught himself to paint and his only formal instruction was from George Lance. Skilled in several media, Gilbert gained the nickname, the Scott of painting and he was best known for the illustrations and woodcuts he produced for the Illustrated London News. Gilbert was initially apprenticed to a firm of estate agents, and he was unable to enter the Royal Academy Schools, but mastered watercolour, oils, and other media. From 1836 he exhibited at the Society of British Artists, the art patron Thomas Sheepshanks and the artist William Mulready suggested that he learn wood engraving. Starting with Punch, he moved on to the Illustrated London News and he produced an impressive number of wood engravings for that publication and for The London Journal. He also produced many illustrations for books, including nearly all the important English poets. He became president of the Old Watercolour Society in 1871 and he exhibited some 400 pictures in watercolour and oil exhibited at the various societies. He became an RA in 1876, in the year as Edward Poynter. The Gilbert-Garret Competition for Sketching Clubs was started in 1870 at St. Martins School of Art, Gilbert is buried at Brockley and Ladywell Cemeteries. Charles Lamb Gilbert has nearly sixty oil paintings in British national collections
18.
Kenny Meadows
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Joseph Kenny Meadows, better known as Kenny Meadows, was a British caricaturist and illustrator. He is best known for the drawings that he contributed to Punch, much of his work was drawn in a humorous bohemian style. He was well known for the quality of his illustrations, although the reception of his work was often mixed. Meadows first major project was Heads of the People in 1840 and his acquaintance with Douglas Jerrold allowed him to become the illustrator of the project. Other contributors to the book included William Makepeace Thackeray and Leigh Hunt and he also contributed to The Illuminated Magazine, which was edited by Jerrold as well. In addition, he drew illustrations for the Christmas editions of Illustrated London News. Meadows became a prominent artist due to his work for Punch and he contributed fourteen total drawings to the paper. They were published in 1843 and 1844, appearing in the first through the seventh volumes and he worked very closely with John Leech while they were employed there. At the time that he first began working for Punch he was one of its oldest contributors, William Powell Frith once described him as perhaps the best of Punchs early illustrators. Other critics have stated that the quality the work that he produced varied and his drawings were hailed by some commentators more thoughtful than the typical burlesque treatments the subjects of his drawings often received. Others have faulted his work for a lack of humour and inventiveness and he was often noted, however, for the youthful enthusiasm he had toward drawing. His drawings often included the depiction of a butterfly at the mouth of a cannon, a similar design was used by Sir Edwin Henry Landseer in a painting, and some have attributed this similarity to Meadows influence on Landseer. Meadows often read Shakespeare and memorised many passages and he published a volume of illustrated scenes from Shakespeare in 1843. Though he and several of his friends considered this work to be his masterpiece and it was particularly well received in Germany, however. He continued working on depictions of scenes from Shakespeare for his entire life, Meadows was the son of a Naval officer and was born in Cardigan. Although his first name was Joseph, he listed his name as Kenny Meadows in professional use and he lived in Camden Town for much of his life. He was married to the sister of Archibald Henning, a fellow artist who contributed to Punch, Meadows wife was very frugal, and he allowed her to run the households finances. One of their daughters married James Hannay, who wrote for Punch in the 1850s, Meadows, who was known to be very outgoing and a night owl, spent much of his time visiting with friends and drinking gin
19.
Royal College of Art
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The Royal College of Art or RCA is a public research university in London, in the United Kingdom. This was the third year that QS had awarded it the number 1 position for Art & Design. The RCA was founded in Somerset House in 1837 as the Government School of Design or Metropolitan School of Design, richard Burchett became head of the school in 1852. In 1853 it was expanded and moved to Marlborough House, and then, in 1853 or 1857 and it was renamed the Normal Training School of Art in 1857 and the National Art Training School in 1863. During the later 19th century it was primarily a training college, pupils during this period included George Clausen, Christopher Dresser, Luke Fildes, Kate Greenaway. In 1896 or 1897 the school received the name Royal College of Art, teaching of graphic design, industrial design and product design began in the mid-twentieth century. The school expanded further in the 1960s, and in 1967 it received a Royal Charter which gave it the status of an independent university with the power to grant its own degrees, the RCA has two campuses, in South Kensington and in Battersea. The Darwin Building in Kensington Gore dates from the 1960s and is a Grade II listed building and it was designed by a team of RCA staff members, H. T. Cadbury-Brown, Hugh Casson and Robert Goodden. In 1991 the sculpture department moved to a converted factory across the river Thames in Battersea, in the early 2000s the college conceived a substantial second campus being created on the site, with a minibus service linking it to Kensington. Thus, after a redevelopment of the premises by Wright & Wright. A masterplan was commissioned by Haworth Tompkins and phase 1 of their three phase design was completed with the opening of the Sackler Building on 19 November 2009 and its name commemorates a major gift by The Dr Mortimer and Theresa Sackler Foundation. The Dyson Building, named in honour of James Dyson, whose educational charity donated £5m to the development, was opened on 24 September 2012 and it is the home for printmaking and photography, and contains an innovation wing where start-up designers can launch their businesses. The Woo Building was opened on 30 September 2015, completing the Battersea project and it is named in honour of Sir Po-Shing and Lady Helen Woo, who have funded scholarships at the RCA since the 1990s. It accommodates the Ceramics & Glass and Jewellery & Metal programmes, the buildings anodised aluminium gates were designed by alumnus Max Lamb. The RCA offers MA, MPhil and PhD degrees in twenty-four subject areas, divided into six schools, architecture, communication, design, fine art, humanities, and materials. In April 2011 the RCA was ranked first on a list of UK graduate art schools compiled by Modern Painters magazine from a survey of professionals in the art world. In August 2015 it was ranked first on a list of courses in fashion by Business of Fashion. In 2015 the RCA placed first in the art and design subject area in the QS World University Rankings published by Quacquarelli Symonds, in 2016 and 2017 it held onto the position, increasing its overall score from 96. 0/100 to 98. 4/100
20.
