Rupert – Page 18 – Toovey’s Blog

Clarice Cliff: Designer and Industrialist

A Clarice Cliff Bizarre Autumn Crocus pattern tankard shape part coffee service

Amongst the most influential women designers and industrialists of the 20th century was Clarice Cliff. Born in 1899 she grew up in Tunstall. Her father worked in an iron foundry whilst her mother took in washing.

When she was thirteen Clarice Cliff started working in the pottery industry as a gilder and studied art and sculpture at the Burslem School of Art.

In 1916 Clarice moved to AJ Wilkinson at Newport Burslem. Her ambitious nature was apparent even at this young age as she worked hard to acquire the skills of modelling, gilding, banding and painting. All the time she was building up and keeping pattern books.

By the 1920s she had caught the eye of the decorating manager at AJ Wilkinson, Jack Walker. Jack brought her to the attention of one of the factory owners Arthur Colley Austin Shorter. Shorter became her patron and later divorced his first wife to marry Clarice Cliff.

In 1927 Shorter gave Clarice her own studio in his Newport Pottery. It was here that she began to paint her free hand patterns employing on-glaze enamels which were much brighter than underglaze colours. Her wares were immediately popular and she was joined by a young painter, Gladys Scarlett.

A Clarice Cliff Fantasque Pastel Autumn pattern vase, shape No. 358, circa 1930

Clarice Cliff called her work Bizarre and ‘The Bizarre by Clarice Cliff’ stamp was used between 1928 and 1936.

The abstract and cubist decorations, often arranged in geometric patterns, were influenced by Art Deco and modernist motifs.

In 1928 Clarice Cliff produced the simple Crocus pattern painted with flowers in orange, blue and purple with confident upstrokes as can be seen on the coffee service. The pattern was hugely popular throughout the 1930s and still delights collectors today.

The Fantasque range evolved between 1926 and 1934. The first in the range was decorated with an abstract depiction of a cottage in a woodland landscape like the Autumn pattern baluster vase with its pastel glazes. The designs were again influenced by the Art Deco.

The Crocus coffee service and the Fantasque vase were both entered for auction at Toovey’s from private collections and realised £800 and £900 respectively.

By 1929 Clarice Cliff had a team of seventy women working for her. They became known as the Bizarre girls.

In the light of her extraordinary success Clarice Cliff was appointed Art Director at Newport Pottery and AJ Wilkinson in 1930, and we will explore this next period in her remarkable career in a future article.

Medieval Frescoes Tell Easter Story

The St Mary’s, West Chiltington, 13th century medieval cycle of Easter frescoes

Amongst the frescoes at St Mary’s parish church in West Chiltington, Sussex is the Easter story. They were uncovered in 1882. Contemporary 19th century records note their excellent colour. Conservation work was not undertaken until the 1930s.

Frescoes are wall paintings painted directly on to the plaster while it is still wet. The artist has to work quickly and as the plaster dries the pigments and image are fixed. This technique was used throughout the Renaissance in Italy and elsewhere.

Amongst the earliest paintings at St Mary’s is the cross motif formed from an endless rope knot. This beautiful cross is easily missed and forms part of a circular medallion in the recess over the east end of the South Aisle. Such crosses are known in Roman mosaics and wall paintings. In Sussex the pavement at Fishbourne Roman Villa contains a similar emblem. However, its significance at West Chiltington, for the moment, remains unknown. There are trumpeting angels depicted on the arch below which overlay censing angels offering thanks and praise to God.

