Archibald flower (2 resultados)
Editorial: Trustees and Guardians of Shakespeare's Birthplace, Stratford-Upon-Avon, England, 1937
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Librería: Saucony Book Shop, Kutztown, PA, Estados Unidos de AmericaSaucony Book Shop
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EUR 18,04
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Hardcover. Condición: Near Fine. Not Issued. First Thus. Black 1/4 cloth, dark orange paper covered boards, front cover lettered in black, spine panel lettered in gilt. Minor rubbing to corners and spine extremities, ink mark on bottom text block edge. Firm binding, clean interior. 180 pp., illus. New Edition (1937) incorporates… supplementary list of additions since the original 1910 edition. Size: 12mo - over 6¾" - 7¾" tall. Book.
[Shakespeare Memorial Theatre, Stratford-upon-Avon.] 37 items, including 21 ALsS from librarian W. S. Brassington to one of the Theatre's governors, Dr E. M. Boddy, regarding his gift of portraits to Shakespeare Memorial, and resulting disagreement.
Shakespeare Memorial Theatre, Stratford-upon-Avon [William Salt Brassington (1859-1939), archaeologist; Evan Marlett Boddy (c.1847-1934), FRCS; Stewart Dick; Edgar Flower; Archibald Flower]
Editorial: 20 of Brassington's 21 letters from between and 1902 and on letterheads of Shakespeare Memorial Stratford-upon-Avon; the other is from 1910. Among the other items are ones dated from between 1899 and 1928, 1899
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Librería: Richard M. Ford Ltd, London, Reino UnidoRichard M. Ford Ltd
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The Shakespeare Memorial Theatre was founded through the efforts of local brewer Charles Edward Flower (1830-1892), after whose death its management was taken over by his brother Edgar Flower (1833-1903), also Chairman of the Shakespeare Birthplace Trust. On Edgar's death these duties fell to his son Archibald Flower (1865-1950)…, several times mayor of Stratford-upon-Avon. The present correspondence concerns a gift to Shakespeare Memorial Association by the appropriately-named anatomist Evan Marlett Boddy. Between 1899 and 1901 Boddy donated at least twelve portraits to be hung in the Shakespeare Memorial reading room (from the correspondence wood carvings also appear to have been donated). Details of the first seven portraits are contained in a letter of 11 December 1899 from Boddy to the Shakespeare Memorial librarian the archaeologist W. S. Brassington (for which see below). The paintings included supposed works by Henry Fuseli ('The Fuseli Macbeth') and Sir Peter Lely (Nell Gwynne), Henry Wyatt (Coleridge), and a portrait said to be by Romney of a young Percy Bysshe Shelley (five letters by Brassington relating to which are offered separately), one of Alexander Pope ('attributed to Hogarth'), as well as a 'Garrick portrait', one of Nell Gwynne, and a 'Spanish Lady'. In 1916 Boddy demanded their return, on discovering that the Archibald Flower had broken the condition that Boddy had arranged in 1900 with the then librarian W. S. Brassington: 'The Portraits were to be hung together and remain so.' The present collection of 37 items is in good condition, lightly aged, apart from a couple of items are creased and worn, both being repaired with archival tape. The 20 of Brassington's 21 letters dating from the years 1899 to 1902 (totaling 39pp, 12mo; and 1p, 4to) convey his enthusiasm with regard to the donation. In the first letter, 9 December 1899, Brassington acknowledges receipt of a letter from Boddy 'respecting portraits of Shakespeare', noting with pleasure Boddy's 'kind proposal to present the pictures to the Shakespeare Memorial'. Three days later (12 December 1899) he arranges to 'come over and view' 'the pictures which you so generously propose to bestow upon the Shakespeare Memorial'. On 16 December arrangements are made for the removal of the pictures by 'stage carpenter' Henry Mann, with Brassington reporting that 'Mr Flower, our Chairman, who is at present away from home [.] thinks it most kind of you to make this very handsome present'. And a week later (19 December 1899) he acknowledges receipt of 'the seven portraits which you so generously bestow upon the Shakespeare Memorial', adding 'Now that the portraits are in a good light I am more than ever delighted with them, and I think you will be so when you see them in the Gallery.' On the same day (19 December 1899) Edgar Flower writes to Boddy from The Hill, Stratford-on-Avon, as 'Chairman of the Council', to report 'how greatly the gift is approved'. He continues: 'In due course you will receive an official acknowledgment but in the meantime allow me to say personally that I consider each of the portraits as of great merit and interest and that they wil be conserved as your gift in the gallery to which they are a magnificent addition'. Six months later the works have been properly hung, and on 23 June 1900 he writes that the 'beautiful pictures have been much admired to-day by our London visitors, many of whom had not seen Stratford before'. Four days later he informs Boddy that his 'beautiful pictures reached here in safety. The "lady" is before me in a good north light, and looks magnificent.' Shortly afterwards (10 July 1900) he goes into some detail with regard to the hanging: 'The "Spanish Lady" and other pictures now adorn the walls of the Memorial, and are being very greatly admired. Mr Flower is unwell and I have not been able to obtain his signature to a card of thanks, but at the monthly committee meeting great satisfaction was expressed at your generosity. The Grinling Gibbons' carving now stands upon the carved oak mantle shelf of the Reading Room. It is most handsome, and suitable, since it represents the arms of London, where Shakespeare lived for the greater part of his life. Moreover the carving hides an ugly modern Dutch bronze portrait of Shakespeare, now well out of sight! / The Seven ages of Man adorn the staircase. And the "Spanish Lady" hangs over-against Nell Gwynne above the other portraits in the end gallery.' (The letter continues with speculation about the subject's identity.) On 23 July 1900 he reports: 'The two valuable additions to the collection of paintings so kindly presented by you to the gallery are now placed on the walls. The Fuseli hangs near another example by the same master in the 1st gallery, the Sir Peter Lely is placed with the other portraits between Nell Gwynn and the Spanish Lady', which is 'one of the most beautifully painted pictures I have ever seen'. He is so struck by it that he 'went to the Dulwich Gallery last week to make notes, but found nothing like this picture there'. A letter of 1 November 1900 begins by commending Boddy's gift of the proof of his 'brochure' 'Shakespeare's Garden'. Brassington then discusses his holiday 'in a cottage on the quay at Minehead. We had a good time at that old-world place and I ventured to Stratford refreshed. I had found the summer season with its crowd of Americans rather trying.' He is relieved that Boddy was well treated by the staff in his absence: 'they all take the greatest interest in the work of the memorial [.] Unfortunately of late there has been a discordant note sounded by Miss Corelli, but people here are now aware that a great fuss is being made about a little matter.' Turning to Boddy's gift he writes: 'I am glad you approve of the arrangement of the portraits. We expect next week to receive a portrait and a bust of Miss Mary Anderson, and possibly a bust of Ellen Terry, so you see we are adding to the collection and t.