Identifying the unidentified

For many collectors, research can be a source of great joy or, when unfruitful, great frustration. Today, in this age of the internet, a powerful resource of knowledge is literally at our fingertips. Most of us will now ‘Google’ the answer to something, rather than refer to a book. This was not the case in the late 1980s, however, when Mr Savory, a postcard collector from Northants, purchased a group of five postcards from a local fair. Filed under ‘Sussex’ in the dealer’s stock, with a hearsay attribution of being Littlehampton, the collector secured them for their military interest but obviously wanted to find out more. His quest to discover the incident pictured lead him to write a plea for help to the editor of the West Sussex Gazette. On May 21st 1987 nearly half of a page was dedicated to four of the five postcards. Readers of the newspaper wrote in, some with their snippets of facts and some with their reminiscences of these events or similar events. It was discovered that, although they all related to the Battle of Britain, they did in fact illustrate two different events.

Junkers 88A down at Pagham postcard auction ©2015 Toovey's
A series of four Battle of Britain postcards

Four of the postcards record the fate of a German bomber which took off on a sortie to attack the London Docks on 9th September 1940. It was a Junkers 88A, works no .0333, coded 4D+AD, of Stab 111/KG30. For those not familiar with such terms, it was an aircraft of the Staff Flight of the 3rd Wing of Kampfgeschwader (Bomber Group) 30. It was piloted by Gruppe Kommandeur Major Hackbarth and his crew comprised Oberfeldwebel Manger, Unteroffizier Sawallisch and Gefreiter Petermann. The first two survived but the other two died in an attack almost certainly launched from Kenley, probably by 253 Squadron Hurricanes but possibly by Spitfires of 66 Squadron. It was subsequently force-landed off Pagham at 5.50pm and soon after that is the moment the postcards start to capture the event. Two of the postcards depict British soldiers guarding the aircraft; another shows an injured member of the crew on a stretcher and the final view is of soldiers removing a spoil of war, the swastika from the tail, as a memento. One of the letters from a reader of the newspaper claimed that the removed tail panel resembled one in the Tangmere Military Aviation Museum, which had been used during the war as a scoreboard by a Hampshire Territorial searchlight troop. Another reader stated that, as a curious local schoolboy in Pagham, he was inside the plane and removed the factory serial plate from the cockpit (long since lost), which gave the release date from the factory as the previous day!

Postcard of Sgt. Cyril F. Babbage returning to shore at Bognor Auction ©2015 Toovey's
Postcard of Sgt. Cyril F. Babbage returning to shore

The fifth postcard was originally believed to be part of the same series but, in fact, illustrates a separate event from the Battle of Britain. It shows Sgt. Cyril F. Babbage returning to shore at Bognor on 26th August 1940. He had been piloting a Spitfire X4188 of 602 Squadron Westhampnett (Goodwood airfield). A contemporary account was published in an unidentified newspaper, the clipping of which was offered by someone responding to Mr Savory’s plea. It stated:

A thrilling air battle was witnessed over a South-East Coast town on Monday afternoon during an air raid alarm, when machine gun fire rattled overhead, and the thuds of bombs were heard exploding in the distance, punctuated by sharp cracks of anti-aircraft guns… As soon as our ground defences held their fire nothing could be heard except the sharp rat-tat of machine guns… One of our fighter pilots during the engagement baled out of his plane, and could be seen descending towards the sea. He pitched in the sea about half a mile off shore, where he was picked up by some fisherman. He was brought ashore with cheers ringing in his ears from several hundred persons who flocked to the sea-shore, although the all-clear had not sounded, thus incidentally, exposing themselves to extreme danger.

The pilot was rowed to shore by two fisherman from Littlehampton and the ‘L.I.’ registration code on the boat was perhaps the clue for the original dealer’s attribution. The fishermen, Messrs N. & A. Ide and a member of the Ragless family, recalled that Babbage was smiling cheerfully as he had shot a Messerschmitt prior to two others setting upon him over Selsey Bill. It was Hauptman Mayer of 1/JG 53 that finally put him out of action at 4.43pm; he was taken to Bognor hospital ‘slightly hurt’. One West Sussex Gazette reader said that he subsequently went back to his squadron and ‘had a very chequered career, being shot down, or damaged in action at least three more times, during the Battle of Britain.’

