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"content": "<p><b>A01054</b>\t[from] ROSSETTI AND HIS FRIENDS (TWENTY-THREE DRAWINGS) 1916–17 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beerbohm-d-g-rossetti-precociously-manifesting-that-queer-indifference-to-politics-a01038\" title=\"View the details of this artwork\"><span>A01038</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beerbohm-the-name-of-dante-gabriel-rossetti-is-heard-for-the-first-time-in-the-western-a01060\" title=\"View the details of this artwork\"><span>A01060</span></a>; complete]\n<br/> \n<br/>Bequeathed by Sir Hugh Walpole 1941.\n<br/><i>Coll:</i> Mrs Charles Hunter; from whom purchased by the Leicester Galleries; from whom purchased by Sir Hugh Walpole 1921.\n<br/><i>Lit:</i> Lynch, 1921, pp.146–50.</p>\n<p>A series of twenty-three <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawings</span></a>, variously dated 1916 and 1917. Fifteen were lent by Mrs Charles Hunter to the <i>Modern Loan Exhibition</i>, Grosvenor Gallery, November 1917 (98); the complete series was first exhibited at the Leicester Galleries, September 1921 (1), in the order in which they are given here, again as <i>Rossetti and his Friends</i>. They were published in book form by Heinemann in 1922 as <i>Rossetti and His Circle</i>, possibly an allusion to Rossetti's <i>Dante and His Circle</i>, the second edition of his translations from the early Italian poets, published in 1874. The complete series of drawings was further exhibited in <i><a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/painting\" title=\"Glossary definition for 'Painting'\"><span>Paintings</span></a> and Drawings of the 1860 Period</i>, Tate Gallery, April–July 1923 (336), and was on loan to the Tate Gallery from June 1938. For further details, see below (artists represented in the collection will be fully discussed in the appropriate section of the catalogue).</p>\n<p>(xvii) Inscr. ‘Riverside Scene. Algernon Swinburne taking his great new friend Gosse to see Gabriel Rossetti.’ b.l. and ‘Max 1916’ b.r.\n<br/>Pencil and watercolour, 12×11 3/4 (30·5×29·5).\n<br/><i>Exh:</i> Grosvenor Gallery, November 1917 (98, 11); Leicester Galleries, September 1921 (17); Tate Gallery, April–July 1923 (336, 17); on loan to the Tate Gallery from June 1938.\n<br/><i>Lit:</i>\nLynch, 1921, p.97, repr. facing p.96.\n<br/><i>Repr:</i> <i>Rossetti and His Circle</i>, 1922, pl.17 (in colour).</p>\n<p>(Sir) Edmund Gosse (1849–1928) was later to write a critical biography of Swinburne.</p>\n<p><b>Published in:</b>\n<br/>Mary Chamot, Dennis Farr and Martin Butlin, <i>The Modern British Paintings, Drawings and Sculpture</i>, London 1964, I\n<br/></p>\n",
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"content": "<p><b>A01056</b>\t[from] ROSSETTI AND HIS FRIENDS (TWENTY-THREE DRAWINGS) 1916–17 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beerbohm-d-g-rossetti-precociously-manifesting-that-queer-indifference-to-politics-a01038\" title=\"View the details of this artwork\"><span>A01038</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beerbohm-the-name-of-dante-gabriel-rossetti-is-heard-for-the-first-time-in-the-western-a01060\" title=\"View the details of this artwork\"><span>A01060</span></a>; complete]\n<br/> \n<br/>Bequeathed by Sir Hugh Walpole 1941.\n<br/><i>Coll:</i> Mrs Charles Hunter; from whom purchased by the Leicester Galleries; from whom purchased by Sir Hugh Walpole 1921.\n<br/><i>Lit:</i> Lynch, 1921, pp.146–50.