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Augusta Stylianou Gallery 
Alan Durst (1883–1970) was a British sculptor and wood carver. A member of the London Group [1] of artists. Three of Durst's work are held in the permanent collection of Tate Gallery.[2][3]
Alan Lydiat Durst was born in Alverstoke, Hampshire, England on June 27, 1883. He was the son of William Durst who was the Rector of Alverstoke. He was in fact born in the rectory and was educated at Marlborough College and in Switzerland. He married Elizabeth Clare Amy Barlow on the 11th December 1918. Durst served in the Royal Marine Light Infantry, first joining in 1901 and details of this service are shown in record ADM/196/63 held at The National Archive. He served until 1913 but was recalled the next year for "Service in Emergency"and again during the 1939-1945 conflict. Interesting to see in his record notes that he was also recalled in April 1921 for emergency service necessitated by the Coal Strike. Below is a reproduction of two pages from this record which summarise his service. * Part of Durst's Service Record.ADM/196/63 Part of Durst's Service Record.ADM/196/63 In 1913 he was placed on the "Retired List" and enrolled at the L.C.C.Central School of Arts and Crafts but returned to the Royal Marines in July 1914 and served from 1914 to 1919. In his private papers held at Tate Britain Archive Durst writes that he would often while away the time in his cabin when at sea by executing small carvings in ivory. We learn from Durst's record that he was awarded the three campaign records, The 1914-15 Star and the British and Victory Medals ("Pip, Squeak and Wilfred" as they were known.) As part of his studies Durst visited Chartres in early 1914. He went in fact to study stained glass windows but in his private papers held at Tate Britain Archive he explained that he was so taken with the magnificence of the statuary of Chartres Cathedral that he determined to pursue sculpture as a career.As Durst puts it, seeing the Chartres statues “opened a door for me”. [4] After leaving art school Durst became Curator of the George Frederic Watts Museum in Compton from 1919 to 1920. He left that museum to take up sculpture and wood carving on a full time basis, and taught wood carving at the Royal College of Art from 1925 to 1940 and from 1945 to 1948. Durst had his first solo exhibition at the Leicester Galleries in London in 1930 and another in 1935. He was a regular exhibitor at the Royal Academy. We learn from Durst's Tate Britain Archive papers that when Durst returned to his studies after the 1914-1918 war he was very much drawn to the concept of "Direct Carving" as advocated by Jacob Epstein and Eric Gill. He also states that he was an admirer of Henri Gaudier-Brzeska the French sculptor killed in action in 1915. He was appointed a member of The British School at Rome in 1945- Faculty of Sculpture. Durst died on the 22nd December, 1970 and his funeral took place on Tuesday 29th December, 1970 at Golders Green Crematorium.[5] Works Major commissions include:- * An Ivory and Ebony Altar Cross for the Parish Church of St Leonard in Middleton near Manchester. Close up of Middleton Altar Cross showing delicacy of Durst's carving
* For the Maritime Museum at Greenwich carvings from oak of the head of a sailor and a marine. Acquired by the War Artists’ Commitee in 1944. * For St Alphege Church in Solihull, six figures in the chancel each of which stands on late 13th century carved stone corbels. They were installed in 1950/1951 in memory of Lily Waters who had died in 1949. The figures represent the Virgin Mary, St Alphege, St Peter, St Luke and a cherubim and a seraphim. See photographs below. Virgin Mary at St Alphege * St Luke St Peter St Alphege Angel holding chalice Angel with censer View of Church interior Plaque in St Alphege
* Tablet in a church in Heswall in Cheshire dedicated to a sailor who died when the submarine "Thetis" sank in 1939.[6] Memorial in Heswall Church At the bottom of the tablet are the words-"They that go down to the sea in ships/That do business in great waters/These see the works of the LORD/And his wonders in the deep." * The masks of Comedy and of Tragedy over the entrance to the Royal Academy of Dramatic Art. A photograph of these are shown above and some further studies are shown in the gallery at the end of this article. In Durst's composition the figure of "Comedy" wears the mask of "Tragedy" and that of "Tragedy" wears the mask of "Comedy" * An Altar Cross and Candlesticks in Ivory and Ebony in the chapel of Marlborough College, these dating from 1928. The Altar Cross bears the inscription "The Tree of Life 19 ALD 28". * A Processional Cross in Ivory and Ebony for St Matthews Church, Brixton, South London. Executed in 1919. * The work "Fruit Seller" held by Bradford 1 Gallery in Centenary Square, Bradford. It is on display at the time of writing (9/02/2011). * 24 carvings in stone on the exterior of Merchant Taylors School, Sandy Lodge. Middlesex. These include “The Owl of Athene” and “The Raven of Apollo” on the outside