Rupert Toovey’s Articles – Page 69

Hans Feibusch: The Unseen Drawings

Hans Feibusch - Study for a Mural (Diana and Actaeon), Pallant House Gallery, (Feibusch Studio, Gift of the Artist, 1997) © By Permission of The Werthwhile Foundation — Hans Feibusch – Study for a Mural (Diana and Actaeon), Pallant House Gallery, (Feibusch Studio, Gift of the Artist, 1997) © By Permission of The Werthwhile Foundation

An exhibition of drawings and mural studies by the German émigré artist Hans Feibusch (1898-1998) is currently on show at the Pallant House Gallery in Chichester.

Feibusch represents a classical, figurative tradition in 20th century art which has sometimes been overlooked in favour of abstraction and other modern artistic expressions. He also has an important place in the tumultuous history of the 20th century and the revival in church patronage of art in the Modern British Period.

The Pallant House Gallery was gifted the entire contents of Feibusch’s North London Studio which included hundreds of drawings, sketchbooks and sculpture in 1997.

Hans Feibusch arrived in England in 1933 from Nazi Germany to escape persecution as a Jew. He had become an established painter in Germany, being awarded the German Grand State Prize for Painters in 1930 by the Prussian Academy of Arts in Berlin. His talent was soon recognized in England and he exhibited regularly, often with the London Group, to which he was elected in 1934. The London Group included many of Britain’s leading artists.

Hans Feibusch - Baptism of Christ, c. 1951, Chichester Cathedral, © 2012 Rupert Toovey — Hans Feibusch – Baptism of Christ, c. 1951, Chichester Cathedral, © 2012 Rupert Toovey

Kenneth Clark, later Lord Clark, was very influential as director of the National Gallery in London during the war. He introduced Feibusch to George Bell, the then Bishop of Chichester. This resulted in a number of commissions across the diocese. One of Feibusch’s most important works is ‘The ‘Baptism of Christ’ painted in 1951 which can be seen in the baptistery of Chichester Cathedral alongside John Skelton’s font sculpted out of Cornish polyphant stone and bronze in 1982/83. The maquette for the font now holds the paschal candle which represents humanity’s salvation through the passion, death, and Resurrection of Jesus Christ. It can be seen on the wall beside Feibusch’s painting. It is interesting to note that Skelton was a pupil of his Uncle, Eric Gill. Representations of the Baptism of Christ are surprisingly uncommon but there are notable similarities between Feibusch’s depiction and Piero della Francesca’s Renaissance version painted in the 1450s which is now in the National Gallery, London.

Whilst the murals deserve to be celebrated it is Feibusch’s sketches and drawings which, for me, reveal his true talent.

Hans Feibusch - Seated Woman, c. 1949, Pallant House Gallery (Feibusch Studio, Gift of the Artist, 1997) © By Permission of The Werthwhile Foundation — Hans Feibusch – Seated Woman, c. 1949, Pallant House Gallery (Feibusch Studio, Gift of the Artist, 1997) © By Permission of The Werthwhile Foundation

Feibusch’s study in charcoal and crayon of a seated woman owes much to the French Classicism of the 18th century.

The study for a mural in pastel depicts the Roman goddess of the hunt, Diana. As she bathes she is attended by nymphs who are shocked when the young hunter Actaeon comes upon them in the forest. The tension in the composition and figures’ faces hints at the tragedy which is to unfold. Actaeon will be transformed into a deer only to be hunted and killed by his own hounds.

Hans Feibusch’s figures are convincing, almost sculptural, with a quality of mass and light. His composition and draftsmanship gifts them with a grace and nobility. They represent the work of a gifted artist whose life is inexorably bound up with the extraordinary history and events of his time.

Entrance to Chichester Cathedral is free providing the perfect place to pause, reflect and pray amongst its remarkable collection of art.

‘Hans Feibusch: The Unseen Drawings’ runs until the 5th March 2017 and thanks to the generosity of sponsors, DeLonghi, admission to the exhibition is free. And if you go this weekend you will have a last chance to see ‘Idealism & Uncertainty: Classicism in Modern British Art’ which closes on 19th February 2017. Both exhibitions are at Pallant House Gallery, 9 North Pallant, Chichester, PO19 1TJ. For more information go to www.pallant.org.uk.

By Rupert Toovey, a senior director of Toovey’s, the leading fine art auction house in West Sussex, based on the A24 at Washington. Originally published in the West Sussex Gazette.

