Don’t try to find a picture…

This may be a strange title for a blog post about art, but they are wise words from the sketchbook of British painter Ivon Hitchens.

Hitchens career spanned 6 decades and a large part of it was spent painting the landscape around his home deep in the trees in West Sussex.  His early output couldn’t be further removed from his last paintings as he developed and refined his style and technique from pure representation to abstraction.  Hitchens was influenced by and an admirer of the late 19th and early 20th century French painters, but it was the writings of Clive bell and Roger Fry about “significant form” which was to become his moment of epiphany, and caused him to create my favourite early work “Curved Barn” painted in 1922.  While still very much a representational image of a barn in trees, the stylised forms and flowing curves highlight his awareness of shape and form, something that was to become increasingly important during his career.

Curved Barn by Ivon Hitchens (1922, oil on canvas)
Postcard published by Pallant House Gallery

One of the things about Hitchens’ work that appeals to me, is the draughtsmanship evident in his paintings.  At first glance some of his paintings can appear to be the result of random and sometimes haphazard placing of a colour on a canvas, yet on closer inspection these images reveal themselves to have the depth and structure brought about by careful planning.  Much as I love Hitchens’ work, I have to confess that I do find much of his mid-career work to be a little on the drab side colour-wise.  He seems to have had a fixation with the most hideous ‘hospital green’, often teaming it with other equally drab greens and greys tempered with sienna, umber, ochre and ultramarine, which dominate his landscapes of the mid 20th century.  His floral works are a complete contrast, and are my favourite genre in Hitchens oeuvre. Hitchens said about his floral painting “one can read into a good flower picture the same problems that one faces with a landscape, near and far, meanings and movement of shapes and brushstrokes.  You just keep playing with the object.”

Flower Piece by Ivon Hitchens (1943, oil on canvas)
Postcard published by Pallant House Gallery and Museums Sheffield

The current exhibition at Pallant House Gallery in Chichester, West Sussex is the largest retrospective of Hitchens work since 1989, showing over 70 works, covering most subject matters from his well known landscapes, flowers and interiors to some figure studies which show a strong influence of Matisse ‘Odelisques’.  Personally, I don’t think figurative work was Hitchens’ forte.  Moving through the exhibition rooms the works chart his progress on the route from representation to abstraction, with a group of 3 paintings being the perfect illustration of this being ‘Outflow’ from 1961, ‘Divided Oak’, 1958 and ‘Spring Millpond’ from 1950/51.  I have listed them as they are hung on the gallery wall, but really they should be hung with ‘Outflow and ‘Millpond’ reversed so the viewer can get a real sense of the move from the representational to the abstract.

Hitchens painted the same scenery for decades, not to achieve the perfect representation, but to express the feeling and spirit of these places.  During the 1960’s Hitchens bought a seaside home in Selsey and this was to rejuvenate his palette, casting aside the drab blue-green-greys and introducing vibrant blues, yellows, red and white.  Huge blocks of spectacular sumptuous colour now filled his canvasses.  The exhibition closes with a quote from T S Eliot which acknowledges Ivon Hitchens’ singular vision through the decades – “in my end is my beginning” and chimes perfectly with Hitchens’ own words from one of his sketchbooks –

Don’t try to find a picture.  Find a place you like and discover the picture in that”.

Publicity material for the exhibition
‘Ivon Hitchens: Space through Colour’ at Pallant House Gallery, Chichester, West Sussex, UK
29 June to 13 October 2019

A Patterned Life

I have always been in two minds about the work of Irish designer Orla Kiely. On the one hand I like the simplicity of her stylised plant inspired designs, but on the other I find some of her colour choices a bit dour, and then there is the matter of merchandising.

A small exhibition currently open at the Discovery Centre in Winchester, Hampshire, UK focusses on her output and features design pieces from across her career. The exhibition was organised by the Fashion and Textile Museum and the opening wall text panel claims that it shows how Kiely “walked from the Minimalism of the 1990’s into the colourful world of 21st century pattern. This exhibition offers a privileged insight into how she creates a characteristic look for our era.” (Exhibition wall panel, text by FTM, London).

Retro styled shoes from Clarks

Entering the exhibition via the stairs from the library the stairwell is flanked by two gigantic coats designed by Kiely in her signature patterns. Once inside the single room is not large, but is filled with examples of her work. One wall is covered with handbags, something that she became well known for, this wall must contain one example of every bag she ever designed. It is certainly the showstopper.

