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43-540: The Grosvenor Gallery was an art gallery in London founded in 1877 by Sir Coutts Lindsay and his wife Blanche. Its first directors were J. Comyns Carr and Charles Hallé . The gallery proved crucial to the Aesthetic Movement because it provided a home for those artists whose approaches the more classical and conservative Royal Academy did not welcome, such as Edward Burne-Jones and Walter Crane . The gallery

86-480: A 250 lb bomb, killing one man and putting the entire traction and industrial switchboard out of action, but lighting supplies were restored within 12 minutes, and traction supplies were restored within 24 hours. During World War II , 27 Deptford staff were killed by bombs. The most extensive damage was caused by a bomb on the West switch house. The site as a whole was redeveloped during the 1990s with luxury apartments and

129-503: A famous libel case, brought by the artist against the critic. Whistler won a farthing in damages. The case made the gallery famous as the home of the Aesthetic movement, which was satirised in Gilbert and Sullivan 's Patience , which includes the line, "greenery-yallery, Grosvenor Gallery". The enterprising art critic Henry Blackburn issued illustrated guides to the annual exhibitions under

172-429: A gallery, a kunsthalle is a facility that hosts temporary art exhibitions however does not possess a permanent collection . The art world comprises everyone involved in the production and distribution of fine art. The market for fine art depends upon maintaining its distinction as high culture , although during recent decades the boundary between high and popular culture has been eroded by postmodernism . In

215-582: A new site in Deptford and to use the Grosvenor Gallery site as a substation. A feature of the Grosvenor scheme was its use of alternating current (AC) in preference to direct current (DC). The use of AC allowed the voltage to be raised to 10 kV for transmission between Deptford and Grosvenor Gallery. High-voltage cables were laid alongside the London & Greenwich Railway line, but cable design at that time

258-636: A number of locations. Galleries selling the work of recognized artists may occupy space in established commercial areas of a city. New styles in art have historically been attracted to the low rent of marginal neighborhoods. An artist colony existed in Greenwich Village as early as 1850, and the tenements built around Washington Square Park to house immigrants after the Civil War also attracted young artists and avant-garde art galleries. The resulting gentrification prompted artists and galleries to move to

301-521: A slipway for dinghies. The coaling jetty in the Thames survives. Also surviving are some walls of the west boiler house, which have been incorporated into the apartment structure. A nearby park was developed from a derelict site and was named Ferranti Park as a tribute to one of the great industrial pioneers. A summary of all the turbine-generator ratings in the mid-1960s: This compares with 4,000 MW at Drax and 3,200 MW at Hinkley Point C . Although Deptford

344-657: Is a unique commodity, the artist has a monopoly on production, which ceases when the artist either dies or stops working. Some businesses operate as vanity galleries , charging artists a fee to exhibit their work. Lacking a selection process to assure the quality of the artworks, and having little incentive to promote sales, vanity galleries are avoided as unprofessional. Some non-profit organizations or local governments host art galleries for cultural enrichment and to support local artists. Non-profit organizations may start as exhibit spaces for artist collectives , and expand into full-fledged arts programs. Other non-profits include

387-563: Is that while maintaining their urban establishments, galleries also participate in art fairs such as Art Basel and Frieze Art Fair . Art galleries are the primary connection between artists and collectors . At the high end of the market, a handful of elite auction houses and dealers sell the work of celebrity artists; at the low end artists sell their work from their studio, or in informal venues such as restaurants. Point-of-sale galleries connect artists with buyers by hosting exhibitions and openings. The artworks are on consignment, with

430-510: Is used to refer to establishments with distinct social and economic functions, both public and private. Institutions that preserve a permanent collection may be called either "gallery of art" or "museum of art". If the latter, the rooms where art is displayed within the museum building are called galleries. Art galleries that do not maintain a collection are either commercial enterprises for the sale of artworks, or similar spaces operated by art cooperatives or non-profit organizations . As part of

