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Kettle's Yard KETTLE’S YARD: ANTI-MUSEUM H.S. Ede, modernism and the experience of art Elizabeth Anne Fisher Clare College October 2018 This dissertation is submitted for the degree of Doctor of Philosophy DECLARATION This dissertation is submitted for the degree of Doctor of Philosophy. It is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University of similar institution except as declared in the Preface and specified in the text. It does not exceed the prescribed word limit of 80,000 words. 2 ABSTRACT This thesis attempts to tackle the question of what is, or more precisely, what was Kettle’s Yard, by exploring the intellectual origins of the institution initially conceived and developed by H.S. Ede. Ede bought Kettle’s Yard in 1956, and began to welcome visitors into his home in 1957. As a private initiative, Kettle’s Yard promoted an unusually intimate encounter with art. Following its transferral to the University of Cambridge in 1968, Kettle’s Yard still offered a qualitatively different experience to that of a conventional museum. Over the last fifty years, the ineffable quality of the visitor’s experience has inevitably changed. One of the motivating questions for me, through this research, has been how or even whether Kettle’s Yard now differs from other collection museums, and what that means in terms of understanding the institution Ede originally founded. It was also my aim to situate Kettle’s Yard in relation to a rich history of experimental museum practice and private philanthropy. My approach has been to map a genealogy of key ideas and influences that shaped Kettle’s Yard. My research focuses primarily on the interwar period, which roughly coincides with Ede’s time in London between 1919 (when Ede returned to London after active duty in the First World War) to 1937 (when he resigned from the Tate Gallery and moved to Tangier). This was a formative chapter in Ede’s life. I also seek to draw pertinent comparisons with other collection museums and ‘modernist’ institutions from that era. I begin with an introduction to Kettle’s Yard and to Ede himself. Chapter 2 looks at Ede’s activities and intellectual interests in the interwar period, taking into account the wider cultural context with which he is engaged. In Chapters 3 and 4, I examine the prevailing themes of spirituality and the home in relation to Ede’s engagement with modernism, and his relationships with artists and other key figures. I trace the eventual expression of Ede’s beliefs in the collection and interiors at Kettle’s Yard with reference to relevant archival materials, including Ede’s book on Kettle’s Yard, A Way of Life (1984). Finally, I come back to my original question to assess what Kettle’s Yard means today. 3 CONTENTS Acknowledgments 6 Image list 8 CHAPTER 1: Introduction 10 1.1: What is Kettle’s Yard? 10 1.2: Who was Ede? 14 1.3: Ede’s gift 19 1.4: From home to institution 23 CHAPTER 2: The Interwar Years 28 2.1 A Door opened 28 2.2: A ‘magic circle’ 37 2.3: Edward Marsh & T.E. Lawrence 42 2.4: The making of a collector 46 2.4.1: Henri Gaudier-Brzkeska 46 2.4.2: Christopher Wood 50 2.5: American influences 52 2.5.1: Albert C. Barnes 52 2.5.2: Duncan Phillips 66 2.5.3: Dorothy Elmhirst 74 2.5.4: Mildred Barnes Bliss 81 CHAPTER 3: Spirituality 83 3.1: A lecturer in search of an audience 85 3.2: A religious upbringing 89 3.3: Mystical Modernism 93 3.3.1: Looking East 96 3.3.2: Paris-London 100 3.4: Ede’s library 108 3.5: Key influences 111 3.5.1: An aside: Alfred Stieglitz 112 3.5.2: Helen Sutherland 114 4 3.5.3: David Jones 121 3.5.4: Brâncuși 125 3.5.5: Ben Nicholson 132 3.6: I have created my own church 143 3.6.1: A Way of Life 146 CHAPTER 4: Home 151 4.1: Domesticating Modernism 155 4.2: The Modern interior 159 4.3: The Folkwang Idea 163 4.4: The home as an alternative institutional model 164 4.4.1: The Phillips Collection 168 4.4.2: Dumbarton Oaks 176 4.5: At home with art 180 4.6: Ede’s homes 185 4.6.1: Elm Row 185 4.6.2: White Stone 189 4.6.3: Les Charlotières 193 CHAPTER 5: Conclusion 196 BIBLIOGRAPHY 204 ILLUSTRATIONS 229 5 ACKNOWLEDGEMENTS I would like to thank my supervisor, Jean Michel Massing, for his generosity, his wonderful enthusiasm and patience, but most of all for his belief in my work, which made this possible. So many