Leeds Arts Calendar Art Collections Fund

This is an appeal to all who are interested in the Arts. The Leeds Art Collections Fund is the source of regular funds for buying works of art for the Leeds collection. We want more subscribing members to give one and a half guineas or upwards each year. Why not identify yourself with the Art Gallery and Temple Newsam; receive your Arts Calendar free each quarter; receive invitations to all functions, private views and organised visits to places of interest, by writing for an application form to the

Hon Treasurer, E. M. Arnold Esq., Butterley .Ctree/, Leerls 10 7 he Libraries and Arls Sub-Committee

4rt Gallery and Temtste ~erosam House

The Lord Mayor Alderman F. H. O'Donnell, J.t>. Alderman Mrs M. I'earce, J.p. Alderman H. S. Vick, J.p. Alderman J. T. V. Watson, Lt..a. Councillor Mrs G. Bray Councillor P. Crotty, LL.B. Councillor F. W. Hall Councillor E. Kavanagh Councillor S. Lee Councillor Mrs L. Lyons Councillor Mrs A. Malcolm Councillor A. S. Pedley, D.F.C.

Co-opted Members Lady Martin Prof Quentin Bell, M.A. Mr W. T. Oliver, M.A. Mr Eric Taylor, R.E., A.R.O.A.

Director Mr Robert S. Rowe, M.A., F.M.A.

The Leeds Art Collection Fund

President

Vice-President The Rt Hon the Earl of Harewood, LL.D.

Trustees Sir Herbert Read, D.s.o., M.c. Mr W. Gilchrist Mr C. S. Reddihough

Commi ttee Mrs E. Arnold Prof Quentin Bell Mr George Black Mr W. T. Oliver Hon Mrs Peake Mr Eric Taylor No. 57 1965

Hon ?reasurer Mr Martin Arnold

Hon Secretary Contents Mr Robert S. Rowe

Hon Social Secretary Editorial page 2 Mrs S. Gilchrist

Hon Membership Secretary Modern Sculpture Mr D. Mason Jones at Leeds

All communications to be addressed to the Hon Secretary Arts at Temple JVetosam House, Leeds. Calendar Subscriptions for the Arts Calendar should be sent to The Hon. Treasurer. c/o E.J.Arnold tk Son Ltd. A Chandelier for Butterley Street, Leeds 10 Temple Newsam 15 3/- per issue (postage 5d.) 13/- per annum, post free Single copies from the Art Gallery and Henri Hayden- Temple Newsam House The Factory 24 Editorial

Alderman Arthur Adamson, who died after a short illness on July 9th, will be very much missed on the L.A.C.F. com- mittee. He was chairman of the Art Gallery and Temple Newsam House sub- committee almost continuously for twenty years and, as such, was the city's represen- tative on the L.A.C.F. committee. He was not only a well known figure in his native Leeds, but a familiar character, too, at Museums Association conferences for nearly a quarter of a century. The Alder- man took an active part in the setting up of the Museum and Art Gallery Service for Yorkshire and was its first chairman. At seventy-seven the energy he put into those activities in which he was interested seemed undiminished; he was in fact the sort of person to whom retirement from voluntary work would have seemed in- conceivable and it is to be hoped that his daughters may find comfort in the thought that he would have preferred to die in harness. Members of the Fund would like to send their sincere sympathy to all his family.

The City Art Gallery was very honoured this year to be offered the first of a series of exhibitions sponsored by the Paul Mellon Foundation for British Art. The idea is to arrange exhibitions each year devoted to the work of an English painter who, for one reason or another, is insufficiently known, show it first at Aldeburgh during the festival of Music and Arts and then, in augmented form, at one other provincial collection, but also makes sense of the centre. The subject of this year's exhibition ground floor by closing the main vista was Francis Wheatley who is represented from the vestibule with a certain splendour. in Leeds by a fine oil and a water-colour June and July have been hectic, if it was good to see our pictures in the com- highly exciting months at Temple New- pany of their brothers and cousins and sam for the Harewood sales at Christie's indeed they proved to be very well en- signalled the climax of the struggle to save dowed members of the family. All thanks for Yorkshire what we could of the treas- should go to the Mellon Foundation not ures being disposed of. only for an excellent catalogue w hich will A brave attempt was made to buy one remain a work of reference, but for the of the silver tureens made by William opportunity of seeing Wheatley in the Grundy in 1754 which was displayed at round. Temple Newsam in the English Domestic Good use has been made already of the Silver exhibition of 1959. Unfortunately, re-designed lower Sam Wilson gallery and, the price realized in the sale was above our as well as the great , the limit, so that was the end of that. Close on three new pieces of sculpture discussed in this disappointment came the possibility, John Bradshaw's article in this issue have incredible as it seemed when first mooted, found their homes there —for the time of acquiring the great desk —or library being at any rate. The upper Sam Wilson table as it should more properly be called. galleries are practically finished as this It all started with the magnificent offer editorial is being written and they should by a group of Leeds business men, who prove a most appropriate and we hope incidentally were most anxious to remain —attractive setting for the Wilson pictures. anonymous, to subscribe $,20,000 towards The Brangwyns ~ ill at last be seen in their its purchase. Things moved quickly after full ripeness too. The Lord Mayor has this, but at the time of writing the deal very kindly agreed to re-open these and is not complete, and the full story, which the refurbished Queen's Room on 23rd we hope will have a happy ending, must September. The latter does much credit wait for a further issue. Perhaps it would to Mr. Denis Mason Jones, who believed be legitimate at this stage in proceedings, that the best qualities of the room should however, to add the rider that if the library be exploited rather than ignored by super- table does land safely at Temple Newsam imposing, on the existing structure, a not only will one of the most significant modern conception of an art gallery which masterpieces of English furniture be saved might well prove less interesting. The for the country, but it will find a per- result is a rich baroque effect which not manent home in one of Yorkshire's great only provides a complimentary back- houses barely ten miles from that for ground for the late Italian pictures in the which it was made. Modern Sculpture at Leeds

