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Presentation: Mounted
Pen and ink
15 x 15 in. (38 x 38 cm)
Ziegler studied at Central School of Arts and Crafts and at Royal College of Art under William Rothenstein, 1927-30. As well as teaching drawing and painting at St Martin's School of Art, Ziegler taught art history at Morley College in London, and for the Workers' Educational Association. Toynbee Hall, in London's East End, had a mural by him. Ziegler had a series of one-man shows in London, including the Whitechapel Art Gallery (1932), Adams Gallery, 1935; Leger Gallery, 1938; and Ben Uri Gallery, 1950, with a retrospective five years later. Chelsea Arts Club member who lived in London.
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Presentation: Mounted
Inscribed with title
Watercolour over pencil, squared
13 x 10 inch (33 x 25.5 cm)Toynbee Hall, in East London, was one of the poorest of the London parishes and at the heart of number of important initiatives for social reform. The Workers Educational Association – for whom Ziegler provided courses in history of art -was based at Toynbee Hall .
Toynbee's location was at the heart of both Jewish and Irish immigrant communities and Toynbee residents quickly became involved in campaigning for ethnic minorities and in the thirties against the rise of fascism. Activity was not restricted to what might be described as social policy or welfare issues. The founder of the Olympic movement spent time at Toynbee, Marconi demonstrated his wireless for the first time in the UK at Toynbee, while the artist and craftsman Ashbee was also deeply involved and is credited with designing the Toynbee 'tree of life' logo.
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Presentation: Unmounted
Pencil on paper, with slight touches of colour
12 x 49 ins. (30.5 x 125 cm)Extensively inscribed with notes and measurements
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Presentation: Framed
Oil on panel over pencil and red crayon
21 1/8 x 26 5/8 inch (53.5 x 67.7 cm)This scene can be read as a polemical Allegory of the sacrifice of the working man as a victim of the ruling classes. It depicts the artist himself on the Cross. He is flanked on the left by pugnacious worker’s leaders (a reference to Socialism?) and on the right men in formal attire representing the Establishment (a reference to Capitalism?). Brow-beaten workers, under attack, fill the background. A soldier stands guard to the Establishment figures, amongst which is a macabre, frock–coated figure whose pose and dog-collar alludes possibly to the Church. A study for this right hand group is inscribed by the artist with the title 'Hell'. Dating to the second half of the late 1920's - a period of mass unemployment and social unrest lasting until well into the 1930s - it recalls images of the 1926 General Strike, which Ziegler would have himself lived through as a young art student. Ziegler's striking composition is likely to have influenced the later well known self portrait as Christ (Jesus The Jew, 1942) by Emanuel Levy.
We are grateful to Michael Barker for assistance.
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Presentation: Unmounted
Signed and dated
Pencil and ink over red crayon13 3/4 x 18 1/8 in. (35 x 46 cm)
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Presentation: Unmounted
Pen and ink with white highlights on red paper
20 x 18 1/2 in. (512 x 47 cm)It is perhaps surprising to learn that Archibald Ziegler - an artist little known today - had 14 one man shows during his life time held at prestigious venues which included the Whitechapel Art Gallery (1932), Adam Gallery, (1935), Wertheim Gallery, (1937), Leger Gallery (1938), and the Ben Uri Gallery (four shows between 1950-58)
Ziegler was born in London in 1903 and studied at the Central School of Arts and Crafts.He subsequently (from 1927-30) studied at the Royal College of Art under William Rothenstein, who he recalled as ‘a lively and inspiring Principal’ . The late 1920’s was a rich period to attend the RCA : the likes of Bawden, Ravilious, Mahoney, Sorrell, Bliss and Freedman had already completed their formative studies and, in what was to prove the golden age of the Royal College of Art, their influence can be seen in Ziegler's early work. Later on the work of his fellow Jewish artists - Joseph Herman, Bernard Meninksy, David Bomberg, Mark Gertler, Emmanuel Levy and Fred Ulhman, all of whom he empathised with and wrote about with enthusiasm, came increasingly to the fore (see Archibald Ziegler, Jewish Artists in England, Studio International, vol 153-154 1957).
