Sydney Pitcher "St. Martin's Cross Iona" Arts & Crafts photograph c. 1900 More Information
Sydney Pitcher “St. Martin’s Cross Iona” Arts & Crafts photograph c. 1900
SYDNEY PITCHER F.R.P.S. (d. 1950) England
ARTHUR H. PITCHER (Framer)
“St. Martin’s Cross Iona” c.1900
Carbon process photograph, hand carved oak frame with beautiful wood grain detail.
Marks: S MARTINS CROSS IONA (carved incised mark)
Art Nouveau paper label (on back): Framed by Arthur H. Pitcher, College Court, Gloucester, Moulding No…..
Photograph: H: 9 1/2″ x W: 5″
Frame: H: 16 3/4″ x W: 8 5/8″ D: 5/8″
Sydney A. Pitcher FRPS (active 1904-1939) was a photographer with an interest in monument and church architecture. He is listed in the 1927 Kelly’s Directory of the County of Gloucester as a commercial photographer, publisher and picture frame maker, operating from 5 & 7 College Court, Gloucester. Pitcher was involved primarily in the photography of Gloucestershire churches, but also took pictures of churches and cathedrals in neighbouring counties, and of medieval sculptures at Winchester College. He collaborated on the publication of Rushforth’s series of volumes The stained glass of Great Malvern Priory Church , Gloucester, 1916-1927.
He joined the Royal Photographic Society in 1904, was admitted as an Associate member in 1925, and became a Fellow in 1928.
Nigel Coates, Rare, Early and Iconic Genie stool 1988
NIGEL COATES (b. 1949) England
BRANSON COATES ARCHITECTURE London
“Genie” stool 1988
Carved and sandblasted solid ash seat on twisted mild steel legs
Marks: NIGEL COATES GENIE STOOL
Illustrated: 1000 chairs, Charlotte & Peter Fiell (Cologne: Taschen Verlag, 1997), p. 615.
H: 26: x D: 13 1/2″
Price: $9,500
British architect and designer. He studied at Nottingham University and the Architectural Association, London, where he graduated in 1974 and subsequently taught until 1989. In 1983 he formed the group NATO (Narrative Architecture Today) with a group of former students and began to practice independently; two years later he went into partnership with Doug Branson (b 1951). Coates became known for his fluid and lively graphic style and the overt theatricality of his designs. His proposals for the redevelopment of London, involving sophisticated allegories of popular culture, were shown in two exhibitions: ArkAlbion (1984), with drawings of new development areas such as County Hall and the Isle of Dogs, and Ecstacity (1992), with computer simulations and video clips. In the renovation (1980) of his own flat in London he juxtaposed the original, ornate late 19th-century interior with ‘found’ furniture and decorative objects. The publication of this project brought Coates to the attention of Japanese clients who were seeking fashionable Western designers, and he carried out several projects in Japan that became increasingly theatrical: in Tokyo the Metropole Restaurant (1985) evokes a European café, while the Parco Café Bongo (1986) juxtaposes classical English furniture with an imitation aeroplane wing mounted on the ceiling; and the Arca di Noè (1988), Sapporo, is an eclectic mixture of classical motifs and a concrete boat. Coates’s radical approach was dissipated in later British works, such as a series of London shops: one for Katharine Hamnett in Sloane Street (1988) has a shop front formed of aquaria, and one for Jigsaw in Knightsbridge (1992) has its shop front formed of a two-storey copper column in the shape of a phallus. In 1992 he began designing an extension to the Geffrye Museum, London.
Coates was an influential teacher at the Architectural Association from 78- 86, and has lectured extensively abroad. In 1995 he was appointed Professor of Architectural Design at the Royal College of Art and now divides his time equally between the college and his office. Nigel Coates furniture is represented in the Modern Furniture Collection of the Victoria & Albert Museum, London.
“I go for architecture that overlays and enhances. By blending observation and wit with reason, I want my work to generate a sense of the unexpected, and the seemingly spontaneous.”
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