Since the last account of the sculpture sixties; moreover the new shapes and at Leeds was published in Calendar No. 40, objects which he produced led to a in the summer of 1958, a number of development away from the nature- valuable acquisitions have helped to make derived shapes of the older generation, the modern collection one of the most notably Moore and Hepworth, to the extensive in England, outside . This creation of what Sir Herbert Read cate- is right and proper, seeing that Leeds has gorises as 'plastic symbols of the artist' produced or fostered a good proportion of inner sense of numinosity and mystery'. those sculptors, from Henry Moore on- Another landmark was the opening, in wards, who have been responsible for the autumn 1962, of the new sculpture emergence of British sculpture as one of the gallery with its dramatic and flexible most important artistic developments of lighting system which enables each piece the post-war years. This was brought individually to have the maximum varia- home to the city, later in that same year tion of lighting contrast in order to 1958, when the exhibition of modern emphasise the qualities of modelling, sculpture in and outside the Art Gallery texture and colour. A new work which drew so much attention and interest. It appeared to advantage in this setting became clear that these artists needed a because of its dramatic silhouette was F. E. better representation in the permanent McWilliam's bronze Resistance II, bought collection and it was the Art Collections with Corporation Funds from the John Fund which found the money to buy from Moores exhibition, held at the Walker Art that exhibition Barbara Hepworth's beau- Gallery, Liverpool, 1962, where it had tiful carving, Configuration (Phira), two been awarded second prize in the sculp- small but humanistic works by Ralph ture section. The new gallery was also Brown, his Zragic Group and Running Girl used, soon after its opening, for the with Wheel, and Leslie Thornton's Gladia- exhibition of sculpture and drawings by tors, constructed of welded metal rods. All Austin Wright who was Gregory Fellow these artists were of Yorkshire birth and from 1961 to 1964 and who has lived and had studied at the Leeds College of Art. taught for some time in Yorkshire. Cor- The other important Leeds contribution poration Funds were again used for the to post-war sculpture has been by way of purchase of his Moon, another work in the University's Gregory Fellowships which aluminium and one which might have have brought more influential sculptors been designed for a setting where the to work in the city. It was the Fund again lighting helps to isolate the shining curve which bought the impressive aluminium of the moon shape high above the other Icon by , who was Gregory pieces around it. It was the Art Collections Fellow in sculpture from 1955 to 1959, and Fund, on the other hand, which bought which benefited also from Mr. Stanley the two reliefs in wood by Matt Rugg, an Burton's generous gift of Object Open artist of the younger generation; they Square by the same artist. Dalwood did normally hang on the hessian-covered much to make aluminium an accepted walls of the sculpture room, rather formal medium for sculpture and to make it constructions which also gain much from something of a hall-mark for work produc- a lighting system that highlights the ed in Leeds during the late fifties and early surfaces and deepens the shadows. Tuo very important acquisitions then became the sul>ject of prolonged negotia- tions on the Fund's behalf. The first to arrive was the Alexander Calder mobile Clticago Black, made in 1948—49, which was placed in the main entrance vestibule where its radiating arcs weave a ceaseless pattern of black aluminium shapes and shadows cast on the ceiling. This was the first work by this pioneer American artist to reach an English provincial gallery and the first work at I.eeds to exploit movement as an artistic medium. The second work was Henry Moore's Reclining Figure: Bridge-prop, illustrated in the last issue of the Calendar, the first cast of which was completed by the sculptor during the summer of 1964 and delivered to Leeds in time for the opening of the extension of the sculpture area in the glass-roofed part of the lower Sam Wilson Galleries. This latest version of one of Moore's favourite themes forms an interesting comparison with the earlier Reclining Figure in carved Hornton Stone of 1929 which, with its solid volumes and Mexican-type stylisa- tion, is one of the key works in the development of British sculpture. In contrast the new work, in bronze, points to the change from direct carving to modelling, characteristic of Moore's Leeds, show how much of the art produced 1. Winsloto Foot post-war work, and still seems to in Yorkshire has turned from the yet away Three by Fifteen relate to the works of the thirties in its romantic or surrealist interpretation of Wocd and aluminium sweeping, rhythmic and interlocking landscape to a formal discipline which Bough( Leeds Art Collection Fund 1965 forms. orders colour and texture into strict The daylight in this new sculpture area abstract patterns. has also made it a more suitable setting for the three coloured reliefs by artists These acquisitions, over the years 1958 who have worked at the Leeds College in to 1965, have made modern sculpture one the early sixties and which show how the of the most important aspects of the col- distinction between painting and sculp- lections at the Art Gallery. When, there- ture seems to be fast disappearing. Harry fore, the Calouste Gulbenkian Founda- Thubron's brilliantly coloured Red Circle tion offered a grant for the purchase of relief was bought by the Art Collections modern works of art, it was suggested that Fund and Frank Lisle's Blue Relief Painting the best way to use it would be to further a with Corporation Funds, both from The development which is unequalled in other TeachingImage exhibition held at the Gallery Galleries and has become worthy of special in the spring of 1964. The third relief, in attention. One of the conditions of the elegant black and silver, Three by Fig leen grant was that the City should add an by Winslow Foot (plate I) came from the equivalent amount to the sum offered over controversial 1965 Yorkshire Artists'xhi- and above the sum normally allotted for bition when the constructions and reliefs purchases and this meant that a work of completely dominated the entry. These some considerable substance could be artists, part of the more recent scene in acquired. The new Moore and the Calder were certainly works of international standing and yet, apart from Emile Greco's Seated Girl, the collection did not include any work by a contemporary European artist. It was evident that a work which could serve as a link between the British sculp- tors and their continental counterparts v ould be an invaluable addition. Bearing this in mind, a work by Arp seemed most suitable: born in Strasbourg, an inter- national mid-European background, he has been connected as poet, painter and sculptor with the leading modern art movements of France, and Switzerland: Der Sturm in Berlin, Die Blaue Reiter in Munich, Dada in and the surrealist group in Paris. Out of his contribution to these movements has emerged a sculpture which has become one of the dominating influences of the mid- century and a triumph of personal vision over the mannerisms of parties and fac- tions. That this influence made itself felt amongst British sculptors is made clear by Barbara Hepworth who recorded her impressions of her first visit to Arp's studio, then at Meudon, near Paris'. After some misgivings about the plaster of which most of the sculptures in the studio were made, 'a dead material excluding all the magical and sensuous qualities of the sculptural idea'he wrote: I was to find my own identification, as 2. "Therefore, my delight in the poetic human and with the pean .4rj) being sculptor, Seuil Proftt 1960 idea in Arp's sculpture, although they landscape around me." Bronze 3/5 lacked those special qualities of material Hepworth, of course, has put her own 16' 12'n. which I cannot do without in work, Bought toith the aid my interpretation, typical of British feeling of a grant from the came as a surprise to me, and the next day, in the thirties, on what she saw, some- Calouste Gutbenkian as we travelled on the train to Avignon, what different from Arp's own definition Foundation 1965 I considered the question. I had never of his aims. To-day his work appears much had any first-hand knowledge of the more formal and intellectual and not Dadaist movement, so that seeing Jean really concerned with the landscape- Arp's work for the first time freed me of human form fusion that we associate with many inhibitions and this helped me to Moore, whilst the beautiful, polished see the figure in landscape with new eyes. surfaces of the materials he has used show I stood in the corridor almost all the way how he did not avoid their demands but looking out on the superb Rhone valley employed the material qualities of marble, and thinking of the way Arp had fused bronze and even wood, to crystallise his landscape with the human form in so vision and thereby transcend the sensuality extraordinary a manner. Perhaps in of the forms he has chosen to sculpt. Never- freeing himself from material demands his theless, Hepworth's words and even more idea transcended all possible limitations. her works during the thirties until the war I began to imagine the earth rising and cut off the British from continental in- becoming human. I speculated as to how fluence show her admiration, almost to the point of imitation, of his poetic which still contained a basis of abstraction, sensitivity to shape and surface. i.e. a formalisation from nature. It was his At that time, 1931, Arp was only just connection with the Dada movement beginning what we would now consider which led him to an interest in collage his mature period as a sculptor of objects and so on to constructions in relief, in 'in the round'. His career to date covers a particular polychrome reliefs composed of complete half century and yet his work, in brightly-coloured, simple shapes, cut from all fields over all this period, has a unity thick boards, and arranged in layers so which stresses his personal devotion to the that the added dimension and the shadows discovery of an ideal beauty in which all cast add a hint of underlying complexity superficial decoration and distraction is to the simplicity of the surface design. pared away to reveal the simple and essen- Because they were constructed so solidly, tial form of an idea. This state, however, these reliefs were occasionally left to stand Arp claims to reach outwards from the upright by themselves and from this Arp inner kernel of creative effort, not inwards developed the idea of a free-standing by abstraction, that is the removal and relief in which the design was composed of smoothing out of the surface complexity added, coloured elements and also pierced of natural appearances. He has defined openings. The shape of the silhouette

