George Owen Wynne Apperley paintings

George Owen Wynne Apperley paintings
Gustave Courbet paintings
Guido Reni paintings
which decorations are worn but as Ambrose delicately inclined in deprecation of the honeyed words that dripped around him, no one could doubt his effortless distinction. It was Parsnip who was now on his feet attempting to make himself heard.
“I hear the cry of ‘silence,’” he said with sharp spontaneity. His voice had assumed something of the accent of his place of exile but his diction was orthodox—august even; he had quite discarded the patiently acquired proletarian colloquialisms of thirty years earlier. “It is apt, for, surely?, the object of our homage tonight is epitomized in that golden word. The voice which once clearly spoke the message of what I for one, and many of us here, will always regard as the most glorious decade of English letters, the nineteen-thirties,” (growls of dissent from the youthful critic) “that voice tardily perhaps, but at long last so illustriously honoured by official recognition, has been silent for a quarter of a century. Silent in Ireland, silent in Tangier, in Tel Aviv and Ischia and Portugal, now silent in his native London