Richard Burchett
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Richard Burchett was a British artist and educator on the fringes of the Pre-Raphaelite movement, who was for over twenty years the Headmaster of what later became the Royal College of Art. Princess Louise, Duchess of Argyll, Queen Victorias daughter, Burchett published collections of his lectures as text-books for the South Kensington system of art education, which he helped to devise. Burchett was born in Brighton on 30 January 1815 and he gave evidence to this in 1846-7, by which time he had become a master at the school, remaining on the staff until his death in 1875, from 1852 as Headmaster. He married twice, and had several children, what appear to be a son and grandson are recorded exhibiting paintings in London. Ebenezer Stanley Burchett worked at South Kensington and then was Head Master of the Bedford Park School of Arts & Crafts, in 1870 Richard Burchett is described as formerly of 43 Brompton Square, but now of 8 Bedford Road, Clapham. Burchett was in bad health for the last years of his life. He had only been in the School for 133 days in 1872, in 1870, he began proceedings for bankruptcy, which were still not concluded by his death. Scott says he took to a sort of farming at considerable expense and he began to get into deep water, and into the hands of 20 per cent money-lenders. Still he fought bravely with his difficulties, and even when his salary was placed under trustees. His venture was ill-timed, hitting a period of agricultural depression and his will was probated at less than £200, and Frayling records that a letter from his widow asking for a pension was found unanswered in the school files thirteen years later. Obituaries were published in the Athenaeum, the Art Journal, Burchett exhibited five works, apparently all large history paintings, at the Royal Academy between 1847, including The Death of Marmion, famous in its day according to Hugh Thomas) and 1873. These are rather described as in the Pre-Raphaelite style by the DNB. He exhibited a work at the British Institution in 1855, superstition, you see, turns them into caitiffs. Academy as the exponent of the same would like to crush out of existence. This small painting, which closely approaches a Pre-Raphaelite landscape style, shows a half-harvested cornfield, with tools. But the only figures visible are two clearly middle-class women, no part of the same party as the artist, one sitting against a stook reading a book. Any georgic or realist focus on agriculture is absent his cornfield is just part of a landscape where middle-class people take their leisure, the corn is no more or no less useful than the beaches which we imagine to be in the distance of this brilliantly coloured painting. Here too a more subtle hint of religious feeling is found, there are a number of public paintings by Burchett, with help of his students, commissioned through the school
21.
Elizabeth Thompson
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Elizabeth Southerden Thompson, Lady Butler was a British painter, one of the few female painters to achieve fame for history paintings, especially military battle scenes, at the end of that tradition. Some of her most famous military scenes come from the Napoleonic Wars and she married Lieutenant General Sir William Butler, becoming Lady Butler. Born at Villa Claremont in Lausanne, Switzerland, she specialized in painting scenes from British military campaigns and battles, including the Crimean War, the Roll Call, The Defence of Rorkes Drift, and Scotland Forever. Showing the Scots Greys at the Battle of Waterloo, are among her better-known works and she wrote about her military paintings in an autobiography published in 1922, I never painted for the glory of war, but to portray its pathos and heroism. She was the daughter of Thomas James Thompson and his second wife Christiana Weller and her sister was the noted essayist and poet Alice Meynell. Elizabeth began receiving art instruction in 1862, while growing up in Italy, in 1866 she went to South Kensington, London, and entered the Female School of Art. She became a Roman Catholic along with the rest of the family after they moved to Florence in 1869, while in Florence, under the tutelage of the artist Giuseppe Bellucci, Elizabeth attended the Accademia di Belle Arti. She signed her works as E. B, with the painting Missing, a Franco-Prussian War battle scene depicting the common soldiers suffering and heroism, she earned her first submission to the Royal Academy. After The Roll Call was shown in 1874 at the Academy and it also helped that during this time there was a huge swell of Victorian pride and romanticism for the growing British Empire. While Lady Butlers topics reflected such romanticism, her paintings were generally realistic in detail with such as confusion, mud. Her works tend to focus on British troops shown in action, or shortly after it, the troops are often shown as their opponents might have seen them, but relatively few of the opponents themselves are shown. Her career largely ended with her 11 June 1877 marriage to Sir William Francis Butler, not only was she now married, breaking the hearts of many young men, but she would travel to the far reaches of the Empire with her husband and raise their six children. Yet she continued to paint scenes showing the valour of the ordinary British soldier, Butler also did some black and white illustration, including of poems by her sister, Alice Meynell, and of works by Thackeray. On her husbands retirement from the army, she moved him to Ireland. She showed pictures at the Royal Hibernian Academy from 1892, among the paintings that she took with her to County Tipperary was a set of water-colours that she had painted while with her husband in Palestine. During the Irish Civil War they were transferred to her daughter in Gormanston Castle for safekeeping and she died there shortly before her 87th birthday and was interred at nearby Stamullen graveyard. Dawn at Waterloo The Morning of Talavera The Colours, Advance of the Scots Guards at the Alma Within Sound of Guns Stand Fast Craigellachie Rescue of Wounded, from Sketch-book and Diary An Autobiography. - Britains Battle Painter, Lady Butler and Her Art,13, September 1900, pp. 579–587 Gladwell, Malcolm
22.
Edward Burne-Jones
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Burne-Joness early paintings show the heavy inspiration of Dante Gabriel Rossetti, but by the 1860s Burne-Jones was discovering his own artistic voice. In 1877, he was persuaded to show eight oil paintings at the Grosvenor Gallery and these included The Beguiling of Merlin. The timing was right, and he was taken up as a herald, Edward Coley Burne Jones was born in Birmingham, the son of a Welshman, Edward Richard Jones, a frame-maker at Bennetts Hill, where a blue plaque commemorates the painters childhood. He attended Birminghams King Edward VI grammar school from 1844 and the Birmingham School of Art from 1848 to 1852, before studying theology at Exeter College, at Oxford he became a friend of William Morris as a consequence of a mutual interest in poetry. The members of the Brotherhood read John Ruskin and Tennyson, visited churches, at this time Burne-Jones discovered Thomas Malorys Le Morte dArthur which was to be so influential in his life. In February 1857, Rossetti wrote to William Bell Scott In 1856 Burne-Jones became engaged to Georgiana Georgie MacDonald and she was training to be a painter, and was the sister of Burne-Joness old school friend. The couple married in 1860, after which she made her own work in woodcuts, Georgiana bore a son, Philip, in 1861. A second son, born in the winter of 1864 while Georgiana was gravely ill with scarlet fever, the family soon moved to 41 Kensington Square, and their daughter Margaret was born there in 1866. In 1867 Burne-Jones and his family settled at the Grange, an 18th-century house set in a garden in North End, Fulham. During these difficult years Georgiana developed a friendship with Morris. Morris and Georgie may have been in love, but if he asked her to leave her husband, in the end, the Burne-Joneses remained together, as did the Morrises, but Morris and Georgiana were close for the rest of their lives. His troubled son Philip, who became a portrait painter. His adored daughter Margaret married John William Mackail, the friend and biographer of Morris and their children were the novelists Angela Thirkell and Denis Mackail. In an edition of the magazine, Chums, an article on Burne-Jones stated that. his pet grandson used to be punished by being sent to stand in a corner with his face to the wall. One day on being sent there he was delighted to find the wall prettily decorated with fairies, flowers, birds and his indulgent grandfather had utilised his talent to alleviate the tedium of his favourites period of penance. Burne-Jones once admitted that after leaving Oxford he found himself at five-and-twenty what he ought to have been at fifteen and he had had no regular training as a draughtsman, and lacked the confidence of science. Many are pen-and-ink drawings on vellum, exquisitely finished, of which his Waxen Image is one of the earliest and best examples, although the subject, medium and manner derive from Rossettis inspiration, it is not the hand of a pupil merely, but of a potential master. This was recognized by Rossetti himself, who before long avowed that he had nothing more to teach him
23.
