As the second world war broke out, the movement of supplies became paramount to winning the war effort. The control of the railways was passed to the ‘Railway Executive Committee’ who tried to put people off travel with this posters. The National Railway Museum put it better than I cold so below is some text from them:
Stay at home Once the Railway Executive Committee took control of the network, hoardings were immediately cleared of most advertising material relating to leisure travel. The holiday resorts on the southern coast were effectively closed because of the threat of invasion, and the railway industry geared up for its essential role as part of the war machine moving men and material. Station names were painted out to confuse the enemy in the event of invasion and there was a universal black out removing all lighting which might attract bombers on night air raids.
By November 1939, the British railway network was seriously preparing for war. It was moving extra food supplies, equipment and troops essential for the logistics of conflict. The materials to build the new war factories, the raw materials to make the munitions of war and the men and women who fashioned them all had to be carried on the railways.
From June 1940, East Coast shipping was heavily cut back, and much of this freight was transferred onto the East Coast Main Line. On some sections, traffic rose by 500 percent.
The public were urged to spend their holidays at home, as the running of additional trains during the summer months and bank holidays were now a thing of the past. Travel for pleasure was discouraged throughout the war, as the railways were now the lifeline of both the military and public services.
In Cambridgeshire there is a ghost town of glasshouses in a field, they have been replaced with a vast new set of tall metal glasshouses some miles down the road, what is left decaying are there shells from the 1930’s and 40’s — home grown boom.
In the later days of their life with cheap imports, from the plastic covered hills of the Almería region in Spain. The greenhouses in Cambridgeshire where used mostly for garden centre boarder plants until left to die, glass falling into itself like flesh and the skeleton remaining.
From Private View: The Journal from the Cambridge School of Art. Spring 1986.
Walter Hoyle – Dieppe Harbour, 1986
I thought this letter was so colourful and a rare insight into the world of Walter Hoyle. Sadly little is known online of Hoyle as books are yet to be penned. But this is a rather funny view on his last days at the Cambridge School of Art and Hoyle’s quest for a coast house.
First a brief biography of Walter Hoyle. Painter and printmaker, Hoyle was born in Lancashire. He studied at Beckenham School of Art from 1938 alongside Bernard Cheese, then moved on to the Royal College of Art in 1940. There he was mentored and educated under Edward Bawden, they became close friends and Hoyle later moved to Great Bardfield to live and work alongside Bawden. Hoyle wrote a book called ‘To Sicily with Edward Bawden’ with Olive Cook and also illustrated editions for the Folio Society. After moving to Bottisham, Cambridgeshire, he taught at the Cambridge School of Art, placing great emphasis on printmaking. Hoyle worked amassing the Collection of Original Works for Children in Cambridgeshire, an art project for City of Cambridge Committee for Education. Hoyle retired in 1985 to move to Hastings and Dieppe.
A personal note from Walter Hoyle. The new editor of ‘Private View’ (Warwick Hutton) has requested a personal note on my activities since relinquishing my commitment to the Cambridge School of Art (and ‘Private View’) in July, 1985.
I spend most of the summer with my family in Dieppe where we have a flat in the old part of town, near the harbour. As usual, I enjoyed Dieppe and spent my time drawing, painting and recovering from the cool flatness of Cambridge. However, I think that it will take more than one summer to regenerate the energy I spent and lost over the years at Cambridge School of Art. I do not regret the time spent with students — that was very worthwhile — but I do regret the time and energy waster on trying to justify art to the almost blind administration and national authorities, and as somebody said — in the land of the blind the one-eyed is King — or something like that.
At the end of the summer I returned to Cambridge, my faith strengthened by Dieppe and my romantic ideals partially restored. We had decided to sell our Cambridge (Bottisham) house and move to the south coast — it would be easier to commute to Dieppe.
