[Vwoolf] Vwoolf Digest, Vol 97, Issue 3

Thu Jun 4 19:44:45 EDT 2020

Thank you! Grazie mille!

Giulietta Mai

Il gio 4 giu 2020, 22:18 <vwoolf-request at lists.osu.edu> ha scritto:

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> Today's Topics:
>
>    1. Posters (Juliette Mai)
>    2. Re: Posters (Stuart N. Clarke)
>    3. Re: Vwoolf Digest, Vol 97, Issue 2 Insight, Gill
>       (Palvasha von Hassell)
>    4. Re: The day we broke into Asheham (30 May 1993) (Deborah Hunn)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Tue, 2 Jun 2020 12:24:55 +0200
> From: Juliette Mai <julimai1973 at gmail.com>
> To: vwoolf at lists.osu.edu
> Subject: [Vwoolf] Posters
> Message-ID:
>         <CAOSzm=LvG2GKfKJiQyMj8o=30_15x7WZ1boMqLk_dDhP3zMs=
> A at mail.gmail.com>
> Content-Type: text/plain; charset="utf-8"
>
> Hello everybody,
>
> I would like to buy posters or prints, big size of pictures of VW but even
> portraits of her made by Vanessa Bell.
>
> Do you know where can I find them?
>
> I know I am off topic, but thanks!
>
> Giulietta Mai
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>
> Message: 2
> Date: Tue, 2 Jun 2020 11:48:24 +0100
> From: "Stuart N. Clarke" <stuart.n.clarke at btinternet.com>
> To: <vwoolf at lists.osu.edu>
> Subject: Re: [Vwoolf] Posters
> Message-ID: <70D60046E5C941CA8290660F91E96F0B at StuartHP>
> Content-Type: text/plain; charset="utf-8"
>
> E.g.
> https://artuk.org/shop/search.html?searchterm=woolf
>
> Stuart
> (Day 77)
>
> From: Juliette Mai via Vwoolf
> Sent: Tuesday, June 2, 2020 11:24 AM
> To: vwoolf at lists.osu.edu
> Subject: [Vwoolf] Posters
>
> Hello everybody,
>
> I would like to buy posters or prints, big size of pictures of VW but even
> portraits of her made by Vanessa Bell.
>
> Do you know where can I find them?
>
> I know I am off topic, but thanks!
>
>
> Giulietta Mai
>
>
>
> --------------------------------------------------------------------------------
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> Vwoolf at lists.osu.edu
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> ------------------------------
>
> Message: 3
> Date: Tue, 2 Jun 2020 14:10:08 +0000
> From: Palvasha von Hassell <p_v_hassell at t-online.de>
> To: "vwoolf at lists.osu.edu" <vwoolf at lists.osu.edu>
> Subject: Re: [Vwoolf] Vwoolf Digest, Vol 97, Issue 2 Insight, Gill
> Message-ID: <8B82D20B-1233-4665-9E7E-76DCFDE0677A at t-online.de>
> Content-Type: text/plain; charset="utf-8"
>
> I get the Piano Nobile newsletter, so here?s the link to the Vanessa Bell
> insight; you must see the paintings!
>
> https://mailings.artlogic.net/readonline/1800af6f1d0f48e49a0ad9310c17ed68
>
> Best, Palvasha
>
>
> Palvasha von Hassell
> M.Phil. IR (Selwyn 1985)
> Cambridge University
>
> Am M?hlenteich 35
> 25436 Uetersen
> Germany
>
> ++49 15161626162
>
> On 2. Jun 2020, at 12:16, "vwoolf-request at lists.osu.edu" <
> vwoolf-request at lists.osu.edu> wrote:
>
> ?Send Vwoolf mailing list submissions to
>    vwoolf at lists.osu.edu
>
> To subscribe or unsubscribe via the World Wide Web, visit
>    https://lists.osu.edu/mailman/listinfo/vwoolf
> or, via email, send a message with subject or body 'help' to
>    vwoolf-request at lists.osu.edu
>
> You can reach the person managing the list at
>    vwoolf-owner at lists.osu.edu
>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Vwoolf digest..."
>
>
> Today's Topics:
>
>   1. Fwd: InSight | Vanessa Bell (Gill)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Tue, 2 Jun 2020 11:16:21 +0100
> From: Gill <gill.lowe1 at btopenworld.com>
> To: Woolf Listserv <vwoolf at lists.osu.edu>
> Subject: [Vwoolf] Fwd: InSight | Vanessa Bell
> Message-ID: <B2B32DA0-48EC-4EF4-8884-3F6885C4F888 at btopenworld.com>
> Content-Type: text/plain; charset="utf-8"
>
>
>
> And this time it?s Vanessa Bell.
>
> Gill
>
> ?
>
> Vanessa Bell
> Flowers in a Vase, Long Crichel House, c. 1951
> In this second focus on the art of Bloomsbury, Vanessa Bell travels to
> Dorset ? to an idyllic village rectory, converted after the Second World
> War into a highly civilised bachelor retreat.
> InSight
> No. XVI
>
> Long Crichel House, Dorset
> Long Crichel House is not to be confused with Crichel House ? a grand
> country pile nearby, set within an estate and worthy of its own television
