Auf den Dachböden. Künstler: Unbekannt (Britisch); Frederick H. Evans (Britisch, London 1853-1943 London); Bücherteller entworfen von Aubrey Vincent Beardsley (Britisch, Brighton, Sussex 1872-1898 Menton); Bücherteller entworfen von Frederick Colin Tilney (Britisch, 1870–1951). Autor: Ernest Radford (britisch, aktiv Ende des 19. Jahrhunderts). Korrespondent: Theodore Watts-Dunton (Briten, 1832–1914); Sir Sydney Cockerell (1910–1957). Datum: 1896. Kelmscott Manor war das Landhaus von William Morris (1834–1896), Dichter, Handwerker, Designer, sozialistischer Reformator, und Gründer der English Arts and Crafts Movement. Er und seine

• Bildanbieter: Album / Alamy Stock Foto
• Bild-ID: 2YJFFYD
• Dateigröße: 37,3 MB (1,2 MB Komprimierter Download)
• Freigaben (Releases): Model - nein | Eigentum - nein
• Format: 3098 x 4208 px | 26,2 x 35,6 cm | 10,3 x 14 inches | 300dpi
• Fotograf: Album

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Dieses Bild kann kleinere Mängel aufweisen, da es sich um ein historisches Bild oder ein Reportagebild handel

In the Attics. Artist: Unknown (British); Frederick H. Evans (British, London 1853-1943 London); Bookplate designed by Aubrey Vincent Beardsley (British, Brighton, Sussex 1872-1898 Menton); Bookplate designed by Frederick Colin Tilney (British, 1870-1951). Author: Ernest Radford (British, active late 19th century). Correspondent: Theodore Watts-Dunton (British, 1832-1914); Sir Sydney Cockerell (1910-1957). Date: 1896. Kelmscott Manor was the country home of William Morris (1834-1896), poet, craftsman, designer, socialist reformer, and founder of the English Arts and Crafts movement. He and his wife Jane shared the house with the Pre-Raphaelite painter Dante Gabriel Rossetti from 1871 to 1874, and it remained a country retreat for Morris and the artists and intellectuals in his circle until his death. At Morris' request, the bookseller and photographer Evans visited the old gray manor on the banks of the Thames in order to photograph it. This rare album, one of only two known to exist, was assembled by the photographer and contains thirty-one platinum prints, each carefully mounted on colored papers. In this photograph, Evans infused the bare and rambling space of the attic with a sense of harmony and spirituality that would later characterize his photographs of England's great cathedrals. Museum: Metropolitan Museum of Art, New York, USA.

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• 1834-1896
• 1853-1943
• 1870-1951
• 1871
• 1872-1898
• 1874
• 1896
• 19th century en
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