Toys and Fundraising at Horsham Museum

Toovey’s toy specialist, Chris Gale, with some of his favourite recent discoveries

Toovey’s toy valuation event in support of the Horsham Museum & Art Gallery is becoming an annual event. Toovey’s specialist toys valuer, Christopher Gale, will be at the museum on Saturday, 18th February 2017, between 10am and 12noon providing free auction valuations and advice on your toy trains, cars, teddy bears, dolls and collectors’ toys.

Chris Gale says: “A third of the seller’s commission for items subsequently auctioned by Toovey’s will be donated by us to Horsham Museum to help with its important work.”

A Hornby ‘Princess Elizabeth’ O Gauge electric train with original box

I ask Chris about his favourite recent discoveries. He shows me a Hornby O Gauge electric train with original box. He says ‘This is one of Hornby’s finest models and reflects the design of the original steam engine. The original Princess Elizabeth locomotive was designed by Mr W. A. Stainer and was built at the Crewe Works in Cheshire. It was one of the first 4-6-2 engines built by The London Midland Scottish Railway (LMSR). The Princess Elizabeth became the most famous of the giant LMSR locomotives when, in 1936, she covered the 401.4 mile run between Glasgow and London at an average speed of 70mph whilst hauling a train. The toy train was produced with the guidance and advice of LMSR.” The model, dating from 1937, looks resplendent in its ‘crimson lake’ livery and the detailing is marvellous.

A Dinky Toys no. 163 Bristol 450 and Sports Coupé and no. 236 Connaught racing car both with their original boxes and an array of sports cars

I love the Dinky Toys no. 163 Bristol 450 Sports Coupé and no. 236 Connaught racing car, both with their original boxes. Bristol and Connaught both raced at Goodwood in the 1950s. Chris comments “Toy cars and tin plate toys always have a strong following. Dinky cars, for example, delight grown-up collectors as they did when they were boys. And they love rare models which aren’t too play worn!”

Chris Gales’ enthusiasm is infectious and his knowledge of toys never fails to impress.

The toy displays at Horsham Museum are marvellous. Bring your toy trains, cars, teddy bears, dolls and collectors’ toys to see Chris Gale between 10am and 12noon on Saturday, 18th February 2017, for a morning of fun and free pre-sale valuations at the Horsham Museum & Art Gallery, The Causeway, Horsham, RH12 1HE. Toovey’s next specialist toy sale will be held on 21st March 2017. A third of the seller’s commission for items seen at the event and subsequently auctioned by Toovey’s will be donated to the Friends of Horsham Museum. Sellers will receive the full amount they would normally get but they will know that they have helped the Museum as well.

By Rupert Toovey, a senior director of Toovey’s, the leading fine art auction house in West Sussex, based on the A24 at Washington. Originally published in the West Sussex Gazette.

Sussex Watchmaker becomes Youngest fellow of Horological Institute in the UK

The exquisite gilded fusee, striking movement, c.1685, displaying the watchmaker’s art

At twenty-one years old Jacob Russell has become the youngest Fellow of The British Horological Institute in the country – a remarkable achievement by any standard.

Jacob Russell, who has always lived in Sussex, recently completed his Worshipful Company of Clockmakers Apprenticeship as a watchmaker. Charles I established The Worshipful Company of Clockmakers in 1631 by Royal Charter. Today it is the Master and Wardens of the Company who award the Fellowships on behalf of The British Horological Institute. Jacob was awarded a Fellowship for his award winning practical work, carried out during his apprenticeship.

Horology refers to the art and science of making, servicing, repairing and restoring timepieces and measuring devices. Today’s watch and clockmakers need to combine the traditional, practical, dextrous specialist skills and techniques with an ability to embrace new technology.

Jacob’s Grandfather was passionate about watches and he inspired a love of horology in his grandson.

From a young age Jacob collected watches. He says “The aesthetic, history and function of watches delights me. I love their physical quality and the fine engineering involved in watchmaking.” Jacob explains how he learnt how watches work by taking apart and rebuilding examples from his own collection.

Whilst still at school Jacob helped at West Dean College where he was encouraged by the Senior Tutor in Horology, Matthew Read. Jacob served his apprenticeship under Geoff Allnutt, himself a watchmaker. Jacob works for Geoff in his business, J. E. Allnutt & Son, West Street, Midhurst. The firm and its staff are highly respected as restorers and retailers of vintage watches and antique clocks.

Geoff’s passion for clocks and watches was also apparent at a young age. He grew up working alongside his father. Geoff is passionate about bringing young people into his profession and is quick to praise Jacob’s exceptional achievements. He expresses a generous pride in seeing his young protégé develop and grow. I, too, believe in the importance of training future generations in our professions and I admire the investment and pleasure Geoff has made and takes in Jacob.

The watches seen at J. E. Allnutt & Son range from the antique to contemporary super-high quality English examples.

