MOUNT CABURN, 1948

About The Work
About The Artist
Where The Work Was Exhibited
Additional Information

About The Work
Mount Caburn is a peak on a small isolated part of the Lewes Downs near the Charleston farmhouse where Duncan Grant lived with the painter Vanessa Bell. In 1916 Vanessa Bell and Duncan Grant moved to Sussex when Grant, under the terms of his exemption from military service, was employed at a nearby farm together with David Garnett. They lived in the house for over fifty years, covering the walls and furniture with their paintings, designing ceramics, making rugs and wall hangings, cultivating the gardens - and generally forming what became a unique collection of domestic and interior design pieces. Charleston's garden was created by Vanessa Bell and Duncan Grant according to designs by Roger Fry. Together they transformed vegetable plots and hen runs, essential to the household during the First World War, into a charming planted garden that mixed Mediterranean influences with cottage garden planting. In the 1920s a grid of gravel paths gave structure to an array of plants chosen by Grant and Bell for their intense colour and silver foliage. These became the subject of many still lifes over their long residence at Charleston. In the following years Charleston became the country meeting place for the group of artists and writers known as the Bloomsbury Group. The members of the Group, who made an essential contribution to the intellectual life of England, were connected to each other through close friendships and unconventional love stories. The farmhouse survived the Second World War. (From Roy Johnson's critic on Charleston: Past and Present, 2000)

About The Artist
Duncan Grant was born in Inverness, Scotland, in 1885. His childhood was spent in India where his father was posted as an army officer. He returned to Britain in 1893. Although his family intended him to have an army career, he took up painting at the encouragement of the French painter Simon Bussy, entering the Westminster School of Art, London, in 1902. He spent 1902-3 in Italy, where he copied Masaccio. Grant's cousins the Stracheys, with whom he had spent summer holidays as a schoolboy, played an important part in his life during this period. He spent the summer of 1905 with his cousins, and they took Duncan to a meeting of the Friday Club where he first met the Bloomsbury Group. He attended Jacques-Emile Blanche's school, La Palette, in Paris in 1906-7. While in Paris, Grant met the British artists Wyndham Lewis, Henry Lamb and Augustus John, and made friends with the American writer Gertrude Stein. He was also visited by the newly married Vanessa Bell and her husband Clive Bell, along with Vanessa's sister Virginia Woolf, and their brother Adrian. After Paris, he returned to London to spend one term at the Slade School of Art. Through Bussy he met Matisse in 1909 and in 1910 he travelled with Maynard Keynes to Greece and Turkey where he was excited by the colour and design of Byzantine mosaics. Grant frequently visited Paris before the war, making several visits to Picasso's studio.

Grant was a central figure in the circle of artist and writers known as the Bloomsbury Group, which included Grant's cousin Lytton Strachey, Maynard Keynes, Roger Fry, Virginia and Leonard Woolf, the painter Vanessa Bell (who was also Viriginia Woolf's sister) and Vanessa's husband Clive Bell, a noted critic. Grant and Vanessa Bell were closely associated in their professional and personal lives for more than fifty years. In 1913 Roger Fry founded the Omega Workshops, of which Grant and Vanessa Bell were directors. The workshops produced furniture, pottery and textiles designed by various young artists including Grant and Bell themselves. The Omega Workshops closed in 1919. During the war, Grant and Bell moved to Charleston near Firle, Sussex. Together they decorated several houses, including Charleston, and carried out other commissions, including decorations for the church at Berwick, near Firle (1943).

Grant exhibited at the New English Arts Club from 1909 and the Friday Club (founded by Vanessa Bell) from 1910 and became a member of the Camden Town Group in 1911. In 1913 he exhibited with the Grafton Group, whose members included Fry, Bell and Wyndham Lewis. Influenced by the works of the Fauves and Cézanne in the first Post-Impressionists Exhibition of 1910-11, Grant contributed to its successor in 1912. He participated in the Twentieth-Century Art show at the Whitechapel Gallery, London, in 1914. He became a member of the London Group in 1919. His first solo show was held at the Carfax Gallery in 1920. He was a member of the London Artists' Association from 1929 to 1931. He was represented at the Venice Biennale in 1926 and 1932, and his work was included in the Coronation Exhibition of Contemporary British Artists at Agnew and Sons, London, in 1937. He designed sets and costumes for various theatrical productions. A retrospective of Grant's work was held in 1959 at the Tate Gallery, with subsequent Arts Council tour. He was given a retrospective at Wildenstein & Co. Ltd., London in 1964, a two-person show with Bell at the Royal West of England Academy, Bristol, in 1966, an Arts Council tour in 1969, and solo shows at the Anthony d'Offay Gallery, London, in 1972 and 1975. In 1975, in honour of his ninetieth birthday, exhibitions were held at the Tate Gallery and the Scottish National Gallery of Modern Art. Grant died in 1978. (From Tate's website and Francis Spalding's Duncan Grant: A Biography)

Where The Work Was Exhibited
2013 Out of Britain, National Museum of Art, Bucharest, Romania
2012 Out of Britain, Bait Al Zubair Museum, Muscat, Oman
Out of Britain, Contemporary Art Platform, Kuwait City, Kuwait
Out of Britain, Sultan Bin Abdulaziz Science & Technology Center, Al Kohbar, Saudi Arabia
Out of Britain, Athr Gallery, Jeddah, Saudi Arabia
Out of Britain, Riyadh National Museum, Riyadh, Saudi Arabia
1999 Bloomsbury Festival, Christies (Deutschland) Gmbh, Berlin, Germany
1958 Contemporary British Painting, King George VI Art Gallery, Port Elizabeth, South Africa
Contemporary British Painting, Dar Es Salaam
Contemporary British Painting, Ndola, Rhodesia
Contemporary British Painting, British Council Office - Kampala, Kampala, Uganda
1957 Contemporary British Painting, Mombassa, Kenya
Contemporary British Painting, National Gallery And Museum, Nairobi, Kenya
Contemporary British Painting, Blantyre-Limbe
Contemporary British Painting, Moshi, Tanzania
1952 Contemporary British Artists, France
Contemporary British Artists, Malta
Contemporary British Artists, British West Indies

