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"I'FlgT THE LIBRARIES & ARTS (ART GALLERY & TEMPLE NEWSAM HOUSE) SUB-COMlVHTl'EE

The Lord Mayor Chairman Councillor A. Adamson Deputy Chairman Mrs. Gertrude Halbot, 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 Councillor D. Murphy, J.P. Mr. L. W. K. Fearnley Mr. H. P. Peacock 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 LEEDS 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)

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

Subscriptions for the Arts Calendar should be sent to Temple Newsam House I/6 per issue (postage 1gd) 6!6per annum, post free Single copies from W. H. Smith and other book shops gprin8 Number

194'HE LEEDS ARTS CALENDAR

IN THIS ISSUE

EDITORIAL —FORTHCOMING EXHIBITIONS

QUARTERLY REVIEw —soME REGENT AGQUIsITIQNs 3 —TURNER AND FARNLEY HALL Major...... Le G. G. W; Horton-Fawkes

THE DUI.WICH PICTURES —NICOLAS POUSSIN I Anthony Blunt I I

ARTS CALENDAR I6

A YORKSHIRE ARTIST—EDWARD WADSWORTH S. D. Cleveland I8 THE HOLLINGS COLLECTION —SALT-GLAZED WARES E. M. Armistead

The article under the title Signature of Pain: Paintings by Graham Sutherland, in the last issue was by W. T. Oliver, whose name was omitted in error.

FORTHCOMING EXHIBITIONS Perhaps our most important event of the tectural drawings. The drawings date from year will be the exhibition of old master the I~th century to the present day, and drawings from the Albertina collection. include the largest group of works by This important exhibition is being brought Diirer, with the Self Portrait of I484; the to this country by the Arts Council to be Hare of I5oz; Praying Hands of I5o8 and shown at three places only —London, Edin- the Portrait of Emperor Maximilian I of burgh, and Leeds. I ~ I 8. Altdorfer, Griinewald, Perugino, Drawings from this unique collection Raphael, Rembrandt, Rubens, Michelangelo have become world-famous through the and Titian will also be represented by many reproductions which have been made, famous examples of their work, in the one but the originals have never previously been hundred and fifty drawings selected for seen in this country. Normally housed in exhibition here. the Palace of the Archduke Frederick in The exhibition will be a revelation to Vienna, the collection was founded in I79$ many people who have not had first-hand by Duke Albert of Sachsen-Teschen, and experience of the work of world-famous later extended by the Archduke Charles. masters, and we are indeed fortunate in It now forms part of the National Library being given this opportunity of showing the of Vienna. collection for three weeks. A charge of one The z)oo drawings are only part of this shilling for adults and sixpence for students vast collection which includes large and will be made to defray part of the enormous valuable accumulations of prints and archi- cost of bringing the exhibition to England. The exhibition of works by Jack Yeats, matters" in a typical Irish way. His can- to be shown at Temple Newsam in June, vases are full of that poetry and mystery promises to be the most comprehensive col- which we associate with Irish art, and yet lection of his work ever brought together. they have a simplicity and directness which Though Yeats'ork is already known to give them a general appeal. Another unique collecters and connoisseurs in this country, opportunity for visitors to Temple Newsam it is not sufficiently widely known. He is an to study the work of an outstanding living Irishman who paints " the Ireland that artist.

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CARVED WOOD AND MARBLE CHIMNEY-PIECE, STYLE OF CHIPPENDALE; English c. I745. Now in 1Vorth-wess Room. BOUGHT FROM CORPORATION FUND WITH A GIFT FROM MESSRS. PRATT AND SONS uarterly Review SOME RECENT ACQUISITIONS

Mr. F. J. Nettlefold's generous gift of six the latter part of the t8th century, he has paintings and four watercolours is the most been completely overshadowed by his giant important addition to the permanent collec- contemporaries. Our painting The Return tion in recent months. It includes a fine from Market, here reproduced, is character- and characteristic example of the work of istic of his later work when he was a regular Francis Wheatley (t747—t8ot) who was exhibitor of the R.A. There is a small but previously represented in the collection by charming pastoral scene, La Causerie, by four drawings. Wheatley was an artist Fantin Latour (t836—t9o4). The other of considerable ability and versatility but, paintings are by t9th century English like many accomplished English artists of artists —Lana'scape by F. W. Watts (t8oo—

VICTORIA HOUSEL'ATH bP KATHERINE FRYER BOUGHT FROM THE CORPORATION FUND t87o); Near SeJJenoaks, Kent by Richard collection of watercolours. — Hilder (t8t3 t8)r); Piazza St. 2Vlarks, Through the generosity of Dr. Barnett Venice and A View on the Grand Canal, Stross, M P J Jacob Kramer's Clay, a highly Venice by James Holland (t8oo—t87o). accomplished painting though a gruesome Of the watercolours the most important subject, finds a permanent home in the is perhaps the well-known The Night Train artist's native city. by David Cox (t783—t8)9), but Julius Notable among recent purchases are Still Cesar Ibbetson's Gypsy Beggars is a Life with Bog Cotton of 1927 by Paul Nash notable addition to our collection because (t889—t946) and Katherine Fryer's Victorian it has recently been established that this House. The Nash is the second example in artist was born in Leeds in tp~9. Hampton oils to be acquired for our collection, and Bridge by Thomas Rowlandson (t7)6- although painted only two years after The t8E7) and Cromer by Birkett Foster (t8z~- Shore, which was bought last year, it shows t899) are both welcome additions to our an entirely different aspect of the work of

