Tuesday, July 31, 2007
Monday, July 30, 2007
Monday, July 23, 2007
Thursday, July 19, 2007
Wednesday, July 18, 2007
For years I have had a rule that nothing should go on the wall unless you can point at it and tell a story. It may only be the story of why I 'had to have it', or it may be more involved but there was to be nothing which was 'meaningless' on the wall. I thought I would test how well I'm doing with this rule by posting, over a short period of time, all the pictures hanging on the wall and imagining you, dear reader, as our guest, asking about each picture in turn.
If the answer to any enquiry turns out to be 'got it in Ikea for a fiver' - then I have failed!
Okay, so this post begins with a bit of a cheat. This is a picture which 'normally' hangs in the living room. He's actually been taken down for a while to allow space for some of the others you'll see below.
His story? Well, way back in the 1990s (remember them) R and I were living in London and there was a shop in Compton Street in Soho which had these for sale; there were two editions of the same picture, one in blue and one in pink. R couldn't get enough of them and eventually I bought this one for him. It was, and may still be, the most expensive present I have ever bought but, I think, worth it.
Trademark is the pseudonym of a graphic artist best known for his groundbreaking work producing flyers for the huge London gay club 'Heaven'. We keep discovering his real name, making a note of it, and then loosing it again so if anyone can remind us we'd be grateful.
Landscapes. Pastel on paper.
As this post goes on you will begin to understand that R has a thing for landscapes and portraits - and that the living room is very much R's room when it comes to hanging pictures. These two we found together and they are clearly by the same artist. They have that thing which some pastel drawings have of appearing very rough and ready close up but resolving to almost photographic clarity as you step back. These mounts were my first attempt at the, now slightly old-fashion techniques of mount decoration involving watercolour lines, washes and gold bands.
Untitled portrait of a woman. Oil on board.
No name, no signature and painted on what appears to be the bottom of a drawer, this is the mystery lady of our house. Another of R's junk shop finds. Whilst it's nice to have portraits of named people that can be researched and known, there is something appealing about the anonymous too. I occasionally catch R staring at her of an evening, obviously wondering who she was and why she had her portrait painted. In our house, she is known as Elspeth!
The latest in The Raven Series of monographs by Robert Scoble has just been let loose on the world. In its normal special state of 12, the book sold-out in record time.
Raven 4: Justus Stephen Serjeant tells the story of the eponymous Serjeant who was Rolfe's last benefactor. It is often said that Rolfe died in poverty in Venice. In fact, this is inaccurate. When Rolfe died he was enjoying one of the few periods of his life when money and a reasonable standard of living was available to him. This was largely due at that time to Serjeant. It has always been something of a puzzle to Corvine scholars why an otherwise anonymous and unremarkable man like Serjeant might have become involved with Rolfe at all and this is one of the questions addressed in the monograph. It also contains, in its special state, the text of the various Deeds of Assignment made between Serjeant and A. J. A. Symons for the rights to many of Rolfe's works, then unpublished.