The past as a foreign country: Peter Kinley's early life
'I have often talked about art as one way of surviving... of making life possible.'
Peter Kinley had a sharp eye and excellent recall. He did not talk much publicly about his past and just as the cryptic economy of his paintings discouraged anecdote, his fluent and accent-less English and a certain diffidence effectively screened his early history.
Peter Kinley was born Peter Nikolaus Arthur Eduard Schwarz into a cultured and artistic Viennese family on 16 July 1926 . His Austrian father, Arthur, a company auditor and later, the director of a private bank, had married Lydia Schroeder, who was German, in 1925. Arthur had served in the Austrian army in the First World War and had been a prisoner of the Russians in Siberian labour camp from 1915-20. Peter was the only child of a late marriage - both parents were in their late thirties when he was born.
In the 1920s and 1930s Schwarz senior worked in Germany and the family spent time in Berlin. They holidayed with German relatives in Heidelberg and Interlaken, and at Caputh, a quiet holiday retreat near Potsdam. A photograph taken there in 1932 shows Peter, sitting bolt upright in a pedal car in front of ' the Villa of Professor Einstein' - he once also sat on the great man's knee. In another photograph he poses with his father and uncle, the Austrian painter Fritz Schwarz-Waldegg, who was deported and murdered near Minsk in 1942. Other memories were of a spell in an isolation hospital recovering from scarlet fever, of seeing the great transatlantic liner, the Deutchland, in Hamburg harbour and of summer visits to Gross-Hansdorf , in those days an unspoiled North German village of thatched houses, unmade roads and grazing cows, where his aunt and uncle, an artist named Tonsfeldt, lived.
The race laws after 1933 made it impossible for Arthur Schwarz senior, who was Jewish by birth , to work in Germany and the family returned to Grinzing, a beautiful vinyarded suburb of Vienna, where Peter continued to flourish in what he described as the milieu of a typical middle classes Viennese child. It was, in his memory, a gently feral childhood - punctuated by swimming in the open air baths, scuffling with his friends and the much frequented ice cream shop, his ' icelokal' ; there were also visits to museums with his father and to the well-known toyshop on the Graben, Josef Kober, to window-shop and family excursions into the Wienerwald on Sundays. In the meantime he went to the village school, acquired a local accent to the chagrin of his parents , drew and painted and foot pumped the organ in the village church , where he was expediently baptised in 1934. Raised on the German children's classics Max und Moritz and Struwwelpeter, about the dreadful consequences of bad behaviour, he and some friends found a very old car and used surgical spirit from his mother's medicine cabinet to drive it for a few explosive Their punishment is unrecorded . At the barber Peter read Wehrmacht magazines and longed to be a soldier. Meanwhile he took part in local festivals, and later, subversively, bent the bumpers of the tourist's Horsch motor cars parked in the main square. There was a holiday trip to Hungary and afterwards, with his mother, to the Adriatic, where he loved the sailing boats with their latine sails, It was, he said, ' the last holiday.'
The idyll ended when the Germans crossed into Austria in March 1938. Arthur Schwarz was arrested and made to scrub the streets on his hands and knees. Peter remembered his father coming home dishevelled and deeply upset but otherwise the child had little first hand experience of anti-semitism, beyond an unforgiving maths master and a fight with a local boy who came out worst. He also failed his induction into the Hitler Youth ( but attended one rally which he recalled as very boring ). He did not think of himself as a Jew but very suddenly, in December 1938, his parents sent him to England on a Quaker sponsored children's' train. They then went quietly to France by way of Switzerland. Arthur was later interned in Vichy France but escaped with false papers as one Joseph Lenoir , cultivateur of Hardinghen. He was subsequently hidden by the Resistance while Lydia lived alone in Nice. Peter would not see his parents again until 1946.
The twelve year old boy , speaking no English, arrived off the boat train in winter, and with other refugee children was moved amongst temporary lodgings on the east coast, including an out of season holiday camp, a girls school and a hotel in Southend. He remembered a huge culture shock and no fear but extreme homesickness. 'As if in a dream' , he was sent by train to London with a label round his neck. Here he was met by a bowler -hatted man - German speaking, he afterwards realised - who gave him lunch in a Lyon's corner house and having taken him to see the Flying Scotsman on Kings Cross station, put him on another train to the North West. In Blackburn Peter was collected by his generous Roman Catholic foster family, the Gaughans. The family duly moved to a large red brick house on the sea front in Lytham-St-Anne's in Lancashire, where Peter did well at school, quickly leant English and worked and played alongside their three children, later watching the air raids on the Liverpool docks down the coast. Homesick, he also tried to run away on two occasions but was all too aware that older ' enemy aliens ' were interned. He was at least able to write to his parents early on and several letters, posted via circuitous , neutral routes , and complete with censors marks, survive. Peter joined the army at seventeen in 1944.