GYPSY BEGGARS by JVLJDS CJSSAR IBBETSON (1759-18J7) GIVEN BY MR. F. L NETTLEFOLD THE RETURN FROM MARKET by FRANCIS WHEATLEY (I747-I8OI) GIVEN BY MR. F. J. NETTLEFOLD STILL LIFE WITH BOG COTTON by PAUr. Nasl (I889-I946) this eminent English artist. Miss Katherine c.zp~o, in mahogany with delicate cut paper Fryer, who is a native of Leeds, is a regular decoration and a woolwinder of English exhibitor in exhibitions throughout the design in stained beech and other woods country, and is rapidly gaining a national which dates from about the end of the t8th reputation. century. The chimneypiece, here reproduced, was Most of these acquisitions are now being mentioned in the last issue but the date then sho~n at Temple Newsam, where a complete misprinted is now corrected. This fine rearrangement of some of the rooms has example of mid t8th century carving has given a new interest to the collections. now been installed in the north-west room Many new loans are also being exhibited and fitted with a contemporary ornamental including the Cromwellian relics and mid steel grate. Other additions to the furniture r 7th century furniture from Farnley Hall. collection include a pair of polescreens, Uar ter'1y Review THE TURNER EXHIBITION

The Turner watercolours at Farnley Hall derful collection of two hundred water- are regarded as one of the county's artistic colours and several paintings long remained treasures, a unique collection of works by as a monument to a great and historic a great artist of some of Yorkshire's love- friendship. The collection has now liest scenery, which were brought together dwindled to about fifty works, many having by a generous and discriminating York- been dispersed by successive generations of shire patron. This collection has always Fawkes's. been available to those who cared to apply It was satisfying to find in this exhibition for permission to visit Farnley Hall. But two examples which had recently been owing to present conditions, it may no restored to the collection by the present longer be possible for parties to see these owner, who is conscious of his responsibility watercolours in the house for which they to preserve and, if possible, restore the were painted. Major Horton-Fawkes kindly collection. This he made obvious in his offered to exhibit them at the Art Gallery speech at the opening ceremony, at which in order that at least one more excellent three hundred people were present. It was opportunity might be given for a large a memorable event because Major Fawkes number of people to see them before they gave one of those delightful, intimate were put into the family's greatly diminished addresses which are all too rare on these residence. occasions. As might have been anticipated, the exhi- In response to many requests, we print bition was one of the most popular to be below the train parts of the speech. held since the Art Gallery re-opened. The charm of Turner's earlier work, and the ADDRESS BY MAJOR HORTON-FAWKES local associations attracted a record number A few weeks ago I was prompted for of visitors. reasons so happily set out in this admirable The story of the friendship between catalogue, to suggest that Mr. Fawkes and Turner and Walter Fawkes of'arnley is Mr. Turner might visit Leeds with the group already well-known. The inspiration which of drawings for which both had such an the painter found in and around this lovely aff'ection. house, commanding one of the finest views I would like to say something" of these of Wharfedale, was, without doubt, one of two men. Turner said of Girtin Had poor the chief contributory factors to the devel- Tom lived I should have starved." It would opment of one of our greatest English be absurd to suggest that had Walter artists. Fawkes not been Turner's patron the son When Walter Fawkes died in t8m), of a barber in Maiden Lane would never Turner lost his greatest friend and never have shown forth his full genius. It might afterwards visited Farnley. But that won- well have been that Yorkshire would have I cQ