his concepts, in his own poetic language'nd and the piercings would suggest analogies described his search for what he which Arp used in his titles, so that a terms 'concrete'rt, an art that is funda- free-standing relief, called 7 ete Stabile's mentally concerned with the act of crea- early as 1926, may be seen as a pro- tion: totype for the Leeds Seuil-Profil. "we do not want to copy nature. we do During the twenties these reliefs began not want to reproduce, we want to produce. gradually to lose the emphatic colour we want to produce like a plant that element until in an exhibition in 1929'hey produces fruit and not to reproduce. we were mostly pure white and only a want to produce directly and not through step from the uncoloured sculpture in interpretation. the round which was to occupy Arp's as there is not the slightest trace of attention for so many years before and abstraction in this art, we call it: concrete during the second World War. Most art.... of these shapes which appear organic, concrete art aims to transform the suggestive of fullness and perfection, anal- world. it aims to make existence more ogical with the torso or fruit, present a bearable. it aims to save man from the change in silhouette to every change of most dangerous folly: vanity. it aims to view. The eye lingers with pleasure over simplify man's life. it aims to identify rounded surfaces, smooth-flowing and him with nature. reason uproots man and shape-embracing curves, which not only causes him to lead a tragic existence. describe the outlines of shape but also concrete art is an elemental, natural, imply its spatial presence. Thus, even when healthy art, which causes the stars of seen in absolute silhouette, and this is peace, love and poetry to grow in the particularly true of exhibitions where head and the heart. where concrete art white marble sculptures have been set enters, melancholy departs, dragging with against dark backgrounds, the sculptures it its gray suitcase full of black sighs." always suggest volume and never have merely the appearance of flat cut-out The work of this 'elemental'rt event- shapes. ually acquired for Leeds, a bronze cast, This interest in the description of Seuil-Profil (Threshold-Profile) (plate 2), volume received an impulse in a different is a comparatively late work, of about direction when, after the war, Arp's 1960, but it certainly shows how Arp's growing fame led to important commis- sculpture has been brought to fruition. sions, especially those for the University His earliest works, now mostly destroyed, of Caracas and for the Unesco Building in were painted geometrical arrangements Paris. These led him to a consideration of the three-dimensional object as an that calm state from which melancholy element in an architectural composition, has departed. thus to a more definite concern with frontal view-points and so back towards The purchase of the Arp did not expend the relief. He has produced a number of all the joint contributions of the City and vast stone versions derived from the the Gulbenkian Foundation and it was earlier free-standing reliefs, sometimes decided, work 3. having bought the of an Harry Seager looking like tom-paper shapes made solid established and well-known figure, to use Chopper and Changer and permanent, often resembling magni- the remainder on a work by a younger, 1965 fied oriental An Glass calligraphy. important rising artist. One of the characteristics 58x22 x 11 in. work of this type was Objet sur le Seuil, of the sculpture of our own day is the Bought toith the aid oj 1959" where the general outline of the variety of materials which the artist is a grant from the Calouste Gulbenkian free-standing screen suggests a rectangular learning to employ, materials formerly Foundation 1965 archway in which there stands a simple shape or upright stroke. The form is still calligraphic and the title incidental to the ideogram. This idea of a 'seuil', that is threshold or door-step, in effect an opening or piercing of a space-dividing screen, became attached to a number of works about 1959—60, but gradually the theme from which the title is derived became subordinate to the analogy of the total shape. The visual emphasis, therefore, in the work at Leeds, is on the profile and the piercing which suggest the features of a simplified face, whilst the threshold element has in effect disappeared. Seuil-Profil is cast in bronze but remains basically a shape cut from a thick slab, like most of this 'seuil'roup of works. This means that, unless viewed from a theoretical frontal position, the silhouette has interrupted, secondary parallels as the ribbon of the third dimension appears and disappears in the forms and variations of the shape. This makes a contrast with the completely free-standing sculptures in which the contour line appears to control the volume, for here the volume is the controlling element and the doubled contour an evasive, subordinate, outline. Yet Arp's crystalline formal poetry, as always, eschews the vague and intro- duces a sharp-angled wedge which cuts into the silhouette with abrupt and definite clarity. At first sight so simple as to be almost negligible, completely without association or descriptive content, for neither profile nor threshold can truly be said to figure there, the work holds the attention by the mysterious poetry of its shape and its avoidance of the dross of superficiality, to portray the essence of thought not to be 'artistic', from the scrap- which, in the varying effects of natural metal of the workshop to the plastics of light, has a sparkling ebb and flow of sea- the new technology. And so a work was green reflections. This is a transitory effect, chosen which shows how another, perhaps which may even be inherent in the title, unlikely, material can be used to serve the rather more romantic than one might sculptor's purpose. expect, a pleasure-load of delightful This work by Harry Seager, born in associations, far from the constructivists'cientific 1931,a construction formed of thick panes discipline, or even the hard, of glass, which is entitled C:hopper and cutting qualities of glass. It is this balance, Changer (plate 3), is not entirely a new however, between the sensuous qualities departure and fits well in line with and colours of the material and their developments which go back to the early formal imprisonment in the discipline of part of the century. Indeed, Sir Herbert design which has already been mentioned Read traces further back, as thc concern of many artists to-day. to a 'primitive'rototype in the Crystal Seager, in this work at least, appears less Palace, a glass construction he has astringent than many of his contemporaries compared with the project for an iron and allowing his pleasure in colour and glass Monument to the 7 bird International rhythm to become the dominant note. In commissioned from Vladimir Tatlin by the end, perhaps, it is the technological the Soviet Department of Fine Arts in advance in adhesives which allows him 1919". Other Russian artists experiment- this increased freedom to make permanent ed with such materials and when their the restless, ever sparkling, splash of a work became too revolutionary for the fountain. revolutionists, these exiled constructivists, together with other innovators from the The third new work to be found in the and the De Stijl movement lower Sam Wilson Gallery introduces yet continued to experiment until glass was another material, brass, which has pre- eventually displaced by the less fragile viously not been much used for sculpture. and more malleable substitute 'plexi- This piece is unfortunately a replacement glass'. This gives their work a smooth for the Ttoo Standing Figures by Kenneth 'untouched by hand', kind of elegance Armitage, the theft ofwhich on New Year' whereas Chopper and Changer shows Seager Day 1965 has already been reported in the preferring to work in a thick, coarse glass, Calendar. This was a great loss as it was a precisely because of i ts rough qualities good and highly typical example of the and pushes him towards the artist's work in the fifties. The new work 'homespun'chool of twentieth-century artists with a shows the same artist's style for the nostalgic preference for genuine flaws sixties and the inevitable comparison rather than plastic perfection. His work, between the works reveals Armitage, whom therefore, has a na'ive, experimental we now begin to consider a representative quality which gives it a slightly old- of the older generation, moving towards fashioned tinge. Furthermore, the sculp- the feeling of the new decade. ture is basically designed in a series of At first sight, the break between the rhythms, parallel curves, concave and two manners seems clean cut; the artist convex alternating, which build up to a appears to have relinquished certain per- climax, then reverse, chopping and chang- sonal idiosyncracies which had become ing direction, permanent waves with a familiar to us with the passage of time and suggestion of syncopation which suggests which had seemed the outstanding, if echo of the popular design of the thirties. not essential, characteristics of his style. The scientific element does exist, to a The new work appears solemn, inscrut- certain extent, in the design of C:hopper able and, in the absence of the familiar and Changer, in the stepped precision of signs, a strange and distant monument. the waves, like charted oscillations on a In his earlier work, Armitage's repertory sheet of graph-paper, but even this is of pin-headed figures, his minimum modified by the colour of the coarse glass suggestions for the human features or 7, All