After leaving the RCA Ziegler taught drawing and painting at St. Martin’s School of Art (where he was a visiting instructor for Figure Drawing and Painting) and Art History at Morley College in London and for the Worker’s Educational Association.His work was widely reproduced in publications including Illustrated London News, Country Life, Architectural Review, Mater Builder, Architecture Illustrated, Studio Artist, Courier, London Mercury, Leader, Bookman and The Artist.His Royal Academy exhibits (which between 1931-1970 numbered 12) were mostly of his locality: Chelsea in the 1930’s; Hendon and Hertfordshire in the 1940’s, Hampstead from the 1950’s onwards.
In the final year of his life, 1971, he was given an exhibition at Kenwood House, London - the first living artist to be so honoured. The catalogue introduction describes him (even during his own lifetime) as 'an unfashionable artist but also a dedicated one, to whom the latest manifestations of the avant-garde may well be of interest but of little immediate attraction: a traditionalist, who believes, naturally, in experiment, but who has never forsaken his deeply held humanist values.' John Jacobson, “A Hampstead Heath Centenary Exhibition/Archibald Ziegler,”(p. 1) This statement, which might legitimately be used to describe so many of his contemporaries who have also slipped from view (by virtue of being reactionary rather than avant garde), also explains why these artists are now slowly re-emerging to re-charm the public eye. In Zieglers own words:Experiment is an important element in art, but it must be based on continuity rather than on a violent break with all that has gone before.Archibald Ziegler, quoted by John Jacobson, “A Hampstead Heath Centenary Exhibition/Archibald Ziegler,”(p. 1)
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Presentation: Unmounted
Pen and ink with white highlights on mottled buff paper
24 x 19 in. (61 x 48.2 cm)
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Presentation: Unmounted
Signed and dated,
black chalk,
18 3/4 x 12 in. (48 x 28 cm.)It is perhaps surprising to learn that Archibald Ziegler - an artist little known today - had 14 one man shows during his life time held at prestigious venues which included the Whitechapel Art Gallery (1932), Adam Gallery, (1935), Wertheim Gallery, (1937), Leger Gallery (1938), and the Ben Uri Gallery (four shows between 1950-58)
Ziegler was born in London in 1903 and studied at the Central School of Arts and Crafts.He subsequently (from 1927-30) studied at the Royal College of Art under William Rothenstein, who he recalled as ‘a lively and inspiring Principal’ . The late 1920’s was a rich period to attend the RCA : the likes of Bawden, Ravilious, Mahoney, Sorrell, Bliss and Freedman had already completed their formative studies and, in what was to prove the golden age of the Royal College of Art, their influence can be seen in Ziegler's early work. Later on the work of his fellow Jewish artists - Joseph Herman, Bernard Meninksy, David Bomberg, Mark Gertler, Emmanuel Levy and Fred Ulhman, all of whom he empathised with and wrote about with enthusiasm, came increasingly to the fore (see Archibald Ziegler, Jewish Artists in England, Studio International, vol 153-154 1957).
After leaving the RCA Ziegler taught drawing and painting at St. Martin’s School of Art (where he was a visiting instructor for Figure Drawing and Painting) and Art History at Morley College in London and for the Worker’s Educational Association.His work was widely reproduced in publications including Illustrated London News, Country Life, Architectural Review, Mater Builder, Architecture Illustrated, Studio Artist, Courier, London Mercury, Leader, Bookman and The Artist.His Royal Academy exhibits (which between 1931-1970 numbered 12) were mostly of his locality: Chelsea in the 1930’s; Hendon and Hertfordshire in the 1940’s, Hampstead from the 1950’s onwards.