SELF PORTRAIT CARICATURE J. M. W. TURNER FARNLEY HALL COLLECTION been the poorer; we might well not have it "that spirit of Place." Enthusiasts are in had such a rich legacy of Yorkshire as danger of overstating their case; but in Turner saw and felt its vistas and valleys, Yorkshire we shall always want to agree its ruins and rivers, and such a domestic with Ruskin when he wrote: "The scenery series as we see in this collection. One can whose inHuence we have most definitely sense in that portrait by Hoppner, some- throughout his works, varied though they thing of the character of the kindliness of are, is that of Yorkshire." True it is Walter Fawkes; we can feel how shrewd recorded in the family diary that Turner' was the eye that "spotted" Turner and notes for the stormy sky in "Hannibal prompted him to invest in his work. It crossing the Alps," were made from tlie seems to me to qualify the words on his door steps at Farnley. epitaph, so often fulsome, in Otley Church, And so we turn in our imagination to " Beloved as a Father, trusted as a friend, Farnley. Farnley the birthplace of this the promoter of literature and the patron of group of drawings and their home since art." And when we look at the little pen i8i6. In an ideal state it should always portraits and the caricature of Turner, we remain so. But sufficient unto the day. can at least appreciate his own remark after There Turner found happiness. hearing Ruskin's dithyrambic rhetoric at a Farnley paid that original genius the public function, "Well, painting is a rum compliment of entertaining him in a bed- thing; and J. M. W. Turner is a rum fellow" room looking east over Wharfedale —which or this description of the artist —"He had has long been known as Turner's room- the appearance of a man who if he had pro- and the artist in his own way, in an art coin duced a two foot rule from one of his oi his very own, repaid it munificently. trouser pockets and a carpenter's note book The Historical Vignettes, a trying and from the other, one would not have been exacting piece of work, were certainly done surprised." Turner too was kindly, "I to give pleasure to his host, while to his never heard him say one depreciating word birds Turner gave the eye of each cockbird of living man or of man's work. I never a personality, and in minute microscopic saw him give an unkincl or blameful look." accuracy is unequalled, even by Cosway. And Ruskin knew Turner. To see this group in their own setting at Turner found an inspired setting in the Farnley, one can say as truthfully as was age in which he lived. Trevelyan wrote" In saicl of his drawing of Petworth "Turner the XVIII century, art was a part of the saw and felt the place another man would ordinary life, bookbinder ot trade." Carr only have seen it." Some at least of these 8 Adams, Chippendale, Edwards of Halifax sketches might well say, if they were given and even Thomas Snow, clockmaker ot to speak, "I was common paper, in some Otley, had left their mark on Farnley Hall cases common notepaper, till Turner drew before Turner came to stay in i8io. upon me." Those were days of " Britain's calm It is obvious to-day tliat the directors or fertility and power." curators of our art galleries have a rich part I should like to tliink that even this to pby in co-operation with private owners remnant of a great collection can bring with in the showing in works of art. They are in a different sense, the modern patrons. two great men "I can have no expectation But Directors and committees must have in an address of this kind to add to your the means to make additions to your per- reputation " (nor, Sir, had I any thought of manent collections. For this purpose the establishing my own). Leeds Art Collections Fund, of which I am There are simple entries in the Fawkes privileged to be a Trustee, merits and wel- Diary of those days —"Turner came "— comes support. "Turner went "—to-day Turner and my I will end —I trust in a note of humility, great great grandfather stay a while with with the words of Oliver Goldsmith's you for the interest and leisurely satisfaction Dedication in the Deserted Village to Sir of the citizens of Leeds. Joshua Reynolds and in addressing these LE G. G. W. HORTON-FAWKES

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FARNLEY HALL AND GARDEN WITH SUNDIAL By J. M. W. TURNER (I775-I85I) PARNLEY HALL COLLECTION

Io e 9 U Iwi ch I'i ct ures NICOLAS POUSSIN I ANTHONY BLUNT

The five paintings by Nicolas Poussin ground figures and sometimes comes over included in the pictures from the Dulwich their contours, whereas the figures standing Gallery now being shown in Leeds> con- in the portico are painted over the architec- stitute one of the most interesting groups in ture, the lines of which appear through this admirable collection. Like other pictures them. One can conclude, therefore, that the from Dulwich, these have recently been foreground belongs to the first stage, in cleaned and it has been possible as a result which the composition showed an arcaded to establish certain new facts about them. porch, the base of which must have come The Triumph of Davia'ad always been below the top of the present stylobate, and recognised as an important work of the in front of which stood figures behind, but master, but it had been completely dis- more or less on a level with the central figured by heavily-toned varnish which had characters. Poussin then eliminated these destroyed all sense of space in the composi- figures and the porch, replacing them with tion, and had reduced the figures standing the classical portico and the smaller figures between the columns of the temple to mere standing in it. By this means he obtained ghosts. In addition certain parts of the a clear background for his central group, picture had been repainted, particularly the which therefore stands out with greater group of women in the left foreground, in clarity. The formula of the portico with which, one must suppose, the somewhat small figures is taken directly from startling effects of shot greens and yellows Domenichino's Flagellation of St. Andrew in shocked the classical taste of the early nine- S. Gregorio Magno, which Poussin admired teenth century. Since the cleaning the and copied. figures have recovered their full substance The David can be dated about I6z7—8. and now take their place in a carefully— Grautoff suggests that it may have been perhaps over carefully —planned spatial painted in Paris or in the first two years of design. the time in Rome. But the borrowing from It is now possible to see that the picture Domenichino is sufficient to prove it cannot was painted in two distinct stages. Through have been executed before I624, and the the rather thin painting of the stylobate of general style does not point to the very the temple there are traces of other figures, first years in Rome. In its pale colour and and in the intercolumniation over the head its rather crowded composition of relatively of Goliath there is visible, in a pentiment small figures, it is closely akin to the Prado (underpainting), a receding perspective of Parnassus and the Dresden Kingdom of arches. Further, the silver-grey paint of the Flora, both of which probably date from stylobate is clearly executed after the fore- I6zp —8. This dating of the David is con- L ASI'A

