Pallant House Gallery - Magazine No.37 (Full Version)

David Jones David Jones: Vision and Memory Ariane Bankes and Professor Paul Hills on the remarkable range of David Jones Evelyn Dunbar: Such a Gifted Painter Andrew Lambirth considers the significance of the discovery of Evelyn Dunbar’s ‘lost studio’ David Remfry: We Think the World of You Jean Wainwright on David Remfry RA’s new series of people and dogs drawn together The Michael Woodford Bequest Simon Martin introduces the Gallery’s latest gift from an unlikely collector

£2 Number 37 October 2015 – February 2016 www.pallant.org.uk

E I L E E N G R AY 14 OC TOBE R – 7 NOVEMBER 201 5 T HE P R I VAT E PAINTER

Marine d’abord (study for Rug), 1926/29 Gouache on paper 11.5 x 22.5 cm

An exhibition of rare paintings, drawings and photographs for sale in the UK for the first time by the Irish artist, a leading pioneer of the Modernist movement.

She is widely regarded as one of the most influential architects and designers of the 20th century.

For further information about the exhibition please contact the gallery or email bchhohan@osbornesamuel.com

Tablescape, 1920 Photograph 8.8 x 10.2 cm (3½ x 4 in)

Cage, c.1940 Gouache on paper 23 x 23cm (9 x 9 in)

Eileen Gray (1878–1976) Irish-born designer as a pioneer of is widely known today Modernism. In a career both Art Deco and years she produced spanning nearly 80 for furniture, lighting, innovative designs architecture. Much carpets, interiors and throughout her life less well known is that an architect she never as a designer and small paintings and stopped producing on is the first to focus drawings. This book but essentially Eileen Gray’s important private work as a painter.

THE

R AY N G E I L PEREI VAT E PA I N T E R

and writer and Peter Adam is a filmmaker 30 of Eileen Gray’s. For was a close friend producer for the years he was an executive for the Current Affairs BBC, making films Arts departments. His and the Music and include Eileen Gray: previous publications The Adjustable Her Life and Work (2009), Gray (1998), David Table E1027 by Eileen Art of the Third Reich Hockney (1997), and the French arts, the to (1992). For his service him an Officier des Government has made

A new publication by Lund Humphries in association with Osborne Samuel with essays by Andrew Lambirth and Peter Adam will be launched during the exhibition.

Arts et des Lettres.

written extensively Andrew Lambirth has art, and his books on 20th-century British L.S. (2007), Kitaj (2004), include Roger Hilton Pieces (2002), John Lowry: Conversation Armstrong (2009), Hoyland (2009), John to Keep the Balance Rose Hilton: Something Mellis (2010).

(2009) and Margaret

Lund Humphries 140–142 St John Street London EC1V 4UB

s.com

www.lundhumphrie

PETER ADAM and ANDREW LAMBIRTH

Published by:

E EIL

EN

INTER T H E P R I VAT E PA

G

Y RA

a designer and an Considering herself her work as a architect, Gray viewed treating it as a painter with great modesty, and a vehicle for artistic private occupation when she could expression during periods Much of her artwork not design furniture. lost during the has disappeared, either or destroyed by the Second World War body of works on paper, artist herself. But a the 1920s and the 1950s, produced between geometric drawings has survived: elegant, tonality and subtle and gouaches of muted reproduces unseen power. This book, which Gray archive and material from the Eileen with her draws on Gray’s correspondence on the nature of niece Prunella Clough to her many painting, will be a revelation followers and admirers.

Includes 60 colour illustrations 104 pages. Hardback.

Exclusively priced at £25 +pp during the exhibition.

P E T E R A DA M and RT H ANDREW LAMBI

12/08/2015 16:35

ISBN: 978-1-84822-183-3 Printed in Slovenia

Eileen Gray NEW JKT

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1

23a Bruton Street, London W1J 6QG Tel: 020 7493 7939 info@osbornesamuel.com www.osbornesamuel.com

Old St Paul’s Cathedral, collage and mixed media on board, 89 x 122cms

— Ed Kluz Monument

14 – 31 October 2015

John Martin Gallery 38 Albemarle Street London, W1S 4 JG

T +44 (0)20 7499 1314 info@jmlondon.com

catalogue available www.jmlondon.com

MODERN BRITISH AND IRISH ART

ENQUIRIES +44 (0) 20 7468 8297 britart@bonhams.com

Wednesday 18 November 2015 New Bond Street, London We are delighted to invite further consignments for our forthcoming major autumn auction.

Artists such as Henry Moore, Lynn Chadwick, Barbara Hepworth, L.S. Lowry, Paul Nash and Ben Nicholson, among others, continue to be highly sought after.

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Closing date for entries 9 October 2015 EUAN UGLOW (BRITISH, 1932-2000) Girl Lying on Grass oil on panel (detail) 29.7 x 38 cm.

(11 3/4 x 15 in.)

Painted circa 1964 £15,000 - 20,000

Contents Features

David Jones, Capel-y-ffin, watercolour and gouache, 1926-7, © Trustees of the David Jones Estate / Amgueddfa Cymru – National Museum Wales

You can find full details of our latest events programme in the What's On guide.

The latest news, exhibitions and events can be found online at www.pallant.org.uk

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You can also follow us at pallantgallery pallantgallery pallanthousegallery CMYK / .ai

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David Jones: Vision and Memory Ariane Bankes and Prof. Paul Hills David Jones Edmund de Waal Evelyn Dunbar: Such a Gifted Painter Andrew Lambirth David Remfry: We Think the World of You Jean Wainwright Collected through Love: The Michael Woodford Bequest Simon Martin Nature Study, Late Summer Angie Lewin Approaching Diversity at the Gallery Marc Steene

Friends 49 50

Chairman's Letter Friends Events

Regulars 7 Co-Directors' Letter 13 Exhibitions Diary 17 Gallery News 53 What's On: Events 58 Bookshop 60 Artwork in Focus

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Contributors

With thanks

Editorial Editor Anna Zeuner, a.zeuner@pallant.org.uk Sub Editor Beth Funnell Gallery Editorial Elaine Bentley, Simon Martin, Marc Steene Guest Editorial Ariane Bankes, Gerard Hastings, Prof. Paul Hills, Andrew Lambirth, Angie Lewin, Jean Wainwright, Edmund de Waal Friends' Editorial Lady Nicholas Gordon Lennox, Mary Ambrose Design, Editing and Production David Wynn

David Jones: Vision and Memory Exhibition Toovey’s The John Coates Charitable Trust The John S Cohen Foundation The Michael Marks Charitable Trust Friends of Pallant House Gallery David Jones Supporters’ Circle

Gallery Supporters Headline Sponsor of the Gallery 2015

Advertising Booking and General Enquiries Paolo Russo +44 (0)207 300 5751 Gallery Information Pallant House Gallery, 9 North Pallant, Chichester, West Sussex, PO19 1TJ, UK +44 (0)1243 774557, info@pallant.org.uk www.pallant.org.uk

PALLANT HOUSE GALLERY Friends

OPENING TIMES Tuesday–Saturday 10am–5pm Thursday 10am–8pm Sunday/Bank Holidays 11am–5pm Monday Closed FRIENDS' OFFICE +44 (0)1243 770816 friends@pallant.org.uk

The Priory and Poling Charitable Trusts, The Garfield Weston Foundation, and other Trusts, Foundations and anonymous benefactors.

BOOKSHOP +44 (0)1243 781293 shop@pallantbookshop.com www.pallantbookshop.com

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.

THE PALLANT KITCHEN +44 (0)1243 770827 thekitchen@pallant.org.uk

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TOOVEY’S

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Discovered during a routine valuation at a property near Petworth, an oil on panel by Austrian artist Franz Sedlacek (1891-1945), auctioned in our June fine art sale for £85,000

Exceptional art and antiques ~ discovered and auctioned in Sussex The leading antique and fine art auction house in West Sussex Spring Gardens, A24 Washington, West Sussex RH20 3BS 01903 891955 auctions@tooveys.com www.tooveys.com

Proud sponsors of Pallant House Gallery

Remastered: From Bosch to Bellotto an exhibition Petworth House, West Sussex 9th January — 11th March 2016

Including previously unexhibited paintings from Lord and Lady Egremont’s private collection, this new exhibition offers visitors the rare opportunity to see a selection of Petworth’s major early European paintings in a new light following restoration and re-interpretation.

BOOK NOW 0844 249 1895 Tickets £12 (including National Trust members)

For more information please visit: www.nationaltrust.org.uk/petworth Image credit: Andrea del Sarto Madonna and Child with Saint John and Three Angels c.1500 Photographed by Anne Purkiss, courtesy of Lord Egremont

Co-Directors' Letter

David Jones, The Table Top, 1928, watercolour and pencil, © Trustees of the David Jones Estate / Victoria and Albert Museum, London

We always seek to have a stimulating mix of Modern British, contemporary and international art in our programme, often inspired by our remarkable permanent collection. This autumn our exhibitions feature celebrated artists as well as previously unseen work on public display for the first time. Our main exhibition David Jones: Vision and Memory is the first major retrospective of the paintings, watercolours and prints of this much-loved Welsh artist. A war poet in the First World War, Jones had strong connections to Sussex, spending time in Hove and as part of the Ditchling Community with Eric Gill and others. The exhibition brings together over 80 of his exquisite and ethereal watercolours, addressing themes of religion, myth and the landscape, and coincides with a new monograph by the curators Professor Paul Hills and Ariane Bankes. Concurrently an exhibition of Jones' animal pictures takes place at Ditchling Museum of Art + Craft and our exhibition tours to the Djanogly Art Gallery at the University of Nottingham next spring.

David Jones has had a powerful influence on many artists and writers, not least the ceramic artist Edmund de Waal, and we are delighted to present an installation of his works including a new piece inspired by Jones' poem The Anathemata. With a nod to David Jones' animal paintings, in the De'Longhi Print Room we are exhibiting portrait drawings of sitters with their dogs by the Royal Academician David Remfry MBE. These large scale drawings focus on the relationships between dogs and their owners, often well-known figures such as the actors Ethan Hawke, Alan Cumming and Susan Sarandon, but they also seek to capture the particular character of the canine subjects. In the new year we will present for the first time the Michael Woodford Bequest, the most

recent significant group of works to join Pallant House Gallery's collection of collections, including prints and drawings by Graham Sutherland, Pablo Picasso, Henri Matisse, Victor Pasmore and others. It is an inspiring lesson that passionate collectors are never quite what one might expect and that collections can be discovered in unlikely settings. This is certainly the case with our exhibition Evelyn Dunbar: The Lost Works, a collection of previously unseen paintings, drawings and studies from the studio of this significant female war artist, which recently came to light following the appearance of one of her paintings on the BBC Antiques Roadshow.

Also in the Gallery this autumn we have several new collection displays including prints by Eric Ravilious and Edward Bawden, several new Studio Exhibitions drawn from the Community Programme, and the continuation of Michael Petry's glass stairwell installation.

As part of our bid to reach our target of raising £1million for the HLF Catalyst Endowment Fund by June 2016, two auctions this autumn provide a unique chance to build on your own art collection whilst helping to secure the Gallery’s future. Artworks donated by artists including Frank Auerbach, Howard Hodgkin, Antony Gormley and Paula Rego will form part of the Sotheby’s Modern and Post-War British Art sale in November, whilst an online auction of works will be hosted by The Auction Room.