of the Great Hall and “David” “Socrates” “Dante” “Shakespeare” “Goethe” “St.Paul” and “Isaac Newton” on the outside of the library. Durst carried out this work in 1932. * Carvings on Clergy and Choir Stalls for Holy Trinity Church,Northwood. Carved in 1957 from English Oak. These were dedicated by The Bishop of London. The carvings express Prayer, Praise and Harmony. The Vicar's stall on the right shows two angels kneeling in prayer at the step of an altar. Between them is a symbol of the Holy Trinity with the Cross set above the world superimposed on three intersecting circles. The other clergy stall on the left symbolising Praise shows two angels, each holding in one hand a crown and in the other a ribbon proclaiming: "Holy, Holy, Holy". The benchends of the choir stalls express Harmony. Firstly, those on the west end of the stalls represent from the left: trumpet, cymbal and pipe; and from the right organ, lute and harp. On the east end of the benches on the left are lyre, lute and tabret; and on the right sackbut, cornet and psaltery.[7] * A marble "Pieta" carved in 1930 and held by the Manchester Art Gallery, though not currently on display. * A statue of St Matthew for the church in Hutton Buscel in Yorkshire. The statue stands in a niche in the South Porch. * A font in Alcaster stone for St Christopher's Church in Withington near Manchester. See images below:- View of Withington Font
* An Altar Cross for St Peter's Church in Petersfield, Hampshire. This takes the form of a Crucifix, with bearded figure of Christ in draped cape and robe, crowned and with a halo, closed eyes, outstretched arms and open hands, with feet supported on a sloping ledge. It is carved in one piece and stands on a dome-shaped base in which is incised the symbol "Chi Rho". Above the figure is a chalice within a double entwined raised circle representing Faith. The piece is dated 1953 and the sculptor's name and the date 1953 are carved under the base. The Altar Cross is carved from English walnut. In the same Church are two wooden candlesticks carved by Durst. One has four motifs: crossed keys: an axe, a serpent and a sword. The other also has four, all winged objects with heads: a haloed man, a lion, an ox, and an eagle. Each has a carved inscription in roman caps and l/c on the base. The carving of the motifs is combined with the capital letters of the inscription, which itself is difficult to interpret. The candlesticks are carved from English walnut and date from 1953.A photograph of the Altar Cross is shown below.[9] Altar Cross in St Peter's Church, Petersfield.Hampshire
* Two cherubs carved from oak in 1928 and in the chapel of Uppingham School in Rutland. * A coat of arms carved for St Chad's College in the University of Durham. Clipsham stone was used. * A Madonna and Child for the church in Cawood near Selby in Yorkshire. This work was completed in 1961 to replace a previous sculpture which had been lost.[11] See image below. The Madonna and child at Cawood * A fountain sculpture featuring Sea Lions commissioned in 1960 by the London County Council for an old peoples home in Greenlaw Street in the Docklands area.[12] * A "Majestas Domini" for St Martin of Tours Church in Middlesbrough, England. * A carved tombstone on the Distin family grave which is in the graveyard of St Michael Church, Addingham in Cumbria. See image below.The work was carried out in 1949 and the tombstone now shows the effects of many years of exposure to the elements. At the top of the tombstone it is inscribed "EX ILLUSTRI ET PER ANTIQUA STIRPE PROGNATA" Tombstone in Cumbria * Four carvings for R.M.S."Queen Mary". These were "Struggle", "Cat" and "Hind and Young", all three in stone, and "Horse" carved from Sienna Marble. * The work in gilded wood “Christ in Majesty” for St Mary the Great Church in Cambridge which is the University church.Alan Durst's work was installed as a reredos in 1960, it is given a clear view because there is no screen to the chancel.[13] See image below. Durst work in St Mary the Great Church * Works for Peterborough Cathedral including an ivory Annunciation in St.Kyneburgha’s chapel. Durst completed several replacement figures for the West Front between 1949 and 1965. These include the figures of St James the Less, St John and St Thomas added in 1949, the figure of Grosseteste added in 1958,, St Kyneburgha and the replacement head for King Paeda and Abbott Saxulph, all added in 1959 together with Aethelwold and the head of St Dunstan added in 1965. Below is a photograph of two of the West Front statues. That on the left is by Durst. Peterborough Cathedral. [14] * Three carvings over the doors of the dining hall at Rossall School in Lancashire. These are pierced gilt relief carvings in American basswood. One represents "Fowl" and the other two "Fish" and "Flesh". Each has a base measurement of 2 feet 8 inches and a thickness of 3 inches. * Statue of St Boniface in Newcombes Meadow, Crediton, Devon. The Portland Stone statue of the young Boniface was unveiled on the 24th July 1960 by HRH Princess Margaret. * Wood carving on the memorial in Winchester Cathedral to Canon Bertram Kier Cunningham, this completed in 1944.It was shown at the Royal Academy in 1942 before going to Winchester. It can be found in the east aisle in front of the tablet to Mary Pescod.