Other media

F E McWilliam (1909-1992)

Lying Down Figure/Reclining Figure VI

In our catalogue: Lying Down Figure/Reclining Figure VI

Early 1960s

bronze

Gift of Stanley Burton, 1966

An Irish painter turned sculptor, McWilliam's capricious imagination attracted him to the British surrealists in the late 1930s. Serving in India during the Second World War, he afterwards taught at Chelsea School of Art and at the Slade.

This piece was one of a dynamic series produced in the early 1960s which make playful reference to, and perhaps parody, the great reclining figures of Henry Moore, who was a personal friend.

© The Estate of F.E. McWilliam

Stephen Chaplin (b.1934)

Sketchbooks (various)

In our catalogue: 42 Boxes containing notebooks and drawing books from 19.. To 20..

pencil, ink and watercolour on paper with mixed media

Gift of Stephen Chaplin, 1991

A painter and an art historian, Stephen Chaplin studied at the Slade School and the Courtauld Institute before coming to Leeds.

He lived in Leeds for 30 years (1961-1991), teaching art history, initially at the Leeds College of Art, and from 1966 at the University of Leeds.

Chaplin considers the project of drawing as research: his visual notes not only show the importance of observation for an artist but are also a record of social history.

©Stephen Chaplin

Hondartza Fraga (b.1982)

Deciduous

In our catalogue: Deciduous

2009

hand-printed slide installation on tile

Purchased from the artist, 2009

Deciduous builds on Yorkshire-based Spanish artist Hondartza Fraga's previous work with slides, which explore the idea of time, memory, repetition, illusion and erosion.

A forest is formed by the repetition of the same image of a winter tree; each slide was printed manually, making every image slightly different. Thus, the work refers to the construction and fragmentation of memories, and also the relationship between the whole and the individual unit.

Fraga commented: 'The viewer can choose to see the forest or the glass. I am interested in the forest as a landscape with potential for mystery. It is about the forest as a place but mainly about the forest as an image, as a construct, an artificial scenario for potential narratives.'

Fraga exhibited Deciduous as part of 'The Object of Photography' (7 April - 19 June 2009) at the Stanley and Audrey Burton Gallery.

©Hondartza Fraga

Edward Westoby (1784-1873)

Edward Westoby (A Self Portrait) as a young man

In our catalogue: Edward Westoby (A Self Portrait) as a young man

miniature painting in watercolour on ivory

Harland Gift, 2002

Born at Winteringham in Lincolnshire, Westoby trained at the Royal Academy Schools, entering in 1808. He lived and worked for some time in Yorkshire - in Halifax and York from 1817 to 1821 and later, in the 1840s and 1850s, in Scarborough, where he was a friend of the landscapist Henry Barlow Carter.

This striking portrait is one of a large collection of Westoby miniatures assembled in the 1920s by the Scarborough auctioneer and estate agent Walter Harland and his wife Marian.

Around 1954, the collection passed to their three sons, Richard, Stephen and Brian, and was presented by them to the University in 2002.

Quentin Bell (1910-1996)

Three plates (Fulham pottery)

In our catalogue: Plate, thrown at the Fulham Pottery (decorated with figure) | Plate, thrown at the Fulham Pottery (decorated with triangular figure) | Plate, thrown at the Fulham Pottery (decorated with arabesques)

c.1982

terracotta with metallic glaze and incised decoration

Gift from the Audrey and Stanley Burton Charitable Trust, 2009

Quentin Bell came to the University of Leeds to head the Fine Art Department in 1959, and was appointed Professor of Fine Art in 1962. He encouraged the expansion of the University Art Collection for use as a teaching aid.

The son of Vanessa and Clive Bell, Quentin's close association with the Bloomsbury group is evidenced by his writings and the inclusion in the University collection of many Bloomsbury works.

Rather than adhering to any specific art movement or style, Bell's own pottery was an instinctual expression of his own personality, benefiting greatly from his love of vibrant colour effects.

© Olivier Bell

Ivan Meštrović (1883-1962)

Head of an Angel (wing)

In our catalogue: Head of an Angel (wing)

1916

walnut relief (one of a pair)

Gift of Dorothy McGrigor Philips, 1960

Head of an Angel, a carved wood relief in two parts, is demonstrative of Ivan Metrović's engagement with religious themes, typical of his work prior to the outbreak of World War One.

As a young sculptor, Metrović exhibited with the Vienna Secession artists, enjoying much success throughout Europe during his lifetime.

In his home country of Croatia, Metrović also engaged in architectural projects, which now act as museums and monuments to his life and influential artistic career.

© the artist's family

Yorkshire Pottery

Teapot and lid

In our catalogue: Teapot and lid, probably Leeds

pale ceramic creamware with glaze stained with green stripes

c.1770s-1780s

Purchased 1989

Leeds Pottery was established in the late 1750s and became predominantly associated with its white creamware, also known as 'queensware' following the patronage of Queen Charlotte.

Creamware is usually characterised by pierced openwork borders and vibrant over-glazed enamel.

However, Leeds Pottery initially built its reputation with the popular 'English faience' style of the period, of which this teapot - part of a five-piece tea set in the University Art Collection - is an example.

Yorkshire Pottery

Salad bowl ("Sallad")

In our catalogue: Salad bowl "sallad"

pale ceramic creamware

Gift of Frank Geden Foster, 1946

This pale creamware salad bowl is characteristic of the elegant ceramic style so popular in the Georgian period. Cream-coloured ceramics replaced the previously favoured 'slipware' a decorative technique which applied a watered-down clay to the surface of pieces.

Wares produced in Leeds can usually be identified by their slight greenish colour due to the type of clay used, and in comparison to Wedgwood they appear slightly more yellow.

Yorkshire Pottery

Beer mug

In our catalogue: Mug

ceramic creamware with coloured slip decoration

c.1800

Gift of Frank Geden Foster, 1946

Beer was a popular drink during the 18th and early 19th centuries, and beer drinking was actually encouraged for its supposed health benefits.

The coloured slip applied to this piece creates a refined appearance, usually associated with ceramics produced for display purposes.

The University Art Collection holds a small collection of these colourful mugs, which demonstrate various decorative techniques.

Yorkshire Pottery

Teapot and lid

In our catalogue: Teapot and lid

glazed ceramic creamware with painted enamel

c.1770

Gift of Dr C M Whittaker, 1951

The deep cream colour and yellow-green glaze of this piece are typical of Yorkshire Pottery of the period.

The floral bouquet design is painted onto the surface with bold-coloured enamel.

Yorkshire Pottery (attributed)

Dutch spitting pot

In our catalogue: Dutch spitting pot

Pearlware, painted in blue under-glaze

c.1790

Gift of Frank Geden Foster, 1946

This unusual piece has been accredited to Leeds Pottery due to the characteristic intertwined loop handle with flower and leaf terminals.

The delicately painted scene of a pagoda in an oriental garden is indicative of the influence of Chinese porcelain on British and European ceramics of this period.

The function of a 'spitting pot' contrasts with the refined nature of production, making it an interesting piece to compare with the other domestic Yorkshire Pottery ceramics in the University Art Collection.