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On 26 March 1945 Private Schwarz recorded in his Collins Gem Diary ' cross the Rhine at 8.20pm' , on the 27th ' o into attack' and on Sunday 1st April ' 'Back in [the] Reich. ' Although his pay book records that he was a good shot, there was more waiting around than action but in May he was picked out off the ranks to assist in the translation of the final handover of troops and armaments after the German surrender at Flensburg- interpreting between the Generals in schoolboy German. In 1946 we pick him up in press reports, as instrumental in tracking down Joseph Grohe, the gauleiter of Cologne-Aachen, the last Nazi gauleiter at liberty. '...a major part was played by Peter Schwarz, a 20 year old Vienna born sergeant serving with the British Intelligence Corps in Germany. Sgt. Schwarz arrested Grohe while he was in bed...Sgt. Schwarz , [who]... speaks fluent German, fought with the 4th Welch Regiment from the Siegfried Line to Hamburg '.
The war over and his parents regained in Nice, during a brief period of leave, Peter spent some months at Düsseldorf Academy. Here he was taught by a German professor who had painted, amongst other things, submarine commanders. The young artist loved the freedom of the atelier set up - welcoming the release from army life and the international atmosphere. Unknowingly, he was a contemporary there of Joseph Beuys whose work he later greatly admired. Remembering the particular look and smell of Germany after the war, to him at the time an excitingly familiar/unfamiliar Europeanness, he later found a familiar texture and atmosphere in the work of Beuys.
On returning to England and eventually to St Martin's School of Art, Peter took British citizenship in 1947 and changed his name in October 1950, translating the maiden name of his German grandmother, Gottliebin Kienle, into the rather Irish sounding Kinley. The reasons were probably more complex but he said he did this partly to please his father who was anxious for him to fully embrace his new culture and partly to avoid difference and exoticism in the immediate post - war period. He certainly did not want to be associated with, for, example, the Vienna of the The Blue Danube.
The rest is art history but into his new life Peter Kinley took a love of the natural world, inspired by his father's edition of Alfred Brehm's great illustrated natural history of animals, the Tierleben, and his early country holidays on farms and in the mountains. He wrote in 1984' I have frequently painted animals I have seen, to reassert, among other things, their right to respect in a culture which I believe accords them only marginal consideration.' There was an enduring love of architecture , particularly the scale and uncompromising mass of the great deep- roofed farm buildings and courtyards and the Austrian Baroque architecture of his early years, later reflected in his paintings of Wiltshire houses, four square and unadorned. Kinley also loved fast machinery and continued to draw inspiration from his memories the sporting events of his childhood, the great seaplane race, the Schneider Trophy, and the Auto Union racing car , designed by an Austrian, Ferdinand Porsche. He admired the functionalism of military aircraft and ships, which had 'a minimal quality which mirrors my attempts to say more with less.' His fascination went further:.'... don't forget that I grew up in a re-arming Europe and that such images were familiar to me. I played as a child with highly sophisticated model ships and planes.' The buff aeroplane he painted several times came from his memory of a civilian khaki Savoia Machetti 573, of Sabena airlines seen taking off in Vienna before the war. There are also paintings based on the German flagship, the Admiral Graf Spee, scuttled at Montevideo and of various submarines, . ' Metaphors perhaps for the artist sailing through difficult and dangerous waters. '
Transposed to a northern and less sensuous climate Kinley often thought of the hot summers of his childhood and took Vienna as a cultural model, its museums, its buildings, its light. In his final years he returned visited Historisches Museum in Vienna and afterwards made a number of drawings. At the time of his death he was working on a series called ' England ' which related to his arrival here as a child. When in the spring of 1988 he returned to Vienna for the last time he was able to say, in German to a radio interviewer 'I am Austrian in spite of everything . I love Austria. '
Peter Kinley rejected the idea that, as an outsider, without roots, his work was ' an attempt to remake the world ....' Like many forced early on to travel light, he kept the essentials for survival with him , ready to pack and run. He had with him always a pale green cardboard box with the legend Josef Kober Spielwaren Wien 1 Graben 15 . Inside with a sheet of instructions is partially assembled model of a small wood and gauze winged aeroplane.
