CITY ART GALLERY -': & TEMPLENEWSAM HOUSE,::Q THE LIBRARIES 4 ARTS (ART GALLERY 4 HOUSE) SUB-COMMITTEE

The Lord Mayor Chairman Councillor A. Adamson Deputy Chairman Mrs. Gertrude Ha!hot, J.P.

Alderman J. Croysdale Councillor Z. P. Fernandez Advisory Members Alderman L. Hammond Councillor A. M. M. Happold Mr. Edmund Arnold Alderman C. Jenkinson, M.A., LL.B. Councillor F. E. Tetley, D.S.O. Mr. C. H. Boyle, J.P. Alderman Sir G. Martin, K.B.E.,J.P. Councillor G.A. Stevenson Professor B. Dobree, O.B.E. Councillor H. S. Vick, J.P. Councillor H. Bretherick Peacock Councillor D. Murphy, J.P. Mr. L. W. K. Fearnley Mr. H. P. Councillor W. Shutt Lady Martin Mrs. J. S. Walsh Councillor D. Kaberry Mr. E. Pybus Mrs. R. H. Blackburn

Director Mr. E. I. Musgrave

THE ART COLLECTIONS FUND

President The Rt. Hon. the Earl of Halifax, K.G., O.M., G.C.S.I.,G.C.I.E.

Vice-President Mr. Charles Brotherton, J.P.

Trustees Mr. Edmund Arnold Professor Bonamy Dobree, O.B.E. Major Le G. G. W. Horton-Fawkes

Committee Councillor A. Adamson Professor Bonamy Dobree, O.B.E. Mr. Edmund Arnold (Hon. Treasurer) Major Le G. G. W. Horton-Fawkes Mr. George Black Mr. E. I. Musgrave (Hon. Secretary)

Ali Communications to the Hon. Secretary at Temple Newsam House, Leeds

Subscrlptions for the Arts Calendar should be sent to Temple Newsam House 1/6 per issue (postage 1 ') 6/6 per annum, post free Single copies from W. H. Smith and other book shops inter Xiiniber 1947 THE LEEDS ARTS CALENDAR

IN THIS ISSUE disturbing intrusions can be removed with- left the EDITORIAL —PICTURE CLEANING out interfering with what is of original. This remarkable exhibition, and QUARTERLY REVIEW admirable SOME RECENT ACQUISITIONS perhaps more particularly the THREE EXHIBITIONS catalogue of it, has for the first time pro- that TWO PORTRAIT DISCOVERIES- vided the general public with proof CROMWELI. AND ARUNDEL picture cleaning and restoration is a pure remain a SIGNATURES OF PAIN science. No longer does it deep PAINTINGS BY GRAHAM SUTHERLAND 8 mystery. The illusion of the picture restorer shattered, the iron THE DULWICH PICTURES IN LEEDS .. 12 as a magician has been curtain has been removed and we see picture ARTS CALENDAR 14 cleaning and restoring in its true light as a CHILDREN AT TEMPLE NFWSAM 17 scientific process; one, of course, which THE HOLI.INGS COLLECTION demands exceptional skill, years of experi- 111:ENGLISH SLIPWARE 21 ence and highly specialised equipment. The PICTURE CLEANING amateur and the "quack" must, of course, The controversy which has raged on the always remain a menace. subject of cleaning the National Gallery Those who knew the Dulwich pictures now pictures appears to have ended for the time before the war find them completely cases completely being. To comment on it here might seem transformed. In many in colour, content and character. irrelevant were it not for two articles in this changed So much so that a re-assessment of their issue which deal with pictures recently values is necessary because we can see for subjected to cleaning and restoration —the the first time what the artist intended for us Dulwich collection and the two 17th cen- and judge him by what is truly his. portraits. tury But for the work of the cleaner and exhibition arranged Mr. Philip The by restorer, the two portraits acquired for has surely Hendy at the National Gallery Temple Newsam might have remained provided the complete answer to the critics. unrevealed as valuable historical documents. After seeing what can be revealed, no one The shattered canvas of Cromwell might can be satisfied any lotiger to gaze through well have been destroyed and the accom- a haze of dirty and discoloured varnish at plished portraiture of Mytens remained in the faint echoes, distorted in tone and dingy obscurity. We owe a debt to tlie colour, of works by old masters, when by picture restorer, but perhaps a greater one sound scientific process it can be removed. to Mr. Philip Hendy who has no. only Nor can we be satisfied with the daubings revealed to everyone the science, but also of latter-day restorers, however discrimi- added new experience, through research, to nating they may have been, when those this valuable and indispensable profession. E.I.M. Uarterly Review SOME RECENT ACQUISITIONS

Outstanding among the acquisitions of design was strong in this country. The the last three months is the pair of Georgian apron with its cherubs'ead mask, the tables bought for Temple Newsam by design of the top in low relief, and the Councillor F. E. Tetley, D.s.o., one of vigorous carved scroll at the base, show a which is here illustrated. These ornamental fanciful imagination and a freedom which side tables were made in the reign of George is only exceeded in our collection by the II, about z7~o. They are superb examples Wall Brackets on the opposite side of the of the carvers'rt and entirely gilt. These Long Gallery of about the same date. This tables, often made in association with orna- pair of tables, illustrated in Francis Leny- mental mirrors, under which they were gon's " Furniture in England," was origin- usually placed> are characteristic of a period ally made for Temple Newsam. For many when the influence of French Rococo years their whereabouts have been unknown,

