‘The Tea Party‘, Hilda Fearon, 1916 | Tate https://www.tate.org.uk/art/artworks/fearon-the-tea-party-n04832
‘The Tea Party‘, Hilda Fearon, 1916
Cottage Dod Procter c.1930–5 A Family Group: The Artist’s Wife and Children: ‘Papa
Meintest du para?
‘The Tea Party‘, Hilda Fearon, 1916
Cottage Dod Procter c.1930–5 A Family Group: The Artist’s Wife and Children: ‘Papa
‘View on the Banks of the Tiber Three Miles from Rome‘, John Downman, 1774
The Lateran, Rome John Downman 1774 View by appointment Rocca del Papa
‘The Crater of Vesuvius‘, John Downman, 1774
In the Wood near Lerici John Downman 1774 View by appointment Rocca del Papa
‘Study for ‘The Old, Old Story’‘, John William Godward, 1903
John Singer Sargent c.1889 A Family Group: The Artist’s Wife and Children: ‘Papa
‘The Heretic‘, Frank Craig, 1906
Brittany Jean Frélaut 1908 A Family Group: The Artist’s Wife and Children: ‘Papa
George Fiddes Watt 1910 A Family Group: The Artist’s Wife and Children: ‘Papa
Artist page for Billy Apple (1935–2021)
Chrysler Museum of Art, Detroit Institute of Arts, National Gallery of Australia, Te Papa
In this letter Marie Seton describes a French documentary on concentration camps and the reaction from the mainly German audience, referring also to her own anti-German feelings. She provides an account of an episode at Claridges with Krishna Menon and his entourage which leads her to discuss her dislike of the entourage, reflections on why Menon surrounds himself with them, and request for advice on what to do. Seton mentions Menon’s niece, Narajani, and her reactions to the entourage and gives her views on Menon’s secretary, Bridgit, who she thinks is devoted but exerts no control. Seton expresses her fears …
and parasitical hangers on for much longer, feeling that Indira Gandhi and her papa
[Translation/transcription] 1 Albert Studios 4 Albert Street London NW1 30 June 1961 Dear Pepi, Dr Maas was here and, having taken a few colour photographs and shown me his collection of photos, he swanned off again and left England. He wanted to take a colour photograph of my often rejected ‘Hamlet’, which wasn’t possible because both the Straffords are away. He says he’s shown the photo to people all over Europe and that it met with universal admiration. Well, that’s nice. He also brought greetings from Meidner. In the meantime I’ve been making great strides in isolation the art of …
are now out of my possession for the next six weeks – as isolated as their Herr Papa
‘Energy of a Potato (or Untitled or Energy)‘, Victor Grippo, 1972