Catherine Kinley 2006
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. *In the last eight years of his life Peter Kinley talked privately about his early life. These notes are based on those conversations, on a radio interview he gave in Vienna in 1988, on his notes for various talks and papers, on my own notes , on his archive and on six visits we made to Austria and Germany between 1982 and 1988.
BIOGRAPHY
1926 July 16 - born in
Vienna
1938 Came to Britain as a refugee
1939 - 43 King Edward VII school, Lytham St. Annes, Lancashire
1944 - 48 Served in the British Army (CSC 1944; Loyal Regiment 1944-5; Welch Regiment 1945-6; Intelligent Corps 1946-8)
1948 - 49 Staatliche Kunstakademie
1949 - 53 Studied at St. Martin’s School of Art
1954 - 64 Taught at St. Martin’s School of Art
1964 - 70 Taught at Wimbledon School of Art
1971 - 88 Bath Academy of Art, Principal Lecturer 1975
1976 First visit to India
1985 Travelled to India (British Council exhibition )
1987 Judge for John Moores Liverpool Exhibition 15.
1988 September 8, died in London
1989 Peter Kinley art prize inaugurated
ONE MAN EXHIBITIONS
(cat.) denotes exhibition catalogue
1954 Gimpel Fils, London, May, (cat.)
1957 Gimpel Fils, London, March, (cat.)
1961 Paul Rosenberg & Co. New York, January - February, (cat.)
1961 Gimpel Fils, London, October, (cat.)
1962 Paul Rosenberg & Co, New York, November - December, (cat.)
1963 - 4 Gimpel Fils, London, December 1963 - January 1964, (cat.)
1968 Arthur Tooth & Sons, London, October, (cat.)
1970 University of Surrey, October
1970 Arthur Tooth & Sons, London, October - November, (cat.)
1970 Bluecoat Society of Arts, Liverpool, November - December, (cat.)
1973 Arthur Tooth & Sons, London, June - July, (cat.)
1975 Arthur Tooth & Sons, London, October - November, (cat.)
1978 Waddington & Tooth Galleries, London, March - April
1979 Waddington Galleries, Montreal, February - March.
1980 Arnolfini Gallery, Bristol
1981 Knoedler Gallery, London, October
1982 Museum of Modern Art, Oxford, May - June, (cat.)
1986 Anne Berthoud Gallery, London, 9 March - 19 April.
1986 Victoria Art Gallery, Bath, July, (cat).
1986 Twining Gallery, New York, October - November.
1986 Public Library, Salisbury, September, (cat).
1987 Winchester Gallery, Winchester, 18 February - 14 March, (cat.)
1987 Kettles Yard Gallery, Cambridge, 31 May - 6 July, (cat.)
1989 Anne Berthoud Gallery, London, September - October
1994 Bodilly Galleries, Cambridge, March - April
1994 Michael Tippet Centre, Bath Spa University College, May - June
GROUP EXHIBITIONS
1951 Abstract Art, AIA Gallery, May
1951 Young Contemporaries Exhibition, R.B.A. Galleries London, January - February, (cat.)
1951 London Group: Painting and Sculpture, New Burlington Galleries, London, 9 February - 3 March.
1951 British Abstract Art, Gimpel Fils, London, September, (cat.)
1951 Six Young Contemporaries, Gimpel Fils, London, September, (cat.)
1952 Fourth Annual Exhibition of Young Contemporaries, R.B.A. Galleries, London, January, (cat.)
1953 Artists Under 30, R.B.A. Galleries, London, February - March, (cat.)
1953 Young Contemporaries 1952, R.B.A. Galleries, London, February - March, (cat.)
1953 Six Young Contemporaries, Gimpel Fils, London, August - September, (cat.)
1954 Of Light and Colour, Gimpel Fils, London, July, (cat.)
1955 Daily Express, Young Artists Exhibition, New Burlington Galleries, London, April - May, (cat.)
1955 A Display of Paintings, St. James Association, London, May, (cat.)
1955 Summer Exhibition, Redfern Gallery, London, July - August, (cat.)
1955 Summer Exhibition, Gimpel Fils, London
1955 Contemporary Painting, Sculpture and Crafts, Leeds City Art Gallery, Leeds, November - December, (cat.)
1955 A Selection from the Arts Council Collection, Arts Council, London, (cat.)
1956 Aspects of contemporary English Painting, Parsons Gallery, London, January, (cat.)
1956 Ten years of English Landscape Painting: 1945 - 1955, Institute of Contemporary Arts, London, January - February, (cat.)