In the final year of his life, 1971, he was given an exhibition at Kenwood House, London - the first living artist to be so honoured. The catalogue introduction describes him (even during his own lifetime) as 'an unfashionable artist but also a dedicated one, to whom the latest manifestations of the avant-garde may well be of interest but of little immediate attraction: a traditionalist, who believes, naturally, in experiment, but who has never forsaken his deeply held humanist values.' John Jacobson, “A Hampstead Heath Centenary Exhibition/Archibald Ziegler,”(p. 1) This statement, which might legitimately be used to describe so many of his contemporaries who have also slipped from view (by virtue of being reactionary rather than avant garde), also explains why these artists are now slowly re-emerging to re-charm the public eye. In Zieglers own words:Experiment is an important element in art, but it must be based on continuity rather than on a violent break with all that has gone before.Archibald Ziegler, quoted by John Jacobson, “A Hampstead Heath Centenary Exhibition/Archibald Ziegler,”(p. 1)
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Presentation: Unmounted
Signed and inscribed with title
Pencil15 1/8 x 11 inch (38.5 x 28 cm)
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Presentation: Passe-partout
Inscribed with title,
Pencil on tracing paper
14 1/2 x 6 1/8 inch (36.8 x 15.5 cm)
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Presentation: Passe-partout
Oil over pencil on paper
9 1/2 x 11 3/4 inch (24 x 30cm)
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Presentation: Passe-partout
Gouache over pencil
23.7 x 27 cm (33 x 36 cm framed)
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Reserved
Presentation: Unmounted
Squared and inscribed with measurements,
Pencil
21 x 26 inch (53.3 x 66.5 cm)
This scene can be read as a polemical Allegory of the sacrifice of the working man as a victim of the ruling classes. It depicts the artist himself on the Cross. He is flanked on the left by pugnacious worker’s leaders (a reference to Socialism?) and on the right men in formal attire representing the Establishment (a reference to Capitalism?). Brow-beaten workers, under attack, fill the background. A soldier stands guard to the Establishment figures, amongst which is a macabre, frock–coated figure whose pose and dog-collar alludes possibly to the Church. A study for this right hand group is inscribed by the artist with the title 'Hell'. Dating to the second half of the late 1920's - a period of mass unemployment and social unrest lasting until well into the 1930s - it recalls images of the 1926 General Strike, which Ziegler would have himself lived through as a young art student.We are grateful to Michael Barker for assistance.
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Presentation: Mounted
Signed and inscribed with title
Pen and ink
10 1/2 x 15 1/4 in. (26.5 x 39 cm)
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Presentation: Mounted
Signed and extensively inscribed with notes, pencil and watercolour on paper
16 1/8 x 10 1/2 inch (41 x 26.5 cm).
Ziegler studied at Central School of Arts and Crafts and at Royal College of Art under William Rothenstein, 1927-30. As well as teaching drawing and painting at St Martin's School of Art, Ziegler taught art history at Morley College in London, and for the Workers' Educational Association. Toynbee Hall, in London's East End, had a mural by him. Ziegler had a series of one-man shows in London, including the Whitechapel Art Gallery (1932), Adams Gallery, 1935; Leger Gallery, 1938; and Ben Uri Gallery, 1950, with a retrospective five years later. Chelsea Arts Club member who lived in London.
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Presentation: Framed
Watercolour over pencil, squared8 5/8 x 39 3/4 ins. ( 22 x 101 cm)
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Presentation: Mounted
Signed and dated
Pencil, pen and ink over red crayon14 x 21 inch (35.5 x 53.3 cm)
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Presentation: Mounted
Signed and dated
Pencil, Pen and Ink20.5 x 28 inch (51.5 x 71 cm)
Constucted by Vickers-Armstrong at Barrow-in-Furness in 1924 the Orama had accommodation for 1,700 passengers. Shown here in a dry dock (possibly Southampton), with new plates being fitted to the hull, it would appear the Orama suffered a collision early in her career. In 1940 she was she was converted to a troopship, and was used to transport the British Expeditionary Force to Norway following the German Invasion. On the 8th June 1940, she was sunk 300 miles West of Narvik, by the German High Seas Fleet.
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Presentation: Unmounted
Pencil
15 x 16 3/4 inch (38 x 42.5 cm)This drawing explores a similar theme to Ziegler's Allegory of Social Strife - the sacrifice of the working man.