Additional Information
S. Watney, The Art of Duncan Grant, John Murray Ltd, London, 1990
F. Spalding, Duncan Grant: a Biography, Chatto & Windus, London, 1997
P. Roche, With Duncan Grant in Southern Turkey, Honeyglen Publishing Ltd, 1999
R. Shone, The Art of Bloomsbury: Roger Fry, Vanessa Bell, and Duncan Grant, Princeton University Press, 2002

http://www.charleston.org.uk/

British Council Collection
http://collection.britishcouncil.org/collection/artists/grant-duncan-1885

An interview with Duncan Grant on his 90th birthday:
http://www.bbc.co.uk/programmes/p009n6tt

Duncan Grant talks about the early influences on his work:
http://www.tate.org.uk/context-comment/audio/duncan-grant-talks-about-early-influences-on-his-work

Artist Duncan Grant discusses his reasons for being a conscientious objector:
http://www.tate.org.uk/context-comment/audio/artist-duncan-grant-discusses-his-reasons-being-conscientious-objector

Duncan Grant describes a visit to Matisse's house in the suburbs of Paris:
http://www.tate.org.uk/context-comment/audio/duncan-grant-describes-visit-matisses-house-suburbs-paris

Letters from Vanessa Bell to Duncan Grant:
http://www.tate.org.uk/art/archive/tga-20078-1-44/letters-from-vanessa-bell-to-duncan-grant

Bloomsbury voices: Duncan Heyes:
http://www.charleston.org.uk/bloomsbury-voices-duncan-heyes/

FLOWERS IN THE WINDOW, 1934

About The Work
About The Artist 
Where The Work Was Exhibited
Additional Information

About The Work
Vanessa Bell often painted flower pieces and frequently used flowers in her interior decorative work. Bell rejected the brighter colours she'd used before the war, and in the 1920s and 30s painted flower pieces and still lifes with rich but sombre colour harmonies. Together with Duncan Grant, Bell worked in the Charleston's garden. In the 1920s a grid of gravel paths gave structure to beds of plants chosen by Grant and Bell for their intense colour and silver foliage. These became the subject of many still lives over their long residence at Charleston.

Source: www.tate.org.uk

About The Artist
Vanessa Stephen (later Bell) was born in May 1879 in Hyde Park Gate, London. She was the eldest of four children of the eminent Victorian scholar and writer Leslie Stephen, and his second wife Julia Duckworth. Vanessa and her brothers and sister Thoby, Adrian, and Virginia (later Virginia Woolf) were largely educated at home, and were encouraged to develop their individual talents. Vanessa started having drawing lessons and was accepted into the Royal Academy Schools in London in 1899.

After her father's death she moved to Gordon Square, Bloomsbury, where, alongside her brothers and sister, she gave birth to weekly meetings for writers, artists and intellectuals which became known as the Bloomsbury Group. After studying at the Royal Academy of Arts under Arthur Cope she developed her talents as a painter and designer of textiles and ceramics.

She married Clive Bell in 1907 and they had two sons. The couple had an open marriage, both taking lovers throughout their lives. Bell had affairs with art critic Roger Fry which had started during their holiday in Constantinople in 1910, and later with Duncan Grant whom she had lived with for fifty years until her death.

Vanessa Bell, Clive Bell, Duncan Grant and David Garnett moved to the Sussex countryside shortly before the outbreak of the First World War, and settled at Charleston Farmhouse near Firle, East Sussex. The owner of the empty farmhouse was looking for farm hands as well as tenants, providing Grant and Garnett with not only a home, but also the opportunity of work on the land and therefore exemption from military service during the First World War. In the house, walls, fireplaces, door panels and furniture were all decorated to harmonise with Grant's and Bell's paintings and Omega fabrics and ceramics were incorporated into the overall décor. During the time, the couple painted and worked on commissions for the Omega Workshops established by Roger Fry. Bell's first solo exhibition in 1916 was held in the Omega Workshops in London, a prominent place for exhibitions which supported young artists and introduced design work to the public. Bell became the director of the Omega Workshop around 1912.

Bell kept the house on after the war as a summer residence, and gradually improvements and extra comforts were added. House parties were common and Charleston was frequently full of guests. Clive Bell came to visit his sons, and the Woolfs lived only four miles away. Other guests included Roger Fry and his children, Maynard Keynes and his wife the dancer Lydia Lopokova and Lytton Strachey and his sisters. All were captured by Bell with her camera, and some with her paintbrushes.

Charleston became a full-time home again during the Second World War as it was safely out of reach of the bombs falling on London, and Vanessa Bell continued to live there for part of each year until her death in 1961.