1956 The Seasons, Tate Gallery, London, 1 March - 15 April, (cat.)
1956 Contemporary British Paintings and Sculpture, Arthur Jefress, London, May - June, (cat.)
1956 Summer Exhibition, Gimpel Fils, London, July - August, (cat).
1956 Critic’s Choice: A selection by Herbert Read, Arthur Tooth & Sons Ltd., September - October, (Exh cat and review).
1956 Prix Guggenheim, Musée National d’Art Moderne, Paris, 28 November - 16 December, ( cat.)
1956 - 7 Guggenheim International Award, Solomon R. Guggenheim Museum, New York, (cat.)
1957 Premio Lissone, Lissone Primo Centro, Italy, (cat).
1957 Statements, Institute of Contemporary Arts, London, January - February, (cat.)
1957 Metavisual, Tachiste, Abstract: Painting in England, Redfern Gallery, London, April - May
1957 The Arts and the Café Royal, Café Royal, London, June, (cat.)
1957 Five English Painters, Arthur Jefress, London, July - August, (cat.)
1957 Six Young Painters, Arts Council Gallery, London, (cat.)
1957 Dimensions: British Abstract Art 1948 - 1957, O’Hana Gallery, London.
1957 New Trends in British Art, Rome-New York Art Foundation, Rome, (cat.)
1958 Impressionism: Abstract Impressionism, Nottingham University, Nottingham, February.
1958 British Abstract Painting, Auckland City Art Gallery, Auckland, New Zealand, Spring, (cat.)
1958 Jonge Engelse Schilders, Kunstrkring, Rotterdam, March, (Exh cat).
1958 Guggenheim Painting Award 1958: British Section, Whitechapel Art Gallery, London, May - June, (cat.)
1958 Abstract Impressionism, Arts Council Gallery, London, June, (cat.)
1958 Sechs Englische Maler, Galerie 22, Dusseldorf, June - July, (cat.)
1958 The Religious Theme, Tate Gallery, London, July - August, (cat.)
1958 Guggenheim International Award, Solomon R. Guggenheim Museum, October - December.
1958 Young English Painters, Rotterdamsche Kunstkring, Rotterdam; Kunstgilde Walcheturm, Zurich; Gallerie 22, Dusseldorf, (cat.)
1958 - 9 Contemporary Art: Acquisitions 1957 - 1958, Albright Art Gallery, New York, December - January, (cat)
1959 Recent Acquisitions, Art Council Gallery, London, February - March, (cat.)
1960 Interior Motives, Reed House, Piccadilly, London, March.
1960 Items for Collectors, ICA Gallery, London, August - September.
1960 Sixteen Painters, AIA Gallery, London, April - May.
1960 Das Junge England, Europaisches Forum, Alabach, Austria: Neue Galeries der Stadt Linz, August - September.
1961 - 2 The 1961 Pittsburgh International Exhibition of Contemporary Painting and Sculpture, Carnegie Institute, Pittsburgh, October - January, (cat.)
1962 Drawing Towards Painting, Arts Council Gallery, London, July - August, (cat.)
1962 - 3 British Art Today, Museum of Contemporary Art, Dallas; San Francisco Museum of Art; Santa Barbara Museum of Art, November - April, (cat.)
1963 British Painting in the Sixties, Tate Gallery / Whitechapel Art Gallery, London, June, (cat.)
1963 Englisch Maler und Bildhauer, Gimpel Hanover Galerie, Zurich, August - September, (cat.)
1964 Contemporary British Painting and Sculpture, Albright-Knox Art Gallery, Buffalo, 27 October - 29 November, (cat.)
1965 Fifty Years of Sculpture: Some Aspects 1914 - 1964, Grosvenor Gallery, London, February - March, (cat.)
1967 Nudes, Grosvenor Gallery, London, August - September, (cat.)
1969 - 70 John Moores 7th Liverpool Exhibition, Walker Art Gallery, Liverpool, November - January, (cat.)