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Presentation: Passe-partout
Signed and dated
Red chalk
7 7/8 x 6 1/4 inch (20 x 16 cm)Ziegler studied at Central School of Arts and Crafts and at Royal College of Art under William Rothenstein, 1927-30. As well as teaching drawing and painting at St Martin's School of Art, Ziegler taught art history at Morley College in London, and for the Workers' Educational Association. Toynbee Hall, in London's East End, had a mural by him. Ziegler had a series of one-man shows in London, including the Whitechapel Art Gallery (1932), Adams Gallery, 1935; Leger Gallery, 1938; and Ben Uri Gallery, 1950, with a retrospective five years later.
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Presentation: Unmounted
Watercolour and pencil
14 x 14 in. (35.5 x 35.5 cm)The titles of three of Ziegler’s twelve R.A exhibits specifically refer to trees:Trees and Red Earth (1951, no. 393), Trees by the Spring (1951, 447) and Trees by the Lake, (1968, 773).
It is perhaps surprising to learn that Archibald Ziegler - an artist little known today - had 14 one man shows during his life time held at prestigious venues which included the Whitechapel Art Gallery (1932), Adam Gallery, (1935), Wertheim Gallery, (1937), Leger Gallery (1938), and the Ben Uri Gallery (four shows between 1950-58)
Ziegler was born in London in 1903 and studied at the Central School of Arts and Crafts.He subsequently (from 1927-30) studied at the Royal College of Art under William Rothenstein, who he recalled as ‘a lively and inspiring Principal’ . The late 1920’s was a rich period to attend the RCA : the likes of Bawden, Ravilious, Mahoney, Sorrell, Bliss and Freedman had already completed their formative studies and, in what was to prove the golden age of the Royal College of Art, their influence can be seen in Ziegler's early work. Later on the work of his fellow Jewish artists - Joseph Herman, Bernard Meninksy, David Bomberg, Mark Gertler, Emmanuel Levy and Fred Ulhman, all of whom he empathised with and wrote about with enthusiasm, came increasingly to the fore (see Archibald Ziegler, Jewish Artists in England, Studio International, vol 153-154 1957).
After leaving the RCA Ziegler taught drawing and painting at St. Martin’s School of Art (where he was a visiting instructor for Figure Drawing and Painting) and Art History at Morley College in London and for the Worker’s Educational Association.His work was widely reproduced in publications including Illustrated London News, Country Life, Architectural Review, Mater Builder, Architecture Illustrated, Studio Artist, Courier, London Mercury, Leader, Bookman and The Artist.His Royal Academy exhibits (which between 1931-1970 numbered 12) were mostly of his locality: Chelsea in the 1930’s; Hendon and Hertfordshire in the 1940’s, Hampstead from the 1950’s onwards.
In the final year of his life, 1971, he was given an exhibition at Kenwood House, London - the first living artist to be so honoured. The catalogue introduction describes him (even during his own lifetime) as 'an unfashionable artist but also a dedicated one, to whom the latest manifestations of the avant-garde may well be of interest but of little immediate attraction: a traditionalist, who believes, naturally, in experiment, but who has never forsaken his deeply held humanist values.' John Jacobson, “A Hampstead Heath Centenary Exhibition/Archibald Ziegler,”(p. 1) This statement, which might legitimately be used to describe so many of his contemporaries who have also slipped from view (by virtue of being reactionary rather than avant garde), also explains why these artists are now slowly re-emerging to re-charm the public eye. In Zieglers own words:Experiment is an important element in art, but it must be based on continuity rather than on a violent break with all that has gone before.Archibald Ziegler, quoted by John Jacobson, “A Hampstead Heath Centenary Exhibition/Archibald Ziegler,”(p. 1)
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Presentation: Passe-partout
Signed
Oil over pencil on paper
9 1/2 x 11 1/4 inch (24 x 31cm)The titles of three of Ziegler’s twelve R.A exhibits specifically refer to trees:Trees and Red Earth (1951, no. 393), Trees by the Spring (1951, 447) and Trees by the Lake, (1968, 773).
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Presentation: Passe-partout
Inscribed with ...
Watercolour over pencil
23.5 x 26 cm (32.5 x 35 cm framed)