Perhaps today Mr Savory would have typed in ‘crashed German plane on the Sussex coast’ or similar into a search engine and, after visiting swathes of results, found out all the information he needed. He would not, though, have found all the fascinating reminiscences that were relayed by readers of the West Sussex Gazette, among them an anecdote of a lady who dived into a stinging nettle patch fearful of a chasing plane, only to see the R.A.F. roundels pass overhead! It was this research that brought the postcards to life for Mr Savory and why these postcards gave him so much pleasure.

Having enjoyed the postcards ever since, Mr Savory has decided to sell the postcards at Toovey’s forthcoming auction of Paper Collectables on 24th February 2015, encouraged by the fantastic results achieved for Sussex postcards in these specialist auctions. The group of four photographic postcards of the German bomber at Pagham carry a pre-sale estimate of £70-100 and the single photographic postcard of Babbage’s return at Bognor will be offered separately at £30-50. In addition to Postcards, Toovey’s sales of Paper Collectables also include Stamps, Cigarette Cards, Autographs, Photographs and Ephemera.

Valentine’s Day Gift Inspiration for Her 2015

It’s tough finding the right present for that special someone in a petrol station on the 13th February! So to help you get organised we’ve looked through our catalogue for our forthcoming auctions on the 28th, 29th and 30th January and found five Lots that might just be the perfect gift for that special lady in your life this Valentine’s Day…

Lot 338: A late Victorian silver rectangular photograph frame with heart shaped aperture within radiating reeded and beaded border, London 1898 by William Comyns, height approx 18.5cm. Estimate £70-100
Lot 619: A platinum and diamond single stone ring, claw set with a circular cut diamond. Estimate £800-1200
Lot 623: A pair of diamond earrings, each collet set heart shaped drop suspended from a collet set circular cut diamond surmount, length approx 1.1cm, cased. Estimate £800-1200
Lot 1580: A Meissen porcelain Devisenkinder figure, late 19th Century, modelled as Cupid forging hearts, after the model by Acier, raised on a triangular base titled 'Je les enflamme', crossed swords in underglaze blue, incised 'F4', impressed '131' and red painted '62' to base, height approx 13cm (left arm restored). Estimate £200-300
Lot 2715: A 19th Century Limoges enamel plate, painted with a central panel of two classical figures below Cupid, within a border of masks and scrolls, all decorated in white and gilt on a blue ground, diameter approx 23cm. Estimate £1000-1500

Valentine’s Day Gift Inspiration For Him 2015

It’s tough finding the right present for that special someone. We’ve looked through our catalogue for our forthcoming auctions on the 28th, 29th and 30th January and found five Lots that might just be the perfect gift for that gentleman in your life this Valentine’s Day…

Lot 94: After John Blaeu - 'Suthsexia Vernacule Sussex' (Map of the County), engraving with near period colour, approx 40cm x 55cm, within a gilt frame. Estimate £100-150
Lot 360: An early Victorian silver castle-top card case of rectangular form with hinge lid, one side die-stamped with a scene of Newstead Abbey, the other with Warwick Castle, each within engine turned borders, Birmingham 1839 by Taylor & Perry, length approx 9.6cm. Estimate £600-900
Lot 1010: A Rolex Oyster Perpetual Explorer steel gentleman's bracelet wristwatch, the signed circular black dial with luminous Arabic and baton shaped numerals, Mercedes hour hand and centre seconds, the dial detailed 'Rolex Oyster Perpetual Explorer Super Precision', on a steel Oyster bracelet with a Rolex fold-over clasp, with a Rolex green case. Estimate £1200-1800
Lot 1074: An early 20th Century walnut cased barograph with lacquered brass mechanism and clockwork recording drum, beneath a five glass cover, on a rectangular base with frieze drawer and bracket feet, length approx 36.5cm. Estimate £200-300

Lot 1471: A Continental bisque porcelain figure of a nude, circa 1900, modelled lying with her hands behind her head, length approx 10cm. Estimate £30-40

Mr Turner at Petworth

Mr. Turner – Timothy Spall, as J.M.W. Turner, paints in the Old Library © Simon Mein, Thin Man Films.
Mr. Turner – Timothy Spall, as J.M.W. Turner, paints in the Old Library © Simon Mein, Thin Man Films.

