Updates on Norman Lloyd

$Lloyd\'s CV$


	Norman Lloyd - Updates, Comments and Recollections J.R., Melbourne, January 2009: I wanted to thank you for what you wrote of Normal Lloyd on your site for forgotten and undervalued artists. I cannot believe that I have not googled Norman before now which is how I found your site. I was born in London and lived there from '64 - '74. My mother - and I met Norman through a mutual friend - Sylvia Saunders, who owned a small antique/junk shop. It was Sylvia who encouraged my mother to purchase some of Norman's art that she was selling for him and later introduced us. At that time, Norman was staying with a friend; a judge Toby someone or other. I recall when we visited his house, Norman pointed out the candlesticks upon a huge mahogony table that had been a gift from a politician. Mummy and Norman became close friends and before we left London in 74, he proposed and suggested that we move back with him to France. To this day, I have regretted her declining his offer. There was a significant age difference between the two and though mummy was very fond of him, I am not sure whether she felt that she was not sufficiently in love with him or whether she did not feel it was best for me that made her continue with the plan to return to Australia. I adored Norman and he was the closest I have ever had to a grandfather. We kept in contact with Norman for a short while but then I am guessing that my mother was not the best of correspondents and for this reason we lost touch. I still have a couple of his exquisitely penned letters. I was understandably moved to read that only two months before mummy died here in Melbourne, Norman passed away on the other side of the world in London. Perhaps they were destined to be together after all. K.F, UK, 5 November 2008: Having found your website I thought I'd add a little moe information on Norman. My grandmother was an old friend of Edith I think from memory they trained as teachers together. Throughout our childhood we heard about "Uncle Norman & Aunt Ede'. Gran and my aunt Joan Crossley visited them on a number of occasions in London and Chassingnols. Edith was with Norman in France - so that must have been after he inherited the cottage. We as a family have a number of his works, oils and pastels including some of the early harbour views, and pastels he did for us as children. I visited Edith and Norman in London in the late 60's or mid 70's and was amazed to be included in a musical soiree (a bit of a shock at the time). Thank you for this informative website - I was trying to find a clipping from the paper, which I have filed away in a safe spot, however I'm sure you have it. PB., USA, 17 October 2008: Arthur Stewart, of London and Londonderry, Ireland was the person who introduced me to the art business and subsequently to the work of Norman Lloyd. In 1971, while working at a small law firm in Columbus, Ohio and sporadically attending classes at Ohio State University, I was sent over to the nearby Federated department store, Lazarus, by my boss, Bill Davis. A collector of antiques, he had bought a couple of 19th Century English landscapes with cows for the office during a lunchtime shopping trip. Arthur Stewart, as part of the store's "Great Great Britain" promotion had been brought in and given a corner of the lamp department to show his antique paintings. The store was decked out with union jacks and Beefeaters and was a jolly good show all around. Bill Davis came back from lunch and asked me to go fetch the paintings he had purchased fro the store a couple of blocks from the office. When I got there, I was immediately implored by Arthur Stewart to be introduced to Mr. Davis. I think Arthur reasoned that if the lamp clerk could ring up $500, a smooth salesman like himself could probably knock down a couple thousand. When I got back to the office I told Bill that Stewart was a really nice guy and that he wanted to meet him. To my everlasting credit, I insisted that he go back over there with me after Bill's initial reaction was to sniff: "I don't like people who sell things". Well, they got on very well and Bill bought a beautiful Thomas Blinks heroic plowing scene and something else to the tune of two thousand dollars. The following year Arthur came back again and stayed as Bill's guest at his town home. At this time they asked me if I would like to try to run a small gallery if Arthur were to supply us with some paintings. We opened our first show in December of 1972 with 44 paintings from Arthur Stewart in a small temporary space on the ground floor of an Art Deco skyscraper in Columbus. Bill invited all his society friends from the Symphony and the Hunt Club--East Siders from Bexley mostly- old money people. We sold 40 of the paintings. I thought: "This is a great Business". Well, it has never been as good since, but that is another story... We relocated to a building in German Village, a quaint community of neat brick homes and brick streets just south of the courthouse. The gallery was located in the back of 211 East Livingston, and we received regular shipments and had a cocktail opening reception about every 6 weeks. It became apparent that not everyone wanted antique looking portraits, still lives and cow