Amberley Museum’s Inaugral Sculpture Trail

Contributing artists at the 2020 Amberley Museum Sculpture Trail

The first flash of spring sunshine broke through as Amberley Museum launched its inaugural Sculpture Trail. The Sculpture Trail provides a natural bridge between the artist and artisan. Many of the traditional crafts and skills preserved and maintained at the museum are employed in creating sculpture.

20th century Britain witnessed a great revival in the Renaissance idea of the artisan artist. In Sussex artists like Paul Nash, Eric Ravilious, Edward Bawden and others worked as designers and woodblock illustrators as well as painters of fine art.

As we walk up through the museum we reach a fork in the path and nestling amongst the dappled light of the still bare Silver Birch we discover a stone form titled ‘Cell’. The artist Will Spankie explains “The sculpture is inspired by bees. I love bees – the way that they live.” Will and his wife Lucy keep bees. The textural cells carved in Purbeck stone reflect the mass of prismatic wax cells built by honey bees in their nests to hold their stores of honey, pollen and as nurseries for their brood larvae. The changing light plays on the contrasting textured and smooth surfaces of the worked stone creating an impression of stillness and movement.

Will Spankie’s stone ‘Cell’

We walk with the sculptor Michael Joseph and his wife Jane down a wooded path as they talk passionately about wild flower meadows and bees. We round a corner and find Michael Joseph’s sculpture ‘Serene’ bathed in sunshine. Its bold figurative outline is repeated by its shadow against a crisp white wall. Michael loves the technical challenges of making his sculptures. I ask him about the creative process of this piece. He says “I made a maquette by bending the metal, but this larger finished work is made from tubing which can’t be bent without distorting it. So I made a number of cuts through to the outer face to very high mathematical tolerances then I welded it. It’s dressed and patinated with powder coating.”

Michael Joseph with his sculpture ‘Serene’

Works by the blacksmith partnership of Sarah Blunden and Ben Fraser, as well as blacksmith Alex Smith give real voice to calling and vocation in creativity expressed by the artisan artist – for them there is no peace without making. The inspiration of nature and its rhythms is beautifully articulated by the sculptor Simon Probyn. His steel abstract ‘Pebbles’ greets you as you arrive. And then there is the architect sculptor Lester Korzilius’ mixed method ‘Vortex’ with its bold palette and abstract form which plays with light and its enviroment.

I often return to the Amberley Museum for its brilliant railway, vintage car, and craft weekends as well as to ride on its fantastic vintage buses and trains. The sculptures are an exciting addition to this industrial landscape allowing us to see the familiar anew.

Amberley Museum’s 2020 Sculpture Trail runs until the 28th June 2020 and there is a celebration of James Bond on the weekend of the 28th March. For more information visit www.amberleymuseum.co.uk or telephone 01798 831370.

Gilbert White’s Tercentenary Celebrated at Pallant House

John Nash, A pair of Hoopoe Birds from‘The Natural History of Selborne’, c.1972 © Estate of John Nash

Pallant House Gallery’s exhibition Drawn to Nature: Gilbert White and the Artists celebrates 300 years since the birth of the Revd. Gilbert White and the centenary of the Society of Wood Engravers. It runs from the 11 March to the 28 June 2020.

The Revd. Gilbert White (1720-1793) was a remarkable man, a pioneering naturalist who hugely influenced the development of the science of natural history, an author and a gardener. He is perhaps most famous for his book ‘The Natural History and Antiquities of Selbourne’. A man of God with a love and interest in science and the natural world sits well with me. It is often argued that White’s study of earthworms and their vital role in creating topsoil influenced Charles Darwin’s thinking around evolution.

White’s Natural History recounts his daily observations of the animals, birds and plant life found on his doorstep in Hampshire and nearby in the South Downs in Sussex. Published in 1789 it was an immediate success.

Gilbert White’s Natural History has also inspired artists over the centuries and never more than in the 20th century as highlighted by the works on display.

In the 20th century many artists rediscovered their role as artisan artists and designers whilst working as painters and sculptors of fine art. One of the ways that this was expressed was by making printed woodblock illustrations for fine books printed by private presses.

Eric Ravilious, The Tortoise in the Kitchen Garden from ‘The Writings of Gilbert White of Selborne’, ed., H.J.Massingham, London, The Nonsuch Press, 1938

The artist Robert Gibbings influenced the revival of wood engraving by artists. In 1920 he founded the Society of Wood Engravers. Members working in Sussex included Eric Ravilious and John Nash. The society ignited a revival of wood engraving where the designs and the blocks were created by the artist, making that vital connection between the artist and the final print.

