Art Workers' Guild

Art Workers' Guild
AbbreviationAWG
Formation1884; 141 years ago (1884)
TypeArts organisation
Legal statusRegistered charity[1]
PurposeTo Advance Education In All The Visual Arts And Crafts[1]
Headquarters6 Queen Square, London, WC1N 3AT
Region served
Predominantly UK
Membership350
Master
Tracey Sheppard
Websitehttp://www.artworkersguild.org

The Art Workers' Guild is an organisation established in 1884 by a group of British painters, sculptors, architects, and designers associated with the ideas of William Morris and the Arts and Crafts movement.[2][3] The guild promoted the 'unity of all the arts', denying the distinction between fine and applied art.[4][5] It opposed the professionalisation of architecture – which was promoted by the Royal Institute of British Architects at this time – in the belief that this would inhibit design.[6][7][8] In his 1998 book, Introduction to Victorian Style, University of Brighton's David Crowley stated the guild was "the conscientious core of the Arts and Crafts Movement".[9]

History

The guild was not the first organisation to promote the unity of the arts. Two organisations, the Fifteen and St George's Art Society had existed previously,[4] and the guild's founders came from the St George's Art Society.[4] They were five young architects from Norman Shaw's office: W. R. Lethaby, Edward Prior, Ernest Newton, Mervyn Macartney and Gerald C. Horsley, plus metal worker W. A. S. Benson, designer Heywood Sumner, painter C. H. H. Macartney, sculptors Hamo Thornycroft and Edward Onslow Ford,[10] and the architect John Belcher.[11][12][4] The motive for the guild's creation was the summer exhibition in 1883 at the Royal Academy of Arts, where the "mother of arts" were snubbed to two side walls in one gallery.[13] Edward Prior wrote in November 1883,

Painters, Sculptors, and Architects are in danger of settling permanently into three distinct professions, oblivious of one another's aims. A Society is wanted to restore their former union with one another with a programme of cohesion such as the Royal Academy hardly now suggests, and which the Institute of British Architects has deliberately rejected.

Others were soon invited to join, including Fifteen members Lewis Foreman Day, George Blackall Simonds and J. D. Sedding, as well as architects Somers Clarke, John Thomas Micklethwaite, W. C. Marshall, Basil Champneys; painters Herbert Gustave Schmalz, Alfred Parsons, John McLure Hamilton, William R. Symonds and etcher Theodore Blake Wirgman.[4] The first meeting took place on 18 January 1884 at Charing Cross Hotel with Belcher as chair, and after some debate agreed they would invite others "for promoting greater intercourse among the Arts". Several names were proposed, including Guild of Art by Benson, Guild of Associated Arts, Guild of Art Workers, The Art Workers and the Society of Art Workers. Prior combined the name ideas and put forward the Art Workers' Guild and wrote the Guilds prospectus.[13] The name and prospectus was agreed and the guild was formally created on 11 March and by its first formal annual meeting on 5 December 1884 it had grown to 56 members.[4] The guild was based on the medieval trade guilds, with members called Brothers and its head called Master.[14] Its first master was the sculptor, George Blackall Simonds.[15] In 1885, Walter Crane reiterated the guild's worries to the Fabian Society,[7]

Artistic expression had only reached its noblest and most beautiful results under collective condition of the arts, at all events when all art was decorative, and all were allied to architecture.

The guild organised talks, lectures, demonstrations and meetings to bring unity of the arts to its members including guest speakers such as Lucien Pissarro in 1891.[16] Sir Edwin Lutyens was first invited as a guest in 1892 and recalled:[17]

then, no one knew me and those few that did patronised or snubbed me

but he joined later and admired the freedom to argue passionately and:

the way those fellows lay into each other

By 1895 the guild had 195 members and included such luminaries as William Morris and Thomas Graham Jackson.[18] At that year's annual general meeting, the elected Master Heywood Sumner declared to the members:[19]

the authorities are beginning to recognise that if you want a good man for a public post connected with the Arts, the Art Workers' Guild is the place to come for that purpose.

