Pallant House Gallery Magazine 25

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Edward Burra Richard Cork Edward Burra's passion for the cinema Maggi Hambling and George Shaw Artists choose their favourite Burra’s David Dawson 20 years of working with Lucian Freud

£2 Number 25 October 2011 – February 2012

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british sculpture in the 21st century

Contents Features

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14 "Why don't you show the pictures?" Simon Martin 18 Edward Burra at the Cinema Richard Cork 20 Artists on Burra Christopher Corr, Maggi Hambling, George Shaw, Clare Woods 24 Bloomsbury and Beyond Julian Machin 28 Working with Lucian Freud David Dawson 32 Hans Feibusch: Artist in Exile Joanna Cheetham 34 We English Simon Roberts 38 Going for Gold: Gold Run Andy Hood, James Lake

You can find full details of our latest events programme in the new What's On guide. Previous copies of the Gallery magazine, as well as all the latest news, exhibitions and events, can be viewed online at

You can also follow us at .com/pallanthousegallery .com/pallantgallery

Edward Burra, Saturday Market, 1932, Watercolour on paper, Private collection, Š Estate of the Artist c/o Lefevre Fine Art Ltd., London

Friends 45 46 47

Chairman's Letter Return of the Proms Friends' Events


7 11 36 43

Director's Letter Exhibitions Diary Collections News Gallery News

53 55 56

Bookshop Pallant Photos Spotlight on... Enid Marx 3

Contributors Editorial Editor Emma Robertson, Gallery Editorial Simon Martin, Stefan van Raay Guest Editorial Joanna Cheetham, Richard Cork, Christopher Corr, David Dawson, Maggi Hambling, Andy Hood, James Lake, Julian Machin, George Shaw, Clare Woods Friends Editorial Sarah Quail, Alan Thurlow Design, Editing and Production David Wynn

With thanks Headline Sponsor of the Gallery 2011

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The Edward Burra Supporters' Circle PALLANT HOUSE GALLERY

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Gallery Information Pallant House Gallery, 9 North Pallant, Chichester, West Sussex, PO19 1TJ, UK +44 (0)1243 774557; Opening Times Monday Tuesday–Saturday Thursday Sunday/Bank Holidays Open Day

Closed 10am–5pm 10am–8pm 11am–5pm Saturday 11 February 2011

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Pallant House Gallery makes every effort to seek permission of copyright owners for images reproduced in this publication. If however, a work has not been correctly identified or credited and you are the copyright holder, or know of the copyright holder, please contact the editor.

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...we are moving

If you are looking for a New York style gallery...

Toni Arden is pleased to announce that from October 2011 Arden and Anstruther will be moving to The Barn, Daymans, Bedham, Pulborough, W. Sussex RH20 1JR.

Arden and Anstruther The Barn, Daymans, Bedham, Pulborough, W. Sussex RH20 1JR

. tel 01798 865 206. Open by appointment, just give me ring.

KEITH VAUGHAN An Exhibition of Drawings, Gouaches and Prints 20 October - 5 November 2011 Including over 100 works on paper many of which have rarely been seen before. Catalogue available.

Figures & Mill, 1943. Mixed media on paper. 17.2 x 21 cm

We are currently seeking works to be included in a major monograph on the work of Keith Vaughan to be published by Lund Humphries in the autumn of 2012. Please email: with details of any works for possible inclusions in this publication.

23a Bruton Street, London W1J 6QG Tel: 020 7493 7939

Director's Letter Stefan van Raay

Edward Burra, Zoot Suits, 1948, Watercolour and ink wash, Private collection, courtesy Sotheby’s © Estate of the Artist c/o Lefevre Fine Art Ltd., London

British artist Edward Burra (1905-1976) has not been the subject of a major museum show for 25 years despite being one of the most individual and talented British artists of the twentieth century. This autumn we make the case for his reassessment with the largest single-artist show we have ever held at the Gallery. The exhibition features examples from across Burra's career, from his best-known images of café's, bars and nightclubs to his sensitive depictions of the British landscape. Curator Simon Martin celebrates Burra's impressive legacy (p.14), the art critic Richard Cork explores the artist's fascination with the cinema (p.18) and artists Maggi Hambling, the Turner Prize-nominated George Shaw, Christopher Corr and Clare Woods pick out their favourite works (p.20). We are most grateful to the Lefevre Gallery and the Burra Supporter's Circle for their assistance in mounting this show. Another first this autumn is an exhibition of works from the Radev Collection which have never been on public view. The Collection was accumulated by the picture framer Mattei Radev, the critic Eddy Sackville-West and artist-dealer Eardley Knollys and the result is both a testament to their friendships and a remarkable selection of works by British and international artists. Art historian Julian Machin tells this fascinating story on page 24. Many of you will have read of the death of Lucian Freud over the summer. In January a new exhibition will offer an insight into the painter's notoriously

private world through the eyes of David Dawson, his model and studio assistant for 20 years, placing key pieces by Freud and photographs of his studio alongside Dawson's own rarely-seen paintings. In this issue he recounts his first meeting with the late great painter (p.28). In the De'Longhi Print Room this season is an exhibition of German Expressionist prints and drawings reflecting the influence of George Grosz and Otto Dix on Burra's work. It is followed by a showing of lithographs by the German émigré artist Hans Feibusch, introduced by Joanna Cheetham on page 32. The programme continues with a display drawn from the archive of work by the designer, illustrator, and printmaker Enid Marx (p.56) – an image from which is featured on this year's Gallery Christmas card (p.53). The Community programme at Pallant House Gallery is known for its innovation. In this issue we celebrate a new collaborative venture with Glyndebourne and the Disability Arts organisation Carousel. Artists James Lake and Andy Hood tell the story of their involvement in Gold Run on page 38. Finally, although we strive to give a high quality experience to visitors which superficially looks effortless, we are very much dependent on the generosity of individuals, Friends and other supporters to run the Gallery. We are therefore very grateful for your continuing support.


De'Longhi's Exclusive Preview at Pallant House Gallery Advanced viewing of artworks ahead of Bonhams auction

De'Longhi continues to invest in the arts and local community and is enjoying its third year of sponsorship of Pallant House Gallery. Visitors to Pallant House Gallery in September were delighted by a unique exhibition from the 2011 Macmillan De'Longhi Art Auction, where they were able to see a sneak-preview of some special works of art whilst sampling fresh coffee provided by the De'Longhi team. Fabulous paintings, sketching and drawings were on display at Pallant House Gallery from names including Annie Kevans, Henry Moore and Maggi Hambling. They all went under the hammer at Bonhams, Mayfair on Tuesday 27th September and were only a handful of the 60 artworks kindly donated by acclaimed artists this year. 8

De'Longhi would like to thank Pallant House Gallery members and visitors for their continued support, without which, the auction would not enjoy its success in raising crucial funds for Macmillan. De'Longhi will continue to contribute to the work of the gallery for the remainder of 2011 and Pallant House Gallery visitors can also look forward to the opportunity to sample a De'Longhi coffee at forthcoming Pallant House Gallery Friends Events and Open Days. For more information about De'Longhi visit

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Eduardo Paolozzi Sculpture 1946 –1959 A loan exhibition from public and private collections, including Pallant House Gallery

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A new Modern British Art gallery Specialising in 20th Century British paintings, prints, sculpture and ceramics, as well as work by selected contemporary artists. Do visit the gallery or website to view our extensive and ever changing selection of work. For further information or to receive details about our exhibition schedule, please contact us at:

2a George Street, Kingsclere Newbury RG20 5NQ 01635 298855 / 07970 057789

Tuesday, Thursday, Friday 10:00 - 5:00 Wednesday 10:00 - 8:00 Saturday 10:00 - 2:00 and at other times by appointment

Edward Burra 22 October – 21 February The first major show for over 25 years of the work of Edward Burra (1905–1976), one of the most individual and celebrated British artists of the twentieth century. Featuring some of his best known images of cafés, bars and nightclubs, as well as other examples of the artist's oeuvre such as his fascination with the macabre and dark sides of humanity, his role as a designer for the stage and depictions of the British landscape; this new exhibition provides a unique opportunity to reassess Burra's extraordinary creativity and impressive legacy. Rooms 12–17

Exhibition Diary David Dawson: Working with Lucian Freud 28 January – 20 May An extraordinary insight into the notoriously private world of the painter Lucian Freud through the eyes of his model and studio assistant of 20 years David Dawson. This exhibition brings together some of his own little-known paintings of street scenes and cityscapes placing them alongside key pieces by Freud and photographs of the studio. Room 4

Spencer Finch: The Evening Star and Passing Cloud after Constable Ongoing

Rye Landscape with Figure, 1947, Watercolour and pencil on paper, Trustees, Cecil Higgins Art Gallery, Bedford, © Estate of the Artist c/o Lefevre Fine Art Ltd., London

The Radev Collection: Bloomsbury and Beyond 1 October – 22 January The first public showing of the Radev Collection which charts the friendships and interests of the picture framer Mattei Radev, the critic Eddy Sackville-West and artist-dealer Eardley Knollys. The collection includes a remarkable selection of works by British and international artists including: Gaudier Brzeska, Duncan Grant, Ivon Hitchens, Amedeo Modigliani, Winifred Nicholson, Lucien Pissarro, Graham Sutherland, and Alfred Wallis. Rooms 4 and 5

'The Evening Star' by the contemporary artist Spencer Finch is a stunning star-burst of neon light. Inspired by 'The Evening Star' (1830) by JMW Turner the light sculpture provides a startlingly contemporary counterpoint to the historic chandelier in the entrance of the 18th century house. Across the courtyard lies Finch's corresponding light installation 'Passing Cloud after Constable' in the Loggia. Staircase and Loggia

Modern British Art: The Permanent Collection On show throughout the year One of the best collections of 20th century British art in the world including important works by amongst others: Andrews, Auerbach, Blake, Bomberg, Caulfield, Freud, Hamilton, Hodgkin, Nicholson, Moore, Paolozzi, Piper, Sickert and Sutherland. Throughout the galleries


de'longhi print room German Expressionist Prints 11 October – 20 November An exhibition of prints and drawings to coincide with the Edward Burra exhibition, featuring examples of powerful satires and comments on German society in the early twentieth-century by artists who inspired Burra, in particular Otto Dix and George Grosz. The display is drawn from private collections in the UK and also features Max Beckmann, Käthe Kollwitz, Ernst Ludwig Kirchner, Rudolf Schlichter, Karl SchmidtRottluff, and others. De'Longhi Print Room (Free entry)

