My slides from a conference September 2014, on art dealer archives, bringing a personal view and using family history and collections to show the career and life of one particular art dealer.
In South Africa, two sports dominate the culture: Rugby and Cricket. Cricket, much like rugby, is now a global game that is enjoyed by the South African masses from all walks of life. Here's an overview of the interesting cricketing history of the Proteas.
Historic West End: "Winston-Salem's Front Porch"echidesi
The story of the century-old neighborhood in the heart of downtown Winston-Salem, NC. Originally designed as a luxury springs-water health resort, later home to manufacturing fortunes in tobacco and textiles, now a center of renewal and entrepreneurship in this growing city of arts, manufacturing, and biomedical services. This PowerPoint was originally designed as a self-running kiosk presentation for the 2005 West End Tour of Homes by the author of a book about the neighborhood's history.
In South Africa, two sports dominate the culture: Rugby and Cricket. Cricket, much like rugby, is now a global game that is enjoyed by the South African masses from all walks of life. Here's an overview of the interesting cricketing history of the Proteas.
Historic West End: "Winston-Salem's Front Porch"echidesi
The story of the century-old neighborhood in the heart of downtown Winston-Salem, NC. Originally designed as a luxury springs-water health resort, later home to manufacturing fortunes in tobacco and textiles, now a center of renewal and entrepreneurship in this growing city of arts, manufacturing, and biomedical services. This PowerPoint was originally designed as a self-running kiosk presentation for the 2005 West End Tour of Homes by the author of a book about the neighborhood's history.
Presentation slides from a session for the ARA Section for Business Records April 2015, understanding archive service accreditation for business archives
Presentation slides from a session for the ARA Section for Business Records April 2015, understanding archive service accreditation for business archives
Electrician’s meet in kanyakumari newsletter jan-mar-2015Vinay Pravidhi
The Electrician Meet conducted at Kanyakumari for dealer M/s Sirumalar Electricals on 14th December was quite spectacular. More than 400 skilled electricians attended the meet…
Lost in the Shed - Unearthing a Treasure Trove of Printing Material from the ...History of Stoke Newington
Presented at the 19th Stoke Newington History Talks event on July 13th 2023 in St Matthias Halls, Wordsworth Road, Stoke Newington.
About the event: https://stokenewingtonhistory.com/sto...
Join the mailing list to know when tickets to future events go on sale: https://mailchi.mp/09800fe1b2a5/snht
Organised by Amir Dotan http://www.StokeNewingtonHistory.com
Sworders Modern Contemporary Art 5th October 2021Sworders
MODERN AND CONTEMPORARY ART
Live Online – Tuesday 5 October 2021 at 10am
ORDER OF SALE
Lots 1-23 Gre
at Bardfield and Benton End
Lots 24-132 20th Century
to include
Lots 84-108 The Elsie Henderson
Collection
Lots 133-214 Modern British
Lots 215-353 Modern and Contemporary
to include
Lots 229-253 The Curwen Print Study
Centre Collection
Archive service accreditation digital developments for ARA Conference 2016Melinda Haunton
Joint paper with William Kilbride, Digital Preservation Coalition, introducing the digital repository standards landscape and how this will lead to development of Archive Service Accreditation standard and application approach
Archive Service Accreditation workshops - introductionMelinda Haunton
A series of regional workshops introducing Archive Service Accreditation to applicants in England, supported by Archives and Records Association.
Content is provided by the Archive Service Accreditation partners and can be repurposed to support the scheme and to support developing archive services.
Archive Service Accreditation - a new standard for heritage collectionsMelinda Haunton
Talk at Open Culture 2013 with Isabel Wilson of Arts Council England, introducing the new Archive Service Accreditation Standard and discussing its nature and purpose.
The Legacy of Breton In A New Age by Master Terrance LindallBBaez1
Brave Destiny 2003 for the Future for Technocratic Surrealmageddon Destiny for Andre Breton Legacy in Agenda 21 Technocratic Great Reset for Prison Planet Earth Galactica! The Prophecy of the Surreal Blasphemous Desires from the Paradise Lost Governments!