paintings and we implored Arthur to find the Davis-Bartlow Gallery something a little brighter and livelier for our clients. It was at this time that he sent us a few Norman Lloyd paintings and they were indeed a breath of fresh air. We sold lots of them over the next 3 or so years. Arthur told us that Lloyd had a closet in his home that had a stack of unstretched canvasses that nearly rose to the ceiling and that he traded the artist for a small cottage somewhere. S.Z., Australia, 9 September 2008: I was delighted to get your email with information on Norman Lloyd, I have been a fan for many years. I did acquire two pastel drawings some years ago in Sydney, one of zinneas and pears and another wonderful landscape of magnificent clouds and haystacks so I am very interested in the project. G.A., USA, 5 September 2008: I am preparing a one or two page handout on Norman Lloyd. This is for past, present and future collectors. So the new information will be useful. Also on September 24, the Dontree Gallery in Seattle, will be showing about 30 Lloyds in a general exhibition (featuring other artists besides Norman Lloyd). L.S., Australia, 4 September 2008: Just to let you know I received an email via Sam Dickerson. . I bought a Norman Lloyd for $ 40 probably in 1974 and it's one of middle harbour which I very much enjoy. I often wondered why there was no reference to Norman Lloyd - so now I understand he disappeared overseas. M.F., South Africa, 3 September 2008: I have been trying for ages to try and find out about this artist, as he was a personal friend of my British Grandfather. He was also a mentor to him in painting. They spent summers together in France at Norman’s cottage, when my mom was in school at Chatelarde in Switzerland during term time. My Grandfather travelled around Europe in a kombi, and stopped wherever he felt like doing a painting. Norman and my Grandfather’s painting style is so similar, you could almost believe they were one and the same artist. I own 2 of Norman Lloyd’s paintings (a gift to my Grandad), and about a dozen of my Grandfathers paintings as I inherited them. B.H., Australia, 1 September 2008: I’ve just “discovered” your website and have enjoyed perusing it. A friend directed me to it as he had enjoyed seeing it. Thank you for it. I read it fairly carefully, perhaps in part because I have only dialup internet and needed to wait for the loading of images, but mainly because of the interesting information and the placing of this, for me, in context of other events. I readilly admit that I had only every “skimmed across” most details of Mister Lloyd and his work and was grateful of the opportunity of becoming better acquainted. I remembered, as I read, that I had placed one of Mr. Lloyd’s works in my “stack” some years ago and thought that you might be interested to know of it. So, with that in mind I dusted it off and am giving brief details of it, with the comment that I am quite happy to photograph it and send the image to you if you wish. I cannot recollect the date I acquired it, but I guess it was in the late 60’s or early 70’s. So there you have it, my thanks and appreciation of your site as well as some picture details in case these are of any interest to you. O.P., France, 4 August 2008: I’ve just discovered your Internet site and wished to send you a quick email to let you know my parents have a certain numbers of paintings and photograph of Norman. My father was teaching English at La Châtre’s high school, which is a couple of km from Chassignol where Norman used to spend his French holidays. We’ve been friends for some 35 years, he was my sister’s godfather. I can try to make copies of those paintings and photographs, if you’re interested in them. Please do not hesitate to contact me and let me know what is the appropriate way to provide you with this information. E.R., Australia, 29 July 2008: I'm a researcher with the Art Gallery of New South Wales. I've just come across a review of his 1920 Sydney show, 'Norman Lloyd: A Young Soldier Artist of Great Promise' Sydney Mail, 15 September 1920, p 13 (with two illustrations of his Harbour paintings), which adds to the history of Lloyd's war sketches before they were given to the Mitchell Library: '[Lloyd] had been making sketches on the Somme, and when he was wounded his knapsack and sketches were lost. Later they were discovered, returned to him, and in due time they were purchased by the trustees of the Mitchell Library as part of the nation's war records...' 