George Frampton in His Studio

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Mr. George Frampton, R.A., in His Studio

Source: Erskine, facing p. 84

Looking at London as an "art city," Mrs Erskine writes that it would be difficult to talk about the work of individual artists, as her discussion could not hope to cover them all. However, "the group of sculptors is smaller than that of the painters," she says, embarking at once on George Frampton. [Commentary continues below. Mouse over the text for links.]

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Related Material

Frampton's home in St John's Wood

One of Frampton's statues of Queen Victoria abroad (in Kolkata)

Coronation medal” by Frampton

Statuette on Lloyd's Registry

Mrs Erskine continues:

The work of Mr. Greorge Frampton, R.A., is interesting to us for many reasons. His style, which recalls the work of the Italian sculptors of the fifteenth century, is yet quite individual, and he has made an excellent use of colour. His industry is prodigious and whether the visitor knocks early or late at the door of his studio in Queen's Road, St. John's Wood, he will find the sculptor hard at work, with a modelling tool in his hand and a cigarette in his mouth. His art has manifested itself through varied channels. He has executed many portraits in bronze and marble, has given us imaginative work like his "Dame Alice Owen," his "Mysteriarch" and his "Lamia," his memorial statues of the late Queen Victoria have gone into many lands and he has designed memorial tablets and com- memorative medals. The frieze on the exterior of Lloyd's Registry and the great doorway of Electra House show his power of using sculpture for architectural purposes, and he has a talent for laying out public spaces in towns which has hitherto been exercised only in the provincial cities of England, but which may one day be fitly employed in London. [85-86]

Bibliography

Erskine, Mrs Steuart. London as an Art City. London: A. Siegle, 1904. Internet Archive. Book from the collections of the University of Michigan. Web. 4 August 2014.

Last modified 4 August 2014