The bag wall

Opposite this are a group of mannequins wearing examples of clothing designed by Kiely. What stuck me most was how old fashioned the designs are. I think that others might say ‘retro’, but I think that really old fashioned is more appropriate and this includes the fabrics the clothes are made from. Lots of synthetic fibres making then more in line with fashions from the late 1960’s and 1970’s that filled my own childhood and teenage years. Many are again in drab colours, which the fabric does little to alleviate, which is a shame as the actual designs themselves are full of fun.

Retro styled dressed and coats from the Orla Kiely collection

There cannot be anyone in the world that has not seen a Kiely design given that her work has appeared on wallpaper, bedlinen, homewares and even a Citroen car. the most popular design is called ‘Stem’ and features a single stem with pairs of simple oval shaped leaves covering it’s full length. The actual designs are simple, but really only variations on a theme – a simple 4 petal daisy, the paired leaf stem and a basic cup shape manipulated in size and colourways, they are instantly recognizable and have an obvious easy aesthetic which can be applied to practically anything.

The Winchester exhibition features some tiny dolls set in small plastic wall mounted boxes which, together with the oversized garments, form an installation created specifically for the exhibition, elaborating on a play with scale. Each miniature doll wears an exact replica of one of the giant garments, the intention being to highlight Kiely’s love of the unexpected – a lace trim, plastic flower button detail or a floral pattern picked out in jacquard. Complimenting the mini dolls, there are two giant wooden dolls that let visitors ‘design’ their own Kiely based garments. The whole oeuvre is playful, and I enjoyed the exhibition, but I can’t help feeling it is not wholly original, for me there is too much of the designs of 1960’s Mary Quant and Biba about it.

Mini doll exhibition installation
Giant coats flank the entrance to the exhibition
Design your own Kiely collection

The exhibition is free and can be seen at the Discovery Centre, Jewry Street, Winchester until 5 January 2020.

Don’t try to find a picture…

This may be a strange title for a blog post about art, but they are wise words from the sketchbook of British painter Ivon Hitchens.

Hitchens career spanned 6 decades and a large part of it was spent painting the landscape around his home deep in the trees in West Sussex.  His early output couldn’t be further removed from his last paintings as he developed and refined his style and technique from pure representation to abstraction.  Hitchens was influenced by and an admirer of the late 19th and early 20th century French painters, but it was the writings of Clive bell and Roger Fry about “significant form” which was to become his moment of epiphany, and caused him to create my favourite early work “Curved Barn” painted in 1922.  While still very much a representational image of a barn in trees, the stylised forms and flowing curves highlight his awareness of shape and form, something that was to become increasingly important during his career.

Curved Barn by Ivon Hitchens
1922, oil on canvas
postcard published by Pallant House Gallery

One of the things about Hitchens’ work that appeals to me, is the draughtsmanship evident in his paintings.  At first glance some of his paintings can appear to be the result of random and sometimes haphazard placing of a colour on a canvas, yet on closer inspection these images reveal themselves to have the depth and structure brought about by careful planning.  Much as I love Hitchens’ work, I have to confess that I do find much of his mid-career work to be a little on the drab side colour-wise.  He seems to have had a fixation with the most hideous ‘hospital green’, often teaming it with other equally drab greens and greys tempered with sienna, umber, ochre and ultramarine, which dominate his landscapes of the mid 20th century.  His floral works are a complete contrast, and are my favourite genre in Hitchens oeuvre. Hitchens said about his floral painting “one can read into a good flower picture the same problems that one faces with a landscape, near and far, meanings and movement of shapes and brushstrokes.  You just keep playing with the object.”

Flower Piece by Ivon Hitchens
1943, oil on canvas
postcard published by Pallant House Gallery and Museums Sheffield

The current exhibition at Pallant House Gallery in Chichester, West Sussex is the largest retrospective of Hitchens work since 1989, showing over 70 works, covering most subject matters from his well known landscapes, flowers and interiors to some figure studies which show a strong influence of Matisse ‘Odelisques’.  Personally, I don’t think figurative work was Hitchens’ forte.  Moving through the exhibition rooms the works chart his progress on the route from representation to abstraction, with a group of 3 paintings being the perfect illustration of this being ‘Outflow’ from 1961, ‘Divided Oak’, 1958 and ‘Spring Millpond’ from 1950/51.  I have listed them as they are hung on the gallery wall, but really they should be hung with ‘Outflow and ‘Millpond’ reversed so the viewer can get a real sense of the move from the representational to the abstract.