Eric Ravilious displays the line, flecking and crisp edging which define his woodblocks in The Tortoise in the Kitchen Garden. It depicts Gilbert White in his garden. A keen gardener from his youth, White increasingly took a close interest in the natural world around him, and grew a wide range of traditional and experimental fruit and vegetables, recording weather, temperature and other details.

Clare Leighton, Hop-pickers from‘GilbertWhite, TheNatural History of Selborne’ c.1941, wood engraving on paper © Estate of Clare Leighton

Clare Leighton also belonged to this revival of wood engraving. Her work combines a deep understanding of life and love informed by her Christian faith, with a captivating simplicity and honesty. Many of her compositions are characterized by the use of a series of underlying curves which at once unite the subjects in her pictures while articulating movement, qualities which are apparent in the composition of Hop Pickers.

Against some opposition from her family Clare Leighton persuaded her parents to allow her to attend the Brighton School of Art. She was friends with Hilaire Belloc, who lived at Shipley windmill near Horsham, and Eric Gill, who was at this point living in Ditchling.

John Nash’s Pair of Hoopoe Birds is one of a series of joyful illustrations to White’s natural history.

The exhibition Drawn to Nature: Gilbert White and the Artists brings together a wonderful collection of images, each inspired by Gilbert White’s Natural History. It runs at the Pallant House Gallery, Chichester from 11 March – 28 June 2020.

Toy Valuation Fundraiser for Horsham Museum

Toovey’s toy specialist Chris Gale with an array of collectors toys including a boxed Triang Wrenn locomotive, a Bassett-Lowke lifeboat and other tinplate and die-cast toys

This week I am in the company of Toovey’s toy specialist, Chris Gale who is preparing for his annual toy valuation fundraising event on the morning of Saturday 14th March at the Horsham Museum.

Chris remarks “People are often unaware of how valuable their old toys are and this free auction valuation event gives people the chance to find out and benefit the Horsham Museum as well.”

“Since 2002 I’ve sold more than £1.5 million pounds of toys and models for collectors from across Sussex and the UK in Toovey’s specialist auctions.”

A Bing tinplate clockwork open top double deck bus with external staircase and driver canopy, lithographed with destination boards and advertisements

I ask Chris to describe a few of his favourite toys. He pauses and says “One of my favourite toys was the Bing tinplate clockwork open top double deck bus which sold for £2800. It was beautifully made. Remarkable quality, especially as by the 1920s Bing was one of Germany’s most prolific toy manufacturers. The designs were lithographed onto steel sheets. The designs were then stamped out of the metal and assembled using tabs and slots. The Great Depression brought the company into decline and with the rise of the Nazis the Jewish Bing family came to England.”

An 18th century turned, carved and painted wooden swivel-head doll

“The 18th century turned, carved and painted wooden swivel-head doll I discovered was also exceptional. She had brown hair, black glass eyes, red painted lips and cheeks and the lined eyebrows were emphasised with dots. Her jointed body was wooden except for the upper arms which were stuffed with cotton. The doll came with a letter from the family stating it was bought new in Bath by an Ann Gibbs with her uncle Admiral Gayton in 1790, wonderful provenance, it realised £6400.”

A number of valuable toys have been discovered at previous Horsham Museum valuation events. Chris Gale who is donating his time explains: “If items valued at the event are subsequently consigned for auction with us at Toovey’s we will give a third of our seller’s commission to the Horsham Museum to help with its important work.”

For a morning of fun and free pre-sale valuations come to the Horsham Museum & Art Gallery, The Causeway, Horsham, RH12 1HE on Saturday 14th March, 10am to 12 noon. Toovey’s next specialist toy sale will be held on 20th May 2020.

Sussex Artist Alison Milner-Gulland – A Life in Art

The artist Alison Milner-Gulland in her studio

A retrospective exhibition ‘Alison Milner-Gulland – A Life in Art’ opens at the Horsham Museum & Art Gallery on Saturday 7th March 2020. This gifted Sussex artist has been reflecting on her creative life as her 80th birthday approaches.
Alison Milner-Gulland, like the seasons of the year, returns to a cycle of subjects that have always inspired her: the ancient, Sussex and the Downs, iconography, Russia and the Middle East, Oxford, antiquity and the human form, and music. As this retrospective exhibition illustrates one informs the other.

Alison Milner-Gulland’s oil painting, ‘Buddington Bottom’

These subjects directly record the artist’s life and her experience of the world. Alison will often re-visit a piece and re-work it many times reflecting the layers she perceives as she interprets the world around her. Alison’s work is not linear, she zig zags about so the date of a piece is not always relevant or remembered, her pictures develop and evolve as she continues to work on them giving expression to her connectedness with the world she inhabits.