This comment was confirmed in 1900 when the government recruited guild members Thomas Graham Jackson, William Blake Richmond, Edward Onslow Ford, and Walter Crane to the Council for Advice on Art, and they reorganised the Royal College of Art in line with Art Workers' Guild ideals.[4] Under Graham Jacksons' time as Master, the Guildsmen were looking at the purpose of the guild. Many, including Morris wanted the guild to be a more active force and put forward a Councillor to the London County Council to advise on the protection of historical buildings and advocate craftsmanship.[20] However Graham Jackson was against politics and declared the guild should not be:[20]

departing from the old lines on which it had advanced to its present position of usefulness and success

Graham Jackson decided training the next generation of artists was more important and created the Art Student Guild, which would go onto become the Junior Guild.[20] The Junior Guild was not a great success and by 1928 was confirmed by members that it had outlived its purpose. However, Masters H. M. Fletcher and Basil Oliver had come through the junior guild.[20]

In 1902, on retiring from the Master's position, George Frampton stressed that only properly qualified candidates should be elected to the guild, and in 1905 the membership election system was amended.[21] By this time the membership had grown to 235. Frampton had also recommended that the guild set up a benevolent fund for hard up members,[2] which became known as the Guild Chest.[22] However Frampton caused controversy in 1915, calling for Karl Krall, a German-born member, to have his membership revoked due to his nationality during World War I. The guild voted by a one-vote majority to allow Krall to keep his membership, so Frampton resigned. Krall was so upset by the debates that led to the vote that he also resigned and asked that he never be contacted by the guild again.[23]

During World War II the guild's income dropped considerably, however they remained solvent under the "zealous guardianship of the funds" of honorary treasurer Laurence Arthur Turner.[21] In 1945, the War Memorial Advisory Committee asked the guild for its ideas on war memorials, to which the guild responded by deploring mass-produced war memorials and advising on well designed carved inscriptions on the walls of the church cut by individual craftsmen.[21]

The Art Workers Guild gave rise to many offshoots, including the Birmingham, Liverpool,[24] the Northern Art Workers' Guild in Manchester,[25] the Edinburgh Art Workers' Guild and the Junior Art Workers' Guild but the biggest was the Arts and Crafts Exhibition Society.[11][19] There was even a guild set up in Philadelphia.[26] The guild began as a male-only organisation, leading May Morris to start the Women’s Guild of Arts in 1907 as an alternative for women.[27] In 1914 the women's guild was allowed to use the meeting hall at Queens Square, but they were not allowed to have their roll call on the walls.[28] There was great discussion between members about letting in women with Hamilton T. Smith writing to Arthur Llewellyn Smith in 1958 stated:[28]

Ladies. My instinct is against this proposal but I don't know that I feel strong enough to fight it very hard

In the 1959 Annual Report, it stated that it was "discussed at length but not put to the vote, it being felt that so revolutionary a proposal needed further careful discussion".[28] Further discussions occurred over the next few years, and in 1962 past master Brian Thomas asked:[28]

whether there was any evidence that women wanted to join the guild

It was not until 1964 that the brothers, at a special meeting, agreed to admit women to the guild.[28] The first women to join was the wood engraver Joan Hassall who became the first female Master in 1972.[29] In 1949, the members of the Junior Art Workers' Guild were invited to join the guild after their organisation closed down.[21]

In 1985, a centenary exhibition was held at the Brighton Museum and Art Gallery. In a review of the exhibition by Colin Amery in The Burlington Magazine, Amery stated that the exhibition showed "the current Guildsmen work did not have the weight and quality to carry hope of a new spring".[30]

The guild's home

The guild held its meetings initially in rented space. Between 1884 and 1888, it used the Century Club's rooms at 6 Pall Mall Place in Pall Mall, London,[31] from 1888 to 1894 it used Barnard's Inn, Holborn and then between 1894 and 1914 they used Clifford's Inn.[4] In 1914, the lease on Clifford's Inn was to end and the organisation was looking for a new home. The Central School of Art and Design was offered as temporary accommodation by London County Council, with negotiations being held by F. V. Burridge, the college's principal.[21][32]

The exterior of the Art Workers' Guild

However, the architects Arnold Dunbar Smith and Cecil Claude Brewer had an office in the front of the early Georgian house at 6 Queen Square, Bloomsbury and, when they heard that the freehold was for sale, encouraged the guild to buy it.[12] The back part of the building was reconstructed as a meeting hall, designed by Francis William Troup and inaugurated on 22 April 1914.[33][34] At the opening, Master Harold Speed said to his fellow Brothers that he knew they would miss,[28]

the picturesque and loveable old hall and Inn

but encouraged them to enjoy

the satisfaction of being our own masters in our own home, and shall doubtless accumulate in the future, traditions and properties in Queen Square, which will render the new home even dearer and more interesting to us than the old