In 2016 we can look forward to an exciting programme including John Piper Textiles in the spring, Christopher Wood in the summer and Modern British Art and Classicism in the autumn, as well as the 10th anniversaries of the Gallery’s contemporary extension and Outside In, both of which we will be celebrating in the year ahead.

Simon Martin, Artistic Director and Marc Steene, Executive Director.

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D ay m Be ans dh Fit am tle Pu wo lbo rth W ro es ug RH t Su h 20 sse 1J x R 01 79 w 8 86 w w 52 in .ard 06 fo @ ena ar nd de an na st nd ru an the st ru r.co th m er .co m

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“The Ladies Bridge (Waterloo)” by Piers Ottey, ADVERT oil on linen 106 x 155 cm

Autumn at Zimmer Stewart Gallery 3 to 24 October - “Boardwalks, Huts, Jettys and Groynes” - An exhibtion of Sussex coastline painitngs by Katharine Le Hardy.

31 October to 21 November - “Raindrops on Roses” - An exhibition of new London, Sussex and other paintings by Piers Ottey.

5 to 24 December - Our annual Christmas Mixed Exhibition, showing paintings, prints, ceramics, sculpture and hand woven tapestry

Contemporary paintings, prints, ceramics & sculpture Open 10am-5pm Tues-Sat & occasional Sundays 29 Tarrant Street, Arundel, West Sussex, BN18 9DG 01903 882063 info@zimmerstewart.co.uk www.zimmerstewart.co.uk

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Exhibitions Diary David Jones: Vision and Memory 24 October 2015 – 21 February 2016 David Jones (1895–1974) was a painter, engraver, poet and maker of inscriptions. A lyrical draughtsman, he responded with delight to the visual world, yet his vision was informed by memory reaching back into the depths of time and history. Kenneth Clark believed he was the greatest British watercolourist of the 20th century. This major exhibition, taking place during the centenary of the First World War, will display some 80 works from throughout Jones’ life in a timely reassessment of one of the most imaginative artists of his era. Exhibits range from sketches made on the Western Front to watercolours of trees, flowers and thorns, as well as drawings of Arthurian subjects and painted inscriptions. Rooms 12–16

Edmund de Waal: if we attend 24 October 2015 – 21 February 2016 When Edmund de Waal started working with porcelain it was the art and poetry of David Jones that profoundly influenced his approach to making. ‘if we attend’ (2015), a new piece produced especially for the David Jones exhibition, is a white, wall-mounted vitrine with translucent glazing and 16 porcelain vessels which references Jones’ poem The Anathemata: ‘We already and first of all discern him making this thing other.

His groping syntax, if we attend, already shapes…’.

The work, displayed alongside three other porcelain pieces, will be accompanied by a series of poems

by David Jones, creating a contemplative space that reflects the nature of the work. Room 17

Evelyn Dunbar: The Lost Works 3 October 2015 – 14 February 2016 A remarkable collection of lost works by WWII Official War Artist Evelyn Dunbar (1906–1960) goes on show for the first time, including highlights from an extraordinary hoard of previously unrecorded work discovered in the attic of a Kent oast house. The ‘lost studio’, stored in its entirety after Dunbar died in 1960, includes studies for some of the artist’s most celebrated wartime paintings and her mural scheme at Brockley School, as well as commissions for The Gardener’s Diary, family portraits and ephemera. Alongside other important rediscovered works from public and private collections, the exhibition of the ‘lost studio’, organised in association with Liss Llewellyn Fine Art, underpins Dunbar’s position as one of the most significant female figurative artists of the 20th century. Rooms 3–4 David Remfry: We Think the World of You 21 October – 13 December 2015 A selection of drawings of people with their dogs by British artist David Remfry RA, coinciding with the newly published book We Think the World of You, published by the Royal Academy. The series started 10 years ago in New York when Remfry, a resident of the infamous Chelsea Hotel, started to explore the relationship between friends and their dogs through evocative pencil and watercolour portraits.

Among the sitters are well-known faces including Alan Cumming, Susan Sarandon, Ethan Hawke and philanthropist Agnes Gund. De’ Longhi Print Room Left: David Jones, Lourdes, 1928, watercolour, Kettle's Yard, University of Cambridge © Trustees of the David Jones Estate Top: Evelyn Dunbar, Autumn and the Poet, 1948–60, Oil on canvas, Maidstone Museum and Bentlif Art Gallery © The Artist's Estate / Christopher Campbell-Howes

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Exhibitions Diary

Collected through Love: The Michael Woodford Bequest 16 December 2015 – 28 February 2016 An exhibition of selected works from the Gallery’s latest bequest, a significant group of prints, drawings and books from the unlikely collector Michael Woodford, a former school caretaker with a passion for art. The collection includes late etchings by Picasso, a number of etchings, drawings and watercolours spanning the career of Graham Sutherland, and notable works by Victor Pasmore, Alan Reynolds, Suzanne Valadon and Gerald Leslie Brockhurst. De’Longhi Print Room Ruth Borchard Self-Portrait Prize: The Winners 24 October 2015 – 21 February 2016 Highlights from the biennial Ruth Borchard Prize exhibition, run by Piano Nobile and the Ruth Borchard Collection in conjunction with Pallant House Gallery.

Focusing on self-portraits by new and established artists, the exhibition celebrates contemporary British and Irish self-portraiture and follows on from the Gallery’s exhibition of the Ruth Borchard Collection in autumn 2014. Garden Gallery National Open Art Winners Exhibition 1 December – 13 December 2015 A display of winning works from the 2015 National Open Art Competition, the UK and Ireland’s premiere open art competition for young and emerging visual artists. This year’s panel of judges includes Hughie O’ Donoghue RA, David Lister, Rebecca Hossack, Vanessa Branson, Amanda Harman, Fiona Adams and Dr Michael Witt. www.thenationalopenartcompetition.com. Room 11

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Michael Petry: A Twist in Time Until spring 2015 A contemporary installation in the Queen Anne townhouse by American multimedia artist Michael Petry (b.1960), featuring glass sculptures created in response to the forms of the grand staircase.

Utilising traditional glass-making techniques, Petry’s installation creates a dialogue with the Gallery’s historic glass collections, exploring questions of gender, craftsmanship and decoration. Stairwell

Studio Exhibitions Outside In: Step Up Showcase Celebrating 7 Years of Step Up 29 September – 22 November 2015 An exhibition highlighting Step Up, Outside In’s training and development programme.

Curated by a Step Up participant, it tells the story of the project from its inception.

Community Programme Fundraising Art Exhibition 24 November 2015 – 31 January 2016 A vibrant and diverse array of artwork donated by members of the Community Programme will be on sale to raise funds to support many aspects of the Community Programme including Partners in Art and the Pallant Creative Collective.

Artscape 2 February – 28 February 2016 This exhibition will showcase work produced by members of Artscape, a unique art-based charity that provides a creative space for people experiencing mental health issues.

IVON HITCHENS & STEPHEN CHAMBERS RA 19 September 30 October

C A N D I DA S T E V E NS

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Gallery open 10.30am—6.00pm Monday to Saturday, 12.00pm—5.00pm Sundays, closed Tuesdays.

CAMERON CONTEMPORARY ART

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A solo show by Claire Beattie 10 Oct—15 Nov 2015

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12/09/2015 16:30

Gallery News

FUNDRAISING ART AUCTIONS IN LONDON This winter the Gallery will be fundraising through two London auctions at Sotheby’s and The Auction Room. The Sotheby’s Modern and Post-War British Art auction will take place 17–18 November and will include works donated by some of Britain’s best known contemporary artists including Frank Auerbach, Joe Tilson, Howard Hodgkin, Paula Rego and Antony Gormley, raising funds for the HLF Catalyst Endowment Fund Appeal.

An online only auction will also be held by The Auction Room. A viewing of these items will take place at their Dover Street showrooms in London, from 9–12 November. Find out more on page 21.

EXTERNAL LOANS FROM NORFOLK TO THE NETHERLANDS Having returned from Kunstmuseum, Bonn, Frank Auerbach’s Head of Julia II (1985) will complete its tour in Tate Britain’s ‘Frank Auerbach’ exhibition from 9 October 2015 – 13 March 2016. Curated

by Catherine Lampert, who sat for Auerbach in his studio every week for 37 years, the exhibition explores how his work evolved through repeated use of the same sitters and London locations.

Elsewhere the Gallery collection is represented by Peter Blake’s El (1961) in ‘Magnificent Obsessions: The Artist as Collector’ at the Sainsbury Centre for Visual Arts, Norwich, from 12 September 2015 – 25 January 2016. Georges Lemmen’s Heyst sur Mer (Beach at Heyst) (c.1891) is at Gemeente Museum Den Haag in the exhibition ‘Colour Unleashed’ from 3 October 2015 – 3 January 2016.

Wilhelmina Barns-Graham, Expanding Forms (Entrance), Touch Point Series No.1, 1980, Acrylic on canvas, Pallant House Galley (Presented by the Barns-Graham Charitable Trust through the Art Fund, 2015)

NEW ADDITIONS FROM THE BARNS-GRAHAM CHARITABLE TRUST We are pleased to announce the acquisition of two works by Wilhelmina Barns-Graham from The BarnsGraham Charitable Trust through the Art Fund (2015).

Along with Expanding Forms (Entrance) (1980) and Snow at Wharfdale II (1957) we have received an additional gift from The Trust of six works on paper, comprising one etching and five screenprints.

This boosts our holding of this important abstract artist to twelve works in total. Such a substantial representation of Wilhelmina Barns-Graham’s work will both complement and enhance the Gallery’s collection and enable us to further explore her work in a variety of media over the course of her working career.

THE GEORGE AND ANN DANNATT COLLECTION TOURS TO DORSET Our summer exhibition ‘St Ives and British Modernism’ featuring works from The George and Ann Dannatt Collection which was gifted to the Gallery in 2011, tours to Dorset County Museum from 3 October 2015 – 2 January 2016. Regular visitors to Dorset, the Dannatts took up residence on the DorsetWiltshire border in 1957. George’s affinity with the landscape of the area can be seen to have informed and characterised his own constructivism whilst underlining his interest in other artists similarly inspired by the West Country.

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Gallery News FREE OPEN WEEKEND RETURNS Following the success of our ‘Be Inspired’ Open Weekend in the spring, this autumn the Gallery will once again be holding a Free Open Weekend on 28/29 November, with the theme ‘Discover’.

Giving both new and existing visitors the chance to get to know the Gallery better, there will be a wide variety of creative activities, talks and unusual opportunities to explore the exhibitions and collections. If you are a volunteer and would like to help us out at this lively and fun event, please get in touch with Head of Visitor Services Deborah Blows (d.blows@pallant.org.uk/01243 770825) REGISTER INTEREST FOR SPRING ART COURSE Due to the immense success of our sell-out pilot Art Course in the autumn, we are pleased to announce a further course for spring 2016 entitled A History of Modern Art: From the 19th century to the Turner Prize. The course will once again be led by Val and Frank Woodgate who have lectured internationally for Tate Britain, Tate Modern and NADFAS, among others. The six-week course will run from 15 March – 20 April 2016. Content details are yet to be confirmed, but to register your interest please contact Groups and Hospitality Co-ordinator Helen Martin (h.martin@pallant.org.uk/01243 770838).

