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Nold Councillor D 8 ~ - '-:„THE LEEDS CATTY ART GALLER$ :, 8 TEMPLENEWSAM HOUSE, THE LIBRAIUES & ARTS (ART GALLERY & TEMPLE NEWSAM HOUSE) SUB-COMMI'I I'KE The Lord Mayor Chairman Councillor A. Adamson Deputy Chairman Mrs. Gertrude Halbot, J.P. Alderman L. Hammond Councillor F. E. Tetley, D.S.O. Advisory Members Councillor H. S. Vick, J.P. Councillor G. A. Stevenson Mr. Edmund Arnold Councillor D. Murphy, J.P. Councillor R. R. Thomas Mr. C. H. Boyle Councillor E. Osborn Councillor H. Bretherick Professor B. Dobree, O.B.E. Councillor F. Walker, O.B.E. Mr. L. W. K. Fearnley Mr. H. P. Peacock Councillor W. Shutt Lady Martin Mrs. J. S. Walsh Councillor K. A. Muir Mr. E. Pybus 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 Nevvsam House, Leeds ~Z utumn Number 1947 THE LEEDS ARTS CALENDAR IN THIS ISSUE were not ignored entirely was truly encour- the EDITORIAL —OUR RECEPTION aging. But spoken word is always more spontaneous, so that it was from our friends QUARTERLY REVIEW— who offered candid criticism and from many SOME RECENT ACQUISITIONS critics on whom we have been eavesdrop- THE SPENCER EXHIBITION ping, that we learned of our multitudinous errors. Each new criticism seemed, at first, TUDOR ROOM FOR TEMPLE NEWSAM $ .. an accusation of unforgiveable offence> but THE FUND S VISIT To SWINTON PARK .. 9 when totalled and carefully considered, these amounted to little more than we might A NATIVE PAINTER. BENJAMIN WILSON) I72I-i788 Io expect in our first faltering steps. ........One common comment which pleased ARTS CALENDAR I2 us, was "It looks well" or "It's well set up." This we had because we THE PERIOD DOLL AS A GUIDE TO hoped for HISTORICAL DRESS believe it our duty, above all else, to achieve the highest standard of aesthetic appearance THE HOLLINGS COLLECTION possible within our modest means. II: LEEDS PAINTED WARE 2I It may be that our anxiety over this primary aim caused us to be a little less OUR RECEPTION discriminating on the question of content. In the preparation of a new publication, For it was about this that we heard more the purpose of which is not purely com- adverse remarks. They varied considerably mercial, one is naturally concerned only "It's too short," "Too much space given with content and appearance. But it is not to details of minor interest," "Not enough easy to achieve a complete synthesis of the about the collections," "A little dull and two, for one is inclined to concentrate on academic," "Not sufficiently scholarly." the one at the expense of the other. Perhaps all are right, but our audience, we When the first issue of the Leeds Arts hope, is very varied so that we cannot hope Calendar was launched we were prepared to to please all. We have learned many lessons ignore, for the time being, the inevitable and we are grateful to our critics. We will " > " question Does it pay and to listen only try to correct our mistakes, as well as to for the criticisms on its appeal from a literary seek for the happy compromise which will and aesthetic point of view. We were not make our magazine informative without disappointed. The press gave us a gentle being either too academic or journalistic. and rather patronising pat on the head, If you think you can help us to achieve which was as much as we had hoped for our purpose either by criticism or contri- under present conditions. The fact that we bution, we will welcome your suggestions. E.I.M. U a r t. e r ly R e view SOME RECENT ACQUISITIONS Additions to the collection during the last In a more objective style are paintings by three months include forty-one paintings, Eric Kennington, Richard Eurich, Charles drawings and water-colours presented by Ginner, Carel Weight, Claude Rodgers and H.M. Government through the War Stephen Bone, together with watercolours Artists'dvisory Committee. This selection was and drawings by Thomas Hennell, William made from the numerous works executed by Dring, Stanley Houghton, John Worsley official war artists showing various aspects and Robert Austin. of naval, military, air force and civilian life Illustrated in this issue is the fi .ely carved from 1939 to I94). The sum total of storks pine frame by Grinling Gibbons (t646- tpzo) which has been bought the Cor- collected by this special committee, set up by poration assisted a by the Government, forms an almost com- by grant from the Victoria and Albert Museum. is plete pictorial record of the war