THE KITSONS AND THE ARTS: A LEEDING FAMILY IN SICILY AND THE WEST RIDING


1 THE KITSONS AND THE ARTS: A LEEDING FAMILY IN SICILY AND THE WEST RIDING BY DA VID M. BOSWELL D. PlllL. THESIS FOR THE INSITUTE OF ADVANCED ARCIflTECTURAL STUDIES, THE UNIVERSITY OF YORK, U.K

2 IMAGING SERVICES NORTH Boston Spa, Wetherby West Yorkshire, LS23 7BQ CONTAINS PULLOUTS

3 The Kitsons and the Arts: a Leeding family in Sicily and the West Riding Abstract Fashionable though it has become to bewail the demise of Gradgrinds in the 19th Century economy, the creation of a civilised urban style of life in industrial Britain was an equally remarkable achievement. In Leeds, the Kitsons were one of the families capable, by the turn of the century, of supplying educated entrepreneurs for the professions and cultural activities as well as local business. The architectural practice of F.W. Bedford and S.D. Kitson was notable for the domestic work and decorative design of the partners, who won commissions for a variety of significant public buildings as well as the commercial and licenced victualling work that became mainstays after the Great War. Sydney Kitson, then convalescing with T.B., became sparked with an interest in the life and works of John Sell Cotman. He researched and amassed a vast study collection of his drawings and watercolours which culminated in the publication of what is still the definitive biography of the artist just before his own death in Robert Kitson, like his friend Cecil Hunt, became an artist, learning the craft of watercolour painting on sketching tours with Sir Alfred East and Sir Frank Brangwyn. He regularly exhibited his work at the R.B.A. and had one-man exhibitions at the Fine Art Society and the Red/ern Gallery. He was, from 1900, an active member of the Leeds Fine Arts Club, in which Ina Kitson Clark, the wife of the Kitson locomotive company’s managing director, played a leading role for half a century with Ethel Mallinson. The involvement of ladies like these, including Beatrice Kitson who become the first female Lord Mayor of Leeds in , in the social and cultural activities of the city was extensive as well as pioneering and if need be, formidable. After his father’s death R.H. Kitson made his home in Sicily where he designed and built a spacious villa with spectacular views of Mount Etna from its many terraces. Brangwyn designed the entire dining room and some other furniture, which was only part of the wide variety of work he undertook for Kitson between 1903 and This included oil paintings and watercolours, presentation jewellery and caskets, and the Verge for the new University of Leeds. But the decorative commission of the mosaics for the Life of St. Aidan was one of the supreme artistic achievements of the era in Britain. Although Taormina remained his base, Robert Kitson travelled widely, sketching all the time. In Leeds he, Sydney and Edwin Kitson Clark were co-opted members of the Art Gallery and Museum sub-committees. They did much to realise the policy of ii

4 establishing a collection with a historic series of British watercolours and Robert regularly lent and presented contemporary prints and drawings. In his own work, as in his collecting, he was appreciative of what was new in the more traditional developments in art. But, although he came to admire the work of Sickert, John Nash and 1.0. Innes, he did not follow Sir Michael Sadler and Frank Rutter in their enthusiasm for expressionist art and what is termed Modernism. All of them united in encouraging the discussion and display of arts and crafts as well as the formation of the Leeds Arts Collection Fund for the public gallery. Through their own architectural and artistic creativity, their scholarship and patronage of other artists, their substantial presentations to the collections of the City Art Gallery, and their active support for local organisations, this generation of ~tsons demonstrated a resourceful and single-minded devotion to the city, to the development of whose economy they acknowledged their position. They were enthusiastic cultural entrepreneurs. Following the main text, there is a series of Appendices cataloguing the works of the Bedford and Kitson practice until about and a summary of the contentsof R.H.K.’s Sketchbooks and S.O.K.’s Cotmania Journals. Although not attempting a catalogue raisonee, the illustrations of the architectural practice. the Brangwyn commissions. creating Casa Cuseni, and the art of Robert Kitson, are intended to provide the only extensive visual record of a corpus of work that has remained largely unattended for almost half a century since Robert Kitsons’s death in 1947 and that of Sydney Kitson a decade earlier. iii

5 Acknowledgements The gardens of Casa Cuseni caught my attention when I photographed the front gate on my first visit to Taormina in McCoy’s Apollo article and Fiona MacCarthy’s book on C.R.Ashbee in 1981 alerted me to Sir Frank Brangwyn’s work at the villa as well as his letters to Robert Kitson. But a storm-struck visit to Daphne Phelps that November illuminated the significance of her uncle himself as the designer/engineer of the house and gardens. Returning to measure the building in 1982 with Arthur Bell, R.W.A.,who recalled Sir Alfred East and the Gotch family from his youth in Kettering, we were given the first glimpse of the scope and scale of Kitson’s legacy of sketchbooks and watercolours, an artistic autobiography, which I have subsequently returned to catalogue, photograph and date almost every subsequent spring. I owe a debt of gratitude to Daphne Phelps as do all who have enjoyed her hospitality over the 46 years she has devoted to the maintenance of Casa Cuseni and its terraced gardens, recounting the tales of its experiences, and displaying the fine furniture and other treasures. As the ingenere to whom I am grateful for the survey of the gardens, Claudio Vecchio, said ‘it is a veritable Casa Museo’. Correspondence from Sydney Kitson and the Concise Catalogue of Leeds City Art Gallery revealed the extent of both Sydney and Robert’s quest for the works of John Sell Cotman and the wide range of works they had bequeathed and presented over the first half of this century. Christopher Gilbert, Terry Friedman, Alex Robertson and Corinne Miller have been of great help in locating and arranging for me to refer to the letter files and other material at the City Art Gallery and Temple Newsam and it was a pleasure to work with them on the production of Cotmania and Mr. Kitson for the exhibition. Elisabeth and Barbara Kitson did much to make material on their father’s work and their own collection available to us, but even they remembered relatively few of the wide range of buildings designed by their father and his partner Francis Bedford. Alan Crawford asked after the works of their practice and Derek Linstrum, who also took on the supervision of this thesis, acted as my first cicerone, supplementing what I had already found in the volumes of The Builder and obituaries at the R.LB.A. in the days when research was welcomed there. The ledgers and other account books of the practice, that the senior partner of Kitson and Partners Roger Shaw kindly made available with his observations, enabled me to establish its entirety, playing the same role as Robert Kitson’ s sketchbooks in documenting his art. Much of the latter, with furniture and other objects owned by the Hawthorn Kitsons,has descended to members of the Phelps family and I am most grateful for their help in making so much available for me to record and photograph. The papers, photographs and pictures that came from Beatrice Kitson and their mother and uncle iv

