By Charleston’s Conservation Cleaner, Kathy Crisp
While Charleston has been closed over the last few months, you’d be forgiven for thinking that we haven’t been working on our collections. However, gratefully funded by Historic England, I have continued working to keep the house and collections safe and secure.
In November, the rest of the curatorial team, Darren and Emily returned from furlough and we were able to work together on an urgent project, fixing the studio blind. During October the nylon pull cord from the highest blackout blind suddenly snapped. There was now no way of closing it and keeping out the daylight which can be damaging to the collection. The challenge was, it was very high up. To reach it safely we had to move all the objects and furniture away from that side of the room so we could carefully bring in the enormous platform step ladder from the galleries.
Tables were set up for the purpose of moving the collection of objects and art materials off the newspaper-covered table under the studio window. Another sturdy table was used for the several large pots from the studio windowsill. We moved the painter’s table — which is actually screwed to the wall — so there was room to place the ladder. These movements then allowed for the inspection and cleaning of the floor beneath, and the walls behind.
Darren went up the ladder first and replaced the cord successfully. I was eager to get up there afterwards and vacuum several years’ accumulation of dust, dead flies and cobwebs. Subsequently, I cleaned those generous panes of glass which flood the studio with diffused north light.
This high vantage point gave me such an unusual view of the room, I had to take some photographs. It felt like I was looking down into a doll’s house version of Charleston!
When I vacuumed the thick layer of dust at the top of the wall, I uncovered some pencil writing from two carpenters who signed their names in 1984. Probably done back when the windows were replaced during the restoration of the house.
The wonderful collection of large pots and vases were then checked over and tiny spots of fly and spider excrement were removed with a touch of water and a cotton wool swab. Many of the ceramics in the house were repaired during the 1980s which makes them extremely fragile. To avoid the risk of damage, we move them as seldom as possible.
The ladder needed all three of us to fold it down safely and slowly manoeuvre it out of the studio door into the garden and then back up to the galleries where it lives. The assortment of artist’s supplies was then cleaned and condition checked before restoring them to the newspaper-lined table.
The blinds are now working correctly, blocking out the light when the house is closed. Too much light, artificial or natural, even with the UV protection, can cause irreversible damage to the collection. The new cord should remain strong for many years to come.
When Charleston can finally welcome back visitors, my first morning task will be to open the binds and shutters, bringing the house to life.
What is the ‘Bloomsbury Look’? Charleston’s former curator Wendy Hitchmough reveals how the Bloomsbury group generated its avant-garde, self-fashioned aesthetic through art, photography and dress in her captivating new book. (more…)
A week before Charleston launches a crowdfunding campaign to raise the final funds needed to reopen, an extraordinary gift of hitherto unknown drawings has been given to the charity as the current owner appeals to the public to ensure that Charleston can reopen its doors.
It’s National Nude Day! A great opportunity to draw your attention to one of my all-time favourite paintings in Charleston’s collection — Standing Male Nude (c.1935) by Duncan Grant — and have a brief look at the trajectory that nude painting took in Grant’s oeuvre.
Founded by painter and art critic Roger Fry (1866-1934), the Workshops employed some of the most radical avant-garde artists of the day, with Vanessa Bell (1879-1961) and Duncan Grant (1885-1978) as co-directors. Their anti-establishment approach paired with Post-Impressionist experimentalism produced modern designs and items for the home, from printed fabrics and textiles to ceramics, furniture and clothing.
While Charleston’s doors are closed, our conservation cleaner Kathy Crisp continues her vital work looking after the house. Here she writes about a recent spring clean and an important find!
Following a flood in the house attic last year, significant restoration work has been undertaken to repair the damage to the areas of the house that were most affected. Fortunately, the costs of the restoration work have been covered by Charleston’s insurance.
As part of the project, just before Charleston closed its doors to visitors, the kitchen was repainted with Farrow & Ball distemper. Part of the ceiling and the central beam were badly stained by flood damage and the plaster ceiling has been reinforced by building conservator Ben, who is rebuilding the ceiling in the spare bedroom.
The tidy up then began! Volunteer Jane and I spent a long time removing all the decorating dust and finally mopping the floor. I then cleaned all the ceramics and polished the glass bead supports for the light shades. The plates and platters, bowls and jugs were all returned to their positions.
