No 1 the whistler autumn 1991

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the journal of the CHELSEA ARTS CLUB •'i

lAURIE

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Offer

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MERSEY SOUND <

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a u t u m n 1031 TITLES AWORLD HISTORY OF ART 'Much the best complete Third Edition history of art that has ever Hugh Honour &John Fleming been put together... endlessly informative and entertaining'

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-i;

EDITORIAL WELCOME TO THE pilot issue ofthe new quarterly journal for the Chelsea Arts Club. And it's awelcome to everyone - those that hke it; those that think itmakes chip paper look interesting by comparison; and the Member whose 10 yearoldkid could do better

—because you can all have your chance in the next (Winter) edition due for November. Now that we have something upon which to build Jerusalem, this editor can sit back and await the gospel from

Clubprophets of everypolitical hue. The medium isestablished, totally impartial and independent, andthe opinion ofeveryone is of equalvalue. That said, I hope I cancounton our more professional member scribes (Yes, I mean youValHennessey) to get involved from time to time.

As the 'paper develops, I hope Members begin to realisejusthow useful and entertaining it canbe. A minorexampleiscontained within this issue: although youmightnot want to go to the Los Angeles Art Fak in November (see page 23), why not considerusing this very cheap Special Offer trip to take a sunlit late holiday from dank London streets and 'flu ridden buses. California is at its best in

late Autumn. I hope The Whistler willextend this Special Offer section in future issues and any Member who can generate one will be received warmly by the Editors (for example: can you offer a private tour of your business - art school, museum, newspaper office, brewery, Lloyd's Building, knicker factory, etc?).

Yourattention is drawn to the advertisers in thisinauguralissue.

They have supported us without having seen the product - if you can usetVveVi serv\c,esau^supportxVemmietutrvXYvervmay we

recommend you do so. The WhistlerwiWhave to survive orvrts ad

revenue ultimately and nothingencouragesthose little devilslike a

good response totheirnotices. Theclassifieds, established here,are alsoan effective wayof interfacing withfellow members - please use them all you can, it will soencourage Dudley who spends hours

perusing Exchange &Mart and is agreat believer in the theory that small is beautiful.

Finally: what is envisaged for the future. We hope for avibrant

letters page, amix of humorous nonsense and serious soap box stuff; Club reports from our social and sporty brethren; and the usual in-jokes that reflect the essence of aclub journal. Hopefully, the Obituary Column will always be aflimsy segment of the whole.

Contributors arereminded thatall written communications to The

Whistler must be type written or letter quality wordprocessed (faxes should be backed up by hard copy MSS) - this includes Classifieds or Display ads. •

THE WHISTLER is published by the Chelsea Arts

WHTstler In this issue...

Chairman's Letter

8

Building Report

8

Electoral Roles?

9

Council Wannabees 1991

Foreign News First Impressions

10

i

10

Mark Reichert on his first visit to the Club

Foundation Year

12

Extract from Tom Cross's

History ot \V\e Club

Cat's Eyes

16

Club Reports

16

Smalls

22

Club diary by Orlando

Classified Ads

COVER: PETER ARNO© 1953 (NEW YORKER)

Next issue...

Club, 143 Old Church Street, London SW3.

All material © THE WHISTLER

CONSULTANT EDITORS: ^HUGH GILBERT ouwaui.

WINTERBOnOM

EDITOR: MIKE VON JOEL

Max's Headache Cures (?)

Geoffrey's Venice —a foreign member (!)

Nick Tucker at work (??!!)

PRODUCTION: PSi

Stanley Ayers remembers

PRINTED BY: HIGHART LIMITED

S 071 376 3311 FAX: 071 351 5986 THE WHISTLER 7

'A

-s 1,

room and its woodwork in all the different

ing, install a fire system with over 60 dif lights oftheday but italso turned out to be ferent points in it and to rebuild the entire at least not dissimilar to the colour descri

CHAIRMAN'S LETTER

blue corridor.

bed by Arnold Bennett following his atten

To do thiswe needed not only architects dance at the inaugural dinner of the Billi

(Smallwoods) atacost of 12.5% of the final

contract price; we also needed a quantity

ards Room.

surveyor (Bryan Harper who came to us 5)The redecoration ofthe dining room was thanks to David Parker) at the relatively another example of life imitating art. In the low cost of 4% of contract price, plus the of this year we built a model ofthe services of party wall surveyors (c £2000), spring Dining Room at the Olympia Art Fair. We structural engineers (c £1000) and lawyers weren't allowed to paint the walls of our (£3000) to negotiate our way through the stand. So on the recommendation of Sarah

requirements not only of the planning, en

vironmental health and fire officers, but

also through those of the Licensing Magi strates - another branch of the Royal Bor

Charles we covered it in felt. Sarah then

suggested that we do the same to the dining room walls with an underlay beneath it, to

ough which wanted a fee for a gateintoElm reduce the pingpong singsong of carousing Park gardens, even though it would only be Members. In consequence not only is it no used when someone's life was at stake, and longer necessary to be a lip reader or to

Dear Members,

Afterseveral attempts, it seems at last as if we have achieved one of the Club's aims. A Magazine. A Club Magazineisa space for members to fill.

The important aspect of this paper is that it is entirely generated by the Mem bership. Elements of the paper will be devotedto issueswhich arisefrom Council, events and announcements which Dudley wishes to broadcast and so on. There

will be space too for Members to respond, yourlettersandsuggestions often need to be known about by a wider audience.

Mike is to be congratulated for putting this issue together, with a very tight dead line from when he took on the project. The aim was to get the first issue to the Membership before the AGM. A good part of the time available to him was dur ing August wheneveryone is away on holiday.

In future, I should like to think that the Magazine can be used as an instigator of discussion and information. Investigative journalism, reports on matters of in terest to both the majority and minority categories of membership of the Club. All

neighbours who were naturally concerned bring an ear trumpet to hear the person ac by theimpact of our work on them. Despite ross the table from you, but also the pain all this high powered advice all the impor tingslook like jewelson velvet. tant decisions were taken at the very last moment.

6) We did not have sufficient oilsto hang on the walls of the Billiards Room and I had al

1) We had already scrapped two sets of des ways felt that the Napier Hemy made a ignsfor the lavatory block (neither of which greater impact on the small wall in the as it transpired would have worked because loggia. It took a dream, no doubt spawned the area in which we had to build turned out by anxiety, to juxtapose Nick Tucker's to shrink from 96 inches wide at one end to hanging of his own photographs in the cor 82 inches wide at the other end) before Lauren spotted the lavatories of our dreams, from which we copied the large en trance foyer, the tiles, the basins, and, most

ridor with the cartoons which had been

important, the recessional effect of the mir

vellous effect.

hung all over the Club, largely unnoticed and unappreciated, to produce what is per ceived by 90% of the Membership as a mar

rors. Even so the loss of space has created problems of access into the mens urinals which we will change to give more freedom

Of course one can see the shortcomings and of what has been done - I disadvantages of this becomespossible, and will help to achieve a better basisof communication more than anyone - but given that we could of manoeuvre. within the Club both between Members, and those with a view to share. never expect to please everyone, we have Remember, The Mzw/Zeris your Magazine. pleased far more people than could reason2) We were going to go out to tender to five Hugh Gilbert nominees of the architects and surveyors abiy have been expected. And in my op Chairman With best wishes to all Members, inion, I am satisfied that we now have a when David Montgomery telephoned to re Bar, Dining Rooms andLavatories at /east commend, in the most ecstatic terms, as smart as any in London.

Townhouse Builders. On his recommenda We were pari\cu\ar\y fortunate with our tion \ spent an afternoon inspecting their BUILDING REPORT DUDLEY WINTERBOTTOM sites, and consequently insisted on their choice of builders. Even though I have being allowed to tender. Thereby I earned been involved on building sites before, I my salary for the year because they came in had no idea that this job had such potential £27,000 cheaper than the next highest. In for disruption. Only as enormous quan fact their price was so much lower than the tities of stuff moved out and then back in

SI MONUMENTUM

others that the Board called for their bal

REQUIRIS, CIRCUMSPICE MY

QUOTATION

OF

Christopher

Wren's epitaph, writtenby his son, is inten ded ironically following the completion of the Taj Mahal of the Lavatory world.

as if it happened in the construction of the Sheldonian) as we did, after a year of car eful planning.

The recently nearly completed building

work began with the involvement in early 1988 of the Environmental Health Officers,

especially the appropriately named Miss Blaise, during an internal dispute with the clean air lobbywithin the Club. The EHO, astonishingly, found nocause for complaint but decided, following the abolition of the GLC, that Clubs would no longer be allowed to do what they liked with their own Members, including toasting them

gently over the embers of their own pre mises. The sight of Slim Gaillard's bed room- which he never used since he spent

again, and the piping and wiring wriggled backwards and forwards through the build

ing, did I fully come to appreciate their quite exceptional courtly and skill. It is largely through them that we have come through not only on time and on budgetbut

the nights wandering South Ken as a bag man— piled two feet high with furry plates, television sets and gutless guitars tumbling

3) Once work began, we discovered that . also in good humour. It is difficult for any what we thought was a load bearing wall builders to survive in the present climate. bore nothing, and once removed, we found Out of a sense both of gratitude and admir we had sufficient space to install a proper ation for them, I sincerely hope that anyone

from the walls towards an electric burner

kitchen for the bar.

Christopher Wren would not have been on the carpet in the centre of the room, permitted at the very last moment to tear made them even more determined.

By one regulation or another we were no up his plans and start again; or to re orientate the axis of St. Pauls because he had run out of space(though that does look

ance sheet, and seeing it, insisted that they lodged £22,500 with our solicitors as an in surance against their going bust during the job.

longer to be considered an institution ex empt from Fire Regulations. Perhaps some doubts about the legality of this explains their delays in serving a notice to bring the building up to fire standard until December 20th 1988, right at the beginning of the Christmas Break, with 14 days right of appeal which we caught by the merest fluke, and their subsequent patience.

Their initial requirement to install double doors to all the public rooms would have destroyed the character of the build ing downstairs. It took the whole of 1989 and the intervention of English Heritage plus plans for an alternative means of es cape over a reconstructed lavatory block to get them to give planning permission by March 19th 1990. Not only did we have to build the new lavatory block, which was something we had always wanted to do, we also had to change every door in the build

contemplating doing a job now will give them the chance to tender.

4) Right from the beginning of the job Smallwoods had told us that the £150,000 we were saving during the delays to the

buildingwork would only be enough to do the main building work. We therefore had a curious blind spot about the redecoration of the Club. We sort of knew we could af ford it because in 1985 we had entered into a bizarre contract whereunder the whole downstairs and outside of the Club was to

be repainted periodically for an index

The final cost of all this work will be around

£200,000. Fortunately we had had time to save the money. Had the authorities insis

ted on an immediate implementation of their fire notice in early 1988, we would not have had the cash saved to do the job, and we might not have been able to borrow it at all. Whichever Member had a sense of

grievance so strong that he brought in the inspectors in the first place - and in retro

linked £1500pa, but we could never quite spect, having seen what life is like when the concentrate on what that implied. As you

will remember, we tried out a terrifying variety of terracottas, greys, and yellows

machines don't work, I can understand why he was so upset - he could have closed the

Club entirely.

recommended by individual members and

interior designers. We had even got as far as stripping the walls when a long lost fri end turned up who had invented the for mula for a particular colour we had seen

and admired some years before. Once app

The ironical finale of the whole business

was that the day before we commissioned

the airconditioning machines wc received a Notice under the

1990 Environmental

Health Act,from the same people who had

lied, not only did this remarkable colour asked us to install them in the first place, show up the architectural features of the

THE WHISTLER 8

forbidding us to switch them on!