GEORGE II SIDE TABLE C. IT~O (ONE OF A PAIRl PRESEiNTEO BY COL'NCILI.OR F. E. TETLEY. but they were discovered at Hickleton Hall excellent example of the work of Othon during the sale of Lord Halifax's collection> Friesz, a French artist born at Le Havre in and have since been acquired and returned I 879. It is an example of his more mature to their original position in the Long and solidly-constructed style of 1937. Until Gallery. about t 9o7 he painted Fauvist pictures, but Another superb example of decorative since then has gradually become more furniture is an elaborately carved wood realistic and lyrical. The subject is Honfleur. chimneypiece of about t76~. It is carried Another interesting painting is "Poppies, out in the style of Chippendale and there is Open Window to the Downs," by Ivon reason to suppose that it may have come Hitchens, given by Mr. Stuart Bond. This from his workshop. The Sienese marble painting, which is one of Hitchens'ore surround is bordered and plinthed with decorative works, relies for its appeal on its white marble, forming an admirable con- delightful arabesque. In this way it is trast to the crisp and imaginative carving. different from our earlier example in which This piece is to be set up in the North West the third dimension is used with real room. emotional effect. Among the pictures acquired is an

"HONFLEUR" by OTHON FRrESZ BOUGHT FROM THE CORPORATION FUND o Poi trait discoveries CROMWELL AND ARUNDEL

At the sale of the Earl of Carlisle's col- canvas perished. But all the canvas and lection at Naworth Castle last May, three paint remained and there had been only one portraits were bought for the permanent small restoration, a crude bit of repainting collection. All of them appeared to be in a beneath the chin and an inscription of later state of dilapidation and obscured by the date. A superficial cleaning left no doubt accumulated dirt of years. Sufficient evi- about the authenticity of the attribution to dence remained that the pictures were of Walker. It was carefully compared with the i7th century origin and obviously accom- National Portrait Gallery version of the plished. The portrait of Cromwell, attri- same portrait. Further cleaning, after the buted to Robert Walker, was tom and the picture had been lined with a new canvas,

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THE CROMWELL PORTRAIT before restoration revealed the date t649; the paint being second full-face, half-length, also in armour. undoubtedly contemporary with that of the The former is the earlier, and there are portrait. Robert Walker, who died in t6~8, copies, all probably from Walker's studio, was the chief painter of the Parliamentary at the National Portrait Gallery, Althorp, party during the Commonwealth. Though Hagley and other places. It has been greatly influenced by Van Dyck, his assumed that the National Portrait Gallery painting has a strong individuality. His version from the Rich collection is the portraits of Cromwell are his best-known original. No date appears on any but ours, works, though he painted Ireton, Lambert, and it has not previously been possible to Fleetwood and other members of the party, say at what period in Cromwell's career it as well as John Evelyn, the diarist. His was painted. Whether the existence of a portraits of Cromwell are of two types; date is sufficient evidence that ours is the the first, like ours, threequarter length in original, it is difficult to say. The National armour with a page tying on his sash; the Portrait Gallery version is more thinly

OLIVER CROMWELL (after restoration) by RottERT WAt.KER t649 painted which might indicate a first portrait that it must be in much the same state as but ours is without doubt by Walker's own when it left the artist's studio. Arundel was hand. It is a noble portrait showing Crom- probably the most painted man in Fngland well at the age of fifty. Painted in the year during the early part of the I 7th century and of the execution of Charles and the procla- he is known to have been painted by mation of the Commonwealth, it might Daniel Mytens, a Dutch artist who came to reasonably be assumed that the portrait was England about I 6I4. Careful comparison painted between May and August of that with known works by Mytens establishes year for after the execution of the King, the our picture beyond doubt as by the master opposition to the Rump parliament, which himself. It is a superb piece of portraiture broke out in a section of the army, occupied and a picture of considerable artistic merit. Cromwell until May when it was finally These two portraits make a valuable suppressed. In March he had been elected addition to our I7th century treasures at to the command of the army in Ireland Temple Newsam, where they are now being and given combined powers of'ord shown. Lieutenant and C. in C. The portrait may E.LM. possibly commemorate this honour. On August I~th he landed in Dublin and was occupied with the cam- paign there for the remainder of the year. He did not become Protector until I6)3. Our second portrait is of Thomas Howard, and Farl of Arundel (I~86—I646), the first im- portant Fnglish collector of art treasures, called by Walpole the " Father of vertu in England." The famous collection of marbles which have his name are now in the Ashmolean Museum at Oxford. He became Farl Marshall of England, and Ambassador Extra- ordinary to Ferdinand II. The portrait shows him wearing the Order of the Garter to which he was installed in I6I I. He wears a ruff of a type fashionable about I6I8. The removal of the dirt and discoloured varnish from the paint- ing, which is on a panel, revealed THOMAS HOWARD, EARL OF ARUNDEL in a picture such perfect condition by DANIEL MYTENS c. 16IS Uarterly Review THREE EXHIBITIONS

The opening of the exhibition of Dulwich room from Bretton Park. (An article on pictures by H.R.H. Princess Mary on the Tudor Room from Bretton appeared October 4th was an event of great impor- in the last issue of the Arts Calendar.) tance at the Art Gallery. Although re- A visit to the annual exhib!tion of the opened in November x946, people had not Leeds Fine Arts Club, opened by Major the resumed the habit ofvisiting the Gallery, for Right Hon. J. Milner, M.p. on November

