Irenee Rochard was a French sculptor working during the Art Deco Inter War period.
This is a Tern cresting a wave or maybe to be more precise a Storm Petrel
The Storm Petrel is a beautiful and is one of the smallest sea birds.
The Guadalupe Storm Petrel is thought to have gone extinct.
It spends most of the year on the wing and only comes inland to breed.
It is signed Rochard and there is always a presumption that it is by Irenee but there were several French animaliers who went under the name of Rochard.
Irenee as her name suggests was a lady.
Born 1906 in Villefranche sur Saone.
She was a member of the Artists Society from 1938 where she won a bronze medal in 1941.
She died in the 1980's but most her work seems to have been carried out during the Inter War years.
It was not common for a lady to be a sculptor (see Lejan ) during the first half of the 20th century.
Thankfully that has now changed but it makes it more remarkable that a lady was producing such masculine sculptures.
She did a lot of strong masculine Panthers and her work is mostly Art Deco in style.
Her sculpture is generally is cast in Bronze and Spelter and has varying degrees of quality ranging from magnificent to average.
This sculpture was described a s a seagull when I bought it.
But when you look at it more closely it is unfair to describe it that way.
Beauty is in the eye of the beholder.
This comes apart in two sections the bird itself sits on a spigot on the top of the wave which makes it easier to carry. It is 61cm high and has a gilded finish no big scratches or damage.
I have sold quite a few of what I call Tern sculptures, but I always leave the seagulls behind.
There are quite a lot by lesser sculptors that look like they have flown into a brick wall and are a bit "gammy" for want of a better word. its best to pay a little it more for the right one. In bronze it would be over a thousand pounds.
The good thing about this piece is that it cuts a good silhouette against a window or on a cabinet, for not too much money really.
Expect to pay about £450, for a nice one, and don't buy a squawker.
Thursday 30 October 2014
Wednesday 22 October 2014
Antiques Trade Gazette-Do They Really Want Debate. A Letter To The Editor.
Sir,
How
to become an art adviser (issue 2163 back page) read more like an
advertisement for various self appointed art associations to my
taste, than a informed and deliberate attempt to make a debate
thereof.There needs a full and frank assessment as to the varying degree of professional advice in the art market, that is without doubt. But this was not it.
In France auctioneers and valuers and advisers are regulated by law, here “anyone with a suit a business card or a well heeled handbag” can put themselves forward as an expert and set up an auction house.
This is where the real conflict lies, surely it is now time, that the art and auction market, which is now mostly online, that all auctioneers and advisers need to be regulated, and have to prove themselves.
A quick survey of estimates can be so hilarious, how can they be so wrong.
The quality advisers will have nothing to fear with another certificate to calm their clients nerves.
But will ATG pronounce the idea in light of the success of the saleroom.com.
The art market is full of ponzi schemes, we all know this but what the said article seems to pour scorn over is the un-calibrated power of professional hard working dealers, the ones who know all the tricks of the unregulated trade and will lead the client through the pitfalls of the art consultancy market in its present form. That don't get praise because they are just working hard.
Though I concede the writer tried to mention this unregulated consultancy market but then went on to say he was invited into a private club closed to all but a lucky few.
Beauty is always in the eye of the beholder.
Theorhetical Qualifications cannot buy experience in my opinion.
Please could we have a little less condescending articles based around how great someone with varying degrees of professional paid for education is.
Or how jolly wonderful the old school tie brigade who have run the trade for decades are.
And could we have more about the passion of the trade and its collective experiences.
I think its time for regulation.
And a serious look into the auction market and how it can help auctioneers clients rather than themselves.
There is such a high level of knowledge in the antique trade so what would most reputable auctioneers have to worry about.
Now that's a real debate.
http://waynecolquhoun.blogspot.co.uk/2013/10/should-uk-auctioneers-be-regulated.html
Friday 17 October 2014
Liverpool Everyman Wins The 2014 Stirling Prize.
But did they really have to knock it down?
Well there you go. The Liverpool Everyman wins an award.
Beating The Shard to scoop The 2014 Stirling Prize.
So did I get it wrong when I said in 2013 that it should have been retained?
http://waynecolquhoun.blogspot.co.uk/2013/06/the-liverpool-everymansuch-tragedy-why.html
I cant get my head around the way that the building was deemed unfit for human habitation and had to be demolished.
I considered that the walls were sweating with the history of the place, that has yet to be fully identified. Liverpool is a town, that knocked the Cavern Club down.........and then called itself Beatles City.