473-586: The British Electricity Authority . Deptford East HP opened in 1953 with three 52.5 MW turbine-generators, a range of coal-fired boilers (2 × 225,000 lb/hr (28.3 kg/s) and 5 × 250,000 lb/hr (31.5 kg/s); delivering at 950 psi and 925 °F (496 °C)) and a single chimney. The original plan had been to demolish the LP station to make way for an extension of the HP station, doubling its size. This

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516-490: The Middle Ages that preceded, painters and sculptors were members of guilds, seeking commissions to produce artworks for aristocratic patrons or churches. The establishment of academies of art in the 16th century represented efforts by painters and sculptors to raise their status from mere artisans who worked with their hands to that of the classical arts such as poetry and music, which are purely intellectual pursuits. However,

559-471: The Museum of Modern Art and National Museum of Western Art ). However, establishments that display art for other purposes, but serve no museum functions, are only called art galleries. The distinctive function of a museum is the preservation of artifacts with cultural, historical, and aesthetic value by maintaining a collection of valued objects. Art museums also function as galleries that display works from

602-525: The Pre-Raphaelite Brotherhood . But it also featured work by others that were widely shown elsewhere, including the Royal Academy, such as Lawrence Alma-Tadema , Edward John Poynter and James Tissot . In 1877 John Ruskin visited the gallery to see work by Burne-Jones. An exhibition of paintings by James McNeill Whistler was also on display. Ruskin's savage review of Whistler's work led to

645-774: The River Thames , the first of which is regarded as the first central high-voltage power station in the world. One of the first premises in London to be supplied with electricity was the Grosvenor Gallery in Bond Street . It was the brainchild of the Earl of Crawford , who had been inspired in 1881 by the International Exposition of Electricity in Paris. A power plant was duly built at

688-489: The art world , art galleries play an important role in maintaining the network of connections between artists, collectors, and art experts that define fine art . The terms 'art museum' and 'art gallery' may be used interchangeably as reflected in the names of institutions around the world, some of which are called galleries (e.g. the National Gallery and Neue Nationalgalerie ), and some of which are called museums (e.g.

731-500: The AC plant comprised: 1 × 700 kW, 2 × 1,000 kW, 1 × 1,200 kW, 1 × 1,400 and 5 × 2,000 kW reciprocating engine driven generators; there were 2 × 3,500 kW, 2 × 7,500 and 1 × 15,000 kW turbo-alternators. The DC supply was generated by a single 200 kW reciprocating engine and generator. The total installed capacity was 52.5 MW. The boiler plant produced a total of 490,000 lb/hr (61.73 kg/s) of steam. In 1923

774-510: The Grosvenor Gallery name was revived twice by unrelated ventures: Upon returning from the Paris Exhibition of 1882, the Earl of Crawford recommended that Lindsay install electric lighting in the gallery. In 1883, two Marshall engines, each belted to a Siemens alternator , were installed in a yard behind the gallery. The installation was a success, and neighbours began requesting a supply. Lindsay, Crawford and Lord Wantage then set up

817-713: The Grosvenor Gallery. It was designed to supply just lighting for the gallery but it was soon extended to supply nearby shops and residences and a larger power plant was opened in 1884. With the prospect of expanding still further, the London Electric Supply Corporation was formed (LESCo). Principal shareholders were the Earl of Crawford, his friend Sir Coutts Lindsay and Sir Coutts’ brother, Lord Wantage . There were environmental objections to large-scale power generation in Central London, so LESCo decided to move to

860-522: The LP station, a frequency converter was installed in Deptford West. This motor-generator was commonly known as The Freak . Deptford East LP closed in the late 1960s. In 1925, ten electricity supply companies, LESCo among them, amalgamated to become the London Power Company . Deptford West was conceived by LESCo but was built by LPC and was engineered by Leonard Pearce. The turbine house basement

903-684: The Sir Coutts Lindsay Co. Ltd., and in 1885 constructed the Grosvenor Power Station. This was constructed under the gallery and had a capacity of 1,000 kilowatts . The station supplied an area reaching as far north as Regent's Park , the River Thames to the south, Knightsbridge to the west and the High Court of Justice to the east. However the system caused a lot of trouble, so much so that Sebastian Ziani de Ferranti gave advice as to how to resolve it in 1885; by January 1886 Farranti