So we cleaned up the house and put it on the market and to my surprise it sold quickly, within three or four days. The prospective buyers who vied the house were fascinated by my studio and etching press — I do not wear a beret or smock, nor do I sport a beard but I think they also found me a curiosity and to top it all, my wife is French and they loved her accent — obviously the right combination for selling property.
We had to dash off to the south coast to look for a house. We started at Brighton — too brash, polished and pretty, Newhaven — a depressingly ugly place, Eastbourne — alright for Aunty, and then Hastings — interesting, rather shabby, a town that has seen better days, very hilly, amazing architecture and many charming Victorian houses for sale. So Hastings it is, a Victorian house with marvellous views above the Old Town.
From the Hastings house I can look out of the window at the sea, this same sea that fills the harbour at Dieppe, and yet Hastings and Dieppe could not be more different, and this variance I find interesting and entertaining. Also, the sky here in Hastings often looks like a Turner or Constable, but viewed from Dieppe it reflects French painters — however, my aim is to work on my own observations and ideas and make both sides of the channel look Hoylish.
Walter Hoyle – St Catherine’s with Acanthus , 1966
This I found difficult to do in Cambridge, Its so complete and correct and no doubt the University and its architecture are partly to blame. There is a strong smell of education like sour wine and a lack of effervescence and creative activity, and a feeling prevails that education is the end product rather than the means.
I will now be crossing the channel frequently and I welcome the immediate stimulus of the two sides of La Manche.
This is the story of the rise and fall of Fonthill Abbey, the houses before it and the men who changed a house to live in their own ideas of grandeur.
The Father:
William ‘Alderman’ Beckford (19 December 1709–21 June 1770)
William ‘Alderman’ Beckford, born in Jamaica to a plantation family, was sent to England in 1723 to be educated where he studied at Westminster School. He worked in the trade of Sugar (the family plantation) in the city of London and in 1744 Alderman bought an estate at Fonthill Gifford, near Salisbury called Fonthill Antiquus, pictured above. Pictured below: the estate after some improvements to the house and gardens.
Fonthill Redivivus
Sadly these improvements were of no use as the main house was mostly destroyed by fire in 1755. Announcing that “I have an odd fifty thousand pounds in a drawer: I will build it up again” . Below are the plans for the now Georgian design of the house. He finished the newly named Fonthill Splendens off in the early 1760’s.
Fonthill Splendens
Resented by local gentry for his Caribbean accent, Alderman spent most of his time at 22 Soho Sq – London, his city home, forging his political and sugar interests and collecting art. Laughed at by some for faulty Latin, his wealth and social power obliged people to respect him. He hosted sumptuous feasts, one that cost £10,000 or £1 million pounds in today’s money. He died in 1770.
The Son:
Born in 1760 in the family home at 22 Soho Sq, William Thomas Beckford at the age of ten, inherited a fortune from his father William ‘Alderman’ Beckford, consisting of £1 million in cash or £117 million as of 2014.
He was briefly trained in music by Wolfgang Amadeus Mozart, but his drawing master, Alexander Cozens, was a greater influence. At 20 years old he wrote Memoirs of Extraordinary Painters (1780). He then went and journeyed in Italy in 1782 and promptly wrote a book on his travels: Dreams, Waking Thoughts and Incidents (1783).
William Courtenay On 5 May 1783 he married Lady Margaret Gordon, daughter of the fourth Earl of Aboyne. Beckford was bisexual, “indiscreetly attracted to boys” and had a disastrous affair with William Courtenay, later 9th Earl of Devon. Although the pair met when Courtenay was 10, it is believed the affair started when Courtenay was 13 and Beckford 18. In 1784 with a visit to Powderham Castle, the Courtenay’s family home; letters were intercepted by the boy’s uncle, who advertised the affair in the newspapers. London newspapers were talking of the “detestable scene lately acted in Wiltshire, by a pair of fashionable male lovers.” The scandal blossomed and Beckford retreated to Switzerland with his wife and their baby daughter. In May 1786, in Switzerland, his wife died of puerperal fever after giving birth to a second daughter.