Source: https://en.wikipedia.org/wiki/Vanessa_Bell

Where The Work Was Exhibited
1999 Bloomsbury Festival, Christies (Deutschland) Gmbh, Berlin, Germany
Memorial Tribute To Virginia Woolf
1991 Bloomsbury Festival, Wingfield College, UK
1980 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Stadtische Kunstammlungen, Karl-Marx-Stadt, Germany
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Kunstammlungen, Weimar, Germany
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Altes Rathaus, Leipzig, Germany
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Wallraf-Richartz-Museum, Cologne, Germany
1978 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Kinsky Palace, Prague, Czechoslovakia
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Ceske Budejovice, Ceske Budejovice, Czechoslovakia
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Slovak National Gallery, Bratislava, Slovakia,
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Slovak National Gallery, Bratislava, Czechoslovakia,
1977 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, National Gallery, Bucharest, Romania,
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Neue Berliner Galerie, Berlin, Germany
1976 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, National Gallery, Budapest, Hungary
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, National Gallery, Sofia, Bulgaria
1974 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, National Museum of Contemporary Art, Seoul, Korea
1973 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Tokyo, Japan
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Sendai, Japan
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Yokohama, Japan
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Nagano, Japan
1969 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Chile
1968 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, British Council Office - Buenos Aires, Buenos Aires, Argentina
1966 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, British Council Office - Algiers, Algiers, Algeria
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Municipal Gallery, Tunis, Tunisia
1965 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Hong Kong City Hall Art Gallery, Hong Kong
1964 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, The Sursock Museum, Beirut, Lebanon
1963 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Calpe Institute, Gibraltar
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Malta Society Of Arts, Valletta, Malta
1962 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Centre of Letters and Fine Arts, Ministry of Education, Athens, Greece
1961 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Finland
1960 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, British Council Office - Vienna, Vienna, Austria
1958 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Belgium
1955 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Canada
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Museu Da Nacional Machado De Castro, Coimbra, Portugal
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Museu Nacional Soares Dos Reis, Porto, Portugal
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Lisbon, Portugal
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Maison De La Culture, Bourges, France
1954 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Museum of Modern Art, Haifa, Israel
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Tel Aviv Museum, Tel Aviv, Israel
1953 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, The Science Centre And Manawatu Museum, Palmerston, New Zealand
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Wanganni, New Zealand
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Suter Art Gallery, Nelson, New Zealand
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Aukland City Art Gallery, Auckland, New Zealand,
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Wellington City Art Gallery, Wellington, New Zealand
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Napier, New Zealand
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Robert Mcdougall Art Gallery, Christchurch, New Zealand
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Dunedin Public Art Gallery, Dunedin, New Zealand
1952 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, British Institute, Madrid, Spain,
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, British Institute, Barcelona, Spain
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Europahaus, Konstanz, Germany
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Kunsthalle, Mannheim, Germany
1951 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Museum Am Ostwall, Dortmund, Germany
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Kunstverein, Mönchengladbach, Germany
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Staatliche Kunsthalle, Karlsruhe, Germany
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Amerika Haus, Munich, Germany
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Landesmuseum, Wiesbaden, Germany
British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, Staatsgalerie, Stuttgart, Germany
1947 British Drawings And Watercolours Of The 20th Century From The Collection Of The British Council, International Watercolour Exhibition 14th Biennial, Brooklyn Museum, New York, USA

Additional Information
J. Dunn, Virginia Woolf and Vanessa Bell: A Very Close Conspiracy, Virago, 2001
D. Buckman, Artists in Britain since 1945, Vol 1, Art Dictionaries Ltd, Bristol, 2006
F. Spalding, Vanessa Bell: Portrait of the Bloomsbury Artist, Tauris Parke Paperbacks, 2015
V. Woolf, Monday or Tuesday: With woodcuts by Vanessa Bell, Cornell University Library, 2009

British Council Collection
http://collection.britishcouncil.org/collection/artists/bell-vanessa-1879

Letters To Vanessa Bell
http://www.tate.org.uk/search?q=vanessa+bell&type=archive

Charleston - Bloomsbury Group Bohemia
https://www.youtube.com/watch?v=x28hGsR8Cvc

An Audio Of Vanessa Bell
https://www.youtube.com/watch?v=3qtlf-8g79c

Clive Bell, Art Critic And Brother-in-law Of Virginia Woolf, Talks About Spending Some Dark And Uneasy Winter Days In The Country With Lytton Strachey During World War One
https://www.youtube.com/watch?v=W3ipLhqPxuw

Angelica Garnett And Bloomsbury - Documentary (Extract)
https://www.youtube.com/watch?v=29E1xmkc9HU

NORTON MALREWOOD, 1923

About The Work
About The Artist
Additional Information

About The Work
Charles Cheston and his wife, Evelyn Cheston, lived a part of their life in Dorset and their travels around the region were an inspiration for their work. Norton Malreward is located in the north of Dorset, and this small village became the subject of Charles Cheston's small scale drawing.

Norton Malreward village and civil parish is 4 miles (6.4 km) south of Bristol, England at the northern edge of the Chew Valley. Norton Malreward is listed as Nortone in the Domesday Book of 1086 meaning 'The north enclosure' from the Old English norp and tun. Malreward is a corruption of Malregard who was a tenant of the Bishop of Coutances in 1238.

Just north of and overlooking the village is Maes Knoll Tump, a tumulus 119 metres in length, and 14 metres in height, which marks the start of the Wansdyke. The remains of this Iron Age hill fort lie at the eastern end of the Dundry Down ridge. The hill fort consists of a fairly large flat open area, roughly triangular in shape, that was fortified with ramparts and by shaping the steep-sided hilltop around the northern, eastern and south-western sides of the hill. During the Second World War the flat area was dotted with stone cairns to deter the landing of enemy gliders looking to invade Bristol; a detachment of the Dundry Home Guard had a draughty corrugated-iron look-out shed on the top of the tumulus). Maes Knoll provides a splendid view over the lands it would have once commanded. From here there are clear views north to Bristol, east to Bath and the Cotswold Hills, and south over Stanton Drew stone circles to Chew Valley Lake and the Mendip Hills.