The St Mary’s, West Chiltington, 12th century cross

On the north side of the arcade in the nave is a cycle of frescoes which tell the Easter story from Jesus’ triumphal entry into Jerusalem on a donkey as the crowds lay palm leaves before him, to his resurrection on the first Easter Day. Illustrated here are depictions of the Last Supper, Christ washing the feet of his disciples, the betrayal of Jesus in the garden of Gethsemane by Judas Iscariot’s kiss, the flagellation of Christ, the carrying of the Cross and the Crucifixion. The scenes are portrayed within a series of three painted lobed arches resting on slender columns and capitals. The influence of the Gothic can be seen in the figures whose fluidity convey genuine humanity. Compassion and suffering are clearly discernable in the depictions of Christ and contrasts with the expressions on the faces of his tormentors. The directness of these paintings still powerfully communicate these familiar Gospel narratives even in their now faded hues.

They reside in a working building at the heart of its community for some 800 years and speak of a narrative common to us all. St Mary’s, West Chiltington is open every day – a generous place to find a punctuation mark and pray in a busy day. Easter services will be held at 2.00pm on Good Friday with Holy Communion on Easter Sunday at 8.00am and 10.00am all are welcome. For more information go to www.stmaryswestchilt.co.uk.

75 Years of Welcoming the Public to Parham

The famous Long Gallery at Parham, its ceiling decoration by Oliver Messel

I am always delighted to return to Parham House which re-opens on Easter Sunday celebrating 75 years of welcoming the public.

For me, Parham is one of the most beautiful houses in all England. I admire this special and hopeful place and its current custodian, Lady Emma Barnard, who, with her husband James, has made this a family home and continues to steward it for us all.

Everyone has been busy preparing for the Easter opening. “I love it when the visitor season and first opening approaches,” Lady Emma declares. “It’s always exciting as the house’s treasures emerge from their winter covers – but there’s always so much to do.” This delight in sharing the joys of Parham is something Lady Emma has in common with her great-grandparents, Clive and Alicia Pearson. They opened Parham to the public in 1948, not out of need but out of a genuine desire to share their home with others, a tradition which was continued by Emma’s great-aunt, Veronica Tritton.

The pre and post-war years witnessed a renaissance in mural and wall painting with many of Britain’s leading modern artists including Stanley Spencer, Eric Ravilious, Vanessa Bell and Duncan Grant contributing to this movement. Oliver Messel’s ceiling at Parham is an eloquent example of the genre. The famous Long Gallery’s wonderful ceiling was put in by the Pearsons in the 1960s. There were no historical records of the original Elizabethan ceiling so they commissioned the theatrical set and costume designer, Oliver Messel, to decorate it. The painted design depicts an array of birds, wildlife and foliage inspired by the English countryside.

This optimistic place provides a window onto our past and our future, an historical narrative from the Elizabethan Age to today. It speaks to us of our own place in the extraordinary procession of human history. Whether you are visiting for the first time or returning, Parham never fails to captivate and delight anew.

The covers are off! Parham House and Gardens open on Easter Sunday 9^th April 2023 at 2pm and 12pm respectively, closing at 5pm. For more information go to www.parhaminsussex.co.uk.

It has been a joy to revisit Parham where my column began 10 years ago. My thanks goes to all those who steward and share the unique cultural gems our county has to offer, and to our readers who continue to express delight and are always so encouraging.

Historical Portraits Sold at Toovey’s

Henri-Pierre Danloux – Louis Antoine de Bourbon, duc d’Angoulême (1775-1844) and Charles Ferdinand d’Artois, duc’ d’Berrie (1778-1820), Sons of Charles X, King of France, a pair of oval oils on canvas laid onto panel, one signed and dated 1797, each 24cm x 18.5cm

A pair of remarkable portraits have just sold at Toovey’s for £15,000.

The portraits are by Henri-Pierre Danloux (1753-1809) who in 1792 moved to London escaping the French Revolution.

They depict Louis Antoine de Bourbon, duc d’Angoulême (1775-1844) and Charles Ferdinand d’Artois, duc’ d’Berrie (1778-1820), the sons of Charles X, King of France and provide a window into history. Charles and his eldest son, Louis Antoine would both eventually be forced to abdicate in favour of Louis Phillipe de Orléans.

