Not an email I get every day - Daniel Radcliffe
"Hey guys,
We're currently working on the new Daniel Radcliffe (Harry Potter) film THE WOMAN IN BLACK. Very quickly, the film is about a young Victorian era lawyer (Radcliffe) who travels to a remote village inn to settle the estate of a recently deceased woman who is terrorizing the locals.
Given its relevant storyline and themes, we feel this could be an ideal subject matter for your readers and would love for you to cover the film in some way.
Definitely check out the trailer below (http://youtu.be/YJoA6n120Sc) if you get a chance. Any mentions or posts of the spot in addition to the poster, stills and/or clips (below) would be greatly appreciated as well.
Best,
Jim
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THE WOMAN IN BLACK opens in theaters February 3rd, 2012!
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Official site: http://womaninblack.com/
Selasa, 29 November 2011
Senin, 28 November 2011
Charles Wynne Nicholls - "What are the wild waves saying?" Florence and Paul Dombey from Dombey & Son, by Charles Dickens
Price Realized
£7,500
signed 'C.W. Nicholls.' (lower right), and further inscribed "What are the wild waves saying?" Florence & Paul Dombey from Dombey & Son' (on the reverse)
oil on canvas
22 x 31 in. (55.8 x 78.7 cm.)
Henry Meynell Rheam - Study of a girl in the artist's studio standing before a tapestry
Price Realized
£11,875
signed and dated 'Henry M Rheam/1910' (lower left)
pencil and watercolour with scratching out, on paper
47 7/8 x 28 in. (121.6 x 71.1 cm.)
Although Rheam was part of the artistic community based in Newlyn, Cornwall, his subject matter and style frequently strayed dramatically away from the more naturalistic work of his peers. The present watercolour is an example of his work following contemporaries such as Henry Scott Tuke, Laura Knight and Stanhope Forbes who followed a bold, 'square brush' oil technique depicting emotive subjects based on local life in the Cornish fishing community. Many of his works, however, follow the ideas of the Pre-Raphaelites, employing a meticulous use of watercolour illustrating literary and imaginary subjects. Other exponents of fantasy and symbolism, also based in Newlyn, were Thomas Cooper Gotch, who moved to the area in 1887, and the wife of Stanhope Forbes, Elizabeth, who executed a series of Arthurian watercolours for her publication King Arthur's Wood (1904). The model may have been Rheam's wife, Alice Elliot, who appears in many of his works.
Philip Alexius de Laszlo - Mrs Philip de László, née Lucy Guinness
Price Realized
£16,250
inscribed 'To Connely from Phillip [sic] 1901 Burton Hall'
oil on board
24 x 19 in. (48 x 61 cm.)
Painted in 1901.
Lucy Madeline Guinness (1870-1950) was the eleventh of the twelve children of Henry Guinness of Burton Hall, Stillorgan, Co. Dublin, and his wife Emelina Brown. Having met Philip de László in 1892, it was not until his fame and wealth were solidly established that he was finally granted her hand in marriage in Stillorgan Church, on 7 June 1900.
This intimate portrait of Lucy was painted the following year, when the couple made a visit to the family home in Ireland after the birth of their first son, Henry, in June 1901.
'Connely', the dedicatee of this portrait, was the nickname of Lucy's younger sister, Constance.
We are grateful to Dr Caroline Corbeau-Parsons for writing this catalogue entry, which is included in the Philip de László catalogue raisonné online (www.delaszlocatalogueraisonne.com)
The Hon. Mrs de Laszlo and a team of editors are compiling the ,
catalogue raisonné of the artist's work. Caroline Corbeau-Parsons is the British and French Editor, and Matt Davies the American Editor. Please see www.delaszloarchivetrust.com or contact catalogue@delaszlo.com for more information
Philip Alexius de Laszlo - Mrs George Whitney, née Martha Beatrix Bacon 1926
Price Realized
£15,000
inscribed, signed and dated: 'first study/of Mrs Whitney 1926 de László' (middle right)
oil on canvas
38¼ x 29¾ in. (97.1 x 75.6 cm.)