1972 British Drawings 1952 - 1972, Angela Flowers Gallery, London, Winter.
1974 British Painting ’74, Arts Council Gallery, London, September - November, (cat.)
1974 Tokyo International Biennale 1974: New Image in Painting, Tokyo.
1975 Contemporary Art Society Art Fair, Mall Galleries, London, January, (cat.)
1977 Tolly Cobbold Eastern Arts National Art Exhibition, Fitzwilliam Museum, Cambridge; Ipswich Museums; Graves Art Gallery, Sheffield; Camden Arts Centre, London, April - August, (cat.)
1978 - 9 John Moores Liverpool Exhibition XI, Walker Art Gallery, Liverpool, November - February, (cat.)
1979 Tolly Cobbold Second National Art Exhibition. Fitzwilliam Museum, Cambridge; Castle Museum, Norwich; Christchurch Mansion, Ipswich; Camden Arts Centre, London; Graves Art Gallery, Sheffield, April - October, (cat.)
1979 Two English Realists, Waddington Galleries, Toronto, Canada, April - May.
1979 Nature Studies II, Kornblee Gallery, New York, July, (cat.)
1978 Sixth British International Print Biennale, Cartwrigth Hall, Bradford, May - July, (cat.)
1980 Pictures for an Exhibition, Whitechapel Art Gallery, London, March - May, (cat.)
1980 Creasey Collection of Contemporary Art, Divisional Library, Salisbury
1983 53 - 83: Three Decades of Artists from Inner London Art Schools, Royal Academy Diploma Galleries, London, October, (cat.)
1983 - 4 As of Now, Walker Art Gallery, Liverpool, November - February
1984 Home & Abroad, Serpentine Gallery, London, July - August, (cat.)
1984 - 5 The Proper Study, Lalit Kala Akademi, Bombay; Jahangir Nicholson, Museum of Modern Art, December - February, (cat.)
1985 Animals, Edward Totah Gallery, London, March - April.
1985 Proud & Prejudiced, Twining Gallery, New York, September - October.
1985 Visual Aid for Band Aid, Royal Academy of Arts, London, - December.
1986 The Flower Show, Stoke - on - Trent City Museum & Art Gallery, July - September, (cat.)
1987 Vessel, Serpentine Gallery, London, September - October.
1987 Flowers in Contemporary British Art, Anne Berthoud Gallery, London, October - November.
1988 Playing for Real: Toys and Talismans, Southampton City Art Gallery, Southampton, April - May, (cat.)
1988 Jeffrey Camp: A Personal Choice, Nigel Greenwood Gallery, London
1988 Athena Art Awards 1988, Barbican Centre, London, October, (cat.)
1988 - 9 Corsham, A Celebration: The Bath Academy of Art, 1946 - 72, Victoria Art Gallery, Bath, December - January, (cat.)
1989 - 90 John Moores Exhibition, Walker Art Gallery, Liverpool, October - January
1990 Some of the Moderns, Belgrave Gallery, London, March - April
1990 Glittering Prizes XVIII, Alton Gllery, Barnes, May
1990 New Works on Paper: British Council Touring Exhibition, Russian Museum, Kiev, April - June
1990 Nicholas and Andrei Tooth Memorial Exhibition, Albermarle Gallery, London, June - July
1990 Ten Years Anne Berthoud Gallery, London, November - December
1994 Peter Kinley and Paul Winstanley, James Hockey Gallery, WSCAD, Farnham, April - May
2003 - 4 Happiness: A survival Guide for Art and Life, Mori Art Museum, Tokyo, October - January
PUBLIC COLLECTIONS
Albright-Knox Art Gallery, Buffalo.
Arts Council of England
Ashmolean Museum, Oxford
Barclays Art Collection
Bristol City Art Gallery
British Council Collection
Contemporary Art Society
Gallery of New South Wales, Sydney
Hirshhorn Museum, Washington.
Imperial War Museum, London
John Creasey Collection of Contemporary Art, Salisbury.
Kettle’s Yard, Cambridge.
Museum of Modern Art, Sao Paulo, Brazil
Tate Gallery, London.
Victoria and Albert Museum, London
Walker Art Gallery, Liverpool.