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
The perfect Sundabet Slot mudah menang Promo new member Animated PDF for your conversation. Discover and Share the best GIFs on Tenor
Admin Ramah Cantik Aktif 24 Jam Nonstop siap melayani pemain member Sundabet login via apk sundabet rtp daftar slot gacor daftar
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
thGAP - BAbyss in Moderno!! Transgenic Human Germline Alternatives ProjectMarc Dusseiller Dusjagr
thGAP - Transgenic Human Germline Alternatives Project, presents an evening of input lectures, discussions and a performative workshop on artistic interventions for future scenarios of human genetic and inheritable modifications.
To begin our lecturers, Marc Dusseiller aka "dusjagr" and Rodrigo Martin Iglesias, will give an overview of their transdisciplinary practices, including the history of hackteria, a global network for sharing knowledge to involve artists in hands-on and Do-It-With-Others (DIWO) working with the lifesciences, and reflections on future scenarios from the 8-bit computer games of the 80ies to current real-world endeavous of genetically modifiying the human species.
We will then follow up with discussions and hands-on experiments on working with embryos, ovums, gametes, genetic materials from code to slime, in a creative and playful workshop setup, where all paticipant can collaborate on artistic interventions into the germline of a post-human future.
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
5. The Mayer Family
Vincent Mayer (1831-
1918) = Caroline
Markt
(?-1931)
William (1871-1905)
Gustavus =
(1) Angelika Pierri
(2) Isabel Codrington
Pyke-Nott
(3) Solvig Svenson
Katharina=
David
Melinda
Martin =
(1) Jolanta
(2) Edwina
Jack Selina Nicola
Stepdaughters:
Stella Sponneck
Pauline Konody
Margaret (Peggy)
Konody
Helen (1880-1973)
6. The wives
• Angelika Maria Anna Pierri Burkhardt Goertz Sponneck Mayer Evans
• Isabel Codrington Pyke-Nott Konody Mayer
• Ruth Solvig Marianne Svenson Mayer
7. Key dates
• Gus born 1873, Hoboken, NJ
• 1883 to Lausanne, Switzerland
• By 1893, in London, but travelling
• 1903 marries Ange
• 1905 brother William dies
• 1907 divorces Ange
• 1911 Colnaghi and Obach merger
• 1912 Isabel divorces Paul Konody
• 1913 marries Isabel, lives at
Wistler’s Wood
• 1918 Vincent dies
• 1923 Gus becomes a British citizen
• 1931 Caroline dies
• 1938-39 personal bankruptcy, sale
of Wistler’s Wood
• 1939 Katharina born
• 1943 Isabel dies
• 1944 marries Solvig
• 1945 Martin born
• 1954 Gus dies, buried Darmstadt,
Germany
8. “Mayer loved to deal”
• From 1890s, studying in Europe: Dresden, Paris, Karlsruhe, Palermo
• From 1900s Obach to Colnaghi, painting, prints and drawings
• Deals of renown: portrait of Jan Six,
the Liechtenstein Collection
• Great coups, now infamous: the Hermitage sale
9. The Mayer family and the print
• Vincent Mayer: printer and print collector
• Helen Mayer: publisher
10. Mayer and the dealers
• Receiving the ‘daily Zinzer’
• Francis Zatzenstein (Matthiesen) and mutual support
• The Knoedler connection
• Gus among the dealers
11. Mayer and the art world
• Laurence Binyon, students together
• Muirhead Bone and the Glasgow school
• Naturalisation referees (1923): Lionel Cust,
Sir Charles Holmes
12. The extended family and the art world
John Nott Pyke Nott
Of Bydown, North
Devon
Isabel Codrington
Pyke-Nott
=(1) Paul Konody
=(2) Gus Mayer
Pauline Margaret (Peggy)
James Pyke-Nott
Evelyn Pyke-Nott =
John Byam Liston
Shaw
Glen Byam Shaw James Byam Shaw
13. Extended family and the art world
• John Byam Liston Shaw (Boer War, at BMAG)
• Isabel Codrington, Cantine Franco-Britannique, Vitry-le-François
(IWM)
• Isabel Codrington, The Green Bowl (Aberdeen Art Gallery)
• Paul Konody, The Art of Walter Crane
• Pauline Konody, Irises
15. The outside world: a true Englishman
• The man about town
• A country estate and shoot
• Stockbrokers’ Tudor (and genuine Stuart)
• A daffodil medal
• Home Guard duties
• “Uncle Dan” and “Peter”
16.
