‘Contact sheet and negative roll number 128‘, collection owner: Nigel Henderson, [c.1949–c.1956] – part of the digitised collection of the Tate Archive
by appointment Photograph showing exterior of a fish
This collection, which has now been digitised and made available to view online, includes primarily wood engravings, many of which were used to illustrate ‚Punch‘, and other similar publications, such as ‚Once a Week‘, by Charles Keene. These illustrations cover a substantial part of his career, dating from 1861 to 1888. Also available online are a number of preparatory pencil and ink studies that appear to have informed his wood engravings for ‚Punch‘, as well as etchings, including one early design for and illustration printed in Daniel Defoe’s book, ‚The Life and Surprising Adventures of Robinson Crusoe‘, published in 1847.
date not known View by appointment Etching of a fish
Tate glossary definition for still life: One of the principal genres (subject types) of Western art – essentially, the subject matter of a still life painting or sculpture is anything that does not move or is dead
natural objects, cut flowers, fruit, vegetables, fish
5 September Dear Annerl! We’re close to Gibraltar now, close to leaving Europe, but I still can’t seem to think ahead, like a schoolboy crossing off the days on a calendar, waiting for the holidays – when I’ll see you again. I wish I could find the words to say how I feel – they would be short, concise words, too precise and true for colourful descriptions and circumlocutions. In Hinterbrühl little Sonja Weiss would often look at Clemens and mutter away to herself in wonder, ‘Oh my, oh my!’, as though she’d never met anyone quite like him before. …
, from tatty grandpas crouching behind baskets of fish
‘Photographs of boats‘, collection owners: Thomas Cooper Gotch, Henry Scott Tuke, [c.1899–1904] – part of the digitised collection of the Tate Archive
not known Photograph taken at Falmouth from the Fish
Pages 1-3, essay on the method of teaching drawing and on aspects of drawing Page 4, street scene at night with couple kissing in a doorway Page 5, street scene with large covered van and two standing women Page 6, woman in a china shop Page 7, street scene with a figure and a dog Page 8, country road with a lorry Page 9, list of items with prices Page 10, man talking to a woman with two other men in the background Page 11, soldier in uniform Page 12, sketches of a woman wearing a large hat drawn in …
street scene with stalls Page 53, street scene with fish
This Valentine’s Day we take a look at examples of love in Tate’s collection. Includes works by Wolfgang Tillmans, Alfred Stieglitz, Chris Killip, Rineke Dijkstra. Felix Gonzalez-Torres and Ron Mueck.
Ordinary Chris Killip Couple eating fish and
Page 1, blank Page 2, police Station Lantern Page 3, detail of lantern shown on page 2 Page 4, another study of the police lantern Pages 5-6, diagonal lines Page 7, list of artist’s requisites Page 8, study of a seated woman doing needlework Page 9, same woman as that on page 8, holding a cat Page 10, notes on wide and narrow setting Page 11, study of a hand holding a ball Page 12, study of a slot machine Page 13, study of a street corner with chemist’s shop Page 14, study of two windows Page 15, study of …
of the tunnel Page 39, townscape with surrealist fish
Page 1, blank Page 2, view of Brighton seen from the beach inscribed ‚Brighton Oct 24 1952‘ Page 3, boats on the beach inscribed ‚Brighton 24 Oct 1952‘ Page 4, hotel seen from the beach inscribed ‚Brighton Oct 24 ’52‘ Page 5, view of the sea from the beach inscribed ‚Brighton Oct 24 ’52‘ Page 6, view of the beach with several boats inscribed ‚Brighton Oct 24 ’52‘ Page 7, street scene with the sea beyond inscribed ‚Brighton Oct 24 ’52‘ Page 8, study of a church and view of the beach from a street inscribed ‚Brighton Oct 24 ’52‘ …
the lower level Page 54, group of people outside a fish
Alan Durst (1883-1970) was born in Alverstoke, Hampshire, and educated at Marlborough College. He then served in the Royal Marines until 1913, when he began to learn to carve ivory at the London County Council Central School. His interest in carving led him to Chartres where he became enamoured of stone. But the First World War intervened, and for five years he served at sea, and on demobilization became curator of the Watts Museum at Compton, Surrey. In 1920, he returned to London and the Central School, carving in stone and wood, particularly for architectural and decorative purposes. He exhibited …
Durst [1927] View by appointment Design with fish