•

MICHAEL TOM NORTHEY

HEINDORFF

ELECTION FEVER As the launch of The Whistler coincided with this year's elections, the

^nairman decided that each candidate should commit his/her opinions on the matter to print. Those that declined to supply aphotography to match

u/t â&#x20AC;˘ >s superb specifically requested) havecandidates had one supplied courtesy of The Whistler picture library. The words are reproduced verbatim.

^

NICK TUCKER Living on the East side ofTown Iget to the

BILLBINGHAM

Born in Durham but a resident of Chelsea

for the past 27 years, Tom's basic training is in journalism and publishing with a strong inclination towards graphics.

Following a long and varied career in volving the editorship of a number of mag azines and part-works, mainly concerned with the motor vehicle in all its aspects, I moved on to advising multi-national com panies on how to exploit the media.

As such, I have been responsible for such

Club too rarely these days, and attending

Council would stimulate the frequency. It would also be useful if artist/members con

tinued to serve on Council to keep an eye on the picture. I imagine it to be a worth while break from the studio.'

MARTIN FULLER

programmes as the Italian Garden at the

V&A, the reintr-oduction of the Pirelli Cal

endar, art sponsorships at the V&A, Tate Gallery, Bankside Gallery, Royal Ac Born in Devon in June 1948. Freelance

ademy and Wimbledon School of Art. Other major initiatives include an exhibi

photographer since 1970. Work in the col lections of: Museum of Modern Art, New

tion by photographer Chris Killip which

York. Victoria and Albert Museum, London. Bibliotheque Nationale, Paris.

'Actor, now working in radio and televi sion, mostly on features and doc

was described by Creative Review as "The most creatively intelligent commission of

Reinischelahders Museum, Bonn.

umentaries, but often on news. I worked

the decade".

EXHIBITION; 1977 Open photography, for quite a few years at LBC and Channel 4 Midland Group Gallery, Nottingham, and covering a wide variety of stories, but had the Serpentine Gallery, London; 1978'Ob jects' Victoria and Albert Museum,

1943 Born Leamington Spa; 1960-62 Mid Warwickshire College of Art; 1962-64 Hornsey College of Art; 1964 Awarded Gugge nheim/ McKinley Scholarship; American Workshop Italy. 1965-66 Worked and trav

'Although I did not seek nomination for the

many opportunities to cover art books,

Council personally, I was asked if J was wil

theatre and other related events.

ling to serve, as I do notbelieve injoininga

London.

Portraits, Rcinischeianders Most of my best friends are artists; many Club and not being willingto serve its mem Museum, Bonn; 1983 Amber House Gal- of them arc members, and it's through bership I have agreed to my nomination \ety,ToYvo a\so \n Kyoto; \%7 A Private them I've been able to enjoy what the Club going forward.

"View, "Roya\ P\\oXo%tap\\\c Sodety, Bath; otlets in tVieway of cultural stimulation and Should 1 be elected 1 will seek to serve the best interests of the membership both V990 Kaunas, Lithuama. an unlailingly sociable ambience. individually and on a collective basis.'

Now it's time to return the favour. The 'I am concerned that the club retain its energy and contacts 1 have can be put to bohemian charm.' good use for them and all the Club's mem bers, particularly when it comes to special

TONY PATTERSON

events.

Joining the Council is a way of paying

elled in America.

back the Club for all it does for me.'

ONE MAN EXHIBITIONS: 1968 Arnol-

fini Gallery Bristol; 1968 Midland Art Centre Birmingham; 1969 Centaur Gallery Bath Festival; 1970 Drawings and Slides Bristol City Art Gallery; 1971 Arnolfini

JOHNMOFFATT

Gallery Bristol; 1971 Bear Lane Gallery Oxford; 1971 Camden Arts Centre London; 1973 Bear Lane Gallery Oxford; 1973 Festival Gallery Bath; 1973 Grab-

t**'

-t.'i

â&#x20AC;˘

owski Gallery London; 1974-1986 Taught in various Art Schools: Wimbledon, West

of England, Epsom, CentralSchool of Art, Hornsey, Mid Warwickshire, Ruskin,

Byam Shaw, Swansea, Kingston. 1976, 1979 Thumb GalleryLondon; 1983 Oxford

Gallery Oxford; 1983 RZA Gallerie

'Involved in the visual arts as a solicitor since 1970, with the creation of the Mark

Rothko Memorial Trust, a travelling award

'Having just arrived from Greece, by ch ance I found an unexpected request to write

for artists wanting to travel in the USA.

This involvement led, through Bridget Riley, to closeworking with Space Studios,

Dusseldorf; 1985 Austin Desmond Fine a paragraph about myself and the reason Art; 1987 On The Wall Gallery Belfast; why I want to become a member of the 1987 Hendriks Gallery Dublin; 1989 Le Council so in haste I write.

Musee de L'imaginaire Paris; 1990 Austin Desmond Fine Art London; 1990-91 Com missioned to do a seriesof paintings in New Mexico. 1967 onwards various group exhi

been living in London for 16 years. My father in law, Robert Buhler, made me a member of the Club for which I am ex

tremely grateful because I very muchenjoy bitions (unlisted). Martin Fuller has been cominghere - it Is a relaxing breakfrom my an active member ofthe Chelsea Arts Club painting. Also not only do I now have a

and has previously held office as Vice

Chairman and Chairman of the House Committee.

and the Art Information Registry, for which organisations, I was Company sec

I am Greek and I am a painter and I have

home from home but a life full of fizz and colour in this grey city.

This Club is a very special place and so it

is in all myinterests to help it retain its un

'Iwish to contribute to the preservation and ique character. I do hope that I will be able continuity of the true character of the to make a useful contribution to its con Chelsea Arts Club in the interest ofall the tinued success.'

'For the past twenty years, I have photo graphed the world and its stars and beggars; its bishops and agnostics; its poets and soothsayers; its beauty and ugliness which all, at the end of the day, meet at the Chelsea Arts Club's melting pot, (the bar) for a cataclysmic drink. .1 have been a member for the past eight epicurean years and feel as such the urge to contribute more actively to any of the cul tural - and indeed sub-cultural (bar, again) activities for which I might be considered

retary. I have been party to the creation of the Public Art Development Trust and served as a trustee. I have been the Hon.

suitable.'

temporary art scene, and be seen to be so.'

Members.'

THE WHISTLER 9

Solicitor to the Contemporary Art Society from 1977-1990. Now I am Company Sec retary of the New Contemporaries T988' Ltd. Over the years, my motivation has been to provide spaces for serious artists to work in, and to promote their work and bring it to public notice.

I am concerned that the Chelsea Arts

Club should be a vibrant part of the con

FOREIGN NEWS AUCHELSEAARTS, LAMOITIEDEL'EFFECTIF ESTFEMININ

MAIS LES TEMPS changcnt. Sur Pall Mall, le tres honorable Reform

Club (ou Phileas Fogg, le heros de lules Verne, lan^ason defi de realiser le tour du monde en quatre-vingts jours) a balsse pavilion en 1981: des-

ÂŁ

ormais, les dames y sont admiscs au meme litre que les gentlemen. En nombre encore rcstreint, certes,

puisqu'ellesnesontquecent soixantedix sur deux mllle membres. Mais ce noyau constltue deja un acte de

bravoure delapart du Reform qui fut Pun des premiers a casser Pinterdit.

/

Au Chelsea Arts Club, dont la dis crete fa,cade sur Old Church Street ne laisse rlen deviner de son romant-

ique jardin, on a conselle intact

Pesprit boheme que Pun de ses peres fondateurs, le peintre americain

James Whistler, lui imprima il y a tout juste un slecle. Dans la salle de

billard ou dans la salle a manger, abondamment decorees de toilcs et ou

Pon dme toujours a la grande table commune,

velours cateles

et cols

ouverts catoient gilets et naeuds papillons. Dans ce repere d'artistcs on n'etait toutcfois guere plus dispose qu'ailleurs a ouvrir les portcs a la gent feminine. Pourtant, le Chelsea

Arts a cede en 1966. (Mais uniquement, precise avec malice son pres ident Hugh Gilbert, pour des raisons economiques.

Les

caisses

FIRST IMPRESSIONS

etaient

vides, aussi n'avions nous pas d'autre choix.) Et il ajoute, avcc un faux air tragique: Depuis, leur nombrc augmentc d'une fa^on consternante.

La reddition a etc en effet totale: les femmes composent desormafs la moitie de Peffectif du club, mille sur deux mille adherents. En ccs lieux

Pesprit est a la tolerance. Nous pretendons ne rien voir. Meme quand I une de ces dames, apres un verre de trop, a coutume de retirer ses vete-

ments, expliquc Hugh Gilbert.

iffirSK ra ÂŤ3fc.

I VAGUELY REMEMBER standing be fore the bar wondering how anyone could

Dans les annees quatre-vingt est nee

possibly be as decent and kind as our

une nouvelle generation de clubs, ob

Brenda,howanyone couldpossibly be end owed with such patience and good-natured grace, with such a welcoming manner and unerring gift for the mollifying bon mot.

servant les memes regies et usages que les grands ancetres, mais ou les femmes sont accueillies sans restric

tion. Le Groucho Club a plante en 1985, dans le quartier de Soho, son beau decor design, d'un chic de bon aloi. II a ete fonde, explique son pres ident Tony Macintosh, par un groupe d'cditeurs litique du "no women" toujours en vigueur au Garrick Club ou, de tout temps, se sont presses comediens et litterateurs. Et pour bien marquer notre difference nous Pavons

nomme

le

Groucho

en

souvenir dc la reflexion lancee par ce Marx Brother: "Je ne serai jamais mcmbrc d'un club qui m'accepterait comme membre." Depuis son ouverture, c'est le quarticr general des tenors de la prcsse. Mais aussi des artistes, ecrivains ct comediens qui forment deja, preuve de son succes, un contingent de deux mille quatre cents membres. Et la liste d'attente des futures adhesions est dc six mois!

Les nuits ordinaires, on y rencontre, dans les profonds canapes du bar ou attables sous la verriere de la salle a

manger, les acteurs Peter York et

Jack Nicholson, Parchitecte Richard

Rogers, Pecri et de publicitaires exasperes par la po vain Harold Pinter,

HE

timeless confine of that place to the mo ment. Certainly this is a precious and worthy form of elitism. Painters, it occurs

congruous worlds collided, often to astou

'Brenda, I shall love you forever'. Then, some few moments later: 'Brenda, I love you'. Ronnie very seldom, to my know ledge, is heard pledging himself to Max,

brokers sleeping noisily with aspiring ballerinas on sagging sofas in artists' chilly ents. And too, I quite often dream that lofts. But with the advent ofthe new prof

although Ronnie - if I remember correctly

nding effect: nights ended with stock

that Brenda and Max are my very own par

Ronnie ismy uncle.

essionalism - the younger painters chose

not to learn how to drink from the older When in 1980 I came to London to stay, I such collisions, which often produced bene had his remaining stock of vintage did not come topaint, nor to make films, as

- once confided that it was Max who now

ambrosia. This, I find particularly hard to believe.