Edward Poynter
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Sir Edward John Poynter, 1st Baronet, GCVO, PRA was an English painter, designer, and draughtsman who served as President of the Royal Academy. Edward Poynter was the son of the architect Ambrose Poynter and he was born in Paris, though his parents returned to Britain soon after. He was educated at Brighton College and Ipswich School, but left early for reasons of ill health, spending winters in Madeira. In 1853 he met Frederick Leighton in Rome, who made an impression on the 17-year-old Poynter. In 1866 Poynter married the famous beauty Agnes MacDonald, daughter of the Rev G B MacDonald of Wolverhampton, Visit of the Queen of Sheba and King Solomon. He was admitted as an associate of the Royal Academy in 1869 and he became a Royal Academician in 1876. In 1896, on the death of Sir John Millais, Poynter was elected President of the Royal Academy and he received a knighthood in the same year and an honorary degree from Cambridge University in 1898. It appears from the subjects of his paintings and his association with Kipling that he was a Freemason, prints of his painting The Visit of the Queen of Sheba to King Solomon are to be found in many Masonic Lodges around the world. Poynters old school, Brighton College held an exhibition of Poynters paintings and drawings entitled Life at Arms Length in its Burstow Gallery in November–December 1995, Edward Poynters works Ten lectures on art. Drawings of Sir E. J. Poynter
24.
Slade School of Fine Art
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The UCL Slade School of Fine Art is the art school of University College London and is based in London, United Kingdom. It is world-renowned and is ranked as the UKs top art. The school is organised as a department of UCLs Faculty of Arts, distinguished past teachers include Henry Tonks, Wilson Steer, Randolph Schwabe, William Coldstream, Andrew Forge, Lucian Freud, Phyllida Barlow, John Hilliard, Bruce McLean, Alfred Gerrard. Edward Allington is currently a Professor of Fine Art and Head of Graduate Sculpture, two of its most important periods were immediately before, and immediately after, the turn of the twentieth century, described by Henry Tonks as its two crises of brilliance. R. W. The Slade Centre for Electronic Media in Fine Art was opened in 1995, the centre provides opportunities for research into electronic media and fine art with the goal of contributing to debate on national and international levels. The Slade had previously been home to Malcolm Hughess Computer and Experimental Department in the 1970s, in 1997 SCEMFA presented Collision, a public lecture series by artists, writers, and curators working with interactivity, telematics, and digital works. Throughout 1998, SCEMFA collaborated with Channel 4 UK to organise Cached, funded by the Arts Council, this series investigated the conceptual and practical issues of producing art for the internet through a series of artists presentations. Works by students and staff of the Slade School of Fine Art form the basis of the UCL Art museum today, in a 2008 survey conducted by The Sunday Times the Slade recorded perfect scores
25.
W. J. Loftie
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William John Loftie was a British clergyman and writer, on the history of London, travel, art and architecture. He was educated at Trinity College, Dublin, after holding church appointments, he joined the staff of the Saturday Review, and in 1894 that of the National Observer. As a writer on subjects he combined learning and picturesque statement. Dictionary of National Biography,1912 supplement, Works by W. J. Loftie at Project Gutenberg Works by or about W. J. Loftie at Internet Archive
26.
Frederick Warne & Co
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Frederick Warne & Co is a British publisher famous for childrens books, particularly those of Beatrix Potter, and for its Observers Books which have gained a cult following. Frederick Warne & Co was founded in 1865 by London bookseller and publisher, the business was a replacement of an earlier association between Warne and George Routledge, who went on to found his own publishing company, Routledge. Toward the end of the century, Frederick Warne had retired, Warne was among the six publishers whom Beatrix Potter submitted her first book, the story of a rabbit called Peter. Like the other five firms, Warne turned the proposal down, but the people at the firm changed their minds, when they saw the privately published copy in 1901. They said they would publish the book, as long as the illustrations were drawn in colour, the next year, Warne published THE TALE OF PETER RABBIT, and by Christmas it had sold 20,000 copies. This began a forty year partnership which saw the publication of twenty two additional little books, Beatrix Potter was engaged to marry Norman Warne, her editor and the youngest of the three Warne brothers. However, he died tragically in 1905, only a few weeks after their engagement. Harold and she continued to produce one or two new Little Books each year for the next eight years until her marriage in 1913 to William Heelis. Potter, who had no children, left the rights to her works to Warne upon her death, the company continued to publish them, it also brought out several biographical works about its most renowned author. Over the years, Warne also expanded its publishing, issuing among others the world-famous Observer books. In 1983, Warne was bought by Penguin books and it began developing classic book-based childrens character brands. The merchandising program was expanded from a base of thirty-five licenses to more than four hundred by the late 1990s, over the years, Warne acquired a variety of other classic books. A major motion picture about the life of Beatrix Potter Miss Potter, starring Renée Zellweger as Beatrix Potter, while the company no longer exists as an independent company, it continues to exist as an imprint of Penguin Group. The company will be collaborating with Sony Pictures Animation and Animal Logic to produce the upcoming Peter Rabbit film, as mentioned earlier, Warne printed twenty three books written by Beatrix Potter. These books were written about animals, and were written from 1902-1930. Here is the list of her books, the links to their Wikipedia pages, the aim of these books were to interest the observer. They were called the Observers books and these books were very popular amongst children. Over the past few years they have become very popular collector items, for the dedicated collector this could be a lifetimes work as there are over 800 variations, some of which are now very rare. The values of the books can vary from 50p to hundreds of pounds and they all include a variety of topics, which include hobbies, art, history, wildlife and many more
27.