17. British, yet international
Naturalisation application 1922, due to “my long residence in this
country where all my property and business interests are situated”
And yet
“I have visited every country in Europe except Roumania for the
purpose of study and business” (TNA: HO144/2601)
18. The outside world: a true Germanophile
• Hansastrasse, Freiburg: home
• Kliffende, Sylt: property in Germany
• Germany on the Med: Alassio
• “that marvellous Hock you recommended”
• German current affairs
• “Passionately interested in matters of health”
26. Mayer the collage
Gustavus
Gus
Uncle Dan
Björn
Hoboken NJ
Lausanne
Palermo
Freiburg im Breisgau
Half Moon St
Bond St
Aldershvile slot
Wistler’s Wood
Field House
Luetzelbach, Darmstadt
My grandfather as I knew him
Yes, just this image
He died more than 20 years before I was born. My family, not hugely sentimental, didn’t share that much, till in my late teens Mum started to bring back papers while clearing out my grandmother’s place.
He is here, almost certainly at Colnaghi, politely of full years, towards the end of his forty-plus years as a director. Pictured with a painting, which is perhaps interesting given that his key area was prints and drawings.
I can’t pretend that this is an objective or a complete portrait, but I hope it will give you some idea of one of the men of this gilded age. Art dealing, after all, is perhaps the least commercial type of commerce. One does not pile it up and sell it cheap. One works through social interaction, contacts, who one knows, what they might be looking for. One might not do a deal if the price is not right… but on the other hand, if the *customer* is right, one might…
I also want, as a minor theme, to reclaim the role of print and drawings dealing in the art trade. Paintings are always the big business, but works on paper are the bread and butter. Very lucrative bread and butter, at times.
When I started to look, and not to look all that hard, I realised I was surrounded by vestiges of Gus’s life. Almost everything on this slide comes from his home, Wistler’s Wood, through three house moves and a bankruptcy. But his descendants are living with it still. His mock-antique furniture, his orientalist knick nacks, his suitcases with vestiges of Swiss travel past… and, when I asked, images of a very different Gus Mayer
And then I started
This is where Gus started, more or less. An adolescent, in Lausanne, newly transplanted to Switzerland after a childhood in New York. He was the middle of three children, parents Vincent and Caroline, brother William, and sister Helen. His parents and sister moved in the 1890s to Freiburg im Breisgau, where they stayed.
I’m not going to apologise for the picture quality too much during this talk. What I’m showing you are family photos, family papers. They aren’t organised, they aren’t catalogued or in an archive. To me, the slight ropeyness of the images contributes to the collage.
We have to have a family tree, after all, to talk about family history. This is mine. Gus in the centre, parents and siblings you have just met, his two children and three stepdaughters, and his four grandchildren.
I wish I had time to do justice to the story of Gus’s wives, but it really deserves a doorstep of a novel, shiny emobssed covers and all. Gus married three times – firstly, Angelika, an Italo-Dane, much married (he was her fourth), with a castle in the outskirts of Copenhagen and a penchant for carriage driving. She was unfaithful, he caught them in an embarrassing scene at a house party, and he divorced her.
Then Isabel, unimpeachably English, but married serially a Hungarian art historian and a Germano-American art dealer – she was herself part of a family with art connections we’ll come on to. And Gus was cited as co-respondent in her divorce from her first husband.
And lastly my grandmother, a Swedish masseuse 37 years his junior.
Let’s say, his marital relationships weren’t wholly conventional. And certainly not wholly typical for an ‘English gentleman’
I thought I’d give you a timeline of life before I move happily away from family history. It’s quite the colourful life.
You’re all interested in Gus as a dealer of course. And he was quite the dealer. He did the classic grand tour of great collections for quite long periods in the 1890s. His particular expertise was in old master prints. They’re relatively unfashionable now, but for the 19th and much of the 20th century they were the bread and butter of dealers like Colnaghi, in London and overseas. Knoedler, Obach, Matthiesen, CG Boerner and others were occupied with the buying and selling of prints, individually and as collections. Prints are (relatively) cheap, and they have the advantage of appealing to the stamp collector mentality – they are catalogued, editions and imprints are known, you can collect them ‘all’, and it’s generally agreed which are better than other – finer impressions, better condition etc. Colnaghi at this point was of course also a print publisher – something that Gus was certainly involved in, particularly with the Glasgow school printmakers like Bone and McBey.