THE TRIUMPH OF DAVID by Nrcor.As Por,ssrN (rc9y-r66I) THE DULWICH GALLERY firmed by a preliminary drawing at Windsor repaint on the right-hand edge of the latter. which has all the characteristics of Poussin's In any case, the two fragments fit together penmanship of the period in question. with such exactness that it can hardly be Chronologically, the next painting at doubted that they originally formed part of Dulwich to be considered is the Venus and the same canvas. Mercury. The right-hand part of the com- The Dulwich picture has many weak- position with the figures of the god and nesses. The flatness of the body of Venus goddess has been in the Dulwich Gallery may be caused by damage, but the drawing since its foundation, but has not been of Mercury's feet and legs seems to be due exhibited for many years on the grounds to sheer clumsiness. On the other hand, the that it was a copy. Cleaning has revealed many pentimenti and the freshness of certain that it is certainly an original, though not passages, such as the two fighting putti and one of the artist's most successful storks. the head of Mercury, exclude the possibility The composition is known from a magnifi- that it may be a copy. The rich Venetian cent drawing in the Louvre and from the colouring, combined with the weaknesses engraving by Fabrizio Chiari after the of drawing, suggest that this is one of drawing, dated t636. From these we see Poussin's first experiments in the manner of that the Dulwich picture is only a fragment, Titian, closely related to the nurture of and that the group of putti playing instru- Bacchus in the National Gallery and prob- ments on the left has been cut off. This ably to be dated about t6zg. fragment, however, exists in the Louvre. Iconographically, the picture is curious. When the canvas was cut in two it was It is not one of Poussin's straightforward apparently found that the edge came incon- Ovidian love themes, but has an allegorical veniently near the figures and, in conse- significance. The centre of the foreground quence, small bands of new canvas were is occupied by two wrestling Cupids, who added to the left of the Dulwich, and to the occupy the attention of the other figures. right of the Louvre picture. At the same Mercury points them out to Venus who time, the top of the canvas was cut off, a turns her eyes towards them, while on the wider strip being removed from the Louvre left stands a putto awaiting the outcome of Concert than from the Dulwich fragment. the struggle and ready to crown the victor In the reproductions the added parts have with one of the wreaths which he holds up been removed and the two photographs in his hands. Of the two Cupids, the one reduced to the same scale, and it will be seen evidently winning is winged, whereas the that the two parts fit together exactly. The other has goat's legs. This group is there- lute, for instance, of which the greater part is fore a variant of the traditional representation visible on the right of the Louvre fragment, of the victory of spiritual over sensual love. is carried on into the Dulwich canvas. The Spiritual love leads to a desire for beauty, end of the chariot is cut oR'y the left-hand and beauty is here symbolised by the figures edge of the Dulwich picture, and is not of Venus —presumably Venere celeste and visible in the Louvre Concert, but it remains not Venere volgare —and by the fact that to be seen whether it does not really exist Mercury is, rather unusually, surrounded by under the perished varnish and possible the symbols of the arts, of which, according

13 to one ancient tradition, he was the inventor. in origin and familiar throughout the Beside him on the ground are a lute, a Renaissance, the harmony between spiritual musical score, books, and a palette, while love, beauty and the arts. This is precisely on the left the element of music is again the kind of theme which would have emphasized in the group of singing and appealed to the circle of Roman Humanists which Poussin playing putti. Above them flies another round Cassiano del Pozzo for Cupid, who aims an arrow at Mercury. He was principally working at this period. is winged and is presumably the inspirer of This contribution from Professor Anthony true spiritual love, not of sensual love, the Blunts is an extract from an article in the representative of which lies defeated in the Burlington cVagagine for January, t948. We foreground. The composition is therefore are grateful to the Burlington Afagatine for an allegory of a theme ultimately Platonic the use of the three blocks.

VENUS AND MERt URY by Nrcot.ns Povss!N Pen and wash drawing, Louvre

I4 'l >151~ ~ Pili~ I ~ tamil 9 ~ ~ "l sT IP ~ ~ sri: ~ ~:: I ~ ~ '4 I1 I ~ ~ ~ ~ OI ~ ~ 2'I 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

To APRIL 3 BOOK ILLUSTRATIONS BY ANDRE MASSON AND THE TECHNIQUE OF MODERN FRENCH ENGRAVING Two Arts Council Exhibitions showing recent developments in the art of illustration in France.

JUNE 5 to 26 Drawings from THE ALBERTINA COLLECTION The famous collection of Old Master Drawings from the Imperial Library, Vienna, is being brought to this country by The Arts Council for a limited tour and will be seen only in London, Edinburgh and Leeds.

PICTURE OF THE MONTH

APRIL FRANCIS WHEATLEY The Irish House of Conunous. Lent by Mrs. G. Gascoigne, C.B.E., from Lotherton Hall.

MAY THOMAS GAINSBROUGH The Pig Girl. Lent by the Exors. of the late Hon. G. Howard from Castle Howard.

JUNE SIR PETER PAUL RUBENS Sn Theresa. Lent by Mrs. W. J. Roach from Baildon Lodge, Shipley

TEMPLE NEWSAM HOUSE OPEN DAILY, INCLUDING SUNDAYS, 11-30 to dusk

MAY RECENT PURCHASES (Tentative Booking) by the CONTEMPORARY ART SOCIETY

JUNE 19 to AUGUST 3 PAINTINGS BY JACK YEATS Continuing the series of one-man exhibitions by contemporary artists, this collection, brought together specially for Temple Newsam House, will represent the work of Jack Yeats at all periods, forming a comprehensive survey of his productions. AUGUST to OCTOBER JULIUS CESAR IBBETSON