Mike Leigh’s textural depiction of the life and work of Joseph Mallord William Turner (1775-1851) in his award-winning film Mr. Turner has been brought to life in an exhibition at Petworth House. This fascinating show runs until 11th March 2015. It brings together rarely seen works by J.M.W. Turner with props, costumes and paintings from the film by the actor Timothy Spall.

Andrew Loukes, Curator of Collections and Exhibitions at Petworth House, is clearly excited by Mr. Turner – an exhibition, which he has co-curated with Dr Jacqueline Riding. Andrew enthuses: “Mike Leigh’s work on Mr. Turner at Petworth is arguably the most significant cultural moment at the ‘house of art’ since Turner himself was a frequent guest here in the 1820s and 30s.” The third Earl of Egremont was amongst the most important English patrons of art in the late 18th and early 19th centuries. The film Mr. Turner has provided the opportunity to re-examine the important role that Petworth and the third Earl played in Turner’s later work.

As we walk up the Old Library staircase in conversation, I remark on one of my favourite scenes in the film, in which Turner stands painting at his easel in this library with three ladies, bathed in light from the arched window. As we reach the landing, we are greeted by the very same scene and light. Andrew smiles and explains, “Mike Leigh wanted to recreate some of Turner’s iconic pictures. Turner painted several sketches of this room.”

J.M.W. Turner – The Old Library © Tate, London, 2014
J.M.W. Turner – The Old Library © Tate, London, 2014

The Old Library is often called ‘Turner’s Studio’. This particular scene is taken from Turner’s luminous gouache of 1827, titled The Old Library: The Artist and his Admirers. Here three ladies watch as the artist paints. Turner’s delight is obvious in his depiction of light, colour and movement. It provides the viewer with a remarkable impression of a particular moment in time. The sketch is one of a number produced by Turner in the autumn of 1827. Painted for his own pleasure, they illustrate life behind the scenes at Petworth House.

Timothy Spall studied under London artist Tim Wright for two years as part of his preparation for the role of Turner. His vigorous performance in the film convincingly reflects something of the practical physicality of creating art and it is surprising to see the level of accomplishment in his paintings and drawings first hand. Spall depicts J.M.W. Turner as an artist consumed by his art, confident, eccentric, prosperous, forthright, both detached and tender in his personal relationships.

Like the film, the exhibition offers a revealing and very personal insight into the character of this great artist. Andrew reverentially shows me Turner’s leather watercolour pouch, which is one of the objects on display. Although worn, it shines, displaying the patina of years of use and handling by the artist himself.

As Andrew and I continue around the exhibition into the Carved Room with its Turners, Grinling Gibbons carvings and costumes from the film, it becomes apparent that I am in the company of a man whose depth of understanding and love of the collections he curates at Petworth House have rooted him in this place in a very particular way. He remarks, “I am excited to be able to expand the exhibition offer at Petworth, based around the remarkable collections here.” Andrew Loukes’ quiet passion, vision and dedication are bringing life to this important house and its collections and he deserves our thanks.

Demand for tickets for Mr. Turner – an exhibition at Petworth House is expected to be high, so book your tickets early! For more information go to www.nationaltrust.org.uk/petworth-house and to book tickets telephone 0844 249 1895.

By Revd. Rupert Toovey. Originally published on 14th January 2015 in the West Sussex Gazette.

Terry Frost and the Poetry of Federico Garcia Lorca

Katy Norris, Assistant Curator at Pallant House Gallery, with Lament for Ignacio Sánchez Mejías by Sir Terry Frost
Katy Norris, Assistant Curator at Pallant House Gallery, with Lament for Ignacio Sánchez Mejías by Sir Terry Frost

A dramatic exhibition of Terry Frost’s prints from his Lorca Suite is currently on show in the De’Longhi Print Room at Pallant House Gallery in Chichester, West Sussex.

It focuses on the British abstract artist Terry Frost and his engagement with the poetry of the Spanish poet, playwright and theatre director Federico García Lorca. Lorca became one of the first martyrs of the Republican cause in the Spanish Civil War when he was killed by fascist Nationalist rebels in 1936. Assistant Curator Katy Norris explains, “Lorca’s death has come to epitomise the violent suppression of the intellectual left by right-wing partisans.” When General Franco seized power in 1939, at the end of the conflict, he banned Lorca’s work from publication in Spain.

