Les Artistes


Jean Defortescu
A. Fortesque
Anthony Fortescue
Arthur McKay Fortescue
Chris Fortescue
Donald Fortescue
Eleanor Brickdale Fortescue
Elizabeth Fortescue Hitchins
Henrietta Anne Fortescue
Fortescue aka L.C.Walter
Roger Fortescue
William Banks Fortescue
Winifried Fortescue


Neil fortescue

Neil Fortescue Patron

A member of the community since October 11, 2004.

Capture d’écran 2011-08-31 à 03.10.32

Anthony Fortescue

...Fortescue, who is a stickler for delivering his furniture, recommends Cadogan Tate for shipping. 'They're are excellent carriers of furniture,'he says. 'They're very efficient, very punctilious...

Design World,
Anthony Fortescue - Furniture Reproductions

Winifried Fortescue

Décembre 96

Lady Winifred FORTESCUE



La nouvelle lettre des Pyrénées

Grand Tour
Il fut un temps où l'éducation des jeunes aristocrates anglais prévoyait un voyage sur le continent : le Grand Tour. La Tate Gallery à Londres consacre ce mois-ci une exposition sur ces premiers adeptes du tourisme. A Toulouse, les éditions Loubatières publient les dessins de Lady Fortescue pendant son Grand Tour en 1818 dans les Pyrénées. La jeune aristocrate anglaise arpenta les vallées pyrénéennes avec sa chambre claire, venant d'un monde dépeint dans le film Meurtre dans un jardin anglais. Au-delà de cette remarquable édition, soulignons une autre initiative relative au Grand Tour et concernant l'Italie. Lors d'une conférence de presse à Paris, sous l'égide de l'Office national du Tourisme italien, M. Luciano Scifone, directeur des affaires touristiques de la Campanie (région de Naples), a annoncé le développement d'une politique culturelle autour du thème du Grand Tour anglais. Des circuits vont être mis en place en Campanie sur les traces des premiers touristes, contemporains de Lady Fortescue. Précisons que les Pyrénées furent une destination somme toute secondaire pour les amateurs du Grand Tour, en raison des voies de communication peu confortables à l'époque. Alors que la construction européenne connaît quelques soubresauts, il est important de mettre en valeur ce genre de patrimoine culturel commun. De même, la région de Naples met en relief le Grand Tour, de même les Pyrénées sont mises en valeur par les chemins de Compostelle, ces veines ancestrales du corps européen. Il y a sur ces itinéraires un destin commun et les racines de la conscience européenne. Le fait que le thème du Grand Tour resurgisse sans préméditation à Londres, Naples et Toulouse est la preuve d'une identité commune et un petit tour joué aux contempteurs de l'Europe.

Randonnées Pyrénéennes et l'équipe de La Nouvelle Lettre des Pyrénées vous présentent leurs meilleurs vœux pour 1997.


: Fortescue, Winifred (Lady).
Blackwood and Sons, 1950.

: Fortescue, Winifred (Lady). Black Swan, 1993.




Perfume from Provence  
Sunset House 



Books by: fortescue lady


by Winifred Fortescue, et al
Return to 'Sunset House' : The Continuatio of 'Beauty for Ashes' [LARGE PRINT]
by Lady Fortescue, Winifred Fortescue
Sunset House [UNABRIDGED]
by Lady Fortescue, Patricia Hughes(Narrator)
Perfume from Provence
by Lady Winifred Fortescue, et al
Perfume from Provence [UNABRIDGED]
by Lady Fortesque, et al
Trampled Lilies [UNABRIDGED]
by Lady Fortescue, June Barrie(Narrator)
Trampled Lilies (Isis Reminiscence Series) [LARGE PRINT]
by Winifred Fortescue, Lady Fortescue
Lady Fortescue Steps Out (Gk Hall Large Print Book) [LARGE PRINT]
by Marion Chesney




Beauty for Ashes (Isis Reminiscence Series) [LARGE PRINT]







Perfume From Provence


Fortescue, Winifred/Illustrator Shepard, E. H. - Hardcover/Clothcover

Publication Date: May 1993
Publisher: Hearst Corporation

Fortescue, Winifred Hardcover/Clothcover ISBN: 0688125824


Perfume From Provence;  
By: Fortescue, Winifred/Illustrator Shepard, E. H. 
Perfume From Provence 


Fezensac French Bookshop :Perfume from Provence

Author/Editor : Lady Fortescue Publisher : Black Swan Published : 1996 Format : Pb Pages : 273 Price : £6.99 Ref No. : 5249


In the early 1930s, Winifred Fortescue and her husband, Sir John Fortescue, left England and settled in Provence, in a small stone house amid olive groves, on the border of Grasse. Their exodus had been caused partly by ill health, but was mostly for financial reasons, as it was in the period between the wars when it was cheaper to live in France than in England. Almost at once they were bewitched, by the scenery, by their garden - an incredible terraced landscape of vines, wild flowers, roses and lavender - and above all by the charming, infuriating, warm-hearted and wily Provencals. The house - called Domaine - was delightful but tiny, and at once plans were put in hand to extend it over the mountain terraces. Winifred Fortescue's witty and warm account of life with stonemasons, builders, craftsman, gardeners, and above all her total involvement with the everyday events of a Provencal village, made Perfume Of Provence an instant bestseller that went into several editions and became a famous and compulsive book for everyone who has ever loved France, most especially Provence.

Winifred Fortesque was born in a Suffolk rectory on 7th February, 1888, the third child of a country rector and connected, on her mother's side, to the Fighting Battyes of India. She has written for Punch, Daily Chronicle, the Evening News and Morning Post. In the 1930s she moved to Provence with her husband. She died in Opio in April 1951.


We found 9 titles from author Lady Fortescue.
More titles from our network of out of print book dealers from author Lady Fortescue.

Beauty for Ashes
In-Stock: Ships 2-3 days.
Lady Fortescue / Hardcover / ISIS Large Print Books / February 1998
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Perfume from Provence
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Winifred Fortescue,E. H. Shepard (Illustrator) / Hardcover / Hearst Communications, Incorporated / April 1993
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Perfume from Provence
Winifred Fortescue,E.H. Shepard (Illustrator) / Paperback / Transworld Publishers Limited /  
This title is not presently stocked by Barnes & Noble. Check availability from our network of Out of Print dealers.


Perfume from Provence
In-Stock: Ships 2-3 days.
Lady Fortescue / Audio / St. Martin's Press, Inc. / June 1998
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Return to "Sunset House" : The Continuatio of "Beauty for Ashes"
Lady Fortescue / Hardcover / ISIS Large Print Books / October 1998  
This title is not presently stocked by Barnes & Noble. Check availability from our network of Out of Print dealers.


Sunset House
Available: Ships 1-2 weeks.
Lady Fortescue,Narrated by Patricia Hughes / Audio / September 1998
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Sunset House: More Perfume from Provence
Winifred Fortescue,Lady Fortescue / Hardcover / Transactio / February 1996  
This title is not presently stocked by Barnes & Noble. Check availability from our network of Out of Print dealers.


Trampled Lilies
Lady Fortescue / Paperback / Transworld Publishers Limited / January 2000  
This title is not presently stocked by Barnes & Noble. Check availability from our network of Out of Print dealers.


