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The Royal Pavilion 13-john-piper-royal-pavilion-kew.jpg

The Royal Pavilion

Item Code: JP-13-u
Medium
Hand coloured etching with aquatint
Signed
Unsigned
Edition Size
55
Height (cm)
19.3
Width (cm)
27.7
Cat Rais No
Levinson 13
Date of Work
1939
Suite
Brighton Aquatints
Base price $2,227
Includes free framing and UK delivery
From the Brighton Aquatints suite. Hand coloured edition of 55.

Notes by the artist: The Royal Pavilion.

Built for George IV when Prince Regent. First he enlarged a villa on the site, till it became a prepossessing Regency house. Then he commissioned Porden to build stables (now the Dome) and a riding house in Indian style, and soon found that these overpowered his charming seaside villa. Then he saw Cockerell's wonderful new house at Sezincote, in Gloucestershire, and envied its Hindu fancifulness. Repton laid out the gardens there. The Regent commissioned Repton to design the new Pavilion, but money ran out. It was completed in 1823 by John Nash, who designed Regent Street, Regent's Park crescents and terraces, and a good many other London buildings. It has been called all kinds of rude names by generations of residents and visitors, but most people start by laughing and later develop a great affection for it. It has an extravagant beauty, and in some ways reflects exactly the effervescent spirit of the great holiday resort itself in its most hilarious and human moods. It is at once acutely vulgar and extremely sensitive. It now belongs to the Brighton Corporation, and is carefully preserved. (You can go into it for 6d.) Inside, there is a fine collection of early prints and pictures of Brighton, and it has not been shorn of all its internal beauties - such as the palm-leaf dome decorations and the Chinese wallpapers. A good deal of its original furniture is now in Buckingham Palace. During the war it was used as a hospital for wounded Indian troops, who must have found it only vaguely like home.
John Piper PortraitJohn 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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