many were unaware that the upper galleries x ~ th, could not be described as a particularly were again adequately fulfilling their true stimulating experience. There is the usual function, because the ground floor and amount of competent, but singularly unin- entrance gave no indication of the fact. This spired, work with which we have become opening ceremony helped considerably to familiar over a period of years. This make this fact more widely known, and criticism does not apply only to the Leeds attendance figures since have been doubled. Club, it could, unfortunately, be applied to Her Royal Highness spoke of the impor- Arts Clubs generally. It may well be that tance of providing opportunity for the the self-imposed restrictions of a Club tend study of works of art at the present time, towards a uniformity of outlook and and of Leeds'ood fortune in having, for standard of accomplishment. One might the next few years, the chance of getting wish to see an extension of membership in to know this wonderful collection. order to admit a leavening of new blood, On October yth the Right Hon. Viscount new ideals, and new standards, to revive the Allendale, M.c. formally opened the Tudor lost spirit, enthusiasm and true artistic Room, and other acquisitions of the year at endeavour which brought these Clubs into Temple Newsam. I.Ie referred to Temple being. Painting for fun has its purpose, but Newsam as "a living centre of the fine arts, so much talent as one sees in this exhibition where painting, sculpture, furniture and should certainly be used for greater artistic exquisite pottery can be seen in their appro- expression. There are exceptions which priate setting..... a stimulating example well repay one for the visit. This year, too, of what can be achieved by a provincial city is included a memorial group of water- in giving a lead to the nation at large." colours by the late Robert Hawthorne "Temple Newsam," he said, "is looked Kitson (x8p3-x9q7), whose interest in the upon not merely as a local but as a national Club, in the Art Gallery and the arts possession." Special tribute was paid to generally was a source of inspiration to all those members of the staff who had trans- who knew him. His accomplishments as a ferred, and so admirably re-erected, the watercolourist have been widely recognised. E.x.M. ignatures of Pa in PAINTINGS BY GRA HAM SUTHERLAND

Outstanding among the paintings which In either case the point is, I think, that the Leeds has received from the War forms which the artist creates.... will

Artists'dvisory Committee is a group by Graham transcend natural appearances. To quote Sutherland. These include an awesome Maritain, such an art will recompose its canvas inspired by the effects of bombing, peculiar world with the poetic reality which some of the hest of this artist's remarkable resembles things in a far more profound and tin mine studies, and two designs based on mysterious way than any direct evocation an operation with which we have become could possibly do." familiar at Temple Newsam —the winning With this passage in mind it is instructive of outcrop coal. With the works by Suther- to look at the large oil depicting damage land already in the city's collection they done by the R.A.F. in the marshalling yards enable us both to stucly his method and to at Trappes. This is now hanging among feel his power. the Acquisitions in Temple Newsam House. The best introduction which I know to The painting shows the wreckage of railway the art of Graham Sutherland is to be found engines and wagons; but it is no mere in a passage from a broadcast discussion in record. The line of smashed wood and which he took part with Iienry Moore and twisted metal has the look of an animal others. It is given among a series of quota- writhing in its death agony, and I feel that tions from letters and sayings of modern the artist has given a hint of his intention artists which appear" in Michael Rothen- in the white device resembling horns at the stein's recent book Looking at paintings," head of the shattered column of rolling published by Messrs. Routledge. stock. Seeing that, the mind Hashes to the "The kind of emotion one feels may scene of a bull-fight at the moment of the vary," saicl Sutherland in his broadcast. kill, and one notes at the same time the " For instance, the forms of ruin produced converging lines of the composition thrust- hy a high explosive force have a character ing downwards to a central point like of their own... One day one w|]1 feel swords driven into the Hank of the dying moved by the purely explosive character... animal. One of these swords is stained with ancl mill wish to get rid of this sensation in red. Added to this impression of a frenzied a picture. At another time the sordidness killing is another, equally arresting, of and anguish implied by the scenes of devas- immense torces rushing down upon one tation will cause one to invent forms which object; so that to the feelings of revulsion are the pictorial essence of sordidness and associated with a bull-fight are joined those anguish —dirty-looking forms, tormented aroused by the vast impersonal machines ot forms, forms which take on an almost modern warfare. human aspect, forms in fact which are This dualism in the imagery> from which symbols of reality and tragic reality at that. the picture gains so much of its intensity, is seen also in the watercolour study of the In these two paintings we have illustra- same subject. Here the dark shape en- tions of the artist's use both of evocative croaching upon the bottom half of the forms and of colour to express emotion. picture suggests both the shadow of an Such are his skill and subtlety that we are aeroplane's wing and the cloak flung down left with no feeling of incongruity or by a matador before a wounded bull. In theatricalism. By visual means the painter conception and symbolism these works owe has achieved the effect which a poet gains much to Picasso; but there is nothing by the use of similes and metaphors. weakly imitative in them. They are vivid Another example of how this can be with Sutherland's own passionate reactions. accomplished is the drawing of miners at

WRECKED 'fRAIN By GRAHAM SUTHERLAND PRESENTED BY H.M. GOVERNMENT the coal face by Henry Moore which is by different means. It is the miner's sur- among these gifts from the War roundings rather than the man himself that

Artists'dvisory Committee. Here the body of the hold our attention in his paintings. In the miner heaving himself through a confined largest of these studies a man is seen feeling space suggests some primitive creature his way through a stope in a tin mine. He condemned to go on its belly in subter- is at the very edge of an enormous drop and ranean darkness. We recoil from this ugly the ledge on which his hand rests appears form, as we would from something crawling to be on the point of crumbling. Every- out from under a stone; and then we notice thing about the mine face is designed to the miner's melancholy young face. The give a feeling of imminent peril. Ominous contrast between the face and the brutish, cracks are appearing, and the whole com- toiling limbs is profoundly moving. position suggests something quaking and In his mining studies among these Leeds about to fall. A single support holds the acquisitions, Sutherland makes us feel the ledge in position. It is a tree-branch; but danger and discomfort of the underground it has the look of a liuman arm straining to keep the mass of rubble from collapsing. The dominent colour is dirty grey, with a touch of pink and blue on the right. Here the rock takes on the look of a crushed limb and so accentuates the sense of fear which the painter has sought to convey. Leeds possesses two versions of this picture —one at Temple Newsam and one in the Art Gallery in the centre of the city. I prefer the one at present at Temple Newsam which ilia seems to me to have greater power and conviction. Two other tin mine drawings in this Temple Newsam group should appeal especially to those of us in Yorkshire who know the caves and potholes to be found among the Craven fells. Henry Moore has written of "the mysterious fascination of caves in hill-sides and cliffs." Graham Sutherland, who has a strong kinship with Moore, has felt the same fascination. We find it in his study of a mine shaft which beckons us down to the uttermost deeps of the earth. The fascination is not unmixed with dread. me the chambers this TIN MINE To of BV GRAHAM SUTHERLAND tin mine, bathed in a lurid pinkish light, are PRESENTED BY H.M. GOVERNMENT ante-rooms to hell. They liave the atmos-