Trampled Lilies
Lady Winifred Fortescue / Hardcover / Thomas T. Beeler Publisher / September 1998  
This title is not presently stocked by Barnes & Noble. Check availability from our network of Out of Print dealers.



The Horseman on the Roof by Jean Giorno (Harvill). Provence during the cholera epidemic of the 1830's. Jean de Florette by Marcel Pagnol (Picador) Manon des Sources by Marcel Pagnol (Picador) Fanny by Marcel Pagnol (Picador/Nelson) Marius by Marcel Pagnol (Picador/Nelson) Cesar by Marcel Pagnol (Picador/Nelson) Village in the Vaucluse by Laurence Wylie (Harvard) Dictionnaire des Communes Vaucluse by Robert Bailly (Barthélemy, Avignon)1985 Guide de la Provence mysterieuse, by Jean-Paul Clebert (Tchou)1986 Old Provence by Theodore A Cook (Rivington, London)1905 The Carmargue by Carol Dix (Gollancz, London)1975 A Guide to Provence by Michael Jacobs (Viking, London)1988 Provence and the Côte D'Azur, (Phaidon, London)1986 Memoirs by Frederic Mistral (Arnold, London) 1907 Villages de Provence by Alaine Paire and Christian Sarramon (Rivages, Marseille)1984 Les Belles Heures du Pays d'Arles (Lafitte, Marseille)1984 Aspects of Provence by James Pope-Hennesey (Longman, London)1952 Two Towns in Provence by MJK Fisher A Year in Provence by Peter Mayle Next Time Round in Provence by Ian Norrie (Aurum Press, London)1995 Perfume from Provence by Lady Fortescue (Black Swan) Sunset by Lady Fortescue (Black Swan) "I have come across the most delightful books, written by Lady Fortescue in the early 1930s, about her trials and tribulations whilst living in Provence."  A.W. ( from e-mail to Le-Guide.Com)


Lady Winifred Fortescue
Format: Hardcover
ISBN: 0753150646
Publisher: Thomas T. Beeler Publisher
Pub. Date: September  1998
Edition Desc: LARGEPRINT

From the Publisher From Sunset House, set in a little lost village perched on the peak of the Alps Maritimes, Lady Fortescue watched the Mobilisation Generale at the beginning of the Second World War. As the war advanced anti Calais fell to the Germans, Lady Fortescue realized she was about to be trapped in France as an enemy alien. Making her way to Brittany only a little ahead of the German Army, she escaped on one of the last boats to leave France.

Return to "Sunset House" : The Continuatio of "Beauty for Ashes"
Lady Fortescue
Format: Hardcover - LARGE PRINT BOOK
ISBN: 0753150514
Publisher: ISIS Large Print Books
Pub. Date: October  1998
Edition Desc: LARGEPRINT
Beauty for Ashes 
Lady Fortescue
Our Price: $24.95 
In-Stock: Ships 2-3 days 
Format: Hardcover - LARGE PRINT BOOK
ISBN: 0753150328
Publisher: ISIS Large Print Books
Pub. Date: February  1998
Edition Desc: LARGEPRINT
sales rank: 274,076


Sunset House: More Perfume from Provence.
Sunset House: More Perfume from Provence (Large Print ) Winifred Fortescue, Lady Fortescue $21.95 ASIN 1856951588


for: the author(s) are like "Fortescue, Lady"

7 items are shown below.
Perfume from Provence ~ Usually dispatched in 2-3 days
Lady Fortescue, E.H. Shepard / Paperback / Published 1992
Our Price: £5.59 ~ You Save: £1.40 (20%)

Trampled Lilies ~ Usually dispatched in 2-3 days
Lady Fortescue / Paperback / Published 1997
Our Price: £5.59 ~ You Save: £1.40 (20%)

Perfume from Provence
L. Fortescue / Audio Cassette
Our Price: £7.99
(Special Order)

Perfume from Provence (Complete and Unabridged - 5 Audio Cassettes): REF IAB 980315
Lady Fortescue, Patricia Hughes / Audio Cassette / Published 1998
Our Price: £23.45
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Sunset House
Lady Fortescue / Hardcover
Our Price: £12.95
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There's Rosemary, There's Rue (Complete and Unabridged - 6 Audio Cassettes): REF IAB 980814
Lady Fortescue, Judith Whale / Audio Cassette / Published 1998
Our Price: £31.50
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Trampled Lillies
Lady Fortescue / Hardcover / Published 1998
Our Price: £16.95
(Special Order)



Book Search Results









Trampled Lilies 



French Country Life


The powerful southern sun produces herbs and flowers that yield haunting fragrances. Savor the atmosphere of Provence with  

Your Search Results 

William Banks Fortescue

FORTESCUE William Banks

Italian Art Gallery

Description: SPECTACULAR SCENERY OF LADY,original museum's quality oil on board ,very nice!!!

Signed: Signed with a monogram "FWB" and inscribed " william Banks/Fortescue" on the reverse (1850-1924), a well-listed British artist.
Age: The painting is from 20th century
Estimate: $4.000-5.000. No reserve auction.

Medium: Genuine oil on board.
Size: Without frame the item measures:

Width: 12,5 inches. (30 cm)
Height: 20 inches (40 cm.)
The frame is 4 inches (10 cm) wide.



William Banks Fortescue
RA, RBA C.1855-1924
British Girl & Puppies,
Oil on canvas, signed
titled on reverse



430 - Illustrated -

William B. Fortesque. Whitewashed cottage interior with boy eating a pie,
and dog looking on, oil on canvas, signed, 13½ x 17½", glazed and in gilt frame




Shelling Peas by William Banks Fortescue
Buy the picture here :

Roger Fortescue



There aren't many people left who took apprenticeships, but Burnham born Roger trained as a signwriter and moved took Cookham in 1972 when he set up Fine Signs next to Pinder Hall.
It looks so tiny from the front, but appearances are deceiving and the work shop is really quite large turning out all sorts of commercial signs, logos, stainless steel or glass and of course the local event boards and big banners that hang across the High Street.
In the old days everything was hand painted including the sides of cars or pub signs, but nowadays computer technology makes the design work a lot easier.
Roger's four children grew up going to Cookham Rise and Holy Trinity schools and after work he's a walker who enjoys a 5 mile hike to get up an appetite for a bite at Gandhis or the Peking Inn. "To me the Cookham magic is in my friends and the wonderful social activities".
painted 10th May

Contact: John Miles Organisation, Tel: 01275 854675 / 856770, Fax: 01275 810186 Cadbury Camp Lane, Clapton in Gordano, Bristol, BS20 7SB

Fortescue aka L.C.Walter

Oil Painting on Hard Board.
Signed in her married name L.C.Fortescue lower left.
Early 20 century Impressionist landscape.
13 x 20 inches un-framed ... 17 x 23 inches in Frame shown.

eBay (05 Oct 2004)

FORTESCUE aka L.C. Walter

L.C.Fortescue aka L.C.Walter b1881..Pennsylvania Artist

ARTIST: Louise Cameron Walter 1881 - 1963 ...
American Listed Artist....painting is signed in her married name (but she is usually listed under Walter).
The artist is listed in Who Was Who in American Art. Born and raised in Pittsburgh Pennsylvania, she later married famous Canadian/American Engineer Charles LeGeyt Fortescue. She studied art at the AcadÈmie Julian in Paris at the turn of the Century where she won three medals in the annual art competitions.
The AcadÈmie had a world renowned faculty, boasting of the most famous and successful artists of their time, including William Bouguereau, Jules Lefebvre, Emile Renard and Jean-Paul Laurens. For young women, the AcadÈmie Julian was an important alternative training center to the Ecole des Beaux-Arts, the official art school of France, which barred women from studying there until 1897.
Just a few of the artists who studied at the school were Frank Benson, Edmund Tarbell, Thomas Dewing, Gari Melchers, J.C. Leyendecker, John Henry Twachtman, and Joseph Sharp.
Her academic training in France completed she embarked on a long career to painting and sculpture works in the United State. Mrs. Fortescue was an accomplished artist painting tiny realistic miniatures, large portraits, and impressionist landscapes.