The building will now be favored by the public as it is now in the full glare of national publicity and the spotlight is on Liverpool for being modern and progressive in Architecture and design. Well at least we are not winning The Carbuncle Cup award for bad Architecture in the World Heritage Site.
http://liverpoolpreservationtrust.blogspot.co.uk/2009/08/liverpool-wins-carbuncle-cup.html
http://liverpoolpreservationtrust.blogspot.co.uk/2011/09/museum-of-liverpool-runner-up-in-2011.html
Could I be switching my opinion on this building after it won the Stirling Prize, well I have never been in it so I will have to now go and have a look and see.
Read more from The Guardian on the link below.
http://www.theguardian.com/artanddesign/2014/oct/16/stirling-prize-riba-everyman-theatre-haworth-tompkins
The judges citation read;
‘The new Everyman in Liverpool is truly for every man, woman and child. It cleverly resolves so many of the issues architects face every day. Its context - the handsome street that links the two cathedrals – is brilliantly complemented by the building’s scale, transparency, materials and quirky sense of humour, notably where the solar shading is transformed into a parade of Liverpudlians.
Well there you go. The Liverpool Everyman wins an award.
Beating The Shard to scoop The 2014 Stirling Prize.
So did I get it wrong when I said in 2013 that it should have been retained?
http://waynecolquhoun.blogspot.co.uk/2013/06/the-liverpool-everymansuch-tragedy-why.html
I cant get my head around the way that the building was deemed unfit for human habitation and had to be demolished.
I considered that the walls were sweating with the history of the place, that has yet to be fully identified. Liverpool is a town, that knocked the Cavern Club down.........and then called itself Beatles City.
The building will now be favored by the public as it is now in the full glare of national publicity and the spotlight is on Liverpool for being modern and progressive in Architecture and design. Well at least we are not winning The Carbuncle Cup award for bad Architecture in the World Heritage Site.
http://liverpoolpreservationtrust.blogspot.co.uk/2009/08/liverpool-wins-carbuncle-cup.html
http://liverpoolpreservationtrust.blogspot.co.uk/2011/09/museum-of-liverpool-runner-up-in-2011.html
Could I be switching my opinion on this building after it won the Stirling Prize, well I have never been in it so I will have to now go and have a look and see.
Read more from The Guardian on the link below.
http://www.theguardian.com/artanddesign/2014/oct/16/stirling-prize-riba-everyman-theatre-haworth-tompkins
The judges citation read;
‘The new Everyman in Liverpool is truly for every man, woman and child. It cleverly resolves so many of the issues architects face every day. Its context - the handsome street that links the two cathedrals – is brilliantly complemented by the building’s scale, transparency, materials and quirky sense of humour, notably where the solar shading is transformed into a parade of Liverpudlians.
‘The ambience of the theatre is hugely welcoming with three elegant and accessible public foyers for bars, lounges and cafĂ©/bistro. Clever use of materials with interlocking spaces and brilliant lighting make this an instantly enjoyable new public space for the city.
‘It is exceptionally sustainable; not only did the construction re-use 90% of the material from the old theatre, but all spaces are naturally ventilated including the auditorium with its 440 seats. Clever, out of sight concrete labyrinths supply and expel air whilst maintaining total acoustic isolation. It is one of the first naturally ventilated auditoria in the UK.
‘The generosity of its public spaces, which, on a tight site, are unexpected and delightful, are used throughout the day and night. As Howarth Tompkins’ first completely new theatre, it is a culmination of their many explorations into the theatre of the 21st century.
‘It is ground-breaking as a truly public building, which was at the heart of the client’s philosophy and ethos. In summary, an extraordinary contribution to both theatre and the city, achieved through clever team working – client, architect, consultants and contractor – where the new truly celebrates the past.’
Monday 29 September 2014
Arthur Dooley's Last Studio Ransacked To Make Way For Flats. Its a Disgrace. Exclusive.
How long can Liverpool keep on losing
links with its past and its history.
Arthur Dooley was a sculptor that I
believe could not have come from anywhere other than here in my home
town of Liverpool.
I fought to try and save herbert Tyson
Smith's sculpture studio at the Bluecoat, predicting it would become
a cheap and nasty gift shop. Guess what has happened.
There next to the garden was an
evocative and inspiring glimpse of a man who helped form modern
Liverpool.
http://waynecolquhoun.blogspot.co.uk/2012/11/herbert-tyson-smith-bronze-piece-of-week.html
He sculpted many of the reliefs on
buildings such as Martins Bank Building with its slave iconocraphy
and a lot of monuments around the town.