THE SUSSEX PUB COMPANY RESTAURANT At the end of June 2015 the catering at the Gallery was taken over by the Sussex Pub Company, an experienced local caterer with a great reputation for their other venues including The Royal Oak at Lavant and The Crab & Lobster in Sidlesham. Open from 9am Tuesday – Saturday, there is a new breakfast menu as well as and a frequently changing set menu and a children’s menu. The dining spaces will be refurbished over the autumn months.

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Martin Phillimore, Untitled (No.1), One of eight Outside In artists being taken to the Paris Outsider Art Fair.

OUTSIDE IN PARIS OUTING AND ONLINE SHOP The Gallery’s flagship project Outside In will be exhibiting at the Paris Outsider Art Fair for the second time this October, taking work by eight Outside In artists to a European audience. Originally founded in New York, the Fair first came to Paris in 2013 to critical acclaim, and will this year be taking place at Hotel du Duc in Paris from 22–25 October. To discover work by Outside In artists closer to home, check out the new Online Shop which features original works selected by the Outside In team and other invited guests. The Online Shop is the place to discover and invest in fantastic art for yourself, friends or family.

Visit www.outsidein.org.uk/shop.

CHRISTMAS SHOPPING AT THE GALLERY To help with your Christmas shopping this December the Pallant Bookshop will also be open on Mondays from 11am – 4pm as well as during the Chichester late night shopping events on Thursday 3, 10 and 17 December. Not only offering the best of new and out of print books on Modern British art, the Bookshop also sells original art, prints, textiles and other gifts, many of which are limited edition, making this a great place to pick up one-of-a-kind gifts this Christmas.

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Tahera Aziz: [re]locate

Otter Gallery, 9 October - 6 December 2015

A multi-sound installation by London-based visual artist and educator Tahera Aziz, responding to the tragic events surrounding the racially motivated murder of black teenager Stephen Lawrence near a bus stop in south east London in 1993.

Otter Gallery University of Chichester College Lane Chichester PO19 6PE

www.chi.ac.uk/ottergallery gallery@chi.ac.uk 01243 816098 Free admission

www.chi.ac.uk/visit Coming soon: Spring 2016

Circles of Influence: British Art 1915-50 – A Diarist’s Perspective

Otter Gallery, 6 February – 19 April 2016 An exhibition based on the diaries of the distinguished artist and influential teacher Randolph Schwabe from 1930-48 when he became Professor and Principal of the Slade School of Art. Image: Bank Holiday—The Swings by Randolph Schwabe (courtesy Janet and Di Barnes)

MODERN & POST–WAR BRITISH ART AUCTION LONDON 17 & 18 NOVEMBER 2015 THE SALE INCLUDES WORk DONATED By ARTISTS TO RAISE fUNDS fOR THE PALLANT HOUSE GALLERy HLf CATALyST ENDOWMENT fUND APPEAL

Viewing 13 & 15–17 November WILLIAM ROBERTS, Bicycle Boys, 1939. Estimate £200,000–300,000.

Enquiries rachel.ross@sothebys.com +44 (0)207 293 5519 34–35 New Bond Street, London W1A 2AA. sothebys.com/modbrit © THE ESTATE Of WILLIAM ROBERTS

Fundraising Art Auctions Artistic Director Simon Martin introduces two contemporary art auctions that will help Pallant House Gallery reach a major fundraising target this autumn.

Antony Gormley, MEME CCCLII, 2013, Cast iron, 10 x 11 x 29.3 cm Photograph by Stephen White, London, © the artist

With the deadline of June 2016 fast approaching for the Gallery to raise a total of £1million for the HLF Catalyst Endowment Fund, we have organised two very exciting contemporary art auctions in London to help the Gallery reach this major target– at Sotheby’s and The Auction Room.

Celebrated contemporary artists including Antony Gormley, Maggi Hambling, Frank Auerbach and Paula Rego have generously donated major artworks for the Gallery to auction with proceeds from the sale going towards the Catalyst Endowment Fund. Because everything raised is matched pound-for-pound by the Heritage Lottery Fund, it is a unique opportunity and with only a few months to go before the deadline, the auctions will form an important milestone that will hopefully bring us closer to that target.

As part of Sotheby's Modern and Post War British Art sales on 17–18 November, twelve artists have donated major works in support of the Gallery, reflecting how much the Gallery is valued by the artistic community. It is a wonderful chance to build your own collection by acquiring sculptures, paintings and prints by artists represented in the Gallery's collection, such as Frank Auerbach, Howard Hodgkin, Joe Tilson, Ana Maria Pacheco, and Edmund

de Waal, or as part of our forthcoming exhibitions programme, including Clare Woods and Des Hughes, whilst at the same time supporting the Gallery.

The previews take place at Sotheby's, 34–35 New Bond Street, on 13, 15, 16 and 17 November.

Alongside the sale at Sotheby's, The Auction Room will be holding an online and terrestrial art auction also in support of the Catalyst Endowment Fund. This will take place online on 25 November, with previews at their headquarters in Ely House, Dover Street, London from 9–13 November. The auction will include many artists such as Norman Ackroyd, George Dannatt, Jeremy Gardiner, Humphrey Ocean, Ian Davenport, and Barbara Rae. For more information about the auctions and for details of how to register to bid please contact Head of Development Elaine Bentley (e.bentley@pallant.org.uk/01243 770844).

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David Jones: Vision and Memory

To coincide with the first major exhibition of David Jones’ work for twenty years, curators Ariane Bankes and Paul Hills consider the remarkable range of an artist once described as ‘the most gifted of all young British painters’.

David Jones, The Artist’s Worktable, 1929, watercolour and pencil, Private Collection © Trustees of the David Jones Estate

David Jones (1895–1974) is one of the most original yet elusive artists of the twentieth century - ‘a Londoner, of Welsh and English parentage, of Protestant upbringing, of Catholic subscription,’ is how he described himself.

A gifted draughtsman, an engraver of real distinction, a painter of rare imaginative reach and a maker of beautiful inscriptions, few artists have excelled in so many different art forms, to each of which he brought a unique sensibility and vision. From the late 1920s he started to try his hand at ‘making a shape with words’, and throughout his creative life, both as artist and poet, he sought to reconnect with what he called ‘the inward continuities’ of place, time and history.

In his lifetime Jones was exhibited internationally and gained a devoted following, feted by Kenneth Clark in 1936 as ‘in many ways, the most gifted of all the young British painters’ and by the late 1960s as ‘absolutely unique – a remarkable genius’. Today, although admired by many, he is no longer as widely known as he might be and the time seems ripe to rediscover his quiet and subtle oeuvre and to reconnect with its purpose.

From his earliest childhood David Jones loved to draw and from the age of seven he was winning prizes for his lively studies of animals. As a boy he was entranced by the chivalric world of legend, devouring the Welsh epics and Arthurian romances, and he would retain a fascination with myth and early history throughout his life. The youngest student at Camberwell School of Art, his studies there were sharply interrupted by the outbreak of war in 1914 and his mobilisation as a foot soldier on the 23

David Jones, Flora in Calix Light, 1950, watercolour, Kettle's Yard, University of Cambridge © Trustees of the David Jones Estate

Western Front. In all, he spent more than three years in active service – the ‘parenthesis’ of his later, great poem. In the trenches he made deft, affectionate pencil studies of his fellow soldiers and of the surreal waste land they encountered. As we approach the centenary of the Battle of the Somme, in which Jones was wounded, several of these sketches will be exhibited alongside later meditations on battle and sacrifice.

After completing his studies at Westminster School of Art, taught by Walter Sickert and Bernard Meninsky among others, Jones joined Eric Gill and his community of craftsmen at Ditchling in 1921, converting to Catholicism and becoming a postulant in the Order of St Dominic. His deepening Catholic faith would lead him ultimately to the creed he formulated in an essay entitled ‘Art and Sacrament’. For Jones, art – whether a painting, a birthday cake, or a bouquet of flowers – was the essential symbolic or sign-making activity that distinguished humans from animals.

It was at Ditchling, ‘a religious fraternity for those that make things with their hands’, under the tutelage of Gill and Desmond Chute, that Jones discovered a great talent for engraving, working first as a wood-engraver to illustrate texts published

by St Dominic’s Press. His graphic flair and eye for character is evident again in the delightful drawings 24

for the Town Child’s Alphabet. Soon his engraving was so fluent that he was commissioned by the Golden Cockerell Press to illustrate The Book of Jonah and The Chester Play of the Deluge, texts which gave scope for his marvellous facility in depicting creatures large and small, fish and fowl. Later he mastered copper engraving, making a series of Nativities and illustrating The Rime of the Ancient Mariner, in which he again drew upon the imagery of the voyage as symbolic of the passage of the soul from despair to redemption.

He had meanwhile become engaged to Petra Gill, and moved along with Gill’s family and retinue to the remote vastness of Capel-y-ffin in the Black Mountains, where the streams, the steep hillsides and the Welsh ponies inspired him to discover his natural gifts as a landscape painter. These watercolours, together with seascapes made on the island of Caldy off the Pembrokeshire coast and several still lifes from that period, will be gathered together in the exhibition. They greatly impressed Ben Nicholson, new chair of the Seven and Five Society, whose members included Cedric Morris, Winifred Nicholson and Christopher Wood. Nicholson invited Jones to join the Seven and Five in 1928, and he became a leading member of the London art world, exhibiting at every gallery of note and often selling better than his contemporaries.

David Jones’ reputation as a painter rests largely

David Jones, Quia Per Incarnati, 1945, opaque watercolour on paper, Private Collection © Trustees of the David Jones Estate

on his mastery of watercolour. In the late 1920s his parents had taken a house on the beach at Portslade, about a mile along the coast from Hove, and there he embarked upon a series of watercolours that glimmer with light and beauty, and seem to partake of the very element that they depict. These views out to sea, such as The Terrace (1929) and Doors of Glass (1931), are more often than not framed through windows, magic casements that give onto a fluid world in which space and time are interweaved in a truly Modernist manner.

The eye is prompted to move in unfamiliar ways, gliding and skimming then snagging on handles and windowlatches. These watercolours combine the view outwards with an intuitive experience from within: objects in space are mediated through consciousness and memory.

The framing device of windows and transepts reappears in further still lifes - The Artist’s Worktable (1929), for instance, amounts to a subtle self-portrait, displaying the tools of his trade, and The Violin (1932) offers a tantalising hint of a world beyond. Whereas Jones was once out painting in all weathers in Wales, he is now happier to remain within, looking out, fusing vision and memory in works layered with allusion. In Briar Cup (1932) flowers bloom between a crown of thorns, while the shadow thrown by the white handle of a teacup falls scarlet on the table: the pain of sacrifice is redeemed,

and birds sing in the garden beyond. He always had a profound sense of ‘the creatureliness of things’, and he would haunt London Zoo, which he had so loved as a child, sketching the animals he saw there, sometimes caged but mostly fiercely proud and independent.