</p>\n<p>A series of twenty-three <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawings</span></a>, variously dated 1916 and 1917. Fifteen were lent by Mrs Charles Hunter to the <i>Modern Loan Exhibition</i>, Grosvenor Gallery, November 1917 (98); the complete series was first exhibited at the Leicester Galleries, September 1921 (1), in the order in which they are given here, again as <i>Rossetti and his Friends</i>. They were published in book form by Heinemann in 1922 as <i>Rossetti and His Circle</i>, possibly an allusion to Rossetti's <i>Dante and His Circle</i>, the second edition of his translations from the early Italian poets, published in 1874. The complete series of drawings was further exhibited in <i><a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/painting\" title=\"Glossary definition for 'Painting'\"><span>Paintings</span></a> and Drawings of the 1860 Period</i>, Tate Gallery, April–July 1923 (336), and was on loan to the Tate Gallery from June 1938. For further details, see below (artists represented in the collection will be fully discussed in the appropriate section of the catalogue).</p>\n<p>(xix) Inscr. ‘Mr. William Bell Scott wondering what it is those fellows seem to see in Gabriel’. b.l. and ‘Max 1916’ b.r.\n<br/>Pencil and watercolour, 11 1/2×15 1/2 (29·5×39·5).\n<br/><i>Exh:</i>\nGrosvenor Gallery, November 1917 (98, 10); Leicester Galleries, September 1921 (19); Tate Gallery, April–July 1923 (336, 19); on loan to the Tate Gallery from June 1938.\n<br/><i>Repr:</i> <i>Rossetti and His Circle</i>, 1922, pl.14 (in colour).</p>\n<p>The figures admiring Rossetti in his garden at Tudor House, Cheyne Walk, are, from left to right, Ford Madox Brown (?), unidentified, Burne-Jones, Swinburne (kneeling), Theodore Watts (?) and William Morris; also shown are three animals from Rossetti's large and varied menagerie (of. ‘Dante Gabriel Rossetti in his Back Garden’, repr. Max Beerbohm, <i>Poet's Corner</i>, 1904, pl.19, and 1943 ed., pl.23). A drawing by Bell Scott of 1871 showing ‘Rossetti's Wombat seated in his Lap’ is in the Tate Gallery (<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/scott-rossettis-wombat-seated-in-his-masters-lap-n04630\" title=\"View the details of this artwork\"><span>N04630</span></a>).</p>\n<p><b>Published in:</b>\n<br/>Mary Chamot, Dennis Farr and Martin Butlin, <i>The Modern British Paintings, Drawings and Sculpture</i>, London 1964, I\n<br/></p>\n",
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Fifteen were lent by Mrs Charles Hunter to the <i>Modern Loan Exhibition</i>, Grosvenor Gallery, November 1917 (98); the complete series was first exhibited at the Leicester Galleries, September 1921 (1), in the order in which they are given here, again as <i>Rossetti and his Friends</i>. They were published in book form by Heinemann in 1922 as <i>Rossetti and His Circle</i>, possibly an allusion to Rossetti's <i>Dante and His Circle</i>, the second edition of his translations from the early Italian poets, published in 1874. The complete series of drawings was further exhibited in <i><a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/painting\" title=\"Glossary definition for 'Painting'\"><span>Paintings</span></a> and Drawings of the 1860 Period</i>, Tate Gallery, April–July 1923 (336), and was on loan to the Tate Gallery from June 1938. For further details, see below (artists represented in the collection will be fully discussed in the appropriate section of the catalogue).