6 were those in the possession of Jack Phelps, Bridget Shirley and of the next generation Christopher and Philip Morgan-Smith and Martin Shirley. I was lucky to have an interview with the late Cynthia Morgan-Smith in her last months, even if it was augmented by a mynah bird. There is a little more for me to see in the possession of other members of the family but that has had to wait. Although I have so far eschewed any attempt to research the political and industrial activities of the first Lord Airedale and Kitson and Co.Ltd., I have read as much as I could find, published and unpublished, primarily the work of Edwin and George Kitson Clark, R.J. Morris, G. Talbot Griffiths, Susan Lasdun and E.F. Clark. The latter has helpfully discussed several aspects of family history with me and his aunt Mary Chitty (nee Kitson Clark) provided me with useful information about her parents which has been enormously augmented by the many family papers she has deposited at the Yorkshire Archaeological Society. There, as in the West Yorkshire Archives, the staff have been most obliging as they have at the Brotherton Library and the Leeds local history library. Mary Forster and Rosemary Stephens guided me into the archives of the University of Leeds and introduced me to Mary Davison, then secretary of the Little Owl, whose archive provides a fascinating vignette of the thinking ladies of Leeds, a counterpart to the Leeds Fine Arts Club to whose Hon. Secretary I am grateful for arrangements to see the minute books since 1900, and the Yorkshire Ladies’ Council of Education. Tom Steele kindly answered questions on the Leeds Arts Club, as did Sibylle Cole and the late Bill Oliver on the L.F.A.C. For information as well as access to the interior of several significant buildings I am grateful to Ralph Smithson and Kay Hartley of Shireoak Road, the Tommasi family at Gledhow Hall, and the staff responsible for the residential homes at The Old Gardens, Gledhow Grange and Gledhow Manor. Arthur Hopwood and Frank Casperson showed me the information they had collected on Meanwood and Meanwoodside. And the Rev. Fr. Alan Taylor, the Revd. A.C. Fitzpatrick and the Prior of the Carmelites have kindly provided information and allowed me to photograph St Aidan’ s Church, Mill Hill Chapel and Hazelwood Castle. At times there has seemed to be no end to the primary material and collections with which the Kitsons were associated. During an H.B. Brabazon exhibition Chris Beetles mentioned the work of Cecil Hunt, Robert’s artist friend from Cambridge days, and kindly introduced me to his daughter-in-law Betty Hunt to whom I am grateful for access to Hunt’s sketch and scrap books as well as the collection of watercolours by himself and his contemporaries and Brangwyn’s design for the memorial window at Manaton. Peyton Skipwith, of the Fine Arts Society, Shiela Anne DuBarry, then of the Building Centre, and John Holder and Philip Athill, of Abbott and Holder, have been v

7 particularly helpful in helping me to record relevant designs by Brangwyn and watercolours by Robert Kitson over the years. In the quest for Brangwyn and Cotman’s work as well as that of R.H. Kitson, I took the opportunity provided by exhibitions at the William Morris Gallery at Walthamstow, the Fitzwilliam Museum, Cambridge, the Castle Museum, Norwich, the Victoria and Albert Museum, and the Royal Academy, about which Andrew Wilton made some perceptive observations. The curator of the Victoria Art Gallery in Bath kindly arranged for me to record the watercolour bought from Kitson’s Indian show which was presented by the widow of Percy lacomb-hood, which with the few others in British public collections was on file in the Witt Library at the Courtauld Institute. Catharine Dinn was of similarly help during the Tuke exhibition in Falmouth where the transcripts of records indicated his portrait patronage by Sir lames Kitson. Michael Halls, then archivist at King’s College. Camhridge, discussed some aspects of C.R. Ashhee’s journals, for access to which I am grateful to Felicity Ashbee. And Donna Kurtz was equally helpful when I asked to see items in the BeazIey Archive at the Ashmoleam. Lord Perry kindly took me to the Royal Gallery of the House of Lords, after I had heen to see Brangwyn’s murals in Swansea Town Hall. It intrigued us both to find his father as the last entry in Volume 12 of Sydney Kitson’s Cotmania Journals, having been introduced by WaIter’s godfather, Dr. Robert Laing, who was a friend and neighbour of Robert Kitson in Taormina. The re-opening of the Arentshuis in Bruges provided a wonderful chance to see the wide variety of his work that Brangwyn had himself presented to the city of his birth as well as discussion with its curator Domenic MarechaI, one of the primary authorities on the artist, and the unrolling of the cartoons for St. Aidan’s with the help of the Prior of Zevenkerken. And a conference visit to the Antipodes provided the opportunity for the inspection of the many Brangwyns at the National Galleries of Art at Sydney, Melbourne and Adelaide as well as the Arts Centre at Mildura, where I was invited to lecture surrounded by its unique collection of Brangwyn’s paintings and drawings presented by 1.D. Elliott, several of them associated with Kitson’s commissions. More were to be found at Wellington and Dunedin in New Zealand, in the latter case in the company of two of Kitson’ s own watercolours bought and presented by Esmond de Beer whose parents were husiness contemporaries of the Theomin family from Bristol who commissioned Sir Ernest George to design their house Olveston. Many individuals have kindly answered letters of enquiry or shown me pictures and other objects of relevance: Hugh Harrison showed me his Brangwyn collection as well as further information on his ancestor Sir Thomas Devitt, one of the artist’s most important patrons. Anthony Powell put me in touch with Alan Pryce lones, one of the friends of Robert Pratt Barlow who knew Taormina and met Robert Kitson there vi

8 in the 1930s. And he introduced me to both Kitson’ s portraitist Charles Baskerville, then in his 90s, and Anthony Mattei. a Maltese Marchese who had an illuminating view of Taormina between the wars. John Rohl helped me to sort out some contlicting accounts of Wilhem von Gloeden’s forbears and their chequered career in the Second Reich. Henry Scrope took me round Brandsby Hall and Sir Marcus Worsley kindly showed me the Cotman watercolours that remain at Hovingham with those by Francis Towne which his father collected sometime after the sale that provided Sydney Kitson wah his windfall. In Sicily I enjoyed my stay in the pensione run by the Signorine Calabro in Ashbee’s Villa San Giorgio and the arrangements kindly made by Professore Dionysio Triscari. Sr. Fiumara, Signora Turchetti, and Mario Pi no for me to see and photograph their collections of watercolours by Robert Kitson and by Nino Siligato to see even more of these with the works of other artists give to his father Don Carlo. Memories of Kitson and especially of family members who worked for him have been given to me by Francesco Bucalo. the Ragusa family and Maria Nigri’s nephew. Ciccio Rigono described his days as a young man learning to paint with Flora Fernald and Robert Kitson. Professori Giarizzo and Guiseppe Data of the University of Catania helped in different ways and Antonietta Falanga showed me where D.H. Lawrence had stayed. But I also wish to acknowledge other forms of support that has made this research possible. The Social Sciences.’ Faculty and Sociology Research Funds of the Open University have provided a series of small grants which assisted my foreign travel and the costs of photographing so many unrecorded pictures, drawings and buildings. These were augmented by a further small grant towards travel from the Paul Mellon Centre for the Study of British Art. At the Open University, the Oxford Architectural History Seminar and the Association for the Study of Modem Italy, I have benefitted from the opportunity of discussing papers on Brangwyn, Casa Cuseni and the Kitsons. I owe a great deal to the two secretaries who have seen so many drafts on the research through to a presentable conclusion, Molly Freeman and Pauline Turner; to the staff of the Ashmolean Museum where the colour photocopying was done and to John Hunt and George Arnison. who did much of the early and certainly the best reproduction of old negatives and the prints from them. To my wife Stella Herklots. I am indebted for the difficult task of listing and charting the plants currently growing at Casa Cuseni. She also mounted the material in the illustrative volume and helped me with the proof-reading. With Daphne Phelps, Arthur Bell and Derek Linstrum. they have watched it all grow and encouraged me to carry it through. I hope they find it worthy of their efforts on my, as well as the Kitsons’ behalf. vii