The hall was furnished with rush-seated chairs made in Herefordshire by Philip Clissett and his grandsons between 1888 and 1914,[35] and afterwards copied by Ernest Gimson and his successors. The Master sits in a seat designed by Lethaby and a table by Benson.[28] The names of all members up to the year 2000 are painted on a frieze around the walls of the Hall.[28] The list of names now continues in the front room known as the ‘Master’s Room’.[citation needed] In 2017 the building was modernised under the direction of Simon Hurst, the honorary architect of the guild.[36] The building contains portraits of every Master since 1884.[37][38]

The guild rents space to the British Society of Master Glass Painters at Queen Square. The top two floors are rented as an apartment to designers Ben Pentreath and Charlie McCormick.[39][40]

Recent history and notable members

The guild is today a society of artists, craftsmen and designers with a common interest in the interaction, development and distribution of creative skills.[41] Its 350 members work at the highest levels of excellence in their professions, representing over 60 creative disciplines. Their main charitable aim is to support the visual arts and crafts in any way that may be beneficial to the community. The guild continues to programme lectures and workshops for its members to promote the exchange of knowledge among art workers of all disciplines.[42]

Current notable members include artist Chila Kumari Burman,[43] Jane Cox, a Fellow of the Craft Potters Association and Chair of the Outreach Committee of the Art Workers Guild (who run projects across various institutions such as the V&A, Courtauld Institute, Watts Gallery and Imperial College London)[44] and Fleur Oates, a lacemaker and embroiderer who is the artist in residence at Imperial College's vascular surgery department.[45]

The guild was visited by Prince Charles and Camilla, the Duke and Duchess of Cornwall in 2015 as part of the London Craft Week.[46] In 2018, the guild staged the exhibition Salon des Refusés, 30 pieces of work by RIBA’s Traditional Architecture Group that had been rejected by the Royal Academy's Piers Gough architecture room.[47]

In 2023, the guild put forward designs from eight of its Brothers to create rough designs for King Charles coronation invitations. Andrew Jamieson was chosen and his floral design was printed on recycled card.[48]