Toy book
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Toy books were illustrated childrens books that became popular in Englands Victorian era. The earliest toy books were typically paperbound, with six illustrated pages and sold for sixpence, larger, in the mid-19th century picture books began to be made for children, with illustrations dominating the text rather than supplementing the text. The earliest toy books were painted, but in the mid-19th century London publishing house Dean & Son began printing toy books using chromolithography to colour the illustrations. He was instrumental in popularizing childrens books through the production of toy books during this period, to illustrate the books he hired and collaborated with Walter Crane, Randolph Caldecott and Kate Greenaway—known as the triumvirate of childrens toy book illustrators. The books were bound in heavy paper, some that were guaranteed to be indestructible were bound in linen. Toy books were released as a series, and the most common subjects were popular rhymes and tales. John Harris took over Newberys publishing firm at the beginning of the 19th century, and within a few years was producing small books, colorfully illustrated, that were meant to amuse children. In the mid-1800s, the publishers of toy books in London were Dean & Son. By the end of the 1850s they published more than 200 titles, each book of equal size, the main characteristic of a toy book was that it was a coloured picture book with emphasis on pictures rather than text. Vicki Anderson, author of The Dime Novel in Childrens Literature, brightly coloured and well-designed toy books in particular became extremely popular. Large print runs, often exceeding 10,000 for first printings, were necessary, routledge asserted that each title required sales of 50,000 to be profitable. When the market for toy books exploded, Evans began publishing them himself, Walter Crane, Randolph Caldecott, and Kate Greenaway are the best known illustrators of late-Victorian toybooks, and did much to develop the sense, the shape, and the look of the modern picture book. Toy books that were illustrated by Greenaway, Crane and Caldecott, the three illustrators became known as the triumvirate of Victoria toy book illustrators and greatly influenced a younger generation of toy book or small book illustrators such as Beatrix Potter. Books such as The Diverting History of John Gilpin, published in 1878, became popular because of the quality of the illustrations and printing. The Diverting History of John Gilpin, written by William Cowper and first published in 1785, was illustrated by Caldecott, each page was illustrated and Caldecotts illustrations were designed to make a reader turn to the next page. The more elaborate toy books, such as Walter Cranes The Babys Opera, brought higher prices, toy and Movable Books — instruction regarding use of the Library of Congress Subject Heading for current acquisitions
28.
Diamonds and Toads
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Diamonds and Toads or Toads and Diamonds is a French fairy tale by Charles Perrault, and titled by him Les Fées or The Fairies. Andrew Lang included it in The Blue Fairy Book and it was illustrated by Laura Valentine in Aunt Louisas nursery favourite. In his source, as in Mother Hulda, the girl was the stepdaughter. The change was apparently to decrease the similarity to Cinderella and it is Aarne-Thompson tale 480, the kind and the unkind girls. Others of this type include Shita-kiri Suzume, Frau Holle, The Three Heads in the Well, Father Frost, The Three Little Men in the Wood, The Enchanted Wreath, The Old Witch, literary variants include The Three Fairies and Aurore and Aimée. Jealous and bitter, the widow and her favourite daughter abused and mistreated the younger girl, one day while drawing water from the well, an old woman asked the younger girl for a drink of water. The girl politely consented and after giving it, she found that the woman was a fairy, who had taken the guise of a crone to test the character of mortals. As the girl was so kind and compassionate toward her, the fairy blessed her with having either a jewel, Fanny protested, but the widow forcibly sent her to the well with instruction to act kindly toward an old beggar woman. Fanny set off but the fairy appeared as a fine princess, the elder daughter spoke rudely to the fairy and insulted her. The fairy decreed that, as punishment for her despicable attitude, when Fanny arrived home, she told her story to her mother and disgusting toads and vipers fell from her mouth with each word. The widow, in a fury, drove her daughter out of the house. In the woods, she met a kings son, who fell in love with her, in time, even the widow was sickened by her older daughter, and drove her out, and she died alone and miserable in the woods. The idea of having jewels fall from a person is a motif found in various other tales, as in the Italian Biancabella
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Idyll
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An idyll or idyl is a short poem, descriptive of rustic life, written in the style of Theocritus short pastoral poems, the Idylls. Unlike Homer, Theocritus did not engage in heroes and warfare and his idylls are limited to a small intimate world, and describe scenes from everyday life. Later imitators include the Roman poets Virgil and Catullus, Italian poets Torquato Tasso, Sannazaro and Leopardi, the English poet Alfred, Lord Tennyson, goethe called his poem Hermann and Dorothea—which Schiller considered the very climax in Goethes production—an idyll. Examples of the latter are Lullys LIdylle sur la Paix set to a text by Racine, in the visual arts, an idyll is a painting depicting the same sort of subject matter to be found in idyllic poetry, often with rural or peasant life as its central theme. One of the earliest examples is the early 15th century Très Riches Heures du Duc de Berry, the genre was particularly popular in English paintings of the Victorian era
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Bookplates
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A bookplate, also known as ex-librīs, is usually a small print or decorative label pasted into a book, often on the inside front cover, to indicate its owner. Simple typographical bookplates are termed booklabels, Bookplates typically bear a name, motto, device, coat-of-arms, crest, badge, or any motif that relates to the owner of the book, or is requested by him or her from the artist or designer. The name of the owner usually follows an inscription such as from the books of, Bookplates are important evidence for the provenance of books. In the United States, bookplates replaced book rhymes after the 19th century, the earliest known marks of ownership of books or documents date from the reign of Amenophis III in Egypt. However, in their form, they evolved from simple inscriptions in books which were common in Europe in the Middle Ages. The earliest known examples of printed bookplates are German, and date from the 15th century, the woodcut, in imitation of similar devices in old manuscripts, is hand-painted. An example of this bookplate can be found in the Farber Archives of Brandeis University, in France the most ancient ex-libris as yet discovered is that of one Jean Bertaud de la Tour-Blanche, the date of which is 1529. Holland comes next with the plate of Anna van der Aa, in 1597, the earliest known American example is the plain printed label of Stephen Daye, the Massachusetts printer of the Bay Psalm Book,1642. A sketch of the history of the bookplate, as a symbolical and decorative print used to mark ownership of books, begins in Germany. The earliest examples known are German, but also they are found in great numbers long before the spread to other countries. Albrecht Dürer is known to have engraved at least six plates between 1503 and 1516, and to have supplied designs for several others, notable plates are ascribed to Lucas Cranach and to Hans Holbein, and to the so-called Little Masters. It was not before the 17th century that printed ex-libris became common in France, up to that time, the more luxurious habit of blind or gold-stamping the books binding with a personal device had been more widespread, the supralibros. From the middle of the century, however, the ex-libris proper became quite popular, examples of that period are numerous and it may be here pointed out that the term ex-libris, used as a substantive found its origin in France. In many ways the consideration of the English bookplate, in its numerous styles, in all its varieties it reflects with great fidelity the prevailing taste in decorative art at different epochs—as bookplates do in all countries. The next is that of Sir Thomas Tresham, dated 1585, until the last quarter of the 17th century the number of authentic English plates is very limited. Their composition is remarkably simple, and displays nothing of the German elaborateness. They are as a very plainly armorial, and the decoration is usually limited to a symmetrical arrangement of mantling. Soon after the Restoration, however, a bookplate seems to have become an established accessory to most well-ordered libraries