Up for Auction is this Fabulous American Impressionist Landscape painted during the period the Artist and her husband were on holiday after he had won the famous « Order of Merit » from Westinghouse that year.

This very appealing work for the collector interested in Early American, Pennsylvania and/or Women Artists would make a fine addition to any art collection. Truly a Rare Find!!!

CONDITION: In very Good Condition without repair or damage ... Frame is gratis to the winning bidder but is in good usable condition.

Henrietta Anne Fortescue

FORTESCUE Henrietta A.


Une Anglaise aux Pyrénées : Lady Fortescue
   Février-mars 1996
   Dossier de presse 
 [PDF - 177 Kb] Ouvrir


Exposition temporaire « En voyage à travers la Suisse avec bloc et crayon. Dessins de voyage datant du XIXe siècle » Du 19 mai au 31 octobre 2000, les visiteuses et visiteurs auront l'occasion de découvrir l'exposition «En voyage à travers la Suisse avec bloc et crayon», au Château de Wildegg. Henriette Fortescue, Ludwig Vogel et Christian Allers ont un point en commun: tous trois ont enregistré leurs impressions au crayon sur papier. Ces voyages documentés ont eu lieu dans les années 1820, 1857 et 1889 et illustrent les changements qui ont vu le jour au fil du temps et les conditions de voyage de l'époque. Tandis que Lady Fortescue trouvait encore de modestes auberges et des paysages alpins intacts, on rencontre chez Allers les premières installations mécaniques de remontée et des hôtels de luxe confortables avec portiers en livrée et orchestres.
Château de Wildegg 


Florence Fortescue



Very rare original acrylic on canvas painting by English artist Janet Butler (1961-date) entitled humorously 'Blue Moon'. The painting is signed in the lower right corner 'Florence 2002' and was painted under the artists pseudonym 'Florence Fortescue'.
Painting depicts female rear in impressionist style in vivid blue on blue tones.
Canvas size 20" wide x 16" high.
To date works by this artist have not been available for sale to the general public, however we have been able to acquire several pieces by this talented contemporary artist, please watch for our other upcoming sales of both rare and emerging art.
This painting has not to date been reproduced commercially and copyrights are still held by the artist. This option may be available to the winning bidder upon further negotiations.
Please note that actual colours on this painting may not be exactly as shown in the digital images that you see on your computer monitor, however we do endeavour to represent our items as accurately as possible. For further information please email the seller.



Elizabeth Fortescue Hitchins

Elizabeth Fortescue Hitchins

Eleanor Brickdale Fortescue






Eleanor Fortescue-Brickdale: see larger version
Eleanor Fortescue-Brickdale (British, 1871-1945)
Eleanor Fortescue-Brickdale was born in London in 1872, the daughter of barrister Matthew Fortescue-Brickdale. She attended the Crystal Palace School of Art and later between 1897-1900 Eleanor studied at the Royal Academy Schools. Her first exhibit at the Royal Academy was a black and white piece in 1896 and she went on to exhibit at Royal Watercolor Society.
During her lifetime, Brickdale became well respected as an illustrator which was an unusual accomplishment for a women of the day. Her earliest were works done in a simple manner in pen, and she did not begin to add color until several years into her career. From 1902 Eleanor Fortescue-Brickdale worked both as a painter and illustrator of fine books, among them Alfred Tennyson's Poems in 1905 and Robert Browning's Pippa Passes in 1908. She was the first female member of the Institute of Painters in Oils in 1902, a member of the RWS and also taught at the Byam Shaw School of Arts. Starting in 1901 she held a series of exhibitions entitled Such Stuff as Dreams are Made Of done in watercolor and gouache. One painting included in the show was In the Springtime.
Though she continued to paint in Pre-Raphaelite methods well into the twentieth century with it's attention to detail and similar subwject matter, later in life Fortescue-Brickdale expanded her style to designing stained glass. She donated her work to churches, some of which may still be seen in Bristol Cathedral today. Eleanor Fortescue-Brickdale died in London of a stroke in 1945.
Museums: Eleanor Fortescue-Brickdale may be found at Walker Art Gallery or the Birmingham City Museum and Art Gallery.

How to send a postcard:
If you would like to send a postcard of
Eleanor Fortescue-Brickdale paintings please follow the instructions below. You can preview your card before it sends. Enjoy!





Eleanor Fortescue-Brickdale Postcards

STEP #1: Select a picture from the list by checking the dot next to it. To view the postcard image click on the thumbnail. 

Eleanor Fortescue-Brickdale
The Ugly Princess 1902

Eleanor Fortescue-Brickdale
The Little Foot Page 1905

Eleanor Fortescue-Brickdale
The Pale Complexion of True Love

Eleanor Fortescue-Brickdale
In the Springtime

Eleanor Fortescue-Brickdale
The Lovers World

Eleanor Fortescue-Brickdale
The Uninvited Guest













Anderson, Brickdale & Collier 1823-1903, 1871-1945, 1850-1934



Pre-Raphaelite Artists


"The Lover's World"
Hello! Welcome to the Pre-Raphaelite artists, Anderson,
Brickdale and Collier. In order to accommodate all of the
paintings without taking up your time, paintings on this
page are fairly small. So if you find a particular painting
you like, just click on the selected painting and a bigger
size of that painting will pop up.
For further research I have created a web page to help you out in your studies of this interesting period, entitled: Pre-Raphaelite Notes

Eleanor Fortescue Brickdale






Eleanor Fortescue Brickdale
"The Uninvited Guest"

Brickdale Paintings&Biography in ArtMagick
Brickdale at Scriptorium
Brickdale Illustrations in the Camelot Project
Brickdale Biography by Bob Speel








July 13 - 19, 1998
labels are current as of November 12, 2000

Idylls of the King . . . . . . . $550
By Alfred Lord Tennyson; Hodder and Stoughton. nd First limited edition. Folio. Very good - minor overall dusting to vellum, free EPs are browned, ties missing, otherwise fine. #200 of only 350 copies signed by Brickdale. 173pp. 21 tipped-in color plates (with printed tissue guards) of beautiful queens and maidens (Enid, Vivien, Elaine) in EFB's fine Pre-Raphaelite style. Plates are tipped onto gilt-bordered pages. Brickdale is at her finest with this same subject matter favored by Rossetti and Burne-Jones.