9 Contents of Chapters in Volume 1 Page Chapter 1 Introducing the main themes and topics ‘Victorian values’ and art history Leeds entrepreneurs and patronage of the arts Industrial nemesis and gentrification Civic pride and municipal art institutions Collecting contemporary art-innovation with a traditional mould The English penchant for watercolours and architectural subjects The Social and cultural milieu of Robert Kitson in fin-desiecle London and abroad Co rmania, the world of watercolours and Sydney Kitson 1.9 Leeds and Sicily; art and culture 13 Chapter 2 Leeds: its political, industrial and cultural development in the nineteenth century The development of Leeds and its industrial economy The political and social institutions of nineteenth century Leeds The ‘New Era’ in Leeds political and cultural action Leeds as a social and cultural stage 26 Chapter 3 The Kitsons of Leeds James I Kitson and the foundation of the Kitsons’ position in Leeds Frederick and lames 11 Kitson (Ist Lord Airdale) lames I1’s siblings, Emily and Arthur Kitson The Clarks and the second family of James I John Hawthorn Kitson and his family The Kitsons as examples of the Leeds elite 44 Chapter 4 The architectural practice of Bedford and Kitson The formation of the partners Prominent features of the practice: the sources of information The development of Bedford’s domestic designs Domestic designs of the Bedford and Kitson practice viii

10 Chapter 5 Chapter The commercial work of the practice The public commissions of the practice The decorative domestic and ecclesiastical work of the practice The office of the practice and Sydney Kitson’s later work for the R.I.B.A A concise assessment of the Bedford and Kitson practice 72 Frank Brangwyn and R.H. Kitson: artistic friendship fulfilled by fruitful patronage c.a. Hunt, R.H. Kitson and Frank Brangwyn in the London Art world of the ’90s Kitson, East, Brangwyn and the Venetian exhibitions The verge for the new University of Leeds and the christening caskets for Kitson’ s godchildren The furniture and decorative designs for Casa Cuseni The impact of Sicily on Brangwyn’s art Brangwyn’s mosaics for the apse and chancel of St. Aidan’s Church, Leeds The final years of friendship and a last commission 96 English arts and crafts in Sicily at the beginning of the twentieth century: the design of Casa Cuseni and its Page gardens by R.H. Kitson Taormina – the ‘new winter resort’ and its settlement by ex patriates The design of Casa Cuseni and its construction Arts and Crafts and the Genius Loci The gardens of Casa Cuseni C.R. Ashbee and the Guild of Handicraft in Taormina R.H. Kitson and the Arts and Crafts Movement 128 Chapter 7 The Art of R.H. Kitson Serious artistry and artistic accomplishments Robert Kitson’ s formation as an artist Landscape and architecture as subject matter Travelling artists in watercolours Robert Kitson’s Sketchbooks Kitson’s use of small water-colour cards 150 ix

11 Page 7.7 Kitson’s paintings in watercolours of France, Spain, North Africa and the Orient Kitson’s images of Italy and Sicily Robert Kitson’ s unbroken ties with England and English Art Robert Kitson in the context of British contemporary art 159 Chapter 8 The world of art in Leeds and the development of Leeds City Art Gallery to the First World War Civic pride and private patronage: the foundation of the City Art Gallery’s collection Exhibitions, loans and the Lady Patronesses Local art clubs in Leeds and the City Art Gallery The Arts and Crafts Exhibitions: a case of co-operation New ideas and forms of art and the impact of Sir Michael Sadler and Frank Rutter on their appreciation in Leeds Conclusion 191 Chapter 9 The post-war development of Leeds City Art Gallery and the Kitson’s role in it An introduction to institutions, individuals and the collection of works of art A collection policy for the development of Leeds City Art Gallery The direction of the City Art Gallery by Kaines Smith to implement the policy Contemporary British watercolours, prints and drawings at Leeds A short-lived transformation A change in policy and its systematic implementation Hendy’s apparent success in placing matters on a sound structural and financial basis for development Conclusion – The Kitsons’ role in the general development of the City Art Gallery between the wars 215 Chapter 10 ‘Cotmania’ – Sydney and Robert Kitson’s quest for the life and works of John Sell Cotman The form and intensity of Cotmania in the Kitsons The appeal of John Sell Cotman’ s work to the Kitsons Sydney and Robert Kitson and Cotman 223 x

12 Page 10.4 Contacting the descendants of Cotman’s family and patrons Dealing with the Dealers The close network of connoisseurs and the wide range of English watercolour owners and collectors Scholars, museum men and British public collections of drawings and watercolours Sydney Kitson’s aesthetic approach to Cotman’s work and the reception of The life of John Sell Cotman 248 Chapter 11 Ina Kitson Clark and the Leeds Fine Arts Club between the Wars The Ki tson Clarks’ art for the Great War The organisation of the Club between the Wars A critical assessment of the Club members’ exhibited work The Club’s plateau of achievement The call for change from the City’s art officials Conclusion: accomplished and serious artists from a select social circle 267 Chapter 12 ‘All good things come to an end’ Kitson and Co. Ltd. in receivership and the death of E.K.C The distribution of S.D.K.’s bequest R.H.K.’ s final efforts to enhance the holdings of Leeds City Art Galleries and his wartime exile in England Beatrice Kitson’s war and retirement from Leeds Robert Kitson’s return to peace in Taormina Civic pride, personal contidence, cultural achievement and 282 the Kitsons’ place in the arts of their time. xi

13 Contents of Volume 2 A Footnotes per Chapter: each numbered from No.l onwards Chapter one 1 Chapter two 4 Chapter three 7 Chapter four 12 O~~fift ~ Chapter six 42 Chapter seven 62 Chapter eight 84 Chapter nine 106 Chapter ten 120 Chapter eleven 146 Chapter twelve 151 Page B Appendices Page Appendix 1 Works of the Bedford and Kitson, Kitson and Partners architectural practice. 160 Appendix 2 Botanical and some common names of plants in the gardens of Casa Cuseni c.1992-l993 listed and plotted by Stella Herklots with plan. 190 Appendix 3 The sketchbooks of R.H. Kitson, Appendix 4 The social life of Taormina between the two world wars and its relationship to Robert Kitson’s way of life. 215 Appendix 5 An oil painting thought to have been mislaid in the summer of 1985, and reputed to be by WaIter Richard Sickert ( ), formerly in the collection of R.H. Kitson. 232 Appendix 6 Cotmania: the sources. 237 C Bibliography and sources Bibliography of published works. Unpublished references and source summary xii

14 List of Genealogies, tables and a large plan in certain places in the text Genealogy 3.1 Genealogy 3.2 Table 7.1 Table 7.2 Table 10.1 Table 10.2 Table 10.3 Plan 2.1 The first family of James I Kitson (less descendants of Lord Airdale and Emily Playfair). Page Vol.1 The second family of James I Kitson (plus descendants VoU of Lord Airdale and Emily Playfair). 30 Watercolours exhibited by R.H. Kitson in one-man and Vol.1 some other special exhibitions. 133 Prices placed on Robert Kitson’s watercolours exhibited at various galleries, S.D. Kitson’s Catalogue of his Cotman Collection according to their provenance and medium. S.D. Kitson’s Catalogue of his Cotman Collection by year of acquisition and medium of work (column percen tages). S.D. Kitson’s Catalogue of his Cotman Collection by year of acquisition and medium of work (row percentages). Plan of the gardens of Casa Cuseni with positions of many of the plants listed by Stella Herklots in Vol.2 73 Vol.l 218 Vol Vol.l 220 App.2, flap of Vol.2 xiii