Although Gus dealt in drawings and watercolours, and was as far as we can tell periodically involved in paintings selling, it’s as a print dealer that he should really be remembered. He was the dealer who paid the largest ever sum for an outstanding impression of Rembradnt’s portrait of the burgomaster Jan Six in 1928, and then sold it at a profit within days – a coup which remained the highest price paid for a print until the 1950s (though to be fair that’s a reflection of 25 years of economic collapse rather than solely Gus’s genius). He was the lead in acquiring the Liechtenstein collection against all odds in the 1940s (those odds being mostly currency restrictions).
And, as his Colnaghi memorial says, he loved to deal. Which can lead to murky waters, especially in the time period in which they were dealing. He was Colnaghi’s lead, together with Francis Zatzenstein and a representative of Knoedler, on the famous deal which saw a substantial number of old master paintings sold by the Hermitage, most now happily in the Nat Gall in Washington. Colnaghi, and specifically Gus, was the natural choice as a print expert when exploration began, also in the difficult post-war years, of the potential to sell the collecitons of the Albertina…
And his personal/professional life was deeply intertwined. His personal papers are full of Colnaghi, passionately invested, unable to separate personal and professional. Client contacts, personal and work contacts in the same address books, and indeed some parts of the accounts and stock lists have not made their way into the company archive but are in family hands.
Where did this intense identification with the world of art dealing come from?
It’s perhaps not known to you all that Gus’s father, Vincent Mayer, was a great print collector. Having begun as a printer-publisher in NYC he retired in his early fifties and took up collecting, above all Duerer prints. He undoubtedly supported Gus’s education as a dealer, and financially backed the Colnaghi-Obach merger. His collection was sadly sold in 1917, to keep the family in Germany solvent during the war. It was dispersed by the purchasing dealers. Gus actually bought back quite a lot of the prints on behalf of his clients [Sir Thomas …]
Gus’s sister Helen followed their father in another direction, as a publisher with the Urban Verlag – here an example of their publications which included significant art historical texts like this on late middle ages sculpture.
The family unit supported Gus as a dealer.
Vinzent MAYER (1831-1918), imprimeur-éditeur lithographe à New-York, retiré à Fribourg e/Br. (Bade). Estampes, principalement de Dürer.
Vinzent Mayer, né dans la Forêt noire en Wurtemberg, se rendit à New-York en 1852 sur l'invitation de son oncle qui y possédait un atelier de lithographie et dont il devint l'associé. Il fonda par la suite, pour son propre compte, un établissement semblable où fut publié entre autres le périodique « Puck ». Pendant les 31 ans qu'il passa à New-York ses rapports suivis avec nombre d'artistes, dont plusieurs travaillant dans son atelier, l'amenèrent à des acquisitions d'estampes ; la passion de collectionner était ainsi éveillée. En 1883 Mayer se retira des affaires, et se fixa, après des voyages de plusieurs années, à Fribourg. C'est de cette époque seulement que date réellement son activité de collectionneur. Pendant les années 1884 à 1912 il suivit la plupart des ventes, d'estampes faites sur le continent. Souvent aussi, il profitait de ses voyages pour fouiller le stock des marchands d'estampes. L'aide de son fils, Gustav Mayer, l'associé de la Maison Obach, puis de P. & D. Colnaghi & Co, de Londres, lui procura mainte acquisition heureuse. Dürer a toujours été son maître de prédilection et l'œuvre qu'il réunit de ce maître fut exceptionnel, surtout dans les bois.
Il vendit sa collection à l'amiable fin 1917 ; les nouveaux possesseurs en marquèrent les feuilles du timbre reproduit, et les dispersèrent dans la vente ci-dessous. L'œuvre de Dürer réalisa un total de 981.385 M.