16 LENDAR

SOME YORKSHIRE EXHIBITIONS APRIL Huddersfield, Art Gallery The Frederick Behrens Collection of until April 17 Colour Engravings and other Drawings Keighley, Museum The Haley Collection of Mar. 20 to April 24 Watercolours and Drawings Bradford, Art Gallery 55th Annual Spring Exhibition until May 30 Wakefield, Art Gallery The Technique of Modern April 10 to May I French Engraving (Arts Council Exhibition) Harrogate, Art Gallery Lithographs: Senefelder Club Exhibition April 10 to May 2 Wakefield, Art Gallery Paintings by Katherine Fryer April 10 to May 8 Hull, Ferens Art Gallery Royal Academy Selection (1947) April 10 to May 8 Hull, Ferens Art Gallery Acquisitions of the April 17 to May 2 Contemporary Art Society Batley, Art Gallery Opening of Art Gallery April MAY Keighley„M useum English Cathedrals May 1 to 18 Doncaster, Art Gallery and Museum The England of George" Morland May 1 to 30 Harrogate, Art Gallery Festivals of the Roi Soleil "; May 4 to 18 Exhibitions of French Engravings Harrogate, Art Gallery The Haley Collections of May 8— Watercolours and Drawings Wakefield, Art Gallery The Euston Road School and others May 8 to June 12 Wakefield, Art Gallery Paintings by Francis Wall May 15 to June 12 15 June 12 Hull, Ferens Art Gallery Paintings by R. O. Dunlop A.R.A. May to 22 to June 22 Keighley, Museum Beautiful Yorkshire May Batley, Art Gallery Paintings by Joseph Appleyard May JUNE Three Man Show (Local) June 12 to 26 The Euston Road School and others June 19— Modern British Pictures June 19 to July 10 from the Tate Gallery Bradford, Art Gallery Jubilee Exhibition of the June 19 to July 18 Yorkshire Photographic Union Contemporary Flower Paintings June 26 to July 17 Drawings from June 26 to July 18 Sir Robert Witt's Collection June 26 to 24 Hull, Ferens Art Gallery New English Art Club July June Batley, Art Gallery Works by Students of Batley Grammar School June Sheffield, Graves Art Gallery Royal Society of Possibly Painters in Watercolours A yorkshire Artist EDWARD WADSWORTH S. D. CLEVELAND

One of a number of Yorkshire born English contemporaries who endeavour to painters who have made names for them- express the spirit of our age in their work. selves in recent years, Edward Wadsworth His consistently thoughtful and logical is especially prominent among those of his approach to his art has invested it with a high degree of individuality and conviction and he is, in fact, the only avant garde artist who habitually uses the old tempera medium in which powdered colours are mixed with yolk of egg and water. His outlook is admirably summed up in Baudelaire's dictum ascribed to him as a motto by Wilenski; "Everything that is beautiful and noble is the result of reason and calculation," for his purpose has always been to achieve beauty of form and colour, whether natural, symbolic or abstract in inspiration, in a harmony of balanced relationships, and his ':I I best work conse- quently has a serene, intellectual quality which gives it distinction. In all the phases of his development his concern with purely esthetic considerations has been evident. An interest in tempera, too, is perhaps to be expected in a man of his type of mind. He was attracted to it before t9t4 when he worked under Roger Fry's direction in the restoration of a number of paintings in that medium. From the first, the high degree of control involved in its manipulation and the necessity for precision in design and execution proved to be in accord with his reasoned ideas on picture making. In addition, its clear, fresh colour; its essen- RUE DE LA REYNARDF by EnwARn WAnswoRTH tially decorative nature; and its beauty of BQUGHT FRQM THE coRFQRATIQN FUNO 1943 surface texture appealed to him. The clarity of colour is not only inherent in the wide included a chapter on tempera painting. A range of pigments employed but is enhanced Tempera Society was formed in x9oi, and by the traditional method of over painting in Birmingham Joseph Southall, himself an in which the under colour aff'ects the super- able exponent of the craft, taught other imposed one without the loss of luminosity artists, among them Maxwell Armfield which would result from mixing them. whose "Manual on Tempera Painting," Precision of handling is determined by the published in x93o, is an admirable contribu- fact that tempera dries quickly and has, tion to present-day knowledge of the therefore, to be applied directly in small subject. colour areas. This produces a smoothness Born in Cleckheaton in t889, much of of finish and a delicacy of colour edge which Wadsworth's boyhood was spent in the are characteristic of the medium. fishing ports of north-east Aberdeenshire The fact that so few painters work in and such places as Le Havre and Rotterdam. tempera nowadays is apt to make us over- He also served with the R.N.V.R. in the look the long history and undoubted attrac- Eastern Mediterranean during the first world tion of the medium. We are perhaps war, and supervised the camouflaging of conscious mainly of the demands it makes ships at Liverpool. These experiences prob- on the technical skill and patience of the ably explain his predilection for forms artist, to say nothing of the quiet attention connected with maritime life. He was of the spectator, as compared with the freer trained at Munich and at the Slade School, and more summary oil method. But it is as was associated with the Omega workshops, well to remind ourselves that painting in and with Wyndham Lewis in the Vorticist egg tempera was developed in Italy during movement of I9IQ—I4. Other societies of the Renaissance, and may have been known which he has been a member are the London in the Egyptian and other early civilisations. Group, the New English Art Club and Much of the work of the Italian primitives, Unit One. He had the first of several one- especially those of the Siennese school, was man shows at the Leicester Gallery in I9I9 normally in tempera, and in spite of their when he exhibited drawings of the Black preoccupation with fresco many of the Country and later studied in Italy and also Florentine painters used it too. In the lived in Paris for a time. He was made an hands of these earnest practitioners the associate of the Royal Academy in 1943. technique of the craft improved until Botti- His work is represented in national, pro- celli showed what complete mastery of the vincial and private collections in this coun- medium, combined with artistry, could try and abroad, and in the Leeds Collection, achieve. The damper climate of North with its six fine examples, each period of his Europe encouraged the use of an oil medium development is characteristically shown. by northern painters, and in England it was In the course of his career his style has not until nearly the end of the t9th century developed from carefully drawn and dis- that a serious interest began to be taken in posed representations of ships and ports, tempera as a result of the publication, in first to what might be called nautical still x899, of Lady Herringham's translation of life in which minutely observed objects Cennini's treatise on art methods which connected with the sea, irrespective of scale SLUMP by EDwARD WADswoRTH BOUGHT FROM THE CORPORATION FUND I935 and normal association, were arranged with increasingly robust character of his subjects, attractive and colourful effect, and then, in in which massive details such as propellers, the early t y3o's, to the production of anchors and metal tops of buoys now began abstract designs. He reverted to the former to appear. It was by applying the colour in these of phases in the large decorations he dots that he first sought to improve his was invited to execute for the Queen 3Iary method but, as was the case with the French in tyg6, and has since maintained his interest Pointillisres, this tended to weaken the in marine subjects. solidity of the objects in his compositions. Until a few years ago, Wadsworth was By t94o he had decided to use the cross- satisfied with the meticulous brush tech- hatching method which, he found, enabled nique traditionally associated with tempera him to retain his feeling for form whilst which, because of its nature, can only be acquiring a depth and scintilation of colour dealt with by some form of stipple, dots or in keeping with the new boldness of his cross-hatching. Then he began to experi- subjects. No longer had the effect to be ment with the object of simplifying the quite so slowly built up by successive layers process and intensifying his colour which, of paint over the entire colour area of each he had come to think, was too pale for the incident in the picture. It was achieved