Hans Feibusch: Printmaker 22 November 2011 – 8 January The German émigré artist Hans Feibusch came to Britain in 1933 to escape Nazi persecution, and was included in the notorious Degenerate Art Exhibition in Munich in 1937. Celebrated for his religious mural paintings which employed expressionist use of colour, his rarely-seen lithographs which form part of the substantial collection the artist left to Pallant House Gallery reveal another aspect of his graphic skills. De'Longhi Print Room (Free entry)

Enid Marx: The Eve - Breuning Gift 10 January – 26 February 2012 Designer, illustrator, printmaker, Marx was a contemporary of artists such as Eric Ravilious, Edward Bawden and Peggy Angus. During her lifetime Marx created an extraordinary array of textiles, postage stamps, repeat patterns for both fabric and paper, posters for the London Underground, book jackets and book illustrations. The exhibition showcases the collection of her prints presented to the Gallery in 2006. De'Longhi Print Room (Free entry)

Rudolf Schlichter, The Prisoner, 1921, Ink on paper, Pallant House Gallery, Presented by Dr. & Mrs. Bewley (2003)

Studio Schools Portrait Competition 1 November – 27 November The inaugural exhibition of selected work from the new annual competition organised by the Chichester Decorative Fine Arts Society. Studio (Free entry)

Starburst Arts 29 November – 2 January Artists from the Starburst Arts Centre, Chichester share their creativity. Studio (Free entry)

Creative Response 3 January – 29 January An exhibition of works produced by artists working with Creative Response, a charity based in Farnham that works with vulnerable people. Studio (Free entry)

Showcase 31 January – 26 February An exhibition of work produced by the Artist Educators working on the Learning and Community Programme at Pallant House Gallery. Studio (Free entry)



Edward Burra 1905–1976 · Savoy Ballroom, Harlem gouache and watercolour · 54.3 x 76.2 cm · signed and dated Ed Burra 1934

Exclusive representatives of the estate of Edward Burra 31 Bruton Street · London w1j 6qs telephone +44 (0)20 7493 2107 ·


"Why don’t you show the Pictures?" Simon Martin, Head of Curatorial Services, on curating Edward Burra's comeback 25 years after the last major museum show

Earlier this year, whilst writing the new monograph on Edward Burra, it suddenly struck me that the major exhibition it accompanies will open on exactly the 35th anniversary of the artist's death. One would hope that this odd, and entirely unplanned, coincidence is a sign of approval from beyond the grave, which given Burra's interests in the occult might be entirely appropriate. In any case, it could be taken as confirmation of the timeliness of the reappraisal that is finally taking place, 25 years after the last major museum show of his work. It is hard to imagine why it has taken so long for it to happen – particularly as artists, collectors, curators invariably speak with tremendous enthusiasm and warmth about his work, often lamenting how rarely one gets to see it. Perhaps it is because Burra never quite 'fitted in' to the major art movements, except for a brief involvement with Unit One and the British Surrealists during the 1930s, which probably had more to do with his friendship with Paul Nash than any real desire to join art groups. It could be that as the bulk of his output was in watercolour, museums find it difficult to place them amongst naturally-lit oil paintings for conservation reasons, or because so many of the best works are in private collections. However, I suspect it may also be that when his watercolours are exhibited, they tend to steal the show – as they did at Tate Britain's recent 'Watercolour' exhibition. No other artist has handled the medium so robustly, with such intensity of colour, or on such a scale. Edward Burra, Silver Dollar Bar, c.1953, Watercolour on paper, York City Art Gallery, © Estate of the Artist c/o Lefevre Fine Art Ltd., London

In the months leading up to the exhibition at Pallant House Gallery there has been a surge of interest in Burra, which one could hardly have anticipated. Several paintings that had not been seen in public for many decades were sold in May at Sotheby's from the Frost / Evill Collection, one of the best Modern British collections to come to auction for a generation. Whilst everyone had expected the Stanley Spencers to soar, the rocketing prices of the Burras (four times the previous auction record for his work) were a surprise to even his most ardent admirers. At the same time a new documentary on the artist has been made by Andrew Graham-Dixon, which will be broadcast to coincide with the exhibition, introducing his work to new generations. One wonders what Burra himself would make of all this attention. The answer is perhaps in a 1970s Arts Council documentary in which he is wryly indifferent to all the probing questions about this and that, answering with a question: "Why don't you show the pictures? I don't know what all of this personality has to do with it… But then I suppose you have to have personality." Burra's complete disdain for hype reflected his idiosyncratically independent vision. He painted for himself, rather than for others, in a way that led the Whitechapel Director Bryan Robertson to make the otherwise unlikely comparison between Burra and his sometime Soho drinking partner Francis Bacon. Burra claimed that for him painting was 'a sort of drug' and when one considers the severe arthritis and illness that plagued him throughout his life, this 15

Edward Burra, Marriage à la Mode, 1928–9, Watercolour on paper, Courtesy Lefevre Fine Art, © Estate of the Artist c/o Lefevre Fine Art Ltd., London

statement makes great sense. For each of the joyous pictures of cafés and nightclubs full of witty incident there is an image that powerfully conveys the dark side of humanity, the sinister things that we sense in the shadows, but may not wish to confront. Given his images of city life one might not expect him to have lived for most of his life in the quaint Sussex town of Rye, the place he described as 'Tinkerbelle towne', as it rarely appears in his work, except perhaps as an incidental background to his later majestic landscapes. Instead, Rye served as a base between trips to comparatively exotic locations such as Toulon and Marseilles in the South of France, Barcelona, Harlem in New York and Cuernavaca in Mexico. Burra was always setting off on trips, trying to escape his middle-class upbringing (his father was Chairman of East Sussex County Council). When his mother gave him money to treat an enlarged spleen, he spent it instead on getting a fearsome tattoo of a Chinese warrior. If anything he embraced 'bad' taste: garish music hall performers, sailors in search of a pick-up, tarts in a snack bar, or waitresses serving tea whilst dressed like Josephine Baker in a banana skirt. He relished the gaudy cheap glamour of modern life and was drawn to sub-cultures. Like the novelist Christopher Isherwood, he was a 'camera' – a 16

spectator with an extraordinary memory for detail. He was equally happy drawing inspiration from Parisian music halls and jazz music as he was from Hogarth or Renaissance and Baroque art and the Neue Sachlichkeit (New Objectivity) artists such as George Grosz and Otto Dix, or from French literature and avant-garde photographs. In his letters to his friends from his days at the Chelsea School of Art and Royal College of Art in the 1920s he rarely wrote about art, instead the pages are filled with witty and acerbic commentaries on the latest Hollywood films or Russian ballet he had watched. Not afraid of expressing a 'camp' aesthetic in his work or life, he adopted the alter egos of 'Lady Bureaux' and 'Madame Mata-Hari' in his letters. He was not interested in what other people thought of him, but he was interested in people, in their foibles and eccentricities. Burra's celebrated images capturing the dynamism of modern urban life in the 1920s and 1930s, such as the bustling scenes 'Market Day' (1926) and 'Saturday Market' (1932), are filled with an incredible amount of closely observed detail, but are held together with a strong unifying sense of design and daring compositions. In the exhibition these are brought together with a group of images of life in the streets and nightclubs of Harlem, visited by Burra in the early 1930s. These remarkable images of modern black culture deserve to be valued alongside the work of the leading artists of the Harlem Renaissance. With apparent warmth, they capture a sense of nonchalance: women smoking out of the window of apartment blocks, groups lingering on the steps, and men idling on street corners with their prohibition liquor in paper bags. These, and later images of Boston nightlife such as Silver Dollar Bar (1953), led the poet Conrad Aiken to describe Burra as 'the best painter of the American scene'. Burra's attraction to the margins was reflected in his fascination with the macabre. He loved Gothic novels such as Horace Walpole's 'Castle of Otranto' and the science fiction novels of the cult author HP Lovecraft, and in later life was fascinated with the supernatural. The strange creatures that appear in many of his works led him to be classed as a Surrealist, a label with which he was never entirely comfortable. His images draw on a variety of sources, but are always unmistakably his own original work: strange bird men that could have stepped out of an Hieronymous Bosch altarpiece, dancing skeletons that reveal the influence not only of Medieval woodcuts but also Disney's 'Silly Symphonies', and vividly alive Punch and Judy puppets that reflect his acute perception of the implicit violence in such

Edward Burra, An English Scene No.2, 1970, Watercolour on paper, Simon Draper Collection, Š Estate of the Artist c/o Lefevre Fine Art Ltd., London

folk entertainment. The darkness in his art is perhaps a reflection of his times: particularly the chilling impact of the Spanish Civil War, which he had witnessed first-hand in the 1930s, and the Second World War during which he created powerful images of monsters and skulls that encapsulate the horror of the situation. As he asked a friend, 'What can a satirist do with Auschwitz?' Instead in the post-war years he focused on uncanny still lifes and stunning British landscapes, but in each case somehow expressing powerful human characteristics through inanimate things. After the claustrophobic spaces of his earlier works his late landscapes of the 1950s and 1960s have a sublime quality that is breathtaking – the huge scale of these watercolours is perfectly suited to the expansive vistas that he recorded after trips around the British Isles with his sister Lady Anne Richie. But Burra never produced nostalgic landscapes. Instead, he depicted man's impact on the landscape: motorways filled with lorries, electricity pylons against a background of rolling hills. These late paintings are wistful perhaps, but never romantic. For me, it has been fascinating to discover paintings and drawings that have not been shown for decades, or illustrated in the catalogue raisonnÊe. Burra's designs for the stage are a case in point: neither the

