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Henry Flitcroft was first employed by the leading aristocratic
architect of the time, Richard Boyle, Lord Burlington, who helped
him to establish his long career. Flitcroft had about 50 clients
over 40 years, working for many dynasties, including the royal
family, the Bedfords, the Yorke/Hardwickes and the
Malton/Rockinghams. Remarkably, he was employed regularly by the
Duke of Montagu and his family from 1725 to 1765, and the Hoare
family from 1728 to his death in 1769, and was responsible for some
of the great country houses of the period including Wimpole, Woburn
Abbey and Wentworth Woodhouse. This is the first book which details
his life and examines his complete body of work. It sets Flitcroft
within his social context, providing insights into those for whom
he worked as well as his fellow architects. Flitcroft waged fierce
battles to maintain his professional positions at Westminster Abbey
and St Paul’s and the documents are revealed here for the first
time. The book dissects the dramatic story of Flitcroft's insane
son and the legal cases that ensued which link Flitcroft and G.E.
Street, who inherited Flitcroft's own house in Hampstead. In
addition, Flitcroft’s furniture designs are assessed and his
notable churches and London buildings including Chatham House,
Benjamin Franklin House and Pushkin House. Finally, his last great
project at Stourhead is re-examined.
Arthur Jeffress was an art dealer and collector from a Virginian
family who bequeathed his "subversive little collection" (Derek
Hill) to Tate and Southampton City Art Gallery on his suicide in
1961. That suicide, a result of his expulsion from Venice, has been
the subject of speculation in many memoirs. Gill Hedley's biography
of Jeffress has benefited from access to many hundreds of
unpublished letters written between Jeffress and Robert Melville,
who ran Jeffress' own gallery from 1955-1961. The letters were
written largely while Jeffress was in Venice and reveal a vivid
picture of the London gallery world as well as frank details of
artists, collectors and the definitive story of his suicide.
Previously unpublished research reveals new information about the
lives of Jeffress' lover John Deakin, his business partner Erica
Brausen, the French photographer Andre Ostier and Henry Clifford,
and the way in which all of them influenced Jeffress' first steps
as a collector from the 1930s onwards.
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