His stone carving that was on display
at the Old Post office has been restored and is on show in the Met
Quarter which now stands on the site. It may be slightly tucked away
from the main drag but none the less with a little seaching you can
easily find it. Herbert Tyson smith may have been accepted by the
establishment and Liverpools merchant classes. Arthur Dooley never
was although most of his work was for the clergy who also had a
rennaisance in fortune after the second world war, where they were
rebuilding and modernising building some godawful structures along
the way.
Now another chance goes begging.
It was Arthur Dooley, I am led to
believe who coined the phrase Paddy's Wigwam the Metropolitan
cathedral of Christ The King, that is now becoming part of the
accepted landscape, mainly by people who dont recall that it was
Jerry built and leaked like a collander and needed extensive repairs
within years.
Dooley was a character that did not
hold back his punches, literally being a bit of a boxer himself he
came to blows during one argument with ..........in The
Everyman..........now demolished to make way for the New
Everyman........isnt that a sexcist term these days, shouldnt it be
called the Everyperson.
I know he would have been fighting against
its demolition if he was alive.
He would also have put up a good fight to save Tyson-Smiths Studio.
Now his last studio in Seal street has
been ransacked by cretinous property developers right next to the
psuedo Liverpool Acadamy of arts that held a fantastic Dooley
exhibtion in 2008.
The Acadamy of arts is a pale shadow of
its original form that Dooley helped to recreate but none the less it
had finance to stage a wonderful exhibition.
June Lornie who runs the present
Acadamy has not been able to do anything to inform the public as to
the impending disaster that has now unfolded I am informed
regrettably, due to ill health.
So no one knew until it was too late.
Whether or not the Do Littles of this
city would have cared anyway.
Whether it would have interupted their
Frapaccino lifestyle and they could have helped save it, is now
hypathetical, or maybe just pathetical.
A sad epitaph is now that
no-one except the Dooley speculators care. Some of those speculators
pretending to be interested in art that wouldn't know a decent
sculpture if it fell on them.
Dooley wasn't the best sculptor around.
In fact he wasn't even a good sculptor, he got it wrong more times
than he got it right.
But he had something inside him that drove
passion which is what we all are now familiar with.
He fought for things he believed in.
Its not his fault that in
Brain Drain Liverpool he didn't have a tradition of artistic training
for the working class and he became a metalworker first and then used
his experience to manufacture emotion by default. Dooleys son Paul
told me that upon his fathers death in 1994 the phone never stopped
ringing with people who wanted to buy his work, sensing a upward
trend they now wanted to buy his art, when for decades he had
struggled to pay the bills.
This
is his studio almost intact at 34-36 Seel Street he was a active
member of the Liverpool Academy. He campaigned to have the right for
Liverpool artists to show their wares outside the Bluecoat. He is
slowly being recognised as an important man active in town planning
not afraid to have his say.
Remember
Him.
I warned about this years ago. It is a
sad day when one of Liverpool's ebulient characters studio is
ransacked to turn it into …......flats.
Friday 19 September 2014
Should The Herbert Tyson Smith Sculpture Yard Come Back To The Bluecoat School Lane Liverpool?
I went to a event at the Bluecoat as
part of the national Heritage Open Days that happens annually in
September.
It was a conversation with Brian Biggs
and James McLaughlin who had worked with the great man, starting as an
apprentice.
Sun
14 Sep
2 - 3pm Herbert Tyson Smith
The Bluecoat’s Artistic Director, Bryan Biggs, in conversation with James McLaughlin, who was apprenticed to Tyson Smith, the eminent Liverpool sculptor who had a studio at the Bluecoat and was involved in establishing the building an arts centre. (The talk takes place in what was his original studio, entrance in College Lane)
2 - 3pm Herbert Tyson Smith
The Bluecoat’s Artistic Director, Bryan Biggs, in conversation with James McLaughlin, who was apprenticed to Tyson Smith, the eminent Liverpool sculptor who had a studio at the Bluecoat and was involved in establishing the building an arts centre. (The talk takes place in what was his original studio, entrance in College Lane)
James is deaf and dumb and his son Matt
did a great job of putting his thoughts into words.
At one point he was explaining about
how Herbert and Jeffrey, his brother would argue all the time and
often come to blows. There is passion in that there sculpture.
I did not know he had a brother and
hope I have got the interpretation correct, because it is as if he did not exist, Herbert taking all the plaudits for the work.