Tate or Hayward Gallery exhibitions of the 1970s and early 1980s included them, yet Burra was lauded by the dancers and choreographers Frederick Ashton and Ninette de Valois as one of the most talented costume and set designers of the twentieth-century. He designed the sets for at least seven ballets, one opera, one film and a musical play, and the exhibition at Pallant House Gallery shows some of these designs and one of his set-models together for the first time. His costume designs are distinct from so many other stage designers as they capture the character of the performers, and reveal an acute sensitivity to the details of clothing and gesture. Rarely can the curatorial detective work involved in mounting an exhibition have been so pleasurable: reading Burra's immensely amusing diaries and letters in archives, handling his paint materials, and having the privilege of visiting enthusiastic collectors who are willing to share their Burras with others. It may have taken 25 years for such an exhibition to take place, but hopefully the wait will have been worth it. Edward Burra is on from 22 October until 21 February. A full programme of events accompanies the exhibition including a series of Saturday matinees, talks and tours. See page 50 for more information or refer to the What's On leaflet. 17


Edward Burra at the Cinema Renowned critic and art historian Richard Cork explores Burra's life-long fascination with Hollywood glamour

No English artist loved the exotic Hollywood dream as much as young Edward Burra. The more seductive and spectacular movies became, the more he adored them. The son of a highly respectable Justice of the Peace, Burra regarded his Sussex home-base at Rye as the epitome of sober seclusion. So he studied the often lurid magnificence of commercial cinema with the fascination of a voyeur. Burra revelled in the illicit naughtiness of a motionpicture world which reached increasingly delirious heights of glamour with each new film, every new star. In a 1928 postcard to his friend Barbara Ker-Seymer, the 23-year-old artist rhapsodised about Hollywood at its most outrageous. His freewheeling grammar and unconventional spelling broke into an abandoned stream of consciousness as the excitement of relaying his delight mounted: 'Mae West remains my favorite since seeing Belle of the 90s which I enjoyed more than anything Ive seen for a long time my favorite scene is when she stands draped in diamonte covered reinforced concrete with a variety of parrots feathers ammerican beauty roses & bats wings at the back and ends up waving an electric ice pudding in a cup as the statue of Liberty'. Burra's outrageous enjoyment was by now almost out of control, and he finished this extraordinary verbal outburst by declaring that 'some of the sets I thought were the best Ive seen I cant wait to see "I'm a lady now".' This ecstatic paean testifies to the hypnotic pull which film could exert over a susceptible young artist between the wars. But while movies revelled in their biggest-ever boom years, the unavoidable truth was Edward Burra, Mae West, 1934–5, Watercolour on paper, Private collection, © Estate of the Artist c/o Lefevre Fine Art Ltd., London

that the financial slump had reduced the market for experimental painting in England almost to vanishingpoint. One of Burra's most brazen responses was to fill his entire picture-space with a scene from a movie. The result is simply called 'Mae West' (pictured), and it could almost be a still from one of the movies he admired so eagerly. Its unabashed flaunting of a screen goddess's larger-than-life allure represents the greatest homage which a film-obsessed artist could pay to the cinema during the 1930s. Burra could go no further, and it is surely significant that he does not appear to have included explicit movie references in his work after producing this ultimate salute. Maybe he realised just how profoundly cinematic language had affected the structure of his own work. The young Burra had a penchant for containing, within a single picture, startling cuts between gigantic closeup and deep recession. He shared with Hollywood a love of filling his work with an extravagant abundance of furnishings and embellishments, not to mention feverish gesturing. The connections become still more obvious when Burra's 'Mae West' is compared with a typical movie poster produced in the same year, where the same compositional flamboyance is shamelessly exploited for the purpose of selling Alice Faye in George White's 1935 'Scandals'. But one of the reasons why Burra did not pursue overt cinematic subjects any further may be that he came to fear these resemblances, and fought shy of pushing his work too far towards the cul-de-sac of over-commercialised kitsch. Richard Cork's latest book 'The Healing Presence of Art' is published by Yale Books in Winter 2011 (p.41). 19


Artists on Burra

Maggi Hambling

George Shaw

Havana, 1928 Drawing is the most intimate and direct means an artist has with which to respond to the world. It is his or her hand-writing and the sketchbook a diary. I have chosen 'Havana' (opposite) because every touch of the ink is so alive that it breathes on the paper. Here is a condensed, intense space, charged with very real human presence. It feels as if the work was made in one sitting, everything flowing, juxtaposing and happening in a seized moment. The eye is taken on the journey of Burra's keen observations and the composition, a glorious chaos, transports us into a hell or heaven of arrested movement, teaming with sounds and smells. I often think that drawing is now side-lined and regarded as an inferior medium to that of painting. This drawing paints its subject in full colour, with no need of paint. My friend, the late George Melly, a huge fan of the artist, told me the story of Burra arriving at customs on his way in or out of America. The officer spotted a bulge protruding from the back pocket of Burra's trousers and questioned him. Burra thought quickly, and said: 'It's a growth, Dearie'. He passed on through the gate, a bottle of whiskey to the good.

The Straw Man, 1963 From the subject of his pictures to the way in which he handles paint or pencil Edward Burra conspires to unsettle me. His works leave behind them an anxious residue, something like a reminder of a bad dream - or was it a dream? Take for example this picture, 'The Straw Man' (above). Using the most polite of mediums Burra conjures up an instance of commonplace horror; a group of men kicking the shit out of a life-size straw doll. As in Poussin's Landscape with Man Killed by a Snake, life passes by. As in the photographs of Homer Sykes the rituals from a dark age are acted out in real clothes and in real time. This is no heritage holiday. This is the edge of some town somewhere, a place we all see as we pass through on the train. It is where the unwanted is taken and left. It is where what has always happened always happens. This straw man could be anybody or anything; a mod or a rocker, an immigrant, a toddler, a pensioner, a copper, a god, a devil, a bad harvest, a bad year, a bad day. This is a painting of the fear I have of the day slipping from boredom into horror, of what happens when you miss the last bus, buy a drink in The Wrong Arms, look different in the same street, take a short-cut. And as with all rituals it must be performed again and again because the spell of change it promises doesn't last. Same time next week, next year.... a recurring nightmare.

Edward Burra, The Straw Man (detail), 1963, Watercolour on paper, Pallant House Gallery, Chichester (on long-term loan from a private collection); Edward Burra, Havana, 1928, Ink on paper, Pallant House Gallery, Chichester (on long-term loan from a private collection), All images Š Estate of the Artist c/o Lefevre Fine Art Ltd., London


Clare Woods

Christopher Corr

Whitby Landscape Yorkshire, 1972 Burra for me is an amazing magician in the way he turns landscape into a something other. Looking at this painting (above) I do not feel any sense of open space, a view or even a landscape. For me the painting is a carefully constructed sculptural image. Its abstract shapes fitting together to create an almost monster like creature with a lighter painted spinal line running over the contours of its back. The air around it is thick with fog blocking any hope of a pastoral view. The background is replaced by dense dirty paint that suspends the creature blocking its movement away from me. The surrounding forms all nestled together feel dormant waiting to be woken. This image has a detachment to time and place with only the painted road and posts having any connection with a human presence, but this still does not give any clues to place. The title obviously helps to locate but remove the title and you are left with something more than a painting of Yorkshire.

Market Day, 1926 'Market Day' (opposite) is a hectic scene. It's 1926. Look at the clothes, the hats and the shoes. We're down by the port in a foreign place but where exactly are we? There's a palm tree, a broken viaduct. It could be Marseille, Toulon or maybe Genoa. The composition of the painting is complicated. It's like a still from a film or a theatre set, people are rushing along in all directions. It has a great feeling of motion and action: women with baskets on their heads, carrying strange fruits, men working down at the port unloading a ship, working the cranes, driving trucks, fishing boats, passenger ships. There are boats coming into port and others sail away. In the far distance you can see ships just visible on the horizon. A bus has stopped to let the passengers off. There are people looking from their windows, people at a cinema. There's so much depth to this painting. Two smart black sailors on shore leave are lugging their kitbags, looking for a room or a bar or some fun. There are girls, strange-looking girls, looking for a good time too. This is what I like about Edward Burra's work. He sets the scene with all the characters but he leaves it to us, the spectator, to complete the story. He made me want to see these places and draw scenes like this. I've been to Marseille, Toulon, Genoa and La Spezzia and I've looked for the sailors and the girls on the street. I still get excited when I see a basket on someone's head.

Edward Burra, Market Day, 1926, Watercolour on paper, Pallant House Gallery, Chichester (on long-term loan from a private collection); Near Whitby, Yorkshire,1972, Watercolour on paper heightened with Gouache, Simon Draper Collection; All images Š Estate of the Artist c/o Lefevre Fine Art Ltd., London




Bloomsbury and Beyond As the Radev Collection is shown for the first time art historian Julian Machin explains the background to this extraordinarily personal collection

Eddy Sackville-West (1901–1965), fresh from Eton, and Eardley Knollys (1902–1991), from Winchester, met at Christ Church, Oxford, on their first day there in October 1920. In aspect, they were un-alike. Eardley thought Eddy looked like a beetle, and although opinions differed, most regarded him as mournfullooking and singular. Although tall, Eardley was not in the least formidable and was described by Harold Nicholson in a letter to Vita Sackville-West as 'that hellenic vision with scented amber curls.' Fleetingly he and Eddy were lovers, and thereafter settled into a friendship which lasted until Eddy died suddenly of an asthma attack in 1965 at his estate in Ireland. That same day, Eardley had written to him to say that he was withdrawing from the weekend salon they had established at Crichel House, near Long Crichel in Dorset. As unexpected as Eddy's demise, was the bequest to Eardley that followed it – Eddy's entire collection of pictures, some of which Eardley had previously sold to him as past owner of the Storran Gallery in London. Less of a surprise was his effective status as Eddy's literary executor, but both gestures were testament to their friendship, anchored by Eardley's enduring compassion, openness and his non-excitable companionship since that first day at Oxford, nearly 45 years earlier. The Storran Gallery had been located at 5, Albany Court Yard, off Piccadilly. From 1936, its two partners, Eardley and Frank Coombs, trawled a number of Duncan Grant , Seated Male Nude from Behind, 1938, Oil on canvas, © 1978 Estate of Duncan Grant, courtesy Henrietta Garnett