'7 Q more readily by close cross-hatching in the There has been a further change, too, in deeped toned passages and by spaced brush his technique. He has more or less aban- strokes in the lighter ones. The actual doned the cross-hatching method and this process was thus rendered less exacting, the has been made possible by the discovery of colour surface gained in translucency and a a new tempera medium, i.e. yolk of egg and wider variation of tone was obtained. stand oil. With this, really strong colour Since the end of the recent war, however, effects are obtainable by means of the his lively outlook has prompted yet another traditional flat, smooth method of brush- phase of his development. Again there has work. been a reversion to a previous mode, the The result is an interesting new series of abstract period of the early tL/30 s with the pictures of which Dahlia is a recent example, difference that the abstractions are not in which the emphasis is almost entirely on carried so far. The forms, though still the decorative aspect of the subject. The abstract and dynamic in feeling, remain spatial element so characteristic of his perfectly recognisable as flowers and shells. paintings of maritime life, is now reduced In his present mood he feels that there must to the minimum required to suggest the be some link with nature, even if it is only shapes of the natural objects on which he hinted at. has based his design. The background is [continuea'n page 27

DAHLIA by EDwARD WADS%'ORTH BOUGHT BY LEFDS ART COLLECTIONS FUND 1946

21 he Hollings Collecti on IV STAFFORDSHIRE SALT-GLAZE KATHLEEN M. ARMISTEAD

Staffordshire salt-glazed stoneware, like the tin enamelled ware, or "delft" of although owing its origin in part to foreign the t7th century, was a partial answer to influences, is another original and native this search, in so far as it provided a light ceramic development. It is perhaps for this ground for painted decoration. Stoneware reason that, in interest and vitality, it is possesses other attributes of porcelain, as it second only to the English slipware (dis- is impervious to fluids and is sometimes cussed in the previous article in this series), translucent. The method of production of which precedes it in time by less than half salt-glazed stoneware of the best period, a century. which admitted of extreme thinness and It is the first refined ware which the delicacy in the ware, attained a further English potter evolved along original lines, advance towards the desired qualities. and it is a peculiarly English product, as it Stoneware is earthenware fired to such a was never made elsewhere. degree of heat that it is partially vitrified. Unlike the slipware, salt-glaze consists It is usually glazed with salt, if glazed at all. almost wholly of tea and coffee services and Salt-glazed wares imported from Cologne other table ware, purely ornamental pieces and the Rhenish provinces, where they had being very uncommon, although figures and been made since the Middle Ages, must groups of figures were made. It owed its have been familiar in this country during rise and development largely to the increas- the i6th and tpth centuries. So far as is ing practice of tea and coffee drinking and known, they were not produced here until the more polished and urbane habits of the last half of the t7th century, when John living coincident with that indulgence. Dwight of Fulham, who was experimenting Pottery was more suitable for the former in the production of porcelain, made busts than glass or silver and the comparatively and statuettes which were salt-glazed. The dainty pieces of salt-glaze ware more con- term salt-glaze is, however, usually applied ducive to the latter than the earlier pewter to the fine white salt-glazed stoneware and heavy slipware. which became the chief product of the From the Orient had come, as its name Staffordshire potteries during the early part implies, not only the new beverage, but also of the i 8th century. Staffordshire was the porcelain or "china" associated with it. becoming the main centre of pottery manu- The long struggle to produce a ware with facture. A variety of economic causes con- the qualities of Chinese porcelain had been tributed to this development. As brushwood continued in Europe ever since the traders for firing the kilns became depleted owing had introduced the latter in the t 6th century. to the reclaiming of forest for cultivation The salt-glazed stoneware of Staffordshire, and pasture, a district which could provide

