A Way of Life: Kettle's Yard - Jim EdeCambridge, New York & Melbourne: Cambridge University Press1, 1984, Hardback in Dust Wrapper.
Condition: Very Good — in Good Dust Wrapper. Dust wrapper creased, vertically, on the upper panel and now sealed in mylar. Gently bruised at the head, tail and corners of the binding. Previous owners' name to the first blank. Text complete, clean and tight otherwise.
Contains: Black & white photographs; Title page vignette;
From the cover: “Kettle’s Yard was once four tumbledown old cottages in Cambridge; but when Jim Ede found it, he could see behind its ruinous state the realisation of a lifelong endeavour. He restored it and lived in it; and over the years, as he placed his collection of pictures and sculpture amongst his own furniture, rugs, china and glass, he turned it into something special. He has always been against its being called a Gallery; and the idea of the ‘museum’ with its connotation of a dead orderliness is even less what he was seeking. It is a rich collection of mostly work of the first half of the twentieth century which has its natural place in a home: so that the house is given an immense addition by the art, but the art is given extra life by being lived with. The place is unique in Great Britain; there are only a few similar houses, such as Dumbarton Oaks in the USA.
Jim Ede himself was once on the staff of the Tate Gallery in London. He was passionately interested in modern art, and through him the Tate was the first national Gallery to show Picasso. Also Jim Ede, after Ezra Pound, was the first to recognise the greatness of Gaudier-Brzeska. His biography of Gaudier-Brzeska, Savage Messiah, was described by Rebecca West as ‘one of the small masterpieces of our literature’ and ‘one of the most interesting books about an artist ever written’. He also knew Ben Nicholson, Henry Moore, David Jones, Christopher Wood and many others. He acquired much of his collection in the early days, when it was possible to do so without being rich, and because artists liked to give him their work since he was almost alone in liking it. Since then he has been given much and has added much. His gift, even his genius, has been for turning this house, Kettle’s Yard, into what he claims in his title: a way of life. Hehasa vein of quiet mysticism which the book conveys; by placing these objects in what seems to be the absolutely right place in the room, and then just watching the light enter and play upon it all, he conjures up a kind of spirit of healing quiet.”