15 List of all figures: past and present photographs, plans, elevations, and works of art in Volume three Page R.S. Hichens Esq., ( ). author of The Green Carnation (1894) and The Garden of Allah (1904). by Max Beerbohm (1896). 1.2 R.H. Kitson. ( ) in carnival costume at Casa Cuseni c (C.C.) W oodhouse Lane. Leeds in with some of its chapels and churches and the University site now filled by the Parkins on Building. 2.2 Leeds General Infirmary ( ) by Sir George Gilbert Scon; administration block and wards in Plan of Kirkstall Abbey Guest House by F.W. Bedford. The Builder (1896) Jan a Leeds Town Hall ( ) by Cuthbert Brodrick, in St Paul’s House (1878) by Thomas Ambler. 2.5 City Square, Leeds in 1993, with The Black Prince (unveiled 1903) by Sir Thomas Brock and Mill Hill (Unitarian) Chapel (1848) by H. Bowman and J.S. Crowther Park Row, Leeds (1882) by Atkinson Grimshaw with, from the left, the Philosophical Hall and Museum (1820) by R.D. Chantrell, S1. Anne’s (R.e.) Church (1838) by J. Child, and at the right the Royal Assurance Co. (1860) by Alfred Waterhouse. and Beckett’s Bank ( ) by Sir George G. Scott (L.C.A.G). (All now demolished.) 2.7 S1. Michael’s Church, Headingley ( ) by John Loughborough Pearson; NE crossing with chancel screen made by Skidmore’s and organ case presented by members of the Tetley family. in Aerial View of the Airedale Foundry: Clark, E.K., (1937). 3.2 James I Kitson ( ): Clark. E.K., (1937). 3.3 ‘The Donkey picture’: the younger children of James I Kitson’s first marriage; Emily, John and Mary holding Arthur. (c.1850) Anon The Lion (1838) in steam at the Science Museum’s Wiltshire site in its 150th year. 3.5 The last of Kitsons of Leeds. Hunslet, in Beechwood, Roundhay in 1993; home of successive Luptons concluding with Dr. Elinor G. Lupton. Lady Mayoress and a Little Owl. 3.7 Elmet Hall. Roundhay (1865) by Dobson and Chorley; tinal home of James I Kitson and his second family; The south front in xiv

16 9 3.8 Bknhcim Terra(.;c. Woodhouse Lane. Lceds in 1993; site of several Kitson homes as well as the Yorkshire Ladies’ Council of Education until the 1980s. 3.9 Elmet Hall (with Tower) from the SW with Roundhay Lodge in 1919 (Sale prospectus) Elmet Hall; west tower oriel in The Kitson arms and motto, Palmam Qui Meruit Ferat, in Elmet Hall; laundry and service wing in Elmet Hall; the overgrown rockery in Plan of Elmet Hall estate in 1919 (Sale Prospectus) Elizabeth (nee Hutchinson) ( ) and James I Kitson. c.1880 (c. M.-S.) Plan of Elmet Hall ground no or in 1919 (Sale Prospectus) Spring Bank. Headingley Lane. home of the first family of James IT Kitson, and later of C.F. Tetley, father-in-law of S.D.K Gledhow Hall (1767) by John Carr. home of Sir James Kitson Bart. from South Elevation of the University of Leeds (ex-yorkshire College of Science) ( ) by Alfred and Paul Waterhouse, showing the Tower, Clothworkers’ Court, Great Hall and Edward Baines Building (University of Leeds) E. Caldwell Spruce (n ), sculptor and modeller for Burmantofts. in 1911 at work on the posthumous bust of the first Lord Airedale. 1st Lord Mayor of Leeds : Payne, (199-) The Kitson graves in the churchyard of St John’s, Roundhay, including the crosses of James I Kitson and his 2 wives and the wall monument to Lord Airedale by S.D.K., (1911) Apprentices of the Airedale Foundry c with Edwin Kitson Clark seated at left and Archibald Kenrick (C.M.-S.) Young Kitsons walking with friends at Goatland (1889) Aug., including Beatrice. Robert. Sydney. Eva, Annette. Ethel and Frederick J.K. (C.M. S.) The engagement of Eva Kitson to the Revd. Arthur Swayne (1897) May. (C.M.-S.) Jessie Kitson (nee Ellershaw) ( ). (C.M.-S.) John Hawthorn Kitson ( ) dressed for Alpine climbing. (C.M.-S.). xv

17 Elmet Hall from the Rockery, c (C.M.-S.) Elmet Hall, the rock garden and glass houses, c (C.M.-S.) The Hawthorn Kitson children, Ethel, Beatrice and Robert, c (C.M.-S.) R H Kitson posed in Latin costume, c (C.M.-S.) R.H. Kitson when at Shrewsbury, c Elmet Hall in snow c (C.M.-S.) R.H. Kitson on leaving Cambridge, c The Hawthorn Kitsons at Elmet Hall for the Leeds Musical Festival, 1898, probably with either Ellershaw relatives or Mrs. Elizabeth Kitson and her two daughters Leeds Mechanics’ Institute (1865) by Cuthbert Brodrick, now the Civic Theatre, in Official emblems of the Little Owl, Leeds, founded 1879 and still active in 1993, induding fine-box and order-bell. (The Hon. Secretary, Little Owl) Halliwick School Reunion, 1895; the Elmet Team, with Annette, Beatrice and Ethel Kitson and other cricketers. (C. M-S.) Jessie Beatrice Kitson ( ) c.1897 (C.M-S.) Rousdon, near Lyme Regis, Devon ( ), laundry and south (garden) front by George and Vaughan, in Rousdon, near Lyme Regis, Devon ( ), plan of ground floor: Franklin, J. (1981) p.187. Rousdon, Near Lyme Regis, Devon ( ), Alma Mater Schools and master’s house (1876) in Rousdon, Near Lyme Regis, Devon ( ), Rectory (now Hotel) presumed to be by George and Vaughan, in Rousdon, Near Lyme Regis, Devon ( ), gazebo (1874) : Grainger, HJ. (1985) p.630 fig.36. Plan of Batsford Park ( ), ground noor by George and Vaughan : Franklin, J. (1981) p.180. Perspective of Littlecroft, Hampshire (1884), entrance front by George and Peto: The Architect (1884) Nov. I, p.281. Drawing of Redroofs, Streatham Common, (1888), front door, by T Raffles Davison: The British Architect (1891) Nov. 20, p.378. Ryecroft, Streatham Common (c.1888), entrance front by Sir Ernest George : Grainger, HJ. (1985) p.790 fig xvi

18 Sydney Decimus Kitson by J.E. Ballard. c S.D.K. and H.M. Fletcher sketching the church of S. Zeno, Verona in 1896 : Bagenal. H. (ed) (1957) Elevation of the front for Chiswick School of Art by Norman Shaw, in a letter to Lethaby : Greeves. T.A. (1975) fig Perspective of The Priory. Bedford Park by E J May: Greeves, T.A. (1975) fig Third Design for semi-detached villa, Bedford Park by Norman Shaw: Saint, A. (1976) p.205 fig. 152, and Bolsterli, M.J. (1977) fig. 14. (ex Building News. drawn by Maurice Adams) Bishop’s Hostel, Trinity College by S.D.K.: Sketchbook (1843) March Hampton Court Palace by S.D.K.: Sketchbook (1893) March The Houses of Parliament from Lambeth Palace by S.D.K.: Sketchbook (1893) March House in the Cloisters, Windsor: Door and Section of architrave by S.D.K. Sketchbook (1894) Jan Ordnance Survey Map of Leeds (revised 1906), showing Band K houses in Shireoak and North Hill Roads and Headingley residences mentioned in several chapters Arncliffe, Shireoak Road, Headingley ( ) by F.W. Bedford: The Architect (1894) p Arncliffe, north side with gazebo in Arncliffe. entrance front in Arncliffe, south gable and chimney in Arncliffe. coach house and laundry in Arncliffe, kitchen and service wing in Arncliffe, hall screen door to service wing in Arncliffe, hall mantelpiece and panelling in Arncliffe, hall windowseats in Arncliffe, dining room door-hinge and louvre in Amcliffe, dining room lock and latch in Arncl(ffe. dining room (c.1894): (Photo by A.A. Pearson at K and P) Arncliffe, dining room mantelpiece (detail) in Arncliffe. drawing room ceiling plasterwork by George Bankart. pupil of Gimson. in Arncliffe. Hall frieze plasterwork by George Bankart. xvii