29 July 2008: Norman Lloyd Sketches of World War I rediscovered at Mitchell Library, Sydney Continually in pursuit of more information on expatriate Australian artist Norman Lloyd (1895 – 1983), David Hulme of Banziger Hulme Fine Art Consultants has just made another exciting find adding another piece to the puzzle that is Lloyd’s life. While researching another artist at the Mitchell Library website, he tried his luck and entered ‘Norman Lloyd’. Much to his surprise, he was rewarded with an entry listing 21 drawings by Norman Lloyd from his World War I diary and his soldier’s pouch. With the assistance of Kevin Leamon of the Mitchell Library, Banziger Hulme were able to view the documents and the pouch held in the archives. In January 1919, the then principal librarian at the Mitchell Library WH Ifould, sent a circular on behalf of the Trustees ‘...anxious to procure for permanent preservation in the State Archives the original diaries of Australian Soldiers and Sailors who served in the Great War.” The circular states “good prices will be paid for good material.” As a struggling artist and back to his studies at the Julian Ashton Art School, this would have presented Norman Lloyd with an opportunity to sell some of his art. Norman Lloyd had enlisted for service on his 21st birthday in 1916, left soon after for Europe where he was seriously wounded in battle on 20th September 1917 at Polygon Wood. Within these 21 sketches there are many insights into life on the Western Front in the thick of World War I. Amongst many scenes of desolate countryside, there are also pencil drawings of a German Howitzer destroyed by a British gun, a 15 inch German shell “... which was a subject of great interest on account of the peculiar position into which it finally lodged after failing to do its execution.” One scene described by Norman Lloyd is “Martinpuich from ‘Gun Pit Alley’, Le Sars: Members of the Fifth Brigade remembered this valley only as a place of intense fire. Later when they returned (after the evacuation from the Somme) they found the desolate looking country already green and the poppies coming into bloom. The French people were returning to find their beautiful village entirely destroyed.” In another scene, Lloyd describes “....The Somme ridges from Fricourt near Albert. Rest billets were established from near this spot and the Y.M.C.A. picture hall.” Lloyd’s drawings and comments indicate that although he saw so much destruction, he also discovered beauty. This eventually led to him spending considerable time in Europe, living and painting in France. C. D., UK, 30 May 2008: My late step father had the pleasure of Mr Lloyds company during his stay in St Johns Wood (I believe they drank toghether in the Drum and Monkey). My mother thinks the time scale of there friendship would have been brief and during the early eighties (not long before Mr Lloyds death) I'm not 100% certain but I believe he may have rented an apartment belonging to Mr Day at No1 Abbey Gardens (very near to where Mr Lloyd would have lived years before), Marlborough place being the street where the Drum and Monkey public house is and the next road along from Abbey Gardens. My step father purchased all the paintings as a job lot as Mr Lloyd had told him he wanted to return to Australia to spend what little time he had left. I'm not sure how much money changed hands but I can recall reading a letter to Peter from Mr Lloyd thanking him for his kindness. My mother can recall there being in the region of twenty paintings (several were gifted or sold in the last twenty years) there are 15 remaining one of which has been slightly damaged. G.A., USA, 2 May 2008: I have been involved with the research, documentation and the sale of Norman Lloyd paintings since about 1983. I have thoroughly enjoyed what you have found out about Mr. Lloyd and would enjoy sharing information that I have on him including newspaper clippings, exhibitions in the USA, and American museums which house his paintings. Thank you for presenting this data in a very professional manner. Would enjoy hearing from you and sharing data. M.A., USA, 7 April 2008: Can you give me any information on Lloyd's harvest paintings, years and where they were painted from. I have 1 painting that is titled "The Edge of the Field", it is a water color painting. True story, I saved it about 15 years ago from going to a landfill, friend was cleaning garage of late father-in-law, painting was first thing in trailer heading for dump, I saved it, rematted and framed. 2 labels on back, The Pastel Society, Royal Institute Galleries, Piccadilly, London, W.I., painting title, and artist's name Norman Lloyd, ROI FRSA. Hand written is The Edge Of The Field, Norman Lloyd, ROI FRSA, 63 Hanbrough Place, uw8 It is in the frame that I got it with, "saved it with". I had it rematted in non-acid matting, did no restore to frame. Frame should be replaced with a frame that would set the painting off. I have been looking for information on Lloyd's paintings for years, very little luck until I came across your web-site. I mention in first e-mail that I'm not a art collector, but I have spent the last 40 years collecting antiques and refinishing and restoring antique furniture, does not make me a expert, but sometimes I have a eye for nice pieces. D.G., UK, 2 April 2008: I have recently taken over as the London Sketch Club Archivist. The only source I have at the moment is the history of the Club by David Cuppleditch, and it contains a couple of items mentioning him. In 1976 another Sketcher Cecil Wade, the calligrapher, wrote 'I look upon the LSC now, as Bransby Williams put it, as "pictures in the fire": past scenes of painting with grand fellows like John Hassall, Sydney weeks, Edgar Norfield, Norman Lloyd, Irwin Atkinson, Charles Robinson, Charles Bryant, Harry Riley and many others of equal stature. All happy memories and quite impossible to put into writing . . .' 