I don't doubt that Max has a taste for

ambrosia, but I dodoubtvery seriously that hewould have struck a bargainwith Ronnie at the Club's expense just to capture a few old tins of sweet rice. Credit simply isn't given at the bar. It never has been. We all

know that. Neither has any barman or barwoman ever traded drinks for a member's affections or treasures, no matter how sweet. But Ronnie, who shall remain for ever the blameless, never seems to run out

of money, leastways when it comes to pro curing another drink for a fellow-drinker.

And Max? Max is for me, as he is for many, Manolette. In fact, I often dream

Marie-Noelle Herve

THINKS

MARK

already spoken for, regularly declaring his undying love for her. 'Brenda, I love you'.

Pex-Beatle Paul McCartney et parfois

Marx.

REICHERT

PAINTER

to me, quite often rememberthe phases of REMEMBERS HIS FIRST VISIT TO their aesthetic evolution in conjunction THE CLUB. LUCKILY HE IS A withthe placeswheretheydrank.

In New York, for a long time, such And then, after partaking of half of another haunts were notorious, and cherished, like MEMBER LIVING double whisky and water, I realised that we COUNTRY the Cafe desArtistes, the Cedar Tavern, the owed, if not all, many of Brenda's good' Broadway Central Hotel Bar, Fanelli's, qualities to Ronnie, who was, although VERY FAR AWAY... and the Ocean Club. In some instances, in

le metteur en scene Bernardo Ber-

tolucci ou le Tils de Groucho, Arthur

AMERICAN

it was assumed was my intention, and I did fits all the way round, became less and less not come for love. I came to drink. A few likely as the party refused to move onand who knew me well, would have had their quite suddenly, with the futility of aglass of suspicions now confirmed. The company stale sparkling water, petered out.

in my carousing, I found with whom Idrink, although the right com theEver-inventive will to move on, denouncing this new pany can be both comforting and uplifting, IS not nearly so important to me as the strain ofdemurring sybarites, boldly taking my need for frivolous communion deeper atmosphere in which I drink; some might into the defective heart of that city. For me, argue that the two are indeed synonymous

But I have always been drawn to haunts having basked in the glittering blues of a with their own very particular character ^mmer evening, the street before the

Ocean Club bustling with workers heading

diarm

Pungent with seedy home and my fellow-painters heading in. to When drinking in such places one's e e solitarily sipping a dry martini in an companions complete the picture, and the empty Chinese restaurant on Broadway at

dnnk, increasingly one hopes, joins mel- 86th at 7o'clock, my host solemnly offering hfluously those kindred souls within the me his newspaper (in Chinese) with which

THE WHISTLER 10

oconso emyself, was, in retrospect, not so

much a tragedy asa blessing. ForasI gazed - well, I really didn't know - maybe at that vast room's peeling frescoes (the pushing seven, maybe pushing eight; it was Emperor's minions punting through the summer, and the grass was still warm ben rice fronds) and angular shadows (the dustcovered lanterns hanging askew) my vision

turned in upon itself and I remembered

London, with a longing that was sublime and true.

What had happened there, in Chelsea, on one day in particular, a day that now, as I watch the Northumbrian wind rattle my roses, still fills my heart with joy? Oh, Joy, You Senseless and Wanton Sensation, lead me - in words - again into that musky shrubbery wet with promises!

How had I come to be reclining in that garden? A passenger jet flew over, then I saw the implacable tower of flats standing behind me, the sunlight that shimmered over the garden reflected by the tower's bald windows. Who had brought me there?

I can't now recall. I had been drinking since about eleven that morning, and now it was

eath me, though the sky in the east was turning green. I had glanced over at the Club itself, now certain that it was not

someone's house: there were too many strangers eddying forth into the garden from its gaping French doors. From an open window above came Verdi, being played on what sounded to be an old

victrola. Then there had appeared a young woman who insisted that I take the pint of beer that she held somewhere high above me. The sun swung round and struck the pint, and I took it. I had glanced from her, vibrantly alive and fleshy, to the grey nude standing armless before her bower, simu

ltaneously hearing the water running from the fountain over its blackened cherub and

into the pool below.

Farther along the white building, before more French doors opening into the Club, stood two men. They were engaged in con

versation, it seemed, at once businesslike,

the Thames, the young woman leaping with

abstract, and amusing. The one was quite

me. Our friend would wait horrified in his

unmistakably a Latin, his eyes warm and dark and large, his hair slicked with brilliantine, as was once the custom among such turks posed along the Calle Boccaccio. The other, somewhat younger one was perhaps an officer in the German Navy, his fine pale clothes and fair complexion marking him unmistakably as Aryan, although he might just as likely have been a cricketer. They both exuded confidence, a confidence that only comes with an easy acceptance of one's own authority. At that moment, it was difficult for me to relate too completely to their casual uprightness as I, with some effort, hoisted myself up onto the bench against which I had been leaning. How long had I been watching these two gentlemen conversing? I hadn't any idea. I only knew that they now had vanished, and so had the young woman who had brought me the pint of beer. My glass was empty.

Later that night, I would dive naked into

convertible car. We would strike the water

to find nothing but a swamp of black leaves, no sparkling deep. And I would only just miss the broken frame of a drowned bi

cycle, Covered in muck, our apprehensions would quickly pass as our laughter rolled high, high enough, I imagined, to be heard from the stacks of the Battersea Power Sta

tion. It had been a glorious day, uncom monly calm, exhilarating, and, in turns,

nonsensical and marvelously acute. Now it was my determination that I should sit in that garden in Chelsea, my memories of urban destitution and squalor exquisitely remote, forevermore.

But why, I wonder, would anyone suggest

such a thing: that Max,within the privacy of his own rooms, keeps shackled to the lamp the last vestigesof Ronnie's alchemical im mortality. 速

WORDS DON GRANT

DEBATE GOODS OR IDEAS

NO ROOM FOR A COCK-UP They may have cost lots of Monet, They may be shiny and new, But there's no room toswing a cat Or even a pygmy shrew.

SIMON MUNDY TO CHAIR DEBATE

I haven't been into the ladies

"It's nottoo bad," Cezanne,

"You sit on your Botticelli Unlike the long-suffering man."

It's certainly costly and friendly "Who's pissing on my shoes?"

"Watteau, that's my Kokoschka your holding" "And whose Pollocks, may Iask, are whose?"

IStubbs my toe on the stall, IClaude my way out of there, Why have Toulouse so small And the eight-foot cube lobby is bare?

\3N1AYLE, KKY OTHER. btatvcboHYve arts

the visual artist is expected to seW the orig

inal work without any further interest in its whereabouts or reputation. It may be re sold, handed-down, destroyed or stuck for

WT

ever in a bank vault. The artist retains no

control after a buyer has been found. That is how most artists keep the wolf from the

door. Only printing and casting have given the visual artist some sense of hanging on to

their own work (as a writer or composer would).

WANDSWORTH TYPESETTING

I

Wandsworth Typesettingproduces

Magazines, Catalogues, Advertisements, and Books.

The first question most painters and sculp

Our name can be found on the copyright pages of exhibition

tors are asked is 'do you sell a lot?' The im

catalogues produced in the last few years including several at the

plication is that thevisual artist isprimarily a purveyor of goods; a sort of market gar dener, nurturing creations which then dis appear into thebig world ofthedealers.

Is this how it should be? Would it not be

better it the emphasis was on exhibition rather than commodity values? On convey

Barbican, The Victoria and Albert Museum and at leading

SS'/i/f/

London Art Galleries.

Simon Mundy, Director of the National

Our facilities include the conversion of data from disk,

Campaign for the Arts, will be Chairing the

generated on wordprocessing or database packages.

Debate, and the panel will consist of

ing ideas instead ofshifting objects past the speakers each representing the different Vatman? For composers and dramatists re points of view. gular performance is the key tosuccess. For writers the readers in libraries are an im

between these formats.

IN BRIEF

portant measure ofthe reach ofthe work (sales come in many different editions, of The Club Celebrated its 100th

course, but the manuscript is still the Birthday on March 18 1991. ACake author's to changeand keep).

Our network includes both IBM compatibles and Macintosh machines and we have the ability to transfer data

We provide both a complete keyboarding to bromide or to film

was baked by John, one of the

Club's Chefs, In the shape of the Club House. The Cake was cut by

Public galleries, with tiny acquisition budgets, cannot hope to build representat Lady Elizabeth Trehane, who ive collections which would fulfill the same managed to blow out all the function. The private galleries are picture candles In one go! This was a party

boutiques - despite their often loftier

that made ITN: News at Ten.

ideals.

Want to leave a legacy to the Club?

Nothing could be easier: contact the Honorary Treasurer Phillip Roberts on 071-228 4488 who can

Can this change, should itand ifso, how?

Date; October 29th Place; Dining Room

Time: 6.45pm to 8.15pm

help with details.

THE WHISTLER 11

service and also a bureau service for the imagesetting of DTP

output from both DOS and Macintosh machines.

We can provide a complete design and production service to members of the Chelsea Arts Club at special rates.

Wandsworth Typesetting limited,

205a St, John's KBU, London SWll ITH. Telephone: 071-924 3188 Fax:071-924 3282

^ I•

f

IN A SPECIALLY COMMISSIONED BOOK TO MARK 100 YEARS OF THE CHELSEA ARTS CLUB

RESEARCH PAINTS ASPARKLING PICTURE OF OUR ANCESTORS. THIS EXTRACT APPEARS COURTESY OF QUILLE

BOOKEND

BOHEMIANS BY

TOM

CROSS

THE AREA WHERE the King's Road

"Artists & Bohemians — 100 Years of the

met Church Street became known as 'The

Chelsea Arts Club" to

Latin Quarter'. It had hundreds of studios

be published by the

and more were being built. Some were in terraces with Virginia creeper covering the

Qulller Press on

November 21st.

Hardback edition £20.

176pp 30 colour plates, 120 bw lllusfratfons; 29emm

outer walis and others were in large barnlike buildings, down dark corridors or ac ross timber yards. The studios ofsculptors could be distinguished theii wide coach house dooTS, Wh-ingXacVde and the b\ochs oi stone that littered the yard. The largest

X 194mm.

ISBN; 1-87Q948-60-2

group were in Manresa Road, then a culde-sac, with several groups of large rambl ing studios linked by courtyards, on its eastern side, backing on to the mortuary and workhouse of Arthur Street. Some of

these had been built as workshops for the metal workers and other craftsmen who created the Great Exhibition of 1851 in

Hyde Park. They were beside the old burial ground, now no longer used for inter nments but as an exercise yard for the old women of the Chelsea Workhouse. From

the studios they could be seen as they wan dered behind the iron railings, dressed in their bright red and black check shawls, blue cotton dresses and white frilled caps.

On the western side, where the Chelsea Polytechnic was later built, were Merton

Villa Studios, a ramshackle group of build ingsaround a yard entered bya narrowlane littered with old carts gradually falling to pieces. Across the lane was a long studio, occupied by the sculptor Thomas Stirling Lee, with a shed containing work in pro gress and others long past hope of sale. At night a bronze-casting furnace shot a ball

flame far above its iron chimney. The vague melancholy which broods over a spot of

little traffic in a busy neighbourhood made the place seem as far from the respectable houses in the near streets as the artists were

in mindfrom the people of worldly activity or retired bourgeois who occupied them.