</p>\n<p>(xx) Inscr. ‘<i>A Man from Hymettus. Mr. Frederick Leighton:</i>\n“Think not for a moment, my dear Mr. Rossetti, that I am insensible to the charm of a life secluded, as yours is, from the dust of the arena, from the mire of the market-place. Ah no - I envy you your ivory tower. How often at some council meeting of the R.A. have I echoed within me that phrase of Wordsworth's, ‘the world is too much with us’. But alas, in all of us there is a duality of nature. You, <i>O felix nimium</i>, are singer as well as painter. I, separated from my easel, am but a citizen. And the civistic passion - yes, passion, dear Mr. Rossetti-restrains the impulse of the artist in me towards solitude and curbs the panting of the hart in me for the water-brooks. I feel that I have, in conjunction with my colleagues, a duty to the nation. To me the taste of the Sovereign, the taste of her ever-genial first-born and his sweet and gracious consort, of the Lords Spiritual and Temporal and of the faithful Commons, of the Judicial Bench, of those who direct the Army and Navy and the Reserve forces, of our merchant princes in Threadneedle Street and of our Squires in the Shires, and through all these to bring light and improvement to those toiling millions on whom ultimately the glory of Great Britain rests - all this is in me an ambition not be be stifled and an aspiration not to be foregone. You smile, Mr. Rossetti, yet I am not disemboldened to say now, as I have often wished to say to you, in the words of the Apostle Paul, ‘Come over and help us’. Our President - I grant you in confidence - is not of all men the most enlightened; but I, in virtue of what is left to me of youth and ardour, conjoined with the paltry gift of tact, have some little influence in Burlington House. Come now! - let me put your name down in our Candidates' Book.”’ below and ‘Max 1916’ b.l.\n<br/>Pencil and watercolour, 17 1/4×12 1/2 (44×32).\n<br/><i>Exh:</i> Grosvenor Gallery, November 1917 (98, 12); Leicester Galleries, September 1921 (20); Tate Gallery, April–July 1923 (336, 20); on loan to the Tate Gallery from June 1938.\n<br/><i>Lit:</i> Lynch, 1921, p.148.\n<br/><i>Repr:</i> <i>Rossetti and His Circle</i>, 1922, pl.19 (in colour).</p>\n<p>The President of the Royal <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/a/academy\" title=\"Glossary definition for 'Academy'\"><span>Academy</span></a> referred to is Sir Francis Grant, whom Leighton succeeded in 1878.</p>\n<p><b>Published in:</b>\n<br/>Mary Chamot, Dennis Farr and Martin Butlin, <i>The Modern British Paintings, Drawings and Sculpture</i>, London 1964, I\n<br/></p>\n",
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"content": "<p><b>A01058</b>\t[from] ROSSETTI AND HIS FRIENDS (TWENTY-THREE DRAWINGS) 1916–17 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beerbohm-d-g-rossetti-precociously-manifesting-that-queer-indifference-to-politics-a01038\" title=\"View the details of this artwork\"><span>A01038</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/beerbohm-the-name-of-dante-gabriel-rossetti-is-heard-for-the-first-time-in-the-western-a01060\" title=\"View the details of this artwork\"><span>A01060</span></a>; complete]\n<br/> \n<br/>Bequeathed by Sir Hugh Walpole 1941.\n<br/><i>Coll:</i> Mrs Charles Hunter; from whom purchased by the Leicester Galleries; from whom purchased by Sir Hugh Walpole 1921.\n<br/><i>Lit:</i> Lynch, 1921, pp.146–50.</p>\n<p>A series of twenty-three <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawings</span></a>, variously dated 1916 and 1917. Fifteen were lent by Mrs Charles Hunter to the <i>Modern Loan Exhibition</i>, Grosvenor Gallery, November 1917 (98); the complete series was first exhibited at the Leicester Galleries, September 1921 (1), in the order in which they are given here, again as <i>Rossetti and his Friends</i>. They were published in book form by Heinemann in 1922 as <i>Rossetti and His Circle</i>, possibly an allusion to Rossetti's <i>Dante and His Circle</i>, the second edition of his translations from the early Italian poets, published in 1874. The complete series of drawings was further exhibited in <i><a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/painting\" title=\"Glossary definition for 'Painting'\"><span>Paintings</span></a> and Drawings of the 1860 Period</i>, Tate Gallery, April–July 1923 (336), and was on loan to the Tate Gallery from June 1938. For further details, see below (artists represented in the collection will be fully discussed in the appropriate section of the catalogue).