The late 1920s was an astoundingly creative period for Jones; he was painting with fierce intensity while embarking on his book-length poem In Parenthesis in which he distilled his experience in the trenches. A ‘sociable hermit’, he found good company exhilarating, and he now started on a series of portraits of his inner circle: Eric Gill, Petra, and close associates such as René Hague (The translator of the Chanson de Roland (1932)), Harman Grisewood (Portrait of a Maker, (1932)), and Prudence Pelham. His engagement to Petra had broken down in 1927 yet they remained close, and his watercolour of her from 1931, Petra im Rosenhag (1931) presents her as a Primavera figure, ripe with fecundity. His sharply contrasting study of his next muse, Prudence Pelham, a young sculptor whom he met in 1930 at the Gills’ new home, Pigotts Farm in Buckinghamshire, captures her inner and outward beauty with a chaste delicacy that mirrors her physical frailty.

This burst of extraordinary creativity was brought to an end in 1933 by a breakdown with its roots far back in his experience of war, and when he resumed painting 25

David Jones, The Albatross, copper engraving from The Rime of The Ancient Mariner, 1928, © Trustees of the David Jones Estate/ Amgueddfa Cymru – National Museum Wales

David Jones, The Dove, wood-engraving from Chester Play of the Deluge, 1927 © Trustees of the David Jones Estate/ Amgueddfa Cymru – National Museum Wales

some four years later it was in a very different idiom.

Jones’ lifelong immersion in history and myth, his deep connection with the art of the past, and his fear of cultural decline and disconnection (he was much influenced by Oswald Spengler) prompted a series of large wartime allegories on mythic themes, Aphrodite in Aulis (1940–41) and Guenever (1940) among them.

These intricate drawings completed in London during the Blitz, freighted with symbolic allusions and sexual undertones, associate mythic archetypes with Christian symbols of sacrifice. Potent themes involving wounding, death and redemption that recur in his iconography from the trench sketches to the haunting engraving The Wounded Knight (1931) are explored in the exhibition.

The final room of the exhibition focuses largely on his late work: the series of soaring, almost celestial trees that he drew in the late 1940s from his room in Harrow, and the great paintings of flowers in a chalice of the early 1950s. The trees represented for Jones both recovery and reclamation – the return of his creative energies after a second and more serious breakdown felt like the sap running in his veins again. Yet trees had always been a double-edged symbol for him: of life and potency, and of suffering, as in the Calvary triad of his celebrated Vexilla Regis (1947–48). And these themes are reprised in Flora in Calix Light (1950),

perhaps the greatest of his chalice paintings: the briar roses with their hint of the Passion; the distant tree that is at once the Tree of Life and reminder of the Crucifixion. These late still lifes with their beauty and effulgence work on several levels and give pure and simple delight while hinting at the numinous.

Alongside these will be Jones’ painted inscriptions, which he had started making during the war. Early ones were sent to friends as greetings, for Christmas and Easter, for weddings and christenings, but later they developed into sophisticated affirmations of his faith in word as image. It is in his inscriptions that this artist’s poetic sensibility is made manifest. His mix of letter forms and languages, his calibration of scale and spacing, and his choice of colour all give to each word its personality and presence.

David Jones’ inscriptions confirm the essential unity of his vision, which endured through such diverse artistic forms. The exhibition hopes to introduce him to a new generation who will find resonance in his lyrical draughtsmanship and mythic imagination.

David Jones: Vision and Memory is at Pallant House Gallery from 24 October 2015 – 21 February 2016. A programme of talks (see page 53) and a fully illustrated catalogue (available in the Bookshop) accompanies the exhibition.

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David Jones, Human Being, 1931, oil on canvas, Private Collection Š Trustees of the David Jones Estate

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Edmund de Waal on David Jones

As Edmund de Waal’s specially commissioned work ‘if we attend’ (2015) goes on display alongside David Jones’ poetry, the artist examines the ideas and influence of the most prolific ‘poet, painter, essayist and maker of inscriptions’.

David Jones, poet, painter, essayist and maker of inscriptions, has had an uneven reputation. Like Eric Gill he has been seen as a Roman Catholic apologist, a marginal figure working in opposition to an increasingly secular, modern culture to keep alive a sense of the artist as ‘custodian, rememberer, embodier and voice of the mythus’. Unlike Gill, the famous public man and issuer of tracts, Jones lived quietly and austerely, supported by a small network of patrons. His work and ideas were disseminated more by word of mouth than critical acclaim. But he can be seen as a key figure, one of the great poet-painters who, like William Blake, resist any easy summation of their talents.

Jones’ central conviction was that ‘man is unavoidably a sacramentalist… his works are sacramental in character’. In his clearest exposition of this, the essay Art and Sacrament, he argues that man is essentially a maker, homo faber, homo sapiens, but that ‘it is the 28

intransitivity and gratuitousness in man’s art that is the sign of his uniqueness; not merely that he makes things, nor yet that those things have beauty’. It is gratuitous to go beyond functional requirements, but man does this in order to ‘signify other things, to represent or recall, or show forth under other forms’. And this activity is sacred, because it restores the ‘significance of reality’, a significance which implies ‘a sense of something good’.

This connection between ‘reality’ and ‘the good’ is sometimes hard to discern in Jones’ essays. This is partly because the distinction between a formulated aesthetic and the intuitive ‘certain affection for the intimate creatureliness of things’ is often blurred. Jones admitted to ‘employing weapons from the gun-rack of formal philosophy when untrained in the use of such arms’. In doing so, he is reflecting the context in which he first formed his ideas of the sacramentalism of art.

The major source for his ideas was Roman Catholic aesthetics of the 1920s. From Eric Gill, with whom he lived as a member of the Order of St. Dominic, he acquired a new context for his belief in the primacy of the ‘contactual’ in art. He learned wood-engraving with Gill, the craft advantage being ‘that it forces upon the workman some respect for the thing in itself’.

But it was through Jacques Maritain’s Art et Scholastique that scholastic terminology became

Left: Edmund de Waal © Ben McKee Opposite Page: Edmund de Waal, if we attend, 2015 © Edmund de Waal courtesy New Art Centre, Roche Court, Photograph by Ian Skelton (side view)

Jones’s common currency. Maritain’s forceful ideas of a common inner principle were most influential; art was a ‘making, composing or constructing’, according to the essence of the material. The artist ‘frees the logic of the living structure’. For Jones – searching for an intellectual understanding of his physical experience of making – this was revelatory.

Jones also commandeered another scholastic word to help explain his thinking: haecceity, that is the irreducible – and sacred – individuality of everything.

Jones argued that it is by understanding haecceity that artists become committed to ‘the body and the embodied; hence to history, to locality, to senseperception, to the contactual, the known, the felt, the seen, the handled, the cared-for, the tended’.

For a poet this means a response to the texture of words, an exact and evocative use of each word.

The image that Jones repeatedly turned to was that of the Celtic bards; saer cerdd or ‘carpenters of song’: a term which evokes attentiveness to the physicality of the material – words as wood. It has also, crucially, the sense of a more than cerebral impact.

This becomes clear when you read Jones’s poetry aloud and hear its complexity. It is meant to be said with deliberation - ‘with deliberation is the best rubric for each word, each sentence’. And when you

see Jones’s poetry on the page, it is apparent that visual deliberation was equally important. He called the printer of his first great poem, In Parenthesis, a collaborator ‘in the making of the writing’.

Indeed, there can be few more complex typographical pages than those of Jones’ poetry. Latin, Greek and Celtic words interpenetrate with a heady mixture of places, people and the mythic. Footnotes ebb and flow across the bottom of the page. It is the work of someone for whom not only the ‘inherited historic complex’ of words are alive, but for whom the spaces and demarcations of words are vital, too. He uses the patterns of words and the historic forms of words to slow the reader down through unfamiliarity. These historic forms of placing words suggest the rubric of the missal, the archaism of a commentary, of the shape of a classical inscription.

When one considers that the books often have title pages, book jackets and illustrations of Jones’ own painted inscriptions too, they can be seen as poetic meditations on visual language of the most profound sort. They are complete in themselves; Jones’s concern for the haecceity of the book is pre-eminent. And, in considering his painted inscriptions, the part of his work that is perhaps most commonly known to contemporary makers, it is again the sense of an object, not a painted surface, that is so powerful. From the carved inscriptions in Coventry Cathedral by Ralph Beyer in the 1950s to the work of such calligraphers as Ann Hechle in the 1980s, Jones’s influence among those who work with letter forms has been egregious.

For Jones, the responsibility of the artist was to keep alive the richness and diversity of the cultural inheritance: ‘of these thou hast given me I have lost none’, as he often quoted. But he felt keenly the threat to this, its diminution and impoverishment.

This is characteristic of his fierce and testing defence of peculiarity, of the diversities implicit in tradition.

It is also characteristic of David Jones’s sensibility that he placed value in the ‘familiar and small’ in a way that remains essentially sacramental.

This essay by Edmund de Waal is published with the kind permission of Crafts Magazine, where it first published in 1997. ‘if we attend’ (2015) will be on display at Pallant House Gallery from 24 October 2015 – 21 February 2016.

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Evelyn Dunbar: Such a Gifted Painter In light of the rediscovery and exhibition of Evelyn Dunbar’s ‘lost studio’ art critic Andrew Lambirth explains why we need to look again at this ‘unfairly neglected English 20th century painter’.

Above: Evelyn Dunbar, Self-portrait, 1930, Pencil and watercolour on paper, © The Artist's Estate, courtesy of Liss Llewellyn Fine Art Opposite Page: Evelyn Dunbar, February, 1937-38, Oil on canvas, © The Artist's Estate, courtesy of Liss Llewellyn Fine Art

Evelyn Dunbar, who was part of a generation which did not seek publicity for their work, rarely exhibited her paintings, did not view them as an essential source of income and preferred to give them away. This apparently modest self-valuation has been all too readily accepted by subsequent generations, and her work had, until recently, all but disappeared from accounts of 20th century British art. So, who was Evelyn Dunbar? Was she just a respectable talent, or something more?

Only prolonged study of her work – in all its aspects – will enable us to decide that, which is why it is so important to be able to see and contemplate such a body of paintings and drawings as the present one. Certainly she was a painter who loved the English countryside, but particularly her native Kent with its generously opulent landscape, the garden of England, wide-skied and fertile. Her favourite terrain was the Weald – the fields and beech woods of the North Downs – and she painted it not just with deep affection, but with an understanding of place (the numinous quality of landscape) that can rival artists such as Paul Nash or Graham Sutherland. Dunbar does it in a less overt and demonstrative manner – perhaps in a less masculine way – but the magic, and the authoritative perception, are undoubtedly there.

To position her fairly one must try to imagine an intersection of three such disparate artists as Edward Bawden, Eric Ravilious and Stanley Spencer.

The Bawden of the Ambrose Heath illustrations, 31

Evelyn Dunbar, Men Stooking and Girls Learning to Stook, 1940, oil on canvas, private collection © The Artist's Estate / Christopher Campbell-Howes

the Ravilious of Downs in Winter (c1934) and Beachy Head (1939), and the Spencer of the early religious paintings and the Sandham Memorial Chapel at Burghclere. Then add overtones (and undertones) of Paul Nash, such as might be present in Wood on the Downs, 1929 and Landscape of the Megaliths, 1937, but with the tinge of mysticism translated into pure spirituality. Add to this rich mix the work of Paul’s seriously underrated younger brother John. In fact John Nash at his finest (for example The Cornfield, 1918, Dorset Landscape, c1930 and Iken, Suffolk, 1934) offers perhaps the nearest single parallel to Dunbar, though she tends to people her landscapes, whereas Nash prefers his empty, and there is a different kind of intensification to her clipped and tender imagery. John Nash is adept at the unvarnished poetry of the seasons, the natural cycle. Dunbar tempers this with the intended benefits of human intervention. Her landscapes are curiously more controlled than Nash’s. In the end, her work might be defined as reportorial matter-of-factness, tinged with lyricism: richness with restraint.