occasionally, like the Girl without a Face, 1958 59, purveying a comic frisson. This tendency may be traced through the series of sibyls, solemn, hieratic and impersonal, with flapped letter-box ,, r'J,.„ le+,, apertures for the conveyance of their unspoken messages; then the Pandarus series, in which the human attribute is reduced to a boasting mouthpiece, a cross between a fog-horn and a ship's ventilator. Gradually even the minimum suggestions of the human disappear within the formal, machine-like carapace. One might note a similar stage in the work of but compare it with the robots of 7,7 Paolozzi, leader of the younger generation, who has written of the Metallization of a Dream; in his work the opposite process takes place and the machines assume human figuration. Armitage's new piece at Leeds, Tottter (plate 4) made in 1963, in an edition of six,

«. 7 marks the ultimate in this development to date. It has a grave, tombstone-like, shape which he has previously used in the 7; Pandarus series and in some of the variations deriving from his large work commissioned for the Chateau Mouton- Rothschild which was basically a sun- shape with flanged rays. These flanges also have a suggestion of primeval gropings, fin-like limbs, and in the Tower they are further reduced and fossilized to rudi- mentary, nearly-horizontal ridges which mark, as it were, the storeys of the tower or the stages of its growth. The torso is 4. limbs, protruding from a shield-shaped shorn of its human characteristics and Kenneth Arrnitage Tower 1963 carapace, had an ambiguous, but always petrified into an architectural symbol, Brass edition oj' humanistic, set of connotations. Sometimes retaining only a navel-like groove, ambigu- Height 26 in. the enveloping metal seemed slit-window tower's Bought Leeds Art sheltering ously a in the surface, Collections Fund 1965 and comforting, linking its human per- to hint at the hominoid. It is Pandarus sonages together in a social unit; some- without his boasting voice, the faceless times it seemed forbidding and imprison- girl without her limbs, the sibyls without ing, reducing the human attributes to the the power of communication, a solemn appendages of an impersonal society from monument to the depersonalisation of which the attentuated limbs seemed to be sculpture in the sixties. struggling to escape. Alan Bowness, discussing Armitage's Gradually those human features have sculpture up to 1963', points out that become more and more absorbed within 'the figure reference, now virtually aban- the metal shell and the personnages have doned, had become a somewhat restrictive developed a mysterious, super-human, type one, lending itself to what soon became of presence, sphinx-like automata, strange recognised as mannerisms'. He regrets, invisible souls within the outer shell, however, 'the loss of innocence and relax- sometimes sinister and disquieting, even ation... of warm humanity and intense

10 interest in the activities of others'eeing us to buy two of these important and 'in its place something tougher and less impressive works and we should be proud na'ive —more withdrawn and self-pro- that the Art Collections Fund has been tective, and fundamentally more mature', able to do so much to enlarge the sculp- heralding 'a new kind of sculpture yet ture collection. But the situation must not more different from that with which rest here. A new wave of creative effort Armitage made his reputation'. It would is sweeping over the younger British seem that the Torcher stands at the beginning sculptors and, having done so well by of this new phase and if, at first, it seems those who are well-established in the a tragic symbol of what is past, then its international scene, Leeds must not lag stature and the nobility of the shining behind but keep pace with the advances brass, its very uprightness, has a grandeur of the new-comers. which is optimistic and encouraging. JOHN BRADSHAW. Each of the three new acquisitions has an interesting sidelight to throw on the 1. From the artist's own commentary in Barbara rapidly-changing story of modern sculp- Hepu,orth, Carvings and Dratoings, published ture. Above all the Arp stands in the lower Lund Humphries, 1952, Chapter 2, 1931—1934. Sam Wilson Gallery as a link between the 2. Translated by Ralph Mannheim, in Arp, On My Bray, poetry and essays 1.912—1917, Witten- directly-carved, organically shaped works born, New York 1948. The original, in French, of the Moore-Hepworth generation who forms part ol'n untitled text by Arp accom- panying a folio of prints, 10 Origin, Zurich, benefited from his sculptural influence in Allianz-Verlag, 1942, and is an extract of an the thirties and the younger Leeds artists essay published in Realites Nouvelles no. 1:10 whose handling of materials and intellec- 1947. 3. Illustrated in Giuseppe Marchiori, Arp, Tiranti, tual approach to design in relief may stem London, 1964, plate 69, p. 90. from the more pictorial aspect of his 4. Described by Michel Seuphor in the fore- 'concrete art'. Seager represents the word to Arp, Zwemmer, London, 1961. 5. Illustrated in Quadrum XI, 1961, p. 21. younger generation but is not unaffected 6. See Herbert Read, st Concise History of Modern by the past; Armitage the older generation 5culpture, Thames and Hudson, London, 1964, p. 94, plate 96. but looking forward. We must be grateful 7. See Alan Bowness, Kenneth Armitager recent to the Gulbenkian Foundation for enabling sculptures in Motif, Winter 1963—64, p. 65.

11 Calendar of Notable Events in Leeds

TEMPLE NEWSAM HOUSE

Open daily, including Sundays October to April, 11.30a.m. to dusk May to September, 10.30a.m. to 6.15p.m. Wednesday, 10.30 a.m. to 8.30 p.m.

Paintings, furniture, ceramics and silver from the permanent collection will be on shove during the winter months

CITY ART GALLERY

Open daily, 10.30a.m. to 0.30 p.m. Sunday, 2.30 p.m. to 5.0 p.m.