('Brangwyn' by Philip Macer-Wright, Hutchinson 1940). Frank Brangwyn worked therefor a time as did a La Thangue, James

Jimmie Whistler,

hogging the limelight

Charles and James Jebusa Shannon,

as usual, painted by

The studios were the workshops of

A. R. Thomson,

Chelsea andtheywere notvery smart. Any THE WHISTLER 12

old loft or warehouse could be converted ercilious manner: Gentlemen, he said and £40 per year was thought to be a big rent. Trafalgar Studios in Manresa Road

was a contemporary of La Thangue and

slowly, Gentlemen, let us not start our club Stanhope Forbes. After four years study he

any beer hotel — let us start our Club were occupied at different times by many inclean. ('Bohemia in London' by Arthur well known names including James Elder Ransome, Chapman and Hall 1907). At Christie, Leslie Ward (known as Spy the this same meeting, it was agreed that the Punch cartoonist), Frank Brangwyn and Club should be Bohemian in Character. A

Philip Wilson Steer. At Wentworth Studios was the sculptor Havard Thomas and the

gained a gold medal and left with a travel ling scholarship to Paris. For a year he studied sculpture at the Ecole des Beaux

members. He became the Treasurer of the

Club and for the first three years was re sponsible for the book-keeping and for

much of the house-keeping and paying the

Arts and then in Rome for a further two

tradesmen's accounts. His cousin Steven Jacomb-Hood became the Club's first

years. On his return to London he began to

honorary solicitor.

working group was appointedto draw up a make a reputation as a portrait sculptor. He

painter Jacomb-Hood. The Garden studios

were a smaller group at the King's Road

end, onthe site oftheChelsea College. Op posite, in Glebe Place were some of the

first purpose-built studios - thought to be very smart.

scheme for the conduct of the Club, consist lived in Chelsea throughout his life-time; ing of T. Stirling Lee, who became Chair when his Merton Villa studio was demo man; J. E. Christie, Secretary; J. McNeill lished in 1891 to make way for the new Whistler, J. P. Jacomb-Hood and Frede Chelsea Library, he moved to Vale Walk, rick Brown. A list of possible members was off the King's Road, and converted a dis prepared, including a number who were used chapel into a studio. He developed the not at the meeting and they were written to. unusual practise of carving directly into the

Although there was clearly great interest in forming a Club it still had no home. Tow

Chelsea lacked the cafes and restaurants

that had been the meeting places for the artists in Paris. If they did not cook their lunch over a gas ring in the studio, they would eat at a little ham and beef shop in

ards the end of 1890 a suggestion came from one of the members, James Elder

Christie, who offered the ground floor and basement of his house at 181 King's Road, a flat-fronted Georgian house with a studio at the back, next door to the newly built Town Hall. On February 14th 1891 the Committee met for the first time in its own

club house. Stirling Lee and James Jebusa Shannon put to the meeting that these

rooms be taken by the Chelsea Arts Club and this was agreed with only one adverse

the King's Road run by a Dickensian like couple. Sometimes they would use an Italian Restaurant Manzoni's near Carlyle Square. One of the founder-members

vote. The formal launch of the Club, with

fifty-five members present, took place on 18th March 1891 at 181 King's Road. Soon gas rings were installed, sketchy cooking

noted that the owners of Manzoni's heard

arrangements were made and suppers were

that a club was proposed and fearing the loss of their trade, immediately sold out to

available in the dining room on Monday evenings. A little later a life-class and a

an unsuspecting purchaser. The Monaco Restaurant in the King's Road was also a

sketch-class were formed.

favourite but this, like Manzoni's, tended to close early. In the evening there was even less choice. There were plenty of pubs

artists who lived nearby. It was an easy 'go

The Club became a second home for

as you please affair', but the Committee kept it alive and solvent. The studio at the

in Chelsea, they served the watermen and the trippers who came in the summer but they could offer little in the way of whole

back of the building formed a mess-room for meals and the room upstairs was for newspapers, chess and general sociability.

Rudimentary furniture was bought, includ ing a long second-hand dining table seating

some food.

Sometime in 1890 a group of friends

beganto meet more or lessregularly in Stir ling Lee's large studio after the day's work

at least twenty. This is still in use in the Club, the oak top scrubbed white over the years. Later the Club expanded to the first floor of the building and a second-hand

was done for conversation, news of artistic

events and the enjoyment of each other's company. Jn the larger studios 'at home'

billiard fable was installed in the studio.

evenings were arrangedat which somefood

The members looked after house-keeping and paying the tradesmen's bills and a man

and drink would be provided and the re-

maindei brougYvt along by tbe guests, each

and wife were found to act as steward and cook. The first of these were Mr and Mrs

member in turn acting as host. These con

vivial evenings were greatly enjoyed and the more prosperousartistshelped thosein a less fortunate position. However this made demands upon the working space of

Harvey. Harvey had 'a watery eye and a shaky hand' and the level of his intoxication was of constant

the studios and there was talk of how these amenities could be improved.

marble from life, without preliminary mod

replied: One shilling and sixpence (a West End price) when Gray protested that the

agreed: 'Rule (1) That the Club shall be elling in clay, treating the stone in an im called the Chelsea Arts Club. Rule (2) That the Club shall consist of professional Archi

pressionist manner, defining light and shade rather than contour. One of his first

September 1890 in Stirling Lee's studio. important commissions was for a series of Twenty-two artists were present and they tects, Engravers, Painters and Sculptors. decorative panels for the new St George's mainly discussed the formation of an exhi Rule (3) Thattheobject ofthe Club shall be Hall in Liverpool, however the uncon biting society for the Chelsea artists. A to advance the cause of art by means of ex ventional realism of his nude figures lead to

committee of five including J.E.Christie,

Stirling Lee and Jacomb-Hood were asked to look further into this. They later prop

osed that an exhibiting society, to be called The Chelsea Art Club, should be created.

hibitions of works of art, life classes and other kindred means and to promote social a dispute with the City Fathersof Liverpool intercourse amongstits members. Rule (4) and his work was suspended. He later That its affairsshall be managed by a Coun- carved stone panels for two of the Chapels

cil ofthirteen members with Treasurer and

I^wa^also suggested that an 'Art Union' be Secretary. Ten ofthese would he elected by

formed by

members.

Claude Monet visited the Club as a guest off Whistler In 1891 In November 1890 a constitution was

The first formal meeting that lead to the formation of an artists Club was on 30th

interest to

Ronald Grey recalled that when he asked what he owed for a pot of tea the Steward

which subscribing members vote and this committee would have the

were encouraged to purchase paintings or right to choose the remaining three.' At an

in Westminster Cathedral and he also

worked in silver,designing medals and por traits of great delicacy.

George Percy Jacomb-Hood was a

price was rather stiff, Harvey answered

airily: All for the good of the Club! Un fortunately his addiction to whisky got the better of him: he alarmed the members by coming stealthily into the sitting room, locking the door behind him, raising his

hand and whispering: Shh - they are after me! When he became convinced that he

saw hobgoblins dancing and playing on the bell wires in the kitchen, he was removed to an infirmary.

After the departure of the Harvey's, a new steward called Myers, a Creole and an extremely good cook, was appointed. His

highly gifted painter, illustrator and etcher, early meeting it was agreed that musicians and a product of the newly established wife, a Scotswoman, was housekeeper.

to acquire them bylottery.

A second meeting, at which Whistler be eligible for membership, but this was not .Slade School. Among hisspecial friends at Myer's cooking, in particular his 'Angels acted upon.

was present, took place on the 25th

October, 1890. Still the talk was ofan exhi-

bitil^^ociety: The An.erica„^tist and W- ^

pnH of Whistler, Theodore

end of Whistler, osed

.hat n

the Slade were Joseph Benwell Clark and

Thomas Stirling Lee, a

P"" P „„tedbv his friends, was the prime mover

he forced of Chelsea ^P-^^byh.s to ^

Henry Tuke, also founder members ofthe Monday dining nights were well attended.

Club. Jacomb-Hood won the Poynter prize However Myers, who had been a sailor, at the Slade and a travelling scholarship wastall and strong and at timesgaveway to which took him to Paris where he and his violent passions. On a certain occasion he friends Tuke, Clark andde Glehn (another and his wifecame to blows and Myers pro

artists, under whose auspicestoanone annua ex- was ... elected as 35 the be/leW. According accoun the_ first n Chairman with _ a early member) were students at Laurens committee of J. E. Christie (Hon. Sec of this meeting one of the artists then said retary); Frank Short; James McNeill Whis studio. Jacomb-Hood was an outdoor man,

that what Chelsea needed morethan an ex

on Horseback', became famous and the

a 'keen horseman' and an early cyclist. In

tler J J Shannon; W. Llewellyn; P. 1889 he worked in Wentworth Studios and hibition was a Club. Club, club, club! shou Jaci^mb-Hood (Hon. Treasurer); Hubert ted everybody and the exhibition was com Voss- W Frith and Conrad Dresler, Fred later inTite street. He was an enthusiastic member of the first Committee and his pletely forgotten! Another of the artists Brown, E. Lanteri and Albert Toft were autobiography With Brush and Pencil re described as a Teutonic gentleman sugges called in light-hearted the character ted that they should rent aroom in the Pier ^'^Stlrlinrt^e was aLondoner who trained and appearance of thedetail Club and its early Hotel, which he mispronounced Bier. at the Royal Academy Schools, where he

Whistler rose, in his most dignified and sup-

the whistler 13

ceeded to chase her around the Club

rooms. One member, a dyspeptic and un successful painter, H. P. Hall, sought to pacify the warring couple and received a powerful blow on the chin. In an even more bizarre account Carey Elwes, a relation of Simon Elwcs, who was sleeping in the

Club, reported that he was wakened by screams of Murder, Help. He rushed into

the Steward's bedroom and found him

apparently trying to cut his wife's throat

with a razor. How Elwes was able to pre vent this wild man from carrying out his murderous intention was never understood

but these incidents were brought to a Gen eral meeting on 2nd May 1892 and resulted in the Club dismissing a first-class cook and steward. His successor was an indifferent cook and a worse steward.

For a time James Elder Christie retained

Lindsay Row (now 101 Cheyne Walk) where he lived with his tempestuous mis tress Jo Hiffernan. This was also a period of friendship with the aging Rossetti who lived nearby. Over the years Whistler occupied eight houses in Chelsea, for the longest at No.2 Lindsay Row (96 Cheyne Walk) the east wing of the old Lindsay House, which he moved to in 1867 and occupied for el

friendly with LaThangue andStirling Lee. Ronald Gray remembered that Jimmy Christie 'suffered a good deal from thirst'.

Closing timewas notstrictly kept and it was common for Christie and some of the

others to sit up all night in the Club; One morning I chancedto go to the Club early, just as Christieand hisfriends returnedfrom

bathing in the Serpentine after an all night sitting. J.J. Shannon, who looked cold and miserable, told me that it had all been hor

rible; Christiewasbrimmingover withgood health and smiles as usual. (Ronald Gray, unpublished memoirs). In 1893 Christie left London for Glasgow, where he became part of that group of realist painters known as the 'Glasgow Boys'. His vigorous pain

tings, often with children as their subject, became increasingly allegorical. Sickert admired his paintings and called him a primitive.

The most famous artist to be connected

with the Club in it early years, indeed one of the best known men in London, was the American born James McNeill Whistler.