Dunbar’s wartime career is key to an understanding of her art. She was the only woman working for the War Artists’ Advisory Committee (WAAC) on a full-time salaried basis, and her brief as a war artist 32

was to record the Home Front, by documenting in paint civilian contributions to the war effort, with particular reference to the Women’s Voluntary Service and the Women’s Land Army. Her special achievement lies in the unsentimental depiction of ordinary women adapting to unfamiliar work, painted with sympathetic but arresting intensity.

By the end of the war some 40 paintings

by Dunbar had been accepted by the WAAC. Is Dunbar a Modernist? Kathleen Palmer writing in Women War Artists (Tate, 2011) seems to think so. ‘With her innovative and original style, Evelyn Dunbar was developing a reputation as a leading female modernist’, she writes. Certainly Dunbar was admired by her peers, and by the art establishment, but it is perhaps rather beside the point to discuss her in terms of Modernism. She is not a Modernist along the lines of Ben Nicholson, for instance, with his complex understanding and interpretation of international abstraction. She is much closer to the attitude of Stanley Spencer, and was he a Modernist? Again, this is not really the issue. With both Dunbar and Spencer we are talking about artists who delved so deeply into the human condition, its hopes and celebrations, as well as its tragedies, that their work is timeless in its relevance. It does

Evelyn Dunbar, The Days of the Week, 1939, Oil on canvas, © The Artist's Estate, courtesy of Liss Llewellyn Fine Art

not belong to a particular era or movement but joins that idiosyncratic band of great individualists that makes up the history of British art.

Dunbar had an instinct for the revealing aspect of a subject, for the dramatic and eye-catching.

She had a good visual memory, remembering details to supplement the drawings she made on site for her paintings. She also had a powerful visual intelligence, and was good at analysing and organizing the structure of figure compositions or the way landscape should spread out and recede. This formal compositional discipline, though presumably answering a need within herself, no doubt also owed a considerable debt to the teaching at the Royal College of Alan Sorrell, who was nicknamed ‘Old Angles’ because of his passion for pictorial structure. For Dunbar, the depth and opacity of the paint was as important as the pictorial design, the surface texture as essential a part of the product as the patterns of light and colour.

We are still at the beginning of Dunbar studies and I don’t think it’s wise just yet to make too many large or definitive statements about her place in the history of 20th century British art. We need to get more used to her very particular vision, to seeing her in the company of others, to weighing her interpretations of people and places against her

contemporaries. Her work must settle into place rather than be forced to adopt a position. But from what we have now, in terms of re-discovered work and thoughtful scholarship, despite her relative newness to the spotlight, it can reasonably be maintained that she is a substantial artist whose work deserves much more attention than it has so far received. In fact, the more one sees of her work, the more impressive and assured it looks, and that cannot be said for a number of artists whose reputations currently stand much higher than hers.

This is an abridged version of an essay by Andrew Lambirth from the new illustrated book published to coincide with this exhibition. Evelyn Dunbar: The Lost Works, a collaboration with Liss Llewellyn Fine Art, is at Pallant House Gallery from 3 October 2015 – 14 February 2016.

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David Remfry: We Think the World of You Art historian Jean Wainwright introduces Royal Academician David Remfry as his latest series, We Think the World of You: People and Dogs Drawn Together, goes on show in the De’Longhi Print Room.

David Remfry, Alan Cumming and Honey, Graphite, 2006 © The Artist

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There is a compelling emotional resonance, rhythmic movement and nuanced expression in David Remfry’s watercolour and graphite portraits; whether dogs with their owners, dancing couples or intricately tattooed women. He is an acute observer with a remarkable ability to capture gestural vocabulary with paint and line; his compositions notable for their distinctive relationship of space and colour with the white paper background as a vibrantly active arena.

Fascinated by the human predicament, Remfry is obsessed with the way people stand, behave, move, hold and relate to each other, so he can ‘fine tune the balance between body and space’.

He remembers one early incident as a teenager in the Locarno dance hall in Hull that left an impression.

A man was stabbed and ‘as he was carried away and the assailant apprehended, the music resumed with barely a few bars gap, the dancing continuing as though nothing had happened’, while Remfry ‘watched the blood travel like a macabre dance diagram on the soles of the oblivious dancers’.

While studying at Hull Art School in the early 1960s Remfry became fascinated by Goya’s paintings, such as Manuel Osorio Manrique de Zuñiga (Red Boy) (1784–88) which compelled him because of the ‘obliviousness of the child and the real menace of the three cats’ as they watch a pet magpie held by the boy on string. Remfry’s new series of portraits People and Dogs Drawn Together maintains the acute observation of Goya’s paintings but without the malevolence, but we can also discern hints of Egon Schiele and Picasso in the expressive lines and colour.

Remfry works from life, his sitters people he knows or gets to know well, of different ages and sizes. Some are inhabitants of The Chelsea Hotel in New York where he has been a long term resident, some are famous celebrities such as Ethan Hawke, Susan Sarandon and Alan Cumming. The process of drawing his sitters will sometimes take months or years. There are people, he suggests, who he would like to keep on drawing ‘indefinitely’…’with a few I’m able to do so. And there are those who appear briefly, then are gone’. Remfry executes his work in stages. Firstly there are quick observational sketches, with wonderful energetic lines; then the larger drawing where the form and composition is worked on and more colour added, a third of the size of the finished work. It is at the last stage that Remfry makes the crucial decisions, where to leave the white ground and where to block in the colour, for example the glorious red in Laura Kaplan

and Oscar, or the vibrant orange flowers in Louise in Elysium, both of 2007. He will often pin isolated studies on top of his compositions to try out ideas.

Remfry’s cropping and placement are crucial. In his portrait of Nikki Nichols and Wallis (2007–14) the stripes on the sofa where Nichols is reclining with his pug were only added seven years later, a decision that has to be right because of the nature of his medium.

Remfry is fascinated by the stories that people tell him and this is particularly evident in People and Dogs Drawn Together. Some owners were united with their pets in strange circumstances, some have given rescue dogs a home, and many cannot imagine life without their animals. Remfry beautifully captures the synergy that exists between humans and their pets, the love, their personalities. There is also the shadow of mortality as many of the dogs are now dead. In Blue (2007) Remfry painted a double portrait of himself, one from the 90s and one from 2000, with his remembered German Shepherd Blue taking centre stage and poking his head onto the page as he used to do round the door of Remfry’s London studio.

I am reminded of Picasso’s early blue period in the underlying pathos and the handling of the form and watercolour glaze. It is also obvious too why in 2001 Remfry was awarded the MBE for services to British Art in America and 2006 was elected as a Royal Academician. But for Remfry the subtext of his series is the relationship and compassion that people have for each other and their dogs. Remfry has found himself drawing pugs, poodles, greyhounds, lurchers, Wheaten Terriers and German Shepherds. There have been incidents. He had to draw Susan Sarandon’s dogs Penny and Rigby separately as the first time he went to her apartment her dogs had a small spat, drawing tiny spots of blood visible on the yellow sofa. Perhaps it is apposite then to end with a conversation that Remfry overhead in a New York Gym which he recounted to me recently in his studio, where one man was responding to another’s questions: ‘Oh’ he replied ‘I am so crazy about her that when I get off the subway I run home to see her, I am so in love with her it frightens me’ to which the reply was ‘So is she your first dog?’.

The exhibition David Remfry: We Think the World of You is in the De’Longhi Print Room from 21 October – 13 December 2015. Join Jean Wainwright in conversation with David Remfry on Thursday 10 December (see page 53), followed by a signing of the new hardback book published by the Royal Academy.

Top: David Remfry, Agnes Gund, 19 June 2009, Graphite, © The Artist Above: David Remfry, Oscar, 2008, Watercolour and graphite © The Artist 37

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Collected through Love: The Michael Woodford Bequest

Artistic Director Simon Martin introduces the Gallery’s most recent bequest and tells the story of an unlikely collector.

Graham Sutherland, Clegyr - Boia II; Landscape in Wales, 1938, Etching and aquatint on paper, Pallant House Gallery (Michael Woodford Bequest 2015) © The Estate of Graham Sutherland

Art collectors are rarely what one might expect. Everyone has their particular enthusiasms, quirks and foibles, which make their collection unique and reflective of their tastes.

In my career as a curator I have learnt never to have preconceptions when visiting collectors. The best pictures can often be found in the most modest of homes. Nothing can beat the buzz of encountering an iconic artwork in the most unlikely of settings. It is a lesson in how important it is not to make judgements about individuals before meeting them properly.

Such was the case with Michael Woodford, perhaps one of the most unlikely collectors that I have met.

In 2003, soon after arriving at Pallant House Gallery as Assistant Curator I curated a modest exhibition of the work of Graham Sutherland for the artist’s centenary.

An enthusiast for Sutherland’s work, Michael visited the Gallery for the first time to see the show, although he had long known of the Hussey Bequest. Inspired by his visit he wrote to the Gallery explaining: ‘I possess a small but interesting and impressive (I think so!) collection of 20th century art. I’ve long thought that I would like to bequeath it to a local gallery, which is perhaps lacking such, so that displayed, many more might get that same pleasure which I alone enjoy, or that same pleasure which I too derive from public collections.’

Some time afterwards our then curator Frances Guy and I went to visit him at his home in Kent. It was not at all what I had imagined to be the home of a modern British art collector: a former council maisonette on an estate, lined with green floral wallpaper, equally floral carpets 39

Left: Suzanne Valadon, Untitled (three figures in a landscape), 1940, Etching on paper Pallant House Gallery (Michael Woodford Bequest 2015) © The Estate of the Artist Bottom Left: Living Room of Michael Woodford Opposite Page: Alan Reynolds, Kentish Landscape 1957, Watercolour on paper Pallant House Gallery (Michael Woodford Bequest 2015) © The Estate of the Artist

and furniture, and the stuff of life on every surface.

But covering this wallpaper were notable etchings, linocuts and watercolours by various modern artists, including Graham Sutherland, Victor Pasmore, Henri Matisse, Pablo Picasso, Michael Ayrton, Alan Reynolds, Suzanne Valadon and Gerald Leslie Brockhurst.

The incongruous setting for these pictures reflected the seemingly unlikely story of Michael Woodford himself as an art collector. He was not a conventionally wealthy man. In fact, he had begun his career as a rubbish collector, before becoming the school caretaker in Cranbrook in Kent. But he possessed a passion for art. As well as visiting exhibitions of his favourite artists around the country, and collecting more than 700 art books, he was an amateur artist and would go on painting trips to Wales, showing his artworks in local exhibitions and even designing stained glass windows for a chapel in Cranbrook.

He was what might be known as a popular local ‘character’ who also played the trumpet in a jazz band.