Past Masters of the guild

References

  1. ^ a b "Art Workers' Guild Trustees Ltd Charity number: 313228". The Charity Commission for England & Wales. Retrieved 18 October 2021.
  2. ^ a b Henri Jean Louis Joseph Massé. The Arts Workers' Guild, 1884-1934.
  3. ^ Platman. L (2009). Art Workers Guild: 125 Years. Unicorn Press. ISBN 9781906509057.
  4. ^ a b c d e f g h Whyte. W (4 October 2007). "Founder members of the Art-Workers' Guild (act. 1884-1899)". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/96545. ISBN 978-0-19-861412-8. (Subscription or UK public library membership required.)
  5. ^ Mallalieu. H (14 November 2014). "Glittering auction for art workers' hall". The Times.
  6. ^ Crouch. C (2002). Design Culture in Liverpool, 1880-1914: The Origins of the Liverpool School of Architecture. Liverpool University Press. pp. 61–63. ISBN 9780853238843.
  7. ^ a b Dungavell. I (1997). "Two Arts and Crafts Interiors by Aston Webb". The Journal of the Decorative Arts Society 1850 - the Present (21): 103–115. JSTOR 41809259.
  8. ^ Charles Harvey, Jon Press (1991). William Morris: Design and Enterprise in Victorian Britain. Manchester University Press. p. 186. ISBN 9780719024184.
  9. ^ "The Art Workers Guild". The Victorian Web. Retrieved 17 October 2021.
  10. ^ Harriet Bridgeman, Elizabeth Drury (1975). The Encyclopedia of the Victorian. Country Life. p. 188. ISBN 9780600331230.
  11. ^ a b "The Art Worker' s Guild". Victorian Web. Retrieved 3 August 2021.
  12. ^ a b "UCL Bloomsbury Project - Art Workers Guild". UCL. Retrieved 3 August 2021.
  13. ^ a b Holder. J (2021). Arts and Crafts Architecture: 'Beauty's Awakening'. The Crowood Press. ISBN 9781785007965.
  14. ^ Banham.J (1997). Encyclopedia of Interior Design. Routledge. p. 63. ISBN 9781884964190.
  15. ^ Reva Wolf and Alisa Luxenberg (2020). Freemasonry and the Visual Arts from the Eighteenth Century Forward Historical and Global Perspectives. Bloomsbury. pp. 203–226. doi:10.5040/9781501337994.ch-009. S2CID 213063811.
  16. ^ (Gallery), Tate Britain (May 2012). The Camden Town Group in Context. ISBN 9781849763851. Retrieved 22 October 2021. {{cite book}}: |website= ignored (help)
  17. ^ a b Powers. A (3 September 1998). "Design: Dreamtime in Dieppe". The Independent.
  18. ^ a b "Sir Thomas Graham Jackson". Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII. Retrieved 17 October 2021.
  19. ^ a b c Macdonald. S (1970). The History and Philosophy of Art Education. James Clarke & Co. p. 292. ISBN 9780340094204.
  20. ^ a b c d Whyte. W (2006). Oxford Jackson: Architecture, Education, Status, and Style 1835-1924. Clarendon Press. p. 78. ISBN 9780199296583.
  21. ^ a b c d e "Art Workers' Guild". Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII. Retrieved 17 October 2021.
  22. ^ "The Guild Chest". Art Workers' Guild. Retrieved 21 October 2021.
  23. ^ Fox. J (2015). British Art and the First World War, 1914-1924. Cambridge University Press. ISBN 9781107105874.
  24. ^ Crouch. C (2002). Design Culture in Liverpool, 1880-1914: The Origins of the Liverpool School. Liverpool University Press. p. 72. ISBN 9780853238843.
  25. ^ "Northern Art Workers' Guild". Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII. Retrieved 21 October 2021.
  26. ^ "Socities". The American Architect and Building News: 29. 14 January 1893.
  27. ^ Thomas, Zoe (June 2015). "'At Home with the Women's Guild of Arts: gender and professional identity in London studios, c. 1880–1925'". Women's History Review. 24 (6): 938–964. doi:10.1080/09612025.2015.1039348. S2CID 142796942.
  28. ^ a b c d e f g h i Thomas. Z (2020). Women art workers and the Arts and Crafts movement. Manchester University Press. ISBN 9781526140432.
  29. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at au av aw ax ay az ba bb bc bd be bf bg bh bi bj bk bl bm bn bo bp bq br bs bt bu bv bw bx by bz ca cb cc cd ce cf cg ch ci cj ck cl cm cn co cp cq cr cs ct cu cv cw cx cy cz da db dc dd de df dg dh di dj dk dl dm dn do dp dq dr ds dt du dv dw dx dy dz ea Past Master List (PDF). Art Workers' Guild.