It was at this time Vathek (1786), written originally in French was published; he boasted that it took a single sitting of three days and two nights, though there are letters between Beckford and Samuel Henley that show this to be untrue. At the time of his wife’s death, Beckford also learned that Vathek, which he had given to the Reverend Samuel Henley for translation, would be published anonymously, with a preface in which Henley claimed that it had been taken directly from the Arabic. Beckford remained abroad for many years.
The Abbey:
Fonthill Abbey
After a return to England and becoming more reclusive, it was the opportunity to purchase the complete library of Edward Gibbon, author of The History of the Decline and Fall of the Roman Empire that gave Beckford the basis for his own library, and with the architect James Wyatt built Fonthill Abbey in which to house this and Beckford’s art collection.
Fonthill Abbey
Fonthill Abbey was built a mile south-west of Fonthill Splendens, in deep woodland and away from public roads. He demolished large parts of Fonthill Splendens for building materials on the Abbey. Building a 12 foot high wall to enclose his new structure and the 524 acres around it.
Wyatt was often accused of spending a good deal of his time on women and drink, causing him to miss many meetings and the overseeing of construction on the Abbey. Beckford thus took it upon himself to direct the construction of the Abbey.
Beckford’s 500 labourers worked in day and night shifts. He bribed 450 more from the building of the new royal apartments at Windsor Castle by increasing an ale ration to speed things up. He also commandeered all the local wagons for transportation of building materials. To compensate, Beckford delivered free coal and blankets to the poor in cold weather.
The first part was the tower that reached about 90 metres (300 ft) before it collapsed, apparently from having a large flag upon it, with strong winds. When informed of the mishap, Beckford, merely regretting that he had not seen it fall, gave an immediate order for the construction of another. The new tower was finished six years later, again 90 metres tall. It collapsed as well. Beckford immediately started to build another one, this time with stone, and this work was finished in seven years.
The abbey part was decorated with silver, gold, red and purple. Four long wings radiated from the octagonal central room. Francis Eginton painted many windows in the property with his realistic style of reproducing oil paintings and the front doors were 35 feet (10 m) tall. It was declared finished in 1813. Beckford employed a dwarf as a doorkeeper to those massive doors.
The massive west doorway.
Beckford lived alone in his abbey and used only one of its bedrooms. His kitchens prepared food for 12 every day although he always dined alone and sent other meals away afterwards. Only once, in 1800, did he entertain guests when Rear Admiral Lord Nelson and Emma, Lady Hamilton, visited the Abbey for Christmas.
Once he demanded that he would eat a Christmas dinner only if it would be served from new abbey kitchens and told his workmen to hurry. The kitchens collapsed as soon as the meal was over. In 1822 when he lost two of his Jamaican sugar plantations in a legal action. He was forced to sell the Abbey and it’s contents for £330,000 (£25,460,000 in 2014) a year later to John Farquhar, a gunpowder contractor from Bengal, India.
Within 2 years of this sale the tower at Fonthill Abbey fell down for the last time and Farquhar tried to sell all his land but died in 1826 intestate. The rest of the abbey was later demolished. Only a gatehouse and a small remnant of the north wing remained.
The remaining part of Fonthill Splendens was bought by Haberdasher, James Morrison who’s family went on to rebuilt, restyle and in 1971 practically erase the recognisable parts.
Beckford moved to Lansdown Crescent, Bath and began constructing another tower on a hill. Designed by Henry Goodridge and completed in 1827, Beckford used the tower as both a library and a retreat. At 120 feet tall, Beckford’s Tower still stands.
The early books from the Hogarth Press between 1917 and 1925 where beautiful items, regardless of the content within. They were home made, pamphlet style booklets with bright covers of marbled or hand-painted paper.
The Hogarth Press was founded by the married Leonard and Virginia Woolf. It was set up as a hobby for Virginia whom suffered depression when writing and needed a distraction. They named it the Hogarth Press after Hogarth house, the Woolf’s London residence.