19 ArnclUfe. gazebo door in Arncliffe. gazebo window with troubadour. in The Bearpit (1840) with The Old Gardens, Cardigan Road, Headingley Hill, in The Old Gardens. window latch, in Perspective of east end and plan of The Old Gardens by F.W.B.: The Builder (1904) Vol. 87. Gct The Old Gardens ( ) entrance fronts in The Old Gardens ( ) N.E.view in Nos 3 and 5 North Hill Road in 1991, presumed to be by Band K Dalguire. Harrogate (1897) by Band K: entrance front in Nos. 2 and 3 Shireoak Road, Headingley (1894) by F.W.B., north fronts in No.3 Shireoak Road. bay window. quoins and cornice with balustrade in No. 2 Shireoak Road. main (side) entrance in No.2 Shireoak Road. hall panelling and staircase in Plan of Arncliffe: The Architect (1894) July 25, p Plan of Nos 2 and 3 Shireoak Road: The Builder (1894) Vol. 72. pp First design for elevations of Brahan, Perth (1895) by F.W.B.: The Builder (1899) Vol. 76, Feb. 11, before p Plan of first design for Brahan: The Builder (1899) Vol. 76, Feb. 11, p Plan of second design for Brahan: The Builder (1904) Vol. 86, May 14, p Perspective of Second design for Brahan(1898) by F.W.B: The Builder (1904) Vol. 86, May 14,1’1′ p a Brahan, the entrance court c.1900: The Studio (1901) after p b Brahan, billiard-room tireplace with carving of Day and Night by Hayes of Edinburgh: The Studio (1901) after p Plan of Dalguire, Harrogate: The Builder (1904) Vol. 86, June 4, p Plan of High Garth, Headingley, by Band K: The Builder (1903) Vol. 85. Aug. 29, p Weetwood (now Oxley) Croft, Leeds ( ) by Band K, from the SW. (Photo at K and P) Braddae Brae, Port Erin, Isle of Man (1902): The Builder (1903) Vol. 85. Aug. 29. p xviii

20 Ordnance Survey Map of Leeds (revised 1906), showing Band K developments in Chapel Allerton and some of the Kitson residences in ‘Little Switzerland’ Allertoll Park, surviving entrance lodge beside the Band K development, in Webton Court, Allerton Park Road (1903) by Band K, in Plans of St. Aidan’s Vicarage, by Band K: The Builder (1902) Vol. 82, March 8, before p St Aidan’s Vicarage, off Roundhay Road, Leeds (1900), Main door hood and dedication stone in 1986: The Builder (1902) Vol. 82, March 8, p St Aidan’s Vicarage, off Roundhay Road, Leeds (1990); garden fronts in St Aidan’s Vicarage, inglenook in c.1900 (Photo at K and P) St Aidan’s Vicarage, bookshelves in parish room in Plans and Perspective of All Hallows’ Vicarage, Hyde Park, Leeds by Band K: The Builder (1904) Vol. 86, May 14, before p All Hallows’ Vicarage (1904), garden fronts in All Hallows’ Vicarage (1904), staircase in Hillside, Gledhow Valley, Leeds (1901-c.1904); garden front with replica of Putto with a dolphin by Andrea Verrochio: Country Life (1913) Plan of Hillside, as altered by S.D.K., Country Life (1913) Hillside, garden front in Hillside, main door to Gledhow Lane in Hillside, garden terrace to loggia: Country Life (1913) Hillside, hall/study, with cast of S. Lorenzo, by Donatello: Country Life (1913) Hillside, gallery (drawing room) with embroidered panel by S.D.K’s mother, two replicas of classical bronzes, and Paestum by David Roberts: Country Life (1913) Hillside, dining room with caste of tondo by Michelangelo: Country Life (1913) The Red House, Gledhow Lane, Chapel Allerton ( ), entrance front from the west by Band K, in The Red House, entrance portico in The Red Hou.se, Plans of ground and first noors: The Architectural Review (1904) Vol. 15, July-Dec, p xix

21 The Red House, hall (atrium), (Photo at K and P) The Red House, hall gallery and staircase in The Red HOllse, main staircase in The Red House, landing and hall gallery to bedroom suites in The Red House, hall doorcase in The Red House, dining room buffet in The Red House,drawing room mantelpiece in The Red House,dining room mantelpiece in The Red House, hall ceiling glazing by George Walton of Glasgow, in The Red House, porch window by George Walton, in The Red House, staircase window by George Walton, in The Red House, nursery mantelpiece relief, in The Red House, corridor radiator in use in The Red House, bathroom, with turquoise tiling in The Red House, fenestration and guttering of service wing on east front in The Red House, cornice and fenestration of east front in The Red House, stables block in The Red House, horsebox in stables in Carr Manor, Meanwood, Leeds ( ) south front by E.S. Prior, terrace by Band K, in Carr Manor, service court (1900) by Band K, in Carr Manor, south terrace in Replica of Putto with a dolphin by Andrea Verrochio (? from Hillside garden) Redcourt, The Esplanade, Scarborough ( ), by Band K: The Builder (1904) Vol. 86, March 5, next to p Redcourt, loggia: The Builder (1904) Vol., 86, March Plan of Redcourt: The Builder (1904) Vol. 86, March Re dh ill, Shireoak Road, Headingley (1901); Garden front by Band K in Redhill, inglenook with plasterwork by George Bankart Redhill, entrance front in High Garth, North Hill Road, Headingley (1902) by Band, K, south front in xx

22 High Garth from the SW: The Builder (1903) Vo1.85, Aug. 29, p Lincombe.7 North Hill Road. Headingley (1899) by Band, K, south front (Photo at K and P) Headingley, Cobham, Surrey ( ), garden front by F.W.B : The Architectural Review (1905) Vol.18, pp Plan of H eadingley ground floor: The Architectural Review (1905) Vo1.l8, pp Market Square, Thirsk, North Yorkshire with the Yorkshire (now Midland) Bank ( ) by Band K The Yorkshire Bank, Thirsk, armorial panel and gables The Yorkshire Banks in Hunslet and Thirsk, plans of ground floors: The Builder (1901) Vol. 80, March 30, p The Yorkshire Banks in Hunslet and Thirsk, street fronts. (Photos as 4.115) The Yorkshire Bank (possibly Morley, 19(0), exterior by Band K. (Photo and K and P) The Yorkshire Bank (possibly Morley, 19(0), banking hall. (Photo at K and P) Perspective of Business Premises, High Street, Doncaster (Exhib. R.A. 1912) by Charles Gascoyne : The Builder (1912) Vol. 102, May 29, p Lloyd’s Bank, Doncaster (1912), street front by S.D.K. : (Photo by Pickard). The Architect Lloyd’s Bank, Doncaster, (1912), banking hall: (Photo by Pickard). The Architect Lloyd’s Bank, Keighley ( ) banking hall by S.D.K. : (Photo by Pickard). The Architect Lloyd’s Bank, Keighley, street front: (Photo by Pickard). The Architect Thornton and Co., India Rubber Manufacturers, Briggate, Leeds (1909 extended as here 1910) by.s.d.k. (Photo by Chas. Pickard at K and P) The Queen’s Arms, Harrogate Road, Chapel town ( ) by S.D.K., in Woodland Lane. Chapel Allerton, with Parish Hall louvre cupola at right, in xx i