A friend of the abstract artist Alan Reynolds, who lived in the same town, Michael (or Louis, as he was known to his friends) collected not only his later rigorously abstract drawings and wood engravings, but also two of the artist’s early lyrical Neo-Romantic watercolours of the Kentish landscape from the 1950s. The Neo-Romantic 40

artist Graham Sutherland was an artistic hero, and Michael collected works from across his career.

These include a group of important early pastoral etchings: The Village (1925), Pecken Wood (1925) and St Mary Hatch (1926), inspired by the visionary scenes of Samuel Palmer, and the 1930s etching and aquatint Clegy-Boia II (1938) which marked the change in the artist’s work from such precision to a more expressive response to the landscape. He also acquired later drawings and watercolours by Sutherland, such as a 1937 watercolour of Pembrokeshire, a study for his Festival of Britain mural The Origins of the Land (1950), and lithographs such as Articulated Forms (1950), which complement the Gallery’s holdings of 25 other works by the artist forming part of the Hussey, Kearley and David Medd Bequests.

Picasso was Michael’s other great enthusiasm: in addition to around 100 books on the great master, he bequeathed a small group of late etchings including an etching of the artist and model from his 156 Series (1968–72) and two etchings of nudes from his 347 Series (1968), his last great series of etchings. Other prints in the Michael Woodford Bequest include a linocut of a nude by Matisse entitled Pasiphaie (1943/44), an etching of three figures in a landscape by the French Post-Impressionist artist Suzanne Valadon, an abstract etching by Victor Pasmore, and a group

of four etchings by Gerald Leslie Brockhurst, which were all created in 1920, including portraits of the artist’s mother and his models Clytie and Anaïs.

The bequest forms a significant group of prints and drawings, and is a valuable addition to Pallant House Gallery’s collection of collections, comprising gifts and bequests from private collectors such as Walter Hussey, Charles Kearley, Colin St John Wilson and MJ Long, George and Ann Dannatt and the Golder- Thompson Gift. Together such generous gifts enable artworks once seen in private homes to be enjoyed by future generations of the public, and they tell us about the nature of taste and the different ways in which individuals have collected art.

In one of his letters, now in the Gallery’s archive, Michael expressed his pleasure that ‘such a fine collection has accepted my bequest, so that in time, many others may enjoy that privilege which I currently possess’. He described his artworks as ‘a bequest by a “minor” collector (not a rich rock star!) collected through “love” and when finance permitted!’. It is an inspiring story, demonstrating that collecting art does not necessarily have to be the domain of a wealthy elite, but can be enjoyed - and in turn shared - by anyone.

Collected through Love: The Michael Woodford Bequest is in the De’Longhi Print Room from 16 December 2015 – 28 February 2016.

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Nature Study, Late Summer Angie Lewin’s screen print Nature Study, Late Summer (2015) has been created exclusively for Pallant House Gallery, drawing on the enduring influence of David Jones on her printmaking and painting practice.

In the early 1980s a friend and I accidentally discovered Kettle’s Yard in Cambridge. It was a significant day as this extraordinary place convinced us both to apply to art college. It was seeing art in a domestic space displayed alongside gathered natural objects - flints, pebbles, feathers and seedpods - that was so inspiring. It seemed entirely appropriate to see a David Jones still life painting in this setting. I’ve always loved drawing and his subtle but graphic pencil line and layers of watercolour seemed to have such a spontaneity and light. It was the layering of still life elements, the way that patterns on ceramics seemed to flow in the space around them and the ambivalence between the interior and exterior that were unlike any painting I’d encountered until this point.

As drawing is an essential everyday activity for my practice I appreciate Jones’ approach to his paintings where his lyrical pencil line is equal in significance to the watercolour. I make both watercolour and pencil sketches when out walking and in the studio as starting points for my own prints. Watercolour has a quality which I aim to recapture in the transparency of the inks I mix when printing. I set up still lifes in the studio using my collection of ceramics and glass along with cut garden flowers, seedheads, seaweed, feathers and pebbles, collected on daily walks.

For Nature Study, Late Summer (2015) I was particularly influenced by David Jones’ Flora in CalixAngie Lewin, Nature Study, Late Summer, 2015 © The Artist

Light (1950) and Briar Cup (1932). On recent visits to Kettle’s Yard, I focused on the collections of natural objects such as pale grey-brown feathers scattered upon a shallow glass dish, a small glass jug of asters beside a twist of seaweed stem and Jim Ede’s pebble spiral on a simple wooden table.

By including glass in my composition I hoped to capture some of the lightness of Jones’ paintings whilst still keeping the qualities of my own work, which often displays the influence of mid-20th century natural history illustration. In preparation for my first solo exhibition of watercolours at The Scottish Gallery in Edinburgh earlier this year, I had an intensive period of painting which has resulted in an increased focus on layering of transparent colour, applied in the creation of this print.

Each of the six chosen colours is drawn using ink and lithographic crayons onto separate sheets of film, then exposed onto the screens for printing.

Each printed separation will inform what will happen next, with colours and artwork being amended as the image takes shape - sometimes taking the print in a rather different direction than intended. This is the aspect of printmaking process that I find challenging but so satisfying.

Angie Lewin’s limited edition screen print Nature Study, Late Summer (2015) is available to purchase in the Pallant Bookshop, priced at £335 (inc VAT, edition of 150) with a reduced price of £295 for the first 30 sold.

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Approaching Diversity at the Gallery Executive Director Marc Steene explains how Pallant House Gallery’s approach to diversity is rooted in encouraging long term meaningful engagement with all members of the community.

Pallant House Gallery is unique in many ways.

Home to one of the most important collections of Modern British art in the country, supported by a programme of highly regarded exhibitions, it is also known internationally for its groundbreaking Learning and Community Programme.

It is the dichotomy of a well-respected art gallery in the heart of conservative Sussex offering a programme that seeks to challenge many of the accepted assumptions around art and artists, that partly gives the Gallery its charge and vibrancy.

It could be considered a revolutionary idea to site the workshop space at the heart of a gallery or museum as the first space that visitors encounter. This is exactly what the architects - Long and Kentish, in partnership with Professor St John Wilson – decided to do when designing the new wing at Pallant House Gallery. Giving prominence to the importance of creative engagement whilst reminding staff and audiences that engaging with art is not a passive experience, the Studio has had a profound impact on the Gallery. It has enabled the Gallery to play a role in its local community beyond what might be expected from a cultural organisation.

The Gallery prides itself on a set of core values which has evolved over time, and key to these is respecting the individual and their right to a creative life. Putting aside the labels that society might assign them is a primary and important action in how the Gallery works with its audiences. As a Derek Groves, Portrait of Max Jacob after Amedeo Modigliani

society we seek to apply labels to everything, we do not like ambiguity, but labels are incredibly powerful and are often used to maintain a hierarchy in which people are subordinated and excluded. We need only to look at the important debate around the definitions of people with disabilities used by the medical vs social models. Put simply, the medical model defines a person by their disability, illness or life situation; the social model argues that it is society that disables people by not making provisions to enable their inclusion.

The Gallery has allowed real and lasting change to happen by committing to the social model and subsequently engaging and maintaining new and diverse audiences. Not only have provisions been made to include people through making the building accessible or providing large text for exhibitions, but tailored programmes and events have been put in place to ensure the Gallery’s offering is accessible to all. Over the last fourteen years the Gallery has sought to develop long term meaningful engagement with members of its local community by avoiding short term projects and funding often guided by wider political agendas. Instead the Gallery committed to several ongoing initiatives which seek to challenge the many cultural and social barriers preventing people from accessing the art world.

These include Partners in Art*, now an integral part of the Community Programme, and the Outside In** project, which both encourage people’s creativity and support their diverse interest in art.

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Derek Groves by Anne-Katrin Purkiss

Supporting people who would perhaps not normally be a part of the Gallery’s core audience to have normalised relationships with the Gallery has powerfully impacted on them and the Gallery and has had a significant influence on the wider cultural sector. There are many stories that could serve to illustrate this point, but I will just highlight two pertinent to my time at the Gallery.

I first met Derek Groves on my first year working at the Gallery as an Outreach Officer whilst delivering a workshop at a local day centre. Soon after, Derek joined the newly formed Partners in Art scheme, and with the support of his Partners in Art partner he joined the Gallery’s Access Advisory Group. Derek reduced his time at the day centre and now no longer attends it at all. Now an active and important part of the Gallery’s community, he volunteers as a Room Steward and a Studio Technician. He has discovered a skill for public speaking through the Share Art events, worked with a university student through a placement scheme with the University of Chichester, and today acts as a Community Programme Ambassador for the Gallery.

Manuel Bonifacio first joined Outside In in 2012 and submitted a drawing titled Mermaid to the 2012 Outside In National Open exhibition. The drawing was selected from 2400 entries which entitled him to a solo show in the Studio alongside five other award winners. Portuguese-born Manuel lives with his mother and sister and attends a day centre two mornings a week to draw and paint.

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Prior to entering his work for Outside In he had never exhibited in a gallery or sold any work, but publicity on the Studio exhibition resulted in a New York gallery that specialises in outsider art purchasing the work. Since this time Manuel has exhibited in Paris and New York and his work has sold to major collections including the Art Brut Collection in Lausanne. He has featured in Raw Vision magazine and has a piece of work in the Gallery’s collection.

I am sure that without the Gallery’s intervention Manuel and his work would be undiscovered to his personal detriment, but also to the detriment of the art world and our future heritage.

The lesson learnt from Manuel’s and Derek’s journeys is that in order for galleries to represent and include their local communities they need to respect the individual and embrace a wider understanding of culture and creativity. Museums and galleries should be encouraged to reach out to the undiscovered or overlooked creators and makers in their communities, to embrace their creativity, and to challenge themselves to present and interpret this work in a way that instils it with value. They should also seek to find ways to support engagement in the longer term, enabling people to develop in means best suited to them to the benefit of all involved.

There is a danger that without a democratising of culture museums and galleries will inevitably end up programming and working with only their known audiences, whose thinking and values will become increasingly removed from the wider community. *Partners in Art was founded in 2002 as a standalone scheme, but the approach has shown to be a highly successful model for inclusion, bringing together people from a broad cross section of the local community to share and practice their creative interests. Now an integral part of the Community Programme, Partners in Art brings together a volunteer with a person who would like additional support to share and develop their mutual interest in art. They are encouraged to work together in an equal way with respect for the others’ creativity and interests. ** Founded by Pallant House Gallery in 2006 (and still based at the Gallery), Outside In provides a platform for artists who see themselves as facing barriers to the art world due to health, disability, social circumstance or isolation. The goal of the project is to create a fairer art world which rejects traditional values and institutional judgements about whose work can and should be displayed.

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Chairman of the Friends' Letter

David Jones, Petra im Rosenhag, 1931, watercolour, pencil and gouache © Trustees of the David Jones Estate / Amgueddfa Cymru – National Museum Wales

The summer season has been a very exciting time at Pallant House Gallery. The Sickert exhibition was an outstanding success, bringing 1500 visitors to the Gallery during the first week of August alone. Along with the two accompanying exhibitions, St Ives and British Modernism and Kenneth Rowntree: A Centenary Exhibition, there has been a very lively atmosphere in the Gallery. It has been wonderful to see the garden courtyard full again and the Pallant Kitchen so well attended. There are some exciting plans for a refit of the restaurant, with an official launch planned for autumn.