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Richard Norman Shaw
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Richard Norman Shaw RA, occasionally styled as Norman Shaw, was a Scottish architect who worked from the 1870s to the 1900s, known for his country houses and for commercial buildings. Shaw was born in Edinburgh, and trained in the London office of William Burn with George Edmund Street, Shaw attended the Royal Academy classes and received a grounding in classicism. There, he met William Eden Nesfield, with whom he partnered in some architectural designs. In 1854–1856 Shaw travelled with a Royal Academy scholarship, collecting sketches that were published as Architectural Sketches from the Continent,1858, in 1863, after sixteen years of training, Shaw opened a practice for a short time with Nesfield. In 1872, he was elected an Associate of the Royal Academy, Shaw worked, among others, for the artists John Callcott Horsley and George Henry Boughton, and the industrialist Lord Armstrong. He designed large houses such as Cragside, Grims Dyke, and Chigwell Hall, Shaw was elected to the Royal Academy in 1877, and co-edited the 1892 collection of essays, Architecture, a profession or an Art. He firmly believed it was an art, in later years, Shaw moved to a heavier classical style which influenced the emerging Edwardian Classicism of the early 20th century. Shaw died in London, where he had designed buildings in areas such as Pont Street. Shaws houses soon attracted the misnomer the Queen Anne style, 1–2 St. Leonards Sussex, 1877–79, private house, now nursing home Bedford Park, London, the first garden city suburban development, housing, including St. Originally built as the new headquarters of the Metropolitan Police, the two buildings are now used as Parliamentary offices. Andrew Saint, Richard Norman Shaw, revised edition,2010, great Buildings on-line, Richard Norman Shaw Illustrations of Adcote Flickr photoset Archiseek, Richard Norman Shaw
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Royal Institute of Painters in Water Colours
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In 1831 the society was founded as the New Society of Painters in Water Colours, competing with the Royal Watercolour Society, which had been founded in 1804. The founding members were William Cowen, James Fudge, Thomas Maisey, O. F. Phillips, Joseph Powell, W. B. S. Taylor, the New Society differed from the RWS in policy, by exhibiting non-members work also. Both societies challenged the Royal Academys refusal to accept the medium of watercolours as appropriate for serious art, in 1839 Henry Warren became president of the society and was re-elected for many years until he resigned due to failing eyesight. In 1863 there was a change to the Institute of Painters in Water Colours. In 1883 it acquired its own premises at Piccadilly, across the road from the Royal Academy, in 1885 it added Royal to its title by command of Queen Victoria. When the lease to the Piccadilly premises ran out in 1970, it moved to the Mall Galleries, near to Trafalgar Square
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Hampstead Cemetery
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Hampstead Cemetery is a historic cemetery in West Hampstead, London, located at the upper extremity of the NW6 district. Despite the name, the cemetery is three-quarters of a mile from Hampstead Village and it is jointly managed by Islington and Camden Cemetery Service and opens seven days a week, with closing times varying throughout the year. Hampstead Cemetery is situated on Fortune Green Road and is bordered on the side by the sports ground of University College School. A public footpath running from Hocroft Road to Fortune Green runs through the cemetery, Hampstead Cemetery was consecrated by the Bishop of London and opened in November 1876. The entire site covers 26 acres, and an estimated 60,000 people are buried there, while there are no new grave spaces available, there is an area for cremated remains to the north of the cemetery, by the Fortune Green Road exit. The cemetery has a pair of Gothic style mortuary chapels, both of which are Grade II listed buildings, the southern chapel was originally Anglican, and the northern non-conformist, they share a common porte-cochère. Currently, only the chapel is in use as an inter-faith place of worship. There is also an entry lodge made of Kentish Rag and Bath stone, the Heritage Lottery Fund has funded restoration work on the buildings. A large number of Celtic crosses can be found in the area to the southwest of the chapel, the northeastern corner has some notable examples of modern and Art Deco stonemasonry, in particular the Bianchi monument and the sculpted church organ in memory of Charles Barritt. Those whose graves could not be marked by headstones are listed on a Screen Wall memorial near the north boundary, the cemetery also contains several graves notable either from an architectural point of view or for the eccentric inscriptions they bear. The eastern part of the houses the so-called Bianchi Monument. The most prominent feature of the grave - a stylised sculpture of a female angel raising her hands to heaven - has become famous in its own right, and often adorns the covers of local guidebooks. Similarly, the tomb of James Wilson, Chief Engineer to the Egyptian Government, executed in red marble and also found in the eastern section, has a striking Egyptian look to it. The monument built by the sculptor Sir William Goscombe John to his wife Marthe was stolen from the cemetery in 2001 and it was then moved to East Finchley Cemetery but was once more stolen from a storage area in autumn 2006. The cemetery contains more than one grave with humorous or bizarre inscriptions, the following epitaph is carved on the tomb of Charles Cowper Ross, a man of the theatre, What will be said, When I am dead, Of what I used to do. The cemetery has a number of mature ash trees. Other trees include yew, sycamore, Norway maple, silver birch, Lombardy poplar, purple cherry-plum, willow, there is a wildlife area in the north part of the eastern half of the cemetery. This has been planted with trees, shrubs and wild flowers especially attractive to wildlife, such as maple, hazel, oak, oxeye daisy, common knapweed
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Chromoxylography
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In the 19th century the art of relief engraving and chromoxylography was perfected by engravers and printers, most notably in England by Victorian engraver and printer Edmund Evans. A wide range of hues and tones were produced by the mixing of the chromoxylography process—a technique that was complicated. For each colour a separate woodblock had to be carved, full-colour printing in the 19th century relied on the relief process and colour wood engraving. Relief prints were made by printing with engraved and coloured wood blocks, chromoxylography became a popular technique in the production of inexpensive books, such as childrens toy books and serialized stories into the early-20th century. To make a print, the printer began with a wood block. A wood block was carved for each primary colours, with the coloured ink coating the areas left in relief, the printer engraved the image to the finer end grain of the woodblock. For more complicated work the carver worked on the end grain of the wood, for the childrens book market, which had lower profit margins, the printer would use fewer ink colours, which could be optimised by mixing colours such as blue and yellow to create green. The blocks were carved with extremely fine lines to create stippling. To create a blend of colours, blocks