Gorsham Painters and sculptors September 11th to October 3rd An exhibition of the work ofpast and present members of the staff of the Bath Academy of'Art, Corsham, organised by the Arts Council of Great Brit.ain. It includes works by well-known artists such as William Scott, , . Bernarrl Meadows, and many others who have at one time taught at Corsham, together with works by the present staff: Gillian Ayres, Henry Cliffe, Robyn Denny, Martin Froy, Adrian Heath, Hosvard Hodgkin, , Michael Kidner and Henry Mundy

Paintings from 7eregin October 21st to November 14th An exhibition of paintings and drawings by four artists who lived in Terezin, the town which became a ghetto for people of Jewish descent and "a transit camp on the road to death". These works, some of the few to escape destruction, present a pictorial record of the sufferings of those who fell into the hands of the SS in the concentration camps. The exhibition is sponsored by the British Lidice Committee which was founded to commemorate and re-create a small Bohemian mining village destroyed by the Nazis on 10th June, 1942, as a reprisal for Heydrich's assassination

Leeds Fine Arts Club November 27th to December 11th The annual exhibition of members'ork

12 Exhibitions in other Yorkshire Galleries

BATLEY Works by Ghristine Garforth September 4 to October 7 British Painting before 1940 (A.C.) October 9 to October 30

BRADFORD Hull Marine Artists September 18 to October 9 Sculpture (A.C.) September 18 to October 9 Bookbindings from the collection of September 18 to October 9 J. R. Abbey (A.C.) Turner Watercolours from Farnley Hall, Otley October 2 to October 31 Works by Norman Adams and Norman Stevens October 16 to November 14 Works by Four Constructionists October 30 to November 28

BRIGHOUSE The English Chair (V. & A.) to October 10 Hull Marine Paintings to September 11

DONGAs rFR Sculpture (A.C.) to September 11 Samplers (V. & A.) to September 12 Arts from Ghina September 11 to October 2 Glass Today (V. & A.) September 18 to November 7 Designs for the Theatre (A.C.) October 9 to October 23 Heat Engines Exhibition October 30 to November 21

HARROGATE Harrogate Photographic Society September 4 to October 3 From Image to Abstract October 4 t.o October 24 Nidderdale Arts Glub October 25 to November 14 Ghinese Porcelain (V. & A.) (Pump Room Museum) September 11 to October 24 HUDDERSFIELD Etruscan Art (V. & A.) to October 16 Twentieth-century English Drawings September 17 to October 9 Huddersfteld Art Society October 16 to INovember 13

HUI.I. Contemporary German Prints (V. & A.) to September 12 Young Contemporaries 1965 (A.C.) September 18 to October 9 Paintings by Epileptic Children September 19 to October 10 Leeds Pottery October 15 to November 6

KEIGHLE Y Contemporary American Prints (V. & A. j to September 12 Vanishing History (V. &. A.) September 18 to November 7 Keighley Schools Exhibition September 25 to October 3 Canada (Commonwealth Institute) September 25 to October 20 Colin Hilton Exhibition October 2 to October 31

ROTHERILAM Bird Photographs by Ralph Ghislett to October 10 The Bayeaux Tapestry (Reading Museum September 11 to October 10 Reproduction) British Painting 1950—1957 (A.C.) from October 23

SGARBOROUGH Scarborough Art Society October 1 to October 30

SHEFFIELD Modern Japanese Calligraphy October Joseph Pax ton (A.C.) October 9 to October 30 Etruscan Art (V. & A.) October 23 to December 12 Local Open Art Exhibition October 30 to November 28

A.C. = Arts Council A.E.B. =—Arts Exhibitions Bureau V. &. A. Victoria &. Albert Museum

13

A Chandelier for Temple Newsam

It is appropriate that St. John's church more and more for their value as orna- in Leeds, which is such a treasury of 17th ments. The situation was finally reached century craftsmanship, should contain in when a chandelier at Deeping St. James the chancel and chapel four brass chan- (Lincolnshire) was given with the single deliers. True they are probably modern object that it should be lighted up on reproductions but even so they are 17th Christmas Day, and one at Thame century in style and serve to illustrate on a (Oxfordshire) was lighted for evening humble scale the typical means of lighting prayer regardless of whether it was winter town churches and other public buildings or summer. The attitude adopted towards in the days before candles were superseded candles applied equally and inseparably to by gas, paraffin oil and electricity. the chandeliers themselves. No longer were By 1632, when the building of St. John' they small and light enough to be suspend- was begun, the practice of placing ed by a rope. No longer were they stored chandeliers in churches was already well- away in a box during the greater part of established. The Elizabethan Prayer Book the year. Instead, they were one of the of 1559 presupposed that the congregation chief furnishings of the church: they would take a more active part in liturgical might have thirty, or even eventually worship, and this gave artificial lighting a thirty-six branches; and their importance practical importance that it hardly pos- was enhanced and their permanence sessed before. Of course, churches had been enforced by iron hangings of matching lit artificially during the Middle Ages, but magnificence and elaboration. At the same then the burning of candles had a de- time chandeliers tended to assume a votional significance which caused any character that was positively ecclesiastical. chandeliers there may have been to be This is evident in the form of the finial at removed from churches at the Reforma- the top of the body. Instead of a spread- tion. By contrast, those that were intro- eagle, there was a cherub-head, followed duced from about 1575 onwards had a later by the fiame. Both are symbols of purpose that was primarily functional: immortality. Otherwise the choice lay they were to give light. This they did at between a dove, symbol of the Holy evening lectures or sermons, and at Spirit, a bishop's mitre, a crown or- morning prayer and evening prayer, both occasionally some device from the donor's of which might take place during darkness arms. in the depths of winter. The assumption of an ecclesiastical A high proportion of early chandeliers character emphasises the close association would have been concentrated in the city between brass chandeliers and churches, churches of London, and inevitably most but this was not enough to preclude their of these were irreparably damaged in the use in secular buildings. Chandeliers were Great Fire of 1666. The need to replace provided for town halls, for the livery halls them encouraged a broader conception of of city companies, for the House of Lords the purpose of chandeliers. Already they and the House of Commons, and those had been lit on Christmas Day and other that were hung in such settings did not occasions of celebration, and hence- necessarily differ from their ecclesiastical forward burning candles were judged counterparts. The one in the Guildhall at