Grace Higgens’ cookery books were dusted and returned to the shelf. The cacti and spider plant were fed and placed back on the window ledge. I even discovered the lost knob from the coffee percolator, hiding in the dust at the back of the table drawer!
The room looks so fresh and clean. I hope everyone will be able to see it soon, when the house can spring to life with visitors again!
As a charity that receives no public funding, our current closure is financially devastating for Charleston. Please consider making a donation to our Emergency Appeal to help secure the charity’s future.
We are thrilled to announce that a beautiful portrait of Vanessa Bell by Duncan Grant has entered Charleston’s collection through the Arts Council’s Acceptance in Lieu scheme, and will be on public display here at their Sussex home in the new year.
The full length portrait of Vanessa Bell was painted by Duncan Grant around 1916. It is a rare example of Grant’s use of collage and demonstrates his skill in using facets of bright, luminous colour to build up the picture surface. The abstract background is reminiscent of designs for Roger Fry’s Omega Workshops and adds a dynamism to the composition. The portrait is oil and collage on wood, possibly a table top or door.
Grant completed three paintings of Bell wearing an evening dress made of red paisley fabric. In the version in the National Portrait Gallery, London, the pattern of the material and the construction of the dress have been recreated in paint, Grant echoing “the rhythm of the drapery,” emulating its folds and shadows. In a second version Grant introduces sections of the actual material that the dress was made from. The version to be displayed at Charleston recreates the design in paint and collage.
The long and at times intimate relationship between Vanessa Bell and Duncan Grant can be charted in the numerous portraits they made of each other. This portrait comes from a particularly important period of that relationship, one that includes the beginning of their sexual relationship, their imminent move to Charleston and the setting up of a domestic and working space together.
The painting is quintessentially a Charleston painting. A portrait of an artist by an artist, of a friend by a friend and of a lover by their lover. Painted during the uncertainty of wartime, quite possibly at Charleston itself, it marks the development of a friendship into a love affair while defining the development of an artist’s individual style.
Nathaniel Hepburn, Director and Chief Executive, The Charleston Trust, said:
Arts Minister, Helen Whately, said:
Edward Harley OBE, Chairman, Acceptance in Lieu Panel said:
The portrait will go on permanent display at Charleston, initially as part of a wider exhibition programme in February 2020 in the museum’s new galleries, before being hung in Clive Bell’s Library at Charleston. The Library was originally Vanessa Bell’s Bedroom and contains some of the earliest decorations in the house. It became Clive Bell’s Library when he moved to Charleston just before the Second World War.
The portrait was given to Anne Olivier Bell, who was married to Quentin Bell, by the artist in circa 1973.
At Charleston we’re thrilled to be named among the UK’s top places to visit by Lonely Planet in their #UltimateUKTravelist of the most memorable, beautiful, surprising and compelling experiences to be had across Great Britain, Northern Ireland and the Channel Islands.
The only complete preserved Bloomsbury interior in the world, Charleston’s individually designed and hand-painted rooms were inspired by Italian fresco painting and the Post-Impressionists. Visitors can take a tour around the unique spaces and explore the stories and lives of the artists, writers and thinkers who made it their home. Alongside the house, Charleston runs a programme of exhibitions, workshops, talks and events throughout the year, as well as a portfolio of literary festivals.
Charleston is one of just 34 attractions from the South East of England to make the Lonely Planet’s ‘Ultimate United Kingdom Travelist’.
The UK’s four constituent countries and countless small islands comprise a powerhouse of history, culture and intrigue. Now for the first time, Lonely Planet’s community of travel experts have chosen the best sights and experiences and ranked them in order of their brilliance in Lonely Planet’s ‘Ultimate United Kingdom Travelist’.
Lonely Planet’s VP of Experience, Tom Hall, said:
To create Lonely Planet’s ‘Ultimate United Kingdom Travelist’, the Lonely Planet team compiled every highlight from the Lonely Planet guidebooks for Great Britain and Northern Ireland. Every sight, attraction and experience that had caught their writers’ attention over the years were included. Everyone in Lonely Planet’s London office, plus 20 leading figures in the country’s travel sector, were then asked to reveal their favourite spots and experiences before the voting began. Everybody in Lonely Planet’s UK community was asked to vote for their top 20 experiences. With hundreds of votes cast, Lonely Planet ended up with a score for each of the 500 experiences in the book.