David Jones, artist and poet (1895-1974) begins his PREFACE TO THE ANATHEMATA :

'I have made a heap of all that I could find.' (1) So wrote Nennius, or whoever composed the introductory matter to Historia Brittonum. He speaks of an 'inward wound' which was caused by the fear that certain things dear to him 'should be like smoke dissipated'. Further, he says, 'not trusting my own learning, which is none at all, but partly from writings and monuments of the ancient inhabitants of Britain, partly from the annals of the Romans and the chronicles of the sacred fathers, Isidore, Hieronymous, Prosper, Eusebius and from the histories of the Scots and Saxons although our enemies . . . I have lispingly put together this . . . about past transactions, that [this material] might not be trodden under foot'. (2)

(1) The actual words are coacervavi omne quod inveni, and occur in Prologue 2 to the Historia.
(2) Quoted from the translation of Prologue 1. See The Works of Gildas and Nennius, J.A.Giles, London 1841.

09 October 2011

emptyful labeLABELabel practice - A Praise to the Two Truths : Ethel Spowers / BLACK BATS / Melbourne

We've been researching the ground and lineage of local
umbrellatecture/umbratecture. In particular, that of Melbourne's BLACK BATS.

Ethel Spowers
born : 11 July 1890, South Yarra, Melbourne, Victoria, Australia
- biography here -
died : 5 May 1947, East Melbourne, Victoria, Australia

Thoughts of John Brack's similar scenes. From the stylized dark silhouette (a taxi driver, perhaps, somewhat like Brack's artist-observer figure) holding the car door open for the departing mother and child momentarily glimpsed amid the anonymous umbrella-ed mass; to the clockwork exit of Melbourne's impassive, faceless city slaves in Collins St, 5p.m. (1955); later recast in the comings and goings, the mass movement of cards and pencils.

One of this edition of prints is slated for auction later this year, in Melbourne of course.

bLOGOS/HA HA is always interested in matters of LABEL
rhymes with Babel

The particularities of the Label composed for a recent auction advertisement that illustrates this print are as follows :
(1890 -1947)


colour linocut

24.0 x 20.0 cm

edition 8/50

EST: $20,000 - 30,000

Compare this with the Label for this same (sic) image at
PRINTS AND PRINTMAKING : Australia Asia Pacific :
(for technical reasons it's given here without the two-column format of the original)
Primary Artist Ethel SPOWERS (1890 - 1947)
Title Wet afternoon.
Reference Coppel (1995), ES14
Date made 1929-30
Placemade1 Melbourne, Victoria, Australia,

Category Print
Technique linocut, printed in colour, from four blocks (grey, cobalt blue, reddish brown, emerald green)
Matrix size 24.3 x 20.4 cm (printed image)
Support buff oriental laid tissue paper
Support size 31.5 x 23.0 cm (sheet)
State published state
Impression 17/50
Edition edition of 50
Inscriptions 1 Signed and dated lower right below image in pencil, 'E.L. Spowers - 1930'. Titled lower left below image in pencil, 'Wet Afternoon' Inscribed lower left below image in pencil, '17/50'.
Described Street scene of crowd sheltering from rain under umbrellas, London.

Collection National Gallery of Australia
IRN 89799
Acc. No. 83.39
Method Director's allowance
Meeting title Meeting 8, 1982/83
Meeting date 7 March 1983
Provenance Purchased by the Australian National Gallery, from Garry Anderson Gallery, Sydney, 1983.
Credit line Purchased 1983
Context Australia

Creators SPOWERS, Ethel (1890 - 1947) Australian Female | artist

Here, by further comparison, is the standard bLOGOS/HA HA Black Label layout. BLACK BLOCKS for BLACK BATS.

When re-presented as words, the Title (including meta-Title) component of the above will be familiar to our regular regardists :
A Person Looks At A Work Of Art/

someone looks at something ...