  30. ^ "Brighton and Cheltenham Art Workers Guild". The Burlington Magazine. Vol. 127, no. 984. March 1985. pp. 182–185. JSTOR 882054.
  31. ^ "Century Club". The Invention of Museum Anthropology, 1850-1920. Retrieved 17 October 2021.
  32. ^ Overview: Central School of Arts and Crafts. Oxford Reference. Accessed July 2013.
  33. ^ "Ar Workers Guild, 6 Queen Square, London: The Great Hall. RIBA Ref No RIBA28983". RIBAPIX. Retrieved 21 October 2021.
  34. ^ "NUMBER 6 AND ATTACHED RAILINGS". Hustoric England. Retrieved 21 November 2021.
  35. ^ Carruthers, Annette (1994). Good Citizens Furniture: the Arts and Crafts Collection at Cheltenham. Cheltenham: Cheltenham Art Gallery & Museum. p. 81. ISBN 9780853316503.
  36. ^ "Art Workers' Guild in Bloomsbury: New Glass Roof". Square Building News. 8 October 2021.
  37. ^ "The Art Workers' Guild Georgian". openhouselondon. Retrieved 15 October 2021.
  38. ^ Hansen, J. M (2007). Lewis Foreman Day (1845-1910): Unity in Design and Industry. Antique Collector's Club. p. 287. ISBN 9781851495344.
  39. ^ Wintle. A (13 May 2018). "Interior designer to the royals Ben Pentreath on the joy of being a long-term tenant and why gardening stressed him out". The Times.
  40. ^ "Ex-pat Kiwi's bold, bright and botanical living room". Stuff. 25 April 2017.
  41. ^ "Art-Workers Guild". Royal Academy. Retrieved 17 October 2021.
  42. ^ "Friends excursions: the Art Workers' Guild". Royal Academy. 2017.
  43. ^ ANNA VAN PRAAGH (4 October 2021). "People treat me like a different person now'—artist Chila Kumari Burman on finding fame and the lack of diversity at top galleries". Evening Standard.
  44. ^ a b "Binnel Studios welcome to you their seventh summer exhibition". On the Wight. 9 August 2021.
  45. ^ Butchart. A (17 April 2020). "What Can a Surgeon Learn from a Tailor? Harnessing the Healing Art of Thread". Frieze.
  46. ^ "Prince Charles and Duchess of Cornwall have fun at London engagements". Hello. 5 February 2015.
  47. ^ Elizabeth Hopkirk (18 June 2018). "Rejected classical architects hold rebel show". Building Design.
  48. ^ "Artist who painted for King's coronation sworn to secrecy". The Independent. 5 April 2023.
  49. ^ "George Blackall Simonds". Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII. Retrieved 16 October 2021.
  50. ^ Ministry of Reconstruction, Great Britain (1918). Reconstruction Problems. p. 7.
  51. ^ a b c d e Skipwith. P (11 February 2020). "A Viking-inspired frieze by Walter Crane finds a new home in Rouen". Apollo. The International Art Magazine.
  52. ^ "Societies". Architecture and Building: A Journal of Investment and Construction (16): 223. 30 April 1892.
  53. ^ "John Brett". Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII. Retrieved 17 October 2021.
  54. ^ "The Art Workers' Guild Expeditions". The Reviews of Reviews (6): 62. 1893.
  55. ^ British Sculpture 1850-1914: Catalogue of a Loan Exhibition of Sculpture and Medals Sponsored by the Victorian Society, 30th September-30th October 1968. 1968. p. 29.
  56. ^ Jason Edwards (2013). "Ford and the Decorative Arts, The Singer exhibited 1889 and Applause 1893 by Edward Onslow Ford". Tate. Retrieved 10 September 2021.
  57. ^ Rycroft, Elizabeth (April 1992). "Lewis Foreman Day (1845-1910) and of the Society of Arts". RSA Journal. 140 (5428): 334. JSTOR 41375825.
  58. ^ "Thomas Stirling Lee". Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851–1951, University of Glasgow. Retrieved 19 October 2021.
  59. ^ Ward. J (1998). Mervyn Edmund Macartney, architect, 1853-1932. Jan Ward. ISBN 0953464105.
  60. ^ Benezit Dictionary of British Graphic Artists and Illustrators, Volume 1. Oxford University Press. 2012. p. 1344. ISBN 978-0199923052. Retrieved 21 July 2018.
  61. ^ The Year's Art. 1901. p. 123.
  62. ^ Bilbey, Diane; Trusted, Marjorie (2002). British Sculpture 1470 to 2000: A Concise Catalogue of the Collection at the Victoria and Albert Museum. V & A Publications. p. 262. ISBN 9781851773954.
  63. ^ "No. 33566". The London Gazette. 31 December 1929. p. 2.
  64. ^ The Years Art. 1905. p. 142.
  65. ^ The Book Collector, Volume 29. 1980. p. 213.