10 phere of those caverns into which one used is filled with a sense of foreboding. Its title to penetrate in childhood nightmares. might be that of one of Edith Sitwell's new Edward Sackville West tells us in his poems, " Dirge for the New Sunrise." excellent essay on Sutherland in one of the As Mr. Sackville West has suggested, it Penguin Modern Painters series, that the is through the poets who are his contem- artist was interested in classics at school. I poraries that many people will find their hope that one day he will give us a number easiest approach to Graham Sutherland. of illustrations to Virgil's "Aeneid." No The reverse also is true. Sutherland's one is better equipped to depict the horror imaginative designs can throw a most of the regions where Cerberus prowled. revealing light on the work of such poets I doubt whether Leeds has a painting as Dylan Thomas, George Barker and Miss more deeply imbued with horror" than Sitwell. Those of us who have seen those Sutherland's small watercolour Tree- studies of thorns and lethal-looking plants form," now in the City Art Gallery. It is and Rowers in which the artist sums up the a brilliant study of a tree trunk; yet the cruelty of our epoch must find them closely trunk contrives also to be a sea monster related in imagery and feeling to many of thrashing with its tail as it prepares to Miss Sitwell's poems. To borrow the words plunge into the depths. Everything round [continued on page z) it is dark. The creature itself is a baleful green. From what might be an eye-socket comes a wicked gleam; and round its head is a froth of air bubbles. So potent is the effect of this little drawing that one's nerves tingle as one looks at it, as if one were indeed standing in a boat in the swirl of an Arctic sea and had stabbed with a harpoon the thing lurking evilly in the water. The same feeling of evil presences is given in " Sunrise between hedges " in the Art Gallery. Here sinister shapes invade the landscape like sharks "out of the murderous innocence of the sea." Two of these men- acing shadows, curving inwards in a pincer movement near the of the top design, threaten the OPENCAST COAL WORKINGS sun itself. The whole picture IIy GRAHA~ SUTHERLAND PRESENTED EY H,M. GOVERNMENT Vi Ch Pi Ctui eS IN LEEDS

When Edward Alleyn founded the Bourgeois in r8r r. The story of this bequest College of God's Gift at Dulwich in the is interwoven with, and largely affected by, early years of the i7th century, and later great historical events which seem very bequeathed to it some twenty-eight unim- remote from Bourgeois himself and from portant pictures, he could have hacl little the College, located in what John Evelyn idea that he was laying the foundation for described as a "Melancholy part of Cam- one of the finest art collections in the coun- berwell Parish." try. Nor could he have anticipated, before It was Noel Joseph Desenfants who he died in i6z6, that his name would become formed the major part of the collection famous, as much for that small group of bequeathed by Bourgeois. Desenfants was now despised pictures as for his famous born at Douai and educated in Paris. He College. He had written the first chapter of became a writer and poet and associate of what was to develop into a fascinating Jean Jacques Rousseau. He came to this story, the history of the Dulwich collection. country as a teacher of languages and He had, unknowingly, formed the basis of married one of his pupils, Miss Margaret the first national, public art collection in Morris, with the help of whose fortune he this country. became a successful picture dealer. One of Through the misfortune which befell the his early successes was the purchase of a Dulwich Gallery when it was hit by a flying painting by Claude which he sold to George bomb, came the opportunity for Leeds to III for gtooo. He became famous as a add a new chapter to the chronicle by dealer and through a friend, Michael offering hospitality to some of the more Poniatowsky, the Prince Primate of Poland famous of the temporarily displaced and brother of King Stanislas, he was pictures. appointed Consul General of Polantl and Alleyn's original bequest consisted commissioned to purchase pictures intended mainly of copies of portraits of Kings and for the National Gallery in Warsaw. When Queens of England and a group of heads of Poland ceased to be a separate country by Sybils. Later in the century this collection the partition of i7y~, and Stanislas abdi- was augmented by a further group of pic- cated, Desenfants was left with many tures, about eighty of which can now be pictures for which he had not been paid. identified, from William Cartwright. Cart- His attempts to start a National Gallery in wright was a bookseller and, like Alleyn, an London found no favour with Pitt's govern- actor of some repute. This second bequest, ment. In t8op he died and bequeathed his apart from a few interesting portraits, was collection to his wife and Bourgeois. also rather uninspiring. Bourgeois, the son of a Swiss watch- The important additions to the collection maker, had become a painter of some began with the bequest of Sir Peter Francis distinction. In ipgr he had been appointed [continued on page t6 PORTRAIT OF A YOUNG MAN by PrERQ DI CosIMQ (1462-1$2I) (hefore cleaning) ARTS CA

LEEDS CITY ART GALLERY OPEN DAILY 10-30 to 6-30; WEDNESDAYS 10-30 to 8-30; SUNDAYS 2-30 to 5-30

JANUARY 31 to FEBRUARY 28 THE FARNLEY HALL WATERCOLOURS By J. M. W. Turner. Owing to alterations at Farnley Hall it will no longer be possible for parties to visit there as in the past. Major and Mrs. Le G. G. W. Horton Fawkes have therefore otfered this opportunity for the collection to be seen by the public.