Thanks to all our generous gallery supporters, we start the new season with the exciting news that we have now raised over £825,000 for the HLF Catalyst Endowment Fund. We have until June 2016 to reach our target of £1million, which will be match funded, and this autumn we will be holding two very exciting fundraising art auctions in London. As part of the Sotheby’s Modern and Post War BritishArt Sale in November, artists include Frank Auerbach, Howard Hodgkin, Antony Gormley and Paula Rego have generously donated their work. This auction, and an online sale of works through The Auction Room, will raise funds that will help to secure the Gallery’s future.

Please see page 21 for more information.

Pallant House Gallery is incredibly fortunate to have

a loyal team of volunteers working as Room Stewards, Gallery Guides and in the Friends’ Office. Their help and generosity with their time is absolutely vital to the running of the Gallery and I know how grateful both our Directors are for this. I want to thank all the volunteers in the Friends’ Office for the tremendous job they do helping Mary Ambrose in so many different ways. We are presently looking for new volunteers - if you are interested in providing extra help in the Friends Office please contact Mary Ambrose, and if you would like to learn more about becoming a Room Steward or Gallery Guide contact Deborah Blows via Reception. There will be more on volunteering at the Gallery in the next issue of the magazine.

We have some interesting trips for Friends planned in the months ahead including a trip to Lille in Northern France in April 2016 which will include tours of the many outstanding fine art galleries in the area, including Louvre-Lens, the Musées des Beaux-Arts in Lille and Arras, and the Matisse Museum in Le Cateau-Cambresis. There are still places available, and if you are interested please contact Lucy Ayling at Kirker Holidays on 0207 593 2284.

Thank you for your continued support and I hope to see you soon in the Gallery.

Lady Nicholas Gordon Lennox, Chairman of the Friends.

Pallant House Gallery Friends

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What's On Friends Events Find the rest of the public programme including workshops in the What’s On guide or online at www.pallant.org.uk.

Booking for Friends Events is required through Reception unless otherwise stated (01243 774557)

Our monthly Friends Events bulletin is sent out the second Wednesday of each month.

If you have not already signed up for this, you can email the Friends Office Manager, Mary Ambrose at m.ambrose@pallant.org.uk who will be happy to subscribe you to the e-bulletin.

Private View

Events

Trip

David Jones: Vision and Memory Sat 24 October, 10–11am The Friends Private View allows Friends to see the exhibitions before they open to the public. This special preview event will include a short talk by the exhibition’s co-curator Paul Hills. All Friends are welcome. Due to the popularity of this event, please RSVP to Mary Ambrose (m.ambrose@pallant.org. uk/01243 770 816).

Free (Please RSVP) (includes refreshments)

De’Longhi Behind the Scenes Talk Thurs 3 December, 11am – 12pm Continuing our series of talks exploring ‘behind the scenes’ at the Gallery, Head of Learning and Community Sandra Peaty will be talking about her role. £5.50 (£3 Student Friends) (includes refreshments)

Friends Tour to Northern France Fri 8 – Tues 12 April 2016 We still have spaces on our Friends' trip to Northern France, organised and conducted by Kirker Holidays.

Exclusively for Friends, the 5-day trip is based at the 4-Star Carlton Hotel in Lille (www.carltonlille. com) and will include tours of the many outstanding fine art galleries in the area. For more information and to book please contact Lucy Ayling at Kirker Holidays (lucy.ayling@kirkerholidays. com/020 7593 2284).

Exhibition Tours Evelyn Dunbar: The Lost Works Weds 7 October, 11am – 12pm An exclusive tour with Curator Katy Norris. This exhibition provides a rare opportunity to encounter a large quantity of previously unseen work by an important 20th century artist. £5.50 (£3 Student Friends) (includes refreshments) David Jones: Vision and Memory Weds 28 October, 10–11am An exclusive tour of the Gallery’s major autumn exhibition, conducted by Gallery Guide Jillie Moss. £5.50 (£3 Student Friends) (includes refreshments)

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Pallant House Gallery Friends

Christmas Carols Thurs 17 December, 6pm Join us for a special evening of Christmas carols around the Eric Gill crib courtesy of local community choir The Penny Black Choir. Mince pies and mulled wine will be sure to get you in the festive mood.

Room 11. £8 (booking essential) Hidden Treasures Thurs 4 February, 11am – 12pm Join Curator Katy Norris and Collections Manager Sarah Norris for a special viewing of works from the recent Michael Woodford Bequest, which will be exhibited in the Print Room from 16 December 2015 - 28 February 2016. £5.50 (£3 Student Friends) (includes refreshments)

Discover Arts and Crafts in Hampshire Weds 25 November 2015 A visit to the furniture workshop of Edward Barnsley who was a key figure in the Arts and Crafts movement. He joined the workshop, situated near Petersfield, in 1920, and today it continues to produce beautiful furniture to the standards he established. After a pub lunch (not included in the price) we will visit the Memorial Library of nearby Bedales School, considered to be one of the finest Arts & Crafts buildings in the country.

Cost £30 per person including minibus travel from/to Chichester.

Departure from Oaklands Way at 10am, return 5pm.

Art Book Club A lively and informative monthly discussion around books that are carefully chosen to link with the Gallery’s exhibitions.For more information contact Jacintha Hutton (jhjacintha8@ gmail.com). £6.50 Friends (£7.50 Friends of Friends) (includes tea/coffee and cake).

Pallant Proms

World War, although they did not fight. A challenging read which will give insights into the mind of the artist David Jones.

Nicola Tyrer: ‘They Fought in the Fields’ (2007) Sun 17 January, 2.30pm – 4pm Evelyn Dunbar painted several pictures of the Land Girls during the Second World War and this intriguing history recognises Fiona McCarthy: ‘Eric Gill’ (2003) the role of this important group of women in the war effort.

Sun 18 October, 2.30 – 4pm David Jones and Eric Gill worked Richard Davenport-Hones: closely together at Capel-y-ffin ‘My Dear BB: The Letters of in the Black Mountains and later Bernard Berenson and Kenneth in Ditchling in Sussex which led Clark, (1925–1959) to some of the most outstanding Sun 21 February, 2.30pm – 4pm work of the 20th century.

“Give us this day our daily tea and forgive us what we thought David Jones with an introduction yesterday” BB. This correspondence

by T. S. Eliot: ‘In Parenthesis’ (1937), new Faber edition 2014 between two art historians and collectors reveals an intelligence Sun 22 November, 2.30–4pm and conversational vigour T.S. Eliot regarded In Parenthesis unmatched in their fields. as a work of genius akin to the work of Joyce and Pound who, like Jones, experienced the First

Sat 31 October 2015 Sat 28 November 2015 Sat 30 January 2016 All 12pm – 1pm

Our series of recitals by students from the Recital Class at the Royal College of Music continues in the new season. Featuring outstanding international students provided for us by special arrangement with the Royal College of Music. This season, enjoy piano recitals of Mozart, Schumann and Scarlatti among others, performed by Sarah Park, Varvara Tarasova and Riyad Nicolas. Friends free (donations invited) (non-Friends £7)

Patrons of the Gallery We are immensely grateful to the following Patrons of Pallant House Gallery, and to all those who wish to remain anonymous, for their generous support: Judy Addison Smith Keith Allison Lady Susan Anstruther John and Annoushka Ayton David and Elizabeth Benson Edward and Victoria Bonham Carter Vanessa Branson Ronnie and Margaret Brown Louise Cameron Patrick K F Donlea Frank and Lorna Dunphy Lewis Golden

Paul and Kay Goswell Mr and Mrs Scott Greenhalgh Mr and Mrs Alan Hill Andrew Jones and Laura Hodgson James and Clare Kirkman Merle Lomas José and Michael Manser ra Keith and Deborah Mitchelson Robin Muir and Paul Lyon-Maris Angie O'Rourke Denise Patterson Simon and Harriet Patterson

Catherine and Franck Petitgas Charles Rolls and Jans Ondaatje Rolls Mr and Mrs David Russell Sophie and David Shalit Tania Slowe and Paddy Walker John and Fiona Smythe John and Susie Wells Mr & Mrs Michael Weston Tim and Judith Wise John Young

If you are interested in becoming a Patron of Pallant House Gallery please contact Elaine Bentley on 01243 770844 or e.bentley@pallant.org.uk

Tickets 01243 774557 (Booking Required)

Pallant House Gallery Friends

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A Legacy to Art Head of Development, Elaine Bentley, offers some advice on legacy giving.

Madge Gill, Untitled (Queenly Figure), c.1950s, Ink on paper, Presented by Anonymous Donors (2013)

‘It is now more important than ever that individuals make provisions to support the arts – a legacy is an easy way to help secure the future of a place that is an asset to the arts.

For me Pallant House Gallery is an amazing example of that.’ A Patron of the Gallery The trustees and staff of Pallant House Gallery are incredibly grateful to the generous individuals who choose to remember the Gallery in their Wills and we have just been advised of another residual legacy to be received in the next few months. Legacies are an increasingly important source of funding for the Gallery, as well as an ever more attractive way of giving for benefactors. All legacies received are paid into our endowment fund to secure the future of the Gallery in perpetuity. Until 30 June 2016 all legacies will be matched pound for pound with a grant from the HLF Catalyst Endowment Fund.

Legacy giving has tax advantages; by leaving at least 10% of your estate to charity, the rate of Inheritance Tax applicable to the rest of your estate is reduced to 36%. Due to recent increases in property prices alone, more estates are becoming eligible for Inheritance Tax. This can, however, be addressed by establishing appropriate Wills 52

Pallant House Gallery Friends

which include charities as beneficiaries, as no Inheritance Tax is payable on any amount bequeathed to registered charities such as Pallant House Gallery.

We would also encourage seeking a regular review of your Will with a solicitor to ensure your estate is administered in the way you see fit. Assuring a Will is in place in the first place prevents the state from deciding who inherits, an outcome that may not be desirable. Regular reviews of existing Wills are equally important to ensure family, friends and chosen charities are remembered in accordance with your wishes and to ensure your Will complies with new laws and any changes in your circumstances.

Pallant House Gallery owes its existence to the bequest of Walter Hussey, Dean of Chichester Cathedral. Recent legacies have contributed to the Gallery’s ongoing success and by leaving a gift in your Will, you would be helping the Gallery to continue its excellent programme and to achieve the long term vision of preserving its collections for future generations to enjoy. Your legacy could help us do all of this and more.

If you would like to discuss leaving a legacy to Pallant House Gallery, contact Elaine Bentley in complete confidence (01243 770844/e.bentley@pallant.org.uk).

What's On Gallery Events Find the complete public programme of talks, events and workshops in the What's On guide or online at www.pallant.org.uk To book telephone 01243 774557

Talks All talks £10, Friends £8.50, Students £9 (unless otherwise stated). A wine reception courtesy of the Friends of Pallant House Gallery will follow each talk.

David Jones: Vision and Memory Thurs 29 October, 6pm Whether drawing, engraving, painting or creating inscriptions, David Jones developed a highly original visual language whilst working in tune with the broad cultural climate of his times.

Curator Ariane Bankes will explore the main themes that run through the work of this most singular of British 20th century artists. A book signing of the newly published monograph by Lund Humphries will follow.

