19 September 2017September Newsletter
08 August 2017August Newsletter
15 July 2017Chairman's End of Year Newsletter
01 July 2017Chairman's July Newsletter
01 June 2017Chairman's June Newsletter
01 May 2017Chairman's May Newsletter
01 April 2017Chairman' April Newsletter
01 March 2017Chairman's March Newsletter
26 January 2017Chairman's Second January 2017 Newsletter
02 January 2017Chairman's January 2017 Newsletter
10 December 2016Chairman' December Newsletter
01 November 2016Chairman's November Newsletter
10 October 2016Chairman's October Newsletter
01 September 2016Chairman's September Newsletter
14 July 2016Chairman's July Newsletter
17 June 2016Chairman's Second June Newsletter
02 June 2016Chairman's June Newsletter
11 May 2016Chairman's May Newsletter
13 April 2016Chairman's April Newsletter
11 March 2016Chairman's March Newsletter
10 February 2016Chairman's February Newsletter
13 January 2016Chairman's January Newsletter
11 December 2015Chairman's December Newsletter
25 November 2015Chairman's Second November Newsletter
31 October 2015Chairman's November Newsletter
14 October 2015Second October Newsletter from the Chairman
01 October 2015Chairman’s October 2015 Newsletter
04 September 2015Chairman's September Newsletter

Click on a row and scroll to display more details about the news

September Newsletter
Tuesday 19 September 2017

Hello Everyone

I hope you've all had a wonderful summer, and welcome back to our new season of lectures. Also welcome to our new members that have joined us this year.

There have been some impressive exhibitions on this summer which I hope some of you may have managed to visit. I particularly enjoyed the Singer Sargent watercolours at the Dulwich Picture Gallery - a masterclass in itself - and Matisse in his Studio at the Royal Academy. Both are still on, with the Singer Sargent finishing in October and the Matisse still running until November. 

Then of course we have our own outing to the Canaletto exhibition at the Queens Gallery on 1st November, followed by the concert at the Cadogan Hall. For those of you booked on this visit, I have already received your actual tickets for the concert and will be giving these out to you on the coach on the day.

Before then of course we have our first lecture of the year on 11th October. This is on ‘Rene Lalique - Master of Art Nouveau, Jewellery and Art Deco Glass’. 

Our lecturer is Anne Anderson, and we are very lucky to have her as she is a very busy lady: she is currently Hon. Research Fellow at Exeter University; a Fletcher Jones Fellow of the Huntington Library, CA; a fellow of the Henry Francis Du Pont Winterthur Museum and Library;  a consultant for Lord Frederic Leighton’s Studio-House, Kensington; and a tutor at the V&A on the Chardin to Cézanne year course. She was also Cumming Ceramic Research Foundation Fellow (2007 and 2010), and her television credits include BBC’s Flog It! 

She has published books on Roman pottery, Art Deco teapots and Edward Burne-Jones, and has lectured across Australia as well as on cruises. Her 2008 exhibition ‘Ancient Landscapes, Pastoral Visions - Samuel Palmer to the Ruralists’ attracted some 47,000 visitors.

But originally Anne started her career as an archaeologist (following graduating in Art History and Archaeology), and was elected to the Society of Antiquaries in 1997, before becoming the senior lecturer on the Fine Arts Valuation degree courses at Southampton Solent University, specialising in the Aesthetic Movement, Arts & Crafts, Art Nouveau and Modernism. 

But for this particular lecture, Anne will be telling us about Lalique and how his career actually began in the early 1890s, designing and creating the finest Art Nouveau jewellery from gold, horn, glass and enamel. His focus was on design and craftsmanship rather than vulgar ostentation, so preferring opals and aquamarines to flashy diamonds. 

Patronised by Sarah Bernhardt, Lalique’s fame spread, but his style was copied and debased such that by 1907 Lalique felt he had to move on to something new. Luckily, at that very moment, the perfumer Coty asked Lalique to design some labels for his scent bottles. However, Lalique went one better and created his first customised perfume bottle. The public loved the idea and a craze began. Soon Lalique was designing for Worth and other famous perfumers. 

After the war Lalique extended production into decorative vases, tableware, lamps and architectural glass, and he survived the depression by designing and making car mascots and paperweights. And whilst all his glass was press moulded, it was of the highest quality, his glass being regarded as some of the finest ever created.  Hence why Lalique is best known for his Art Deco glass of the inter-war years, and his company is still going! 

Well, I do hope this has excited your interest in coming along to the first lecture in our 2017/18 programme, and am very much looking forward to seeing you all again in October.

With best wishes