23 Parish Hall, Chapel Allerton (1913), public entrance by S.D.K., in Foxhill, Weetwood, Leeds (1862 extended ) by George Corson then S.D.K., garden fronts in 1992 with extension to left (now a school) FoxhiLL, entrance front with extension to right in Foxhill, Corson’s garden bay with S.D.K’s dormers in Ripon Spa Hydro Hotel (1906), garden front by S.D.K. in Ripon Spa Hydro Hotel (1906), main entrance with ex-stables/garage in Police Station, Free Library and Fire Station, Dewsbury Road, Hunslet, Leeds ( ) by Band K, Police Station (now Probation Office) and Fire Station (now library) in Police Station, Free Library and Fire Station, Dewsbury Road, Hunslet, Leeds ( ) by Band K, Free Library entrance in Leeds School of Art ( ), street front showing studio northlights by Band K, in Leeds School of Art ( ), main entrance with panel by Prof. Gerald Moira in Rust’s vitreous mosaic, in Plans and section of Leeds School of Art: The Architectural Review (1904) Vol.15, May, pp Leeds School of Art, entrance hall: The Architectural Review (1904) Vo1.15, May, pp Leeds Public Dispensary, North Street, Leeds ( ), North Street front by Band K in Leeds Public Dispensary, North Street, Leeds ( ), board rooms and staff quarters, facing up North Street in Plans of Leeds Public Dispensary, The Architectural Review (1904) Vol.15, Dec., p Leeds Public Dispensary, south side as revealed by the Leeds City motorway intersection etc., in Leeds Public Dispensary, outpatients’ entrance with Hygiea King Edward Memorial Ward, Leeds General Infirmary (1915/1921) by Kitson, Parish and Ledgard, in St. Wilfrid’s Church, Harehills, (designed 1906 but not built until largely following this design), nave and west window by S.D.K., modified by lames Parish, in xxii

24 St. John the Baptist, Adel, near Leeds (12th century), south side with Norman porch. in St John the Baptist. Add. Norman Font with cover (1921) by S.D.K., in Dumbleton Hall. near Evesham, Worcs. ( ), four stone cottages (termed The Palaces by Eyres-Monsell) (1903) by Band K, in Dumbleton Hall, near Evesham, Wores. ( ), the Dairy (1904) by Band K, in Dumbleton Hall, near Evesham, Wores., North Lodge ( ) by Band K, in Dumbleton Hall, near Evesham, Wores., East Gate ( ) by B and K, in Dumbleton Hall (1830) by G.S. Repton, Long Gallery (restored? by B and K (1903). (Photo at K and P) Scarcroft Grange, Wetherby Road, near Leeds ( ), garden front altered by Band K and subsequently raised, in Scareroft Grange, Wetherby Road, near Leeds ( ), plan of ground noor : The Builder (1912) Dec. 20, p Wydale House (1905), near Piekering, Yorkshire, extended by S.D.K. : The Builder (1908) Vo1.95, Oct 31, p Hazelwood Castle, Tadeaster, North Yorkshire ( ), perspective by Charles Gaseoyne (L.e.A.G.) Hazelwood Castle, Tadcaster, North Yorkshire ( ), Great HalVSaloon by John Carr, restored by S.D.K. and subsequently repaired, in Hazelwood Castle, Tadeaster, North Yorkshire ( ), Great HalV Saloon, original window revealed and restored by S.D.K., in Hazelwood Castle, Tadeaster, North Yorkshire ( ), Hall doorease Gledhow Hall, Leeds (1911), library by S.D.K. with bust of James I Kitson. (Photo by Thos. Lewis at K and P) Gledhow Hall, Leeds (1911), library doorease with Kitson arms by S.D.K. : The Builder (1913) Jan Gledhow Hall, Leeds (1912), inner hall colonnade by S.D.K., in Gledhow Hall, Leeds (1912), outer hall remodelled by S.D.K., fireplace and mouldings by? John Carr, in xxiii

25 No.3 Cadogan Square, London (1910), interior altered and decorated by S.D.K., drawing room doorcase No.3 Cadogan Square, London (1910), entrance hall NO.3 Cadogan Square. London (1910), first noor landing No.3 Cadogan Square. London (1910), dining room plasterwork (detail) NO.3 Cadogan Square, London (1910), dining room with buffet No.3 Cadogan Square, London (1910), library No.3 Cadogan Square, London (1910), drawing room No.3 Cadogan Square, London (1910), fireplace and overmantle Elevations for the Elementary School, Harrogate, Y orks. Second premiated design by Messrs. C. Gascoyne and G. Nott A.R.I.B.A. : The Builder (1913) Vol. 105, after p Plan of Llysbach. Harlech, Wales (1911), ground floor by S.D.K. (from origina1linen-print at Llysbach) Elevations of south and east fronts of Llysbach by S.D.K. (lent by P. Fairfax-Rawlings) Llysbach. Harlech, house from N.W., in Llysbach. Harlech, fenestration on east side, in Llysbach. Harlech, living room fireplace with embroidered panel probably by Mrs. Elizabeth Kitson, in (Photo by P. Fairfax Rawlings) Llysbach, Harlech, main (south) door in 1988 (Photo by P. Fairfax Rawlings) Llysbach, Harlech, view of Harlech Castle from the living room Llysbach, Harlech, north front, verandah, in Harlech Castle (1912) by Charles Gascoyne (Misses E and B Kitson now Cecil Higgins Museum) Sydney Decimus Kitson (1912) by Charles Gascoyne (Miss B. Kitson) Mill Hill Chapel, Leeds, memorial window to Mrs James I Kitson (Anne Newton) (1865) by Morris and Co., lower lights of the Magdalen and Dorcas Mill Hill Chapel, Leeds. east window erected in memory of Lord Airedale ( ) under the supervision of S.D.K. Top right light shows Minister Wicksteed and Lord Airedale in robes. xxiv

26 Lawnswood Cemetery. Otley Road. Leeds. Monument to Mrs. C. F. Tetley (1925) and later also to C.F.T. and Winnie Tetley, the wife of S.D.K. who designed it Headingley War Memorial (1921) by S.D.K War Memorial. St Peter’s, Dewsbury Road, Hunslet (1922) by S.D.K. with the Police Station, Library and Fire Station ( ) by Band K, in Lloyd’s Bank Chambers, Vicar Lane, designed for the offices of Kitson and Partners within the creation of the Headrow, designed by Sir Reginald Blomiield in The R.I.B.A. annual dinner by Fred May: The Architect’s Journal (1933) 8 March: induding S.D.K.; 3 Presidents Unwin, Scott and Rendel; Secretaries MacAlister and Spragg; Nat. Gallery Trustee and Royal Fine Arts Commissioner Lee; P.R.A. Llewellyn; R.I.B.A. Council members and other speakers include Rothenstein and Malim. the Headmaster of Haileybury S.D.K. at the opening of the R.I.B.A’s new HQ, in Portland Place, in 1934 with the past and new Directors of the National Gallery, Sir Augustus Daniel. and (Sir) Kenneth Clark and their wives Corner of Ryder and Duke Street. St. James’s in 1992, the block in which c.a. Hunt’s apartment and the Carfax Gallery were situated. 5.2 Some Persons of ‘The Nineties’ little imagining, despite their Proper Pride and Ornamental Aspect. how much they will interest Mr. Holbrook Jackson and Mr. Osbert Burdett by Max Beerbohm, (1925) Observations (including Sickert, Wilde, Yeats, Conder, Rothenstein, Beerbohm and Beardsley Cecil Arthur Hunt. Drawing, 1908, by George Lambert A.R.A. ( ). (M,..s M. Hunt). 5.4 Phyllis Clara Hunt (nee Lucas). Relief by Stirling Lee ( ) (Mrs M Hunt) Sir Frank Brangwyn, R.A. Etching by Joseph Simpson ( ) 5.6 The Cider Press. Oil by FB. bt by Sir Alfred East, R.A. (Sparrow, W.S., 1905, Plate 8) Leeks. Oil by F.B. bt by R.H.K; L.C.A.G. 18.3/45. (Sparrow, W.S., 1910). 5.8 The Rajah’s Birthday. Oil by FB. bt by R.H.K. L.C.A.G. NI 1945 (Sparrow, W.S., 1910) xxv