15 Exeter is virtually identical with that in the church at Wedmore (Somerset). At Newbury (Berkshire), glass chandeliers were installed in the town hall, and when the brass chandelier that these replaced was given to the church in 1774, no one ' ~ %ill 5 tt seems to have questioned the propriety of such a transfer. t~ In secular and ecclesiastical setting .~ alike, chandeliers by the 18th century had Sl NIII Ill Qlf'a! a largely non-functional role. Because they Lsd'~Jgllli were dispensable, their distribution was II unpredictable. In 1820, over 1,000 church- es in England and Wales, especially in or near London, are likely to have possessed at least one chandelier. Now less than 300 churches retain the ones that they had then —a decrease largely attributable to gas-lighting. In Yorkshire, the situation is typical. The three chandeliers at Doncas- ter, and the thirteen at Rotherham have disappeared, as have those in the York city churches of St. Martin Coney Street and St. Mary Castlegate. The only examples known still to survive are those at Giggles- wick, Great Driffield, Pickering, Slaid- burn, Waddington, Wath-upon-Dearne, Whitby and the York church of St. Martin Micklegate. Throughout the coun- try, many of the chandeliers that were removed would have been melted down: the last forty years has proved the greatest Plate 11 Onc pair of chandeliers at Aston those at Bridport (Dorset) and Nayland problem to maintain. Demolition and Hall, Birmingham. It (Suffolk) were sold to local ironmongers conversion to other uses has been accom- illustrates the method for 10s. and respectively. At Frome panied disposal of the furnishings. So it of construction, cohere gl g2 by the branches hook into (Somerset), Gothic taste was satisfied by is that the pair of chandeliers from trays above a single casting the chandeliers into a corona lucis. Malpas (Cheshire), which went to Nor- globe. Fortunately, there were alternatives to manby Park in Lincolnshire, were bought outright scrapping. Some chandeliers by Birmingham City Museum and Art acquired a new usefulness in a neigh- Gallery in 1949 and are now to be seen at bouring schoolroom. Others were trans- Aston Hall (Plate II). So it is that the ferred to country churches that still relied chandelier from St. John Baptist's, Peter- on candles for their lighting. The example borough, which went to Drakelow Park at Hickleton (Yorkshire) belongs to this in Derbyshire, is now at the nearby church category: because it is signed by an Exeter of Walton-upon- Trent. Now a further maker it would have hung in some West instance of the process has occurred, and, Country church originally and may owe thanks to the decision of Leeds City Art its removal to the wife of the 2nd Viscount Gallery Committee and thanks to a grant Halifax who lived at Hickleton Hall and from the Victoria and Albert Museum, the was a daughter of the 11th Earl of Devon. citizens of Leeds are the beneficiaries. Of the remaining chandeliers, a few found There is no doubt as to the origin of the sanctuary in private houses, but a house chandelier that in April 1964 was bought to accommodate a chandelier satisfactorily for Temple Newsam House (Plate I). The had to have one extremely high room, and body is boldly inscribed: EDM: SMITH this is just the type of building that during SURGEON GAVE THIS TO YE

16 CHURCH OF CHELTENHAM ANO: seems to have survived, but it is possible to DOM: 1 738. The chandelier therefore glean some impression of how it looked belonged to the town that has been from documentary references. Let the date described as perhaps the best example we be 1828. It was then hanging high enough have after Brighton of Regency archi- from the floor for the extinguisher used to tecture and town planning. But in 1738 put out the candles to need a handle 6 feet the future special character of Cheltenham long. Its position, as one might expect, was was only just emerging. Twenty-two years in the nave, and the light it gave was before mineral springs had been noticed in supplemented by fixed double-branched a meadow on the outskirts. In 1738 itself candlesticks. Four of these —two on the Henry Skillicorne inherited these springs pulpit and two on the reading-desk were and thereupon 'gave his mind to increase for the benefit of the minister. The fifth for the knowledge and extend the use of the clerk was on his desk. The chandelier- Cheltenham Spa'. He built a pump-room or possibly just its hangings had been by the springs and so set in motion a painted and gilded as part of a general development that was to transform Chel- decoration in 1813-4, but no doubt the tenham from a large village to a thriving effects of this were beginning to fade. Ifit is town of 30,000 inhabitants in the course of Christmas Eve and the practice of fifteen a hundred years. years earlier is being followed, the clerk The practice of medicine was to play a will be busy cleaning the chandelier in leading part in this development, and it is readiness for Christmas Day. fitting that it should have been a surgeon In 1828 the chandelier was still the who gave the chandelier to Cheltenham principal lighting fixture in Cheltenham church. Otherwise little is known about church but for some time its survival had Edmund Smith. He was a Cheltenham been seriously threatened. The first hint of man, and both he and his wife Ann died this came in 1817. On 24 September, the intestate before 27 April 1744, when vestry resolved that evening prayer on administration of their estate was granted Sundays should be held at 6.30 p.m. in- in the Prerogative Court of Canterbury to stead of in the afternoon and that the Mary Smith, spinster, one of their service on Wednesdays should also be at daughters. 6.30 p.m. instead of in the morning. At the When the gift was made, the churches in same time it was resolved 'that the Church nearby Gloucester, Tewkesbury, Ciren- be lighted up with the best argant Lamps cester, Stroud and Painswick already had at the expence of the parish'. Duly, 16 chandeliers, and Edmund Smith may have japanned wall-lamps, 13 brass hanging felt the time was ripe for St. Mary', then Liverpool lamps and 2 brass improved the only parish church in Cheltenham, to pillar-lamps were acquired, and during have one, also. But although chandeliers in December 1817 three men spent 94 days Gloucestershire were already evenly dis- installing these in Cheltenham church. tributed among towns and large villages, Although a refined form of oil-lighting yet here as elsewhere there was no had evidently been considered more con- agreement on what they should be called. venient and more effective than candles,

'Branch', 'sconce'r simply 'candlestick'ere the chandelier remained in use, and possible alternatives. In Cheltenham this would have been so in 1827 when 'a the chandelier was large Brass Sconce'n preparations for a further change took 1744. Samuel Rudder, the Gloucester- place. The streets of Cheltenham had been shire historian, who was probably quoting lit with gas since September 1818, and at from a table of benefactions in the church, the vestry meeting on 12 July 1827, it was refers to the 'large, handsome brass resolved that this method of lighting should sconce', and, in fact, it was not until the be adopted for the church. The cost of 19th century that the Cheltenham chan- installing gas-fittings v as to be shared delier began to be regularly so called. equally between the rector and the parish, No pictorial record of the chandelier and the amount eventually paid by the while it remained at Cheltenham church parish was f83 10s. 6d. Gas-lighting was

17 Plate III The C~reat Hall at The Hendre, near Monmouth, as it u.as in 1865.

introduced on 13January 1828, the 40 old the churchwardens'ccounts, it was not lamps were sold, and by October 1828 apparently sold. Perhaps it was given away there were 40 gas burners in their stead. or became the property of Mr. Salisbury, From now on the chandelier is likely to the builder, who, according to The have been used less and less, but even so it Cheltenham Examiner, lost heavily in ful- received occasional attention. In 1830, filling his contract. What is definitely 19s. 4d. was paid for mending it, and as known is that in 1865 it was hanging some late as 1859 the Gas Company submitted thirty miles away at The Hendre, near a bill for 'Repairing Pipes & Chandelier'. Monmouth. In 1858 a thorough restoration of The Hendre was the large country Cheltenham church was contemplated. mansion that had just been built by John Among the works proposed was the Etherington Welch Rolls, grandfather of installation of 'suitable gas fittings'. The Charles Stewart Rolls who formed the plans, however, came to nothing until the famous partnership with Royce. It was a hand of church and secular authorities was place where the Cheltenham chandelier forced by the discovery that the church would be welcomed for not only was it a was not in a fit state for the continuation repository for antiques of every description of services. In 1859 the church was closed, but also it included a room of the requisite and in April 1860 restoration began. By height. This was the open-roofed Great the time the church was re-opened on 8 Hall (Plate III). Here the chandelier hung March 1861, the floors had been renewed until early 1963. By this time the mansion and the pews had been re-set. There is had become a school, and the Great Hall a no record of what happened to the chan- gymnasium. For the sake of both chande- delier. As there is no significant receipt in lier and pupils, the chandelier was taken