About The Artist
Charles Cheston was a painter and etcher born in London in 1882. He studied at the Slade School of Fine Art, London between 1899 and 1902 and went on to exhibit widely, including shows at the Royal Academy, Royal Hilbernian Academy, Goupil Gallery, Fine Art Society, Royal Society of Painters in Water-Colour and New English Art Club. He married artist Evelyn Cheston in 1904. His first solo exhibition took place at Colnaghi's in 1929, the same year that his wife died. Cheston wrote a biography dedicated to her entitled Evelyn Cheston: member of the New English Art Club 1908-1929 which was published in 1931. He was the vice president of the Royal Watercolour Society in 1950. He lived at Polstead, near Colchester, Essex where he also died, aged 78, in 1960..

Additional Information
C. Cheston, Water-Colour Drawings and Etchings of English Landscape, P. & D. Colnaghi & Co., 1929
Buckman D., 2006, Artists in Britain since 1945, Vol 1, Art Dictionaries Ltd, Bristol

British Council Collection
http://visualarts.britishcouncil.org/collection/artists/cheston-charles-1882

Charles Cheston's correspondence with James Laver (1899-1975), writer on art and costume, and correspondence with Dugald Sutherland MacColl (1886-1948), artist and critic at the University of Glasgow:
http://special.lib.gla.ac.uk/manuscripts/search/results_n.cfm?NID=1506&RID=&Y1=&Y2=
Link to four letters and one card from Charles S Cheston, regarding his life and work (includes a biographical note by C S Cheston) at Tate Archive:
https://archiveshub.jisc.ac.uk/data/gb70-tga724/tga724/68-72

Polstead Photo, Hillside Cottage, Charles Cheston's home from 1939-1960:
http://www.britainexpress.com/photo.htm?photo=145761

DORSET LANDSCAPE WITH QUARRY, 1918

About The Work
About The Artist
Where The Work Was Exhibited
Additional Information

About The Work
A number of artists in the early twentieth century were inspired by the British coast and landscape, and Charles Cheston was no exception. He and his wife, painter Evelyn Cheston, rented a house at Studland, Dorset in 1906 which overlooked the heath with panoramic views of Poole Harbour. The artist couple lived a part of their life in Dorset and this historical county became the subject of their works.

Dorset (or archaically, Dorsetshire) is in South West England on the English Channel coast. Dorset has a varied landscape featuring broad elevated chalk downs, steep limestone ridges and low-lying clay valleys. There are almost eighty quarries in the area of Portland in Dorset, which produced the lauded Portland Stone that was used in a number of London buildings. The Tout quarry began producing stone around 1750 and the 260-year-old quarry workings were last worked in 1982 for a boulder contract when 30,000 tons were excavated from the quarrymen's banking for sea defenses.

Today, many of the quarries are still worked, and in those that are not, the massive jumbled blocks stand as a memorial to the men who earned the hardest of livings there. Some of the disused quarries have found a new life as nature reserves where wild flowers, butterflies and reptiles in particular can thrive comparatively undisturbed.

The county has a long history of human settlement stretching back to the Neolithic era. The Romans conquered Dorset's indigenous Celtic tribe, and during the early Middle Ages, the Saxons settled the area and made Dorset a shire in the 7th century. The first recorded Viking raid on the British Isles occurred in Dorset during the eighth century, and the Black Death entered England at Melcombe Regis in 1348. Dorset has seen much civil unrest: during the English Civil War an uprising of vigilantes was crushed by Oliver Cromwell's forces in a pitched battle near Shaftesbury; the doomed Monmouth Rebellion began at Lyme Regis; and a group of farm labourers from Tolpuddle were instrumental in the formation of the trade union movement. The Dorsetshire Regiment were the first British unit to face a gas attack during the First World War (1914-1918) and they sustained particularly heavy losses at the Battle of the Somme. During the Second World War, Dorset was heavily involved in the preparations for the invasion of Normandy, and the large harbours of Portland and Poole were two of the main embarkation points.

About The Artist
Charles Cheston was a painter and etcher born in London in 1882. He studied at the Slade School of Fine Art inLondon between 1899 and 1902 and went on to exhibit widely, including shows at the Royal Academy, Royal Hilbernian Academy, Goupil Gallery, Fine Art Society, Royal Society of Painters in Water-Colour and New English Art Club. He married artist Evelyn Cheston in 1904. His first solo exhibition took place at Colnaghi's in 1929, the same year that his wife died. Cheston wrote a biography dedicated to her entitled Evelyn Cheston: member of the New English Art Club 1908-1929 which was published in 1931. He was the vice president of the Royal Watercolour Society in 1950. He lived at Polstead, near Colchester, Essex until his death in 1960.

Where The Work Was Exhibited
1949 Contemporary British Prints and Drawings From The Wakefield Collection, Fiji Arts Club, Suva, Fiji
1948 Contemporary British Prints and Drawings From The Wakefield Collection, Rotorua Museum Of Art And History, Rotorua, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Waikato Museum of Art & History, Hamilton, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Society of Arts, Rotorua, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Aukland City Art Gallery, Auckland, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Wellington City Art Gallery, Wellington, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Not recorded, Waipukurau, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Not recorded, Takapuna, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Not recorded, Dannevirke, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Napier, Napier, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Wanganni, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Queensland Art Gallery, Brisbane, Australia
Contemporary British Prints and Drawings From The Wakefield Collection, Art Gallery Of New South Wales, Sydney, Australia
1947 Contemporary British Prints and Drawings From The Wakefield Collection, Tasmanian Museum and Art Gallery, Hobart, Australia
Contemporary British Prints and Drawings From The Wakefield Collection, Melbourne Royal Exhibition Building, Melbourne, Australia
Contemporary British Prints and Drawings From The Wakefield Collection, Art Gallery of South Australia, Adelaide, Australia
Contemporary British Prints and Drawings From The Wakefield Collection, Art Gallery of Western Australia, Perth, Australia
Contemporary British Prints and Drawings From The Wakefield Collection, Victoria and Albert Museum, London, UK
1943 Modern Paintings and Drawings By British Artists, Ognisko Polskie (Polish Hearth) Belgrave Square, London, UK
Modern Paintings and Drawings By British Artists, Belgian Institute, Belgrave Square, London, UK
Modern Paintings and Drawings By British Artists, Czechoslovak Institute, Grosvenor Place, London, UK
Modern Paintings and Drawings By British Artists, Greek House, Grosvenor Square, London, UK