Possibly on purpose if they were that much at loggerheads.
Possibly on purpose if they were that much at loggerheads.
It seems easier to ask the reader to
look down Wikipedia than me listing Tyson Smiths sterling work.
I let the small group who attended have
their questions and then I first needed to make a comment and then a
question to all.
I had fought a battle trying to get a
separate listing within the Bluecoat general heritage listing and was
not successful.
Herbert Tyson Smiths Sculpture Studio was left in a wonderful state of preservation.
Lots of his original work was on display moulds and tools etc. Any other city would have seen its potential. I accused the directors of the Bluecoat of being foolish I letting it go.
Herbert Tyson Smiths Sculpture Studio was left in a wonderful state of preservation.
Lots of his original work was on display moulds and tools etc. Any other city would have seen its potential. I accused the directors of the Bluecoat of being foolish I letting it go.
“We did not have the resourses”
Brian Biggs said
“You had 14 million quid” I said
“Yes but that was for capital
resourses”
“So you knock it down and get a shop
in selling cheap Indonesian and Chinese rubbish instead”
He went on with a load of excuses
leaving me in no doubt the reason why we lost another piece of
Liverpool heritage that could have helped to promote our city to the
millions of tourists who come here.
The people voted with their feet and the bargain bin shop is now closed and the place is empty.........a perfect opportunity. I said, which seemed to go down well, with all but Brian.
The people voted with their feet and the bargain bin shop is now closed and the place is empty.........a perfect opportunity. I said, which seemed to go down well, with all but Brian.
The page isn't long enough to list the
excuses he gave even quoting to me the difficulties in getting some historical context back.
He started talking about the Edward Chambre Hardman archive, and the difficulties in getting that up and running.
He started talking about the Edward Chambre Hardman archive, and the difficulties in getting that up and running.
This was a mistake as I told him in no
uncertain terms that when I got involved in that quest I heard all
the same negative stuff from a bunch of washed up trustees that had
been there far too long.
They wanted to send the archive to Bradford!!!!!!
They wanted to send the archive to Bradford!!!!!!
In the end we, campaigners created such a fuss that
the trustees had to bow to public opinion and the national Trust
stepped in.
I am so proud of the role I played as the Chairman of "The Friends of Chambre Hardman."
This sort of commitment may be required again.
It got me annoyed, what an opportunity missed.
You at the Bluecoat spend far too much time trying to make money on weddings.
I had proclaimed, there is a lot who agree.
http://liverpoolpreservationtrust.blogspot.co.uk/2010/06/i-had-owner-of-business-in-bluecoat-in.html
I am so proud of the role I played as the Chairman of "The Friends of Chambre Hardman."
This sort of commitment may be required again.
It got me annoyed, what an opportunity missed.
You at the Bluecoat spend far too much time trying to make money on weddings.
I had proclaimed, there is a lot who agree.
http://liverpoolpreservationtrust.blogspot.co.uk/2010/06/i-had-owner-of-business-in-bluecoat-in.html
The Bluecoat, the grand old lady of Liverpool
seen the blitz, being rebuilt, used to be a wonderful artistic creative hub with a
cafe and now has become a cafe with a exhibition room. I have not seen a decent expo for years there, now. What has happened to the place.
http://waynecolquhoun.blogspot.co.uk/2014/07/james-mcneill-whistler-and-peacock-room.html
http://waynecolquhoun.blogspot.co.uk/2014/07/james-mcneill-whistler-and-peacock-room.html
So they destroy the intact studio and
then probably farm a grant off the arts council, or some of the public
body to hold a talk, about Herbert Tyson Smith, remembering him in the
place that Mr Biggs and co destroyed.
You couldn't make it up.
You couldn't make it up.
I apologised to both James and Matt for my strong views on what was to be a pleasant Sunday afternoon in conversation and many of the
people there, some of whom rescued works from the Bluecoat directors act of vandalism in 2008, when Liverpool was European Capital of Culture.
All including James and Matt said it would be a wonderful idea.
Well all, but poor old scorned, Brian Biggs who sat there with a face like a singed cat.
All including James and Matt said it would be a wonderful idea.
Well all, but poor old scorned, Brian Biggs who sat there with a face like a singed cat.
Some fresh blood needs to be brought in before
they do anymore damage.
Bring back Herbert Tyson Smith to the Bluecoat.
Monday 15 September 2014
Antiques Roadshow-What An Amazing Experience Filming In Lutyens Crypt.