22 GROUP OF ENAMELLED SALT GLAZED WARE FROM THE HOLLINGS COLLECTION c. (ip5o-6o) coal, the fuel which was replacing wood, caused great amazement in the neighbour- was in a favourable position to support such hood of Bradwell. It is recorded, however, an industry. The neighbourhood had also that the manufacture of salt-glaze was of the advantage of being cut up into small such benefit that the natives were quite holdings, instead of consisting of large satisfied to accept the inconvenience. estates; a circumstance which was condu- Although this Staffordshire ware of the cive to the growth of a manufacture in which early r8th century was more refined and the unit was the individual craftsman or his delicate than the early slipware, it still family. retained the true clay qualities of wheel Salt-glazed ware is extremely hard and in shaped pottery and the natural colours of colour grey, buff or dull white. The glaze the clay. Out of continual experiment is quite characteristic and unmistakable, the certain changes eventually occurred. On surface being minutely pitted in a manner the one hand, the constant effor'ts of potters which resembles leather or orange peel. This to achieve the whiteness of porcelain pro- is due to the fact that the glaze was formed duced a white body, by the use of calcined on the ware itself and out of one of its flints mixed with the clay, and, on the other constituents. When the heat of the kiln was hand, developments in the mechanical side at its greatest and the ware white hot, large of the production brought greater variety quantities of salt were thrown in. The soda and sophistication of form. in the salt attacking the silicate in the body The outcome of the first change was of the ware, a silicate of soda and alumina utilised with brilliant effect when two Dutch was formed, which coated the surface with enamellers settled in Staffordshire about a fine, hard glaze. The extraordinary vol- tycho and proceeded to decorate the sym- umes of smoke which issued from the kilns, pathetic ground of the salt-glazed ware with when the process was first carried out, thick jewel-like enamels. These vivid

23 flowers, leaves and lanclscapes in Chinese which had not been attained in English style, though obviously inspired by Oriental pottery previously. It is perhaps the com- prototypes and often echoing the famille bination of fineness with boldness of design rose of Chinese porcelain, evolved into a and colouring, amounting sometimes to characteristic method of decoration, gay and crudity and occasionally to unashamed prolific, often evincing extravagant form vulgarity, which gives coloured salt-glaze and garish colouring, but with a merit and ware its peculiar charm. Though both attractiveness all its own. Though the Chinese and Dutch influences are evident original impetus derived from the need to (some of the earlier wares were sent to compete with the imported Chinese porce- Holland to be painted), the ultimate product lain by emulating its special beauties, the is entirely native and forms an important result was something entirely new, a ware of contribution to the history of English great brilliance and spontaneity of decora- pot tery. tion combined with a neatness and delicacy After receiving the enamel colours, the

