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Fine Art Society

1876 establishments in the United KingdomArt galleries established in 1876Art museums and galleries in EdinburghArt museums and galleries in LondonGrade II listed buildings in the City of Westminster
Use British English from August 2015Visual arts exhibitions
The Fine Art Society 9906158113
The Fine Art Society 9906158113

The Fine Art Society is a gallery based in both London and in Edinburgh's New Town (originally Bourne Fine Art, established 1978). The New Bond Street, London gallery closed its doors in August 2018 after being occupied by The Fine Art Society since February 1876, the entrance façade of which was designed in 1881 by Edward William Godwin (1833–1886).

Excerpt from the Wikipedia article Fine Art Society (License: CC BY-SA 3.0, Authors, Images).

Fine Art Society
New Bond Street, City of Westminster Mayfair

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Latitude Longitude
N 51.511269 ° E -0.143822 °
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New Bond Street 148
W1S 2SE City of Westminster, Mayfair
England, United Kingdom
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The Fine Art Society 9906158113
The Fine Art Society 9906158113
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Aeolian Hall (London)
Aeolian Hall (London)

Aeolian Hall, at 135–137 New Bond Street, London, began life as the Grosvenor Gallery, being built by Coutts Lindsay in 1876, an accomplished amateur artist with a predeliction for the aesthetic movement, for which he was held up to some ridicule. In 1883, he decided to light his gallery with electricity. An outhouse became a substation, and equipment was installed in the basement, which upset some of the neighbours, and caused others to buy electricity from him. Thus began the system of electrical distribution in use today, but the threat of fire ended these activities, and by 1890, Lindsay was forced to sell out to the Grosvenor Club. By 1903 the whole building was taken over by the Orchestrelle Company of New York (the Aeolian Company). As manufacturers of musical instruments, and especially the mechanical piano-player known as the pianola, they converted the space into offices, a showroom, and a concert hall. Aeolian Hall was a popular venue for the Russian recitalist Vladimir Rosing. The hall was even turned into an intimate opera house for one set of performances. In June 1921 Rosing presented, with director Theodore Komisarjevsky and conductor Adrian Boult, a season of Opera Intime, performing The Queen of Spades, The Barber of Seville, and Pagliacci. On 12 June 1923 the first performance of Facade, music by William Walton, poems by Edith Sitwell, took place.After the destruction of their St George's Hall studios in March 1943, the BBC took it over for the recording and broadcast of concerts and recitals. The premises are currently converted to office use but remain otherwise intact.

Exhibition of Australian Art in London
Exhibition of Australian Art in London

The Exhibition of Australian Art in London was a show organised by the trustees of the Art Gallery of New South Wales (AGNSW), notably Julian Ashton, and financially supported by the philanthropist Eadith Walker. Held at London's Grafton Galleries between April and September 1898, it featured 371 artworks made in Australia by 114 artists, and was the first major exhibition of Australian art to occur internationally. The exhibition focused almost exclusively on art from the previous ten years, a time of intense patriotic feeling in Britain's Australian colonies, which were then on the cusp of federating to form the Commonwealth of Australia. By staging the exhibition in London, the capital of the British Empire, the organisers sought to promote the idea of an emerging Australian tradition in Western art, and to depict the maturity of Australia as an embryonic nation. Some Australians also felt that local artists, compared to local writers, had hitherto been overlooked in Britain, and, as the Grafton Galleries catalogue highlighted, it was time to showcase a collection of works "for the judgement of connoisseurs outside of Australia."In order to build a "representative" collection, the AGNSW trustees sought submissions from artists throughout the colonies. However, the final selection of works received criticism for evidencing a bias toward New South Wales artists, and several organisers, including Ashton, himself a prominent artist and taste-maker, were accused of self-promotion. Despite these controversies, the exhibition won considerable, if unanticipated, critical acclaim in Britain, and such was the show's popularity that Grafton Galleries kept it open for four months past the original closing date. It remains the largest exhibition of Australian art in Britain, and is also notable for its near equal representation of women artists, a far higher percentage than any other show of its kind.