</p>\n<p>(xxi) Inscr. ‘Quis Custodiet Ipsum Custodem? <i>Theodore Watts:</i>\n“Mr. Caine, a word with you! Shields and I have been talking matters over, and we are agreed that this evening and henceforth you <i>must</i> not and <i>shall</i> not read any more of your literary efforts to our friend. They are too - what shall I say? - too luridly arresting, and are the allies of insomnia.”’ b.r. and ‘Max 1916’ b.l.\n<br/>Pencil and watercolour, 13 3/4×11 1/4 (35×28·5).\n<br/><i>Exh:</i> Grosvenor Gallery, November 1917 (98, 14); Leicester Galleries, September 1921 (21); Tate Gallery, April–July 1923 (336, 21); on loan to the Tate Gallery from June 1938.\n<br/><i>Lit:</i> Lynch, 1921, p.147, repr. facing p.144.\n<br/><i>Repr:</i>\n<i>Rossetti and His Circle</i>, 1922, pl.20 (in colour).</p>\n<p>Theodore Watts (-Dunton) (1832–1914), writer and critic, was a steady friend of Rossetti in his declining years and later took Swinburne into his care. Frederic James Shields (1833–1911), painter and decorative artist, was another close friend of Rossetti from the mid 1860s and was at Birchington when he died. (Sir) Hall Caine (1853–1931), the novelist, first met Rossetti in 1878 and lived with him from 1881 till his death the following year; his sensational and very successful novels date in fact from after this period.</p>\n<p><b>Published in:</b>\n<br/>Mary Chamot, Dennis Farr and Martin Butlin, <i>The Modern British Paintings, Drawings and Sculpture</i>, London 1964, I\n<br/></p>\n",
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"content": "<p><b>A01065</b> [from] MISCELLANEOUS DRAWINGS, MOSTLY SKETCHES FOR ‘WUTHERING HEIGHTS’ [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/clarke-hall-catherine-leaning-on-a-wall-a01064\" title=\"View the details of this artwork\"><span>A01064</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/clarke-hall-catherine-and-heathcliffe-sitting-in-a-field-a01073\" title=\"View the details of this artwork\"><span>A01073</span></a>]\n<br/> \n<br/>Presented by Mrs F. Samuel, Mrs E. Bishop and Michel H. Salaman through the Contemporary Art Society 1941.\t\n<br/><i>Coll:</i> As for <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/clarke-hall-heathcliffe-supporting-catherine-n05418\" title=\"View the details of this artwork\"><span>N05418</span></a>. \n<br/>\n<br/>(ii) Recto: CATHERINE AND HEATHCLIFF AS CHILDREN <i>c.</i> 1924\n<br/>Verso: FRAGMENTARY FIGURE\n<br/> \n<br/>Verso inscr. ‘No.4’ t.l.\n<br/>Pen and sepia wash, 22 1/2×15 1/2 (57×39·5).</p>\n<p>It seems that the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/paper\" title=\"Glossary definition for 'Paper'\"><span>paper</span></a> was originally larger. The <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/r/recto-verso\" title=\"Glossary definition for 'Recto / Verso'\"><span>verso</span></a> shows the lower part of the figure of Catherine walking, as in <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/clarke-hall-catherine-earnshaw-walking-n05131\" title=\"View the details of this artwork\"><span>N05131</span></a>.</p>\n<p><b>Published in:</b>\n<br/>Mary Chamot, Dennis Farr and Martin Butlin, <i>The Modern British Paintings, Drawings and Sculpture</i>, London 1964, I\n<br/></p>\n",