Additional Information
C. Cheston, Water-Colour Drawings and Etchings of English Landscape, P. & D. Colnaghi & Co., 1929
Buckman D., 2006, Artists in Britain since 1945, Vol 1, Art Dictionaries Ltd, Bristol

British Council Collection
http://visualarts.britishcouncil.org/collection/artists/cheston-charles-1882

Charles Cheston's correspondence with James Laver (1899-1975), writer on art and costume, and correspondence with Dugald Sutherland MacColl (1886-1948), artist and critic at the University of Glasgow:
http://special.lib.gla.ac.uk/manuscripts/search/results_n.cfm?NID=1506&RID=&Y1=&Y2=

Link to four letters and one card from Charles S Cheston, regarding his life and work (includes a biographical note by C S Cheston) at Tate Archive:
https://archiveshub.jisc.ac.uk/data/gb70-tga724/tga724/68-72

Polstead Photo, Hillside Cottage, Charles Cheston's home from 1939-1960:
http://www.britainexpress.com/photo.htm?photo=145761

MOUNTAINS NEAR INNSBRUCK, 1937

About The Work
About The Artist
Where The Work Was Exhibited 
Additional Information

About The Work
This work depicts the mountains near Innsbruck just two years before the beginning of the Second World War. Innsbruck is the capital city of Tyrol in western Austria, halfway between Munich in Germany and Verona in Italy. Innsbruck lies in a broad valley between high mountain ranges: the so-called North Chain in the Karwendel Alps to the north, and the Patscherkofel and Serles to the south. The first mention of Innsbruck dates back to the name Oeni Pontum or Oeni Pons which is Latin for bridge (pons) over the Inn (Oenus), reflecting its importance as a crossing point over the Inn river.

About The Artist
Wilfred Fairclough was an English artist, engraver and printmaker of landscapes and town scenes. Fairclough was born in Blackburn in 1907. He started studying at the Royal College of Art in London in 1931, mastering his craft as a printmaker under Malcolm Osborne and Robert Austin. He was elected as an associate of the Royal Society of Painter-Etchers in January 1934, winning the Prix de Rome Scholarship in Engraving. Fairclough thoroughly enjoyed this residency and prolonged his stay for another year. In his second term in 1936, he travelled around Spain and married Joan Vernon Cryer, a fellow artist.

Fairclough started work at Kingston College of Art in 1938. His work was exhibited in Poland, Finland and Sweden in 1939. In 1939 he was engaged by Palmer to contribute a number of drawings to 'Recording Britain'; he made a total of 58 drawings. His contributions concentrated on buildings in locations near the Thames including Windsor, Henley, Ham and Petersham. Towards the end of the war, Fairclough also served in India for a brief period..

After the war he returned to work at Kingston. Between 1947 and 1950 his work was exhibited in Australia, New Zealand and Fiji. In 1961 he secured a grant from the Leverhulme Foundation and undertook a study tour in Italy, returning to Venice for three weeks and producing numerous sketches that formed the basis for much of his later work. Back at Kingston, he became Principal of the College of Art in 1962, progressing to Assistant Director of the Kingston Polytechnic and was Head of the Division of Design from 1970 until his retirement in 1972.

Although teaching and administration took much of his time, he continued to etch throughout his career, producing on average one plate per year. He also painted watercolours, self-taught and inspired by J. M. W. Turner. After retiring from Kingston he produced about four plates per year, producing sixty-nine etchings between 1972 and 1994.

In 1990 he released a book of his etchings, "The Etchings of Wilfred Fairclough", in conjunction with Ian Lowe. Wilfred Fairclough died at Kingston upon Thames on 8 January 1996.

Where The Work Was Exhibited
1949 Contemporary British Prints and Drawings From The Wakefield Collection, Fiji Arts Club, Suva, Fiji
Contemporary British Prints and Drawings From The Wakefield Collection, Rotorua Museum of Art And History, Rotorua, New Zealand
1948 Contemporary British Prints and Drawings From The Wakefield Collection, Waikato Museum of Art & History, Hamilton, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Society of Arts, Rotorua, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Aukland City Art Gallery, Auckland, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Wellington City Art Gallery, Wellington, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Not recorded, Waipukurau, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Not recorded, Takapuna, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Not recorded, Dannevirke, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Napier, Napier, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Wanganni, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Queensland Art Gallery, Brisbane, Australia
Contemporary British Prints and Drawings From The Wakefield Collection, Art Gallery of New South Wales, Sydney, Australia
1947 Contemporary British Prints and Drawings From The Wakefield Collection, Tasmanian Museum And Art Gallery, Hobart, Australia
Contemporary British Prints and Drawings From The Wakefield Collection, Melbourne Royal Exhibition Building, Melbourne, Australia
Contemporary British Prints and Drawings From The Wakefield Collection, Art Gallery of South Australia, Adelaide, Australia
Contemporary British Prints and Drawings From The Wakefield Collection, Art Gallery of Western Australia, Perth, Australia
Contemporary British Prints and Drawings From The Wakefield Collection, Victoria and Albert Museum, London, UK
1943 Modern Paintings and Drawings by British Artists, Ognisko Polskie (Polish Hearth) Belgrave Square, London, UK
Modern Paintings and Drawings by British Artists, Belgian Institute, Belgrave Square, London, UK
Modern Paintings and Drawings by British Artists, Czechoslovak Institute, Grosvenor Place, London, UK
Modern Paintings and Drawings by British Artists, Greek House, Grosvenor Square, London, UK
1939 Contemporary British Art, Liljevalchs Konsthall, Stockholm, Sweden
Contemporary British Art, Konsthall, Helsingfors, Finland
Contemporary British Art, Instytut Propagandy Sztuki, Warsaw, Poland