The tortoiseshell outer case with its inlaid landscape displayed with the inner case and dial

Jacob shows me a remarkable pair cased gentleman’s open-faced pocket watch with a gilded fusee, striking movement. He explains that the watch belongs to a private collector and is by Nathaniel Barrow who became a Freeman of The Worshipful Company of Clockmakers in 1661. The watch dates from around 1685. It is wonderful to imagine this watch in use in the final year of Charles II’s reign. The mechanism is beautifully worked and engraved. The tortoiseshell outer case is equally fine and is inlaid in silver with a landscape. The restraint in the engraved dial and the case further highlights the confidence and skill of this 17th century watchmaker.

The pair cased gentleman’s pocket watch by Nathaniel Barrow, c.1685

This beautiful object gives us a real sense of place in the procession of time and human history. Jacob is clearly bound up with this story in an exciting way.

Jacob concludes “I love the variety and challenges of my work, each day is different – a different watch, a different problem. It’s exciting when you can save a movement from the brink.”

Jacob Russell and Geoff Allnutt can be contacted at J. E. Allnutt & Son on 01730 813495. To find out more about courses, apprenticeships and training visit The Worshipful Company of Clockmakers website www.clockmakers.org.

By Rupert Toovey, a senior director of Toovey’s, the leading fine art auction house in West Sussex, based on the A24 at Washington. Originally published in the West Sussex Gazette.

Turner and the Great Age of Watercolour at Petworth

JMW Turner ‘A First Rate Taking in Stores’, c.1818 © The Higgins, Bedford/National Trust

‘Turner & the Age of British Watercolour’ has just opened at Petworth House and runs until 12th March 2017. The exhibition celebrates the British pre-eminence in the medium of watercolour painting in the mid-18th and early 19th century. The work is predominately drawn from the Cecil Higgins Art Gallery, Bedford, and includes a breadth of artists and paintings of extraordinary quality.

Curated by Andrew Loukes of the National Trust, the exhibition illustrates the development of the British watercolour tradition century and its role in establishing our national and patriotic identity.

The story is told with JMW Turner at its centre. Although Turner painted numerous watercolours at Petworth his great patron and friend, The 3rd Earl of Egremont, did not acquire any. This jewel-like show brings watercolours to Petworth House which speak into the ravishing house collection.

The exhibition makes apparent how British watercolour painting moved from recording the topographical to a romantic, personal impression of a particular place. Many argue that the poetic landscape of the romantic imagination is born out of Constable and Turner’s work.

It was Dr Thomas Munro, the chief physician at the Bethlem (Bedlam) Royal Hospital, who identified the genius of the artist John Robert Cozens. Cozens was admitted to the asylum suffering a nervous breakdown. Munro bought the collection of his work and would share it with a generation of British artists. There are watercolours by both men on display in the exhibition.

Turner was exposed to John Robert Cozens’ landscapes whilst working at Munro’s informal academy with his friend and contemporary, Thomas Girtin, in 1795. Turner would later acknowledge the importance of Cozen’s works on his own development as an artist.

JMW Turner would famously break free from the confines of convention and tradition recording impressions of the elemental in nature.

Walter Fawkes of Farnley Hall, Yorkshire, was a man with a patriotic disposition and an important patron to Turner. His son, Hawksworth Fawkes, watched Turner as he painted ‘A First Rate Taking in Stores’ and would write ‘He began by pouring wet paint onto the paper until it was saturated, he tore, he scratched, he scrabbled at it in a kind of frenzy and the whole thing was chaos – but gradually and as if by magic the lovely ship, with all its exquisite minutia came into being’. As you observe this watercolour in the exhibition it reveals depth and detail which contrasts with the scale, atmosphere and movement which Turner’s technique creates.

Thomas Girtin ‘Jedburgh from the River’, c.1798-99 © National Trust

The exhibition also looks at the topographical recording of landscapes and buildings which would come to define a sense of British identity. Thomas Girtin’s topographical study ‘Jedburgh Abbey from the River’ combines a delicacy of topographical recording with broad washes of strong colour which are typical of his later more spacious, romantic works. Turner held Girtin’s work in the highest regard.

Francis Towne ‘The Colosseum from the Caelian Hills’, c.1799 © National Trust

The exhibition also seeks to explain the influence of recording the Grand Tour on British watercolour painting. Artists like Francis Towne, who was a contemporary of John Robert Cozens, were employed in the late 18th century to record the scenes of the Grand Tour as they travelled with their patrons. I love the delicacy of Towne’s watercolour ‘The Colosseum from the Caelian Hills’. It is based on studies in his sketchbooks from his European travels in the 1780s.

