In 1940-50s South-London there were few washing machines. The mother of Anthony Sargeant did not have one but she did have a cast-iron mangle such as this which was housed in the shed at the bottom of the garden. The shed was in fact a re-purposed corrugated iron from a WW2 Anderson bomb shelter. All […]
Just delicious – crispy skin and firm flaky fish served with a little spiciness in the Lutenzia and stuffed hot peppers served with crushed potatoes and peas. (oh yes a few pieces of smoked artichokes)
Perched on the back of the sofa and looking very furry – this is Shorty. An ‘inheritance’ from daughter when she moved out from the family home into a flat and could not take ‘her’ pet with her. Thanks for that Lucy! But other parents will recognise the syndrome and sympathize.
Final state etching in the portfolio of etchings by William Strang RA owned by Anthony J Sargeant.
Although Strang (1859-1921) made a number of etchings of architectural and landscape subjects, these never held the same importance as those in which there was human interest. His macabre, often bewildering genre pictures ranged from the real to the fantastic and the allegorical.
During his lifetime, Dumbarton-born William Strang (1859 – 1921) built up an international reputation as a highly skilled and imaginative printmaker, portraitist and painter. His diverse subjects ranged from the fantastic to the very real, including uncompromising depictions of contemporary life and the effects of poverty and social injustice, landscapes, subjects from the bible, bewildering allegories, and narrative illustrations. He was also a prolific and highly successful portraitist.
Anthony J Sargeant often cycles the quiet lanes around his Shropshire home early in the morning – usually before 6.00am. At that time the honeysuckle in the hedges smells wonderful. It will of course soon disappear – not least when the hedge cutting starts in earnest at the beginning of September. But never mind it will reappear next year and delight with its sprawling scented blossom and succeeding red berries. (photograph taken by Tony a few days ago at 5.39am on 20th August 2017)
This compelling image “Ivy”, was produced by the Fine Art Society towards the end of the 19th Century. In the collection of Anthony J Sargeant it is an example of the inventive printing technique explored by Sir Hubert von Herkomer, R. A. (1849-1914), usually in collaboration with Norman Hirst (1862-c.1955). This involved creating a monotype by applying ink by hand to a lithographic stone, then producing a photogravure of the result. This he dubbed a Herkomergravure. It could then be enhanced with additional mezzotint or etching to give definition to surfaces and outlines, but the overall result remains very free and spontaneous.