Additional Information
Kenneth Guichard, British Etchers 1850-1940. Robin Garton, London, 1977
Ian Lowe, The Etchings of Wilfred Fairclough. Scolar Press, Aldershot, 1990

British Council Collection
http://collection.britishcouncil.org/collection/artists/fairclough-wilfred-1907

Watching Wilfred Fairclough at work, Leisure Painter, Spring 1969 issue:
http://www.painters-online.co.uk/articles-tips-advice/view,artist-wilfred-fairclough-at-work_5250.htm

Rough list of prints by Wilfred Fairclough at the University of Glasgow:
http://special.lib.gla.ac.uk/manuscripts/search/detail_c.cfm?ID=11242

NANT GWYNANT, 1943

About The Work
About The Artist
Where The Work Was Exhibited
Additional Information

About The Work
Eveleen Buckton produced many works depicting the beautiful landscape of Wales. Nant Gwynant is a valley in the Snowdonia National Park, North Wales and a beautiful walking route with camping areas. The valley is defined by the slopes of Y Lliwedd and Yr Aran to the north and west and Carnedd y Cribau, Cerrig Cochion, Moel Meirch and Mynydd Llyndy to the south and east. Llyn Dinas and Llyn Gwynant are two natural lakes in Nant Gwynant that lie on the River Glaslyn. Llyn Gwynant was formed by glacial action and is a very popular destination for kayaking and canoeing.

About The Artist
Eveleen Buckton was born in Haslemere Surrey, in 1872. She studied painting at the Slade School of Art in London, and etching at the Royal College of Art, under Sir Frank Short. She attended college in 1893. Between 1917 and 1959 she exhibited regularly, initially showing statuettes and busts. From the mid-1920s she began showing etchings of landscape subjects and had switched to this subject and medium by the mid-1930s. Buckton combed the globe, climbed mountains and got herself arrested in Austria during the First World War in her search for etching subjects. She produced watercolours of landscapes in England, Wales, Austria and Norway.

An exhibition of work was held at the Arlington Gallery in Bond Street, London, in December 1931. A review in The Times stated that her 'sculpture is more remarkable for subtlety of expression than form in the abstract…' She exhibited watercolours of mountain scenery, and etchings and aquatints of The Menai Straits and the Austrian Tyrol amongst others. She also exhibited at the New English Art Club and the Royal Academy, and was elected an associate of the Royal Engravers in 1937.

Eveleen is thought to have helped design a stained glass window for Haslemere Church as part of the Tennyson Memorial there. The window was unveiled on 8 August 1899, and depicts the Holy Grail.

Eveleen died in Hampstead, North London, in 1962. She left her collection of drawings, etchings, watercolours and sculptures to the British Museum for display in public galleries in the UK and abroad.

(This information is taken from: http://bucktonfamily.co.uk/buckton-snippets/88-eveleen-buckton.html accessed 26 January 2017)

Where The Work Was Exhibited
1949 Contemporary British Prints and Drawings From The Wakefield Collection, Fiji Arts Club, Suva, Fiji
Contemporary British Prints and Drawings From The Wakefield Collection, Rotorua Museum of Art And History, Rotorua, New Zealand
1948 Contemporary British Prints and Drawings From The Wakefield Collection, Waikato Museum of Art & History, Hamilton, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Society of Arts, Rotorua, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Aukland City Art Gallery, Auckland, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Wellington City Art Gallery, Wellington, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Not recorded, Waipukurau, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Not recorded, Takapuna, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Not recorded, Dannevirke, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Napier, Napier, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Wanganni, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Queensland Art Gallery, Brisbane, Australia
Contemporary British Prints and Drawings From The Wakefield Collection, Art Gallery of New South Wales, Sydney, Australia
1947 Contemporary British Prints and Drawings From The Wakefield Collection, Tasmanian Museum And Art Gallery, Hobart, Australia
Contemporary British Prints and Drawings From The Wakefield Collection, Melbourne Royal Exhibition Building, Melbourne, Australia
Contemporary British Prints and Drawings From The Wakefield Collection, Art Gallery of South Australia, Adelaide, Australia
Contemporary British Prints and Drawings From The Wakefield Collection, Art Gallery of Western Australia, Perth, Australia
Contemporary British Prints and Drawings From The Wakefield Collection, Victoria and Albert Museum, London, UK

Additional Information
G. E. Lang and K. Lang, Etched in Memory: The Building and Survival of Artistic Reputation, University of Illinois Press, Chicago, 2007

British Council Collection
http://visualarts.britishcouncil.org/collection/artists/buckton-eveleen-1872

NEAR BALA, NORTH WALES, 1940

About The Work
About The Artist
Additional Information

About The Work
Eveleen Buckton produced many works depicting the beautiful landscape of Wales. Bala, a town steeped in history, was founded by Royal Charter around 1310 by Roger de Mortimer in order to tame the rebellious Penllyn District populace. (Penllyn translates to "top" or "head" of the lake). The Welsh word bala refers to the outflow of a lake and Llyn Tegid (also known as Bala Lake) is the largest natural lake in Wales.