were hatched horizontally and diagonally to allow applications of multiple colours that resulted in browns, greens, gascoigne explains that a blockmaker would know whether to engrave thin white lines, medium white lines or crosshatchings. Overlapping diagonal lines were carved to create dot-like shapes on the surface that took less ink, thicker hatchings were less expensive and easier to produce, but the result was not as attractive. Books that were to be produced as inexpensively as possible showed less engraving work, the chief problem was to maintain correct register so that the design on the block matched the design on the paper. To achieve a precise register small holes were drilled along each block, when done correctly, the blocks colour registers matched printed paper, although sometimes ink squash is visible along the edges of an illustration. An electroplate was produced for each engraved wood block, inked according to the block, the colour was applied as a solid, or in stripes of various of thickness, allowing for changes in hue. Most often the only used primary colors and black. The inexpensive technique of chromoxylography allowed publishers and printers to design covers as an attraction to purchase the book, the process was also used to produce higher quality childrens books and toy books. Evans considered full colour printing a technique well-suited to the illustrations in childrens books. Evans reacted against crudely coloured childrens book illustrations, which he believed could be beautiful, in doing so, Evans collaborated with Walter Crane, Kate Greenaway and Randolph Caldecott. Books illustrated by Kate Greenaway, Walter Crane and Randolph Caldecott, engraved and printed by Evans, became popular, chromoxylography was additionally used to illustrate natural history books and to reproduce paintings
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Book illustration
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The illustration of manuscript books was well established in ancient times, and the tradition of the illuminated manuscript thrived in the West until the invention of printing. Other parts of the world had comparable traditions, such as the Persian miniature, modern book illustration comes from the 15th-century woodcut illustrations that were fairly rapidly included in early printed books, and later block books. Other techniques such as engraving, etching, lithography and various kinds of printing were to expand the possibilities and were exploited by such masters as Daumier. Book illustration as we now know it evolved from early European woodblock printing, in the early 15th century, playing cards were created using block printing, which was the first use of prints in a sequenced and logical order. The first known European block printings with a communications function were devotional prints of saints, as printing took off and books became common, printers began to use woodcuts to illustrate them. Hence, centers for woodblock playing-card and religious-print production became centers for illustrated books, luxury books were for a few decades often printed with blank spaces for manual illumination in the old way. Unlike later techniques, woodcut uses relief printing just as metal moveable type does, however the technique either gives rather crude results or was expensive if a high-quality block-cutter was used, and could only manage fine detail on atypically large pages. They remained so until the later 19th century and they required the illustrations to be printed separately, on a different type of printing press, so encouraging illustrations that took a whole page, which became the norm. A wide range of books were now illustrated, initially mostly on a few pages, but with the number of illustrations gradually rising over the period, and tending to use more etching than engraving. In East Asia colour printing with many different woodblocks was increasing widely used, the developed technique in Japan was called nishiki-e. Lithography allowed for more variety and accuracy. This is because the artist could now draw directly on the plate itself. New techniques developed in the nineteenth and twentieth centuries revolutionized book illustrations and put new resources at the disposal of artists, in the early nineteenth century, the photogravure process allowed for photographs to be reproduced in books. In this process, light-sensitive gelatin was used to transfer the image to a metal plate, another process, chromolithography, which was developed in France in the mid-nineteenth century, permitted color printing. The process was extremely labor-intensive and expensive though as the artist would have to prepare a plate for each color used. In the late century, the process known as offset lithography made color printing cheaper. The process used a process to transfer a photographic negative to a rubber surface before printing. There were various movements and their proponents in the nineteenth and twentieth centuries that took an interest in the enrichment of book design
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Smock-frock
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A smock-frock or smock is an outer garment traditionally worn by rural workers, especially shepherds and waggoners, in parts of England and Wales from the late 18th century. Today, the word refers to a loose overgarment worn to protect ones clothing. The traditional smock-frock is made of linen or wool and varies from thigh-length to mid-calf length. The round smock is a style with an open neckline. A feature of Sussex smocks or round frocks is the lack of decoration, instead there is fine embroidery on the yoke, collar, cuffs. Sussex smocks were thought to be the most elaborate of smocks, the shirt smock or Surrey smock is styled like a mans shirt, with a collar and a short placket opening in the front. The coat smock worn by Welsh shepherds is long and buttons up the front in the manner of a coat and it was often oversized to midthigh. What is certain is that the fully developed smock-frock resembles a melding of the two older garments, the spread of the smock-frock matches a general decrease in agricultural wages and living standards in these areas in the second half of the 18th century. The smocks were cheaper than other forms of outer garments, and were durable and washable. Most of this embroidery was done in heavy linen thread, often in the color as the smock. During World War II, military parachutists wore wind proof jump smocks primarily to cover equipment that may have caused the parachutist to be stuck in a narrow doorway. German parachutists wore the Knochensack, British parachutists wore the Denison smock whilst US Marine paramarines wore a jump smock as well. Today the name smock is still used for military combat jackets, particularly in the UK, examples include DPM Parachute Smock, that replaced the Denison Smock, the Canadian Para Smock and Smock Windproof DPM. The Walloon bleu sårot, is a dark blue worn by men in parts of Belgium as part of National dress. The Lèine bhàn was a type of smock worn to church by Scottish men who had broken the law. Apron Artistic dress movement Chemise/Smock Embroidery Frock Frock coat Smock mill de Marly, Diana, Working Dress, A History of Occupational Clothing, Batsford,1986, the Farmers or Workmans Smock Archived June 19,2002, at the Wayback Machine
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Skeleton suit
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A skeleton suit was an outfit of clothing for small boys, popular from about 1790 to the late 1820s, after which it increasingly lost favor with the advent of trousers. It consisted of a tight short- or long-sleeved coat or jacket buttoned to a pair of high-waisted trousers, skeleton suits are often described as one of the earliest fashions to be specifically tailored for children, rather than being adult fashions sized down. Previously young boys wore dresses until they were breeched, or put into trousers, charles Dickens describes a skeleton suit as. Despite Dickens assertions, skeleton suits were made in various colors and they were usually worn with a white blouse or shirt trimmed with lace or ruffles. Skeleton suits are one of the childrens nostalgic Regency fashions typical of the illustrations of Kate Greenaway, baumgarten, Linda, What Clothes Reveal, The Language of Clothing in Colonial and Federal America, Yale University Press,2002
38.