ravishing private collections in Paris, including of Mme Paul Guillaume and M. Jean Netter, the friend of Modigliani's dealer, Zborovski, managing to extract major pictures on sale or return by Picasso, Utrillo, Monet, Renoir, Gauguin, Vlaminck and Derain, and putting on magnificent shows of Modigliani, Utrillo and Soutine. They were also active on behalf of many unknown artists who have long since been regarded as Modern British masters, and elicited the christening of the 'Euston Road Group' from Clive Bell's review of their 1938 exhibition '15 Paintings of London', often selling to major institutions and collectors. When Frank Coombs was killed in an air raid in 1944, Eardley could not face continuing without him and he closed the gallery. Thereafter he worked for the National Trust as a regional representative, but privately continued dealing in pictures. A few acquisitions that were made under the aegis of the Storran survive; 'Cornish Flowers', 1920, by Matthew Smith is one, bought from the collector GP Dudley Wallis in 1938 for £145. The paintings Eardley garnered from Eddy enhanced his collection considerably, whilst annoying the remaining members of the Crichel House coterie by the gaps on their walls, although some things he left there on loan, such as 'Coombe Valley Factory' by Adrian Ryan, which was returned only in 1987. For Eardley had bought a new weekend retreat with the Bulgarian Mattei Radev (1927–2009), whom he had met sometime after the latter's arrival in London in 1950. Radev had fled from Communism by stowing 25

away on a cargo ship bound for Glasgow, and worked in a variety of dead end jobs before coming to the attention of the early gay rights activist Pat TrevorRoper, who introduced him to Robert Wellington, the founder of the Zwemmer Gallery. Suddenly he moved from a doss house in Camden Town into one of the Nash Terraces on Regent's Park. It was life-changing, and he stayed there for 12 years. The artist Robert Medley asked him to frame some of his pictures. Mattei then had an apprenticeship with Robert Savage, the brilliant but prickly proprietor of a framer-cum-gallery in Brompton Road who eventually sacked him as was his habit, which obliged him to set up on his own. Eardley loaned him the necessary money and eventually the business flourished, to the extent of being offered a Royal warrant which he declined, because he worried that it might somehow impinge upon his more modest customers. The house they bought was a former hunting lodge, much frequented by writers and artists as Crichel had been, but slightly less formal: guests sitting down to dinner were as likely to include the Sitwells or the cleaning lady. The paintings looked well, although the majority of them transferred to the respective London homes of Eardley and Mattei. Their relationship was essentially platonic, having as fleetingly as Eardley's with Eddy run its sexual course. Curiously, Eddy and Mattei shared their birthday on 13th November, causing Eddy yearly to joke: 'You and I, born on the same day – me, an English aristocrat, and you a peasant from Bulgaria!' and each, including Eardley, was born under the sign Scorpio, the signature of intense passion and penetrating vision. Eddy Sackville-West was ahead of his time. His biographer, Michael De-la-Noy, wrote that 'The breadth of his interests, never circumscribed by artistic conservatism, was that of a true connoisseur of excellence. Graham Sutherland, Benjamin Britten and Michael Tippett were all creative artists whose careers Eddy helped to nurture.' In 1943, Britten dedicated his lovely 'Serenade for Tenor, Horn and Strings' to Eddy. He was also among the first to acknowledge the genius of Kafka. He was an early advocate of the gramophone, and his reviews for New Statesman were once required reading. He was an award winning biographer, a superb critic and man of letters. His pictures did not quite coincide with Eardley's taste, who preferred French painting, and a number of them were sold, swapped or consigned to the basement – for Eardley remained a lifelong dealer at

heart, even after he had become a painter in the late 1950s, as his private picture log book testifies. Eddy was more modernist, because more enquiring and exploratory. Having in 1991 inherited the paintings following Eardley's death, Mattei added more – notably works by Robert Medley - but his greatest gift was to preserve them all, and so the collection is named after him. Although he had never cared for parting with anything much, he had learnt a painful lesson in selling back in the 1970s when, encouraged by Eardley, he sold a superb Modigliani for a goodly sum at auction in London which swiftly reappeared in New York, where it sold for a huge increment and he resolved never to sell a picture again. Forays across the frontier of Bloomsbury were made by all three gentlemen. Eddy visited Lady Ottoline Morrell at Garsington with LP Hartley and TS Eliot whilst still at Christ Church, meeting Virginia Woolf there and causing distress to his cousin Vita who wrote to Virginia: 'I can forgive Eddy much – inheriting Knole instead of me, for instance, but not this.' He first visited Duncan Grant and Vanessa Bell at Charleston in 1922, apparently with sexual designs on Duncan, in which he may initially have been successful, but not lastingly. It was the way of all his love affairs. But Knole was a very handy tool in his attempts at seduction, and many 'Bloomsberries' succumbed to its charms. Eardley's connection was more straightforward. He was introduced by Edward Le Bas, who also encouraged him to become a painter, and become a regular visitor without any emotional entanglement, and remained a stalwart friend of many in the Bloomsbury milieu, especially of Frances Partridge, who was his immediate neighbour in Belgravia. Mattei came to Bloomsbury in the slipstream of Eardley, crossly denying the suggestion that he might not have been so accepted if he wasn't so good looking. But at Crichel House, in the spring of 1960, he met EM Forster. Despite the 46 years age difference, they embarked on a secret, somewhat tortured affair that was nevertheless at times emotionally and intellectually satisfying for both of them. Although Mattei has slipped through the index of every biography of Forster to date, their relationship is currently in the process of being fully chronicled. 'The Radev Collection: Bloomsbury and Beyond' is on show from 1 October–22 January in Rooms 4 and 5. Julian Machin will talk about the stories behind the collection on Thursday 3 November, 6pm. Please see page 50 for more details or


Amedeo Modigliani, Portrait of Soutine, Pen over pencil and chalk on paper



Working with Lucian Freud

David Dawson was the studio assistant and close friend of the late great painter Lucian Freud for 20 years, witnessing the creation of some of the most celebrated works of our age as well as being the model for numerous paintings himself. Here, to mark a new exhibition, he recounts how it all began.

David Dawson, Lucian with fox cub, 2005, Š David Dawson

'Graduating from the Painting school of the RCA in 1989, Susie Allen [Curator of the Painting Collection] suggested I meet with James Kirkman who was looking for someone to help him four mornings a week. Meeting him I discovered he was and had been Lucian Freud's dealer for many years. One of the first things I did in this new job was to go with Mr Kirkman to Holland Park to meet Lucian in his studio where he lived. I was so excited about this - I was going to meet a really great painter. We arrived at the house and rang the doorbell for the top flat. The stairs were immediately in front of us and, as we started to climb the six flights, Lucian was waiting for us at the top. He was quite small, slim, very light and quick on his feet, and had fantastically bright sparkling eyes. His good manners and quick wit put me immediately at ease. We went into his kitchen on the left-hand side; the flat was so sympathetic, three windows in the kitchen looked over Holland Park. Lucian said how good the air was next to the park. We didn't stay long as Lucian had a sitter in the studio, but now that Lucian had met me it became the start of 20 years of a brilliant journey for me. After a few visits to the flat Lucian asked me into the studio. Oh boy, I was mesmerised! I was trying to take it all in so quickly, everything. For me it was the most remarkable room I had ever stepped into. The room is not huge but its size felt so human in scale and a large skylight flooded one half of the room with daylight directly above you. On one big wooden easel sat a 29

canvas 'Nude with leg up', not finished, but over half way. It hit a punch, a force so visual, I absolutely loved it. Lucian had just finished a painting, 'Woman in a Butterfly Jersey' and I was to help carry it to Lucian's car wrapped in clean old hotel sheets (these I would collect from a lady called June in a warehouse off Brick Lane) to go with Lucian to see Ricardo and Louise at Fine Frames in Newman street in Soho and watch Lucian choose a frame suited to that particular painting. I later could see through framing many of Lucian's paintings with him that he quite often chose very early English frames. In those days Lucian would always drive his Bentley (by now I had heard about his driving). Well I never did feel scared but it was the days before speed cameras and he was a very fast driver. There were now other big paintings in the studio (when Lucian wasn't working on a painting it was turned to face the wall). At this time he would be working on four or five paintings at a time - day and night pictures would never mix. He then started a painting, which to me is the most remarkable work of his, his naked self-portrait, not a huge size canvas but it bursts with energy and vulnerability in equal measure. The door of the studio was always kept closed so there was never a sense of casual dropping in. You always entered the studio and immediately this would give a different atmosphere, an atmosphere of trying

to make something that's never been seen before, and personal and being fearless. Five years had already gone by and Lucian said he wanted to start a painting of me with his whippet Pluto. I lay on the bed naked feeling awkward, his initial start in the painting also included another of his models, a girl he was painting called Henrietta. She stood at the head of the bed also naked. As the painting grew his interest and fixation for this particular painting became more and more about my connection with his whippet which was curled into my side under my arm. As the shape of the canvas was tall and thin more trouble was needed to make the bottom of the canvas come alive. He didn't want just the floor boards in this painting, something else was needed: we tried my clothes, the shape of my trouser legs became a vague form. I thought it would be braver to have my actual legs so Lucian thought if I jumped under the bed with my knees sticking out from under it, it would be so much more robust for the painting. And also rather jokey which Lucian enjoyed. We then titled this painting 'Sunny Morning Eight Legs'. After that I sat for six more paintings, I was able to see how Lucian thought with paint, the decisions made, un-made and re-made.' 'David Dawson: Working with Lucian Freud', an exhibition of David Dawson's paintings shown alongside his photographs of the studio and key pieces by Freud is in Rooms 4 from 28 January – 20 May 2012.


Above David Dawon, Painters Garden with Eli, 2006, © David Dawson Opposite Lucian Freud, Self-Portrait with Hyacinth in Pot, 1947–48, Black, white and yellow crayon on paper, Pallant House Gallery (Wilson Gift through The Art Fund, 2004), © The Lucian Freud archive



artist in exile Joanna Cheetham tells the poignant story of Hans Feibusch, printmaker and Jewish émigré whose studio was presented to the Gallery in 1998

Until Hitler's appointment as Chancellor on 30th January 1933, German, Jewish artist Hans Feibusch (1898-1998) had enjoyed a prosperous career in his homeland. The winner of the prestigious State Prize for Painting, Feibusch had studied with celebrated Expressionist Karl Höfer and Cubist André Lhote in Berlin and Paris, and his work hung on the walls of galleries throughout Germany. Feibusch had witnessed violent acts of anti-Semitism in his hometown of Frankfurt am Main and, following dismissal from a local artists' association on racial grounds, he fled Germany for Britain in May 1933. In exile in London, Feibusch created a series of dark and brooding prints which encompassed his fears of Nazism and expressed the solitude, anxiety and desperation of his experiences as an émigré. One such work, the lithograph 'Drowning Mother and Child' (1935) is imbued with themes of powerlessness, abandonment and fear. This disturbing image depicts the plight of two innocents: mother and child, for whom the quest for survival is lost. The figures are immortalised in the act of drowning, caught between the two worlds of life and death. The floating bodies are trapped between states of departure and arrival; perpetually making a journey without end. This state of non-belonging, of being 'at sea' was, for Feibusch, an inescapable symptom of being a refugee. In an interview with the BBC, he said: "There is a dichotomy…a division which has left me not quite in one world or another…being half on the inside and half on the outside has been with me all my life.'