The plan for the Woolf’s was to enrol at St Bride’s School of Printing, but they where not members of a trade union. So instead had to buy the printing machines, paper, type and a booklet on how to set it all up. The first publication was ‘Two Stories’ with a story by both Leonard and Virginia. ‘Two Jews’ by Leonard and ‘The Mark on the Wall’ by Virginia followed. These were limited to 150 copies. The designs for these books where rather formal.
In 1919, with the Omega workshops shutting down, it is likely that Vanessa Bell and Duncan Grant saw the Hogarth Press as a new medium to work with. It was in the same year that Kew Gardens by Virginia Woolf was published with woodcuts by Vanessa Bell. This being one of the more beautiful pamphlets they made.
The Woolf’s managed to hand-print 34 books before Virginia relinquished her interest in the press, leaving it in the hands of Leonard Woolf and John Lehmann. In 1946 Chatto and Windus took control.
Vanessa Bell and Roger Fry went on to design dust jackets for the Press. With the styles founded in the Omega Workshops, they helped set a tone, stylistically for the Press for many years to come.
To my bias opinion, Faber & Faber have always seamed a more artistic publisher based on the work in the 1930’s and 40’s. The typesetting of the poetry to the beautifully illustrated dust jackets always seam to be ahead of other publishers when it came to literature and how to employ artists.
The Ariel poems were a series of 38 pamphlets that contained illustrated poems published by Faber and Gwyer and later by Faber and Faber.
Faber and Faber began as a firm in 1929. However, its roots go back further — to The Scientific Press, owned by Sir Maurice and Lady Gwyer and derived much of its income from the weekly magazine the ‘Nursing Mirror’.
The Gwyers aimed for trade publishing and this led them to Geoffrey Faber. The partnership was then founded in 1925 and known as Faber and Gwyer. It was at this time In 1925 that T.S.Eliot left Lloyds bank to join the publishing firm Faber and Gwyer, as an editor.
The partnership of Gwyers and Faber didn’t last for long, four years later in 1929, the Nursing Mirror was sold and Geoffrey Faber and the Gwyers parted company. Searching for a name with a ring of respectability, Geoffrey hit on the name Faber and Faber, although there was only ever one Faber.
In 1927, Eliot was asked by Geoffrey Faber, to write one poem each year for a series of illustrated pamphlets with holiday themes to be sent to the firms clients and business acquaintances as Christmas greetings.
This series became the “Ariel Series” and would amass 38 pamphlets from a selection of English writers and poets from 1927 through 1931. It was a mark of considerable taste by Faber & Faber as they paired their authors with modern artists.
A detail of the wood engraving by Gertrude Hermes for Ariel Poem #23
The first editions of the Ariel Poems where released in numbers of 3000–5000 printings per copy. A set of limited editions where also issued in various printings of 250–500 copies each. These were signed and numbered by the authors and bound with thicker hand cut paper. Both versions of the editions had an illustration on the front cover, then a frontispiece by the illustrator that was sometimes coloured. Then the poems text. The pamphlets were bought back in 1954, when eight new publications were released in the New Series. These came with a colourful envelope from when they were posted.