27 O.ffCloVt’liy. Oil by F.B. c Sold at an International Exhibition, Melbourne. Victoria. and recently presented to the Dunedin Club. New Zealand The Buccaneers. Oil by F.B based on sketches in Spain, Exhib: Paris Salon 1893 bt M. Pacquement. (Sparrow. W.S. 1910), now at Washington University Gallery. St. Louis Dancing. Mural by F.B for La Maison de l’art Nouveau, Paris. (Furst. H p.48) 5.12 Salone, Villa /giea, Palermo. designed by Ernesto Basile, , with murals of The Seasons by Ettore De Maria Bergler in Decorations and furniture designed by F.B. for the Music and Bedrooms of (Sir) Edmund and Lady Davis (Holme, C. (ed) 1901 pp.48, 51): Frieze Chairs. cabinet/table and electric lamp in silver Settee/daybed Etchings by C.A. Hunt and Sir Alfred East given to Don Carlo Siligato (Nino Siligato) Mallord House. The Vale, Chelsea. Plans and perspective by KnOlt, R. (1911) The Building News, No p Excavators (Navvies at work). Pastel Sketch for mural frieze by F.B The Blacksmiths. Oil by F.B. for Venetian Biennale, 1905: L.C.A.G SW 9/ The Spirit of the Age: with bookplate for R.H.K. by F.B. (Sparrow, W.S. 1905) Steelworkers (The Rolling Mill). Oil by F.B. for Venice, 1905: L.C.A.G. SW8/06. Below is Lottie of Paradise Walk by Sir William Orpen, R.A., 1905: L.c.A.G. SWI The Spinners. Oil by F.B. for Sam Wilson to complete the J<i..eze at Leeds City Art Gallery SW Chimneypiece by Alfred Gilbert, R.A.C for Rutland Lodge, Potternewton, L.c.A.G. SW209/25, with Portrait of Sam Wilson: Oil by Mark Senior, 1906: L.c.A.G. SW1 45/ A Venetian Funeral. Oil by F.B. L.c.A.G 228/06, as currently hung between bronzes by Alfred Gilbert R.A. with the Wilson Collection Salute through the rigging. Etching by F.B.; Grand Prix at Milan 1906, Venice The Bridge of Sighs. Drawing by F.B. for etching of 1909 for which R.H.K.sent F.B. photographs. (Sparrow, W.S. 1910). xxvi

28 Design and front head of the Verge with enamelled Arms by F.B., 1911, for R.H.K. to present to the University of Leeds Bookplate for Madeline Wells by F.B. J e..1919, (Arentshuis ) 5.29 The Verge supported by the Head Porter The side of the ‘capital’ knop of the Verge with the arms of the City of Leeds, drawn for FB. by E.K. Clark The dedication in the Verge composed by E.K. Clark and designed by F.B Christening Casket for Cynthia Phelps, designed by F.B. for R.H.K. c Female luteplayer Male serenade in oil by FB The Fruits of Industry. Tempera, 1901, by F.B., rejected by the Skinners’ Co. and ultimately bt. by R.D. Elliott and bequeathed to Mi1dura Arts Centre, Victoria. (Sparrow, W.S. 1910) Folio Cabinet made by J. S. Henry to design by F.B., and Piazza Duomo, Watercolour by R.H.K. (Casa Cuseni) 5.36 Enamelled Ashtrays by F.B., one with Arms of Leeds, possibly an experiment for the Verge? (Casa Cuseni) Design for a large table by F.B. c A lady (Mrs lessie Kitson?) seated at the dining table by R.H.K. (1907) Sketchbook No.3 (Casa Cuseni) Dining Room table (with loose-leat) made by Don Gaetano Ragusa to design by F.B. 1907, and Sideboard probably designed by R.H.K. after one by F.B. (Casa Cuseni) 5.40 Dining Room chairs made by Ragusa to design by F.B. c.1907 (Casa Cuseni) Don Gaetano Ragusa, MaggioLinista, with his family in Taormina c.1907, with Beppino at left and Giovanni centre front (R.H.K. Photo) The Dining Room, Casa Cuseni, c.1907, before the frieze had been painted. (R.H.K. Photo) The Dining Room, Casa Cuseni, C (Casa Vogue) Sideboard design by R.H.K. (c ) Sketchbook Handle designs, c.1990, by F.B. for Davis’s furniture, tucked into Sketchbook No. 79. (Casa Cuseni) Day Bed design by F.B. with notes on cushions etc. by R.H.K. c.1906, tucked into Sketchbook No. 79 (Casa Cuseni) xxvii

29 5.47 Working drawing for setteeldaybed. <.:.1900, by F.B. for (Sir) Edmund Davis, subsequently made in cherrywood, with designs for catches and finger plate: see Plate 54ITucked into Sketchbook No.79. (Casa Cuseni) Designs for bed ends by R.H.K (c ) Sketchbook No Designs for armchairs by R.H.K. (1907) Sketchbook NO Design for chimneypiece and panelling by F.B, (Holme, C. (ed), 1901, Supplement) Design for chimneypiece and panelling at Temple Lodge by F.B. C Dining Room fireplace and frieze by F.B. with omamentallandscape by Sir Alfred East. 1913, Casa Cuseni Dining Room Frieze in Tempera by F. B., 1910, Casa Cuseni Designs for Salone and Dining Room fireplaces by R.H.K (c ) Sketchbook No Designs for doors by R.H.K. (c ) Sketchbook No Ephebe with basket by F.B for (Sir) Edmund Davis’s frieze (Furst, 1924) Ephebe with basket. Drawing by F.B. (Mildura A.C.) The Thames with youthful fruit bearers. Drawing by F.B. (Sparrow, W. S, 1905, P.152) A river procession to Westminster in Skinners’ Co. Hall mural by F.B., (Sparrow, W.S, 1910) Rochester Watercolour by Sir Alfred East, c.191o. (Casa Cuseni) St. Eyoul. Provins. Watercolour by F.B. c.191o. Repaired after being shot at in World War 11. (Casa Cuseni) Baroque table, reliquary and candlesticks, with a Blessed Monk in Florentine ceramic (School of Foggini) and Provins by F.B., in the Salone. Casa Cuseni (c.1911) (Photo by R.H.K.) 5.63 The Salotto. Casa Cuseni with watercolours by Sir Alfred East and C.A. Hunt. (Photo c.1930 Casa Cuseni) Salone. Casa Cuseni with settee by F.B. and doorcases with mouldings, in (looking south east) Salone tireplace designed by R.H.K. with Baroque pagliotto over it and items from R.H.K.’s collection on table, Casa Cuseni, in Venetian cassettone with Persian ceramics collected by R.H.K. (Casa Cuseni) Southern Italian cassettone once at Stonegates (B.S.). xxviii