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"content": "<p><b>A01067</b> [from] MISCELLANEOUS DRAWINGS, MOSTLY SKETCHES FOR ‘WUTHERING HEIGHTS’ [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/clarke-hall-catherine-leaning-on-a-wall-a01064\" title=\"View the details of this artwork\"><span>A01064</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/clarke-hall-catherine-and-heathcliffe-sitting-in-a-field-a01073\" title=\"View the details of this artwork\"><span>A01073</span></a>]\n<br/> \n<br/>Presented by Mrs F. Samuel, Mrs E. Bishop and Michel H. Salaman through the Contemporary Art Society 1941.\t</p>\n<p><i>Coll:</i> As for <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/clarke-hall-heathcliffe-supporting-catherine-n05418\" title=\"View the details of this artwork\"><span>N05418</span></a>.\n<br/></p>\n<p>(iv) SEATED WOMAN <i>c.</i> 1899\n<br/> \n<br/>Verso inscr. ‘No.11’ t.l.\n<br/>Pen and sepia wash on paper, 14×10 (35·5×25); actual drawing, 2 3/4×2 3/4 (7×7).</p>\n<p>One of several studies the artist made of herself, seated at the foot of a four-poster bed, at Great Tomkins.</p>\n<p><b>Published in:</b>\n<br/>Mary Chamot, Dennis Farr and Martin Butlin, <i>The Modern British Paintings, Drawings and Sculpture</i>, London 1964, I\n<br/></p>\n",
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"content": "<p><b>A01068</b> [from] MISCELLANEOUS DRAWINGS, MOSTLY SKETCHES FOR ‘WUTHERING HEIGHTS’ [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/clarke-hall-catherine-leaning-on-a-wall-a01064\" title=\"View the details of this artwork\"><span>A01064</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/clarke-hall-catherine-and-heathcliffe-sitting-in-a-field-a01073\" title=\"View the details of this artwork\"><span>A01073</span></a>]\n<br/> \n<br/>Presented by Mrs F. Samuel, Mrs E. Bishop and Michel H. Salaman through the Contemporary Art Society 1941.\t</p>\n<p><i>Coll:</i> As for <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/clarke-hall-heathcliffe-supporting-catherine-n05418\" title=\"View the details of this artwork\"><span>N05418</span></a>.\n<br/></p>\n<p>(v) Recto: CATHERINE LINTON SEATED AT A WINDOW DURING HER LAST ILLNESS</p>\n<p>Verso: FOUR FIGURES AT TABLE</p>\n<p> \n<br/>Verso inscr. ‘No.18’ t.l.\t\n<br/>Pen, blue ink and sepia wash, 10 3/4×7 3/4 (27×20).\t</p>\n<p>The <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> on the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/r/recto-verso\" title=\"Glossary definition for 'Recto / Verso'\"><span>recto</span></a> is an illustration to Chapter 15; that on the verso is a slight sketch, probably intended for the meal described in Chapter 33.</p>\n<p><b>Published in:</b>\n<br/>Mary Chamot, Dennis Farr and Martin Butlin, <i>The Modern British Paintings, Drawings and Sculpture</i>, London 1964, I\n<br/></p>\n",
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"content": "<p><i>This catalogue entry discusses a group of works.</i>\n<br/><b>Emilio Greco</b> born 1913 [- 1995]</p>\n<p>[<span>T00381</span>: subsequently renumbered] <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/greco-title-not-known-a01074\" title=\"View the details of this artwork\"><span>A01074</span></a>-9 <b>Six Drawings for 'Pinocchio'</b> 1953</p>\n<p>(a) Inscribed 'GRECO 1953 | STUDIO PER IL PINOCCHIO | 1' br. \n<br/>India ink on paper, 26 x 18 3/8 (66 x 47) \n<br/>Presented by the artist 1960 \n<br/><i>Exh: Emilio Greco</i>, Ente Premi Roma, Palazzo Barberini, Rome, March-April 1958 (drawings not listed) \n<br/><i>Lit</i>: Fortunato Bellonzi and Valerio Mariani, <i>Il Pinocchio di Emilio Greco</i> (Rome 1958), n.p., repr. pl.1 (right-hand drawing); J.P. 