The pamphlets, in order, are as follows:
Yuletide in a Younger World by Thomas Hardy, drawings by Albert Rutherston
The Linnet’s Nest by Henry Newbolt, drawings by Ralph Keene
The Wonder Night by Laurence Binyon, drawings by Barnett Freedman
Alone by Walter de la Mare, wood engravings by Blair Hughes-Stanton
Gloria in Profundis by G. K. Chesterton, wood engravings by Eric Gill
The Early Whistler by Wilfred Gibson, drawings by John Nash
Nativity by Siegfried Sassoon, designs by Paul Nash
Journey of the Magi by T. S. Eliot, drawings by E. McKnight Kauffer
The Chanty of the Nona, poem and drawings by Hilaire Belloc
Moss and Feather by W. H. Davies, illustrated by Sir William Nicholson
Self to Self by Walter de la Mare, wood engravings by Blaire Hughes-Stanton
Troy by Humbert Wolfe, drawings by Charles Ricketts
The Winter Solstice by Harold Monro, drawings by David Jones
To My Mother by Siegfried Sassoon, drawings by Stephen Tennant
Popular Song by Edith Sitwell, designs by Edward Bawden
A Song for Simeon by T. S. Eliot, drawings by E. McKnight Kauffer
Winter Nights, a reminiscence by Edmund Blunden, drawings by Albert Rutherston
Three Things by W. B. Yeats, drawings by Gilbert Spencer
Dark Weeping by “AE”, designs by Paul Nash
A Snowdrop by Walter de la Mare, drawings by Claudia Guercio
Ubi Ecclesia by G. K. Chesterton, drawings by Diana Murphy
The Outcast by James Stephens, drawings by Althea Willoughby
Animula by T. S. Eliot, wood engravings by Gertrude Hermes
Inscription on a Fountain-Head by Peter Quennell, drawings by Albert Rutherston
The Grave of Arthur by G. K. Chesterton, drawings by Celia Fiennes
Elm Angel by Harold Monro, wood engravings by Eric Ravilious
In Sicily by Siegfried Sassoon, drawings by Stephen Tennant
The Triumph of the Machine by D. H. Lawrence, drawings by Althea Willoughby
Marina by T. S. Eliot, drawings by E. McKnight Kauffer
The Gum Trees by Roy Campbell, drawings by David Jones
News by Walter de la Mare, drawings by Barnett Freedman
A Child is Born by Henry Newbolt, drawings by Althea Willoughby
To Lucy by Walter de la Mare, drawings by Albert Rutherston
To the Red Rose by Siegfried Sassoon, drawings by Stephen Tennant
Triumphal March by T. S. Eliot, drawings by E. McKnight Kauffer
Jane Barston 1719–1746 by Edith Sitwell, drawings by R. A. Davies
Invitation To Cast Out Care by Vita Sackville-West, drawings by Graham Sutherland
Choosing A Mast by Roy Campbell, drawings by Barnett Freedman
The 1954 series was as follows:
Sirmione Peninsula by Stephen Spender, drawings by Lynton Lamb
The Winnowing Dream by Walter de la Mare, drawings by Robin Jacques.
The Other Wing by Louis Macneice, drawings by Michael Ayrton.
Mountains by W. H. Auden, drawings by Edward Bawden.
Nativity by Roy Campbell, drawings by James Sellars.
Christmas Eve by C Day Lewis, drawings by Edward Ardizzone
The Cultivation of Christmas Trees by T. S. Eliot, drawings by David Jones.
John Piper, most famous for his stormy skies and paintings of bombed Coventry. Here are some quotes on his designs for pottery:
John Piper — Tate Gallery Pottery decorated by Piper was first seen publicly in Marlborough Fine Art in 1972, when a considerable number and variety of pieces was included in an exhibition of large paintings and gouaches.
They are a collaboration between decorator and potter, and began when the opportunity arose for Piper to work with Geoffrey Eastop, who made earthenware to his design and taught him the techniques of moulding and glazing.
These decorations were mostly heads or decorative abstract designs, but another large group made in 1982 in association with the Fulham Pottery included landscape variations after old masters, some of them on obelisks and candlesticks, The playful mood of the decorations recalls at times English slipware, Renaissance maiolica Picasso’s painted ceramics. John Piper — Tate Gallery p137
From: John Piper: The Robert and Rena Lewin Gift to the Ashmolean The opportunity for Piper to decorate ceramics came from his meeting with the potter Geoffrey Eastop, who agreed to set up a pottery next to his house in 1969. Eastop worked independently and with Piper. He had also been a painter, and was interested like Piper in modern French art, though from the point of view of a generation younger, and not for his own ceramics.