These internal conflicts were evident in Feibusch's later work. Bishop Bell, a tireless supporter of refugees and an enthusiast of contemporary art, commissioned him to paint a number of large-scale Biblical murals within churches in his diocese, including the celebrated 'Baptism' (1951) at Chichester Cathedral. The artist went on to create more than 40 public murals, working closely alongside notable modernist architects including E. Maxwell Fry and Thomas Ford. Despite a lifetime's dedication to the study and creation of Biblical imagery, and the artist's own conversion to Christianity, Feibusch's late work revisits the themes explored in his prints of the 1930s and 40s. Haunted by television documentaries aired to commemorate the 50th anniversary of the liberation of Auschwitz, Feibusch was impelled to create a series of expressive pastel paintings, which explored his reaction to the expulsion and murder of Jews by the National Socialists. The overriding horror of his experiences in Nazi Germany forced Feibusch to reassess his faith and beliefs, which resulted in his subsequent disassociation with the Church of England. Shortly before his death, Feibusch spoke of his life and work to The Times, confessing that the years spent painting church murals were, nonetheless, the happiest of his life. In conclusion, he claimed that, at the age of 99, he was just "a very tired, old Jew." Hans Feibusch: Printmaker is in the De'Longhi Print Room 22 November – 8 January. Joanna Cheetham will talk about the artist on Thursday 1 December, 6pm (p.50).

Hans Feibusch, Drowning Mother and Child (detail), 1935, © By permission of the Worthwhile Foundation



We English To mark their acquisition by the Gallery, artist Simon Roberts introduces his series of prints depicting the South Downs

Although I was born in Croydon (in 1974) my formative years were spent in a provincial town in Surrey's commuter belt, while holidays took place in the Lake District (usually in the rain) or visiting my grandparents in a Sussex retirement town on the South Coast. Childhood memories, and the range of associations and images they suggest, became the starting point for 'We English'. It seemed to me that these landscapes formed an important part of my consciousness of who I am and how I remember, interpret and understand England. Over the course of a year, I produced a series of colour landscape photographs, which record places where groups of people congregate for a common purpose and shared experience. Looking at leisure activities struck me as a thought-provoking way of exploring England's shifting cultural and national identity. Leisure activities might seem to say much more about who we are than, for instance, what we do in the workplace. They can be aspirational, revealing not just how we see ourselves but how we wish others to see us. And landscape is an intrinsic part of these leisure experiences. It is a commodity: we consume it, utilise it, adapt it and make it ours, even though we rarely own it. The four images acquired by Pallant House Gallery were all taken in Sussex. Some of the landscapes, for example, the South Downs, have changed very little over time. While the airy lightness of the large skies and the verdant Simon Roberts, South Downs Way (detail), West Sussex, 8th October 2007, Š Simon Roberts

beauty of the fertile hills evoke an atmospheric timelessness, the paragliders present a very contemporary slice of British life. The dialogue between old and new, past and present in this image appeals to me, as does the tension between the somewhat triumphant flying of the flag of St George and the old-fashioned backdrop of the quiet static caravans positioned outside Peacehaven, in another of the images. Like Edward Burra's images of people at leisure, my photographs are of everyday activities and everyday people. Unlike Burra, the people in my images are seen from afar, moving in landscapes that appear larger and more potent than they are, so that they are dwarfed by beauty, by nature, by their environment's drama and dimensions. There is a long and rich history of surveys by British artists that have captured the social, political and cultural landscape of England and Britain; many of whose work can be found in the collection of Pallant House Gallery. So I am delighted that these four photographs from 'We English' will now constitute part of the collection and will play a humble part in the on-going evolution of this rich selection of modern British art. The photographs will be on display at Pallant House Gallery from 22 October to 22 February. For more information about Simon Roberts see The monograph 'We English' is published by Chris Boot, 2009 35

Collection News Acquisition of Keith Vaughan The Gallery has acquired a major oil painting by the British artist Keith Vaughan entitled 'Musicians at Marrakesh' (1966–70). The painting was accepted by HM Government in lieu of Inheritance tax from the Estate of Prof. John Ball and allocated to Pallant House Gallery. Although best known for his wartime Neo-Romanticism this painting is an important example of the artist's later figurative work, and reflects the great impression that Morocco made on him when he visited the country in the mid-1960s. It will be a centre-piece of the Gallery's forthcoming Keith Vaughan centenary exhibition in spring 2012.

Keith Vaughan, Musicians at Marrakesh, 1966–70, oil on canvas © The Estate of Keith Vaughan

Eduardo Paolozzi at Jonathan Clark & Co. A group of six sculptures and drawings by Eduardo Paolozzi will be lent to an exhibition of the artist's early work at Jonathan Clarke & Co. in London, who are now representing the Paolozzi Estate. These include one of his early target collages from 1947, an ink drawing of a Picador (1948) and his bronze standing figure (1957). All these items are from the Wilson Collection, reflecting the close friendship between Paolozzi and the architect Colin St John Wilson who donated much of his collection to the Gallery in 2006. 36

Graham Sutherland at Modern Art Oxford Pallant House Gallery will be lending nine works on paper to the exhibition 'Graham Sutherland: An Unfinished World' at Modern Art Oxford (10 December 2011–18 March 2012). This reflective exploration of the artist's lesser-known work is curated by 2011 Turner Prize nominee George Shaw and concentrates on Sutherland's early Welsh landscapes from the 1930s, works created during his time as official WWII war artist, and after his return to Pembrokeshire in the 1970s.

New Print Acquisitions The Gallery's print collection has continued to develop with a number of donations of historic, modern and contemporary prints. These include an etching by Francesco Bartolozzi (1725–1815) after Guercino, an etching, lithograph and a drawing by Frank Brangwyn which were donated by Mr Donald Pelmear in memory of John Acton Harvey (known as 'Max'), and a 'Self Portrait after Ceri Richards' by the wood-engraver Garrick Palmer following his exhibition in the De'Longhi Print Room this Spring. A group of contemporary prints by Scottish artists have also been acquired through the generosity of The Golder – Thompson Gift including Kenny Hunter's 'All Cats Are Grey at Night', David Bellingham's 'An Infinite Territory Between Two Ideals', Grace & Owens 'Blue', and Thomas A Clark's 'The Hidden Place'. The photographer Simon Roberts has donated a photograph of the South Downs from his 'We English' series to the gallery. A further three photographs have been acquired through the support of the Friends of Pallant House Gallery, Miss Jean Symons and an anonymous donor. The artist discusses his work on page 34.

Snowdon: In Camera The Gallery's exhibition 'Snowdon: In Camera' is touring to the Burton Gallery in Biddeford (27 October – 24 December 2011) and the Tunbridge Wells Museum (13 January – 3 March 2012). The exhibition was first held at Pallant House Gallery in 2007 and features over 70 photographic portraits by Lord Snowdon of British artists including Grayson Perry, Henry Moore, Barbara Hepworth, L.S Lowry, Bridget Riley and David Hockney.

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Going for GolD Artists Andy Hood and James Lake introduce a unique paralympic project

Gold Run is a unique collaboration between Pallant House Gallery's Outside In, Glyndebourne and the disability arts organisation Carousel inspired by the return of learning-disabled athletes to the Paralympics. It will culminate in a multi-media performance and site-specific installation created with and performed by members of the learning- disabled community and marginalised artists, shown in various venues in 2012. Andy Hood, Documentary Photographer I have been appointed to the role of official documentary photographer for Gold Run. It is my first professional commission and I am really excited about it. My brief is to create a body of work based on the project. I have been given quite an open book in terms of how I approach it although I am supported by Marc Steene and Lucy Greenfield and the rest of the Outside In team throughout. Later I will be displaying a selection of the photographs at Wellington House Gallery in Brighton. So far I have been thinking very much about personalities, the individuals involved in the project, although that will become more apparent as the project progresses. There will be lots of scope for capturing performers before, during and after the performance but at the moment I am trying to gain an overview. I have been attending the choir rehearsals and also the creative meetings which have given me really contrasting perspectives. Doors keep opening like Toby Salmon, the sound engineer, has just agreed Photography by Andy Hood

to let me photograph him in his studio which should be really interesting and I'm also planning to take some pictures of the film crew working. I became involved in Gold Run through 'Outside In'. I was picked out as one of the six winners of the 2007 competition which really turned things round for me. Part of my prize was to have a solo show at the Gallery. I'd had a couple of exhibitions at that point but it was amazing to have my work shown in a major gallery with all the profile and support that a larger gallery can offer. The documentary work is very different from how I approach my own photography. I tend to be quite eclectic and look for something that grabs me. My 2007 exhibition showed a series of images taken on a train. I was drawn to the light and the contrast between the interior landscape of the train and the external landscape visible in the reflections. Some of my recent work is also taken on or from trains and also of buses at night. I like to use multiple exposures and create layers of images. I also made a series of interiors of my flat which were brightly coloured and blurry using a slow shutter speed. These said a lot about how I was feeling - my internal feelings of chaos and disorientation following my mental illness. I am also very drawn to self-portraits – I think I have an alter ego who likes appearing in them. The key thing about Gold Run, to me, is that it is a collaboration. It is a celebration of learning disabled athletes and it will address the issues of why they were left out and why they have now returned. It is a very 39