people have been extraordinarily generous with their time and knowledge over the last four years. I am forever indebted to Frieda Midgley, my redoubtable guide through the archives at Kettle’s Yard. I am also particularly grateful for the assistance of Barbara Beaucar at the Barnes Foundation, Karen Schneider at the Phillips Collection Library and Archives, Megan Schwenke at Harvard Art Museum Archives, James Carder at Dumbarton Oaks, Shana McKenna at the Isabella Stewart Gardner Museum, Ceri Brough at the National Gallery Archives, Dr Paul Pearson at the Thomas Merton Center, and Sonny Raharison at the Musée Picasso, all of whom went out of their way to help me and draw my attention to material I wouldn’t otherwise have found. I would also like to thank staff at the Archives of American Art, Smithsonian Institute; Bancroft Library, Berkeley University; Beinecke Rare Book & Manuscript Library, Yale University; British Library; Cambridge University Library, Cumbria Archive Centre; Devon Heritage Centre; Forbes-Mellon Library, Clare College; Getty Research Institute; Harry Ransome Centre, University of Austin; Harvard University Library; Kandinsky Library, Paris; Museum of Modern Art Archives; New York Historical Society; New York Public Library and Tate Gallery Archives. I am extremely grateful to Roger A. Cole for sharing his research and allowing me unrestricted access to his archive, and to Aziz Begdouri, my intrepid guide on the trail of Ede in Tangier. My research has been incalculably enriched by conversations along the way, and I gained a wealth of insight from those who knew or could tell me something about Jim. I am very grateful to Mary Adams and the Ede family for their support and would also like to acknowledge Belinda Rathbone, Marion Leeper, David 6 Owers, Diana Boston, Clive Wilmer, Lydia Hamlett, Robert Upstone, Jen Scott, Betty Thompson, Sarah Turner, not to mention all the invigilators who have loved Kettle’s Yard with quiet dedication and shared their priceless stories with me. I owe Lucy Kent a particular debt of thanks for opening a door I wasn’t planning to. I am grateful to all my old colleagues at Kettle’s Yard, to Andrew Nairne and Dr Jennifer Powell for their support and generous financial assistance with my research in America, and to Claire Daunton, with whom I began my exploration of the Kettle’s Yard archives. I would also like to thank the staff and fellows of Clare College and the History of Art Department, University of Cambridge. I received crucial financial assistance from Clare College, the Allan and Nesta Ferguson Charitable Trust, the Sir Richard Stapeley Educational Trust, the Yorkshire Ladies Council for Education and Futures for Women. My research in France, Tangier and America was made possible with the support of the Friends of Norwich Museums, Kettle’s Yard, the Brâncuși Travel Fund, Santander Mobility Grants, Clare College Graduate Research Fund, the Architecture and History of Art Faculty Fieldwork Fund and the Cambridge Society of Paris Trevor Brown Bursary. They say it takes a village to raise a child and it seems that way with a PhD. I have been supported in so many ways by our Cambridge friends, most of all Josy, whose many kindnesses are unrepayable. All my family and friends have been patient, tolerant and understanding beyond anything I deserve. My best friend Rou has played cheerleader, counsellor, and writing companion. My parents and in-laws have helped out in countless ways, not least with their love and encouragement. I couldn’t have done any of this without the unconditional support of my husband and son, who inspire me to be the best I can be. For Michael Harrison. 7 IMAGE LIST FIG. 1 Edward Wolfe, Portrait of H.S. Jim Ede, 1931. 2 Kettle’s Yard poster, c.1957 3, 4 H.S. Ede, sketch with notes for Jeremy Lewison, 1981 5 Cambridge Review cover, May 1970 REDACTED 6, 7 The Barnes Foundation, Merion, exterior views 8 The Barnes Foundation Room 22, 1927 9 The Barnes Foundation Room 22, 2016 10 The Barnes Foundation west wall, Gallery 4, 1928 11 The Barnes Foundation west wall, Gallery 4, 1951-1952 12 Ede’s ‘gramophone.’ 13 Interior, Kettle’s Yard ‘throw the ball to the pictures and the pictures throw it back.’ 14 Interior, Kettle’s Yard Cottages, detail, lemon on pewter plate.
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