During the Second World War Terry Frost was a prisoner of war under the Nazis and a victim of fascism. Katy keenly describes how this loss of freedom awakened his political and artistic consciousness, an experience which would inform his life and work, saying: “Frost exercised a lifelong pursuit of his artistic right to freedom of expression.”

Sir Terry Frost 1915–2003, The Moon Rising, 1989, etching with hand colour on Somerset Satin paper, Austin / Desmond Fine Art © The Estate of Sir Terry Frost
Sir Terry Frost 1915–2003, The Moon Rising, 1989, etching with hand colour on Somerset Satin paper, Austin / Desmond Fine Art © The Estate of Sir Terry Frost

Frost would later acknowledge how, as a prisoner, his hunger and suffering gifted him with “a tremendous spiritual experience [and] a more heightened perception”. The artist described this formative experience as “an awakening”. Katy adds: “Frost discovered his profound sense of connection with nature and landscape at this time.”

The liberal society in which Terry Frost was working in the 1970s and 1980s was certainly in complete contrast to Franco’s earlier repressive regime. Frost would return to Lorca’s work over a fifteen-year period, creating paper collages, drawings and prints in response to the writer’s work. It culminated in the portfolio of coloured etchings on display here. Produced in 1989 and titled Eleven Poems by Federico García Lorca, they have become known as the Lorca Suite. Together these images, each based on a specific poem, provide a visual window illuminating Lorca’s writing.

Lorca’s writing employs an economy of vocabulary. In these poems life is stripped back, allowing clarity of vision expressive of the author’s heightened perception. This writing is filled with ambiguity and a lack of fulfilment, which gifts it with space and nobility.

Sir Terry Frost 1915–2003, The Spinster at Mass, 1989, etching with hand colour on Somerset Satin paper, Austin / Desmond Fine Art © The Estate of Sir Terry Frost
Sir Terry Frost 1915–2003, The Spinster at Mass, 1989, etching with hand colour on Somerset Satin paper, Austin / Desmond Fine Art © The Estate of Sir Terry Frost

This distance between the artistic representation and the reality of the subject would give Frost space for freedom of expression. Terry Frost, like Lorca, also distilled the world around him. He, too, used a carefully conceived vocabulary, though Frost’s was one of colour, light and form in the abstract.

I remark on the dramatic hues of black, white and red which are apparent in many of these works. Katy responds, “Lorca used black, white and red to describe the blazing light and heat of the Mediterranean sun. In the 1960s Frost had begun to use these colours in relation to the Spanish landscape, years before engaging with Lorca’s writing. However, it is in the Lorca Suite that we perhaps see his most sophisticated use of this colour scheme.”

This is clearly illustrated in The Spinster at Mass and The Moon Rising. I am drawn to the emblematic etching Lament for Ignacio Sánchez Mejías. Sánchez and Lorca were friends. The matador Sánchez died in the bullring. Lorca’s awareness of death informed his creative spontaneity in this poem; its repetitive rhythm informs this lament. Take, for example, these lines:

“Oh white wall of Spain!

Oh black bull of sorrow!

Oh hard blood of Ignacio!”

Katy Norris reflects on the economy of colour, shapes and form used to the same dramatic effect in Terry Frost’s etching of the same title. She says: “The black of the bull’s horn and the red blood of Ignacio against the white ground echo the description in Lorca’s poem. The action takes place beneath a setting sun represented by a pulsating yellow disc in the etching.”

The drama and tragedy of the Spanish Civil War and the life and death of Lorca are captured with real intensity in Terry Frost: Eleven Poems by Federico García Lorca. Entrance to this exhibition is free but it is worth treating yourself to tickets for Conscience and Conflict: British Artists and the Spanish Civil War. Both exhibitions run until 15th February 2015 at Pallant House Gallery, 9 North Pallant, Chichester, PO19 1TJ. For more information go to www.pallant.org.uk or telephone 01243 774557. You must add them to your 2015 New Year’s must-see list!

By Revd. Rupert Toovey. Originally published on 28th December 2014 in the West Sussex Gazette.