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The First Avenue Hotel, Hove
Item Code: JP-12-u
Hand coloured etching with aquatint
Edition Number
20
Signed
Unsigned
Cat Rais No
Levinson 12
Width (cm)
27.8
Height (cm)
17.5
Date of Work
1939
Suite
Brighton Aquatints
From the Brighton Aquatints suite. Hand coloured edition of 55.
Notes by the artist: The First Avenue Hotel, Hove.
The yellow brick end of Hove has many charms. Going west from the West Pier one passes buildings that gradually become later in date, and on reaching first Avenue one is in an atmosphere of the late Victorian. Balconies and other decorative features have more importance, more flourish; porches are richly wreathed in wrought iron, and white painted pinnacles stick up like pins in a well stocked pincushion. But the atmosphere is still gay. Victorian architects let themselves go in Brighton: the air and the clients were encouraging. Compared with the Regency calm, the static elegance of most of Brighton front, the buildings here are frantically 'busy', but they have none the less a vivid sense of seaside, and a magnificent swagger. Queen Victoria, imposing in dark bronze, looks out to sea from the pedestal.
Notes by the artist: The First Avenue Hotel, Hove.
The yellow brick end of Hove has many charms. Going west from the West Pier one passes buildings that gradually become later in date, and on reaching first Avenue one is in an atmosphere of the late Victorian. Balconies and other decorative features have more importance, more flourish; porches are richly wreathed in wrought iron, and white painted pinnacles stick up like pins in a well stocked pincushion. But the atmosphere is still gay. Victorian architects let themselves go in Brighton: the air and the clients were encouraging. Compared with the Regency calm, the static elegance of most of Brighton front, the buildings here are frantically 'busy', but they have none the less a vivid sense of seaside, and a magnificent swagger. Queen Victoria, imposing in dark bronze, looks out to sea from the pedestal.
John Piper was born at Epsom in Surrey, 1903. Following his father’s wishes, he spent 5 years in the family law firm before pursuing art, firstly at Richmond School of Art and then at the Royal College of Art. In the 1930s Piper exhibited abstract pictures and constructions, then reverted to creating landscape and architectural images, developing the picturesque style that features in his later work.Piper experimented with printmaking from as early as 1923 when he produced four wood engravings. Piper’s prints embody his love of Britain through their depiction of its art, architecture and topography. However frequently underpinning their design, as the artist Rigby Graham has indicated, are the elements of collage, construction and assemblage that featured in his modernist work of the early 1930s.
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Rutland, LE15 9SQ, UK
+44 (0) 1572 821424
This email address is being protected from spambots. You need JavaScript enabled to view it.
Mon-Sat: 9.30am - 5.30pm
Sunday: 11.00am - 4.00pm