interesting project to be part of and it is great that Outside In is putting its money where its mouth is with this commission and directly supporting artists from the margins of society. Glyndebourne is a fantastic place to show the piece. We had one of the creative meetings there and there was a rehearsal going on in the studio next door. Suddenly a group of performers came through wearing their dressed-down rehearsal clothes and amongst them was a man, very composed and poised, wearing grey jogging trousers with a tweed jacket and neck scarf which I thought said it all! James Lake, Sculptor I was invited to be part of the Gold Run project by Marc Steene, Head of Learning and Community and Outside In project manager. Marc had seen my work in the 2009 Outside In exhibition a couple of years previously. My primary role is that of sculptor/ prop designer. So far I have started constructing a large scale 3D portrait of David Rushbook, a learning-disabled opera singer, using cardboard. This portrait is intended to move, sing and perform alongside the other performers on stage. In addition to this, I will design an installation piece during my residency at the Outside In London 2012 exhibition at Dilston Grove, mentored by Richard Wilson. I started making large scale figurative sculpture from cardboard about 15 years ago. This move was directly


related to getting cancer at the age of 16 and losing a leg aged 17 years. The medium of cardboard enabled me to create sculpture in a non-studio environment; the resource was inexpensive and readily available. I consider myself an artist with a disability, but my disability influences my artistic practice. I believe i n the value and quality of all artists and artistic practices and think that there should be a platform for a diverse range of artistic endeavours. I have many influences, but work best when working with or alongside others. My work is influenced by the collaborative experiences I have had over the years. I consider myself very fortunate to have the opportunity to work alongside a varied and interesting group of performers and artists. This project celebrates the dreams and aspirations that we all share, drawing on the historical significance of the exclusion of learning-disabled athletes in the Paralympics. The Gold Run project emphasises the complexity and humanity that is present, but sometimes overlooked, when considering disability. Gold Run is at Glyndebourne in April, the Brighton Corn Exchange in May and CFT in October 2012. James Lake's installation will be shown as part of the Outside In London 2012 exhibition at Dilston Grove in August. Andy Hood's photos are at Wellington House Gallery in May 2012. The project is supported by the National Lottery through Arts Council England, the Big Arts Give and the Paul Hamlyn Foundation.

The Healing Presence of Art A History of Western Art in Hospitals Richard Cork Fascinated by the astonishingly rich history of art in hospitals, the well-known critic and art historian Richard Cork has written a brilliant account of the subject. These works, which include masterpieces of Western art, have been produced from Renaissance Florence and Siena to the 20th century. The book’s sumptuous images offer a rich range of subjects, from Francisco Goya’s dramatic confrontations with suffering to Giovanni Battista Tiepolo’s sublime, airborne celebrations of resurrection and heavenly ecstasy. Some, like Leonardo da Vinci’s incisive drawings, are based on uncompromising firsthand study of hospital patients. Others explore a redemptive world where Christ is born, orphans are rescued, and plague victims are given shelter. In this wide-ranging survey, Cork investigates how such artworks have been used to humanise hospitals, to alleviate their clinical bleakness, and to offer genuine, lasting pleasure to patients, staff and visitors. Available Winter 2011 200 b/w + 240 colour illus. £50.00

Elizabeth Blackadder

William Nicholson

Ron Mueck

Phil Long

Catalogue Raisonné of the Oil Paintings Patricia Reed

David Hurlston

This generously illustrated book, which tells the fascinating story of Elizabeth Blackadder’s career from her early days as a student in Edinburgh to her very recent work, is both a celebration of and an invitation to look again at the work of one of our greatest living painters. Exhibition Catalogue Published in association with the National Galleries of Scotland 5 b/w + 100 colour illus. £20.00

With Wendy Baron and Merlin James

William Nicholson is among the most admired and elusive painters in British art. The breadth of his painting is revealed in this sumptuous book, the first fully illustrated catalogue raisonné of the oils. Distributed for Modern Art Press Ltd 90 b/w + 640 colour illus. £95.00


With essays by Lisa Baldissera, Nicholas Chambers, James Fox, Kelly Gellatly, Ted Gott, Susanna Greeves, Philip Long, Angela Ndalianis, Justin Paton, Craig Raine and Angus Trumble

This beautifully illustrated book is the first-ever comprehensive look at Ron Mueck’s hyperrealist figurative sculpture, offering detailed insight into the artist’s ideas and methods. Published in association with the National Gallery of Victoria 2 b/w + 75 colour illus. Paper £19.99

tel: 020 7079 4900

EXHIBITIONS Image: Mao (1972), from a portfolio of ten screenprints. Private Collection ©The Andy Warhol Foundation for the Visual Arts, Artist Rights Society (ARS), New York / DACS London 2011.














PLUS MUSIC, COMEDY, DANCE AND MUCH MORE Box Office 01243 781312 Book online


Gallery News Richard Hamilton dies age 89 We are sad to announce that Richard Hamilton has died aged 89.The artist, who was born in London in February 1922 and studied at the Royal Academy Schools and Slade School of Fine Art, was often dubbed the Father of Pop. The Gallery holds several important works by Hamilton including 'Swingeing London '67 which incorporates a screen print taken from a Daily Mail photograph of Mick Jagger and Robert Fraser being driven to Chichester Magistrates Court following their arrest at the home of Keith Richards at Redlands in West Sussex.

Stefan van Raay on sabbatical Stefan van Raay, the Director of the Gallery, has gratefully accepted the kind offer of sabbatical leave by the Trustees. He has been in charge of the Gallery since 1997, a period of 14 years in which time he has overseen the fundraising and planning of the new wing; the building of the new wing and the re-decoration of the historic house; and the re-opening of the Gallery alongside a regular programme of exhibitions. Stefan will spend his sabbatical leave abroad from 1 November 2011 until 1 February 2012. Marc Steene, Head of Learning and Community, will be Acting Director in his absence. Marc has worked for the Gallery since 2001 and has gradually built up an excellent national and international reputation for this important part of the Gallery's offer. He has managed a wide range of projects and heads a substantial number of full and part time members of staff and volunteers. Marc says: 'It will be a positive experience for me and I thank my colleagues for the support they have promised me.'

Coming soon: Keith Vaughan Centenary To mark the centenary of his birth Pallant House Gallery will host an exhibition of the Selsey-born British painter Keith Vaughan (10 March – 10 June 2012). Largely selftaught, Vaughan formed friendships with the painters Graham Sutherland and John Minton during the war, becoming a leading 'Neo-Romantic' artist in the 1940s and 1950s. Concentrating on the male nude in the landscape, Vaughan developed an increasingly abstract painterly style in later years. The exhibition will feature both his drawings and studies and major paintings from across his career. Richard Hamilton, Swingeing London '67, Relief silkscreen and oil on photo on board, Pallant House Gallery (Wilson Gift through The Art Fund, 2006), © Estate of the Artist

Hans Feibusch on screen Members of Pallant House Gallery's Hans Feibusch club have been celebrated on screen in a beautifullychoreographed film made by the Chichester-based dance company Replica Dance. Led by Replica directors Hannily Bendell and Thomas Pickard, the film is inspired by the theme 'home' and was made during a workshop session at one of the Thursday afternoon workshops. You can view the completed film on the Gallery's website at

dinner and a talk This season, enjoy a whole evening out at Pallant House Gallery with a new combined ticket offer which includes entry to an evening talk followed by a dinner at the critically acclaimed Field & Fork restaurant. Be entertained by an evening of spoken word and conversation on two of the highlight events from the Burra season, then delight in a sit-down, two course dinner and glass of house wine from the set menu. £28.50 (Friends, £27.50) book tickets in advance from reception. See the What's On leaflet for more information. 43

Hans Feibusch: The Influence of Europe Otter Gallery 24 November-15 January 2012 A celebration of sculptor and painter Hans Feibusch’s career, exploring the biblical and classical themes that inspired him, as well as landscapes, still life, portraits and figure studies. The exhibition features important loans from Pallant House Gallery, Chichester Cathedral and private collections. Otter Gallery University of Chichester College Lane Chichester PO19 6PE FREE ADMISSION 01243 816098 Visit for opening times

Image: Diana, Hans Feibusch

CULTURAL TOURS f or d i s c e r n i n g t r av el l er s

Gustav Klimt & Albrecht DÜrer Kirker Holidays is offering escorted tours to Vienna & Nuremberg to see special exhibitions taking place to celebrate the works of these great artists. Gustav Klimt ‘The Kiss’ © Belvedere,Vienna

Prices include flights, accommodation with breakfast, dinners as described, exhibition tickets, a full programme of sightseeing and the services of a Kirker Tour Lecturer.

Gustav Klimt in Vienna

The Early DÜrer Exhibition in Nuremberg

28 March - 2 April 2012

Marking the 150th anniversary of Klimt’s birth in his native city, our tour visits two special exhibitions at the Leopold Museum and the Albertina. Optional performances at the Vienna State Opera are available.

5 night price £1,362 including three dinners.

31 May - 4 June, 22 - 26 July & 16 - 20 August 2012

The most comprehensive Dürer exhibition in Germany for 40 years takes place at the German National Museum in Nuremberg, the city of the artist’s birth.

4 night price £998 including two dinners.

To book or request a brochure please call

Portrait of Barbara Dürer by Albrecht Dürer © Germanisches Nationalmuseum

020 7593 2284 please quote source code GPH

Chairman of the Friends' Letter Tickets 01243 774557 (Booking Required) Lady Nicholas Gordon Lennox

Edward Burra, Esso, 1952–4, Watercolour on paper, Private collection, Š Estate of the Artist c/o Lefevre Fine Art Ltd., London

Dear Friends, Patrons and Gallery Club Members Let me start with some very good news. In spite of widespread pessimism in the financial world at the moment I am delighted to say there has been a significant increase in the number of visitors to the Gallery this summer and hence to the number of new Friends. With the Edward Burra exhibition in the autumn supported by another tremendous programme of Friends events, I feel hopeful that this trend may continue. Please note the details of the Edward Burra Art Lunch presented by Simon Martin, curator of the exhibition, on page 47 of this magazine. Since we have so many new Friends to welcome it has been decided to give a party for them which will provide the opportunity for them to meet other Friends as well as members of the Friends' Office. We hope this get together may become a regular feature of Friends' events. Do look out for more information about this in the next magazine. We have much to look forward to in the forthcoming year at Pallant House Gallery. 2012 will be the 30th anniversary of the founding of the Friends and it is also the 300th anniversary of the building of Pallant House. We will be planning some very special events to commemorate these milestones. 2012 is also the 50th anniversary of Chichester Festival Theatre with whom we have a lively partnership and there will be a special exhibition later in the year in celebration of this. A number of Friends who attended the concert by Melvyn Tan sponsored by Kirker Travel said they would

like to hear more piano music at Pallant House Gallery. For the past two years we have held the Pallant Proms at noon on the last Saturday of each month through the winter. Dr Alan Thurlow, a Trustee of the Friends, has written an article about these recitals and the pianists who perform here which you can read on p46. Do please tell your friends about them. Our Membership Office has included with your membership advice, a letter from me offering you the opportunity to help fund a forthcoming exhibition. I hope, as a Friend of the Gallery, you will welcome this chance to be involved in the exhibition programme. However modest your contribution it will of enormous help to us. I would like to say now a personal thank you to all our Friends for the many ways in which you support Pallant House Gallery and have helped to make the Gallery the exciting centre of art it is today.