For more than a decade my brother, Nick, and I have visited Alison at her studio which nestles at the foot of the South Downs. Nick describes it as “An amazing space – well-organized chaos, framed works are hung wherever wall-space permits or stacked on the floor. After being greeted by the family’s Jack Russell terrier, Dotty, and navigating a maze of pictures, mounting materials and packaging you come to the main work area of the cottage studio. Here an architect’s chest conceals numerous unframed prints, stacked on top of these are further prints, oils on canvas and works in progress beneath works drying on a washing line. Occasionally the sound of her nearby chickens, geese, guinea fowl or sheep are heard from outside. Negotiating the livestock and braving the elements you come to a separate studio dedicated to Alison’s work in ceramics. A colder but brighter and neater space, inherently slightly dusty from the powders, glazes and clays used to create the work. Along two walls are shelves displaying recent vessels, mostly figurative or musically inspired, but with a few trial abstracted landscape designs scattered amongst them.”

Alison Milner-Gulland’s ceramic pot, ‘Galloping Horses’

Alison has been drawing since she was old enough to hold a pencil.
From her teens until only a few years ago Alison regularly rode in the South Downs committing to memory the play of light and the elements on the landscape bound up with the movement of her horse. The elevated perspective that riding affords is evident in many of her landscapes. Alison has often remarked how in her imagination the rhythm of the horse combines with the movement in the landscape, a theme which recurs in her work.

The exhibition is brought alive through Alison’s comments – reminiscences which inform and accompany the works on display.

At first glance Alison’s work is accessible and uncomplicated, but over time the work reveals layers, subtle details and evolving depths, a spirituality, all of which serve the talent of this gifted artist.

Each of the works reflect the layered rhythm of this artist’s life. Her practice is reflective and always layered. This visual-poet in the landscape allows us to glimpse our place in the procession of human history, and something beyond our immediate perception of the world.

It is these qualities which gift Alison Milner-Gulland’s work with such a particular and distinctive artistic voice.

Alison Milner- Gulland – a Life in Art opens on the 7th March and runs until 27th June 2020 at Horsham District Council’s Horsham Museum & Art Gallery. This is an exceptional exhibition and entry is free. To find out more visit www.horshammuseum.org.

Chestnut Tree House Supported at Toovey’s Valentine’s Celebrations

Rupert Toovey with Patricia Woolgar, Chair of Trustees at Chestnut Tree House.
Image courtesy of Graham Franks Photography

Toovey’s 25th Anniversary Valentine’s Night celebrations brought hundreds of people together and raised more than £7000 for Chestnut Tree House hospice.

Chestnut Tree’s community team provide care for children and young people with life limiting illnesses to families in their own homes across Sussex and at Chestnut Tree House. The hospice was officially opened on 11th November 2003 by Her Royal Highness, Princess Alexandra. It is built in the vernacular of the English Manor House on land donated by the late Lady Sarah Clutton, a person who inspired and encouraged me in so many ways. The Land was given on a 125 year lease. The rent, a dozen mixed lilies (no white ones) and a £1 coin, falls due each year on Lady Sarah’s birthday.

The children and their families have access to wonderful countryside and nature through the hospice’s remarkable wheelchair accessible, interactive Woodland Walk and Meadow Garden.

Hospices are such a bright light in our communities. They allow those with life limiting illnesses to live well whilst also accompanying and tending to their families and loved ones. And they provide the opportunity for each of us to give expression to our care for others as they depend so heavily on our donations.

Chestnut Tree House’s extraordinary services cost more than £4 million every year. With only 6p in the pound funded by government this local charity is dependent on the financial support of the people and communities of Sussex which it serves.

Chestnut Tree House is a charity close to my own heart so I was delighted that Toovey’s 25th Anniversary Valentine’s Night celebrations allowed us to come together and raise funds for this remarkable Sussex charity.

Gary Shipton DL spoke in praise of Chestnut Tree House and Toovey’s.
Image courtesy of Graham Franks Photography

Gary Shipton DL and Patricia Woolgar, Chair of Trustees at Chestnut Tree House, spoke in praise of Toovey’s and Chestnut Tree House.

Andrew Bernardi and Maria Marchant with Rupert Toovey.
Image courtesy of Graham Franks Photography

Toovey’s celebrations included a charity auction. The evening raised over £7000 thanks to the generosity of all who came and concluded with a performance of Sussex music by Andrew Bernardi and his Stradivarius Trio.

Toovey’s Directors-Tom Rowsell, Rupert and Nick Toovey
Image courtesy of Graham Franks Photography

If you would like advice on how to fundraise, support, volunteer, or to find out more about Chestnut Tree House and its work visit www.chestnut-tree-house.org.uk.