Piper designed and decorated plates, jugs, vases and obelisks. The body of the pots was made by assistants, and Eastop always advised and worked with him.
Piper’s attitude was that of a painter — impulsive, intolerant of technical limitations and extreme in colour. As with the making of stained glass and screenprints, his designs set a challenge to his collaborator, which he was left free to interpret. John Piper: The Robert and Rena Lewin Gift to the Ashmolean — 1992 — David Fraser Jenkins p20
Penguins Progress; Twenty Five Years, 1935 -1960. A beautifully illustrated book full of different variations of the Penguin Logo. If you are a fan of the books then this is a really lovely treat. Full of the history of Penguin Books and biographies of some of the key people in Penguin.
Illustrations by David Gentleman, John Griffiths, Feliks Topolski and Theodore Ramos. Photographs by Sam Lambert, Lotte Meitner-Graf and Athol Shmith. Cover designed by Elizabeth Friedlander.
A woman of great beauty and personal magnetism, Angelica Garnett, who has died aged 93, had many gifts. She turned her hand to mosaics, painting and sculpture and transformed domestic interiors with hand-painted decorations. As a writer, she used words with great sensitivity and precision. Her speaking voice was startlingly beautiful owing to her exquisite pronunciation. Her creativity must have been partly genetic, for she was the daughter of the artists Vanessa Bell and Duncan Grant, a parentage that gave her a double share of Bloomsbury inheritance.
This proved to be both a blessing and a burden. During much of her life, and particularly in the essays and books that she wrote, she struggled to come to terms with the psychological complexities that she associated with her upbringing. Her difficulties and anger with her elders emerged in her memoir Deceived With Kindness (1984), which contributed a poignant coda to the history of Bloomsbury and triggered a fresh spate of antagonism towards it.
To some extent, Angelica shared this negative view, while, at the same time, remaining a principal exponent of Bloomsbury, its values and way of life. Listening to her speak in public about herself and Bloomsbury, it was distressing to witness the tension between her pride in her forebears and the pain that these memories caused.
Her mother often reminded Angelica that she had French blood in her veins, for her great-great-grandmother had been married to the Chevalier de l’Etang, a member of Marie Antoinette’s household. But it hardly needed this distant connection to stimulate the young girl’s interest in all things French, including art. In her childhood, there were long periods spent in the south, mostly in a small villa outside Cassis.
When she was 18, she was sent to live for a while with a family in Paris so that she could learn the language. In old age she observed that her life had been “loosely and pervasively mixed up with France for as long as I can remember” and that “nothing in it would be the same or have the same flavour without this connection”. The country eventually became her permanent home and her last 30 years were spent living in Forcalquier.
She had been born at Charleston, a Sussex farmhouse situated at the foot of the South Downs and at some remove from the nearby village of Firle. Nowadays visitors stream through the house, during the six months of the year that it is open to the public, but at the time of Angelica’s birth it was remote from civilisation and devoid of modern comforts. Vanessa Bell had rented it so that Grant and his friend David Garnett, both conscientious objectors, could obtain necessary employment as farm labourers. Her husband Clive Bell visited at weekends, but marital relations between them had ceased and Vanessa had fallen in love with Grant. He returned her love, despite the fact that he was predominantly homosexual.
Knowing this, Vanessa agreed that the good-looking Garnett, with whom Grant became obsessed around 1914, could become part of their wartime menage. Soon after Angelica was born, she was weighed in a shoebox on the kitchen scales. Garnett, watching the procedure, was astonished that the baby already showed signs of intelligence and independent will. He wrote presciently to Lytton Strachey: “Its beauty is the remarkable thing … I think of marrying it; when she is 20 I shall be 46 — will it be scandalous?” Angelica did indeed marry into her parents’ generation and Garnett was to be her husband.