Hitchens painted the same scenery for decades, not to achieve the perfect representation, but to express the feeling and spirit of these places.  During the 1960’s Hitchens bought a seaside home in Selsey and this was to rejuvenate his palette, casting aside the drab blue-green-greys and introducing vibrant blues, yellows, red and white.  Huge blocks of spectacular sumptuous colour now filled his canvasses.  The exhibition closes with a quote from T S Eliot which acknowledges Ivon Hitchens’ singular vision through the decades – “in my end is my beginning” and chimes perfectly with Hitchens’ own words from one of his sketchbooks –

Don’t try to find a picture.  Find a place you like and discover the picture in that”.

Publicity material for the exhibition –
Ivon Hitchens: Space through Colour
at Pallant House Gallery, Chichester, West Sussex, UK
29 June to 13 October 2019

A Right Swanky Pad

What to do on a warm summer afternoon? Try a visit to Polesden Lacey House near Dorking in Surrey. This impressive mansion looks like a Georgian Palladian house, but was in fact built in the Edwardian period of the early 20th century, remodelling an older, smaller property that stood on the site. This was to be the country home of wealthy socialites, Ronald (Ronnie) and Margaret Greville, but tragically Ronnie died in 1908, so Margaret lived there alone. The couple filled the house with a vast collection of paintings, porcelain, silver and furniture and Margaret took great delight in holding lavish parties at the house to which the crowned heads of Europe and anyone who was ‘anyone’ was delighted to receive an invitation.

Polesden Lacey House

Margaret herself was from humble origins, being the illegitimate daughter of William Younger the Scottish brewery magnate. When she was 21 years old, William Younger acknowledged her as his daughter and sole heir, which secured her future financially. All she needed now was a husband of suitable standing to allow her access to London Society, and this she found in Captain Ronald Greville of the 1st Life Guards. They married in 1891 and sadly had no children.

After her husband’s untimely death, Mrs Greville threw herself into the social whirl of the age, becoming great friends with the future King George 6th and Queen Elizabeth (the Queen Mother), whom she invited to spend part of their honeymoon at Polesden Lacey. After her death she left her jewels to Queen Elizabeth (Queen Mother) who said of her “so shrewd, so kind and so amusingly unkind, so sharp, such fun, so naughty; altogether a real person, a character, utterly Mrs Ronald Greville”. (Bradford, S, 1989; King George VI, p11). Mrs G. (as she is often referred to) was a real ‘marmite’ person – love her or loathe her. It seems that the society photographer Cecil Beaton was a loather and is reported to have described her as  “a galumphing, greedy, snobbish old toad who watered at her chops at the sight of royalty … and did nothing for anybody except the rich” (Buckle, R (Ed), 1979, Self Portrait with Friends, selected diaries of Cecil Beaton, p.215-16).

Whatever the truth about her may have been, her home was definitely built to impress, she and Ronnie could be described as the Posh and Becks of their day, their home, while having ‘all mod cons’ being very ostentatious to the point of being vulgar.

Gold Room

Today part of the ground floor of the house is open to the public, dressed out as if a weekend party is about to take place. Entry through the front door reveals a symmetrical pair of curved bays, one with windows one without, with the window areas being obscured by trimmed hedges. This second bay housed the kitchens and did not have windows looking out to the front of the house, as Mrs G did not wish for her servants to be able to ‘gawp’ at her important guests arriving. Having the kitchen at the front of the house was very modern indeed as it was close to the dining room which meant that food at the Greville’s parties would always be served hot! (In most other large house the kitchens were in basements or in a separate annexe because of the danger of fire, it also meant that food was invariably cold by the time it reached the dinner table). A guided tour reveals some interesting snippets of information about the Grevilles and life at Polesden, but a free flow visit is also interesting. The upstairs of the house is laid out mainly to offices and is currently not open to the public. A warning to visitors, the lighting at Polesden is particularly low due to fragile nature of some of the furnishings and other display items.

Library

Polesden Lacey has a fantastic Rose garden as Mrs Greville was very fond of roses. The NT have commissioned Peter Beale Roses to create a Mrs Greville rose, and this can be purchased from the garden shop on site. In August however, the rose garden is past its best, which is during June and early July when the property hold an annual Rose Festival. There is a small formal walled garden with flowers for cutting for display in the house, with a long herbaceous border along the outside wall. Behind this is a small kitchen garden, tiny orchard and a new area for chickens, a bug hotel and a wormery, all in tune with the conservation ethos of the National Trust. To the front and side of the property are magnificent lawns where visitors can sit and admire the view across the Surrey Hills, or children can run about in safety.