  66. ^ Joseph Edwards, Frederick William Pethick-Lawrence Baron Pethick-Lawrence (1908). The Reformers' Year Book. p. 208.
  67. ^ Terry Wyke, Harry Cocks (2004). Public Sculpture of Greater Manchester. Liverpool University Press. p. 457. ISBN 9780853235576.
  68. ^ Kenneth McConkey (1980). Sir George Clausen, R.A. 1852-1944. City of Bradford Metropolitan District Council and Tyne and Wear County Council. p. 78. ISBN 9780905974040.
  69. ^ Riba (1911). The Transactions of the Royal Institute of British Architects Town Planning Conference, London. 10-15 October 1910. Routledge. p. 86. ISBN 9780415677394.
  70. ^ Watkinson, Ray. (Autumn 1986). "Godfrey Rubens's Lethaby" (well-informed book review). William Morris Journal. 7.1. pp. 25–35.
  71. ^ a b c d Whitehill, Walter Muir (September 1977). "Boston Artists and Craftsmen at the Opening of the Twentieth Century". The New England Quarterly. 50 (3): 387–408. doi:10.2307/364275. JSTOR 364275.
  72. ^ "Edward Prioleau Warren". Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII. Retrieved 21 October 2021.
  73. ^ "Thomas Okey". Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII. Retrieved 22 October 2021.
  74. ^ Burke. Edmund (1928). The Annual Register of World Events: A Review of the Year. p. 121.
  75. ^ "Mr. Harold Speed". Journal of the Royal Society of Arts. 105: 430. 1956.
  76. ^ "WILSON, Henry (1864-1934)". AIM25. Retrieved 17 October 2021.
  77. ^ The Year's Art. 1938. p. 323.
  78. ^ Bury. S (2012). Benezit Dictionary of British Graphic Artists and Illustrators, Volume 1. Oup USA. ISBN 9780199923052.
  79. ^ Daneff. T (21 April 2021). "Weirs Barn: A Hampshire garden where Robert Weir Schultz's Arts-and-Crafts vision came back to life". Countrylife.
  80. ^ Bilbey. D (2002). British Sculpture 1470 to 2000: A Concise Catalogue of the Collection at the Victoria and Albert Museum. Harry N. Abrams. p. 470. ISBN 9781851773954.
  81. ^ Chatterton. F (1923). Who's who in Architecture, 1923. p. 252.
  82. ^ David Cole (2015). The Art and Architecture of C.F.A Voysey: English Pioneer Modernist Architect & Designer. Images. ISBN 9781864706048.
  83. ^ University of Glasgow History of Art / HATII (2011). "Gilbert William Bayes HRI, PRBS". Mapping the Practice and Profession of Sculpture in Britain & Ireland 1851–1951. Retrieved 27 April 2020.
  84. ^ "Sir Francis Newbolt". Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII. Retrieved 22 October 2021.
  85. ^ "F. Ernest Jackson". University of the Arts, London. Retrieved 23 October 2021.
  86. ^ "Charles Robert Ashbee". Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII. Retrieved 23 October 2021.
  87. ^ "Henry Martineau Fletcher". Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII. Retrieved 23 October 2021.
  88. ^ Bryant, Mark. World War I in Cartoons. London: Grub Street Pub, 2006, page 17, ISBN 190494356X
  89. ^ "Basil Oliver (1882—1948)". Oxford Reference. Retrieved 24 October 2021.
  90. ^ Stamp. G (19 November 1981). "The rise and fall and rise of Edwin Lutyens". The Architectural Review (170:1017): 311–18.
  91. ^ Wright. H. J. L (1941). The Etched Work of F. L. Griggs R.A., R.E., F.S.A. p. 12.
  92. ^ The Year's Art. 1936. p. 104.
  93. ^ The Year's Art. 1937. p. 106.
  94. ^ The Year's Art. 1938. p. 103.
  95. ^ "Richard Louis Garbe RA". Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851–1951, University of Glasgow History of Art and HATII, online database 2011. Retrieved 17 August 2020.
  96. ^ The Year's Art. 1940. p. 91.
  97. ^ The Journal of the Royal Society of Arts. 1947. p. 190.
  98. ^ "George Parlby". Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951, University of Glasgow History of Art and HATII. Retrieved 25 October 2021.
  99. ^ Houfe. S (1980). Sir Albert Richardson: The Professor. White Crescent Press. p. 117. ISBN 9780900804267.
  100. ^ Alexander Stuart Gray (1986). Edwardian Architecture: A Biographical Dictionary. University of Iowa Press. p. 89. ISBN 9780715610121.
  101. ^ The Studio. 1948. p. 156.
  102. ^ Simmons, Frances (October 2007). "Thomas, Cecil Walter". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/64419. Retrieved 6 January 2016. (Subscription or UK public library membership required.) (Subscription or UK public library membership required)