Pallant House Gallery Friends


Return of the Proms Alan Thurlow

Following the opening of the new Gallery building it was soon realised that from time to time some of our events would require the use of a piano. Hiring and moving pianos is an expensive business, so it was fortunate that our need coincided with Dr John Birch's decision to move back to Chichester, and the Gallery greatly appreciates the use on permanent loan of his fine BĂśsendorfer grand piano. John Birch was Organist and Master of the Choristers at Chichester Cathedral from 1958 until 1980 and worked during that time with Dean Walter Hussey, whose inspiration was responsible for the founding of the Pallant House Gallery. A good piano needs not only to be regularly maintained but also to be regularly played. In 2009, to meet this need, the Gallery started our now well established series of Pallant Proms. Thanks to generous private sponsorship the recitals now take place on the last Saturday of each month from September through to March (but excluding December). We have been enormously fortunate in the interest shown in our series by the Royal College of Music in London, who for each concert send us distinguished performers from their Recital Class. These pianists, from all over the world, are in the final stages of training before embarking on their careers as professional concert recitalists. Our audiences have been wonderfully uplifted by their programmes and choice of repertoire as well as by the impressively high standard of performance: Jianing Kong, one of those who 46

Pallant House Gallery Friends

Tickets 01243 774557 (Booking Required)

played to us in the first series, has since gone on to be a finalist in the Leeds International Piano Competition. The performers, equally, love coming to the Gallery and playing their programmes in front of a knowledgeable and appreciative audience and in the context of all the art displayed around them. They enjoy performing in an environment which is different from the normal concert room and find it a challenging experience. Meng Yan Pan, after her first appearance here, immediately requested the chance to come again so that she could perform Mussorgsky's Pictures at an Exhibition! This year's series continues on 29 October when Gen Li plays music by Chopin and Liszt. Then, on 26 November, Yulia Chaplina performs works by Bach, Schumann and Ravel. Each concert begins at 12 noon and finishes by 1pm. Members of the Friends of Pallant House Gallery are admitted free but are encouraged to contribute to a retiring collection. Friends do, however, need to obtain their free ticket (preferably in advance of the day) from the Gallery reception desk. Members of the public can purchase tickets in advance or on the day at a cost of ÂŁ5. Availability of tickets is of course restricted by the seating available in the room, so advanced booking is recommended. If you have not already been to one of the recitals, do please consider supporting them and giving encouragement to these highly talented young performers as they embark on their professional careers.

What's On Friends' Events

Tickets 01243 774557 (Booking Required) Tickets 01243 774557 (Booking Required)

family since the late 19th century told through his collection of netsuke – tiny Japanese carvings. £5 includes tea and cake.

Edward Burra, Gourds, 1957–9, Watercolour on paper, Private collection c/o Susannah Pollen Fine Art Limited, © Estate of the Artist c/o Lefevre Fine Art Ltd., London

Friends Private View Sunday 23 October, 10am A chance for the Friends to enjoy their own private view of the Edward Burra exhibition Free. Coffee and biscuits. The Art Lunch: Edward Burra Thursday 10 November, 10.30 am–2.15pm An illustrated lecture by Simon Martin, curator of the exhibition, exploring Burra’s fascinating life and times, his artistic influences, and the major themes of the exhibition. After a private two-course lunch with wine by Field & Fork, a guided tour will focus on key works in the exhibition with the opportunity to discuss his work. £60 (Friends £54) Book Club: Mapp and Lucia– E.F. Benson Sunday 23 October, 2.30–4pm To coincide with the exhibition of Edward Burra who lived in the Sussex town of Rye for much of his life, the autumn book club programme opens

with one of E.F. Benson’s Mapp and Lucia novels chronicling the social pretensions of Tilling (based on Rye) society in the 1920s. £5 includes tea and cake. Pallant Prom: Gen Li Saturday 29 October, 12noon Given by Gen Li who is a student on the Recital Course at the Royal College of Music, the programme will include Chopin and Liszt. £5. Friends free but any voluntary contributions towards expenses will be appreciated. Friends Gallery Tour Tuesday 8 November, 2pm A Friends tour of Edward Burra with Simon Martin, curator of ​the exhibition. £5 (£2.50 student Friends) includes tea and biscuits. Book Club: The Hare with the Amber Eyes by Edmund de Waal Sunday 20 November, 2.30–4pm Potter and ceramicist Edmund de Waal’s extraordinary story of his

Pallant Prom: Yulia Chaplina Saturday 26 November, 12noon Yulia Chaplina of the Royal College of Music’s Recital Course will give this month’s concert of music by Bach, Schuman and Ravel. £5. Friends free but any voluntary contributions towards expenses will be appreciated. Friends Coffee Morning Thursday 8 December, 10.30am Claire Shea, curator of the Cass Sculpture Foundation will talk about her role in commissioning and programming at the Sculpture Park £5 includes coffee and biscuits. Book Club: Stanley Spencer by his Brother, Gilbert by Gilbert Spencer Sunday 22 January, 2.30–4pm An academician himself, this is Gilbert Spencer’s touching memoir of his brother Stanley’s life in the Thames-side village of Cookham, his student days and later career. £5 includes tea and cake. Pallant Prom: Vanessa Benelli Mosell Saturday 28 January, 12pm Today’s concert will be given by Vanessa Benelli Mosell from the Royal College of Music. The programme will include pieces by Liszt. £5. Friends free but any voluntary contributions towards expenses will be appreciated. Pallant House Gallery Friends


What's On Friends' Visits

Modern Art Oxford Wednesday 15 February, 9am-7pm approx. Founded in 1965, Modern Art Oxford is a leading gallery for the presentation of modern and contemporary visual art. This is an opportunity for you to see their Graham Sutherland exhibition curated by Turner Prize nominee George Shaw on a special guided tour. There is a good café for coffee and light lunches and you have the rest of the day to enjoy at leisure the delights of Oxford such as the Ashmolean Museum. £28 includes coach travel and tips. Refreshments not included. We should be dropped off roughly five minutes’ walk from the gallery.

How strenuous? Please be aware that there is walking involved in our visits. You should be able to walk for at least 15 mins, sometimes on uneven/cobbled/uphill ground to a destination and around the site itself. We are unable to assist individuals with walking difficulties. Picking up and dropping off Unless otherwise notified by the Friends Office, both pick up and put down points will be at the Oaklands Park, Chichester lay-by.


Pallant House Gallery Friends

Tickets 01243 774557 (Booking Required)

Le Bois des Moutiers, Dieppe, Photograph taken by Sarah Quail

Friends visit to Normandy Monday 10 September – Saturday 15 September 2012 The Friends Away trip in 2012 will be to Normandy. We shall stay in Honfleur, with its picturesque old harbour, a key centre of artistic activity in 19th century France and today still a hub of artists’ studios. We shall visit the Musée Eugene Boudin in Honfleur itself and, over the week, the Musée des Beaux Arts, the Abbaye aux Dames and FRAC (the Fonds Régional d’Art Contemporain) in Caen; the Musée Malraux and the Auguste Perret Show Appartment in Le Havre; Dieppe, with its associations with Sickert, and the Museum of Impressionism, Monet’s house and garden, and the Hotel Baudy at Giverny. We shall see a fabulous range of artworks: old masters in Caen and Le Havre; works by Normandy-born artists such as Géricault, Boudin and Dufy, and artists who were drawn to Normandy and its coast by its particular quality of light such as Monet, Sisley, Renoir and Manet.Other sights will include Sir Edwin Lutyens’ Arts and Crafts Le Bois des Moutiers with its Gertrude Jekyll garden, outside Dieppe, the nearby Renaissance Manoir d’Ango, and the church at Varengeville. The price will include all coach travel (from Chichester)and ferry (Brittanny Ferries from Portsmouth) including a reserved seat on board ship both ways, dinner, bed and breakfast, entry to all sites and gratuities. We shall not be able to finalise the price until next month but it will be approximately £890 per person. If you are interested in knowing more about this trip once the details are finalised then please get in touch with the Friends Office now.