Long Border
Sun Dial in Walled Garden wall
Peace Rose

The historic new-build

At first sight Uppark House appears to be the perfect Georgian country mansion set in an open, elevated position commanding superb views across the South Downs.  But all is not as it seems.  The original house was built in the 1690’s and was remodelled in the early 1800’s.  It then stood for 175 years before a fire rampaged through the house in 1989 which destroyed most of the interior.  The house was painstakingly restored and reopened to the public in 1995 as the property seen today, which is basically a new-build of an early 19th century house.  Fortunately most of the downstairs furniture and objects were saved from the fire which started in the roof, and this items such as carpets, wall coverings and textiles which were not saved have been recreated.   Given this, the property keeps the lighting particularly low and interestingly, does not allow photography in the main part of the building, even without flash.

To be honest there is not a great deal to see at Uppark, the garden is very small and not terribly inspiring and the few ground floor rooms that are open are largely unremarkable, generally over filled with furniture.  Small laminated leaflets are available in each room to give the visitor some basic information and a ‘fun fact’ about key objects and some snippets of information about the previous owners, but there is no real attempt to draw out any particular theme or history, as is often the case with other NT properties. 

One area of interest is the basement which houses the wine/beer cellar, the housekeepers rooms, butlers pantry and a large scullery. 

Scullery

The original kitchens were not housed in the main part of the house and produce from these was transported along underground tunnels.  These tunnels are said to have inspired the author H G Wells when he wrote The Time Machine.  A claim to fame is that Wells’ mother, Sarah was the housekeeper at Uppark between 1880 and 1893.  Another interesting thing about the tunnels is that in one is stored what is probably the longest single section ladder in the world.

The longest ladder in the world

It is a shame that Uppark doesn’t really promote itself more vigorously, it was a well known party house in the early 19th century frequented by the Prince George (later King George IV who was a close friend of Harry Fetherstonhaugh, MP for Portsmouth and often described as a ‘witless playboy’. With provenance like this there is so much scope for imaginative and exciting displays and visitor experience programme.  Sadly, this is a  missed opportunity, not aided by the stewards on duty on the day of my visit who were to a man a miserable and unfriendly bunch.

20th Century Gothic

It’s been several years since I last visited Nymans Gardens, so I didn’t really know what to expect when I visited recently.  The weather wasn’t great, which was a shame for the middle of August, but although overcast, the rain did manage to hold off while I was there. 

The basic layout of the gardens hasn’t changed, but what had changed was the amount of activities there were available for children.  Nymans has lots of lovely wide open space which is ideal for children to run about in, and it was heartening to see that the team at Nymans has recognised that fact and come up with various garden activities including activity trails and games such as giant Jenga, skittles and croquet.  All this child friendly activity doesn’t detract from the formal garden areas where the interest is more adult orientated.  The Rose Garden had almost finished, with just a few blooms left, while the long border was looking suitably spectacular full of late summer flowers such as phlox, rudbeckia (Black-eyed Susan), dahlias and sunflowers.

Wild meadow planting at Nymans Gardens

What had changed since my last visit was the house itself.  A charming country house dating back to the Regency period, the house was remodelled first by Ludvig Messel to reflect his Germanic roots, and later by his son and daughter-in-law Leonard and Maud.  Sadly, on the night of Leonard’s 75th birthday a fire broke out destroying much of the house, with only a small part being saved.  About half of the original property still stands a ruins giving the property a romantic, gothic feel . With only 4 or 5 rooms available to visitors, there was still plenty to see and helpful room guides were pleased to chat about the past occupants and to show interested visitors a selection of albums showing the house as it was before the fire which destroyed most of it and Messel family. The upstairs has now been turned in to a gallery space showing the work of a Polish artist, Mariusz Kaldowski  depicting views around the garden and estate.

The main room have been dressed out as the house would have been in the early-mid 20th century when the Messel family were in occupation.  One of the ‘funest’ things is the stage curtain surround that has been placed around the television set.  The Messel family were very keen on theatre. 

TV ‘Theatre’ (with another scary lady portrait above)

There are several portraits of quite scary looking females which sort of reminded me of Rebecca in the eponymous Daphne Du Maurier.  

One of several ‘scary’ looking female portraits wearing period costume

I was impressed with the small collection of blue and white china displayed in a side room, and had to laugh when, as I was leaving, a man entering remarked that I looked like I had escaped from the room – I was wearing a blue and white striped dress! 