> costume drama. By contrast, Long Crichel House is a former Georgian
> rectory, mostly constructed in 1786, which stands adjacent to the village
> church. A number of headstones in the neighbouring churchyard are just
> visible at the upper left-hand side of a picture that Vanessa Bell painted
> at the house while staying there sometime in the early 1950s.
>
> Vanessa Bell, Flowers in a Vase, Long Crichel House, c. 1951, Private
> Collection
> Bell, accompanied by Duncan Grant, was visiting at the invitation of the
> property?s unconventional owners: a coterie of cultured men who bought it
> shortly after the end of war in 1945 as a weekend retreat. Edward
> Sackville-West, Desmond Shawe-Taylor and Eardley Knollys were Oxford
> undergraduates together in the 1920s, and they were joined some years later
> at Long Crichel by Raymond Mortimer, the literary editor of The New
> Statesman. All of them were associated with the wider ?Bloomsbury? network
> of writers and artists.
>
> A photograph of Eddy Sackville-West at Garsington Manor taken by Lady
> Ottoline Morrell, 1923-24
> The house was mainly used to keep their books and gramophone records.
> However, it was also a retreat to which they could invite some of the most
> flavourful figures in contemporary British culture ? among them Somerset
> Maugham, E.M. Forster, Graham Greene, Anthony Asquith, Lord Berners, Nancy
> Mitford, Benjamin Britten, Lennox Berkeley, and Laurie Lee. While Eardley
> painted pictures of the surrounding country, Eddy and Desmond worked on
> their shared magnum opus at the house: The Record Guide, first published in
> 1951, which gave a selected overview of classical music available on
> gramophone record at the time. Their description of the Hungarian composer
> and piano virtuoso B?la Bart?k is characteristically pithy.
> A more resolute and single-minded musician than Bart?k is scarcely
> imaginable. Caring nothing for fame, fashion, or personal influence, he
> seems to have lived almost exclusively in his art?
>
> The Penguin Modern Painters monograph about Graham Sutherland (1943)
> It was Eddy Sackville-West who wrote the Penguin Modern Painters monograph
> on Graham Sutherland, and who later asked him and his wife Kathy to stay at
> Long Crichel. Sutherland repaid the compliment with two portraits of
> Sackville-West. (The smaller of the two was immediately purchased by
> Birmingham Museums, such was Sutherland's status as one of Britain?s
> leading contemporary artists.) Writing in his diary on 18 January 1947,
> James Lees-Milne neatly summarised the cultured way of life at Long Crichel.
> Eardley, Desmond and Eddy live a highly civilised existence here.
> Comfortable house, pretty things, good food. All the pictures are
> Eardley's, and a fine collection of modern art too. After dinner Desmond
> read John Betjeman's poems aloud, and we all agreed they would live.
>
> Flowers in a Vase, Long Crichel House (detail)
> Richard Shone remembers for InSight his visits to Long Crichel in the
> 1980s, which followed an initial visit to the house with Angelica Garnett
> in 1974.
> On my many visits to Long Crichel (often going by train with Frances
> Partridge), only Desmond of the original owners was left. Raymond Mortimer
> and Patrick Trevor-Roper were by then the other residential partners. Talk,
> music, books, etc. filled one?s days as well as walks with the house
> labrador. There was a resident cook/housekeeper; good meals; plenty to
> drink; and Desmond an attentive and adorable host. Eardley Knollys had
> taken away his own collection of pictures when he left, but he had also
> inherited Sackville-West?s collection in 1966. Some of this remained,
> including works by John Banting, Adrian Ryan and Graham Sutherland. (When
> Vanessa Bell first went to Long Crichel she roundly abused to her hosts the
> several Sutherlands hanging on the walls). But who the owners were of all
> the Grants and Bells (and the very amusing collage of Queen Victoria by
> Roger Fry), the several Sickerts (a beautiful drawing of Spencer Gore, for
> example), I never really discovered; probabl
> y Raymond. Most surprising perhaps was a vast canvas of classical ruins
> and dead game by Jan Weenix in Raymond?s bedroom. There were excellent