He was considerably older than most of the other

founderrmembers

and

had

es

tablished a fearsome reputation. His extra

ing. He was a master of the epigram and

Dover Street. On one occasion following

ing group ofmembers and having scored in

easy membership with the Arts Club in would usually besurrounded by an admir

his bankruptcy he had been suspended for conversation would take his departure at

even years. During this period Maude Franklyn replaced Jo Hiffernan as his model and mistress.

In the eighteen-seventies Whistler was at

country, trying to recall a certain yearsaid: Do you remember. Whistler, that timeyou were bankrupt? Whistler was a little taken aback and said to the other men: This seems

to be an extremely frank Club. Although the atmosphere of the Club wasrelaxed and informal, the members included some of the most advanced and forward looking of

the younger artists in England, but the great issues were mostly avoided. As

Whistler was an obvious choice for chair

manship of the Chelsea Arts Club, but he was notoriously difficult and many mem bers remember the imperious manner in which he had assumed the Presidency of the Society of English Artists. He was invited

His work had advanced towards fused

atmospheric colour and brevity of detail, to better reveal the mood and drama of

beauty caught in a fleeting glimpse at dawn or dusk. He had also become an important contact with Degas, Monet and the Im pressionist painters, but he suffered a ser

Jacomb-Hood said: It was a more intimate

and convivial life, when membership was smaller and years werefewer; when Whistler was in the habit of strolling round in the evenings after dinner, always charming and amusing and Sargentfor a time would come to lunch at the long table. Every now and then we had an evening of music and re citations and story-telling. Jovial, bearded,

to chair the Sub-committee concerned with

ious setback to his career. John Ruskin had

elections and house rules of the Club, which he did with aplomb.

seen a painting by Whistler called Nocturne in Black and Gold - TheFallingRocket, an impression of a firework display at

The early years of the Chelsea Arts Club marked Whistler's restored reputation and

Cremorne Gardens on display in the Grosvenor Gallery. Ruskin, then elderly and almost certainly deranged, objected to

educated conceit of the artist so nearly app roached the aspect of wilful imposture. I

have seenand heard much of Cockney im pudence before now; but never expected to hear a coxcomb ask two hundred guineas forflingingapot ofpaintin thepublic'sface.

In a trial that was more remarkable for

its misunderstandings than for legal argu Whistler was successful but was

and rubicund 'Jimmie' Christie, original te nant ofthe studio, was an inspired declaimer of'Tarn o'Shanter' in the true Burns 'doric',

honour. In November 1891 his portrait of his mother was bought for the Musee du

the title and to the price asked, which he considered outrageous for a sketch. In his magazine Fors Clarigera he wrote: Sir Coutts Lindsay ought not to have admitted works into the gallery in which the ill-

ment,

sion he was bettered by one of the younger members. James Charles, up from the

an artists' club for Chelsea may have arisen because of this episode.

the height of his powers and he had prod uced some of his most important pictures.

awarded the derisory damages of one farth

precisely the right moment. On one occa

non-payment of dues. Pleading poverty he had offered a painting instead but the Sec retary of that club, with heavy-handed humour replied: It is not a 'Nocturne in Purple' or a 'Symphony in Blue and Grey' that we are after, but an 'Arrangement in Gold and Silver'. ('A Most Agreeable Society' byBernard Denvir, pub. The Arts Club, London 1989). Whistler's interest in

the studiointhe house. He wasa jovial and talented Scottish painter of historical sub jects who had trained in London and at the Academic Julian in Paris, where he became

members of the press. He also had an un

Luxembourg for Fr 4,000. In celebration, a reception was given at the Chelsea Arts Club on the evening of 19th December 1891. Whistler was presented with a parch ment of greetings signed by a hundred members as 'a record of their high appreci ation of the distinguished honour that has come to him by the placing of his mother's

andJ. J. Shannon wouldgivean imitationof a Canadian skipper reciting 'The Boy stood on the Burning Deck', or tell amusing stories with an American 'twang.' (JacombHood op. cit). Dress was varied, somet

portrait in the national collection of Fr

tons, or riding jackets of florid cut and vigorous checks. Riding breeches and

ance'. Whistler replied with sarcasm; 'It is

imes bizarre. Several of the member favou

red 'horsey' get up, wearing a type of coachman's coat with enormous pearl but

right at such a time of peace, after the boots were often worn. Others preferred a struggle, to bury the hatchet- in the side of more continental style, with long dark coats the enemy - and leave it there. The con in the winter, white cavalry trousers in the gratulations usher in the beginning of my summer with a black or brown bowler, career, for an artist's career always begins which bad mostly replaced the top bat. tomorrow.' In the following January he was Those who had spent their formativeyears

ordinary talent, coupled with a blistering ing. Ruskin, the loser in the case and a again honoured by the French, who made in France favoured the beret and smock wit, had made him a central figure in wealthy man, had his costsborne by friends him an 'Officer of the Legion d'Honneur' with baggy blue canvas trousers.

London and Paris. He was a small man, and admirers - Whistler received no such and in April 1892 he moved to Paris. On his self-absorbed, witty, with 'sparkling black' assistance and the criticism of his work and departure from the Club he left a number of In spite of its free and easy ways the Club eyes, sophisticated and notoriously vain. In his behaviour at the trial angered his pat- unpaid billsbut his subscription was paid to was efficiently run and its finances were the Club he was always impeccably dressed . rons. He found himself destitute and in 1896. carefully supervised by the Hon. Treasurer in a full length frock coat of good cut, worn May 1879 was declared bankrupt. His Jacomb-Hood. It was financially solvent with white duck trousers in summer, his tall house in Tite Street called 'The White During the first year of its existance the with reserves of ÂŁ100 in the bank. Member silk hat usually tilted to reveal the white House', designed to his own specification Club kept an attendance book which mem ship, whichwas jealously guarded, was re and furnished with his superb collection of forelock that brushed his dark curls. He bers signed each day. There were usually stricted to practisingpainters, sculptorsand wore light patent leather dancing pumps oriental pottery and objets d'art, was sold about fifteen or twenty members in the architects, the subscription for a town and his belongings dispersed. with square toes, very un-English, with or Club. Christie, whose studio was on the

naments of bows or rosettes. He was sel Whistler retreated to Venice and did not dom seen without a cane and never without . return to Chelsea until 1881, to a rented flat

the monocle, which he used to great effect.

Whistler was born in Massachusetts, U.S.A. and had been taken by his family to Russia at the age of eight, where his father

period of public rejection Whistler resorted to malignant attacks upon those he blamed

had been appointed to advise on the rail

for his misfortunes. In his 'Ten O'clock

and studio in Tite Street where he became

friendly with Oscar Wilde. During the

way being built by Czar Nicholas I between

Lecture', delivered in 1885, he heaped con

St. Petersburg and Russia. Here Whistler

demnation upon those who had offended him or criticised his work, but he also inclu ded a number of aphorisms that revealed

began to show an aptitude for drawing and learnt to speak French fluently. After a brief period in the army at West Point, he

his honest intentions. In a memorable

persuaded his mother to allow him to train

phrase he stated the argument which later

as an artist in Paris. At the studio of Gleyre he entered with spirit into the life of the left bank. He presented himself as a dandy and a dilettante, but he was always a hard worker. He found his subjects in the high life of Parisian society and in the low life of the streets and cafes. He became the proto

type 'Bohemian' as described in the novel Scenes de la Boheme by Henry Murger

lead towards abstraction: Nature contains

theelements, in colour andform, of allpic tures, as the keyboard contains the notes of all music. But the artist is born to pick, to choose, and group with science, these el ements, that the result may be beautiful... In

1890 he published a further diary of per sonal abuse, entitled The Gentle Art of Making Enemies.

which idealised the romantic life of the Par

isian Left Bank, the penurious artists, hack poets and their attendant griettes, model

Whistler was the born clubman, 'bon

and seamstresses. It was said that Whistler

viveur' and restaurateur. Before the Chelsea Arts Club was formed he would

had learnt the book by heart.

frequently be seen at the Hogarth Club and

Whistler had come to Chelsea almost

at Solferino's, the little restaurant in

thirty years earlier when he rented No.7

Rupert Street used by the more educated

same premises, was usually the first to

member wastwo guineasand for a country member one guinea. Preference was given to candidates living in the immediate neigh

arrive. He was followed by the regulars, Davidson Knowles, Fred Pegram, Jacomb- bourhood: 'Especially if such candidates be Hood, Graham Petrie, Arthur Black, Nel unmarried men in need of the benefits of son Dawson, Alfred Hartley and others. the Club'. After Christie's departure for

Sunday was poorly attended but Monday, on which dinner was served, was well sup ported and guests were invited to this.

Philip Wilson Steer and Walter Sickert were frequently in the Club, Sickert often

accompanied byhisfriend SidneyStarr. On one occasion, Saturday 2nd May 1891, Sickert's distinguished guest was Camille Pissaro, the French Impressionist. In Dec ember 1891 Claude Monet visited the Club

Glasgow the Club was able to acquire the wholeof the house, and the bedrooms were

available for the use of country members.

A number of pictures had been lent by members to decorate the rooms and more were requested, this may he seen as the start of the Club's collection of works of art.

The new Steward and cook, Mr and Mrs

West were fulfilling their duties ably. But with Whistler; it was a crowded dining the short lease on 181 King's Road was

evening and Monet was notably silent. He coming towards itsendandthefuture ofthe came again ona later occasion with Sargent Club's premises was under discussion... â&#x20AC;˘ andWhistler, and in 1899 as a guest of Will Rothenstein.

Special events drew large numbers, some fifty-six members were present on Wednes day 15th April 1891 to hear 'Mr Whistler's Ten O'clock', a repeat of the famous lec ture that he had given five years earlier in the Princes Hall, London. Whistler came

COPIES OF TOM CROSS'S

BOOK WILL BE AVAILABLE FROM THE OFFICE ON PUBLICATION. RESERVE A often to the Club in the evening, usually in a

four wheel cab which he would keep wait-

THE WHISTLER 14

COPY NOW!

THE EXTENT TO which the Club is a secret player in World Affairs is not known to the Members of the Club. Members of Staffare obliged to sign their version of the Official Secrets Act when they come to workhere. I of course wasn't and am there fore free to spill the beans about the time I

saton Mr Gorbachev's lap (the nephew not the uncle) and allowed his blood stained hands to stroke my coat.

When he tried me on his head for size I knew even then that he was bound to end in tears. While he stayed the Club was sealed

off by the KGB even more effectively than the time it was sealed off by the special forces when the Minister for Northern Ire land came for lunch. Delicacies such as Almond Cakes from the Ukraine and 40

yearold brandies from Georgia were flown in for his 50th birthday while Yeltsin was dismissed, by UncleGorby, from his job as Mayor of Moscow for taking the Moscow metro to work. And incidentally, did you know that his uncle built a 'dacha' in the

Crimea for himself and his family and his servants and his 32 strong bodyguard? The last person I knew who employed a staff of

mstances that it only rarely occurs to them that there is something odd about this. Be cause they have never received anything, they do not expect to receive anything and their hopes have never been dashed. But

CAT'S EYES

OEANDO'S DIARY Member it was standing guard on the essary revolution will begin. The statistics Ashmoleum, alive and ready to inseminate are these: the rest of the British population with what he mistakenly saw as racial weakness.