Eleanor Fortescue Brickdale 
















Pre-Raphaelite Women Artists
by Jan Marsh, Pamela Gerrish Nunn


The work of the Pre-Raphaelite Brotherhood and their followers is enduringly popular and correspondingly familiar to a wide public. Works by women artists within the Pre-Raphaelite style have, however, largely been forgotten and ignored in the history of the movement. This book, published to accompany an exhibition in Manchester, England, brings together paintings, drawings, photographs, and other works that women contributed to the Pre-Raphaelite movement. Many are reproduced and documented here for the first time. Spanning three generations from the 1840s to the early 1900s, the artists include Barbara Bodichon, Anna Howitt, Rosa Brett, Anna Blunden, Jane Benham Hay, Joanna Boyce, Elizabeth Siddal, Rebecca Solomon, Emma Sandys, Julia Margaret Cameron, Lucy and Catherine Madox Brown, Marie Spartali Stillman, Maria Zambaco, Francesca Alexander, Evelyn De Morgan, Kate Bunce, Marianne Stokes, Christina Herringham, and Eleanor Fortescue Brickdale. Their works demonstrate that Pre-Raphaelitism is a broader historical movement than has previously been recognized and that women were active in all its phases. Their re-inclusion in Pre-Raphaelite history will redefine its scope, concerns, and achievements, as well as restore a wealth of neglected works to public attention. --This text refers to the Paperback edition.
Book Description  

Alfred, Lord Tennyson's

The Idylls of the King


Eleanor Fortescue-Brickdale illustrations from


  Send Net Postcards of Fortescue-Brickdale's paintings   Eleanor Fortescue-Brickdale
Eleanor Fortescue-Brickdale Art Gallery I  




The Pre-Raphaelites

Spring 2000 

Pre-Raphaelite Images
Dr. Pat Hagen T4106A 218/723-6617
Arthurian and Medieval Images

Here are a number of Pre-Raphaelite versions of Arthurian material and other medieval motifs.  On the "Medieval" page are some historically medieval artworks and images by Raphael and Botticelli, for comparison.  Although the Pre-Raphaelites had a problem with Raphael, Burne-Jones nevertheless shows the infleunce of Raphael, as well as Botticelli.  The influence is there in other Pre-Raphaelite artists as well.
Because this page is already long and takes a while to download, I have placed the remaining Arthurian and medieval images in a second page, titled "Arthurian images 2."  The painting above is The Uninvited Guest by Eleanor Fortesque Brickdale, 1906.  It is discussed on the Arthurian images 2 page.  The final set of Arthurian images you can check out is on the "Beardsley" page.

HON 4777








"Victorian Fantasies" by Terri Windling

As the 19th century progressed, ghosts, goblins, sylphs, fairies, and other supernatural spirits not only visited parlors rich and poor through seances and Ouija boards, they also populated all areas of visual, literary, and performance art. In fine art, Shakespeare’s fairies were reimagined with the aid of folklore texts, inspiring paintings crowded with sprites in detailed natural settings. Richard Dadd, Richard Doyle, Frances Danby, Joseph Noël Paton, John Anster Fitzgerald, Daniel Maclise, Thomas Heatherly, and Eleanor Fortesque-Brickdale were just a few of the numerous artists who created an entire genre of "Victorian Fairy Art" -- a genre which was not marginalized, as fantasy art tends to be today, but found in prestigious galleries and at the Royal Academy exhibitions. These were paintings for adults, not children, and they had subversive qualities. Fitzgerald’s fairy imagery, for instance, was often dark and hallucinatory, full of references to opium pipes and opium medicines. (Opium derivatives like laudanum, called "the aspirin of the 19th century," were available without prescription in England until 1868, commonly used for insomnia, headaches, and the pains of menstruation. It may perhaps be no accident that England’s twin obsessions with fairies and Spiritualism occurred during the same span of years when casual opium use was widespread.) Many fairy paintings were distinctly salacious, such as Paton’s huge canvases of luscious fairy maidens in various states of undress. At a time when public expression of sexuality was severely repressed, when medical "experts" proclaimed that respectable women were incapable of sexual pleasure, artists both male and female discovered that sensual scenes were acceptable just so long as all their nubile maidens sported gossamer fairy wings. The fairy fad among Victorian adults must also be viewed in light of the rapid changes wrought by the Industrial Revolution, as Britain moved from the rhythms of its rural past to the mechanized future. With factories and suburban blight transforming huge tracts of English countryside, fairy paintings and stories were rich in nostalgia for a vanishing way of life. In particular, the art of the Pre-Raphaelites (Rossetti, Morris, Burne-Jones, etc.), based on Romance, legends, and myth, promoted a dreamy Medievalism and the aesthetics of fine craftsmanship to counter the ugly new world created by modern forms of mass production. ("For every locomotive they build," vowed Edward Burne-Jones, "I shall paint another angel.") The Arts & Crafts movement, which grew out of Pre-Raphaelitism, embraced folklore to such a degree that by the end of the 19th century, fairies and popular fairy tales scenes were commonly found in middle class homes in every form of decorative arts: wallpaper, draperies, ceramics, stained glass, metalwork, etc. At the dawn of the 20th century, lavish new fairy tale volumes were produced that turned illustration into a fine art by the likes of Arthur Rackham, Edmund Dulac, Kay Nielsen, Jessie M. King, Warwick Goble, Eleanor Vera Boyle, and the Robinson brothers. It was not until 1915, however, that the most famous fairy picture of the Victorian/Edwardian age appeared in exhibition in London: "The Piper of Dreams," by the English-Italian artist Estella Canziani. Canziani, the daughter of fairy painter Louisa Starr, grew up among the Pre-Raphaelites and studied at the Royal Academy; her work drew on her interest in Italian folklore and peasant traditions. "The Piper of Dreams," a wistful picture of a country boy surrounded by fairies, was published as a print by the Medici Society, and became a runaway bestseller . . . a print as ubiquitous in England then as Monet’s waterlilies are now. This gentle, forgotten fairy picture once rivaled Hunt’s famous Biblical scene "The Light of the World" in popularity, and was a favorite among English soldiers in the trenches of World War I.






zoom in

Fortescue-Brickdale - The Lovers World
by Eleanor Fortescue-Brickdale


(in inches)






IMAGE #1000-7943





Book on Knights and Knighthood



Lancelot : The Adventures & Romances; Christine Chaundler, Eleanor Fortesque-Brickdale; Hardcover; $12.99; A collection of tales featuring the bravest knight in King Arthur's Court.








main3 Eleanor Fortescue Brickdale "The Guardian Angel", 1910, Photo: Christies from: Women Artists and the Pre-Raphaelite Movement by Jan Marsh and Pamela Gerrish Nunn.
Students examine a portion of the wide range of poetry written during this period: poetry remarkable for its linguistic virtuosity (G.M. Hopkins); narrative complexity (Elizabeth Barrett Browning); feminist agenda (Amy Levy); psychological intensity (William Morris); unconventional eroticism (Algernon Swinburne); sensuous charm (Alfred Tennyson); and intricate humor (Robert Browning). The class discusses poetry of celebration, consolation, amusement, and reflection written during the high-Victorian period and the fin de siecle by women and by men, by members of several classes, and by defenders of different social and religious faiths. Students also consider issues of poetic language, rhetoric, and genre, and the social context and audience of all these works. The instructor offers information about the period, the individual author's lives and the Victorian literary marketplace, and many examples of Victorian visual arts. Class focus is on discussion, so attendance is essential, and affects final grades. Students are expected to submit eighteen pages of written work, which may be divided into two or three shorter essays or a longer one according to student preferences.