Patrons of Tickets 01243 774557 (Booking Required) Pallant House Gallery We are immensely grateful to the following Patrons of Pallant House Gallery for their generous support:

Mr and Mrs John Addison Smith Keith Allison Lady Susan Anstruther John and Annoushka Ayton David and Elizabeth Benson Henry Bourne and Harriet Anstruther Vanessa Branson Patrick K F Donlea Frank and Lorna Dunphy Lewis Golden Paul and Kay Goswell Mr and Mrs Scott Greenhalgh Mr and Mrs Alan Hill Kevin A S Jamieson

James and Clare Kirkman Lefevre Fine Art Ltd. Robin Muir and Paul Lyon-Maris Angie O'Rourke Catherine and Franck Petitgas Charles Rolls Sophie and David Shalit Tania Slowe John and Fiona Smythe Tim and Judith Wise and the many other Patrons who wish to remain anonymous and our much valued Gallery Club members

If you are interested in becoming a Patron of Pallant House Gallery, please contact Elaine Bentley on 01243 770844 or

Please find the public programme of events in the enclosed What's On leaflet online14:29 at (Talks overleaf) 3634 ad v1:3634 ad v1 or 23/2/10 Page 1 Sponsors of the Friends of Pallant House Gallery Chichester’s only Chartered Financial Planning company

01243 532161

High quality affordable financial advice – call us now for an initial chat, at no cost. If we can help, we will.



what's on gallery talks Find the rest of the public programme including tours, screenings and workshops in the 'What's On' guide or online at To book please use the booking form opposite or telephone Reception on 0123 774557.  Online booking avaliable

The Radev Collection: Bloomsbury and Beyond Thursday 3 November, 6pm Art historian Julian Machin discusses the collectors Mattei Radev, Eardley Knowles and Eddy Sackville-West, and their fascinating friendships with artists and writers such as EM Forster and Duncan Grant. £7.50 (£6.50 students, £6 Friends)  The Dance of Death: Edward Burra and the Macabre Thursday 17 November, 6pm Often grouped with the Surrealists, Burra was drawn to disreputable subjects and the dark side of humanity. He created extraordinary images of dancing skeletons, strange bird men, and sinister still lifes that were full of menace. Curator Simon Martin explores these works and his influences from Goya and Hieronymous Bosch, to science fiction and horror movies. 7.50 (£6.50 students, £6 Friends)  50

Among the Bohemians: Experiments in Living 19001939 Thursday 24 November, 6pm The author Virginia Nicholson, grand-daughter of Vanessa Bell and great-niece of Virginia Woolf, discusses the generation of English artists, writers and musicians who recreated bohemian values in Soho and Bloomsbury in the early years of the 20th century, including the Sitwells, Evelyn Waugh, Augustus John and Ottoline Morrell. Hans Feibusch Thursday 1 December, 6pm To coincide with the exhibition in the De'Longhi Print Room Joanna Cheatham introduces the German émigré artist Hans Feibusch who came to Britain in 1933 to escape Nazi persecution, and was included in the notorious Degenerate Art Exhibition in Munich in 1937. £7.50 (£6.50 students, £6 Friends)  Virginia Woolf by Alexandra Harris Thursday 12 January, 6pm To introduce the follow-up to her hugely acclaimed book 'Romantic Moderns' (winner of the 2010 Guardian First Book Award) Alexandra Harris discusses one of the towering figures of literary modernism and shows why, seventy years after her death, Virginia Woolf continues to haunt and inspire us. £7.50 (£6.50 students, £6 Friends) 

Edward Burra's Life and Letters Thursday 19 January, 6pm Jane Stevenson, author of Burra's biography, explores the extraordinary life of this fascinating artist whose friendships with the artists, choreographers and writers such as Conrad Aiken, Frederick Ashton, Billy Chappell, George Melly and Paul Nash were recorded in vibrant and witty letters. £7.50 (£6.50 students, £6 Friends)  The Prints of Enid Marx Thursday 2 February, 6pm Artist and design historian, Matthew Eve, introduces the remarkable prints of Enid Marx, from her designs for the Curwen Press to her bestiaries of animals. £7.50 (£6.50 students, £6 Friends)  The Untenanted Room: James Simpson and Carolyn Trant Thursday 16 February, 6pm Sussex Poet James Simpson will read from his latest volume and discuss creative collaboration with artist and printmaker Carolyn Trant. Followed by book-signing in the Pallant Bookshop £7.50 (£6.50 students, £6 Friends) 

What's On Booking Form Please print and check all details carefully. Incomplete forms and incorrect details will delay the processing procedure. Event

Date No. of Tickets Cost

All events are fundraising activities for Pallant House Gallery (Charity Number 1102435) or the Friends of Pallant House Gallery (Charity Number 278943) Postage (Please tick) I have enclosed a Stamped Addressed Envelope I will pick up my tickets from the Gallery Donation (Optional) I would like to give a donation to the Gallery to help preserve its Collections for current and future generations.


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Concessions Please note concessions are given to students and Friends with recognised proof of status. If buying on behalf of another Friend, please provide their name and membership number. Please indicate your concession if relevant. Student


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Please cut the completed form from the magazine and send, with a stamped addressed envelope and payment to: Tickets Office Pallant House Gallery 9 North Pallant Chichester PO19 1TJ

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All tickets are allocated on a first come, first served basis. Friends receive an advance notice booking period for all events as part of their membership. Unsuccessful applicants will be notified that they are on a waiting list.


A refund on Gallery events is only available if the event is cancelled. Refunds for Friends events may be possible if there is a waiting list and we are able to resell your ticket.

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Terms and Conditions Credit/charge card is the preferred method of payment. Cheques should be made payable to 'Pallant House Gallery Services Ltd'. Please leave the actual amount open in case we are not able to provide all the tickets you request. For security 'Not above ÂŁ...' can be written at the bottom of your cheque and we will advise you of the cheque total.

We endeavour to accommodate any special requirements. Please ring 01243 774557 to discuss your needs.

bookshop Telephone 01243 781293

Edward Bawden's London by Peyton Skipwith, Brian Webb This new book, with almost 200 images, shows London as represented by Edward Bawden (1903-1989) in prints, posters, drawings, paintings, murals and advertising material produced during his long career. Published by the V&A (October 2011) £20

The Hare with The Amber Eyes Illustrated Edition by Edmund de Waal A new illustrated edition of the No 1 bestselling and prizewinning memoir, with 100 full-colour images selected by Waal from his family archive. Published by Vintage (November 2011) £25

Recommended John Craxton by Ian Collins with an Introduction by David Attenborough This is the first fullscale monograph on British artist John Craxton (1922-2009), a key figure in post-war painting. Ian Collins's engaging text is informed by his many conversations with the artist and is supported by more than 200 reproductions of life-affirming paintings and drawings. £35

Edward Burra: new Monograph Published to accompany the major exhibition of Burra’s paintings and drawings at Pallant House Gallery, this important book represents the first full-scale monograph on Edward Burra and reproduces 100 key paintings alongside drawings and a range of fascinating contextual material. It positions Burra as a major figure in the history of 20th century art, placing his work alongside that of the German Expressionists and other important contemporaries and influences, such as Surrealism and the macabre. Written by Simon Martin, with a Foreword by Stefan van Raay and contributions by Andrew Lambirth and Jane Stevenson. Published by Lund Humphries in association with Pallant House Gallery £25 Enid Marx Xmas card Designer, illustrator and printmaker, Enid Marx’s artistic output included textiles, postage stamps, London Underground posters, book jackets and book illustrations. This oneoff limited run Christmas card is inspired by the Breuning-Eve Gift of Enid Marx Prints and is available exclusively from Pallant House Gallery. Available in packs of five. Price TBC Paul Nash in Pictures: Landscape & Dream by James Russell This newly released title goes behind the scenes of 22 paintings to explore Nash’s life, the places and people he knew, and the times in which he lived. Published by The Mainstone Press (October 2011). £25 53

Pallant House Gallery is an inspirational venue for wine and canapĂŠ receptions, parties and private dining events. For further details on prices and bespoke packages please contact Helen Martin, Events Co-ordinator on 01243 770838 or

Opening of Frida Kahlo & Diego Rivera: from The Gelman Collection and Anna Fox: RESORT Spotted yourself on our photo pages? Photographs from all our Private Views are available to view and buy online at The password is 'pallant'. All photographs by Jason Hedges

(Left to Right) Alejandro Estevill, Mexican Embassy; Photographer Anna Fox and Dr Roni Brown; Dame Denise Holt and husband

Anita Whynott, Trish Wheatley, Project Director DAO, Marc Steene, Head of Learning, Artist Nick Blinko, Colin Hambrook, Editor DAO; Magda Carenza de Akle, Vergal Foundation, Stefan van Raay, Director

Monserrat, Valerie Whitacre, James Hymann Gallery, Photographer Simon Roberts; Artist Danielle Hodson, Lucy Greenfield, Outside In Project Worker; Photographer Maria-Aurelia Riese

If you would like to hire the Gallery for a party, private dining event or a canapĂŠ reception please contact Helen Martin on 01243 770838 55

Spotlight on... Enid Marx

The designer and artist Enid Marx (1902-1998), known affectionately as Marco, was nothing if not prolific. During her long career - spanning over 70 years –she produced an impressive array of designs including stamps, seating fabric and posters for London Transport, books and book-jackets, wrapping paper, logos, rugs and menu cards. She also wrote and illustrated twelve children's books and co-authored - with her lifelong companion the eminent historian Margaret Lambert - two books about folk art, including the important 'English Popular Art'. Her designs, usually abstract and geometric, were not only extremely fashionable, but also very practical. Towards the end of WWII she was invited to be a member of the Board of Trade Utility Furniture team, which designed large quantities of cheap furniture for people who had suffered bomb damage. Marx was responsible for creating textiles in as great a variety as possible from a very limited supply of yarns and range of colours, and in 1944 she was awarded the coveted title Royal Designer for Industry.

Enid Marx, Noah's Ark, Linocut, Pallant House Gallery, The Breuning - Eve Gift of Enid Marx Prints (2007) © The Estate of Enid Marx


After the war Marx designed book covers for publishers, patrticularly Penguin. Then, in 1953, she was commissioned to explore another design medium - stamps - which she later described as one of her 'greatest pleasures'. A distant relative of Karl Marx, Enid Marx seems to have inherited some of his revolutionary zeal. In the 1970s she successfully battled to save the Islington Agricultural Hall – now the Business Design Centre – from demolition and for many years she fought to establish a museum for folk art, a subject close to her heart. Marx continued to work in various mediums until her death at the age of 98. In 2006 the Gallery was presented with a complete set of Marx's prints from Matthew Eve and Eleanor Breuning. It is being shown together for the first time in a new exhibition in the De'Longhi Print Room from 10 January – 26 February 2012. Artist and design historian Matthew Eve will talk about Enid Marx on Thursday 2 February at 6pm. Please see page 50 for more information or visit



ENTRY FREE -------------


“MY LIFE IN A SPIN” TIM MARLOW, Director of Exhibitions at The White Cube Gallery in conversation with FRANK DUNPHY, Manager to Damien Hirst . An insight into the management and development of a leading artist. Tickets £18 from Chichester Festival Theatre Box Office.

THE NATIONAL OPEN ART COMPETITION WINNERS AT PALLANT HOUSE GALLERY The winning works from the 2011 exhibition will be shown at Pallant House Gallery from JANUARY 3RD – JANUARY 15TH 2012

Register for the 2012 National Open Art Competition Online

20th Century British & Irish Art Wednesday 16 November New Bond Street, London Entries now invited

The closing date for entries is Friday 30 September +44 (0) 20 7468 8295

Lynn Chadwick Untitled (unique) Estimate: ÂŁ30,000 - 50,000

International Auctioneers and Valuers -

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