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Artist: Sir William Nicholson
English (1872-1942)
Also known as Beggarstaff along with James Pryde, Scottish (1866-1941)
Plate: NP. 12
Title: The Archbishop of Canterbury

Description: Condition A. Original colour lithograph from "Twelve Portraits" published
by William Heinemann, London 1899.

Presented in 16 x 20 in. acid free, archival museum mat, with framing labels. Ready to frame. Shipped boxed flat via Fedex.
Certificate of Authenticity.
See our Terms of Sale

Sheet Size: 9 7/8 in x 10 1/14 in
  25 cm x 26 cm
Price: $195.00 USD



The Archbishop of Canterbury is the chief bishop and principal leader of the Church of England, the symbolic head of the worldwide Anglican Communion.

Frederick Temple (1821-1902) was one of the best-loved holders of the title of Archbishop of Canterbury, which he held from 1896 until his death.

Ordained in 1846 and in the same year accepted the headship of Kneller Hall, a college founded for the training of masters of workhouses and penal schools.

In 1855 he became a school inspector, until being appointed Headmaster of Rugby School. He reformed many aspects of the school and was considered a stimulating intellectual teacher and an earnest religious man.

On the sudden death of Archbishop Benson in 1896, though now seventy-six years of age, he was appointed Archbishop of Canterbury. His second son, William Temple, became Archbishop of Canterbury some years later.
(www.npg.org.uk)

"Nicholson did this image just after his
association with James Pryde as The Beggarstaff Brothers had come to an end. But his revolutionary approach to design which marked the Beggarstaff posters, found further expression in the small-scale woodcuts on which he then concentrated.

William Nicholson's woodblock prints of the 1890's were amongst the most revolutionary British print images of the era. They used a treatment of form, with a stylized simplification of shape, and a handling of perspective and picture space which had had no precedent in British art. Influences of Japanese art, and a parallel thinking to, if not a direct knowledge of, the ideas of Toulouse Lautrec and of the Nabis painters in Paris at the same period can certainly be felt, although there is no record that Nicholson had actually studied either at this date." (Weston)

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