'Presidents during the War years were S van Abbé ARE, RBA, Norman Lloyd ROI, FRSA, (1941-42) David Ghilchik ROI, Fred Gardner and Donald Blake RI. Lloyd was another Australian, born in 1895 in Hamilton. He studied at the Sydney School of Art and on the Continent before settling in England. He was elected to the ROI (the Royal Institute of Oil Painters) in 1935 and in the 'sixties retired to France, letting his membership lapse. He rekindled his association with the Club in 1984 shortly before his death.' C.S., Australia, 1 April 2008: I have watched Norman Lloyd's works sold over many years. The best work of his that I saw was sold at Lawsons quite a few years ago. It was a wonderful oil of haystacks -- a quantum leap in quality over all of the other works of his that I've seen. It went in a bidding war for quite a high price -- several thousand dollars. It caused a momentary spike in his prices, which subsequently dropped back to the normal price of a few hundred dollars. I have a pastel, which I consider to be the second best work of his that I've seen. 17 April 2008: Latest Findings We are most grateful to Ria Murch, widow of the late and great painter Arthur Murch for pointing out an entry on Norman Lloyd in "The Story of Australian Art" by William Moore, 1934. The reference to Dee Why and its delights as a painter haven from 1912 sheds new light and suggests that Norman Lloyd lived at Dee Why after he returned from his war service. "Suburbia ends and the bush begins at Dee Why. I suppose this, and the reason that it is only a little over an hour's travel from Sydney, explain why so many artists have settled there at one time or another. Perched on the side of a miniature waterfall rises the studio of Bruce Robertson, the etcher, (...) On a height overlooking the sea, are the homes of Lawson Balfour, G.K. Townshend, and Frederick and Constance Tregear. A bungalow called "Cezanne" was once the home of Roland Wakelin. Along the Pacific Parade stands the solidly built house formlery occupied by J. Muir Auld. Other artists residing at this corner by the Pacific are L.J. BArnes and Marion Ferrier, the first woman artist to settle in the place. As a sketching ground, Dee Why was discovered by the late Cecil Hartt in 1912, when the place was mainly bush, the nearest post office being at Brookvale. Among former resident artists were James R. Jackson, Norman Lloyd, George Finey, Mick Paul, and Jim Emery. Will Ashton has motored there for a day's sketching; and Maud Sherwood painted a striking impression of the surfing beach." (The Story of Australian Art', William Moore, published Angust & Robertson, Sydney, 1934, vol. I, p. 119) If anyone can add more this, this would be very much appreciated, just email to info@normanlloyd.com.au 27 March 2008: Norman Lloyd (1895 – 1983): Australian Artist gets new exposure and a life rediscovered on www.normanlloyd.com.au Landscape painter Norman Lloyd had a long, prolific and successful life. But not even Australia’s most respected Art Encyclopedia has got his correct birth and death dates listed. The research that went into the establishment of the website dedicated to Norman Lloyd has not only set this right, but has shed a lot more light on this largely forgotten artist and has unearthed previously unknown facts. Now we know when and where Norman Lloyd was born, and what happened to him in World War I. We hear of his life in London in the 1930s where he enjoyed increasing success as a painter and held regular exhibitions with the Royal Institute of Oil Painters. We learn about friends and acquaintances such as HG Wells, Nancy Weir, George Bernard Shaw, Will Ashton, who frequented his home in the wealthy suburb of St John’s Wood. Also undiscovered is Norman Lloyd’s connection with France, where he spent his summers from 1944 onwards until shortly before his death. The mystery of his French mistress is also revealed. The website - researched and created by Banziger Hulme Fine Art Consultants www.bhfineart.com - presents Norman Lloyd’s life, CV, works and exhibitions in one easy and accessible location If you can contribute with information on Norman Lloyd, we would love to hear from you - just send us an email. Curated Fine Art Websites There are many difficulties involved in publishing a book on an artist, with time and costs often prohibitive. Today, the internet provides a very useful alternative in creating a new view of perhaps a ‘forgotten’, ‘maligned’ or ‘undervalued’ artist. Banziger Hulme Fine Art Consultants have taken this idea on board. We want to include as much biographical information as possible about the artist with images of the artist’s works. Our research aims to uncover little known facts about the artist and encourage feedback to the site and on any additional biographical information from institutions or individuals. The interest in developing a dedicated website might come from a collector who holds an extensive collection of a particular artist’s work or from family members interested in raising the profile of the artist. For example, the development of the website www.robertmitchellartist.com.au in 2007 has directly resulted in Robert Boyed Mitchell’s works being included in an exhibition ‘Special Forces’ at the National Art School in Sydney in July 2008.

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