30 The lmmacolata, Messina. Watercolour by F.B., 1910 Fine Art Society Exhibition, bt. FJ. Fulford Etching by F.B., 1910 F.A.S. Exhibition The entrance hall of Casa Cuseni with Life among the ruins by F.B., in Life among the ruins. Watercolour by F.B., (Sparrow, W.S. 1910) Sketch of Ruined Convent, Messina by R.H.K. (1911) Sketchbook Nol2 (Casa Cuseni) Ruined Convent, Messina. Watercolour by R.H.K. (c.1911). (Casa Cuseni) The Carmine, Taormina. Etching by F.B., The Headless Christ. Etching by F.B., F.A.S. Exhibition Gaetana Buccini and Marta di Corra, Drawing by R.H.K. (1904) Sketchbook No.4 (Casa Cuseni) 5.77 Design for a poster. Lithograph by F.B. (1914) based on sketch of same subjects as No.5.76, (Mildura) Clayton Halls, 1906 by Bedford and Kitson, in 1986 (demolished c.1990) Westwerk of St. Aidan’s Roundhay Road, Leeds by 10hnson and Crawford-Hick, , in Baptistery, St. Aidan’s, , in Font cover made by Silas Paul to a design of S.D.Kitson, St. Aidan’s interior looking east in The life of St. Aidan. Rust’s vitreous mosaic designed by F.B., as lit in The life of St. Aidan first design by F.B. c.i908, (Arentshuis Inv ) 5.85 The life of St. Aidan. Tempera cartoon by F.B. c , (Mildura) St. Aidan feeding the poor. Mosaic designed by F.B Detail of leftside with bulldog. Cartoon by F.B. c (Zevenkerken) The landing of St. Aidan with cripple in foreground. Mosaic Cripple in scene of St. Aidan feeding the poor. Drawing by F.B. c.i o (Sparrow, W.S., 1910) Detail from St. Aidan preaching with Old Franklin. Mosaic Early design for 5.90 by F.B. (now Arentshuis Inv I). xxix

31 Detail of later design for 5.90 with Old Franklin (now Arentshuis II) Detail of Death of St. Aidan. Draperies and water jar. Cartoon by F.B. (Zevenkerken) Man ~lith water bottle, pastel design by FB. c Detail of man with water bottle linking 2 scenes from the Life of St. Aidan. Mosaic The Death of St. Aidan. Design, 1913, by F.B. (Arentshuis Inv Il) 5.97 The Death of St. Aidan. Mosaic Detail of Cartoon with tree and coastline by FB., (Zevenkerken) The Beguinage. Bruges. Woodcut, 1919, by F.B. (Arentshuis, Inv.02/58.III.) The left side of the ‘Sea Wall’, Choir, St. Aidan’s. Mosaic Sketch (Design?) for the ‘Sea Wall’ by R.H.K. (1913) Sketchbook No.iS Frank Brangwyn’ s signature in mosaic stars, the ‘Sea Wall’, St. Aidan’s AcoLvtes on the ‘Sea Wall’ showing tesserae of Rust’s Vitreous Mosaic Design from the dado of the apse St. Aidan’s, by F.B., c Dado in Rust’s vitreous tiles, St. Aidan’ s, in ‘Frank Brangwyn taking a few minutes well-earned rest’ by Max Beerbohm (1925) Observations The Brangwyn Hall, Swansea Town Hall, opened in 1934 by the Duke of Kent, in The Chapter House, St Andrie, Zevenkerken, with the Stations of the Cross, 1934, by F.B., in The Card Players. Oil by F.B. C. 1910, now in the National Gallery,Victoria (Sparrow, W.S. 1910) Stephen Hudson (Sydney Schiff) by F.B. (1925) Observations Waiter Sickert and other august elders (Tonks, MacColl, Furse and Steer) by Max Beerbohm (1916, 1919) Enoch Soames Design for memorial window to Esmond Moore Hunt by F.B. c.1927 (Mrs M.Hunt) Memorial window made by Silvester Sparrow to the design of F.B. c.1929, St. Winifred’s, Manaton, Devon Mt. Etna from the Graeco-Roman theatre, Taormina, in xxx

32 6.2 Taormina from the Villa Fiorenw (ex-morgan) to the Hotel San Domt’nico (at left) from the terrace of the Villa Communale (ex-cacciola Trevdyan) Perspective drawing of the Villa Igiea. Palermo by Emesto Basile. See also 5.12 and (Pirrone, G., p.123) Let Justice be done: Mr Clement Shorter (to Mr Alexander Nelson Hood): ‘And so you’re the Duke of Bronte! Now do, like a goodfellow, go and pull a wire or nvo at Court, and get Lottie and Em and Annie made Duchesses in retrospect!’ by Max Beerbohm (1925) Observations. 6.5 CastelLo Mania c e… founded 1173 as a convent and granted with Bronte to Nelson in 1799 by the Bourbons Badia Vecchia (l4th Cent.). Monte Tauro and the ancient walls of Taormina before Casa Cuseni was built outside them (from an early 20th century postcard). 6.7 Hotel San Domenico, as restored after the air-raid in July 1943 when it was Kesselring’s H.Q., in Miss Mabel Hill. Christmas 19l7. in Red Cross uniform. A photograph placed in the mortuary chapel. Taormina. 6.9 Miss Florence Trevelyan Trevelyan and her cousin Miss Louise Percival at work in Taormina in Ahmed and Young Arab (Tunisian) No.2528, c , Albumen prints by W. von Gloeden in the collection of R.H.K. (C.C.) Pencil sketch of a youth draped ‘a1 von Gloeden’ in R.H.K. (c ) Sketchbook No.7] (C.c.) Addio a Napoli; signed print of 1913 and Sicilian ephebe, print from photographs by W. von Gloeden in R.H.K’s collection (C.C.) Don Carlo Siligato and R.H.K. on the bedroom balcony of Casa Cuseni, c.1907, in Kitson’s frame; Commemorative Medal struck by the Italian government and presented to R.H.K. for his help in relief work after the Earthquake of 28 Dec Ethel Kitson laying the foundation stone of Casa Cuseni in 1905, in the presence of the Siligatos and R.H.K. (Nino Siligato) Cuseni from the Rocca. c with the Hotel Internazionale, the Carmine. S. Francesco di Paolo and the roofs of the Villa Rosa and Casa Cuseni, the latter showing the studio north-light Early morning view from Casa Cuseni across the bay to Naxos, in xxxi

33 6.17 Mid-day view over Taormina from Casa Cuseni with the garden of the adjacent villa. Badia Vecchia. Pal. Ciampoli (412), Duomo and Hotel San Domenico. in Plan of the Villa 19iea. Palermo by Emesto Basile. See also 5.12 i.lnd 6.3. Saloni. lower left; Ballroom. centre. Plans, elevations and sections of Casa Cuseni, measured by the author and Arthur Bell in Salone door and niche in the loggia, Casa Cuseni, in Salotto door with main door to right, Casa Cuseni, in Main door of Casa Cuseni in See also Doorbell with Kitson’s monogram, Casa Cuseni, in Plan of Casa Cuseni by R.H.K. projecting staircase around a square well: SketchBook No. 79. Final design of staircase by R.H.K., Casa Cuseni; Sketch Book No. 79. Plan of Casa Cuseni by R.H.K. as built except for modifications projected in the kitchen and scullery tucked into Sketch Book No Second night of vaulted staircase, Casa Cuseni, in Domestic stati, Casa Cuseni, c.i908 before the upper garden was laid out Maria Nigr 1 at right Houseboy in livery, Casa Cuseni, before Don Carlo Siligato with some of the tirst antique furniture, ceramics and sculpture Casa Cuseni, c (RH.K. photos) Project for front elevation Casa Cuseni; RH.K.: Sketch Book No Final design for elevation with main door and staircase, Casa Cuseni; R.H.K.: Sketch Book No and 6.34 Two projects for front loggia using an arcade on piers, Casa Cuseni; R.H.K.: Sketch book No and 6.36 Two more projects for front loggia using columns with entablature supported on brackets, Ca