Bonnet (headgear)
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Bonnet is a term for a wide variety of styles of headgear for both sexes, but most often female, which has been in use from the Middle Ages to the present. However the term has also used, for example, for steel helmets. This was from Scotland, where the term has long been especially popular, Bonnet derives from the same word in French, where it originally indicated a type of material. In the 21st century, only a few kinds of headgear are still referred to as bonnets, most commonly worn by babies. The most common kind of bonnet worn today is a soft headcovering for babies and they are shaped similarly to the kind of bonnets women used to wear, that is they cover the hair and ears, but not the forehead. In the mid-17th and 18th century house bonnets worn by women and girls were generally brimless headcoverings which were secured by tying under the chin, and they were worn indoors, to keep the hair tidy, and outdoors, to keep dust out of the hair. From Waterloo, more structured fashionable bonnets made by milliners rapidly grew larger and this ornament is partially placed on one side, the edge of the bonnet finished by blond laid on strait. Straw was available again after 1815, the best straw bonnets came from Leghorn, as a bonnet developed a peak, it would extend from the entire front of the bonnet, from the chin over the forehead and down the other side of the face. Some styles of bonnets between ca 1817 and 1845 had a peak which effectively prevented women from looking right or left without turning their heads. Others had a peak which was angled out to frame the face. In the 1840s it might be crimped at the top to frame the face in a heart shape, as the bonnet became more complicated, under it might be worn a lace cornette to hold the hair in place. Bonnets remained one of the most common types of headgear worn by women throughout most of the 19th century, for a widow, a bonnet was de rigueur. Silk bonnets, elaborately pleated and ruched, were worn outdoors, or in places like shops, galleries, churches. Under the French Second Empire, parasols took the place of protection from sun, most middle-class women in the 19th century would have had at least two bonnets, one suitable for summer weather, often made from straw, and one made from heavier fabric for winter wear. This is where the tradition of an Easter bonnet originated, when women would switch from their winter bonnet to their summer bonnet, wealthier women would have many bonnets, suitable for different occasions. In some religious groups it has been customary for women to wear bonnets and this was the case among the Friends until well into the 20th century, and is still the case among the Old Order Mennonites and the Amish. Bonnets were adopted by The Salvation Army as part of regalia for women. Initially, bonnets were introduced as protection for women soldiers and were reinforced with black tar to turn them into helmets, later versions were smaller when there was no longer any need for protection
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John Hoppner
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John Hoppner RA was an English portrait painter, much influenced by Reynolds who achieved fame as a brilliant colourist. Hoppner was born in Whitechapel, London, the son of German parents - his mother was one of the German attendants at the royal palace. King George showed a fatherly interest and patronage of the boy that gave rise to rumours, quite unfounded. Hoppner became a chorister at the chapel, but, showing strong inclination for art. In 1778 he took a medal for drawing from life, and in 1782 the Academys highest award. Hoppner first exhibited at the Royal Academy In 1780 and his earliest love was for landscape, but necessity obliged him to turn to the more lucrative business of portrait painting. At once successful, he had throughout life the most fashionable and wealthy sitters and he rarely attempted ideal subjects, though a Sleeping Venus, Belisarius, Jupiter and Io, a Bacchante and Cupid and Psyche are recorded among his works. His other sitters included Sir Walter Scott, the Duke of Wellington, Henry Bartle Frere, according to the 1911 edition of the Encyclopædia Britannica, Competent judges have deemed his most successful works to be his portraits of women and children. He was confessedly an imitator of Reynolds, the appearance, however, of some of his pictures in good condition has shown that his fame as a brilliant colourist was well-founded. His drawing is faulty, but his touch has qualities of breadth, in 1803 he published A Series of Portraits of Ladies, engraved after his paintings by Charles Wilkin, and in 1805 a volume of translations of Eastern tales into English verse. Unusually Hoppner painted the background and perhaps more of a full portrait of Charlotte, Countess Talbot by Thomas Gainsborough in 1788. It is now in the Dunedin Public Art Gallery, Hoppner was a man of great social power, and had the knowledge and accomplishments of a man of the world. He married Phoebe Wright, the daughter of American-born sculptor Patience Wright and he died on the 23 January 1810. London, Smith, Elder & Co. p.342, old English Masters p.91 ff. Skipton, H. P. K. John Hoppner McKay, William & Roberts, John Hoppner John Hoppner on ArtCyclopedia Profile on Royal Academy of Arts Collections The Sackville children Portrait of William Locke Portrait of Anne, Lady Grenville
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Liberty (department store)
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Turnover for 2015 was forecasted to be £145 million, up from £132 million in 2014. Arthur Lasenby Liberty was born in Chesham, Buckinghamshire in 1843 and he was employed by Messrs Farmer and Rogers in Regent Street in 1862, the year of the International Exhibition at Kensington in London. By 1874, inspired by his 10 years of service, Arthur decided to start a business of his own, with a £2,000 loan from his future father-in-law, Arthur Liberty accepted the lease of half a shop at 218a Regent Street with only three staff members. The shop opened during 1875 selling ornaments, fabric and objets dart from Japan, within eighteen months Arthur Liberty had repaid the loan and acquired the second half of 218 Regent Street. As the business grew, neighbouring properties were bought and added, in 1884 Liberty introduced the costume department into the Regent Street store, directed by Edward William Godwin. He was a member of the Costume Society in 1882. He and Arthur Liberty created in-house apparel to challenge the fashions of Paris, in 1885, 142–144 Regent Street was acquired and housed the ever-increasing demand for carpets and furniture. The basement was named the Eastern Bazaar, and was the place for what was described as decorative furnishing objects. He named the property Chesham House after the place in which he grew up, the store became the most fashionable place to shop in London and Liberty fabrics were used for both clothing and furnishings. Some of its clientele was exotic, and included famous Pre-Raphaelite artists, in November 1885, Liberty brought forty-two villagers from India to stage a living village of Indian artisans. Libertys specialized in Oriental goods, in particular imported Indian silks, however, it was a disaster commercially and publicly, with concern about the way the villagers were put on display. During the 1890s Arthur Lasenby Liberty built strong relationships with many English designers, the company became associated with this new style, to the extent that in Italy, Art Nouveau became known as the Stile Liberty, after the London shop. The frontage on Great Marlborough Street is the length as the Hindustan. It is a Grade II* listed building, the emporium was designed by Edwin Thomas Hall and his son Edwin Stanley Hall. They designed the building at the height of the 1920s fashion for Tudor revival, the shop was engineered around three light wells that formed the main focus of the building. Each of these wells was surrounded by smaller rooms to create a homely feel, many of the rooms had fireplaces and some still exist. The architectural historian Nikolaus Pevsner was very critical of the architecture, saying, The scale is wrong. The proximity to a classical façade put up by the firm at the same time is wrong
