Bøger af Gill Hedley

Henry Flitcroft was first employed by the leading aristocratic architect of the time, Richard Boyle, Lord Burlington, who helped him to establish his long career. Flitcroft had about 50 clients over 40 years, working for many dynasties, including the royal family, the Bedfords, the Yorke/Hardwickes and the Malton/Rockinghams. Remarkably, he was employed regularly by the Duke of Montagu and his family from 1725 to 1765, and the Hoare family from 1728 to his death in 1769, and was responsible for some of the great country houses of the period including Wimpole, Woburn Abbey and Wentworth Woodhouse. This is the first book which details his life and examines his complete body of work. It sets Flitcroft within his social context, providing insights into those for whom he worked as well as his fellow architects. Flitcroft waged fierce battles to maintain his professional positions at Westminster Abbey and St Paul's and the documents are revealed here for the first time. The book dissects the dramatic story of Flitcroft's insane son and the legal cases that ensued which link Flitcroft and G.E. Street, who inherited Flitcroft's own house in Hampstead. In addition, Flitcroft's furniture designs are assessed and his notable churches and London buildings including Chatham House, Benjamin Franklin House and Pushkin House. Finally, his last great project at Stourhead is re-examined.

The story of new church building after Waterloo intertwines the works of the Incorporated Church Building Society (ICBS) and The Church Building Commission which together helped build and improve 10,000 churches.

Arthur Jeffress was an art dealer and collector from a Virginian family who bequeathed his "subversive little collection" (Derek Hill) to Tate and Southampton City Art Gallery on his suicide in 1961. That suicide, a result of his expulsion from Venice, has been the subject of speculation in many memoirs.Gill Hedley's biography of Jeffress has benefited from access to many hundreds of unpublished letters written between Jeffress and Robert Melville, who ran Jeffress' own gallery from 1955-1961. The letters were written largely while Jeffress was in Venice and reveal a vivid picture of the London gallery world as well as frank details of artists, collectors and the definitive story of his suicide.Previously unpublished research reveals new information about the lives of Jeffress' lover John Deakin, his business partner Erica Brausen, the French photographer André Ostier and Henry Clifford, and the way in which all of them influenced Jeffress' first steps as a collector from the 1930s onwards.