Louis Antoine accompanied and advised his uncle, Louis XVIII. He was twice forced into exile in Britain, and twice he fought in the Napoleonic wars, the second time with Wellington at the Battle of Waterloo.

Danloux was influenced by fashionable English portrait painters like Thomas Lawrence (1769-1830), John Hoppner (1758-1810) and George Romney (1734-1802). He exhibited at the Royal Academy in London which brought commissions from a number of British patrons.

Danloux would return to Paris in 1801 and continue to paint until his death in 1809.

Toovey’s picture specialist, Tim Williams with one of the Henri-Pierre Danloux portraits

Charles Philippe, Count d’Artois and later King Charles X of France, arrived in Scotland with his sons and established an émigré court at the Palace of Holyrood, Edinburgh. Danloux travelled from London to Scotland to paint the portraits of his fellow countrymen. His portrait of Louis Antoine was engraved by Philipp Audinet in 1799 (an example can be found at the National Portrait Gallery, London). Versions of both portraits by Danloux can also be found in the collection of the Palace of Versailles,. The portraits sold at Toovey’s were gifts from the sitters to Lord Adam Gordon (1726-1801) commander-in-chief of the forces of North Britain, and remained with the family. Lord Gordon had greeted d’Artois and his sons at the quayside on their arrival in Edinburgh where half of the city had turned out to witness the spectacle. Danloux also painted a portrait of Lord Gordon in 1799 which is now in the collection of the National Galleries Scotland.

It is always special to discover works that are fresh to the market like these. Toovey’s next sale of fine paintings will be held on 17th May 2023 and entries are still being invited. If you would like advice on you paintings collection contact Tim Williams at Toovey’s.

The Important Sussex Artist, Fred Cuming

Fred Cuming – ‘Roses I’, 20th century oil on canvas laid onto board, signed recto © the artist/Toovey’s 2023

The artist Fred Cuming, RA, is considered to be one of the finest landscape painters of his generation. He lived and worked in East Sussex.

Born in 1930 Cuming attended the Sidcup School of art in the years after the war. Between 1951 and 1955 Cuming studied at the Royal College of Art in London gaining a Rome Scholarship. He was elected a Royal Academician in 1974 (ARA 1969). He was also a Member of the New English Art Club and an Associate of the Royal College of Art.

Writing about Fred Cuming the biographer Richard Holmes describes him as ‘A truly visionary painter.’ Cuming conveys recognisable scenes transforming them with a poetic intensity born out of light and colour.

Fred Cuming gives voice to his life and inspiration as an artist in the insightful short film Portrait of an artist (Fred Cuming) commissioned by the Royal Academy in 2015.

He describes how he grew up in Woolwich fascinated by the boats and water, painting even as a young boy.

In his Sussex studio he worked on numerous paintings at the same time, each informing the other as they develop. Form and structure in the scene becomes apparent as he commits the scene to paper.

Two oils by this important artist, entered from a collection in Horsham, sold in Toovey’s recent fine art sale for £2200 and £3600 respectively.

Fred Cuming – Fowey, Square Rigger’, 20th century oil on board, signed recto © the artist/Toovey’s 2023

The scene, ‘Fowey, Square Rigger’, shimmers in the Cornish sunlight, the brilliant palette adding life and movement to the scene which is recognisable and abstract – a fleeting moment in time. Cuming has in the past reflected that the “problem presented by the simple seascape, which is about nothing more than light and space, I find particularly intriguing.” This scene is one which I am particularly fond of as we used to holiday at Polruan on the other side of the Fowey estuary when our children were young.

The cool morning light in the studio is finely captured in the still life ‘Roses I’ – the delicate brush work and palette transcends our immediate perceptions. Fred Cuming’s painting captures our attention and stills us.

This questioning artist’s excitement in the world and the landscapes he painted remained undiminished. Cuming reflected “…the more I discover the more there is to discover.”

To discover more about this important Sussex artist visit www.fredcuming.com.