The immediate issue at the time of her birth was her paternity. This was attributed to Clive, partly to protect the servants at Charleston from embarrassing gossip, and possibly also for financial reasons, as it was the habit of Clive’s colliery-owning father to settle allowances on his grandchildren. From what Vanessa later told Angelica, she also felt that Grant was too young to become a father (though he was by then 33). As a result, Angelica grew up believing she had the same father as her two brothers, Julian and Quentin, and that Grant was no more than an enchanting family friend. By the standards of the day, Bloomsbury was highly unconventional.
Angelica’s early life was spent in an unorthodox and slightly precious environment. As Vanessa’s youngest child and only daughter, she lived under a spotlight of concentrated attention. (She later fictionalised this experience in her short story When All the Leaves Were Green: “It was like being in a hall of mirrors, where she saw only reflections of herself.”) Her mother readily gave in to her whims.
At the age of 10 she was sent as a boarder to Langford Grove, in Essex. Its headteacher cared more for culture than the curriculum and thought nothing of interrupting the timetable in order to carry off select pupils to a London play reviewed in the newspaper that morning, or to attend a concert in Cambridge. More educative for Angelica would have been the Bloomsbury conversations at home, or over tea with her uncle and aunt Leonard and Virginia Woolf. Often Angelica went to see Virginia alone with Vanessa, and amused herself while they gossiped, ever afterwards envying the intimate relations between sisters.
In the summer of 1937, when Angelica was 18, Vanessa informed her of her true parentage. This information did not alter things greatly. Angelica was advised by Vanessa not to tell Clive, as he liked to think of her as his daughter, and for some reason she did not approach Grant with her new knowledge.
He maintained a barrier of simplicity and kindness that prevented her seeing what lay behind it. Later she asked herself if in fact there was anything further to see. “Assuredly there was, but it was too nebulous, private and self-centred to respond to the demands of a daughter. As a result our relationship, though in many ways delightful, was a mere simulacrum. We were not like father and daughter. There were no fights or struggles, no displays of authority and no moments of increased love and affection. All was gentle, equable and superficial … My dream of the perfect father — unrealised — possessed me … My marriage was but a continuation of it.”
By the time she married Garnett — “Bunny”, as he was known to friends and family — he had become a renowned editor, reviewer and novelist. The marriage took place in 1942, two years after his first wife had died of cancer. Their preceding affair had caused bad relations between Bunny and Grant and Vanessa Bell, but with the marriage came an uneasy truce.
Angelica moved into Hilton Hall, Cambridgeshire, which Bunny had acquired in 1924. A Jacobean house that had been altered in the mid-18th century in a slightly old-fashioned countrified manner, it made an often cold but romantic, commodious setting in which to bring up their four daughters, Amaryllis, Henrietta and the twins Fanny and Nerissa, and to accommodate Bunny’s two sons by his first marriage. The house was a hotbed of creativity: not only were all four daughters highly talented, but Angelica, who had earlier studied acting under Michel Saint-Denis and painting at the Euston Road School, now had her own studio. She painted and Bunny wrote.
The marriage, however, as Angelica later remarked, had been an act of rebellion and was ill-judged. After some 25 years, they parted. For Angelica, there followed a nomadic period: she set up home in Islington, north London, then moved back to Charleston after Grant’s death in 1978, there experiencing severe depression. Next she bought a house nearby, at Ringmer, before finally settling down in Forcalquier. There were further relations with men who had been associated with Grant, but she never remarried. One of her most constant admirers was her brother Quentin and her likeness appears often in his paintings and ceramic figurines.
In her own work, she picked up sudden enthusiasms, some of which she equally quickly dropped. In the 1960s she worked for a period with mosaics, also publishing a manual on this medium in 1967. She was primarily a painter, but in the 1980s revealed a flair for constructed sculpture, making witty and concise use of found objects and materials. Exhibitions of her work were held in Milan, with Deborah Gage in London, at Forcalquier and elsewhere.