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Greco submitted a <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/m/maquette\" title=\"Glossary definition for 'Maquette'\"><span>maquette</span></a> in the national competition for the monument in 1953 and was awarded the first prize, which did much to establish his reputation. The full-scale group was finished in <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/plaster-of-paris\" title=\"Glossary definition for 'Plaster of Paris'\"><span>plaster</span></a> in 1955 and the monument inaugurated in May 1956.</p>\n<p>Carlo Lorenzini, the author of the greatly-loved children's book <i>The Adventures of Pinocchio: The Story of a Puppet</i>, adopted the pseudonym of Collodi after the town which was his mother's birthplace. 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"content": "<p><i>This catalogue entry discusses a group of works.</i>\n<br/><b>Emilio Greco</b> born 1913 [- 1995]</p>\n<p>[<span>T00381</span>: subsequently renumbered] <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/greco-title-not-known-a01074\" title=\"View the details of this artwork\"><span>A01074</span></a>-9 <b>Six Drawings for 'Pinocchio'</b> 1953</p>\n<p>(a) Inscribed 'GRECO 1953 | STUDIO PER IL PINOCCHIO | 1' br. \n<br/>India ink on paper, 26 x 18 3/8 (66 x 47) \n<br/>Presented by the artist 1960 \n<br/><i>Exh: Emilio Greco</i>, Ente Premi Roma, Palazzo Barberini, Rome, March-April 1958 (drawings not listed) \n<br/><i>Lit</i>: Fortunato Bellonzi and Valerio Mariani, <i>Il Pinocchio di Emilio Greco</i> (Rome 1958), n.p., repr. pl.1 (right-hand drawing); J.P. 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Greco submitted a <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/m/maquette\" title=\"Glossary definition for 'Maquette'\"><span>maquette</span></a> in the national competition for the monument in 1953 and was awarded the first prize, which did much to establish his reputation. The full-scale group was finished in <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/plaster-of-paris\" title=\"Glossary definition for 'Plaster of Paris'\"><span>plaster</span></a> in 1955 and the monument inaugurated in May 1956.</p>\n<p>Carlo Lorenzini, the author of the greatly-loved children's book <i>The Adventures of Pinocchio: The Story of a Puppet</i>, adopted the pseudonym of Collodi after the town which was his mother's birthplace. 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"content": "<p><i>This catalogue entry discusses a group of works.</i>\n<br/><b>Emilio Greco</b> born 1913 [- 1995]</p>\n<p>[<span>T00381</span>: subsequently renumbered] <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/greco-title-not-known-a01074\" title=\"View the details of this artwork\"><span>A01074</span></a>-9 <b>Six Drawings for 'Pinocchio'</b> 1953</p>\n<p>(a) Inscribed 'GRECO 1953 | STUDIO PER IL PINOCCHIO | 1' br. \n<br/>India ink on paper, 26 x 18 3/8 (66 x 47) \n<br/>Presented by the artist 1960 \n<br/><i>Exh: Emilio Greco</i>, Ente Premi Roma, Palazzo Barberini, Rome, March-April 1958 (drawings not listed) \n<br/><i>Lit</i>: Fortunato Bellonzi and Valerio Mariani, <i>Il Pinocchio di Emilio Greco</i> (Rome 1958), n.p., repr. pl.1 (right-hand drawing); J.P. 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] | true | 1 | 558 | paper print mezzotint engraving | [] | Moonlight at Sea | 1,819 | Tate | Prints and Drawings Rooms | CLEARED | 4 | image: 188 × 264 mm | accessioned work | Tate | Presented by A. Acland Allen through the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 1925 | [] | [
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] | null | false | 69 1865 451 799 97 4568 540 557 73 75 161 2104 | false | Creative Commons CC BY-NC-ND 4.0 DEED | artwork |
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