We're using this space to showcase the work of women artists down through the centuries. Over time we will do our best to make this list comprehensive. If you have a famous artist to recommend, please send us mail.
We would like to create a network of women who are interested in the work of women artists. Our dream is that eventually all the women on our list will have their own web page. If any of these women strike your fancy and you decide to devote a web page to their work, please let us know and we will link our page to yours.

Nineteenth Century


Susan Macdowell Eakins (1851-1938)
  • Elizabeth A. Armstrong Forbes (1859-1912)
  • Eleanor Fortescue-Brickdale
  • Eva Gonzalès (1849-1883)
  • Ann Hall (1792-1863)
  • Antoinette-Cecile Hortense Haudebourt-Lescot (1784-1845)
  • Claude Raguet Hirst (1855-1942)
  • ...





    Eleanor Fortescue Brickdale RWS (1871/2-1945)







    Youth and the Lady

    Eleanor Fortescue Brickdale was an oil and watercolour painter, a designer of stained glass, and a book illustrator. She studied at the Crystal Palace School of Art under Herbert Bone from 1889, then at the RA Schools, showing oils and watercolours in the Exhibitions from 1896 and achieving early recognition in The Studio, and having three solo exhibitions at the Pre-Raphaelite dedicated Dowdeswell Gallery in the 1900s. She became RWS in 1919. Her London studio was very close to Leighton House. Her output is mixed - some pictures rather symbolist, others sentimental, and her style varies from rather wishy-washy to very detailed. Often it shows the influence of her friend Byam Shaw, who founded a school of painting where Fortescue Brickdale later taught. Her best pictures have jewel-like colours and Pre-Raphaelite girls in ornate classical garb. Often her paintings show just one or two figures with accoutrements indicative of subject.
    As a book illustrator, Brickdale had a large output in the early years of this century, working on children's books and poetry (e.g. Tennyson, Browning) and song books.
    It is hard to find pictures by Brickdale on display, but there is at least one at the Russell-Cotes Museum, and another (The Forerunner of 1920) at the Lady Lever Gallery. A fairy picture, called The Lover's World (1905), is owned by the Bristol gallery, and with its tiny figures seems influenced by Walter Crane's The Mower.














    Donald Fortescue







    Donald Fortescue
    "My original training in the arts was as a furniture designer and maker. For many years I pursued this career in Australia working to commission for private clients, collaborating with architects and producing my own product lines. Increasingly, my work tended towards the sculptural and abandoned traditional furniture forms. My Masters studies in Sculpture accelerated this trend. The work produced for my MFA thesis consisted of gallery-wide installation of 'furniture forms' produced in limited series and having a strong mutual resonance."




    International Artists-in Residency exhibitions Scottish Artist in Residence exhibition: Natalie de Briey
    An exhibition highlighting works by the seventh recipient of the joint Scottish Arts Council/Tasmanian School of Art at Hobart and Canberra School of Art overseas artist-in-residence initiative. Between: Donald Fortesque August, 2001 Mirror Images: Self-portraiture and its contemporary context This exhibition will explore the work of several contemporary artists who investigate the domain of self-portraiture. The exhibition is planned to coincide with a weekend symposium on portraiture which will be presented by the University of Tasmania and the National Portrait Gallery, Canberra. It is likely that the National Portrait Gallery will sponsor the visit of an international artist investigating the theme of portraiture as part of the symposium. To be curated by Jonathan Holmes for the Plimsoll Gallery.


    The Plimsoll Gallery Program 2001

    6 July - 29 July 











    Master of Creative Arts (Sculpture), University of Wollongong.
    Associate Diploma Visual Arts (Design in Wood), Canberra School of Art, Australian National University.
    Bachelor of Science (Honors in Botany), University of New South Wales, Sydney.


    Associate Professor, Chair of Wood/Furniture program, California College of Arts and Crafts, San Francisco, USA.
    Head of Furniture Design, Jam Factory Craft and Design Centre, Adelaide, South Australia.
    Lecturer, Foundation Studies, Canberra School of Art, Australian National University.
    Lecturer, School of Industrial Design, Faculty of Environmental Design, University of Canberra.
    Lecturer, Foundation Studies, Canberra School of Art, Australian National University.
    Self-employed furniture designer-maker .
    Employee, Finedesign Furniture, Queanbeyan, NSW.


    Emigrated to the USA.
    Study tour of USA (4 months) including Residency at the Australia Council's Studio in Greene St., Soho, New York.
    Churchill Fellowship - Study tour of Japan and the United Kingdom for 7 months.
    Japan - studying traditional lacquer and woodworking with Prof. Makoto Fujisaki (Kyoto Univ. of Fine Arts) and Mr. Kenkichi Kuroda,
    and papermaking with 'living national treasure' Mr. Minoru Fujimori.
    UK - Studio assistant to Alan Peters OBE and Richard La Trobe-Bateman.
    Established the 'Decorative Arts Workshop' furniture design studio near Canberra, with Antoon Meerman and Diane Smith.
    19 months traveling and working in Japan.


    Member of Advisory Board of the Furniture Society.
    1998-9 Member of Board of Trustees of the Furniture Society. Co-chair of the conference committee.
    Co-ordinator of Furniture 98: East meets West, the 2nd National Conference of the Furniture Society, San Francisco.
    International correspondent for OBJECT magazine, Australia.
    Peer of the Visual Arts and Craft Board of the Australia Council, the Australian Governmen's arts funding and policy advisory body.
    State co-ordinator for Design Australia to be held at Westweek 1997. Pacific Design Centre, Los Angeles.
    Co-ordinator of 'Furniture Design Link'. A federally funded project to establish links between furniture designer-makers and the mainstream furniture manufacturing industry.
    Member of Visual Arts Committee of the ACT Cultural Council, the ACT State Government's arts policy advisory body.


    Professional Development Grant, Visual Arts and Crafts Fund of the Australia Council - towards a new body of work, catalogue and touring exhibition to be held in Sydney and San Francisco in 2001.
    Professional Development Grant, California College of Arts and Crafts.
    Professional Development Grant, ACT Arts and Special Events.
    Australia Council Residency, Greene Street Studio, New York.
    Prototype Award, Australis Cognita, National Furniture Design Competition.
    Professional Development Grant, ACT Arts and Special Events.
    Traveling Grant, Commonwealth Dept. of Foreign Affairs and Trade.
    Churchill Fellowship, the Winston Churchill Memorial Trust.
    Individual Grant, the Capital Arts Patrons Organisation (CAPO).
    Individual Grant, the Arts Development Board of the ACT Community Development Fund.
    Craft Training Grant, the Visual Arts and Craft Board of the Australia Council.


    Wollongong City Gallery, Wollongong.
    Art Gallery of South Australia, Adelaide.
    Powerhouse Museum, Sydney.
    Library, AGSM, University of NSW, Sydney.


    Empty Vessels, John Elders Gallery, New York.
    'AGROUND' at Jam Factory Craft and Design Centre, Adelaide. Canberra Contemporary Art Space, Canberra. Wollongong City Gallery, Wollongong.
    Distelfink Gallery, Melbourne.
    'Full Circle'. Narek Galleries, Cuppacumbalong, Tharwa, ACT.