18 down. It was temporarily stored in the still numbered by letters, A to Z, to ensure Estate Yard at The Hendre and was that the branches are correctly positioned finally offered for sale at Christie's on 28 (Plate IV). Now, however, the intro- November 1963. It was bought by Messrs. duction of a radial system of tubing has Pratt 8: Burgess Ltd. of Kensington. meant that the branches are screwed like When the chandelier came to The the spokes of a wheel into a pair of central Hendre, photographs show that it was hubs. almost in its original condition. The fact When the chandelier was intact, there that this was not so when it was removed would have been twenty separate castings is due to conversion to use first with gas and to the body. In addition, there were the then with electricity. The conversion that twenty-four branches, each with separate wrought the damage was that to gas. This candle-socket, nozzle, grease-pan and was accomplished with neatness and bracket beneath. The total number of conservatism, but even so the need to castings would therefore have been 140, create a continuous system of tubing and despite the unwieldy character of the inevitably involved far-reaching alter- chandelier when assembled, it could, when ations. The iron rods that had served as dismantled, have been packed convenient- hangings and the suspension-ring, both ly into a box. Such a facility has some being solid, were removed entirely. relevance to the question: where was the So were the nozzles that had held the Cheltenham chandelier made? candles. But generally treatment was less Because chandeliers could be transport- severe. In the case of the sockets, only the ed with relative ease, because their manu- slender stems were cut off. In the case of facture entailed special knowledge and the branches, it was clearly impossible to skill, because the demand for them was pierce them intact. The first step was intermittent and small —for all these therefore to cut away the three plain reasons —there was never one maker for lengths of curve. The remainder, which each district as was so, for instance, with consisted of four elaborated parts, could bellfounders. It is true that the odd then be pierced and, once this had been chandelier was made at places like Ashton- done, lengths of tubing were soldered under-Lyne (Lancashire), Totnes (Devon), between. In the final result, the appear- Wellington (Shropshire), and Wolver- ance of the branches, apart from the hampton (Staffordshire). But in 1738 the addition of taps, was scarcely affected by main centres were , Bridgwater conversion to gas. (Somerset), Chester, Wigan (Lancashire) This was rot the end to the modifi- and, above all, London. Of these centres, cations that were required, for there was Bristol was the nearest to Cheltenham, but also the body to consider further. This there is no question of the Cheltenham would have been constructed in the way chandelier having been made in Bristol. that was typical for all chandeliers. It is The Bristol style was quite distinctive: the still mainly hollow and is still composed of finial was an unfeathered dove, and the a number of separate castings, but ori- body consisted of a repetitive sequence of ginally an iron rod, morticed into the mouldings and globes increasing in size pendant terminal, would have passed from top to bottom. Neither of these through the centre, and a linch-pin features is to be found in the Cheltenham threaded through an eye at the top would chandelier. have exerted pressure sufficient to hold the If a chandelier was not made at the body together. For conversion to gas, the nearest provincial centre, the chances are terminal had to be renewed, and the iron that it came from London, for this was the rod had to be removed and tubing partly only place from which chandeliers were substituted. At the same time, the method distributed nationally until the emergence of attaching the branches had to be of Birmingham makers about 1770. So far altered. Originally they would have been as the Cheltenham chandelier is con- bolted to the collars that formed part of cerned, there is a special reason, judged on the body, and the holes in the collars are stylistic evidence, why it should have been

19 Plate IV The uPPer collar of the Chelten- ham chandelier. To ensure correct assembly, the holes for the reception of the branches are lettered JV—g. made in London. This is because ol'he globes. The transition from the old style of method of attaching the branches. During design and construction was not yet the 17th and the beginning of the 18th complete. The Cheltenham chandelier, century, a chandelier made in London had on the other hand, displays all three a single globe and above this a baluster innovations. It is the earliest datable stem incorporating trays into which the example known to do so. branches were hooked. Such a method Herein lies the very special importance facilitated dismantling for cleaning, but at of the Cheltenham chandelier. Herein also the expense of a certain crudeness in lies a reason why it should be regarded as appearance. After about 1720 there was a the product of a London workshop. tendency for mouldings to be bolder and London makers were always more pro- for the whole design to be consciously in- gressive than those in the provinces, and tegrated. The trays for the branches were the Cheltenham chandelier represents an sometimes so moulded as to be no longer unparalleled instance of progressiveness. isolated from the rest of the body. But even Once it has been established that the with this improvement, the hooks of the chandelier was London-made, the next branches remained, and there was still the question is who was the founder. Un- bipartite effect of the globe below and the fortunately, attribution to London makers attenuated baluster above. In the in- is particularly dificult. This is not only terests of compactness, it would be better if because they were numerous but also the branches were attached to the globes because, unlike some of those in the and there were as many globes as there provinces, they did not normally sign their were tiers of branches. But if this were work. In fact, only six surviving chande- done, the branches would not have to liers bearing London signatures are known. droop as they had done formerly: other- Furthermore, most London-made chan- wise the balanced composition in relation deliers that were acquired for provincial to the body would be disrupted. So three churches were supplied by intermediaries, innovations were required: first, the and it is their names rather than those of branches should be bolted to the body; the makers that appear in wardens secondly, they should radiate from the accounts and vestry minutes. The Chel- globes; and thirdly, they should be tenham chandelier is not signed, and the generally horizontal. At Mayfield (Sus- contemporary accounts and minutes have sex), there is a chandelier dated 1737 that not survived, but this is not to say that it has horizontal branches radiating from cannot be attributed. For the possibility of globes, but they hook into eyes that form a comparison with other chandeliers has continuation of the moulding round the still to be investigated.