  103. ^ Journal of the Royal Institute of British Architects. 1951. p. 407.
  104. ^ The Voice of Industry. 1947.
  105. ^ "Leonard Walker". The British Museum. Retrieved 25 October 2021.
  106. ^ Artists' Guide. 1951. p. 63.
  107. ^ "Reginald Robert Tomlinson 1885–1978 British, English". artuk.org. Retrieved 26 October 2021.
  108. ^ Denison. E (2009). McMorran & Whitby: Twentieth Century Architects. RIBA. p. 141. ISBN 9781859463208.
  109. ^ "I. Formative Years". Journal of the Royal Institute of British Architects. 64: 218. 1957.
  110. ^ "Laurence Henderson Bradshaw - Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951". sculpture.gla.ac.uk. Retrieved 25 April 2021.
  111. ^ "Deaths" (PDF). The Abingdonian. Vol. 17, no. 2. June 1978. p. 57.
  112. ^ Whitaker. J (1961). An Almanack for the Year of Our Lord. p. 980.
  113. ^ "Sydney M. Cockerell". British Bookbinding Today. 1976. p. 18.
  114. ^ Myerson. J (1992). Gordon Russell: Designer of Furniture, 1892-1992. Design Council. p. 6. ISBN 9780850723069.
  115. ^ Design, Issues 169-174. 1963. p. 75.
  116. ^ William Morris Society (1978). Annual Report. p. 4.
  117. ^ "William J. Wilson". Glass. Vol. 50. 1973. p. 7.
  118. ^ "Charles Hutton". The Independent. 2 October 1995.
  119. ^ Skipwith. Peyton (17 August 1994). "Obituary: Dennis Flanders". The Independent. Retrieved 31 August 2016.
  120. ^ "Obituary - Arthur Richard Bultitude MBE Bowmaker". The Strad. Vol. 101. 1990. p. 430.
  121. ^ Bailey. Colette (18 August 1999). "Sean Crampton Obituary". The Guardian.
  122. ^ "Peter Foster". The Telegraph. 10 March 2010.
  123. ^ "Lives remembered". Salon (230). 14 February 2020.
  124. ^ Hamilton. James (28 February 2006). "Margaret Maxwell". The Independent.
  125. ^ "John R Biggs". University of Brighton. Retrieved 28 October 2021.
  126. ^ "Sir Peter Shepheard: Urban architect with a lifelong vision of the natural world". The Guardian. 15 April 2002. Retrieved 15 October 2014.
  127. ^ Powers. A (6 December 1999). "Obituary: John Skelton". The Independent.
  128. ^ Powers, Alan (24 January 2001). "Roderick Gradidge. Architect who led the rehabilitation of Lutyens". The Guardian.
  129. ^ Godwin. S (23 October 2011). "Obituary: Carl Dolmetsch". The Independent.
  130. ^ Foster. T (2 March 2017). "Roderick Ham obituary". The Guardian.
  131. ^ "John Lawrence Collection".
  132. ^ Patrick O'Connor. "Obituary: Glynn Boyd Harte | Global". The Guardian. Retrieved 2 March 2016.
  133. ^ Jensen. A (19 November 2020). "Josephine Harris obituary". The Guardian.
  134. ^ Jensen, Alison (19 November 2020). "Josephine Harris obituary". The Guardian. Retrieved 26 January 2021.
  135. ^ David McKie and Meirion Bowen (2 July 2015). "Edward Greenfield obituary". The Guardian.
  136. ^ Lewis. S (19 January 2021). "Obituary: Dick Reid OBE, carver in wood and stone". The York Press.
  137. ^ Fairman, Elisabeth R.; Hogan, Eileen; Robinson, Duncan; Morris, Roderick Conway; Longstaffe-Gowan, Todd; Turner, Sarah Victoria (2019). Eileen Hogan: Personal Geographies. Yale University Press. p. 214. ISBN 9780300241471.
  138. ^ Hills. P (12 May 2020). "Edmund Fairfax-Lucy obituary". The Guardian.
  139. ^ "George Hardie Exhibition". Slanted. 16 July 2020.
  140. ^ "Outreach Evening Conversation". Art Workers' Guild. Retrieved 21 October 2021.
  141. ^ "Alan Power; teacher; leader for history and theory, London School of Architecture; author, Bauhaus Goes West". Battle of Ideas Festival. Retrieved 21 October 2021.
  142. ^ "News". Art Workers' Guild. Retrieved 21 January 2021.
  143. ^ "Constitution". Art Workers' Guild. Retrieved 21 January 2021.
  144. ^ "Thursday 5 October 2023". Art Worker's Guild. Retrieved 11 February 2024.
  145. ^ "Guild meetings". Art Workers' Guild. Retrieved 11 February 2024.

Further reading

  • J. L. J. Masse, The Art-Workers Guild 1884–1934 Oxford: Printed for the Art-Workers' Guild at the Shakespeare Head Press, 1935. OCLC 559542296

Strategi Solo vs Squad di Free Fire: Cara Menang Mudah!