Perhaps Goebbels was right. I saw somewhere last week the bizarre and un

130 was Gloria Vanderbilt, and she died at least 20 years ago. Even she didn't have her

supported assertion that arts related in

house painted with figurative murals by

ployerintheUK.

Lebadeyev in the style of Piero della Franc-

It's therefore an even greater pity that the Club's formidable firepower is not dir ected against its own tyrants without. 1

esca crossed with Salvador Dali. When I

mentioned this to Katya Guerrissamova, our Member from Leningrad, she just shrugged her shoulders.

The same week we had Gorbachev The

Younger staying with us we also had Sen

dustries are now the second largest em-

Taxes redirected each year through the Arts Councils and the local authorities: not

saying that this enormous sum of money would provide 25,000 artists with £10,000 a year each tax free, and that not a single one of the members to my knowledge, nor even

any of their friends, were recipients of this largesse, should begin to make them realise that something odd is afoot.

The Club is the biggest conglomeration of artists in the UK. If they took to the streets and seized 14 Great Peter Street, they

would set an example which might shortly be followed by all the other victims of the welfare state - the hospital patients who far from seeing the £20,000,000,000.OOp set aside for their care each year, have to change their own sheets; the children for whom another £20,000,000,000.00p is not enough money to buy books etc etc - which would shake the apparatchiks of Whitehall like so many Nuts from a Walnut tree.

less than £250,000,000.00

And don't forget: it is quite permissable to Recipients of any of this money from among the Club: £00.00

offer the Club cat the odd titbit at both

lunch and dinner. Some traditions must be

maintained at all costs! Happy Hunting!

refer of course to the Arts Council, the

I know the givers of some of this money. I even know many recipients of the foreign based scholarships. But the Artists General

Central Committee of the Arts World. Per

Benevolent Institution does more direct

haps now that Simon Mundy, the supremo of arts fund raisers, has been joined in an Honorary way to the Membership the nec

good for the Members of the Club than

have never seen a nut shaken from a walnut

does the Arts Council. It needs to. The

tree, and have only heard that it can be done.)

Membership are so cowed by general circu

Orlando

(Warning for anyone tempted to commit a breach of the peace moved by this article:-1

ator Tower of Texas, then Chairman of the Senate Armed Forces Committee, to

dinner as host of the Republicans for Reagan dinner, thus causing offence to the entire membership; one half who wanted to eat here couldn't because their places were

DINNER FOR TWO WITH WINE FOR THE BEST QUIP RECEIVED BY 10TH OCTOBER

fiWed with Amencans; the other ha\t wan ted to eat here but wou\dn't because the

place was filled with Republicans. Only in retrospect has the suspicion formed that this might have been the covert beginning of the START nuclear disarmament nego-

«

'i

tiations.

Going back further in time we also missed the significance of a telephone call from the Admiralty for Lt. Cdr Graham Winterbottom when he was running the Club whilst Dudley (Private 2nd class) was having his nervous breakdown. The mes sage was: would Lt. Cdr. Graham Winterb ottom please be so kind as to return the Admiralty's maps of the South Atlantic which he had been the last to sign for... You

Ei

see it must run in families! And no one no

ticed the clump of rather well dressed and cheerful people eating at the bottom of the garden on August 2nd 1990. The appetites of their Lordships of the Admiralty reassur ingly did not seem to be impaired by the logistical problems of getting Her Majesty's armed forces to the Gulf.

Going yet further back into History, I was glad to learn recently that the Artist's Rifles were formed in the Club and used to

drill in the garden. The Artist Rifles were particularly feared by the Boche, because theirsharp eyesand sharp shooting had no doubt been honed to perfection on my pre decessors.

The role of Members during the second war is less clear or direct. But it is a curiosity that most of the museums of the United

Kingdom survived the blitz. What can the explanation of this be, given Goebbel's atti tude to culture? Perhaps it was that he was

happy to leave such degenerates as Robert Buhler, Bernard Hailstone, or whichever THE WHISTLER 15

CRICKET GILES AUTY

REPORTS unassailable. For experts in

amazement, the sporting result or the aesthetic impact. Yet CHESS RAY KEENE

chess mathematics, Fischer's

record ratingwas2785 in 1972, while Kasparov is now headed

Fischer too survived on a

precarious precipice. Having

dethroned Spassky in 1972, having fulfilled his lifelong ambition of becoming world champion, having climbed his chessEvcrest, Fischersimply ga* ; up chess. For the past

THE ART OF THE GAME SOME ARTISTS HAVE been renowned for their connection

with chess. Man Rayand Max Ernst, for example, both designed chess sets while

chequered board motifs sneak into the works of Paul Klec and

Kandinsky. The strongest chess player amongst the artistic

fraternity was, without a doubt, Marcel Duchamp. Readers of this 'paper do not need me to expatiate on Duchamp's achievements as an artist. Less

well known, were his exploits as a chess player. Duchamp was awarded the Master title during the 1920's by the French Chess Federation and on four

occasions he actually represented France in the chess Olympics. Duchamp is still active on the committee of the American Chess Foundation.

the score charts. Even such

for2800!

Kasparov, too, though lives on the edge. Time and again in his marathon world

championship matches with his

seventeen years he has not playcdascriousgame. Pathetic mumblings still emerge from ^

giants as Capablanca, Petrosian and Karpov cannot escape the criticism that many of their games exude an air of aridity.

In modern chess such players abound, Ribli, the Hungarian, Andcrsson, the Swede, perhaps the best known. This

approach undoubtedly scores points.

But those figureswho plainly strive for artistic effect, those who seek out recondite paths, who consciouslyspurn the safety net offered by the margin of the draw, such figures, when they still turn in superlative sporting performances are to my mind the supreme practitioners of the art of chess.

California where Fischer is a

recluse. In 1983hepublisheda

the Soviet authorities connived

number of occasions.

beaten, Fischer refused

most readily springs to mind is the Russian genius Alexander

The reigning world champion Gary Kasparov, from Baku in

artistic achievement with

consider themselves artists, though their productions arc

chessboard, swayingon the edge. A Russian, he was interned by the Germans in

superlative sporting results.

press conference in Moscow and 1OTccdthe world's press to pay attention to the skuWduggcry. Perhaps the first time in history that a Soviet

Fortunately, he has not exhibited the alcoholism of

four squares. Chess has an

October 1914.

Alekhinc, nor the paranoia of

undoubted claim to be

the game arc remembered more for the subtle complexity

Characteristically, he had been playing in a tournament in Germany at the time. An aristocrat, he was imprisoned by the Bolshcvikswhcn he

Fischer, nor, indeed, any other disturbingpsychological or physical weakness. An admirer

of their ideas than for their

returned to his homeland.

sportingsuccesses. Amongst

Escaping to France, Alckhine honed his chess to such a peak of brilliant perfection that in

Masters ofthe Chessboard. This

1927he vanquished Capablanca, previously

Another Grandmaster in this

thought to be unbeatable.

Throughout the I930's Alekhine created masterpieces of a fire and energy never

category was the great thinker

before seen. Nevertheless,

and teacher, Aron

during this period, Alekhinc was alternately inspired by the poetry of the chessboard and

amounted to a revision of the

entire canon of chess lore when

it appeared in the late I920's.

Nimzowitsch, whose book My System is possibly the most influential chess treatise ever

the lure of vodka. He died, the

written. Finally, amongst many others I could mention, the Soviet Grandmaster, David Bronstcin, who visited London to compete in a number of tournaments last year. This was a particular delight for British

only world champion ever to perish in possession of a title, a destitute drunk, in Lisbon in

1946, stranded amongst the wreckage of a dispossessed European aristocracy.

citizen has had the guts to do this. Since then Kasparov has been fighting on two fronts, on the chess board and against the

of both Alekhine and Fischer, dictatorial bureaucrats who run Kasparov shows the best traits chess as a sport both in the of both. Indeed, he has claims USSR and internationally, to be the supreme artist of chess Kasparov has even formed his and strongest player who has ' ownorganisation,the overlived. Kasparov recently Grandmasters Association, to surpassed Fischer's all time overthrow their dinosaurian

rating record, thought to be

rule... #

When I first moved to Cornwall

wY\ax of Cornish crickex*! \n,

April A%l,afxer aperiodspenx away, 1 was keen lo resume a more active sportinglifc. I had just moved loPenzance at the

Leicestershire.

Malcolm Francke played later for Queensland and came

close to selection for Australia, before Sri Lanka had a test team of her own. Itwas

Malcolm, as the only other non-Cornishman in the side, who helped me settle in. He came to my aid as a translator immediately, in fact, for when, after losing the toss, the

whctVvcT OUT side would be

'lu\.\.\t\g,OT coosmg' ,>Aa\eo\m enabled me to understand that it was our team who would be

fieldingfirsi.

played in the far West of

move since the kiosk's

occupant chanced at the time to be a keen follower of the fortunes of the local cricket

team. On learning that I had played cricket 'up country' to

already for any other Cornish senior league competitor, the erstwhile provider of tourist

informationpromptlyclosed up his kiosk, rather to mysurprise, and ushered me to the local builder's merchants to make

the acquaintance of the managerthere.

Although earlyafternoon at the time, the latter showed

every 2nd Monday of each

Hamilton RussellTrophywas augmented by the inaugural

similaralacrity inabandoning hisworkday duties in favour of

matches have been arranged,

acquitted themselves

one for each month until

honourably". (Seethe League

1972, Fischer produced games of mathematical perfection. On

position list).

signature and then invited me

his inexorable march towards

December. These arc against the following Grand Masters, John Speelman, Raymond

the chanceto sign a newplayer.

Withinminutes the manager hadcompleted thenecessary registration formsfor my

Sportingsuccessin chess, the accumulation of points in

the chess throne, Fischer

Keene OBE, David Norwood

massacred such Grandmasters

tournaments and matches,

as Larsen, Petrosian and Boris

and Julian Hodgson respectively. Each match will

more often than not precludes great artistry. The artist, on and off the chessboard, is bound to

Spassky by scores which were

commence at 1900. Please

hardened veterans.

barely credible. Fischer lived chess, he appeared to have no

contact me to play.

Congratulations are due to all

take risks. So, frequently, it is the dry technician, the man who can regularly avoid losing, the player who can time and again suppress the element of the uncertain, who triumphs in

other means of communication with the outside world. His

During this past year the Chelsea Arts Club Chess Team

During late November, the

wins revealed such stunning surprises, such arcane sacrifices that, as with Alekhine, it was unclear which merited greater

played in the Hamilton Russell Cup. The Times newspaper on 22 June reported the final positions in an article by

Chelsea Arts Club Centenary Open Chess Championships

Our team playedextremely

qualifyingtojoin

ground.