    United States
    'Form Follows'. University of California, Davis.
    'Add/Drop'. Oliver Arts Center, Oakland.
    'The Measure of All Things'. The Great Hall. San Francisco.
    John Elders Gallery, New York.
    SOFA (Sculpture, Objects and Functional Art), Navy Pier, Chicago.
    Collectors of Contemporary Wooden Vessels, Sculpture and Furniture Conference. Parc 55 Hotel, San Francisco.
    Furniture '98 - CCAC Student, Faculty and Alumni. Bruce Gallery ,CCAC, San Francisco.
    Furniture '98 - Members Gallery. Bruce Gallery, CCAC, San Francisco.
    Design Australia. Westweek 1997. Pacific Design Centre, Los Angeles.
    SOFA (Sculpture, Objects and Functional Art), Navy Pier, Chicago.
    SOFA (Sculpture, Objects and Functional Art), Navy Pier, Chicago.
    SOFA (Sculpture, Objects and Functional Art), Navy Pier, Chicago.
    The Somatic Object. Dr. Earl Lu Gallery, Lasalle College of the Arts, Singapore.
    The Somatic Object. National Museum of History, Taipei, Taiwan.
    Art of the Object. Craft Australia touring exhibition of South America. Montevideo, Uruguay and Santiago, Brazil. Australia
    The Somatic Object. Ivan Dougherty Gallery, Sydney.
    New Furniture. Jam Factory Craft and Design Centre, Adelaide.
    Detail Contemporary Furniture Gallery, Melbourne.
    Design '96. Artists + Industry, Melbourne. South Australia.
    Crucible of Design. Jam Factory Craft and Design Centre, Adelaide.
    Re: Covering Manhattan. Correct Exposure, Adelaide.
    Beyond the Spiral Staircase. Jam Factory Craft and Design Centre, Adelaide.
    Detail 6. Detail Contemporary Furniture Gallery, Melbourne.
    Design '95. Artists + Industry, Melbourne.
    Ektozone; Objects from the outer limits. Gallery on 7, David Jones, Sydney.
    Celebrate! the Jam Factory Craft and Design Centre. Twenty-one years. Jam Factory Craft and Design Centre, Adelaide.
    ACT in the Rocks. Crafts Council Gallery, Canberra; Craftspace Gallery, The Rocks, Sydney.
    Executive Office Furniture Incorporating Merino Leather. Narek Galleries, Cuppacumbalong, Tharwa, ACT.
    Crossing Over. Crafts Council of the ACT Gallery, Canberra. Alice Craft Acquisition 1993. Araluen Craft Centre, Alice Springs.
    The Ethereal Edge. Jam Factory Craft and Design Centre, Adelaide.
    Addressing the Chair. Canberra Contemporary Art Space.
    On Tray. Jam Factory, Adelaide.
    Alice Craft Acquisition 1992. Araluen Craft Centre, Alice Springs.
    Furniture of the Boudoir. David Jones, Canberra.
    The Light Fantastic. Canberra Contemporary Art Space; Distelfink Gallery, Melbourne; Sturt Craft Centre Gallery, Mittagong.
    2nd National Woodwork Exhibition. Royal Exhibition Buildings, Melbourne.
    Annual Exhibition, Woodcraft Guild of the ACT. Crafts Council of the ACT Gallery, Canberra. Qdos Gallery, Lorne, Victoria.
    Craftsmanship in Wood. Crafts Council of the ACT Gallery, Canberra.
    Woodworks. Blaxland Gallery, Sydney.
    Five Years On. Crafts Council Gallery, The Rocks, Sydney.
    National Woodwork Exhibition. Royal Exhibition Buildings, Melbourne.
    Canberra School of Art Graduating Students Exhibition. CSA Gallery, Canberra.
    Appreciating Wood. Melville Hall, ANU, Canberra. Held in conjunction with the Third National Wood Conference.
    The Canberra Collection 2. Link Gallery, Canberra Theatre.
    Designer Makers in Wood. Narek Galleries, Cuppacumbalong, Tharwa, ACT and Goulburn Regional Gallery.
    Woodcraft Revisits the Opera. Exhibition Hall, Sydney Opera House.
    Beauty and Utility in Wood. Crafts Council of the ACT Gallery, Canberra.
    The Canberra Collection. Meat Market Craft Centre, Melbourne.


    In the United States
    Design Copyright consultant for Owen, Wickersham and Erickson, P.C. San Francisco.
    At Jam Factory Craft and Design Centre
    Lectern for the Wollongong City Gallery, Wollongong.
    Lounge furniture and low tables for Fauldings International Corporate Headquarters, Adelaide.
    'Technology Hub' interactive display centre for Primary Industries South Australia.
    Restaurant fit-out for Botanic Dining Room, Adelaide. Tables, chairs, waiter's stations and wine racks.
    Design of public seating for Rundle Mall, Adelaide. Collaboration with Steve Greive and Assoc. Architects.
    Reception area furniture for David Deakin Davies & Co., Solicitors, Adelaide.
    Winner of Design Institute of Australia (SA Chapter), Design Award, 1995.
    Development of the 'Greef' chair for 'Workspace' and 'Art Images' with Kestie Lane and Martin Murray.
    At Decorative Arts Workshop
    Construction of Assembly Table and Speaker's Desk for the ACT Legislative Assembly.
    Boardroom Tables for the Meat Research Corporation, Sydney. Including development of Merino leather and testing its potential applications in furniture.
    Design of all furniture and fabrication of sanctuary pieces for St. Michael's Parish Church, Kaleen, ACT. DAW collaboration.
    At Finedesign
    Involved in all aspects of the fabrication and installation of the Leader of the Opposition's and the President of the Senate's Suites for the New Parliament House, Canberra.
    Refurbishment of the Canberra Theatre Foyer.


    Kelsey, John & Mastelli, Rick. eds. Furniture Studio: The Heart of the Functional Arts. The Furniture Society. 1999. p.30.
    Rowley, Sue. ed. Craft and Contemporary Theory. Allen and Unwin. 1997.
    Ioannou, Norris. Master's of Their Craft. Craftsman House. 1997.
    Zimmer, Jenny (Ed.). Contemporary Craft Review 1: Collected essays on issues and themes in contemporary craft. Craft Victoria. 1996. pp.21-3.
    Cochrane, Grace. The Crafts Movement in Australia: A History. UNSW Press. 1992. pp.399-400.
    Artfile, 1992. Craft Arts International. pp. 290-291.