MARCH 13 to BOOK ILLUSTRATIONS BY ANDRE MASSON APRIL 3 AND MODERN FRENCH ENGRAVINGS Two Arts Council Exhibitions showing recent developments in the art of illustration in France.

MARCH 22 at 7 p.m. Lecture on "BOOK ILLUSTRATION" By Philip James (Art Director of the Arts Council and author of French Book 1llustration (1945).

PICTURE OF THE MONTH JANUARY VENICE FROM THE GUIDECCA By Turner. Lent by The Right Hon. Lord Grimthorpe, r. D., from Easthorpe Hall, Malton.

FEBRUARY PORTRAIT OF A MAN By Titian. Lent by J. E. Fattorini, Esq., from Fieldhead, .

MARCH A YOUNG MAN By Giorgione. Lent by The Right Hon. The Earl of Halifax, from Garrowby Hall.

TEMPLE NEWSAM HOUSE

OPEN DAILY, INCLUDING SUNDAYS, 11-30 to dusk JANUARY to MARCH RECENT ACOUISITIONS Selections from the permanent collection and various new loans.

FORTHCOMING EXHIBITIONS JACK YEATS and J. C. IBBETSON

14 ,LENDAR

SOME YORKSHIRE EXHIBITIONS

JANUARY , Art Gallery West Riding Artists until Jan. 10 Doncaster, Art Gallery and Museum Icelandic Art Jan. 3 to Feb. I Sheffield, Graves Gallery Selections from the Royal Academy Jan. 5 to 26 (Arts Council Exhibition) Wakefield, Art Gallery Recent Acquisitions Jan. 14 to Mar. 3 Hull, Ferens Art Gallery National Loan Collection Trust Jan. 24 to Feb. 21 , Art Gallery The Frederick Behrens Collection of Date not yet known Colour Engravings and other Drawings

FEBRUARY Wakefield, Art Gallery Paintings and Drawings Feb. 1 to 29 by Beatrice Dillistone Doncaster, Art Gallery and Museum Doncaster Art Club Feb. 7 to Mar. 7 Hull, Ferens Art Gallery Local Artists'xhibition Feb. 21 to Mar. 21

MARCH Wakefield, Art Gallery Paintings by Joseph Appleyard Mar. 1 to 29 Wakefield, Art Gallery The Art of Drawing (Arts Council Exhibition) Mar. 5 to 26 Doncaster, Art Gallery and Museum Doncaster Camera Club Mar. 13 to April 4 Harrogate, Art Gallery Harrogate Photographic Society's Mar. 7 to April 4 Annual Exhibition Bradford, Art Gallery 55th Spring Exhibition of Mar. 19 to May 30 Contemporary British Art , Bagshaw Museum Paintings by Joseph Appleyard Date not yet fixed

LECTURES Huddersfield, Art Society (Technical College) Michael Ayrton Feb. 3 at 7 p.m. The Magic Paraphrase Sheffield, Graves Art Gallery Michael Ayrton Feb. 4 at 6 p.m. The Magic Paraphrase Basil Taylor Mar. 2 at 6 p.m. George Stubbs Richard Seddon Ph.D. Mar. 6 at 3 p.m. English Water-colour Art up to the present day painter to the King of Poland> from whom and these will be the subject of a special he received a knighthood. He was elected article by Professor Anthony Blunt in the R.A. in t7gg and a year later appointed next issue. To select individual paintings landscape painter to George III. When he for consideration must necessarily display died in r8rr he left the Desenfants collec- a personal bias, but at this risk I select as tion, together with many of his own the first picture for reproduction in the additions, to Dulwich College, and an Calendar the "Portrait of a Young Man" endowment of /to,ooo, the collection to be by the Florentine artist Piero di Cosimo. made available for public inspection. Mrs. This painting, previously given to Leonardo Desenfants retained the collection until her da Vinci, was identified by Richter in t88o. death in t8tq, when the Dulwich Gallery It has been vastly improved by cleaning and was opened to the public. It is from this restoration. Our photograph shows it bequest that most of the pictures now in before being treated. It is undoubtedly one Leeds have been selected. Forty-three out of the gems and one of the most profound of the fifty-four pictures shown were paintings in the whole collection. Hazlitt included in the Desenfants]Bourgeois described it as "truly simple and grand." collection. An adequate summing up, for in drawing, The Dulwich Gallery has been enriched composition and colour it is simple almost by several gifts since the Bourgeois bequest. to the point of austerity, yet achieving a Notable among these are the portraits of nobility and grandeur rarely surpassed in the Linley family by Gainsborough be- the art of portraiture. This is a painting in queathed by the Linleys; "Mrs. Moody which the qualities of realism, emotional and her children" by Gainsborough, given content and decoration seem to be com- by Capt. Moody; and the Gainsborough, pletely and happily synthesized; giving Lely and Hogarth given by Charles Fairfax what must have been an accurate likeness, Murray, all of which are now in Leeds. together with the most revealing interpre- Most of the paintings, apart from the tation of the sitter's character, as well as a Gainsboroughs, have been cleaned, as a lovely harmony of shapes and colours. result of which we see them in a new light, In future issues of the Calendar, we hope in some cases with new attributions. For to reproduce and describe at least one cleaning has occasionally revealed new painting from this excellent collection which evidence of origin, and in most instances an will be available to visitors to the Art unsuspected brilliance of colour. Gallery until the Dulwich Gallery can be As a group, the Poussins are outstanding, rebuilt.