on all fronts. It an excel- lent example of Gibbons finest work, But such a collection cannot be adequately pro- bably executed about t68o. It shows many shown in any one building so that many of the characteristic motifs which can be provincial art galleries have benefited by a seen in his carvings at Petworth, wise distribution. Belton, St. Pauls'nd those executed for Holme Our selection includes one painting and Lacey which are now at Beninborough Hall. eight gouaches by Graham Sutherland who This frame was originally at Syston Court, was one of the most successful war artists, Gloucestershire. It contains a copy of an in so far that he was able to adapt his highly earlier portrait of the first Earl of Craven> developed personal style to capturing some- the son of Sir William Craven (the Dick thing of the feeling of what he experienced Whittington of Appletreewick) and hus- as well as putting down just what he saw. band of Elizabeth, sister of Charles I and The same can be said of the Castleford born Queen of Bohemia. artist Henry Moore, who is represented by Among other acquisitions are two water- three drawings; and of Paul Nash whose of colours by Miss Muriel Metcalfe, a sensitive poetic renderings of aeroplanes we have artist who, in her best drawings, seems to three examples. Four watercolours by combine happily qualities which are reminis- Edward Bawden might also be included in cent of Blake and John. These are given by this gr'up. Mrs. Greaves and Mrs. Glover. A slightly more theatrical form of stylisa- There is also a bequest from Mr. W. tion is in apparent the works of John Piper Jackson in which is included an unusual and Eric Ravilious, each represented by two Leeds pottery bowl of painted ware. It is watercolours. The more humorous aspects a very early example of fine quality Leeds of war-time are portrayed by Edward ware. Ardizzone and Anthony Gross. We have These and other acquisitions will be one watercolour by the former and three by included in the exhibition which is to be the latter. opened on October 9th. CARVED WOOD FRAME by GRtNr,tNo GtsBoNs (t646-x72o) Bought hy the Corporation, assisted by a grant from the Victoria and Albert 1lrluseum. Uorterly Review THE SPENCER EXHIBITION Such apprehensiveness as we may have had esting than his figure compositions, some about the public reception of the exhibition deserve more than casual attention. In of works by Stanley Spencer was largely particular I would mention the Halifax land- dispelled in the opening day. Mr. D. K. scape in which he has captured the atmos- Baxandall, Curator of the Manchester Art phere, the character and in fact the very Gallery, gave an admirable address on the spirit of the district, in a manner worthy of general approach to pictures which served an indigenous artist. Furthermore, in such as a useful introduction to an exhibition of a convincing way as to earn the highest works so varied and controversial as those praise from one who is generally recognised of Spencer. But this address was confined as a most typical, sensitive and discrimin- only to those who attended the opening ating native of that part of the West Riding. ceremony. The z6,ooo who visited the But Spencer's figure groups were the exhibition afterwards did not have the enigma, for here he resorts to what is called benefit of this valuable talk. Nevertheless, distortion, and he confines it to the human although many have been provoked to figure. Are they really distortions or does adverse, and, in a few instances, bitter com- he see human beings like that? ment, visitors generally have displayed a One test of an original creative artist is that wholesome, though puzzled, belief that they he should extend human vision, make us were in the presence of a really profound see something of which we were not pre- and accomplished artist. viously conscious. I wonder how many Those who tend to dismiss an original after seeing those Spencer paintings have artist on the grounds that he cannot draw seen just those figures in real life. Certainly or is incapable of portraying nature in a many to whom I have spoken have had this traditional way, were quickly confounded. experience, in the light of which new reali- For here is the superb draughtsman who zation Spencer's vision takes on a normality can give both character and almost uncanny and reality which we had not previously likeness in his portraits.
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