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946-413: The adjacent neighborhood "south of Houston" ( SoHo ) which became gentrified in turn. Attempting to recreate this natural process, arts districts have been created intentionally by local governments in partnership with private developers as a strategy for revitalizing neighborhoods. Such developments often include spaces for artists to live and work as well as galleries. A contemporary practice has been

989-412: The art market. Art dealers, through their galleries, have occupied a central role in the art world by bringing many of these factors together; such as "discovering" new artists, promoting their associations in group shows, and managing market valuation. Exhibitions of art operating similar to current galleries for marketing art first appeared in the early modern period , approximately 1500 to 1800 CE. In

1032-549: The artist and the gallery splitting the proceeds from each sale. Depending upon the expertise of the gallery owner and staff, and the particular market, the artwork shown may be more innovative or more traditional in style and media. Galleries may deal in the primary market of new works by living artists, or the secondary markets for works from prior periods owned by collectors, estates, or museums. The periods represented include Old Masters , Modern (1900–1950), and contemporary (1950–present). Modern and contemporary may be combined in

1075-409: The arts as part of other missions, such as providing services to low-income neighborhoods. Historically, art world activities have benefited from clustering together either in cities or in remote areas offering natural beauty. The proximity of art galleries facilitated an informal tradition of art show openings on the same night, which have become officially coordinated as " first Friday events " in

1118-456: The case of historical works, or Old Masters this distinction is maintained by the work's provenance ; proof of its origin and history. For more recent work, status is based upon the reputation of the artist. Reputation includes both aesthetic factors; art schools attended, membership in a stylistic or historical movement, the opinions of art historians and critics; and economic factors; inclusion in group and solo exhibitions and past success in

1161-447: The category of Post-war art; while contemporary may be limited to the 21st century or "emerging artists". An enduring model for contemporary galleries was set by Leo Castelli . Rather than simply being the broker for sales, Castelli became actively involved in the discovery and development of new artists, while expecting to remain an exclusive agent for their work. However he also focused exclusively on new works, not participating in

1204-531: The first indications of modern values regarding art; art as an investment versus pure aesthetics, and the increased attention to living artists as an opportunity for such investment. Commercial galleries owned or operated by an art dealer or "gallerist" occupy the middle tier of the art market , accounting for most transactions, although not those with the highest monetary values. Once limited to major urban art worlds such as New York, Paris and London, art galleries have become global. Another trend in globalization

1247-452: The gibbets alongside the dry dock. This may have been on the site one of the original dry docks founded by Henry VIII for the Royal Navy. Deptford West closed in 1972. The electricity output from Deptford West power station was as follows. Deptford West annual electricity output GWh. When the electricity industry was nationalised in 1948, power generation came under the auspices of

1290-456: The museum's own collection or on loan from the collections of other museums. Museums might be in public or private ownership and may be accessible to all or have restrictions on access. Although primarily concerned with visual art , art museums are often used as a venue for other cultural exchanges and artistic activities where the art object is replaced by practices such as performance art , dance, music concerts, or poetry readings. Similar to

1333-417: The power station and at the Grosvenor Gallery substation, resulting in lengthy shutdowns and loss of customers. Ferranti himself was sacked in 1891 and succeeded by G. W. Partridge as chief engineer. The plant was rebuilt with steam turbines and other improvements, and electricity supply eventually became reliable. Demand increased steadily with customers supplied through different systems as follows: In 1923

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1376-466: The public exhibition of art had to overcome the bias against commercial activity, which was deemed beneath the dignity of artists in many European societies. Commercial art galleries were well-established by the Victorian era , made possible by the increasing number of people seeking to own objects of cultural and aesthetic value. At the end of the 19th and the beginning of the 20th century there were also

1419-434: The resale of older work by the same artists. All art sales after the first are part of the secondary market, in which the artist and the original dealer are not involved. Many of these sales occur privately between collectors, or works are sold at auctions. However some galleries participate in the secondary market depending upon the market conditions. As with any market, the major conditions are supply and demand. Because art