In the 17th century witnessed the first mass migration to the United States of America, due to increasing intolerance towards the Quakers (a religious movement). The Court of Great Sessions in Bala, North Wales, threatened to burn members of the Quakers, prompting the Welsh Quakers to acquire land in and around what is now Pennsylvania. They emigrated from Wales in 1682.

Frongoch internment camp near Bala had an important role in the early 20th century. The camp was originally used during the early stages of the First World War to house German prisoners in the abandoned distillery and makeshift huts. In the wake of the 1916 Easter Rising in Dublin, the German prisoners were moved out to make room for the internment of 1,800 Irish prisoners. History lecturer Leona Huey said the Frongoch camp became known as the "University of Revolution" - a reference to the organisational work carried out there by Irish Republican Brotherhood members such as Michael Collins.

About The Artist
Eveleen Buckton was born in Haslemere Surrey, in 1872. She studied painting at the Slade School of Art in London, and etching at the Royal College of Art, under Sir Frank Short. She attended college in 1893. Between 1917 and 1959 she exhibited regularly, initially showing statuettes and busts. From the mid-1920s she began showing etchings of landscape subjects and switched to this subject and medium by the mid-1930s. Buckton combed the globe, climbed mountains, and got herself arrested in Austria during the First World War in her search for etching subjects. She produced watercolours of landscapes in England, Wales, Austria and Norway.

An exhibition of work was held at the Arlington Gallery in Bond Street, London, in December 1931. A review in The Times stated that her 'sculpture is more remarkable for subtlety of expression than form in the abstract…' She exhibited watercolours of mountain scenery, and etchings and aquatints of The Menai Straits and the Austrian Tyrol amongst others. She also exhibited at the New English Art Club and at the Royal Academy, and was elected an associate of the Royal Engravers in 1937.

Eveleen is thought to have helped design a stained glass window for Haslemere Church as part of the Tennyson Memorial there. The window was unveiled on 8th August 1899, and depicts the Holy Grail.

Eveleen died in Hampstead, North London, in 1962. She left her collection of drawings, etchings, watercolours and sculptures to the British Museum for display in public galleries in the UK and abroad.

(This information is taken from: http://bucktonfamily.co.uk/buckton-snippets/88-eveleen-buckton.html accessed 26 January 2017)

Additional Information
G. E. Lang and K. Lang, Etched in Memory: The Building and Survival of Artistic Reputation, University of Illinois Press, Chicago, 2001

British Council Collection
http://visualarts.britishcouncil.org/collection/artists/buckton-eveleen-1872

TYINSHOLMEN, NORWAY, 1946

About The Work
About The Artist
Where The Work Was Exhibited
Additional Information

About The Work
Eveleen Buckton produced many works depicting the landscape of Norway during the 1930s and 1940s. A selection of these works can be found in the collections of British Council, the Tate Britain and the Victoria & Albert Museum in UK.

Tyinsholmen is a touristic spot in the Jotunheim area that is close to Lake Tyin. Karl Baedeker, the first standardised travel guide publisher from Germany, mentioned Tyinsholmen in the "Jotunheim" section of his book "Norway, Sweden, and Denmark Handbook for Travellers" (1895). Jotunheimen is a mountainous area of roughly 3,500 square kilometres in southern Norway and is part of the long range known as the Scandinavian Mountains.

About The Artist
Eveleen Buckton was born in Haslemere Surrey, in 1872. She studied painting at the Slade School of Art in London, and etching at the Royal College of Art under Sir Frank Short. She attended college in 1893. Between 1917 and 1959 she exhibited regularly, initially showing statuettes and busts. From the mid-1920s she began showing etchings of landscape subjects and switched to this subject and medium by the mid-1930s. Buckton combed the globe, climbed mountains, and got herself arrested in Austria during the First World War in her search for etching subjects. She produced watercolours of landscapes in England, Wales, Austria and Norway.

An exhibition of work was held at the Arlington Gallery in Bond Street, London, in December 1931. A review in The Times stated that her 'sculpture is more remarkable for subtlety of expression than form in the abstract…' She exhibited watercolours of mountain scenery, and etchings and aquatints of The Menai Straits and the Austrian Tyrol amongst others. She also exhibited at the New English Art Club and at the Royal Academy, and was elected an associate of the Royal Engravers in 1937.

Eveleen is thought to have helped design a stained glass window for Haslemere Church, as part of the Tennyson Memorial there. The window was unveiled on 8 August 1899, and depicts the Holy Grail.

Eveleen died in Hampstead, North London, in 1962. She left her collection of drawings, etchings, watercolours and sculptures to the British Museum for display in public galleries in the UK and abroad.