[15].The carving is a representation of "The Annunciation" and features the Angel Gabriel appearing before the Virgin Mary and greeting her with the words "Greetings, favoured one, the Lord is with you" -Ave,gratia plena, Dominus tecum or more simply Ave Maria. Gabriel tells Mary that she would bear a son to be called Jesus. As is often the case Mary is shown reading a book on which would be written "Ecce virgo concipiet et pariet filium" (Behold, the Virgin will conceive and will give birth to a son" -Isaiah 7:14). At the back of the work Durst carved several reliefs including a representation of the turning of water into wine. As the whole piece is close to a wall Durst's reliefs are not seen to their best advantage and are difficult to photograph. Just behind Mary, Durst has carved a dove in which form the Holy Spirit was said to have descended on Mary. Mary replied to Gabriel with the words "Behold the handmaiden of the Lord, let it be to me according to your will" Luke 1:26-38. It is believed tht the conception of Jesus took place at this moment and the "Festival of the Annunciation" is held on 25th March, exactly nine months before the birth of Jesus is celebrated. A photograph of the Winchester Cathedral work is shown below and further images in the gallery below that:- Durst "The Annunciation" in Winchester Cathedral Also included in the gallery are photographs of various birds which Durst was commissioned to carve on the terminals of the Winchester Cathedral Drip mouldings round the windows-these included woodpeckers, a thrush and robin, a blackbird and wren, a jackdaw , an owl, a seagull and a nesting swallow. * Relief on Winchester Cathedral "The Annunciation"- The turning of water to wine. Close up of the Virgin Mary in Winchester Cathedral "The Annunciation" Gabriel in Winchester Cathedral "The Annunciation" One of the reliefs to the rear of Alan Durst's "The Annunciation"- Jesus on the Cross Relief on side of "The Annunciation"- Mary kneels before crib Carving of Owl on exterior Winchester Cathedral Another of Alan Durst's carvings on exterior of Winchester Cathedral-a jackdaw Another bird carving-A swallow swoops over her nest.
* An Altar Cross at Kingswood School, Bath. This was carved from walnut in 1937. Altar Cross in Kingswood School * The Rood-screen at the Holy Cross Church in Woodchurch, an area of Birkenhead on the Wirral Peninsula, England and an ivory Processional Cross for the same church.[17] The Rood-screen was carved in 1933. The west side of the Rood beam features carvings of the Seven Sacraments represented as the fruit of the vine this growing downwards from the foot of the cross above. From right to left the Sacraments are Baptism, Confirmation,Penance, Communion, Ordination, Marriage and Unction. The figures on the supporting columns are- St Augustine of Canterbury, Elijah, St.Peter, St Luke, Moses, and St Columba. On the east side of the screen the Christ of the Apocalypse features at the top and on the beam beneath a priest is shown at the altar elevating the Host as the central act of the Church's worship. These two themes were proposed by the Reverend Bryan Robin who was the vicar of the church at the time. This information is taken from Durst's book "Wood Carving". Below are two photographs of the rood-screen, these taken from Durst's book. I also include below a recent photograph of the Rood-screen. [18] * An alabaster bear in the foyer of the T.A.Collins Langmoor School in Leicestershire.[19] * The work "The Acrobats" held in Tate Britain- a carving from walnut. Durst was said to be one of several artists who looked to African art in order to revitalise modern European sculpture and the unusual arrangement of figures in "The Acrobats" allowed him to adopt elements that were typical of West African carvings, notably the buckled, stocky legs. The work was carved from walnut in 1927 and it was presented to the Tate by Tate members in 2002. 'The Acrobats'
* A carved font in Llandaff Cathedral. See image below. The carving around the font, carved from Derbyshire stone, includes scenes from the Bible including Eve giving her account of the temptation before God, Isaiah, St John and the Virgin and Child and the Life of St Teilo.[20] Carved cover for Durst's font in Llandaff Cathedral Some further photographs of this remarkable work are shown in the gallery below [21] :- * Relief on Llandaff Font Relief on Llandaff Font Relief on Llandaff Font Relief on Llandaff Font Base of Llandaff Font * Another Durst font can be found in the St John the Evangelist Church in Newbury, Berkshire. Durst's carvings around the sides of the font depict the principal events in the life of Jesus and each scene is interspaced by an angel. We see a scene featuring Mary, Joseph, the Shepherds, the Wise Men and the Lamb at Jesus' birth, the Baptism of Jesus by John the Baptist and the Last Supper showing Jesus with his disciples. Many of the disciples are named on the halos around their heads. We also see the risen Jesus in the garden with Mary Magdalene.