1462-416: The station generated 53.007 GWh of electricity, some of this was used in the plant,  the total amount sold was 46.044 GWh. The revenue from sales of current was £362,133, this gave a surplus of revenue over expenses of £143,574. When Britain eventually standardised to 50-cycle three-phase AC, Deptford East LP was downsized to just a few 25-cycle turbine-generators. To feed the 50-cycle National Grid from

1505-427: The title Grosvenor Notes (1877–82). In 1888, after a disagreement with Lindsay, Comyns Carr and Hallé resigned from the gallery to found the rival New Gallery , capturing Burne-Jones and many of the Grosvenor Gallery's other artists. The break-up of his marriage, financial constraints and personal conflicts forced Lindsay out of the gallery, which was taken over by his estranged wife. After its closure in 1890

1548-461: The use of vacant commercial space for art exhibitions that run for periods from a single day to a month. Now called "popup galleries", a precursor was Artomatic which had its first event in 1999 and has occurred periodically to the present, mainly in the Washington metro area . Deptford Power Station Three distinct coal-fired power stations were built at Deptford on the south bank of

1591-497: Was Chief Engineer and within a few months reworked the system to include a Hick, Hargreaves Corliss engine and two alternators to his own design as replacements for the Siemens equipment. The station was made a substation with the opening of Deptford Power Station . Art gallery Among the modern reasons art may be displayed are aesthetic enjoyment, education , historic preservation , or for marketing purposes. The term

1634-417: Was built in a former dry dock. Initially, the station had two turbine-generators, a bank of coal-fired boilers and a single large concrete chimney at the northern end. Four additional turbine-generations were added in the late 1930s together with three house sets, additional boilers and a second chimney. Staff claimed that the basement of No. 2 turbine-generator was haunted by the ghosts of those who had died on

1677-540: Was founded in Bond Street , London, in 1877 by Sir Coutts Lindsay and his wife Blanche. They engaged J. Comyns Carr and Charles Hallé as co-directors. Lindsay and his wife were well-born and well-connected, and both were amateur artists. Blanche was born a Rothschild , and it was her money which made the whole enterprise possible. The Grosvenor displayed work by artists from outside the British mainstream, including Edward Burne-Jones , Walter Crane and other members of

1720-464: Was never realised because the rapid rate of rise of electricity demand needed much larger power plants than could be accommodated at Deptford. The HP station closed in 1983 under the auspices of the CEGB . The electricity output from Deptford East power station was as follows. Deptford East annual electricity output GWh. The Deptford site was targeted in both World Wars. In 1916, a Zeppelin dropped

1763-793: Was remote from most of its consumers. To distinguish it from later adjacent developments, Ferranti's power station subsequently took the name Deptford East LP. It was pioneering not just because it was "central" but because of its unprecedented scale and high voltage. It was built on a 3-acre warehouse site called The Stowage which once belonged to the East India Company and was later used by the General Steam Navigation Company . There were initially two generators driven by two 1500 hp Hick, Hargreaves reciprocating steam engines, supplied by 24 boilers burning coal brought by collier from Newcastle. There were teething problems both at

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1806-474: Was rudimentary, having short lengths and many joints. This caused a voltage drop of some 10% from end to end. In order to supply at 10 kV at Grosvenor Gallery substation, the design voltage at Deptford had to be set at 11 kV, which is why national transmission voltages became standardised in multiples of eleven. Sebastian de Ferranti was appointed to engineer the scheme, and the world's first central power station opened at Deptford in 1889. ‘Central’ means that it

1849-461: Was small by modern standards, its contribution to the war effort and to the post-war recovery period was invaluable. A summary of the boiler capacities and steam conditions. 5 Foster Wheeler 4 Stirling 2 Babcock and Wilcox 2 Thompson 1 Thompson La Mont Steam Generator Coal was brought by sea from North East England or South Wales . The LPC and its nationalised successors had its own fleet of coastal colliers for this service, such as

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