This turnedout to be agood

intervention of the Chelsea

1951.

of the three who were

won narrowly, introduced me to manyyears ofentertaining

Raymond Keene: "...the

Arts Club whose players

Clivc Inman, in playing for Penzance as match professional

The game. which Penzance

1830. Starting from 9 September, four simultaneous

one of the most imaginative players since his world championship challenge in

cricketers from what was once

Ceylon, Stanley Jayasinghe and

information kiosk where I could find the town's cricket

THE CHESS CLUB meets month in the Ladies Bar at

hoped-for matchwinncr was

from the town's main

Bobby Fischer is the next champion to exert the same magic as Alekhinc. For a brief period, to be exact from 1970 to

chess enthusiasts since Bronstein has been considered

Derbyshire groundstaff, in

lime and decided to inquire

some reasonable standard, and

CAPTAIN'S NOTEBOOK

Warwickshire, and Galloway and Eato formerly of the

in 19601 was in ignorance of the standard ofcricket to expect Penzance captain tersely replied . there. TheferocityofCornish 'coosing'in response toa rugby was well known, but colleague's enquiry as to

that I had not signed forms

CHESS BARRY MARTIN

helpfully. The game, the Saturday following, was certainly keen. Cambome featured Weeks, formerly of

Malcolm Francke, who followed two other fine

goals in rapid succession. Yet

them! Stripped, left naked overnight in acell and allegedly

Cambome, in a needle match: 'We do hate they and they do hate we' someone explained

West Penwith was the area I

side had scored two consecutive

name or revealed his status to

opponents. These were tobe

their ranks, while our

preferring to be called Robert James. He has still not played a single game of chess.

police for vagrancy. Fischer never told the police his true

colleague, they were also quick to warn me about my likely first

For a significant part of my adult life, about 13years in ail,

own name on release,

picked up by the Pasadena

entire life, on and off the

author of that remarkable book

of Cornwall for more than a century.

thereafter to acknowledge his

revelation of the humiliation Fischer had suffered when

subsequent stage-managed

endgame study composer and

making reference to that supposedly bohemian community of artists, writers

Campoman6s stopped Kasparov's first match with Karpov, just as Kasparov had started to win games. At that time Campomanes' extraordinary step made world headlines. Imagine, for the purposes of comparison, what would happen, to the referee, if he stopped the Cup Final and declared 'no result" just as one

Federation President

the south of the USSR, is a

these arc Richard Reti, the

of this telling witticism was

thoughtofashome. While being unable to claim any stronger blood connection with the Duchy of Cornwall than onegrandparent,Ife!t privileged to live there nonetheless and could identify strongly with those who saw the old ways of life as being under threat. Outside my work as a painter and writer, 1 played years ofleaguesquash and cricket in Cornwall, finally representing the county as a specially registered player on a

delineating his chessboard secrets, thiswas a shocking

genius who combines supreme

considered an art and various

THE ANONYMOUS author

and other thinkers which has

AJefchtne. A/efch/ne/fvedhis

Grandmasters in the history of

toe..."

flourished in the extreme west

Some chess players also limited to the realm of the sixty

"Cornwall is like a Christmas

stocking-all thenutsgo to the

perennial rival, Karpov,

at this remarkable piece of sleight of hand. But Kasparov, thenamerc21 years old, personally disrupted their

In this context, the man who

TOSSER

everything has hung on the final crucial game, and it is there that Kasparov has pounced for the kill. Off the chequered board too, he has run remarkable risks. In February 1985, the corrupt World Chess

book: / Wfli Tortured in a PasadenaJailhouse. Farfrom

MEMOIRS OF A YOUNG(ISH)

to meet several other members

and often curious cricket

England. From my earlier experiences, a cup final against Redruth in the West Cornwall

20-over knockout competition played on the supposedly neutral Cambornc ground,

lodgesfirmly in the memory.

Rcdruth and Camborne adjoin so that at least95% of a large crowd favoured what was

virtually a home team. Halfway throughtheirinnings, chasing a modest ninety or so to win, I had the good fortune, or so I

thought,to catchAlanOpie, the popularandbig-hitting Redruth captain one-handed

on the midwicket boundary.

Unfortunately forme, a large

section of the adjacent crowd was convinced my heel had crossed the boundary line as 1 jumped to bring the ball down.

If I had doneso, bythe rulesof

thegame then prevailing, the

striker wouldhave been not

out.Butwas theviolently

well and narrowly missed on several occasions, spectacular wins against fierce

of the team.

competitions from battle

thegreaterpartofthe Penzance sideofthat era happenedto

equally certain that the catch

work for the same builder's

ultimately held it to be so.

those who participated.

will take place. Details to follow.

Although technically amateurs,

merchants. Onlytoo pleased to

lay down wheelbarrows, stop circular saws, abandon

inventories andsoforthin the very sensible cause of

discussingthe season's prospects with a potential

partisancrowd to be trusted? A

handful ofPenzance supporters and a nearbyplayerwere

wasfairandthe umpire

Thereafter, ugly mutterings,

threats and a pitchinvasion

held up play for aconsiderable time. On resumptiona frail

looking old woman, sitting near theboundary where Twas still

fielding, engaged me in polite

m

Diannc Hlynn, The Torn PeiiiLoai" 30' x 24'

Reproduced bycourtesy ofMacConnal-Mason Gallery

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for

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Soft pastels by Sennelier and Rowney. Artists oils by Blockx, Winsor's andRowney. Easels inbeech, oak and cherrywood. Antique and modern dip pen nibs,

1992 National Art Competition open to Artists of any nationaiity, resident in the British Isles.

Total Prize Money £20,500

pure pigment and restoration materials

1st Prize

2nd Prize

of £10,000

of £3,000

also

Young Artist

An eclectic display ofantique artists and writing

1st Prize of £5,000

materials for sale or hire

Runner-up £2,000

Entering this section will in no way prejudice Artist's chances for the other Prizes—Age Limit 25

Hand made picture frames to order in gold, walnut, dutch metal or hand painted

Most Popular Painting of the Show, Prize of £500

10% discount on all framing and artists

Competition Entries must be handed in to the Mall Galleries between 10am and 5pm on Friday 15th to Sunday 17th November 1991 inclusive. Collections can he arranged from Bristol, Cornwall, Edinburgh

materials for Chelsea Arts Club Members!

259 Kings Road, London SW3 5EL Teh 0713520837

Fax: 0713511098

Handing —In:

Entry Forms and details of handing-in

and Manchester.

arrangements are

available —postcard requests only please

HUNTING

from:

P

L

{

Hunting/Observer Art Competition The Mail Galleries 17 Carlton House Terrace London SWIY 5BD Tel: 071-930 6844

If

ACCIDENTS WILL HAPPEN I established 1715

MORGAN FURZE OF BRICK STREET LTD. SHIPPERS OF WINES & SPIRITS WILL YOUR EXISTING INSURANCE COVER IT? lb damage a treasured antique isheartbreak enough. But to find that your household insurance does not cover accidentaldamage(not to mention the subsequent decreasein value) can be traumatic!

Check your existing policy todayl

Suppliers to leading clubs, top hotels and

Because, unless you've placed your insurance with specialists inAntique and Fine Art insurance, you may not be

restaurants in London.

For the problem is, that for homes with a higher than usual level ofcolleccables intheir contents, general household

adequately covered in the event of a claim. insurance policies maynot provide sufficient cover.

Which iswhy we designed the"Heirloom" policy. Itcombines thevery best ofcover for your buildings, with'those specialist features chat we know to beessential tosufficiently protect you intheevent you have tomake a claim Like automatically providing coverforaccidental breakage (including porcelain), forinstance.

We are also exclusive agents for Chateau

As importantly, because we a££ specialists, we apply acompletely different formula to the calculations ofpremiums

Malescot-St.Exupery, Chateau de Fez, Chateau Loudenne and Chateau Greysac. A number of other

Invariably, this results in a significant reduction in your premiums andwe consistently achieve

for the concents of homessuch as yours. savings of over 25% (or our clients.

"Heirloom"

BE SURE! INSURE WITH EXPERTS

agencies, for fine wines and specialist spirits, are also held.

a better policy, affording better protection andat a better price.

Returnthe coupon Freepost today and compare the "Heirloom" specialist

cover features with your present policy. Thenask ustoquote andcompare the premium against your present insurance. Wethinkyou'll be pleasantly surprised.

Ifyour renewal date isimminent andyou needa quote urgently, contact DavidEttard,Stephen Brown or Geoffrey Sneath on;

Tel: 07L739 5646

Morgan Furze, 12 Brick Street, Park Lane, London WIY SET

Telephone: 071-493 9861

SKS

Fax: 071-739 6467

LLOYU'S BROKHR

• SNEATH KENTSTUART FREEPOST London EC2B 2QA

T

ACCOMMODATION TO LET/SELL

CC UJ LU Q

a

Flatforsale. Lovelytop

floor,2 bed flat. Royal Hospital Road. Freehold. £155,000.

<

Ring071 3764962. # Houseboat for sale.

Chiswick/Twickcnham. One

0 cn X

0

double bedroom, one single bed, bathroom, kitchen, dining/drawing room,

liJ

I- D

1> ^LU X X xn o

#

House in SWIOto let, with

months. Please ring Rachel: 0638507523.

Tel: 0717303643.

0

Studio for rent. Approx 24'

X 16'. Uscof

telcphonc/fax/photocopier.

Just off New Kings Road.

Available immediately, short or long term. £400 p.c. m.

c/) CD CO <

o

o

Contact Reema Pachachi: 0713719753.

lU

# Large Chelsea studio available day and some

CO Q H lU

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CD

2 <DC UJ ^h; _j CO

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(0580)292321. Double room per person£20.00.

9

Chameleon yacht charters

in the Ionian Islands. From

£450per boat per week. rooms to rent. 373 9960. Same

Contact Jerry Lee: 39 Thurlestone Rd, London, SE27

price as Club.

OPE.

0

9

#

Eleanor Brewington has

Large room to let, with

House to let

form Santa Eulalia. 2 double

September. Tel: 071 3528806.

bedrooms with cnsuite shower/toilet. Kitchen,

9

# Houseboat Aniaby, 106 Cheync Walk: The Chelsea ArLsClub's only genuine

Macnaughtan have welcome

Rent inclusive of all bills except telephone. £350 per calender month. Pis ringPhilippa or

sitting/diningroom,TV & telephone. Large patio with garden front & back, swimming pool, maid service available, includingcooking if required.

members and their friends.

Brian. 071 723 6404.

£400 per week. Please contact

floating annexe. For more than a decade Iain and Sherrcll

DIY breakfast. Same rates as

Club. Discretion assured and

sexual preference immaterial.

Kiddos and dogs also allowed.

Outgoing phone calls Not. Ring: 0713521670 Fax; 0713764610.

Tube is one minute from door!

Kate Kilroy: 081 9698430.

0 Holiday let-1 bedroom flat just off Portobello Road in Elgin Crescent. Washing machine. Heaps of character, marginally pre-historic cooker.

From August 24th to October 2nd. £250 per week, perhaps negotiable. Ring: 0712210178.

0

# Delightful house in Shepherds Bush for sale with

UJ UJ

5 >

Estepona (Malaga). Twin

bed room with bath &

kitchenette, 4000 pesetas per

day per person, single person supplement, 1000 pesetas.

Swimming pool. Postal address: Apartado 340, Estepona, Malaga, Spain.

Benahavis-Andalucian

Apartment to let in

Mountain Village. 8km inland House share in SW9 area.

£236permontb plus bills. (D) 071239145, (E)07!2748647.

Must be a dog lover.

from San Pedro de Alcantara.

40km from Ronda. 1st floor

apart. 25000pesetas per week (appTOx£135). 1 bedroom, double bed, livingroom,

Largeprofessional

0 Goingontour,so...To Let: Quiet, Hi-tec, black/grey,

purpose built 6th floor flat actually on Wandsworth Common surrounded by mature trees. Lounge, balcony

solid cast base. NOT a

Contact David Rcdfem:

(great views). Double bedroom plus single bedroom (or library/dining room). All black Leicht kitchen (dishwasher,

lightweight tubularsteel& melamine job. £150,will

0717929914.

washer/drier, fridge, sep.

deliver central area.