[22] * In Manchester Cathedral we can see a 1950 carving by Durst using oak and positioned in a panel above the south porch. The carved scene depicts the Good Shepherd (bearded) with a crook in his right hand and holding a lamb under his left arm. On his right are four sheep with two lambs, and on his left five sheep. Both the outside and inside surfaces of the lintel have inscriptions. On the outer surface of the lintel is inscribed-"I AM THE DOOR OF THE SHEEP" and on the inner surface of the lintel the inscription reads-"THE LORD BE WITH YOU GO IN PEACE". On the left side of the Tympanum "ET/FLET/UNAM/OVILE" is inscribed and on the right hand side "ET/UNUS/PASTOR". Durst also worked with Walter Miller on a Regimental Cross in the Manchester Regiment Regimental Chapel. The cross is constructed of Ebony and Ivory. The base of the cross is rectangular, the edging scalloped, this design repeated in two tiers on the upright stand of the cross. The edging of the cross is outlined in wheat ear design relief. On the arms of the cross again in ivory relief are two kneeling angels with folded wings. On the head of the cross again in ivory is a crown. In the centre of the cross a regimental sword embossed with the Lancashire Rose in relief over the sword a motif of the crown of thorns also in ivory. The cross and candlesticks originally belonged to the Manchester Regiment, survived the war and have always been kept in the Regimental Chapel. Durst also carved several angels in the roof of the Regimental Chapel.These were in English oak and carved in 1952. These appear on the West-facing side of the tie-beams which were in-filled with eight moulded panels onto which are centrally placed two flying angels holding between them a coat of arms. One coat of arms represents the dove the "Emblem of the Holy Spirit", another the Arms of Queen Elizabeth, The Queen Mother, who was Colonel-in-Chief of the Manchester Regiment, another the Arms of the City of Manchester, another the Arms of the Earl of Derby and another the Fleur-de-Lys, this being the badge emblem of the Regiment. The roof beams and carvings can be seen in the photograph below.[23] Manchester Regiment Chapel in Manchester Cathedral * A bronze entitled “Mountain Goat”. Shown by Christies’ London in their exhibition “Modern British & Irish Paintings Drawings and Sculpture “ in 1984.
There is also a reference to Durst in an article in the Yorkshire Evening Post regarding the "Headingly Shire Oak". It seems that Durst was sent a piece of the tree for his carving! [24] Images In the gallery below we can see some further images of Durst’s masks of Comedy and of Tragedy above the entrance to the Royal Academy of Dramatic Art. *
His obituary in "The Times" of 30th November 1970 was written by George Pace and read- Those who were privileged to work with Alan Durst were able to fully appreciate his integrity and his indomitable spirit; to enjoy with him his love of fine buildings and his pride in being senior Associate of the Royal Academy and to be enfolded in his gentle goodness and kind courtesy. In 1964 when he had finished carving seven statues for the upper part of Peterborough Cathedral he told me that in his early days when he wanted to learn “direct carving” he found that the art schools of the day could only teach him modelling; for it was still the fashion for sculptors to make models which were then translated into stone or marble by technicians using pointers and masons’ skills. After Word War 1 the more realistic approach to sculpture enabled him to learn the techniques of direct carving and this equipped him to devote the rest of his life to spirited direct carving in stone, wood and ivory. From the summer of 1914 his life ambition was to complete a series of statues carved in the spirit he had extracted from Chartres. He achieved this ambition in 1962-64. The statues he carved are stored at Peterborough. Amongst Alan Durst’s outstanding works must be numbered the oakscreen and rood at Woodchurch, Wirral, 1935 in collaboration with architect Bernard Miller and the font at Llandaff Cathedral 1952. The small and delightful label stops he carved for Winchester Cathedral depict the wild birds which he had loved to watch in his childhood spent in the close. The ivory Annunciation carved in 1948 he gave to Peterborough Cathedral in 1968 to be a memorial to his dearly loved wife, Clare. This delicate and original treatment of the subject is to be placed in a special setting in the cathedral’s new Treasury” References 1. ^ http://webcache.googleusercontent.com/search?q=cache:QzkpHI5ALnMJ:www.thelondongroup.com/history/index.html+%22alan+durst%22&cd=128&hl=en&ct=clnk&gl=uk Details of London Group Retrieved from "http://en.wikipedia.org/ ", Text is available under the Creative Commons Attribution-ShareAlike License Artist Index ==--==--==
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