16 hi ld> en at TEMPLE NEWSAM

From March to October, in rgq6, and he exhibits, if properly treated, very few again in r 947, I met, I suppose, about 3000 inhibitions. As he reaches adolescence, he children, at present attending the various becomes critical of his own efforts and those schools of the city. They have all made the of others. He needs help and guidance. journey to Temple Newsam as part of a From birth until manhood he is responding programme of School Visits organised by to stimuli and it is then that the grounding the Leeds Schools Museum Scheme, and I of his sense of appreciation is formed. was seconded by the Leeds Education This visit to Temple Newsam, is not, or Committee to act as guide-lecturer to them should not be, an isolated afternoon's treat under the guidance of the Director of the out of school. Ir. is part of the job of the Art Gallery. teacher. The teacher's attitude to art is The children all come from the senior important. If his vision is limited or section of the schools, that is, they range in clouded by doubt, the life-time effect on age from eleven to fourteen. They attend the child can be disastrous. The discern- in groups of twenty, a large school sending ment of the child is like a Hash of lightning; two groups. The visit is an afternoon one, there is no hiding from it. He wi11 detect lasting from z p.m. until 3.3o p.m., and hypocrisy instantly, and be straightway comes under the official heading of a Visit aware of the least lack of conviction. On of Observation. The reactions of the child- the other hand, the child quickly recognizes ren on arrival vary from the initial amused genuine enthusiasm and his young blood toleration of the eldest of the boys to the catches the fever. It is then that the real indiscriminating enthusiasm of the youngest teaching is done. girls. It is these varying attitudes that I The training in appreciation cannot be sense in the first few minutes and I adjust accomplished in one art lesson in school my own accordingly. It is what every each week, nor in one visit to Temple teacher does every day. To an onlooker Newsam. I feel strongly that all children from the general public (and is it inevitable should be moving constantly in beautiful that some of the visitors note our progress surroundings. All schools should possess round), it is apparent that the children are good reproductions, and originals, where doing three things, looking, listening, and possible, of good pictures of the past and asking questions. They are being subjected present, and examples of carving, sculpture, to three influences, the atmosphere of the ceramics, woven and printed fabrics, beau- place, the things they see, and what I say tifully bound and illustrated books, etc. about them. In a very young child it is The children should come to demand these right to encourage him to express himself in things, not as additional luxury to life, but painting, drawing and modelling, as well as as a necessity, which, of course, is merely in games and play-acting. In all these things recognizing a fundamental truth, hidden by

17 the ineffectual education of the past. out of the form. We spent a very profitable This visit to Temple Newsam then is a afternoon examining the way in which mere drop in the ocean. Perhaps it is too others before them had set about the task. obvious to say that the gasps of awe and Another school will request that we study admiration occasioned by the recently the furniture, while yet others write to me acquired eighteenth century chandeliers are and state that they are working on a certain merely a result of the child never having period in their history scheme and will I come into contact with one before. Most of please show them anything and everything the schools come on what may be termed connected with it. a "general" visit, that is, to see any and It is difficult to assess whether more good every objects of interest. In such cases, I is done by the specialised study visit, the take them on a tour of the house and talk "coming to the house with a purpose," or about what I feel will interest the particular by the "general" visit. Owing to the audience. A scheme was started, however, modern trend in the approach to the whereby a school could select a particular teaching of history, I find that the children branch of study. Some schools are making are much more interested in the personal pottery, and one such school was having and living aspects of the house, the social difficulty in the decoration of the pottery side of things, but have a hazier idea of time produced by the scholars. They were not and the chronological order of things than fully appreciating that the decoration grew they would have had in the days when dates

THE GUIDE LECTURFR WITH A GROUP OF CHILDREN AT TEMPLE NEWSAM

I8 and battles were learnt. Perhaps one never The Gallery always gives rise to surprise really sees the ages before one's own time and admiration, which is not just due to the in true perspective until much nearer man- size of the room. Of its contents, the hood. When I talk about the differences Romney arouses the greatest interest. between Stuart furniture and that of the The modern pictures in the permanent eighteenth century or try to point out a collection always evoke a quick reaction. development in taste over a period, I am Stanley Spencer and John Tunnard make never quite sure that they are following me. the most immediate and general appeal. A I find that it is usually in the schools particular Spencer picture appeals, of course, adopting the "centre of interest" method by reason of its exact realism. It is some- that the children are more forward with where the children know and they enter questions and criticism and their reactions to whole-heartedly into wondering who lives what is around them are altogether more in the big house on the right, and what the obvious. At the same time, it also seems lady who lives on the left wears on Sundays. that these particular children are some of They appreciate Spencer's adroit handling the vaguest where chronology is concerned. of the foreground because they come up After the first fifteen minutes with the against that difficulty in their own picture- children, we begin to know each other, and making, when they seem to be left with a they begin to ask questions. I can then see large area at the bottom of the picture, the usual cross-section from the bright having painted in the central objects first, as aggressive type to the quieter retreating one, most children do. They acknowledge at which is rather overawed by the light, space once the brilliant brushwork and technique and colour, and is most heedful of my that can so exactly represent, and from this starting injunction to be careful of the they can be led on to consider the less polished floors! The collection of gold obvious points in the picture, and picture boxes holds the attention of boys and girls making" in general. Tunnard's picture, alike; all are quite plainly entranced by Davy Jones'ocker," occasions some their splendour and one can see them long- lively comment. Their recognition is imme- ing to handle the objects (and it is a pity diate and logical. I then try to talk to them that they cannot, for obvious reasons, be about pattern, rhythm, and texture, in the allowed to do so). The boys appreciate the picture. This only illustrates that the child- wood carving and the girls the exquisite ren are prepared to approach non-repre- needlework of the tapestries in the furniture sentational paintings with a free mind and of the gallery and, of course, the recently see the simple and obvious. It does not exhibited collection of dolls. They are all prove that the child has some miraculous keenly interested in the more personal powers of "understanding" art. They are aspects of the house, the story of the under- very interested, however, in the way Derain ground passage, the ghost stories, the and Sickert apply their paint, and enjoy romance of Darnley, and whether the plan Christopher Wood. of the ceiling held by the Seventh Viscount It is not possible to calculate the good or Irwin in the portrait in the gallery was harm done by this visit to Temple Newsam. really not approved of by his wife. There is no gauge to show whether the visit has been a "good" thing. One thing is instance, I have often pointed out that the certain, they all enjoy it. The horizon of the exquisitely shaped and decorated Chinese child mind is bound to be widened by this grain jars, exhibited in the hall, were origin- visit> and would be without any spoken. ally made to be used, and that beauty of word. It is hard to give a matter of fact design should be demanded in all such description of +hat happens during these utility articles, stating the well-known fact visits. Teaching cannot be assessed in time that they will get just such articles, well, or spent on the subject. It is so much a matter badly designed, as they deserve. of inspiration and feeling on my part, and I usually travel away with them on the of the reaction of the children. It is not just tram and it is then that they question me. talking at them, or to them, but rather with Of these questions the most regular and them. I do try to relate the visit to their perhaps the most significant is "Can we everyday existence. To take one small come again... on our own? " C. GARDINER