"SCnATnt m.VE" XtVC; FnnM THE HOEEtNGS t;OU Et-.T7ON In ccrilred and dated xpq9 ware was fired once more, this time at a influence of designs appropriate for silver much lower temperature, in what is called ware became apparent in contemporary the mme kiln. pottery not, from the purist's point of The shape and decoration of the un- view, to the latter's advantage. Indicative of painted salt-glaze underwent changes which this influence is the appearance of three were the direct result ot an evolution in the mask and claw feet on tea-pot and coffee-pot method of production, from the simpler and of the cover knob in the form of a bird. hand thrown types to the elaborate pieces From t74o onwards moulds were used to produced by the casting process. On the produce more elaborate ornament and early wheel shaped pottery, the decoration varied and fantastic shapes which could not was often effected by applying pads of ~hite be produced on the wheel. Tea-pots repre- pipeclay and impressing these v, ith relief senting houses and camels, or of hexagonal ornament by means of metal stamps. The or lozenge shape, were moulded in two or motifs are usually heraldic flowers and more sections. The relief ornament was animals or grape vines, whose long curled often contained in panels the borders of stems and ten dri1 s provide a scroll-like which, formed by the joinings of the ornamentation. The latter were formed sections of the moulds, provide an integral from thin strips of clay rolled out between part of the design. The motifs of the relief the palms of the hands, twisted into the ornament are varied and inconsequent, desired curves and deftly applied to the ranging through classical mythology, body. This type of ornament, which is also heraldry and grotesques, archaic animals and found on the lead-glazed wares of the period, birds, leaves, scrolls and diapers, to the was most commonly used on the drab or homely kettle on the fire. They are probably stone grey body, which preceded the per- borrowed from old wood carvings, being fecting of the white, and the contrast of amusing and quaint but apparently, for the white on dark background, together with most part, without any meaning and simply the free flowing curves provided a pleasing put there "for fun." The total effect is not decoration. Very often the white reliefs without charm and seems strangely appro- were stained with cobalt. Both during this priate to the salt-glaze surface. period and later, when the salt-glaze was An incident of which the Staffordshire enamelled in colour, the handles and spouts potter made good use, both in salt-glaze and were moulded in the form of short lengths other ware of the period, was the taking of of woody stem. These, so called, "crab- Portobello in I739 by Admiral Vernon. stock" handles and spouts are found very Ships, cannon, fort and the worthy Admiral frequently also on other Staffordshire wares. himself, in stamped or moulded relief, are In some cases, from the crabstock handle grouped in rather haphazard fashion on spring tendrils, with leaves and grapes mug or tea-pot, accompanied by an inscrip- attached, which cling round the body. The tion. There are several of these valuable cover knob usually takes the form of a bent pieces in the Hollings collection. twig and later sometimes of a flower. Another naive but effective form of About this period silver was being decoration, used from about r74o, was increasingly used for table ware and the produced by scratching the design in the surface of the paste and filling the incisions "crabstock" handles and spouts of the with clay stained with cobalt. In these cases earlier wheel shaped pottery had given the outline decoration is simple, artless and place to fantastic handles and spouts made bold. This ware is known as "scratch blue." in the form of dolphins and other creatures. A very valuable, dated mug of this type, In like manner, the simple cover knob in from the Hollings collection, is illustrated. the form of a bent twig had been replaced About the middle of the century porous in many cases by a fabulous looking lion moulds were introduced into Staffordshire, couchant, the Staffordshire version of the by means of which relief decorated wares Chinese kylin, which also appears on the could be cast in liquid clay. This not only lead-glazed wares of the period. meant a quickening up of the process, but At the height of its popularity, about was also the means of producing sharper t7~o, the industry was a very large and reliefs and greater thinness of the walls. The important one. In Burslem alone there were porous mould which received the liquid sixty small factories making salt-glaze and clay absorbed the water in the slip and its sale was not confined to this country, but retained a deposit which formed a clay also extended to the Continent and the lining, with the design in relief on its outer Colonies. side. This, when the desired thickness was By t78o, however, the manufacture of attained and superfluous liquid drained salt-glaze had practically ceased and this away, was removed from the mould and attractive and original ware had been fired in the kiln. By this means more com- superseded by the finer and much more plicated and fantastic shapes were produced serviceable earthenware perfected by Josiah and the moulded camel tea-pots were fol- Wedgwood. Salt-glaze, with all its rather lowed by the cast tea-pots in lozenge shape whimsical charm, had disadvantages in or in the form of a house. By this time the actual use. Its rough surface was harmful

GROUP OF STAFFORDSHIRE SALT-GLAZED WARE FROM THE HOLLINGS COLLECTION (c. r pro-6o) to silver spoons and forks and it was liable which were both becoming well-known by to crack when subjected to sudden changes this time. So this quaint, amusing, some- of temperature. A factor which contributed times beautiful and always original ware, to the decay of the manufacture was the after its brief hey-day, gave way before the introduction about t7~o of plaster of Paris products of increased mechanization, mass moulds, which made possible the produc- production and more eclectic and stereo- tion of pieces of much larger dimensions, typed design. The stoneware was van- such as dishes, plates and soup-tureens. quished not only by the arrival of fine The process was one not of casting but of earthenware but by the rise of porcelain moulding, the clay being pressed into the which gave the enameller full scope to recesses of the mould which produced a regard the piece of pottery as a surface to ware with much thicker walls than those be decorated rather than as a shape with resulting from the casting method. Plates form and surface to be enhanced with and dishes of this period, of which there are colour. In any comparison of the a.sthetic examples in the collection, bear patterns of qualities of various types of pottery English embossed basket-work and pierced designs stoneware would take a high place. Temple and are obviously as inferior to the sharper, Newsam is fortunate in acquiring, as part of more delicate and more spontaneous exam- the Hollings Gift and Bequest, one hundred ples of salt-glaze of the best period as they and fifteen pieces of this ware, which are to the more finished creamware of include in their number fine examples of the Josiah Wedgwood and the Leeds pottery, different classes described in this article.

A Yorkshire Artist EDWARD WADSWORTH [cotttinued from page 2t]

generally uniform over the whole work and which linen is stretched and fixed before has become part of the contrasting or being coated with gesso, whose smooth, related colour pattern. That the colour is close texture seems ideal for tempera again intensified, an aim which he has painting; and his fine sense of craftsman- evidently had in mind since his typo experi- ship is well served by such a basis. His ments, is quite clear, and several of the standard palette consists of titanium white; compositions already seen are impressive oxide of cobalt (a potter's colour used examples of pictorial design, but it is per- instead of black); cerulean and cobalt haps a little early to say whether this latest blues; aureolin; cadmium yellow deep; development has yet been thoroughly Mars yellow; Chinese vermilion; Mars worked out. red and orange; viridian; terre verte; and Wadsworth works on strong laminated raw and burnt amber. Certain other potter' board> three-quarters of an inch thick, over colours are sometimes used in addition.

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