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The Souls
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The Souls were a small, loosely-knit but distinctive social group in England, from 1885 to about 1920. Their members included many of the most distinguished English politicians and intellectuals, the group formed as a response to the damper on social life caused by the political tension of the Irish Home Rule debate. Existing social circles were rent by angry arguments between proponents and opponents of the Gladstone ministrys efforts in 1886 to bring about full Home Rule, many people in society wanted a salon where they could meet without fighting about politics. Wilfrid Scawen Blunt was a member of the group and gave a good, general description of the aims and objectives of its members, and above all, what they wanted to avoid. The name of the group was bestowed by Lord Charles Beresford, among the original Souls were, George Curzon, 1st Marquess Curzon of Kedleston Arthur Balfour Margot Asquith St. S. John Singer Sargent painted a joint portrait of the three Wyndham sisters, as well as a portrait of Henry Whites wife, Margaret. This original group of Souls reached its zenith in the early 1890s, the Coterie was often considered as the second generation of The Souls. They were a mix of aristocrats, politicians and art-lovers and they were patrons of artists of the time, including Edward Burne-Jones and James Whistler. ISBN 0-283-98920-3 Ellenberger, Nancy W. Balfour’s World, Aristocracy, ISBN9781783270378 Lambert, Angela. Unquiet Souls, The Indian Summer of the British Aristocracy, 1880–1918, Henry White, Thirty Years of American Diplomacy. New York, Harper & Brothers,1930
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Arts and Crafts movement
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It stood for traditional craftsmanship using simple forms, and often used medieval, romantic, or folk styles of decoration. It advocated economic and social reform and was essentially anti-industrial and it had a strong influence on the arts in Europe until it was displaced by Modernism in the 1930s, and its influence continued among craft makers, designers, and town planners long afterwards. It was inspired by the ideas of architect Augustus Pugin, writer John Ruskin, the movement developed earliest and most fully in the British Isles, and spread across the British Empire and to the rest of Europe and North America. It was largely a reaction against the perceived impoverished state of the arts at the time. The Arts and Crafts style emerged from the attempt to reform design, but it was as much a movement of social reform as design reform and its leading practitioners did not separate the two. The art historian Nikolaus Pevsner has said that exhibits in the Great Exhibition showed ignorance of basic need in creating patterns. Owen Jones, for example, declared that Ornament, fiona MacCarthy says that unlike later zealots like Gandhi, William Morris had no practical objections to the use of machinery per se so long as the machines produced the quality he needed. Morriss followers also had differing views or changed their minds over time. C. R. Ashbee, for example, a figure in the Arts and Crafts Movement. At the time of his Guild of Handicraft, initiated in 1888, he said, We do not reject the machine, but we would desire to see it mastered. Morris insisted that the artist should be a working by hand and advocated a society of free craftspeople. Because craftsmen took pleasure in their work, he wrote, the Middle Ages was a period of greatness in the art of the common people. The treasures in our museums now are only the common used in households of that age. Medieval art was the model for much Arts and Crafts design and medieval life, before capitalism, the founders of the Arts and Crafts Exhibition Society did not insist that the designer should also be the maker. Peter Floud, writing in the 1950s, said that The founders of the Society, never executed their own designs, but invariably turned them over to commercial firms. The Arts and Crafts Movement was associated with socialist ideas in the persons of Morris, T. J. Cobden Sanderson, Walter Crane, Ashbee, in the early 1880s Morris was spending more of his time on socialist propaganda than on designing and making. Ashbee established a community of craftsmen, the Guild of Handicraft, in east London and those adherents who were not socialists, for example, Alfred Hoare Powell, advocated a more humane and personal relationship between employer and employee. Lewis Foreman Day, a successful and influential Arts and Crafts designer, was not a socialist either
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Maude Goodman
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Maude Goodman was a British painter. Goodman was born in Manchester but moved to London where she became a pupil of Edward Poynter and she married Arthur Scanes in 1882 but continued to use her maiden name. She exhibited 54 works during the years 1874-1901 at the Royal Academy and she also showed works at the Chicago World Exposition in 1893. Her painting Hush was included in the 1905 book Women Painters of the World and she was mentioned by Dorothy L
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William Fordyce Mavor
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William Fordyce Mavor was a Scottish teacher, priest and compiler of educational books, many of which passed through numerous editions. He also invented a system of shorthand, which he explained in a treatise entitled ‘Universal Stenography’ and he is buried in the church at Woodstock, Oxfordshire, where there is a commemorative plaque. William Fordyce Mavor was born in New Deer, Aberdeenshire, Scotland, in 1775 he became an assistant at a school in Burford, Oxfordshire, and he later taught at Woodstock. After providing writing tuition to the children of George Spencer, 4th Duke of Marlborough, eight years later, he obtained the vicarage of Hurley, Berkshire, which he retained until his death, and was awarded an LL. D degree by University of Aberdeen. Subsequently, thanks to the Duke, he became rector of Stonesfield, Oxfordshire and he became headmaster of Woodstock Grammar School in July 1810. Mavor was first elected mayor of Woodstock in 1808, and went on to hold office in the town 10 times. Mavor is perhaps best remembered for The English Spelling Book, first published in 1801 and his other writings are, The Springs of Parnassus, or Poetic Miscellanies,1779. 1781, published under the name of Martyn, dictionary of Natural History,2 vols. 1784, issued under the same pseudonym, elegy to the Memory of Captain James King London 1785. Blenheim, a poem, to which is added a Blenheim Guide,1787, a French version appeared in 1791. Vindiciæ Landavenses, or Strictures on the Bishop of Landaffs Charge,1792, Appendix to the Eton Latin Grammar,1796. The Youths Miscellany, or a Fathers Gift to his Children,1797, historical Account of the most celebrated Voyages, Travels, and Discoveries from the time of Columbus to the present period,25 vols. The British Tourists, or Travellers Pocket Companion through England, Wales, Scotland, 1798–1800, a series of tours by various authors. The third edition of 1809 contained a reprint, with alterations and omissions, of Mavors Tour in Wales in 1805, the British Nepos, or … Lives of Illustrious Britons,1798. The Young Gentlemans and Ladys Magazine,2 vols, the Ladys and Gentlemans Botanical Pocket Book,1800. A Selection of the Lives of Plutarch, abridged,1800, the Modern Traveller, with illustrative notes,4 vols. Classical English Poetry for the use of persons,1801. The New Speaker, or English Class Book,1801, universal History, ancient and modern … to the General Peace of 1801,25 vols
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