Mk I ggmi

IP

TEMPLE NEWSAM HOUSE THv. CovRTYARD

20 he Holli ngs Collection III ENGLISH SLIPWARE

The most valuable and, to many people, ical point of view, whilst its rarity makes it the most interesting pieces amongst the a specially welcome addition to our pottery Hollings collection are contained in the collections. small group of Slipware. Seven of the total From the period between the Roman nine pieces are now on show in the Red occupation and the I6th century, very little Corridor. English pottery has survived. It is probable This English Slipware is of great interest indeed that not very much was made, from an aesthetic as well as from an histor- though what little remains possesses definite

SLIPWARE DISH by THoMAs ToFr (r6p4)

2I national characteristics. The best of this of the time, to "stitch" on the thick reliefs, mediaeval ware was undoubtedly made by as in the Wrotham posset-pot described the monks and, as all that remains of it has below. The very bold and free inscriptions been found on the sites of Cistercian abbeys which occur on most pieces of Slipware, it is named Cistercian ware. The fragments, frequently accented by the white dots, may some of which were found at Fountains and be regarded as an intrinsic part of the design, Kirkstall Abbeys and are now in the British rather than as a means of conveying infor- Museum, show it to have been red earthen- mation. These broad, flowing letters, like ware, with a dark brown glaze and often the dots, stitches, trellis pattern" and outlines decorated with a white slip. Although many of the decoration, were trailed " on by authorities have in the past claimed a foreign means of an implement with a spout, in the origin for the English Slipware of the t7th manner in which one ices a cake. Quills of century, it now seems indisputable that the different calibre were inserted in the spout development of Slipware in England was to produce varieties of line and a small an independent growth and that pieces like aperture on the top of the tool was these in the Hollings Collection were "stopped" hy the thumb to produce the directly descended from the Cistercian ware clots. of the r6th century. The manufacture of All the motifs of decoration are as bold the latter would cease with the dissolution and vigorous as the inscriptions and show of the monasteries in r )4o, but it appears equally a mastery of the filling of spaces that the tradition persisted during the inter- with simple masses and fluency in using a vening period, just as the use of slip and rather difficult and clumsy medium. The clays of contrasting colours continued range of motifs is limited to the character- throughout mediaeval times. istic lion and unicorn, a royal personage Slip is the name given to clay when it is (King Charles II), Adam and Eve at the mixed with water to the consistency of Fall, the tulip, Tudor rose and chevron and cream. The decorative possibilities of its the dotting, stitching and trellis border use on the red earthenware of the time devices mentioned above. In the earlier would inevitably suggest itself to the potter. pottery from Kent> applied pads of thick Not only was light slip used on dark ground, clay with stamped reliefs of the rose, fleur but also red and brown clays on a light de lys and other emblems are used. With a ground. With this limited material he few exceptions, such as the famous "Pelican accomplished an astonishing range of pat- in her Piety" dish in the British Museum, tern, achieving by the counter change of the examples in the Hollings Collection run light and dark clays a great variety of effects. through the whole gamut, and, in spite of Another characteristic device, if one can so the limited resources, each piece has spon- call anything as vivid and spontaneous, is taneity and individuality. The rich effect of the use of white dots, both to emphasise the the slip is enhanced by the lustrous yellow outlines and as ornamental motifs them- or dark red glaze which, as it were, ties the selves. White dashes, or "stitches," were whole together. also used, either in the same way as the dots, There is no doubt that we have here ware or, in imitation of the "stump" embroidery which is not only the product of a vigorous

22 native school of pottery manufacture, but is decorative motifs are not imitations of their also of such vitality and directness that it prototypes, badly done, but are symbolic, possesses great aesthetic interest and charm. like the symbols of heraldry. Once this is Rustic as it is, one can, contemplating its understood, the spectator ceases to be dis- warmth and conviviality, regret the tech- turbed by the fact that the face of King nical improvements and foreign influences Charles II is identical with the faces of which later arrested this indigenous artistic Adam and Eve. The same curve of the growth and turned the potter's eye and hand instrument seems to have been used to in other directions. The antithesis, for delineate, in one movement, the nose and instance, of the sophistications of Wedg- eyes of every head, the resultant line being wood, the decorative element here springs rather like a pair of scissors. naturally from the nature of the medium. Slipware was made in various parts of the There is no straining after effects which do country, but the two main groups, both of not strictly belong to ceramic art and no which are represented in the Hollings Col- attempt to be either representational or lection, are Wrotham ware and the so-called literary. The bold stylisation derives rather Toft ware. Wrotham, a village in Kent from the possibilities of the material and the between Sevenoaks and Maidstone, gave its exigencies of the manipulation of the slip. name to the earliest and most well defined It must be realised, of course, that the group, and the Toft ware was made in