This is de László's first attempt at painting Martha Bacon Whitney, whose finished portrait, completed in February of the same year, remains untraced. The artist was already acquainted with her family, having painted the study-portrait of her father, Colonel Robert Bacon, in 1910, when the latter was serving as the United States Ambassador to France. At that time, Bacon was hoping de László could also paint his daughter, but the artist only had two days to spare in Paris, and aside from painting Bacon's study-portrait, the priority assigned to de László was to produce the likeness of Theodore Roosevelt, who had recently left office, and was staying at the Embassy during his post-term European tour.1 Nevertheless, Bacon was still keen for him to paint Martha. On 19 October 1910, he asked him when the commission would be carried out,2 and again, the following month, he reiterated: 'I hope that some day we shall find time for you to paint my daughter.'3 De László did, but not in Robert Bacon's lifetime.4
It was during his third trip to America that de László painted Martha, by that time married to George Whitney. De László arrived in New York on board the Aquitania on 16 October 1925, and did not leave until April 1926, the demand for his portraiture being so great. He painted Martha Bacon Whitney in February 1926, around the same time as her sister-in-law, the widow of Elliott Cowdin Bacon, née Hope Norman.
In its unfinished state, the present portrait highlights de László's alla prima technique, painting wet-on-wet onto the canvas, and, as he liked to describe it, 'drawing with the brush'. His method conveyed freshness to his style, and relied on an ability to paint at speed. If he was not entirely pleased with a portrait, he did not labour on it, but simply discarded it to start afresh on a new canvas. In this instance however, he signed this first version, which would suggest that he was not necessarily completely dissatisfied, but preferred to explore a different composition. Indeed, in the final version, he portrayed Mrs Whitney on a chair, looking full face to the viewer.
Martha Beatrix Bacon was born in 1890, the only daughter of the four children of Colonel Robert Bacon and Martha Waldron Cowdin. Both her parents had ancestors among early settlers: in Massachusetts on her father's side, whilst her mother had roots in New York. Martha was educated at St. Timothy's School, Stevenson, Maryland. On 10 May 1911, when her father was Ambassador to France (1910-1912), she was presented at Court to King George and Queen Mary at Buckingham Palace. On 2 June 1914, she married George Whitney (1885-1963), son of George and Elizabeth Whitney of Boston, at the Church of the Advent, Westbury, Long Island. The following year George joined the firm of J. P. Morgan & Co., from which he retired as chairman of the board in 1955. Around 1915, the couple built a house, "Home Acres", designed by Delano and Aldrich, on her father's estate, "Old Acres", Westbury, Long Island, New York. They also owned a townhouse in New York: East 74th St South Side. George and Martha Whitney had four children: George Jr. (born c. 1915), Robert (born 1917), Martha Phyllis (born 1918), and Elizabeth (born 1921). Martha Whitney was particularly active in the New York Public Library, the Speedwell Society, the English-Speaking Union, Planned Parenthood, the Woman's National Farm and Garden Association and the Nassau Hospital, Mineola. She died in that hospital on 16 October 1967.
Biographical sources: The New York Times, 11 May, 1911; 3 June 1914; 23 July 1963; 16 October 1967
We are grateful to Dr Caroline Corbeau-Parsons and Matt Davies for writing this catalogue entry, which is included in the Philip de László catalogue raisonné online (www.delaszlocatalogueraisonne.com)
The Hon. Mrs de Laszlo and a team of editors are compiling the catalogue raisonn of the artist's work. Caroline Corbeau-Parsons is the British and French Editor, and Matt Davies the American Editor. Please see www.delaszloarchivetrust.com or contact catalogue@delaszlo.com for more information.
1 This portrait was bequeathed by the Bacon family to the White House in 1971.
2 DLA053-0018, op. cit.
3 DLA053-0017, op. cit.
4 He died in 1919.
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