    Reviews and articles

    'Australian furniture design; no pain, no gain'. Monument 13, July 1995. p.96.
    Jinman, Richard. 'Home-made has wood on imports'. Weekend Australian, 21 October 1995. p 5.
    Outlaw, Anne. 'Re: furnishing memory'. Broadsheet 24.3. Spring '95. p.23.
    Fortescue, Christopher. 'Aground - a review'. Object 2.95. Object 1.95. p.2.
    Hinchliffe, Meredith. 'Metal and sand mix in design challenges'. Canberra Times, 26 July 1995. p.C9.
    Vogue Living. 4.1995. Aug.-Sept. 1995. p.28.
    SA Crafts. 2:1995 Radok, Stephanie. 'Memory and the carnivore'. Adelaide Review, June 1995. pp.31-2.
    Ioannou, Noris. 'Showing personal view with a room'. Adelaide Advertiser, 26 May 1995. p.21.
    SA Crafts. 3; 1994. Hinchliffe, Meredith. 'Beauty and design in the boudoir'. Canberra Times, 11 March 1992. p.26.
    'Light sauce', Object, Summer 1992. p.18.
    Geissler, Marie. 'Club Fed'. Craft Arts 23, November 1991/ January 1992.
    Geissler, Marie. 'Club Fed'. Design Ink 6 , September 1991.
    Barron, Sonia. 'Pleasures of finely crafted furniture'. Canberra Times, 29 May 1991. p.25.
    Uhlman, Amanda. 'Heavenly pieces of art by precision craftsmen'. Canberra Times, 16 May 1991. p.20.
    Leveson, Kenneth. 'Wood works are exercises in pure design'. The Age (Melb.), 7 August 1990.
    Collenette, Peter. 'Freedom and a living - the best of two worlds'. The Age (Melb.), 24 July 1990.
    Raffan, Richard. 'Design for living'. Craft Arts 19, July/September 1990.
    Wallace, Sue-Anne. 'Furniture with natural grace'. The Canberra Times, 27 March 1989.
    Australian Woodworker, Nov./Dec. 1988. p.41.
    Hinchliffe, Meredith. 'Work of a higher standard'. Canberra Times, 2 December 1987. p.27.
    'The whole world in their hands'. Canberra Times, 15 November 1987.
    'The Somatic Object'. UNSW Press. 1997.
    'AGROUND'. 1995.
    'Celebrate! Jam Factory Craft and Design Centre. Twenty-one years'. 1994.
    'The Art of The Object', Craft Australia. 1994.
    'The Light Fantastic'. 1991.
    Non-print media
    'Imagine', episode 26. SBS TV. 1994.
    Published writing
    'The Fire Within - a review'. Object 4.96.
    'A Winter's Tale from New York'. Object 3.96.
    'The Art of the Maker - a review'. Object 1.95.
    ''For Tomorrow' - seems like only yesterday'. Object 4.93.
    'A fresh ride on the sheep's back'. Object 3.93.
    'Group Mono Mono; a model for practice?'. Object 2.93.
    'A Flowering of the Arts'. Craft Arts 27, 1993.
    'Notes from the North: a short series of personal reflections on the current designer-making scene in the UK'. Woodworkers Association of NSW Newsletter, several editions 1992.


    University of Wisconsin, Madison Wisconsin. Visiting lecturer and critic.
    University of Tasmania, Hobart, Australia. Visting lecturer and doctoral thesis examiner.
    Rhode Island School of Design. Visiting critic.
    'Breaking Barriers '98', Saskatchewan Crafts Council. Emma Lake, Saskatchewan, Canada. Invited artist.
    San Diego State University. Visiting lecturer and critic.
    SOFA, Chicago. Lecture.
    Rhode Island School of Design. Visiting lecturer and critic.
    Philadelphia University of the Arts. Visiting lecturer.
    School for Craftsmen in Wood, Parnham House, UK. Visiting lecturer.
    Royal College of Art, London. Visiting lecturer and critic.


    Furniture 2000. 4th National Conference of the Furniture Society, Toronto, Canada. Presenter.
    AICAD Symposium on Critique. Corcoran College of Art and Design, Washington D.C.
    'Furniture 99: The Circle Unbroken'. The 3rd National Conference of the Furniture Society. Appalachian Center for the Arts. Smithville, Tenessee.
    'The 2nd Annual Conference for Collectors of Contemporary Wooden Vessels, Sculpture and Furniture'. San Francisco. Speaker.
    'Breaking Barriers 98', Saskatchewan Crafts Council. Emma Lake, Saskatchewan, Canada. Invited artist..
    'Furniture 98: East meets West'. 2nd National Conference of the Furniture Society. CCAC, San Francisco and the Oakland Museum of California. Co-ordinator.
    'Furniture 97'. 1st National Conference of the Furniture Society. Puchase College, SUNY, New York.
    'Beyond Function'. CCAC, San Francisco, California. Convenor. 1996
    'Intersections'. National Conference of the Royal Australian Institute of Architects (RAIA), Adelaide.
    'Making Culture'. 2nd National Crafts Conference, Melbourne. Panelist.
    'Surround' Conference, Dept. of Interior Design, RMIT, Melbourne.
    'Craft 2000', the First National Crafts Conference, Perth.
    'Interventions' Conference, University of Wollongong, Wollongong.
    2nd National Wood Conference, Canberra.


    Papers by Donald Fortescue


    aspects of the creative process

    the construction of aesthetics in contemporary sculpture and craft

    analysis of the meaning inherent in the designed and made object

    a review of the exhibition by Chris Fortescue
    first published in Object 2.95. pp. 17-18.

    a review of the exhibition Aground by Anne Outlaw
    first published in Broadsheet 24.3. Spring '95. p.23.

    Cath Kenneally
    a commissioned essay for the Aground catalogue, 1995.









    grid bedside
    between the lines
    'AGROUND' 1995

    installation view

    installation view 


    pike (basking)


    pike 1 & 2 
    The John Elder Gallery 

    updated 1/26/01



    email us at

    or call (212) 462-2600. 






    Contemporary Studio Furniture:



    Donald Fortescue






    "Art, Exceptionally Crafted"

    The John Elder Gallery showcases museum-quality contemporary decorative art -- works that combine artistic vision with the artisan’s joy of making.
    •  The Gallery exhibits works including studio furniture by ............., Donald Fortescue, ..........
      The Gallery, which opened in November 1997, represents artists who create contemporary studio furniture, ceramics, and glass.  These artists share the conviction that art should be inspired, finely executed -- and an everyday affair.   Not only do their works bridge the gap between art and artisanry, they bring art home -- literally. Though many of the artists have pieces in the permanent collections of the world’s premier art museums, their work is, first and foremost, intended to be contemplated, touched, used -- incorporated into everyday life.
    • The John Elder Gallery is located at 529 West 20th Street, seventh floor west, New York, NY 10011.  Gallery hours are Tuesday through Saturday, 11am - 6pm.      Tel.:  212.462.2600  Fax:  212.462.2510 
      TO CONTACT US -- Click HERE



      The Gallery is dedicated to assisting these artists in bringing their individual messages and art to others’ homes. The John Elder Gallery plans both solo exhibits and additional group shows; will  sponsor ongoing lecture series, and host an annual exhibit of work by emerging artists.
      • 2000 - 2001

        January 18 - March 3rd 
        GALLERY 3 - RICH TANNEN: Reliquaries 




     lights - ON - Exhibition 1998

    Since quite early on, when, according to reputable sources it was said, "Let there be light", (and there was), people have been inventing new ways to harness, accentuate, make personal or just plain take advantage of - light.  This invitational show of new ideas in lighting is just a continuation of that age-old quest. 