> pictures by William Scott and John Piper. And, memorable in the hall, a
> framed label for Henry James?s luggage, written in the master?s flowing
> hand. The dining room had curtains by Duncan Grant; there were plates by
> Bell; textiles by Piper; and some fine Boulle furniture. But it was the
> luggage label to Lamb House, Rye, that I really envied!
>
> Edward Le Bas, Raymond Mortimer, c. 1946, National Portrait Gallery
> Bell?s painting shows a view from the drawing room at Long Crichel. The
> prominent mullions of the window lend a degree of formal clarity to the
> composition, while the arrangement of flowers is characteristically brushy
> and colourful. The combination of compositional clarity and painterly
> freedom was a winning formula which Bell had perfected earlier in her
> career. In Flowers in a Vase, Long Crichel House, it is put to good effect
> ? evoking the restful, restorative mood of the house, and lingering over
> the ?pretty things? which lived there like the elegant round-topped table,
> its surface reflecting the mauve sky outside. It is unlikely that the
> painting was made as a gift for Raymond Mortimer, and he probably bought it
> from Bell later. He was, nevertheless, the painting?s first owner, and the
> painting probably remained at Long Crichel when the time came for Bell to
> return to her own home along the coast in Sussex.
>
> InSight
> Piano Nobile's InSight series takes a detailed look at art, artists,
> critics and collectors, highlighting the stories behind a single artwork,
> relationship or event. As enforced isolation disrupts our everyday lives,
> InSight responds in a small way with words and images to take you somewhere
> else. For more information about featured works and prices, please contact
> us by email info at piano-nobile.com or phone +44 (0)207 229 1099.
> No. I Eduardo Paolozzi, Newton After Blake
> No. II Winifred Nicholson, The Warwick Family | No. III Michael Andrews,
> Ayers Rock
> No. IV Sickert and Degas | No. V Craigie Aitchison, Crucifixion 8
> No. VI Eric Kennington, Portrait of Carl Hansen
> No. VII Ben Nicholson, May 1955 (green chisel)
> No. VIII Leon Kossoff, Study from 'Minerva Protects Pax from Mars' after
> Rubens
> No. IX Leon Kossoff, Young Man Seated | No. X Leon Kossoff, Dalston Lane,
> Summer
> No. XI Bryan Wynter, Wolf Country | No. XII Barbara Hepworth, Disc with
> Strings (Moon)
> No. XIII Lucian Freud, Head of a Woman | No. XIV Walter Sickert, The Studio
> No. XV Duncan Grant, David 'Bunny' Garnett Smoking a Pipe
>
>
>
>
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> Subject: Digest Footer
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> Message: 4
> Date: Sat, 30 May 2020 09:22:34 +0000
> From: Deborah Hunn <D.Hunn at exchange.curtin.edu.au>
> To: "Stuart N. Clarke" <stuart.n.clarke at btinternet.com>,
>         "vwoolf at lists.osu.edu" <vwoolf at lists.osu.edu>
> Subject: Re: [Vwoolf] The day we broke into Asheham (30 May 1993)
> Message-ID:
>         <
> SY3PR01MB190051C1A96C3F556EC54159EF8C0 at SY3PR01MB1900.ausprd01.prod.outlook.com
> >
>
> Content-Type: text/plain; charset="windows-1252"
>
> Great quote and photo Stuart.
>
> Get Outlook for iOS<https://aka.ms/o0ukef>
> ________________________________
> From: Vwoolf <vwoolf-bounces at lists.osu.edu> on behalf of Stuart N. Clarke
> via Vwoolf <vwoolf at lists.osu.edu>
> Sent: Saturday, May 30, 2020 4:22:17 PM
> To: vwoolf at lists.osu.edu <vwoolf at lists.osu.edu>
> Subject: [Vwoolf] The day we broke into Asheham (30 May 1993)
>
>
> [At Asheham - Copy_LI]
>
> The photo has been doctored, in case they send round the rozzers.
>
> Stuart
> (Day 74)
>
> ?No, it is not desirable for medicine, any more than for war, to be
> ?total.? [...] We are not being invaded.  The body is not a battlefield.
> The ill are neither unavoidable casualties nor the enemy.  We ? medicine,
> society ? are not authorized to fight back by any means whatever. . . .
> About that metaphor, the military one, I would say, if I may paraphrase
> Lucretius: Give it back to the war-makers.? (Susan Sontag)
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> Subject: Digest Footer
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> End of Vwoolf Digest, Vol 97, Issue 3
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