20 Such comparison derives its usefulness chandeliers at Penrith (Cumberland), from the way in which a chandelier was which cost 25 guineas each in 1746—7, or made. Normally all the parts were cast with that at the London church of St. from patterns. Branches, grease-pans, Michael Bassishaw, which cost $30 in suspension-rings and pendant terminals 1750. All these had twenty-four branches. were cast solid, but sockets and many In view of these comparisons, it is likely parts of the body, including dove finials, that the St. Dionis chandeliers had twenty- were cast hollow. Where hollowness was four branches also, and if this was so it is the aim, two methods were available. One possible that originally the St. Dionis was to use a core, and the other was to cast chandeliers and the Cheltenham one were solid in two halves and then to solder the identical in all respects. In any case, on the halves together. The second method, available evidence, the bodies would seem though not illustrated by the Cheltenham to have been identical. The only possible chandelier, was increasingly applied after exception was the form of ornament to the about 1715. No matter whether the cast- pendant terminal. When the Cheltenham ings were solid or hollow, the patterns chandelier was first at The Hendre, there were capable of re-use, and because of was already the present ring, but the this the same design could be repeated scrolled handles at St. Dionis are more almost indefinitely. So it is that chande- suitable, and the ring could well have been liers at widely separated places are a 19th century replacement. sometimes identical or incorporate many Contemporary wardens'ccounts and castings that are the same. When this vestry minutes survive, from which it can happens it would seem reasonable to be deduced who made the St. Dionis assume that the operators of a single chandeliers. One of the resolutions passed foundry were responsible. at the vestry meeting of 22 July 1740 was The chandeliers that the Cheltenham that Mr. George Scullard, the senior example most closely resembles are the churchwarden, should be authorised to pair that hung in the London city church negotiate for the purchase of the chan- of St. Dionis Backchurch until it was delier that was to be supplied by the demolished in 1878 (Plate V). These were parish. Eight days later he incurred the acquired as the result of a vestry agree- following expense: ment on 22 July 1740: one was to be Spent with Mr. Gyles about bought at the charge of the parish, and the Branch ...... 0 1 6 the other to be given by the rector, Dr. There is no reason to doubt the success of Joseph Smith. In due course, f68 was the negotiation, and it may be assumed 'Paid the Founder for the Two Branches', that Mr. Gyles was the maker employed and towards this sum Dr. Smith contri- for both chandeliers. buted $30 15s. The scale of his contribution The name of Giles is perhaps more presumably represents the cost ofone chan- associated than any other with the making delier, excluding incidentals, and the cost of chandeliers. About 1680, 'Mr. Gyles', in turn helps to suggest the original form of who would have been Anthony Giles, the chandeliers. When they were photo- supplied a chandelier to the London graphed shortly before 1878, they had been church of St. Anne and St. Agnes, and at converted to gas: the suspension-ring, St. Nicholas-at-Wade (Kent) is a chan- sockets and grease-pans had been re- delier signed by William Gyles and dated moved, and the branches had evidently 1757. Mr. Gyles who negotiated with Mr. been replaced. At the same time, the Scullard was, however, neither of these. number of the branches would seem to To establish his precise identification, it is have been reduced. In the photograph, necessary to refer to the chandelier that eighteen are shown: twelve in the lower hangs in the church at Framlingham tier, and six in the upper. Would $30 15s. (Suffolk). This has a scrolled handle to the have been a reasonable price for a chan- pendant, the same as those at St. Dionis. In delier of only eighteen branches? It addition, the branches, sockets, grease- would not, if comparison is made with the pans, brackets beneath and suspension-

21 .S lil e u ISI~ Plate V One of the 'i] />air formerly in the London church of St. Dionis Back- church. Acquired in 1740—1, they may originally have been identical toith Ihe Cheltenham chandelier. ring are all the same as those of the the maker of the Cheltenham chandelier Cheltenham chandelier or at least would and, if this is so, he may also be credited have been when the latter was intact. It is with the undated pair in the aisles at not necessary to speculate about the Rotherhithe, London. Eleven body-sections authorship of the Framlingham chan- at Rotherhithe would originally have been delier: it is unequivocally signed IOHN repeated in the Cheltenham chandelier. GILES FECIT and dated 1742. As to be expected, John Giles was a Comparison with other chandeliers thus Londoner. The son of Samuel Giles, leads to the conclusion that John Giles was victualler of Wapping, he followed a

22 career typical of many chandelier-makers. crude in its general design and construc- Having been apprenticed on 29 September tion, yet incorporates branches and suspen- 1707 to Robert Terry, he was admitted a sion-ring suspiciously similar to those Freeman of the London Founders'om- formerly possessed by the Cheltenham pany on 24 September 1716; he took his chandelier. brother, George, as an apprentice in Now the days of making chandeliers are 1717-8; he himself was elected to the virtually ended. Edmund Smith no less Livery of the Company in 1717-8, was than John Giles would have been hard put Renter-Warden in 1731-2,Upper-Warden to foretell the reason why. Scarcely could in 1736-7 and Master in 1740-1. In 1727, they be expected to anticipate gas or he was residing at Addle Street, pre- electricity. The decline of the large sumably in that part of the street within country mansion and the maintenance of the parish of St. Mary Aldermanbury. He art collections by local authorities would made his will on 27 September 1743 and, have been incomprehensible. And yet the as it was proved the following day, must chandelier that has just been acquired for have died immediately after. On 2 Temple Newsam House bears witness to all October, his body was buried in the 'New these changes. The one element of change- Vault't St.Mary'. He left a widow, Sarah, lessness is the fine design and craftsman- and two sons, John and George. The son, ship of the chandelier itself. John, was born in 1725, was apprenticed Robert Sherlock to his father in 1 739 and eventually succeeded to the business. A trade-card was issued by John Giles and Shadrach Mulliner who advertised the sale of Sources chandeliers at the sign of the 'Two Chelten ham parish records, in parti- Candlesticks R. Bell'n Addle Street. cular vestry minutes, wardens'ccounts John Giles junior died before 19January and bills, provided most of the information 1755. What chandeliers he made is not about the chandelier while it was at Chel- known, but certainly the style that tenham. These are all at the Gloucestershire characterised his father's work continued Records Office. The terriers of 1744 and long after both their early deaths. The use 1828 are at Gloucester City Libraries. of a shouldered suspension-ring without an Lieut.-Col. J.C. E.Harding-Rolls possesses accompanying finial and of separate the photographs showing the chandelier at brackets beneath the grease-pans was still The Hendre, and his help and that of being practised in 1791, while the bolting Captain E. G. Prior, Estate Agent, is of branches to collars remained the stan- gratefully acknowledged. The wardens'ccounts dard method of construction throughout and vestry minutes of St. Dionis the period during which chandeliers were Backchurch are at the Guildhall Library, made. The principal group to follow John London, which also contains the records of Giles's style would have been Londoners, the Founders'ompany and a copy of the but, of course, there was nothing to pre- poll-book of 1727. The will of John Giles vent a provincial maker copying a London- is enrolled at Somerset House (P.C.C. 285 made chandelier that had been placed in a Boycott). The photograph of St. Dionis provincial setting. Perhaps this is the church showing the chandeliers was taken reason why at Winchcomb church, only by Augustin Rischgitz and is reproduced seven miles from Cheltenham, is a by courtesy of Radio Times Hulton chandelier dated 1753, which, although Picture Library. Henri Hayden The Factory oil on canvas, 23$ x 32 in. bought 1965

Henri Hayden - The Factory

Henri Hayden was born in Warsaw in The acquisition of this painting means 1883 where he first began to study that another important phase in the painting before moving to Paris in 1907. development of modern art, the emergence Established there his style soon changed, of from the advances made by influenced by the work of Gezanne, and Gezanne, is now represented in Leeds. It during the period of the first world war he also means a new link between French veered more and more towards cubism as painting at the turn of the century and he became friendly with its leading those British achievements, from 1910 practitioners, Gris, Metzinger, Severini onwards, which have long been such a and Picasso. About 1922, however, he feature of the collection. began to move away from cubism to a more personal and more figurative style which he has continued to develop until today. It has been suggested that The Factory, in Hayden's early cubist style, was painted about 1910. It is interesting to compare it with Picasso's painting of a similar subject which he painted in the summer of 1909 when staying in the little Spanish town of Horta de San Juan, in the valley of the Ebro: but the reproductions here can give Pablo Picasso brilliance colour which 1'actory at Horta, 1909 little idea of the of oil on canvas,20'x 23"„-in. Hayden brought to the new style from his The Museum of East European background. Western Art, Moscow

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