‘Turner and the Age of British Watercolour’ is a visually beautiful show which will delight you. The exhibition runs at Petworth House in West Sussex until the 12th March 2017. Entry is by pre-booked timed tickets which can be purchased online at www.nationaltrust.org.uk/petworth or by telephoning 0844 249 1895. Discounted tickets are available to National Trust Members.

By Rupert Toovey, a senior director of Toovey’s, the leading fine art auction house in West Sussex, based on the A24 at Washington. Originally published in the West Sussex Gazette.

Vanessa Bell Retrospective

Vanessa Bell, Self –Portrait, 1915, Yale Centre for British Art, Paul Mellon Fund © The Estate of Vanessa Bell, courtesy of Henrietta Garnett — Vanessa Bell, Self-Portrait, 1915, Yale Centre for British Art, Paul Mellon Fund © The Estate of Vanessa Bell, courtesy of Henrietta Garnett

The first ever retrospective of the important Sussex artist, Vanessa Bell (1879–1961), is the latest exhibition to go on show at the Dulwich Picture Gallery.

This timely exhibition seeks to place Bell’s work in the context of her life with over one hundred paintings on display. The story of Vanessa Bell’s life has often overshadowed the work which it inspired. But throughout her life she devoted herself to her painting which allowed her to voice her belief in the importance of substance and freedom. Her home at Charleston in Sussex remains a moving testimony to her life – a house transformed by her art.

In London Vanessa Bell had married the art critic Clive Bell and was one of the leading members of what would become known as the Bloomsbury Group. She worked in the Omega Workshops with Roger Fry and collaborated with Duncan Grant in numerous decorative projects and artistic commissions. Both men would eventually become Vanessa’s lovers. Many of her designs embraced the new artistic ideas from the Continent. The abstracted fabric design for the Omega Workshops in watercolour seen here is striking in its modernity but maintains a fluidity underpinned by the use of colour in the composition.

Vanessa Bell, Landscape with Haystack, Asheham, 1912, Smith College Museum of Art, Northampton, Massachusetts. Purchased with the gift of Anne Holden Kieckhefer class of 1952, in honour of Ruth Chandler Holden, class of 1926. © The Estate of Vanessa Bell, courtesy of Henrietta Garnett

Vanessa Bell visited her sister Virginia Woolf at her Sussex home, Asheham, in 1912 where she painted ‘Landscape with Haystack, Asheham’. Here the influence of the Post-Impressionist exhibitions of 1910 and 1912, organised by Roger Fry at the Grafton Gallery in London, are readily apparent in the way that she employs light, blocks of colour and bold outlines.

It was Vanessa Bell’s love for Duncan Grant and Virginia Woolf which brought about her move to Sussex during the First World War.

Vanessa was living with Duncan Grant, and his friend David Garnett, at Wissett Lodge in Suffolk when Virginia Woolf, wrote to her. In her letters Virginia explained that not only did Charleston house need a tenant but that the neighbouring farmer was short of ‘hands’ to work on the land. Duncan Grant and David Garnett needed to be essentially employed on the land to avoid being called up to fight or the prospect of gaol as conscientious objectors.

Vanessa Bell 1879–1961, Design for Omega Workshops Fabric, 1913, Yale Centre for British Art, Paul Mellon Fund. © The Estate of Vanessa Bell, courtesy of Henrietta Garnett

As well as covering the walls and furniture at Charleston with painted decoration Duncan and Vanessa portrayed those who visited and the countryside around them.

A number of remarkable portraits by Bell are included in the exhibition. Her paintings of Virginia Woolf, Lytton Strachey and David Garnett are revealing and remarkably daring in their execution challenging our perception of the world and beauty. Amongst these is a self-portrait painted in 1915. Vanessa sits in a chair her head averted from us as she stares from the canvas deep in thought. There is a strength and resilience in her demeanour.

Vanessa Bell, Wallflowers, undated, Private Collection. © The Estate of Vanessa Bell, courtesy of Henrietta Garnett

I have always loved the intimacy of Vanessa Bell’s still lives. The study of wallflowers does not disappoint. The flowers sit in a jug which may well have been decorated by Vanessa at Charleston.

This superb and long overdue exhibition allows us to see Vanessa Bell’s development as an artist and the techniques, themes and subjects which unite her work.

‘Vanessa Bell’ runs at the Dulwich Picture Gallery until the 4th June 2017 and is one of this year’s must see exhibitions. For more information go to www.dulwichpicturegallery.org.uk.

By Rupert Toovey, a senior director of Toovey’s, the leading fine art auction house in West Sussex, based on the A24 at Washington. Originally published in the West Sussex Gazette.