And he was certainly part of the family of dealers – my mother recalls in the late 40s and 50s Gus receiving the Daily Zinzer, communications from Richard Zinser, key contact among the American dealers at the time, in the dispersal of the Liechtenstein colleciton
Francis Zatzenstein was a personal friend as well as a partner in the hermitage deal – their widows bought a house together in Italy as late as 1973
There’s a family connection with Knoedler that we don’t actually have details of and mum too embarrassed to ask
And here, for example, is the Swiss auctioneer Kornfeld in a postwar meeting. Gus front and centre. At my mother’s first visit to the same auction house, she too was invited to join the photograph ritual – though as you can see, ladies generally didn’t.
But more than dealers, Mayer was part of the wider art world. He used Laurence Binyon as a post restante address when travelling (one of many – Binyon the oriental prints curator at BM)
He was at one time a personal friend of Muirhead Bone, one of the Glasgow school printmakers whose prints Colnaghi published in the 20s/30s/ Though they did fall out horribly over money.
Here’s an early painting by Bone – a relative rarity, and his portrait of Gus in his middle years, posing of course with an art history book – interesting that it’s apparently a reference work on painting rather than the prints which were both their core work?
And Gus’s 1923 naturalisation as British was refereed by the former director of the NPG (Lionel Cust), and Sir Charles Moore, despite the latter explaining they hadn’t seen so much of one another since Gus married a divorcee some decade earlier…
I said we’d come back to Gus’s second wife, Isabel, and now is the time. She was no mean artist herself, and was part of a family full of art connections – from her first husband, the art historian and critic Paul Konody, to her sister Evelyn, a minuaturist, married to the rather more famous John Byam Liston Shaw, whose son James was of course to become a Colnaghi director too. And Isabel’s two daughters were part of the nepotism too – Pauline as an artist and Peggy as a Colnaghi employee in the 1920s/30s.
Even James Pyke-Nott here lived on Gus’s estate at Wistler’s Wood.
Christies on Konody “They were married on 27 October 1901, and during the next five years had two daughters, Pauline and Margaret. In these years Isabel continued to paint miniatures and imaginative watercolours for which she won a medal at the Exposition Internationale d'arte in Barcelona in 1907. The Konodys had a wide circle of friends as various as the poet Ezra Pound, the illustrator Dudley Hardy, the portrait-painter Philip Alexius de László (see lot 115) and the artist-traveller and former Whistler pupil, Mortimer Menpes. Konody was also a keen motorist and on one occasion Isabel and he drove down through Italy on an adventurous journey described in one of the first motor-travel books, Through the Alps to the Apennines (1910). Around 1912 Isabel and Konody were divorced and the following year, she married Gustavus Mayer, (known as 'Dan'), a director in the London art dealership, P & D Colnaghi. The extraordinary flowering of her work occurred after the early years of motherhood, at the time of the Great War when she secured a commission to paint the Cantine Franco-Britannique, Vitry-le-Franois, 1919 (Imperial War Museum, London) and simultaneously began to exhibit at the Royal Academy. Throughout the 1920s she showed regularly at the Academy and, after 1923, at the Salon in Paris where her La Fruitière received a 'Mention Honorable' from the jury. By 1925, her work was being discussed in newspapers and in The Studio, and reproduced in artistic monthlies such as Colour Magazine. Two solo exhibitions at the Knoedler Galleries in Paris and the Fine Art Society in London followed in 1926 and 1927, and works like Zillah Lee, Hawker (lot 127) were widely praised. Writing in the Fine Art Society catalogue, Frank Rutter likened Codrington to a 'straight' actor - but one whose work was 'fresh, direct and natural'. Being 'thrilled by the beauty of colour and texture she convinces us that humble, commonplace objects are lovelier than pearls and precious metals', he declared. At this time she was also an honorary member of the Campden Hill Club, a society established by former Academy students in memory of Byam Shaw, under the presidency of George Clausen that staged exhibitions at Walker's Galleries in Mayfair. In its 1929 exhibition she exhibited landscapes painted around the Mayer estate at Wistler's Wood, Woldingham in Surrey. Critics were quick to also notice the work of her talented daughter, Pauline Konody, prompting The Morning Post to remark upon the 'blood-is-thicker-than-water' relationship between them. During the thirties, Codrington felt that her colour sense had deteriorated and she concentrated on etching. An exhibition of her etchings was staged at Colnaghi's in 1933, and her last appearance at the Academy followed in 1935. Her final solo exhibition of 'Flower Paintings' was held at the Rembrandt Gallery in Vigo Street in November of that year. She returned to her native Devon during the closing years of her life and died there in 1943.“
Just some images for you so you have a sesne of the artistic production around Gus – Byam Shaw’s rich post-pre-raphaelite colourings; Isabel’s realist material, including this rather magnificent war art commission; I don’t have to hand an example of her fine engravings in later life, which were exhibited at Colnaghi.
