Meintest du kennt?
‘Photographs of Norfolk’, collection owner: John Piper, [c.1930s–1980s] – part of the digitised collection of the Tate Archive
of Isle of Wight 22 Objects Photographs of Kent
‘Photographs of Lincolnshire’, collection owner: John Piper, [c.1930s–1980s] – part of the digitised collection of the Tate Archive
of Isle of Wight 22 Objects Photographs of Kent
‘Photographs of Suffolk’, collection owner: John Piper, [c.1930s–1980s] – part of the digitised collection of the Tate Archive
of Isle of Wight 22 Objects Photographs of Kent
‘Photographs of Isle of Wight’, collection owner: John Piper, [c.1930s–1980s] – part of the digitised collection of the Tate Archive
of Isle of Wight 22 Objects Photographs of Kent
The photographs in England have been arranged using the pre-1974 local government areas rather than present counties.
of Isle of Wight 22 Objects Photographs of Kent
‘Photographs of Sussex’, collection owner: John Piper, [c.1930s–1980s] – part of the digitised collection of the Tate Archive
of Isle of Wight 22 Objects Photographs of Kent
University Professor Martin Hammer, University of Kent
The photographs in England have been arranged using the pre-1974 local government areas rather than present counties.
of Isle of Wight 22 Objects Photographs of Kent
Includes photographic negatives, belonging to, and taken by, Vanessa Bell. These negatives, the prints of which can be found within the photograph albums kept by Vanessa Bell (See TGA 9020/1-10), show her with family and friends, including key figures within the Bloomsbury Group such as Duncan Grant, Lytton Strachey and John Maynard Keynes. The images are a mixture of family portraits, nudes and studies, with most photographs taken during carefree moments at Charleston.
Asheham, Beddingham, Sussex or Blean, near Canterbury, Kent
Items chosen from this collection for digitisation include photographs of wall murals, posters, and graffiti Northern Ireland, taken by Conrad Atkinson during the ‚Troubles‘ in the early 1970s, as well as source material and original sketches by the artist for the exhibition catalogue for ‚A Shade of Green, An Orange Edge‘, at the Art Council Gallery, Belfast, 1975. Also chosen are writings and organisational documentation relating to the formation and activities of the Artists‘ Union. Details of the remainder of the collection can be found on the Archive catalogue.
Notes on the Value of an Artists Union’, by Sarah Kent