Weatherland: Writers and Artists under English Skies Thurs 5 November, 6pm From the Anglo-Saxons writing on the coldness of exile to the celebrations of spring in the Middle Ages, writers and artists across the centuries, looking up at the same skies and walking in the same brisk air, have felt very different things.

Alexandra Harris, author of the prize-winning Romantic Moderns, will try to catch cultural climates on the move as she introduces her new book, Weatherland: Writers and Artists under English Skies. A book signing will follow.

A Garden Enclosed: The Symbolic Imagery of David Jones Thurs 12 November, 6pm David Jones engaged heavily with the world of symbol and myth in his work. In this talk, Co-Curator Paul Hills will trace the medieval and Renaissance sources of Jones’s imagery and explore how he transfigured them. A book signing of the newly published monograph

by Lund Humphries will follow.

Evelyn Dunbar: War and Country Thurs 3 December, 6pm Known for her lyrical yet unsentimental paintings of the Women’s Land Army, Evelyn Dunbar was part of a generation of artists whose lives and work are only now being recognized and reappraised. Drawing upon her pioneering biography of the artist, Gill Clarke, Visiting Professor and Guest Curator at the University of Chichester’s Otter Gallery, will discuss the different periods in Dunbar’s life, revealing a wide variety of work and a profound connection with the countryside.

A book signing of the new illustrated catalogue will follow.

We Think the World of You: A Conversation with David Remfry Thurs 10 December, 6pm David Remfry RA is known for his large scale watercolours of urban scenes and has exhibited internationally for over 30 years. A longstanding resident of New York’s famous Chelsea Hotel, his new series explores the relationships between people and their dogs and includes well known sitters such as Ethan Hawke, Susan Sarandon and Alan Cumming. Art historian Jean Wainwright talks to the artist about his life and work. A book signing of the new book We Think the World of You: People and Dogs Drawn Together will follow.

Text as Image: The Inscriptions of David Jones Thurs 14 January, 6pm From European imperial architectural inscriptions to the typographic play of Dada and the Futurists, text as image has been a recurrent theme ever since writing was invented. Ewan Clayton, one of three surviving members of Ditchling’s Guild of St Joseph and Dominic, a calligrapher and Professor in Design at the University of Sunderland, will consider where David Jones sits in this expansive canvas. What were his sources of inspiration and how did his vision differ from that of his contemporaries? A book signing of Ewan Clayton’s The Golden Thread published

by Atlantic Books will follow.

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What's On Gallery Events Find the complete public programme of talks, events and workshops in the What's On guide or online at www.pallant.org.uk To book telephone 01243 774557

Special Events Drawing Theatre: An Artist Directs Sat 21 November 2015, 2–5pm Film duration: 120 minutes (with internal for refreshments) A screening of a new production of Bizet’s Carmen premiered at the National Opera of Slovenia in Llublijana in March 2015, introduced by Sir Christopher Frayling. Designed and directed by leading visual theatre artist Pamela Howard OBE, who will introduce each act, the production explored relationships between music, colour and texture and featured 14 paintings which will be on view prior to the screening. The opera is sung in French and refreshments will be served in the interval. £10 (Friends £8.50, Students £9)

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Pallant House Gallery Friends

Opus Anglicanum: The Battle of Mametz Wood Sat 6 Feb 2016, 3- 5pm A special concert of music and words performed by Opus Anglicanum. Narrator Zeb Soanes (BBC Radio 4) will tell the story of the 1916 Battle of Mametz Wood using passages from David Jones’s epic poem In Parenthesis.

Five singers will perform soldiers’ songs, music by Schubert and Palestrina, and Cheryl FrancesHoad’s In the crypt of the wood, a piece inspired by David Jones’ Vexilla Regis and commissioned especially for this sequence. £15 (Friends £13.50, Students £10)

Other Events Free Open Weekend 28-29 Nov 2015 Our Free Open Weekend returns this autumn with the theme ‘Discover’, offering an unmissable chance to get to know Pallant House Gallery. Creative activities for children and adults will help you to discover new materials and artistic techniques inspired by the collection. Join Spotlight Tours to get to know the Gallery’s extensive collection of Modern British Art whilst enjoying completely free access to the autumn season exhibitions.

Exhibition Tours £5.50 (£3 students) plus admission David Jones: Vision and Memory Thurs 19 Nov, 6pm Gallery Guide Martina Gingell leads a tour of the exhibition which showcases David Jones’ extraordinary talent as a painter, engraver, poet and maker of inscriptions.

Evelyn Dunbar: The Lost Works Thurs 21 Jan, 6pm An opportunity to discover more about the remarkable collection of lost works by the illustrator and WW2 Official War Artist Evelyn Dunbar. Led by Katy Norris, Curator at Pallant House Gallery.

Gallery Tour

Every Sat and Sun, 2pm A half-hour guided tour providing fascinating insights into our collections and displays. Whether exploring themes such as portraits or landscape, or telling stories behind particular artworks, each week is different. Free with admission, meet at Reception.

BOOKING FORM Booking Form

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THE MOUSETRAP KING CHARLES III A CHRISTMAS CAROL MOSCOW CITY BALLET HETTY FEATHER DINOSAUR ZOO GANDINI JUGGLING STEWART LEE JOAN ARMATRADING SINGLE SPIES COMEDY, MUSIC AND MORE

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01243 781312 cft.org.uk

Bookshop All books are available to buy online at www.pallantbookshop.com To keep up to date with our newest Titles, offers and exhibition books and products, sign up to our mailing list in store or on our website.

Telephone 01243 781293

Evelyn Dunbar: The Lost Works A beautifully illustrated catalogue published to accompany the Pallant House Gallery exhibition featuring many works not seen for decades. £19.95

The Art of David Jones: Vision & Memory Copiously illustrated, The Art of David Jones offers fresh insights into the career of this multi-talented 20th century British artist. £24.95 (Paperback) £35 (Hardback)

Exclusive Print by Angie Lewin Specially commissioned by Pallant House Gallery to accompany the David Jones exhibition, this beautiful print by well-known printmaker Angie Lewin is available exclusively from the Bookshop. Edition of 150. £295 (first 30) and then £335

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We Think the World of You: People & Dogs Drawn Together David Remfry has long been fascinated by the relationships that develop between dogs and their owners. In this charming new book published by the Royal Academy his delicate portraits in watercolour and gouache illustrate these unique partnerships. £16.95

Gallery Bookshop Christmas Card This year’s 2015 exclusive Christmas card is the delightful Kenneth Rowntree image 'Sasha skiing in Austria 1955' by kind permission of the Rowntree Estate. Each sale will include a donation to St Wilfrid’s Hospice. £4.50 (pack of 6 cards)

Weatherland: Writers & Artists under English Skies A new book by Alexandra Harris, author of Romantic Moderns, explores imaginative responses to the weather in England across centuries. £24.95

Gardeners’ Choice A facsimile of the 1937 book Gardeners' Choice, by Evelyn Dunbar and Charles Mahoney, reproduced

by Persephone Books to accompany the Pallant House Gallery exhibition. £12

Grayson Perry Tote Bag Turner Prize-winning British artist Grayson Perry will be designing the 2015 Books Are My Bag tote bag, available exclusively to bookshops. Bags will be on sale from 8 October.

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Artwork in Focus Musicians at Marrakesh, 1966–70, by Keith Vaughan

Keith Vaughan painted Musicians at Marrakesh (1966–70) after travelling through Morocco in April 1965 with Patrick Woodcock, a close friend and doctor. During his ‘First time out of Christendom’ he recorded in his journal ‘fantastic over-production of everything in the markets… crowds gentle and smiling… hot spicy smells… Arab amiability’ and intense colours such as saffron, indigo and ochre.

This painting was inspired by such observations as well as the souk in Marrakesh - a labyrinthine covered market and a huge, open square filled with snake charmers, food stalls and groups of exotic Berber musicians. The air is filled with the acidic sound of reed pipers and the steady beat of distant drummers. As well as the traditional Chaabi music usually heard in markets or at celebrations, classical Sufi music is used within spiritual rituals to attain a trance-like state. Woodcock took Vaughan to one these public ceremonies and the experience was subsequently distilled into this painting.

A group of eight or so figures gather round an imposing central figure standing before a vertical green backdrop. Exotic and costly fabrics denote high rank and spiritual importance and are often suspended behind Sufi elders at spiritual assemblies.

Moreover, Vaughan is borrowing from Italian Renaissance religious paintings where precious silks and damasks form canopies or ‘cloths of honour’ that adorn the throne of the Virgin Mary. The colour green is usually associated with springtime, new growth, hope and regeneration. By borrowing from the genre of religious painting Vaughan transfers these qualities to the modest musicians of Marrakesh – his own invented genre of an assembly of figures.

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Keith Vaughn, Musicians at Marrakesh, 1966–70, Oil on canvas, Accepted by HM Government in lieu of Inheritance Tax and allocated to Pallant House Gallery from the Estate of Professor John Ball (2011)

The pallid foreground characters play out an enigmatic ceremony in front of us. One figure to the left plays, perhaps, a musical instrument as others, dressed in traditional white djellabas, join in the musical ritual. The crossed-legged drummer beats his vivid yellow drum while colourful accents, such as the vibrant blue, visually amplify the musical pulse. In the middle distance the hooded heads of two silhouetted figures might easily be mistaken for skyline chimneys.

A foreground figure, divorced from the rest of the assembly, sits on a slab of ochre with his back to the viewer. Vaughan confessed to Professor John Ball, who donated this painting to the Pallant House Gallery collection, that this was a self-portrait and was included for a particular reason. In a 1959 studio notebook, Vaughan explained that such figures helped to engage and direct the viewer’s gaze through the picture plane and into the world of the painting, a pictorial device he learnt from Vermeer.

This article is by Gerard Hastings, author of various books on Keith Vaughan including a new edition of unpublished private writings by the artist, to be released later this year by Pagham Press. Keith Vaughan’s Musicians at Marrakesh (1966–70) is Artwork of the Month in November. Join a talk and workshop on 25 November 2015.

NOA NATIONAL OPEN ART

National Open Art Winter Exhibition

"No serious artist should ignore this competition" Brian Sewell "This is the best Open Art Competition in the UK and Eire" Gavin Turk

21 October 1 November

Royal College of Art ALL WORKS FOR SALE FREE ADMISSION

Harrogate International Visual Arts Expo 2015 Kings Road Harrogate North Yorkshire HG1 5LA 20-22 November 2015 Pallant House Gallery Chichester PO19 1TJ 1-13 December 2015

Open Daily 10am – 6pm Sunday 11am – 4pm Gulbenkian Gallery (By Royal Albert Hall)

Kensington Gore London SW7 2EU

www.thenationalopenartcompetition.com

Lauren Alderslade - Plenty Of Fish

Exhibitions 2015

MODERN BRITISH & IRISH ART EVENING SALE AUCTION

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25 November 2015 • London, King Street

VIEWING

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21–25 November 2015 • 8 King Street • London SW1Y 6QT

CONTACT

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André Zlattinger • azlattinger@christies.com • +44 (0) 20 7389 2074

DAVID BOMBERG (1890–1957) Church of the Holy Sepulchre, Jerusalem, 1925 oil on canvas 24 x 20 in. (60.9 x 50.8 cm.)

© THE ESTATE OF DAVID BOMBERG. ALL RIGHTS RESERVED, DACS 2015.

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