Paul Konody’s art history (he was the art critic of the Daily Mail, among much else, and kept in civil contact with his ex wife and Gus, his personal friend – not least given this commission as a war artist may well be connected with his work commissioning war art, and the Venice pavilion in 1926 at which Isabel exhibited); Pauline’s watercolours too were exhibited.
The chalk-pit works
Previous 4/4 Next
Object type
print
Museum number
1933,0907.4
Title (object)
The chalk-pit works
Description
View of a chalk pit, with a simple roofed workspace in the middle distance which connects to another on the left where a figure is working, a chimney and wires behind, another wire in the foreground connected to a wooden stand on the right. Etching with surface tone
Producer name
Print made by: Isabel Codrington
School/style
British
Date
1889-1933
Materials
paper
Technique
etching
Dimensions
Height: 202 millimetres
Width: 302 millimetres
Inscriptions
Inscription Content
Lettered within image at bottom left with artist's monogram, inscribed in lower margin with title in pencil and signed by the artist.
Beyond the art world though we have another layer, another shake of the kaleidoscope – Gus’s projected image as a true Englishman. Entirely constructed, of course – but so much of it.
Wistler’s wood: on the high north downs above Woldingham. View from the croquet lawn. Half Moon Street lodgings. Daffodils at Chelsea. Mid 17th century furniture. The shoot and the guns.
Uncle Dan, and Peter.
And yet – although he was never resident in Germany for long, ties wre never cut. The family home at Hansastrasse, he owned an interest in a hotel on Sylt in the North Frisisans, classic German holiday territory.
He recommended German wines, passionately, especially after the first world war.
He kept abreast of German affairs, especially in the thirties.
He himself holidayed in another German paradise – the Alassio area (Kuursaal note).
And he was ‘passionately’ (obsessively) interested in alternative therapy – this is the Aurelius klinik at Baden Baden where he was a regular, and met my grandmother.
And another twist – he wasn’t simply an art lover. He had a vigorous sporting life, moutaineering, boxing, and figure skating – the first might be jolly British but the latter is not. (I wish I could have shared some of the marvellous series of stereoscopic glass negs of this, by the way)
And again – with the German wine comes a widely known love of fine food, fine wine, and indeed women – the shoot menu with the dancer postcard… Note that these are printed – and the second is certainly not generic
This, by Isabel??, is a fascinating aside – the two sides of Gus Mayer, in a print which must have been a personal commission if not a wife’s gift – the artistic and the sporting
Which leads us to money, rather inevitably.
The Mayer fortune vanishes, between 1917 and 1938. First, Vincent’s collection, then the accrued monies from that in the hyperinflation, alongside Gus’s own money in German currency - then in the late 1930s, the farm rental costs became unendurable in the depression, at a time when the firm wasn’t going well either, and he was made personally bankrupt
But legacies aren’t just about money, of course. In fact, the family lives with Gus’s legacy to this day
My mother followed Gus into Colnaghi, originally as librarian, then herself as a prints and drawings dealer.
My grandmother continued to support artists, albeit mostly by letting them live in her potting shed, and pay rent in oil paintings. We have cornered the market in the mid1960s work of Jean-Louis Badet, these days a costume and set designer with the Mark Tomkins company.
And above all, the family did continue in art production – not prints, but still reprographic media
And my uncle and cousins retained that family interest in the reprographic arts – but now moving on to photography Martin was a photojournalist, now in retirement still does weddings
And Selina, a photographer who still works in analogue rather than digital media -
So, the kaleidoscope of identity, origins, names even – I haven’t talked through every one, but all are a part of that identity. And so, without a doubt, was Colnaghi, Gus’s obsession and work for half his life. He worked almost literally up until his death