    Donald Fortescue


    Empty Vessels


    Donald Fortescue has a long career in the art/furniture field.  Trained in Australia as a fine furniture maker and designer, over the last few years his work has veered away from the strictly functional.  In spite of this move to more purely sculptural work he continues to draw heavily from traditional design and (ooh, dare we say it) craft.
    The show will have two distinct components.  Entitled “Empty Vessels”,  a small group of large laminated Finish birch plywood hollow forms will dominate one area.  These are human-scaled or larger, meticulously made stacked plywood vessels.  They are fabricated with traditional and largely outdated techniques:  coopering (used in barrel-making), pattern-making techniques in stack laminations, and segmented turning. 
    There is a clear connection with the process and an attention to the impact of the finished object that ties this work firmly to the traditional world of design and craft.  These over-scaled forms have a strangely overpowering but friendly presence.  While each resembles a traditional closed vessel like a seedpod, their scale pushes the objects into a curious zone.        
    The centerpiece of the other installation, called “Self-Contained”, is a Pod that is over six feet tall and resembles a highly abstracted human from.  The surface is compulsively covered with burned-in tally marks.  One stroke for each hour of the average life – over 600,000 marks!  Numerous smaller  bowl forms, called “Hulls”, which are both functional and conceptual, surround this central “figure”. 
    Fortescue is very interested in the “utility” of his pieces but the utility is intentionally vestigial.  He feels the potential for a work to carry meaning is enhanced by physical interaction with the work.  The pieces make reference to traditional vessel forms but their scale confounds easy associations. The attention to process, materials, and surface encourage touch and a subtle haptic appreciation of form.    


    Quill, 1998
     Black-spotted Australian jarrah, stainless steel
    72 x 12 x 12 inches



    Donald Fortescue



    Chris Fortescue


    The Centre for Contemporary Photography
    Melbourne, 1994
    Susan Fereday & Stuart Koop
    Ipso Photo


    Chris Fortesque, untitled, 1994

    is a photography exhibition without photographs; instead it is of or derived through photography (ipso - by, through). It considers the enduring influence of photography on non-photographic artforms. In particular, it aims to locate some recent installation and sculptural work in relation to current debates about photography.
    A burgeoning dialogue is currently occurring between photographic representation and non-photographic artforms, such that traditional definitions of photography as material print no longer seem adequate to account for its widescale influence within the visual arts. There seems to be a preoccupation with the procedures of photography quite apart from the final image. Photographic historian and theorist Geoffrey Batchen has identified this tendency as part of a ‘post photographic’ scenario in which ‘the boundary between photography and other media like painting, sculpture and performance has become increasingly porous’. Batchen argues that each medium has ‘absorbed the other, leaving all irreparably changed’. 1This inevitably leads to the confusion of distinctions and definitions of media, and subsequently, to a more general definition of photography which supports its recent, wide-ranging applications.
    For example, conceptual and spatial relations in recent installation work are often shifted through photographic characteristics such as single point perspective, differential focus, colour casts and ambiguities of scale. This is true of recent work by the artists in Ipso Photo and many others besides. Increasingly, the current influence of photography within installation practice can be identified beyond the photograph per se – that is, beyond the mere two dimensions of flat representation – and in the configuration of gallery space according to the model and characteristics of photography. Chris Fortescue remarks of his recent installations that photography provides a ‘framework through which all of the relationships in the work, and between the work and the audience, are articulated’. And Margaret Roberts describes her installations as if ‘set up by or through a camera’. What definition of photography is sufficient to these descriptions and practices?

    Ipso Photo

    Chris Fortescue’s work the wall and floor are demarcated according to standard interior hues; a sky blue wall and a salmon carpet. An illdefined blob on the wall corresponds to a deep blue velour cushion sitting on the carpet; they are positioned within their respective fields of colour according to the same co-ordinates. Like a box camera, the two fields appear to replicate each other; one reflecting the other across 45 degrees. Yet the evident mutation of form and colour suggests, once again, the transformative potential between these quasi-photographic planes. Another reference is perhaps made to the social space of photogaphy’s reception. It’s as if the debate about photographic representation - the critique of its objectivity and accuracy - had leaked out of the image and seeped into quotidian forms, such that the domestic environment of the photograph is suffused with the formal and symmetrical relations which produce the image. Fortescue describes these tableaus as ‘setting up a paradox’ between ‘sensation’ and ‘representation’. Effectively, Fortescue’s work operates in the reverse direction from the other work in Ipso Photo; from everyday space back to representational space. And so the contrast between these two kinds of space is experienced in a different register, not so much in the illfit of rigid and imposed photographic geometries, but in a resounding domestic oddity or weirdness. The body is caught between its sense of homely abandon and formal occasion; precisely between repose and pose.
    Susan Fereday and Stuart Koop 1994
    Endotes 1. Batchen, G., ‘On Post-Photography’, Afterimage, vol.20 no.3, October 1992, p.17 2.Barasch, M., Theories of Art from Plato to Winckelman, New York University Press, New York, 1985, pp.148-59 3. Burgin, V., ‘Photography, Fantasy, Fiction’, Screen, vol.21 no.1, Spring 1980, p.51



    Chris Fortescue
    May 27 until June 27 1993.

    Presented by Canberra Contemporary Art Space.
    At Gallery 1, CCAS, Gorman House Arts Centre.
    Chris works with combinations of discrete objects and images, negotiating the signifying practices of 'installation' and 'style' within an art context.
    Contact CCAS on 2470188.


    What's on at Gorman House

    Arthur McKay Fortescue

    Art McKay as Professor of Art
    with the University of Regina, 1977.


    Arthur (Art) McKay was born September 11th, 1926, in Nipawin, Saskatchewan. He studied at the Provincial Institute of Technology and Art in Calgary (1946-48) and the Academie de La Grande Chaumiere, Paris, France (1949-1950). He was hired by Ken Lochhead as a Special Lecturer in Art with the School of Fine Arts at Regina in 1952. McKay became the workshop coordinator for the 1957 and 1959 Emma Lake Artists' Workshops given by Will Barnet and Barnett Newman, and attended the 1955 workshop with Jack Shadbolt. He also studied in New York and with the Barnes Foundation in Merion, Pennsylvania (1956-57).
    Apart from a term as an Associate Professor of Art with the Nova Scotia College of Art (1967-68), he taught as an Associate Professor with the University of Regina until his retirement in 1987. During this time he was known as a member of the Regina Five who exhibited at the National Gallery in 1961 and who were considered to be at the forefront of the Canadian abstract art movement. His work has been shown across Canada and in the United States, where he was included in a 1964 Los Angeles exhibition organized by the New York art critic, Clement Greenberg, and entitled "Post- Painterly Abstraction". Organized to marking the new generation of "colour" painters, McKay was one of only three Canadians to be included in the show.



    Saskatchewan Artists

    Object Type - Painting


    • Maka, Jahan (Canadian [Lithuanian], 1900 C) painting, drawing
    • McCargar, W.C. (Canadian, 1906-1980) painting, collage
    • McConnell, Grant (Canadian, b.1959) painting
    • McInnes, Harvey (Canadian, b.1904) painting
    • McKay, Arthur Fortescue (Canadian, 1926) painting, drawing, print
    • McLellan, Ron (Canadian, b.1956) sculpture, painting
    • Miller, John (Canadian) painting
    • Morton, Douglas (Canadian, b.1926) painting
    • Mulcaster, Wynona (Canadian, b.1915) paintin


    A. Fortesque

    Academy Auctioneers & Valuers Date 19:08:99 Phone 0208 579 7466
    Northcote House Time 4pm Phone 15%
    Northcote Avenue 1st lot 1001 Fax 0208 579 0511
    W5 3UR
    Viewing :Viewing prior to sale.

    A. Fortesque 20 x 14 E80 - 120.





    Academy Auctioneers & Valuers


    An Edwardian Lady picking roses, Oil on board, signed



    Jean Defortescu



    avec l’Archange St-Michel
    Terrassant le Dragon