SELECTED BIBLIOGRAPHY
Read, Herbert, ‘Introduction’ in Critic’s Choice: A Selection by Herbert Read, (Arthur Tooth & Sons Ltd. 1956, cat.), (n.p.)
Read, Herbert, ‘Forward’ in New Trends in British Art, (Rome : New York Art Foundation, Rome, 1957, cat.)
Alloway, Lawrence, ‘Introduction’ in ibid, (n.p.)
Kinley, Peter, Statements, (Institute of Contemporary Arts, London, 1957, cat.), (n.p.)
Sylvester, David, ‘Peter Kinley’ in Drawing Towards Painting, p. 18, (Arts Council Gallery, London, 1962, cat.)
Penrose, Roland, ‘The Figurative Meanings of Contemporary British Painting’ in Tokyo International Biennale 1974:
New Image in Painting, (Tokyo, 1974, cat.)
Feaver, Williams, ‘Charred Remains’, Observer Review, p. 34, (30 May, 1982). MOMA, Oxford, ‘Peter Kinley: Paintings 1956 - 82’.
Rose, Andrea, ‘Odd Couples’, London Magazine, p. 111, (August, September, 1982).
Lynton, Norbert, ‘An Introduction’ in Peter Kinley: Paintings 1956 - 1982, pp. 3 - 28, (Museum of Modern Art, Oxford, 1982, cat.)
Elliott, David, ‘A Postword’, in ibid, p. 29
Feaver, William, As of Now: Peter Moores Liverpool Project, exh. Leaflet, (Walker Art Galery, Liverpool, 1983 - 4)
Lynton, Norbert, ‘Reflections on the Painting Revolution of Our Time’ in The Proper Study, pp. 7 - 14, (Lalit Kala Akademi, Bombay; Jahangir Nicholson, Museum of Modern Art, 1984 -5, cat.)
Lacey, Catherine, ‘Peter Kinley’ in ibid, p. 83
Lynton, Norbert, ‘Talking to Flowers’ in The Flower Show, pp. 34 - 5, (Stoke - on - Trent City Museum & Art Gallery, July - September, 1986, cat.)
Kinley, Peter, in Artists Today: East - West Visual Arts Encounter, Ursula Bickelmann and Nissim Ezekiel (eds.), pp. 67 - 72, (Bombay: Marg Publications, 1987)
Feaver, William, ‘Reflagging’, The Observer’, p. 26, (September 11, 1987). Serpentine Gallery, ‘Vessel’.
Rose, Andrea, ‘Peter Kinley’ in Peter Kinley: Studies and Paintings, exh. Leaflet, (Kettles Yard Gallery, Cambridge, 1987), (n.p)
Cross, Andrew, ‘Introduction’ in Playing for Real Toys and Talismans, (Southampton City Art Gallery, 1988, cat.), (n.p.)
Liska, Peter, ‘Peter Kinley: Interview in Vienna’, (Austrian Radio, 18 May 1988).
Livingstone, Marco, ‘Pluralism since 1960’ in Modern Art: Impressionism to Post-Modernism, pp. 370 - 371, (London, 1989)
Durden, Mark, ‘Peter Kinley’ in Michael Tippet Centre Opening Programme, Bath Spa University College, 1994, (n.p.)
Morley, Simon, ‘Peter Kinley and Paul Winstanley’ in Art Monthly, (no. 117, June 1994)
Durden, Mark, ‘On Painting, Part 2: Peter Kinley and Paul Winstanley’, Frieze, (issue 18, Sept - Oct, 1994)
OBITUARIES
‘Peter Kinley’, The Daily Telegraph, (September 14, 1988).
Rose, Andrea, ‘Peter Kinley: Painter of Stories’, The Guardian, September 17, 1988).
Lynton, Norbert, ‘Peter Kinley, The Independent, (September 19, 1988).
Crumplin, Colin, ‘Artnotes: Peter Kinley (1926 - 1988)’, Art Monthly, p. 20, (October, 1988).
Pennie, Michael, ‘Peter Kinley’, Modern Painters, Vol. 1, No. 4, pp. 112 - 113, (Winter 88/89).
Crumplin, Colin, ‘Peter Kinley: 1926 - 1988’, Bath College of Higher Education Newsletter, (1988).
Feaver, William, ‘Peter Kinley: 1926 - 1988’, Funeral Address, (September, 1988).
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