Chenil Gallery
The Chenil Gallery (often referred to as the Chenil Galleries, or New Chenil Galleries) was a British art gallery and sometime-music studio in Chelsea, London between 1905 and 1927, and later the location of various businesses referencing this early use.
History[edit]
Located at 181–183 King's Road, the gallery was founded in 1905 by Jack Knewstub,[1][2] who had previously been an administrator of the Chelsea School of Art.[3] The gallery, with two exhibition rooms, shared its building with Charles Chenil & Co Ltd., a seller of art supplies and picture frames.[2] In 1927, Knewstub declared bankruptcy and closed the gallery;[4][5] the Chenil name continued to be used in association with various exhibitions until the 1950s.[5]
During its lifetime, the gallery was one of group of galleries "favoured by the Camden Town Group artists",[3] and was recognized for its exhibitions of British contemporary artists, including Augustus John, William Orpen, David Bomberg, Derwent Lees and Eric Gill.[4] Augustus John, who had a studio in the Chenil's garden, exhibited his work continuously at the gallery.[5][6] However, the studio which began as a countercultural "bohemian" enterprise was unable to compete with studios attracting younger artists, and failed in efforts to reinvent itself along more commercial lines.[1] The ultimate failure of the enterprise bankrupted Knewstub, who some years later was seen by a former gallery patron peddling vegetables from a cart.[1]
The record company Decca made its earliest recordings at the Chenil Gallery, and discographer Brian Rust noted that "the records made there invariably had a constricted sound that reminded listeners of the old acoustic method of recording".[7]
As of the mid-2000s, the building still stood and the gallery location had become "more of a shopping arcade" still operating under the Chenil Galleries name, with author Suzy Gershman describing it as being "known as a good place for antique medical instruments, as well as 17th- and 18th-century paintings and smaller items", as well as costume jewelry.[8]
Selected exhibitions[edit]
In 1911, James Dickson Innes had a two-man exhibition with Eric Gill at the Chenil Gallery, London: "Sculptures by Mr Eric Gill and Landscapes by Mr J. D. Innes".[4] Innes had a second exhibition at the Chenil in 1913, shortly before his unexpected death.[9]
In 1914, the gallery exhibited David Bomberg's The Mud Bath as part of a solo exhibition of his work. A 1964 Tate Gallery report noted that the painting was "hung outside the Gallery premises that it may have every advantage of lighting and space".[10][11][12]
Henry Tonks persuaded his former pupil, Edna Clarke Hall, to hold a one-woman show at the gallery in 1914. This show was a critical success, with one review describing her as a 'sensitive and expressive draughtswoman who reaches a masterly plane' and admiring her 'individual and instinctive' use of colour.[13] Again in 1914, Augustus John facilitated sculptor Frank Dobson being able to stage a one-man show at the gallery.[14]
In 1922 Leon Underwood had his first solo exhibition at the gallery.[15] William Roberts, who had been an official war artist, had his first one-man show at the Chenil Gallery in 1923.[16]
Augustus John's sister, Gwen John, had the only solo exhibition in her lifetime at the gallery in 1926.[17] Alexander Stuart-Hill displayed at the gallery in 1927.[18]
Studio recordings[edit]
In 1926, John Barbirolli was invited to conduct a new ensemble at the gallery,[19] initially called the "Chenil Chamber Orchestra" but later renamed "John Barbirolli's Chamber Orchestra".[20] Barbirolli's concerts at the gallery impressed Frederic Austin, director of the British National Opera Company (BNOC), who in the same year invited him to conduct some performances with the company.[21]
In 1930, jazz musician Spike Hughes first formed his own group and used the gallery as a recording venue for its music, in April of that year persuading the American musician Jimmy Dorsey to visit Chelsea for some sessions whilst he was in the UK.[22] Duke Ellington and his orchestra recorded there in July 1933, including the track Hyde Park.[23]
References[edit]
- ^ a b c Anne Helmreich and Ysanne Holt, "Marketing Bohemia: The Chenil Gallery in Chelsea, 1905-1926", Oxford Art Journal (2010), Vol. 33, No. 1, p. 43-61.
- ^ a b "British artists' suppliers, 1650-1950 - C - National Portrait Gallery". www.npg.org.uk.
- ^ a b Helmreich, Anne; Holt, Ysanne (2010). "Marketing Bohemia: The Chenil Gallery in Chelsea, 1905-1926". Oxford Art Journal. 33 (1): 43–61. doi:10.1093/oxartj/kcq003. ISSN 0142-6540. JSTOR 40856491.
- ^ a b c "Chenil Gallery". learn.bowdoin.edu.
- ^ a b c Flynn, Tom (3 November 2016). The A-Z of the International Art Market: The Essential Guide to Customs, Conventions and Practice. Bloomsbury Publishing. ISBN 978-1-4729-3636-3.
- ^ John, Gwen; Britain (Gallery), Tate; GB), National museum (Cardiff (7 December 2004). Gwen John and Augustus John. Harry N. Abrams. ISBN 978-1-85437-543-8.
- ^ Brian Rust, Brian Rust's Guide to Discography (1980), p. 67.
- ^ Suzy Gershman, Suzy Gershman's Born to Shop London: The Ultimate Guide for People Who Love to Shop (2008), p. 255.
- ^ Bowen, Keith (24 April 2014). "Sacred Mountain: the Last Years of Artist J.D. Innes". Wales Arts Review.
- ^ Gallery, Tate (1964). "The Tate Gallery Report". H.M. Stationery Office.
- ^ Gallery, Tate (September 1999). Paint and Purpose: A Study of Technique in British Art. Harry N. Abrams. ISBN 9781854372482.
- ^ Bostridge, Mark (2 January 2014). The Fateful Year: England 1914. Penguin UK. ISBN 978-0-14-196223-8.
- ^ J. H. Collins Baker for The Saturday Review, 14 April 1914. Quoted by Alison Thomas, 'Hall, Edna Clarke, Lady Clarke Hall (1879–1979)’, Oxford Dictionary of National Biography, Oxford University Press, 2004 accessed 3 Feb 2012.
- ^ HCG Matthew & Brian Harrison, ed. (2004). Oxford Dictionary of National Biography Vol 44 (Phelps-Poston). Oxford University Press. ISBN 0-19-861394-6.
- ^ David Buckman (2006). Artists in Britain Since 1945 Vol 2, M to Z. Art Dictionaries Ltd. ISBN 0-953260-95-X.
- ^ "'The Port of London', William Roberts, c.1920–4". Tate.
- ^ Sanford Schwartz, "To Be a Pilgrim", The New York Review of Books (November 29, 2001), p. 36.
- ^ The Times, 25 January 1927, p. 10.
- ^ "Our London Correspondence", The Manchester Guardian, 25 May 1926, p. 6.
- ^ "Wireless Notes and Programmes", The Manchester Guardian, 7 June 1928, p. 12.
- ^ Blyth, Alan. "Sir John Barbirolli talks to Alan Blyth", The Gramophone, December 1969, p. 34.
- ^ Godbolt, Jim. A History of Jazz in Britain (1919-1950), (1984).
- ^ Odeon 284058, Discogs