I had been invited on to the show to
talk about the etched glass door panels by Hector Whistler that were
originally fitted in the doors in the foyer of The Liverpool
Philharmonic Hall in Hope Street.
They were filming in Lutyens Crypt of
the Catholic Cathedral.
Fiona Bruce as usual, had a crowd around her, as she was filmed talking about the
most amazing door to a tomb, the circular revolving door that is made
of stone, the idea is everything, symbolic of the
stone said to have closed the Tomb of Christ.
Lutyens took the idea and made it work.
Lutyens took the idea and made it work.
The panels looked great up there on the
stage where I recall playing clarinet on Terry Riley's “In C” with ApaT
orchestra in almost the same place.
It was an early start and all the usual
celeb antique appraisers were there.
Seasoned veteran and AR legend Eric
Knowles came over to say Hello saying he couldn't do the filming of
them because we know each other.
20th century specialist Will
Farmer was assigned the task of talking about them, jokingly I said
to him stopping me may be a job once I get going.
As it happened it went along extremely
professionally and I think it will come over really well.
I could have sold them ages ago but I
have been waiting for the right buyer who will show them off
Yes I know, how the Philharmonic let
them go is a mystery to me too.
It was such a pleasure to be part of
such a amazing team of people right down to the volunteers who helped
people arrive and made the day a pleasant experience.
It was
wonderful all the experts were down to earth and helpful.
I had no greasy palms or nerves, it was a great opportunity to talk about Liverpool's great history.
Being part of something that inspired
me to become an antique dealer is fantastic and helping to promote a
piece of heritage.
I hung around as long as I could
absorbing the atmosphere from the set.
This is a programme that I have watched
since a child the very beginnings of my journey must have been
started as long ago by the amazing descriptions from Arthur Negus.
Read More Here
I hope they were happy with my
appearance as it was a honour to have been allowed to be part of it.
I loved it. I hope I can do it again.
Update:28th February 2019......I joined The Antiques Roadshow Team very shortly after and am looking forward to a new season filming. Please click the link below for more information about the team and the show.
I am proud to be a BBC Antiques Roadshow specialist.
Update:28th February 2019......I joined The Antiques Roadshow Team very shortly after and am looking forward to a new season filming. Please click the link below for more information about the team and the show.
I am proud to be a BBC Antiques Roadshow specialist.
Tuesday 2 September 2014
Dead Mans Penny-Edward Carter Preston.
Edward Carter Preston-The Unsung
Craftsman
Mention the name.........and most
people will have no knowledge of a man whose sculpture was
commissioned on such a monumental scale. He entered a competition
with 800 other submissions for which he received £250. The chosen
design for the Death Penny, is called Pyramus
Maybe its because most of Carter
Preston's work was for memorials and testaments to others, that his
work has never been fully investigated.
Or it could be that his memento-mori's
were of such heart rendering, that the public conception of death,
and the glorious nature of conflict at the time, meant that they did
not want to know the names of the people who recollected the
memories of those glorious dead. There were so many grieving memories
at a time when people wished to forget the horror of the carnage of
World war I.
The perceived idea of art was to think
of the classics as work passed down from an other age. To us.
Preferring to think that it was the
work of an ancient age. Of Greek hero's, or Roman myths brought up to
modern times. Death is all the same. But perhaps the classical style
was why he, and many other unsung, hard working sculptors were so
successful. People needed dignity, they had lost a lot.
That he gave, through his work, the
dignity of death, to people, in treacherous times, and reinvented it
on behalf of the top brass, the heavy establishment, those that
cloaked the war, in glory, and gave reasons with which to justify the
mass slaughter of a nations sons.
A justification.
The conflict that gave way to killing
on a scale of mass production , that also gave us mass produced
weapons of destruction, of a whole generations soul.
We wanted to mythologise the way those
brave hero's went to the deaths.
Many without a wish to understand more
than the basic of human instincts of self defence and proud
nationhood, that would later be lost in a muddy field in a distant
land.
What other cause can create the image
of an old General saying “Your Country needs You”.
And they believed him. Maybe it would
not happen today. The masses wouldn't let them get there. History
would of course, in hindsight immortalise all those who who would not
give way, and fight to the tyranny. That would defend their minds
image of freedom.
These were the creation of the scarred
generation that went on to create the horrors of World War II. But
during the first World War they sang songs of freedom and home while
being led to their deaths, on both sides, by the hands of Queen
Victoria's privileged, but deadly offspring.