GROUP OF SLIPWARE FROM THE HOLLINGS COLLECTION

23 Staffordshire. Of the Wrotham ware we This handsome piece is 22 inches in diameter have only one example, the two-handled and is covered with a particularly lustrous posset-pot or cup with a rich brown glaze, yellow glaze. Adam and Eve, the Tree, the applied stamped pads of white clay of roses Serpent, the strange little hooded Angel and and fleurs de lys, the typical Wrotham the birds, beasts and reptiles of the Garden "stitching" and the dot ornamentation of Fden are depicted with extraordinary which occurs also on Toft ware. This is a vigour and in a bold impressionistic man- late piece of Wrotham ware, the earliest ner. The ingenuity with which the spaces dated pot which is known to exist being around the Tree and the two central figures almost a hundred years older. The initials are filled with these quaint little creatures in IE are those of a potter who evidently no way detracts from their vitality. The succeeded Nicholas Hubble and George head of Charles II, many times repeated and Richardson, the two most famous of the done in a kind of Slipware shorthand, which Wrotham potters. The initials TB, therefore, makes him recognisable whenever he occurs, which occur twice, must be those of the forms a border round the rim. recipient. This particular piece has passed The same monarch appears on the smaller from one famous collection to another and dish between the depressed-looking lion and is illustrated in standard works on English unicorn. His arms are upraised and they Slipware. terminate in a luxuriant growth of leaves, The name Toft ware has been given to symbolising the Boscobel oak. This dish is the most important group of Slipware inscribed with the name wIAI.I.IAM TAI.oR. because that name occurs on many of its Talor is known to have been a Staff'ordshire most characteristic pieces. There were two potter and is the author of other signed Tofts, Thomas and Ralph, and they are pieces in various collections, which appear thought to have been brothers, though it to be of better quality than this dish. The has never been established that they were trellis pattern on the rim is a form of decora- potters at all. There seems to be little doubt, tion found frequently on Slipware. however, of the Staff'ordshire origin of the The wares which actually hear the name type of ware associated with the name of of Toft are practically all dishes, but there Toft, and Thomas Toft at least has become are many posset-pots also which belong to one of the famous names in the history of the same group and are included under the English ceramics. The large dish illustrating general name of Toft ware. There are the story of the Fall is the finest piece of several fine examples of these in the Hollings Slipware in the Hollings Collection. It is Collection. It is here that the use of the inscribed THoMAs ToFT I674 and is evidently inscription as an integral part of the decora- a very early example of Toft ware. Messrs. tive scheme is shown to advantage. The Rackham and Read in their book English bold irregularity of the lettering is not only Pottery (I924), state that the dated Toft a natural outcome of the Slip technique, but pieces are confined within the dates I6p6 is in harmony with the formal irregularity and Ipop, and add in a footnote —only one of the stylised roses and tulips which are the a'ated Thomas Toft dish is known, the a'ate usual decorative motifs. THE BEsT Is NQT being I67I! Our dish makes the second. Too GooD FQR YQU seems a fairly common

24 inscription on Slipware of this period. The Perhaps one was the recipient and the other interesting posset-pot with lid, two handles the donor! However that may be, this is a and spout, also adjures its owner, or recip- very bold and vigorous piece, showing great ient, to REEF THE coMMANDMENTs. This ingenuity in the filling of space with formal piece, whose date (t7to) is the same as that motifs. The stability and massiveness of the of the Wrotham pot, has a more compact tulip in the centre of the body has a forth- design than the other two yellow glazed rightness which compels admiration, in posset-pots and the outlines are filled in spite of its slight incongruity and the with a light green Slip. The lid has a decoration of the panel beneath the handle pleasing radiating pattern of tulips and roses, on the other side is simple and charming. with a neat rosette knob> and there is a This jug has a particularly lustrous glaze and chevron pattern round the body above the is, moreover, in a very good state of preser- panels of tulips and roses. vation. Slipware jugs are very rare. As they It is tempting to assume, though it is not were more constantly in use than other proved, that the IR of the other two posset- pieces, few have escaped destruction. pots and the jug, was a StaR'ordshire potter, It is generally accepted that the Slipware as the same initials also appear upon Slip- still in existence represents pieces which ware in another collection. Would it be were made for special occasions. The pieces altogether too conjectural to suggest at the made for everyday use would be less elab- same time that the jug, and the posset-pot orate and, in any case, have not survived in with the tulip decoration and the initials any number. It is evident that the posset- RF on one side, have been brought together pots, dishes and jug which we have here after many years of separation, as the jug were made for gifts, as their "legends" also bears the initials RF? Accepting that, show and it is evident too that the potter we should still be left to find an explanation indulged his fancy in a way related more to of the initials !Fs on the neck of the jug! a festival occasion than to everyday uti!ity. KATHLEEN M. ARMISTEAD.

Signatures of Pain PAINTINGS by GRAHAM SUTHERLAND [continued from page t t1 of another poet, they are "signatures of which the mounds of white soil look like pain." Future students of these times will ghosts or the sheeted dead suggests the almost certainly find in Sutherland and extreme of desolation. But in this one Henry Moore the English artists who tell composition, the artist has made of the them most about our tormented generation. excavations and great heaps of earth an Is Sutherland, then, entirely the painter enchanting decoration. This is no scene of of the sombre and horrifying? One of the devastation but a strange world —a world paintings now showing at Temple Newsam of exciting white shapes set against a sky of is enough to show that he is not. It is of a lime green. Forgotten as you look at it are subject t!!at many people find depressing, the rush and clangour of the bulldozers. A!1 the ravaging of the earth in quest of open- is order and tranquility. I. there promise cast coal; and its companion-piece, in here of something new in Sutherland's art?

25 SELECTED PAINTINGS BY THE LEADING

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