# Reluctantly for Sale: beautiful black Triumph bonneviile T140 (motor bike) 1981. Royal Wedding edition, 5,000milesonly. Immaculate condition, leatherpanniers included in outrageous price of £2,850. Telephone Sue:

architects free standing AO

drawing table,

parallct/multi-dcgree ruling,

Mike: 071497 3545.

•

Creative cuisine: High

quality cooking forall events, business and social. Telephone: Faith 8oswell071 3764615

•

YoungAmerican Lady

artist would like to meet a

sculptor orsculptress with view to having some private tuition.

0819691252.

freezer): all black loo and bathroom. Targetti lighting throughout with dimmers, amtico flooring. Private residents parking (enforced daily), totally secure (Banham). Ideal as London a piedd'terrcorhome. Longlet

•

Artists studio to let in

Kings Road. 16' x 15' approx with gallery space. Phone, shower, alarm etc. £95 per week inc.elec. 071.3528806.

9

house. Self contained double

bed-studio, own bathroom,

balcony& roof terrace. £125 per week.Tel:08! 743 2829.

# Male model looking for work. Good experience in

•

Flat share in El. Single room. Newlydecoratedflatfor

9

Room available to rent.

woman. Good transport. £70

£65 per week inclusive (except telephone). Share kitchen &

(Cow etc)offers private cabaret

Please write to Mr Kcki, Flat

per week. Call 071 2860143.

bathroom. Strand on the

for that special parly/dinner.

Showsongs,popsctc. Brilliant

26,8th Floor, BlantyreTaver, Chelsea,SW106EH.

Call PSi for details:

# Female Artists model available. Please call Rebecca

071-4973545.

on 071263 8545.

garden. Etching facilities. Suit tidy artist working on small canvases. £40 monthly.

0

0

0713841389. Call Elizabeth

Quality picture frames

One week intensive life

made to order by Helen

drawing course with dance

Richardson & Jaspal Singh, Unit 264,27 Clerkenwell Close, London, ECl, Open Mon-Fril0-6.Tel:2513101.

model. First week of October.

Fee £80.00. Please call Tessannaon 0819689252.

• Prisondoorforsale.71" X 30". £450 Contact Michael B. or Sarah 071 3706027.

(mealtimes).

instruction, rustic accomm. & brcaWasv \n art\s.ts ovjn co\\.a%e.

Phone0713510153.

bathroom, fully furnished, swimming pool, tennis court, mountain views. Tel agent:

9

Quiet caravan in Highlands -I- £50 per week negotiable offered to quiet artist in return for some hours help daily, with odd bits of chainsaw joinery, helping with children. Might

9

Mediterranean flat for

sale, overlooking Hyeres &.

Porquerollcs through treetops.

Suit author, writer, poet, painter. 2kms from sandy beaches, harbour shops. 3 hours flight from London. Price £50,000 o. n. o. Contact Mme Nicole Marin.Tel; 010 33 42 23 4454.

cons. Tel: France 65 3683 20.

woman to share with other

references, own pianist +

Mediterranean Art

Holiday in medieval village, Andraitx. 2 week painting coursesgiven. £I37perweekor £87.50per week each for couple sharing, including

9 S W France, cottage to rent in hamlet. Sleeps 2. All mod

any day between 9am - 9pm.

equipment. Notexpensive.

Huelva, Spain, £100 ish per

0816993790.

London Art Schools. Available

# To share from Sept 1st.

Small light airy studio, Fulham/Chclsca, back of

LinBrudcnell.FincaFarruca, Lista De Correos, Galaroza,

inclusive maid service. Annexe

West End musicalstar

•

no vehicular access-15mins

walk from lively rural village.

No telephone. Write to Tim &

9

dressing room, fully equipped kitchen. To let for one year minimum. £250 per week.

Phone Kelly: 071 223 7136 10.30 am-5pm weekdays.

• PianChestforsalc,£95.00.

Please call: 071 6020757(day).

NW of Seville. No electricity,

between 8 «& 9pm.

Studioavai]abIe,2or3

Mature and considerate people call Anne Asquith on 081-8702059fordetails. Regret NO pets.

Tel: 081769 5246.

farm in Andalucia -lOOkms

best suit male. Tel: 03095 282,

9

room, 2bedrooms, bathroom,

Please telephone Sarah Stuart:

Accommodation for up to

days weekly by arrangement.

South Kensington.

per week inclusive of heating.

0712449005.

9

6 people in small family hill

balconies, kitchen &

Studio flat to let in

Chiswick. Top floor in family

Wandsworth Poll Tax = £zero.

# Jan Rcddy would like to speak to people involved in silk screen printing.

double sofa bed, dining area, 2

Howard 010 34 52 855470.

9 To let, beautiful 2 storey flat with huge roof terrace.

North light mezzanine, dining

from c. 1st November at £180

pretty gardens, central heating, parking, rural views. For propcry details: 081 892 1819.

9

9

Kellyon 0712237136.

detached, double glazing,

in Balham.2 minsfrom tube 0816730739.

Beautiful Studio Offices to

Stives, forsalc, cottage

near villageof Halsetown. Semi

week.

Enquiries, ring: 071 2740297, Lucy Ash or Velda Lewis. let in SWI 1.3 Floors, Speak to

Sleeps2.£120perweek for let of 3 months min. From

Tel: 52 79 4416.

station. £250 p.c. m. Ring:

•

'

Large room in shared flat

9

fine studio. Will take £125,000.

0

cr ^

•

km sea, 8 km Taormina. Rocky garden & terraces.

Breathtaking views(Etna, mountains sea Calabia beyond)

with one other person (TV and video), 5 mins walk from Marble Arch, Edgwarc Road

>

# RangeRoverforsale, A Reg, one owner, full service record, long MOT. 5 speed manual, bull bar, spots, 2 batteries, split charge, new tyres, roof rack. £5500ono.

Sicilyto let. 12thCentury

cottageinmountain village, 3

drive from airport. 2 minswalk

CE ?5

GENERAL

9

laundry room (washing machine). Share sitting room

<

CO O

9 Normandy, bed & breakfast in artists converted watcrmill. Close to Honfleur.

Full central heating, use of lounge& garden. Le Havre or Caen ferry ports onlyone hours distance. Tel (0103331 894441 Fax (01033)31894963.

Telephone: 081 5331720or 979 1329 (Roy Pctittc).

S=i

>

cul desac.£l 10,000. Please ring: 073650048.

Kent. Tel: Biddenden 291027/292065 Fax:

Santa Eulalia, Ibiza. 20mins

Z

UJ

kitchen, bathroom, large hall, roof garden, gasc.h. in quiet

Bed and breakfast at

Bishopsdale Oast, Biddenden,

flat. Share bathroom, kitchen,

5 Q

a.

Flat for sale in WIO. 2

bedrooms, living room,

9

etc. Reasonable rate.

ig

O

60607531.

July/September/October.

0.

Q

Pala: 24Avcde Quincy, 77380 Combs-la-Ville, France,Tel:

HOLIDAY

accommodation

handbasin.in mansion block

<

•

Living room, 3bedrooms, tiled

bath, dining room, kitchen & landscaped patio: contact Juan

evenings, suitable for teaching

Two rooms with double beds, one with bathroom and TV,

iri LU CD <

exquisite mountain village.

balcony. £275 per week. Min6

telephone & electricity.

Forsalc in Fornalutx,

Majorca. Artists house in

Can pay thegoing rate. Please telephone 071 6309917.

garden. 3 bedrooms, 1 reception, kitchen with

£36,000o.n.o.

0

^

9 Croatian sculptor urgently

seeksstudio/accommodation.

Green. River bliss. Please call 0817471298 and ask for Jane.

Holidaylet,f250perweek,

in private house, own entrance, use of splash pool & garden.

Double bed, sitting/dining room, bathroom, kitchen, own entrance. Ring: Osbom,

9 Mijas/Southern Spain.

Family home to sleep 6 incl part time housekeeper. Pool & large garden. £90 per week long term excl. £200 per week incl. short

studio. Contact Peter Espe:

term. Tel:071229 0224

0993 831021.

3452151075.

9 Mountain house/Studio to let in Ibiza. 5 bedrooms &

answerfone.

9 To let. Normandy farmhouse (Cotentin Peninsular) Sleeps5£180per week. 1hour fromCherbourg, half an hour form West Coast

beaches. 30milesfrom Bayeux.

Call Adam: 071 352 8699.

9 Traditional Bretoncottage forsale,£18,950 (including legal fees). 2 bedrooms, sitting room, kitchen & bathroom.

Tenminutes stroll from village of Saint Servais. One hour from Roscoff & Saint Male. Phone Nigel: 0620823720.

ACCOMMODATION WANTED

9 Professional woman, artist/teacher requires accommodation preferably in

NEXT EDITION

the Fulham/Chelsea/

0

Furnishcdhousetolet.

Nottinghill area. Max £70 per

Preston Rd Underground.

week. Contact: 0717314559 or

20mins Baker Street. Three

7369993.

bedrooms, lounge, fitted

# Aroma Therapyand Remedial Massage: forhealth

kitchen. Allamenities. Off

9

and beauty. Telephone Helen

street parking. £800 a month.

near to the Club. Contact

Boswellon0713764615.

Tel:081 6993790.

Becky or Emma in office.

1or 2 bedroom flat wanted,

THE WHISTLER 22

WINTER 1991

DEADLINE NOVEMBER 5TH

t

THE WHISTLER IN ASSOCIATION WITH ART LINE MAGAZINE, CORDIALLY INVITES MEMBERS TO THE CONTEMPORARY ART FAIR IN LOS ANGELES (LA91)

I I

Join us for the art fair (or a winter break!) in Sunny Southern California!

•

6 NIGHTS: £695

per person

Included in this fabulous package: ★ Scheduled Virgin Airlines flights ★ Arrive/Depart transfers from LAX to hotel in Los Angeles. ★

Six nights at the deluxe Biltmore Hotel ★ LA91 Celebrity Gala Tickets —Free! * 5 day pass ART/LA91 * Free Catalogue ★

Special Welcome Cocktail Reception at Temporary Contemporary

rssi>-

* Free Ticket to Art Fair Beach Party, Santa Monica

-k Uuseum 'passport' for Free or reduced admission to LA area museums it Admission to all Art & Discussion Seminars. m- •

.5-

NOVEMBER 19th to NOVEMBER 25th 1991

Telephone for details: 071 497 3545 or ask at Club Office THE BILTMORE; built in the grand style in 1922 (the Oscar's

were invented here) the Biltmore is a hotel with a history; JFK based his campaign headquarters there in the '60's (and entertained Marilyn Monroe); the Beatles hid there on theirfirst US tour; the hotel was used as a location for many films

including Chinatown, A Star is Born; The Sting, Poseidon Adventure, Beverley Hills Cop, Rocky 3 and, of course, all the

leading soaps, (pictured: magnificently restored.)

The

Rendevous

Court,

' Surcharge for single occupancy: £125 (ie £820 per person In a single room)

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ART SERVICE

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5555 TELEX 88\-'^^ 15% DISCOUNT FOR CHELSEA ARTS CLUB MEMBERS

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