Blue and White china display

Currently the property is trying to raise money to create a special garden in the ruins of the house left behind after the fire.  Some work has been carried out to make them safer, but general public access is not permitted.  The picture here shows the charred remains of the library of rare and specialist botanical books collected by Leonard Messel.  A fitting place to site a brand new garden.

Burned library at Nymans

I enjoyed my visit to Nymans, the property has undergone some changes which make a real difference to the visitor “experience” and the staff and volunteers I came across were all very friendly and knowledgeable. It’s a lovely place and I would thoroughly recommend it.

From humble origins

Having a ‘spare’ afternoon is always a luxury but sometimes it seems a shame to waste it doing nothing, so with this in mind I went to visit the National Trust property, Oakhurst Cottage in the village of Hambledon in Surrey.

Originally built in the 16th century most likely as a workman’s cottage, this tiny home saw some remodelling during the 19th century and since then time has largely stood still.  We met our guide (visits are by pre-booked guided tour only) in the garden of the cottage and were then treated to an interesting introduction in the adjacent store barn.  One of the most interesting things about this building, is that it is built in the same way as the main cottage as a large square timber frame with in filled panels of brick.  The original cottage was one large building with a central fireplace and smokehole in the roof, but during the 19th century this was altered and a small extension was added, the fireplace was moved to the side and a chimney built on.  The biggest change was the addition of an upper floor with two distinct rooms for sleeping.

sitting room fireplace
sitting room dining table
second bedroom with hand knitted blanket coverlet and hand made rag rugs
all mod cons, the outside ‘convenience’

The National Trust acquired the cottage as a legacy from two sisters who owned several properties in the village in the 1980’s together with its sitting tenants, who were living in the house without the benefit of mains drainage, electricity, central heating and hot and cold running water.  The Trust have dressed the cottage to look as it most likely would have done during the 19th century, sparsely furnished and with many handmade items of furniture, rugs and coverlets.

Victorian hand made ‘paper pieced’ quilt bed cover

At the same time as our visit a young family was visiting also, and I take my hat off to the two young boys (probably aged 5 and 7) who were for the most part very well behaved, for what must have been for them,  pretty boring.  In the scullery the guide talked at length about it being the women’s domain as it housed the bread oven, the washing tub and copper.  The mother of the family group seemed to take quite violent exception to this idea, which is a bizarre notion, as this is exactly how it would have been over 150 years ago for women.  It was very funny hearing her protestations about equality and her views on the subjugation of women in the past!  The poor tour guide (an elderly gentleman) was quite bemused by this “strong independent woman”. 

pantry and food store

It is interesting how many younger people see the past through a 21st century lens, constantly calling out perceived injustice and malfeasance.  I find this fascinating, it seems to me that there are many who are only interested in a sanitised version of history that fits with their own experience and ideals.  This is plainly ridiculous and it is the duty of organisations such as the NT to present the past as accurately as possible, while being mindful of current sensibilities.  However, no heritage organisations should be afraid of tackling ‘difficult’ issues from the past.  These cannot be airbrushed from history, it is so important that younger people know about past problems and what was done, to avoid them happening again.

Outside Oakhurst Cottage is a small garden filled with flowers and vegetables.  There are some interesting architectural features on the building, the oak timber frame beams being the most obvious, while at the back of the property is a nice example on the rear wall of bricks laid in the Rat Trap pattern.  This is a method that can save up to 30% on the number of bricks needed to cover a 1m square and up to 50% on the amount of mortar required.

Rat Trap brick pattern
rear cottage wall showing rat trap brick pattern and tin bath

The cottage is tucked away at the far edge of the cricket green in Hambledon village, which in reality is little more than a hamlet (although there is a village shop that also has a small café serving excellent food), it is open for 4 days a week, Wednesdays and Thursday and Saturdays and Sundays between April and October for pre-booked guided tours only. Also available at the cottage are some albums and books showing the cottage at different stages in its life including a book of prints of watercolours by the well-known Victorian painter, Helen Allingham who painted the cottage. It seems that it is this painting on which the Trust have modelled the cottage we see today, and which includes the replacement of the windows from rectangular panes to diamond lattice panes.

Image result for oakhurst cottage surrey by helen allingham
Oakhurst Cottage, Hambledon Allingham
from the book “The Cottage Homes of England by Helen Allingham and Stewart Dick

Oakhurst Cottage is tiny gem, like an oversized dolls house frozen in time. Definitely worth a visit.