Art

Denys Watkins-Pitchford (1905-1990) illustrated dozens of books under his double-barrel and wrote at least 60 of his own under the two initials ‘BB’. Denys Watkins-Pitchford (1905-1990) illustrated dozens of books under his double-barrel and wrote at least 60 of his own under the two initials ‘BB’. This Symposium is a demonstration of how his writing has touched many, varied lives. The son of a vicar, he put his own faith in ‘nature’. Subsidised by his own writing, he followed what is called here ‘the manly pusuits’ — fishing, wildfowling — though why a man exalted to near ecstasy by the beauty of a skein of geese rising from marshes in the dawn should feel it necessary to shoot, to ‘bag’ its leader, is a mystery.

Some years ago, Edmund de Waal inherited a remarkable collection of 264 netsuke from his great-uncle Iggie, whom he had got to know 20 years previously while studying pottery and Japanese in Tokyo. Each week the young de Waal visited his urbane, elderly relative and his friend, Jiro. He heard ancient family stories and was introduced to the hare and all the other miniature carvings in ivory or wood, each one ‘a small, tough explosion of exactitude’. When eventually he inherited the netsuke, he felt he had also been ‘handed a responsibility — to them and to the people who have owned them.

This book recounts a terrible story of self-destruction by two painters who, in their heyday, achieved considerable renown in Britain and abroad. Robert Colquhoun (1914-62) and Robert MacBryde (1913-66), both from Scottish working-class families, met in 1932 when they were students at the Glasgow School of Art. From then onwards they were personally and professionally inseparable in their headlong rise to fame and descent downhill. Although both have been the subject of anecdotes and snapshots in many a memoir of the period — all those accounts of Soho and ‘Fitzrovia’ — this is the first full-length study devoted to them, the result of over 20 years’ research.

Art fraudsters, especially forgers, have a popular appeal akin to Robin Hood. Their cock-a-snook cunning provides a twist on those money shots on the Antiques Roadshow when some dotty great aunt from Sidmouth discovers her umbrella stand is Ming Dynasty. ‘How much?’ cries Dotty. The forger levels the field from the other side of the pitch. When some shipping magnate finds his Monet ‘Nympheas’ is more pond scum than Giverny gold the public collapses into bouts of schadenfreude. Many books and films have covered this subject, and yet The Conman has a particularly interesting tale to tell. This is a true story not only of dubious oils but also the obfuscation of the paper trail which allows a work of art to be declared genuine.

On the southern edge of Kensal Green cemetery, beneath the wall that separates the graves from the Grand Union Canal, is a memorial inscription that would stop a Duns Scotus in his tracks. At the top of the heart-shaped marble there is a fading photograph of a man in his middle years, and then beneath some touching messages of love and regret, a single, enigmatic line of inscrutable theological subtlety ‘FROM ODDS ON TO ODDS AGAINST.’ It is hard to know what to make of that — ‘From certainty to doubt?’ ‘From scant rewards to a last, triumphant pay-out?’ — but for any self-respecting angler still on the other side of that wall this is the very definition of Heaven.

I have always been sceptical of those passages in the ‘Ancestry’ chapters of biographies that run something like this: Through his veins coursed the rebellious blood of the Vavasours, blended with a more temperate strain from the Mudge family of Basingstoke. I have always been sceptical of those passages in the ‘Ancestry’ chapters of biographies that run something like this: Through his veins coursed the rebellious blood of the Vavasours, blended with a more temperate strain from the Mudge family of Basingstoke. Those passages seem to claim too much for heredity, and to bear out A. J. P. Taylor’s dictum that snobbery is the occupational disease of historians.

Angela Thirlwell’s previous book was a double biography of William Rossetti (brother to the more famous Dante Gabriel) and his wife Lucy (daughter of the more famous Ford Madox Brown). Angela Thirlwell’s previous book was a double biography of William Rossetti (brother to the more famous Dante Gabriel) and his wife Lucy (daughter of the more famous Ford Madox Brown). Now she has once again turned her attention to the margins of the Pre-Raphaelite group, with a joint portrait of the four women who influenced Ford Madox Brown: his two wives, Elisabeth and Emma, and two women for whom he had spiritual affinities, and (probably platonic) romantic yearnings. Elisabeth was, in reality, the least influential, for her life was pathetically brief.

Late in the 19th century, archaeologists digging in the Roman Forum discovered a lime kiln. It had been built to incinerate marble into an aggregate for the mortar for the new structures of the Middle Ages. Inside were statues of six Vestal Virgins, stashed together like firewood. Their arms had been snapped off. The image came to mind as I read this excellent new book on the artist John Armstrong (1893-1975). In the 1930s he painted a series of ruined streets, with broken statues and broken monuments. They are bare and stark, and there is nothing like them in 20th-century British art. The first Armstrong I saw stopped me short: ‘Phoenix, 1938’, in Leeds City Art Gallery. When the guard turned I took a photograph, and still have the bright blue slide.

You are celebrated as the architect of one of the most famous buildings in the world, now in your late eighties and living quietly in your home outside Copenhagen. One day a beautiful blonde German girl knocks on your door. She is clutching a folder of her photographs of the extraordinary structure on the other side of the world which, following a dispute in 1965 with a new Australian Government, you have never seen completed. For her, that architectural work was love at first sight. For you, her images are a love letter that confirms the enduring greatness of your conception. It is happiness on both sides, and its fruit the publication of this hauntingly beautiful book. Few modern buildings can have been more photographed than the Opera House on Geelong Point in Sydney Harbour.