Who clung on to childish playground
games, now played out with deadly consequences, for their subjects,
that they sent over the top.
Gone were the lead soldiers, replaced
by real flesh and blood, that tore.
Those in power counted a war in terms
of how many more of the other side that you killed rather than the
endgames. Those deadly games of starvation, and in the killing of
civilians, many of who had had the fateful postman's knock themselves.
Just as many would die of broken
hearts.
Could civilisation invent such a
hatred for each other with a pretence of glory without even looking
at the reasoning of why so much was wrong.
Or that the very Monarchs whose honour
that they were upholding were the very cause of the disaster in the
first place. They were the laughing assassins of war.
The faces that led the march. These
tin pot dictators who had no concept of peasant life.
Just before the conflict began. The
Tsar was seen to have gone out to a ball, the very night that
hundreds of his subjects had been trampled in a stampede for images
of him and the Tsarina....Did he really care about them?
So should they fight for him. For a
time at least, they would. Before the Revolution.
Queen Victoria who gave birth to most
of the ignorant spoilt fools, who were married off to congeal the
Empires prowess. This small group of in-breeds spawned the generation
of monarchs who sent us all of to war.
It really is a long way to Tipperary
and most of them never would come back.
Paul Nash recorded the slaughter, with
his, at times pretty emotionless depictions of bomb craters. And
planes, that for me don't really show the true horrors of war.
I was at a local auction when a
lithograph by Paul Nash of Hill 60 crater 11, made £23,000, for me it
lacked the attachment, it just looks like a hole.
It also lacked attachment for the pathetic Runcorn Auction Centre who valued it at £300.
Nash was there, but it is shame, that his
stylised depictions get all the credits, with retrospective
exhibitions and epilogues, from the likes of Alastair Cook of the
BBC, the next in the long line of peddlers of myths, they are the new
establishment. The BBC.
So what we get from the establishment
is an upgraded story from a new commentator who is too scared to go
against the grain of the, said establishment, to say that the likes
of Paul Nash is someone who couldn't really look, for fear because he
was too scared himself.
That he did not record the true
horrors, is true, because it is un-recordable.
I once found a Death Penny in a house
that I was renovating when I was quite young. I did not know what it
was then. But I kept it for a while until a military dealer spelt out
the meaning to me. I recall admiring its detail but felt humbled, by
its presence.
It was only worth about £30 at the
time, there were a lot of them around.
It was not for a general or a Colonel,
although there was no mention of rank, on the bronze plaques as there
was no distinction to be made of the sacrifice of individuals.
They are frequently traded.
A few years later when I had learnt more
about the facts that led to the deaths of so many across Europe. The
same war would even bring in Americans, Canadians and Australians, it
really was a World War.
And so what of the man whose initials
E.Cr.P were cast into the bronze roundels that where sent to the next
of kin.
The Death Penny is 5inches (120mm)
across cast in bronze by the memorial factory of Acton road London.
With its brave lion walking with Britannia holding a trident in the
centre, as a depiction of the strong and noble British spirit. In her
other hand she has a oak wreath just above the tablet that would bear
the deceased name. Two
dolphins swim around Britannia, symbolising Britain's sea power, and
at the bottom a second lion is tearing apart the German eagle. The
reverse is blank.
He didn't show the donkey symbolising
those that drove the brave soldiers to death, for it would not have
been right to pour scorn on all those that never returned from the
fight for King and Country.
He just give it to them straight. As
they would have wished, as they deserved .
He would have been proud to have been
commissioned.
And he should be rewarded for it. For
without the approach of dignified sculptors such as Edward Carter
Preston, who knew their trade and did it well, we would not have
been able to remember the many. And as bronze lasts it is now
possible to look back into the individual stories behind the lives of
those who gave the ultimate sacrifice. The lives of the Lords and the
labourer were to both be remembered equally.
They made that sacrifice hoping it
would give us our freedom.
What price a Dead Mans Penny............Immortality.
Edward Carter-Preston was related to
Herbert Tyson
Smith.http://waynecolquhoun.blogspot.co.uk/2012/11/herbert-tyson-smith-bronze-piece-of-week.html
I was one of the last people to see the
culmination of the collection of her fathers work by Julia Carter
Preston at her house in Canning Street here in Liverpool. The whole
of hers and her fathers work and their memories too, went off to Hope
University, to probably be lost for now.
We need an exhibition of his work a
retrospective he was a very clever, and dignified man who does not
get enough recognition, in my opinion.
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