(This information is taken from: http://bucktonfamily.co.uk/buckton-snippets/88-eveleen-buckton.html accessed 26 January 2017)

Where The Work Was Exhibited
1949 Contemporary British Prints and Drawings From The Wakefield Collection, Fiji Arts Club, Suva, Fiji
Contemporary British Prints and Drawings From The Wakefield Collection, Rotorua Museum of Art And History, Rotorua, New Zealand
1948 Contemporary British Prints and Drawings From The Wakefield Collection, Waikato Museum of Art & History, Hamilton, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Society of Arts, Rotorua, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Aukland City Art Gallery, Auckland, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Wellington City Art Gallery, Wellington, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Not recorded, Waipukurau, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Not recorded, Takapuna, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Not recorded, Dannevirke, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Napier, Napier, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Wanganni, New Zealand
Contemporary British Prints and Drawings From The Wakefield Collection, Queensland Art Gallery, Brisbane, Australia
Contemporary British Prints and Drawings From The Wakefield Collection, Art Gallery of New South Wales, Sydney, Australia
1947 Contemporary British Prints and Drawings From The Wakefield Collection, Tasmanian Museum and Art Gallery, Hobart, Australia
Contemporary British Prints and Drawings From The Wakefield Collection, Melbourne Royal Exhibition Building, Melbourne, Australia
Contemporary British Prints and Drawings From The Wakefield Collection, Art Gallery of South Australia, Adelaide, Australia
Contemporary British Prints and Drawings From The Wakefield Collection, Art Gallery of Western Australia, Perth, Australia
Contemporary British Prints and Drawings From The Wakefield Collection, Victoria and Albert Museum, Lodon, UK

Additional Information
G. E. Lang and K. Lang, Etched in Memory: The Building and Survival of Artistic Reputation, University of Illinois Press, Chicago, 2009

British Council Collection
http://visualarts.britishcouncil.org/collection/artists/buckton-eveleen-1872

Karl Baedeker, Norway, Sweden, and Denmark Handbook for Travellers, 1895:
https://readux.library.emory.edu/books/emory:bsnj3/

LOWLANDS, 2008

About The Work
About The Artist
Where The Work Was Exhibited
Additional Information

About The Work
Lowlands, for which Susan Philipsz became the first sound artist to win the Turner Prize in 2010, was originally created for the Glasgow International Festival and was installed on the underside of three bridges in the city. In this piece the artist sings three parts of a sixteenth century Scottish ballad called Lowlands, a song about a man drowned at sea who returns to tell his lover of his death.

About The Artist
Susan Philipsz was born in Glasgow in 1965 and studied at Duncan of Jordanstone College of Art and Design, Dundee, and University of Ulster, Belfast. In 2000, she completed a fellowship at MoMA PS1 in New York. Recipient of the 2010 Turner Prize, the artist was also shortlisted for Glenfiddich Spirit of Scotland Award that same year.

Philipsz's work explores the psychological and sculptural potential of sound. Using recordings, predominantly of her own voice, Philipsz creates immersive environments of architecture and song that heighten the visitor's engagement with their surroundings while provoking thoughtful introspection. The music Philipsz selects, which has ranged from sixteenth century ballads and Irish folk tunes to David Bowie's Ziggy Stardust, responds specifically to the space in which the work is installed. While each piece is unique, the storylines and references are often recognisable; exploring familiar themes of loss, longing, hope and return. These universal narratives trigger personal reactions while also temporarily bridging the gaps between the individual and the collective, as well as interior and exterior spaces.

Since the mid-1990s, Philipsz's sound installations have been exhibited at many prestigious institutions and public venues around the world. In 2012, she debuted a major work at dOCUMENTA 13 entitled Study for Strings, which was later featured at the Museum of Modern Art as part of the group exhibition Soundings: A Contemporary Score (2013). In the spring of 2014, Philipsz opened a permanent installation on Governors Island in New York entitled Day is Done. Philipsz has also presented solo exhibitions at the Hamburger Bahnhof in Berlin (2014); the Carnegie Museum of Art in Pittsburgh (2013); K21 Standehaus Kunstsammlung Nordrhein-Westfalen in Dusseldorf, Germany (2013); Museum of Contemporary Art in Chicago (2011); Aspen Art Museum in Colorado (2010-11); Wexner Center for the Arts at Ohio State in Columbus, OH (2009-10); Museum Ludwig in Cologne, Germany (2009); Institute of Contemporary Arts in London (2008) to name but a few. She also conceived installations for the 2007 Skulptur Projekte in Muenster, Germany, and for the Carnegie Museum of Art's 55th Carnegie International in 2008.

The artist's major commissions include Lowlands, her Turner Prize-winning work for Glasgow International in 2010; SURROUND ME: A Song Cycle for the City of London; a public project organized by Artangel in London (2010-11); Day is Done, a permanent installation organised by the Trust for Governors Island that opened on Governors Island in New York in the spring of 2014 and New Canaan, a project for the Grace Farms Foundation that opened in 2015.

Where The Work Was Exhibited
2016 Ghosts of Other Stories, The Model, Sligo, Ireland
2014 Haunted House, Grundy Art Gallery, Blackpool, UK

Additional Information
D. Roelstraete and S. Philipsz, Susan Philipsz: I See A Darkness. Jarla Partilager, 2008
S. Arrhenius, K. Brown, C. Christov-Bakargiev, B. Franzen and J. Lingwood, Susan Philipsz: you Are Not Alone. Walther König, Köln, 2014
B. Bazalgette-Staples, Susan Philipsz: follow Me. Humboldt Books, 2015
T. Trummer, T. Ringborg and L. Schadler, Susan Philipsz: Night and Fog. Kunsthaus Bregenz, 2016

Lowlands, Turner Prize 10, 2010:
https://www.youtube.com/watch?v=kf-_j0H3qMQ

Public Art Fund Talks at The New School, 2013: https://www.youtube.com/watch?v=jTSmg4wnU4g

War Damaged Musical Instruments (Pair), Kunsthistorisches Museum Wien, 2015
https://www.youtube.com/watch?v=Kf2YzuTDVCA

Night and Fog, Kunsthaus Bregenz, 2016:
https://www.youtube.com/watch?v=f4H4iXF9Ezo

Night and Fog, installation at Jewish Cemetery, Hohenems, Austria, 2016: https://www.youtube.com/watch?v=9oWYG7fwKMk