John Hunt E-Book

Brian O'Connell

• Herausgeber: The O'Brien Press
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2014

Seitenzahl: 552

Beschreibung

The book tells for the first time the remarkable life story of John Hunt, one of the world's greatest medievalists and someone whose legacy to Ireland lives on today with most of the major cultural attractions in the Shannon region including Bunratty Castle and Folk Park and the Hunt Museum, owing their existence to either his initiative or generosity. Details of his family background are also provided which differ greatly from those previously published. This biography brings together a host of information about one of the most remarkable figures in the 20th century art scene, who collected treasures can be found in some of the world's major museums.

Leseprobe

JOHN HUNT

THE MAN,THE MEDIEVALIST, THE CONNOISSEUR

BRIAN O’CONNELL

Dedication

This book is dedicated to the people of the rural community around Lough Gur, County Limerick, who, amidst the wartime deprivations of 1940s’ Ireland, reached out to embrace a pair of strangers, John and Putzel Hunt, who had come by chance to live among them. The warmth with which they accepted the couple, led the new arrivals to stay in Ireland, with all the benefits that were to follow from that decision for their adopted homeland.

Acknowledgements

There are many individuals to whom I would wish to express my sincere thanks for their help and co-operation in writing the life story of John Hunt.

I should firstly express a particular word of appreciation to Trudy Hunt, and to commend her most admirable determination to ensure that the true story of the kindly father she lost in her teenage years was revealed. Without the benefit of her unstinting co-operation, quietly maintained over many years, and her faith in my ability as an author to carry out the task required, this book may never have been written.

A most special debt of gratitude is owed to Dr Peter Harbison for his recollections of working closely with John Hunt, and giving me the benefit of his knowledge on a wide range of issues. In particular, his guidance on archaeological matters, and advice as an experienced author himself, was quite invaluable and much appreciated, as was his most generous input of time in reading the various drafts of chapters as they emerged.

Several individuals who knew John Hunt personally were happy to share some of their memories of him from decades earlier. I am particularly grateful to the late Sandy Martin and former Sotheby’s director, Howard Ricketts who provided time for several interviews in this regard. Others who shared personal recollections included: Cian O’Carroll, Brendan O’Regan, Pa Crowe, Liz Wilson, Maurice Linnell, Sister Regina O’Brien, Grace Cantillon, Mary Geary, Joan Duff, Des O’Malley, Jim Burke, Jane Williams, John O’Connor and David Davison.

Staff members of the following institutions were most helpful in facilitating access to their records and dealing with my queries: The V&A Art Library; The V&A Museum Archives;The British Museum; The British Library; The Fitzwilliam Museum, Cambridge; The Courtauld Gallery, London; The Hammersmith and Fulham Archives and Local History Centre; Watford Central Library; Hertford Library; The Somerset Heritage Centre, Taunton; The Wiener Library, London; Library of Durham Cathedral; The Walker Art Gallery, Liverpool; The Burrell Museum, Glasgow; Imperial War Museum; The Churchill Archives Centre, Cambridge; The National Archives, Kew; King’s School Archives, Canterbury; St. Bartholomew’s Hospital Archives; The Portman Estate; English Heritage, Newcastle upon Tyne; Royal Institute of British Architects, London; British Film Institute; Stadtarchiv and The Jewish Museum, Worms, Germany; Stadtarchiv, Mannheim; The Swiss Federal Archives, Berne; Limerick City Library, The National Museum of Ireland; The National Library of Ireland; RTÉ Archives; Military Archives, Dublin; Registry of Deeds, Dublin; National Archives of Ireland; The Jewish Museum, Dublin; The National Gallery of Ireland; Boole Library, University College, Cork; The Walters Museum, Baltimore; The Virginia Museum of Fine Arts, Richmond; City of Vancouver Archives; The New York Public Library; Hearst Castle Collections, California. Particular mention should be made of Victoria Reed, Curator for Provenance at the Museum of Fine Arts, Boston, and Christine Brennan, Collections Manager, Department of Medieval Art and the Cloisters at the Metropolitan Museum of Art, New York who were most helpful during extended visits. Pat Wallace, Director of the National Museum of Ireland, made available the Museum’s files on John Hunt and the Emly Shrine and Naomi O’Nolan facilitated access on several occasions to the records and images held in the Hunt Museum, Limerick. University of Limerick history graduate, Grainne O’Brien, assisted with research on certain Irish archives.

Victoria Dickenson, Harriet Allen, Rosemary Bolster and Richard Hunt, all relations of John Hunt in England, provided extensive genealogical records on the Hunt family as well as some personal recollections. Cian O’Carroll, John Quinn, Dr Edward Walsh, Jerry O’Keeffe, Dr Joyce O’Connor and John Ruddle read parts of the book in draft and provided much invaluable advice and encouragement.

Special appreciation is due to John Ruddle, CEO Shannon Heritage Limited, and Alan English, Editor, The Limerick Leader, for the support of their organisations towards the publication of the life story of someone who made such a significant contribution to the Mid-West region of Ireland.

Michael O’Brien of The O’Brien Press took a leap of faith in the project and was most supportive of my efforts. Other members of The O’Brien Press staff were at all times most helpful in getting the book to publication.

Finally, I should like to thank my wife Phil and my daughters Anna, Jennifer and Stephanie for their forbearance on occasions and their encouragement at all times, and their assistance in reading and editing drafts of the text.

Contents

TITLE PAGEDEDICATIONACKNOWLEDGEMENTSINTRODUCTION1THEEARLYYEARS2BECOMING AN ART DEALER1933TO19403COMING TOIRELAND19404THELOUGHGURYEARS5THETRIPTYCH6BUNRATTY760 PARKSTREET, MAYFAIR8DRUMLECK9AMERICANMUSEUMS10THEPREPARATION OF ALEGACY11HUNTINGHIGH ANDLOWINDEXABOUT THEAUTHORCOPYRIGHT

A Yetholm Shield in the Hunt Museum, Limerick.

Introduction

The numbers are dwindling of those who personally knew John/Jack Hunt (1900-1976), and I count myself fortunate to be among them. Brian O’Connell, in contrast, never met him, but has brought him back to life in this engaging biography of a man whom I knew to be kind, benign and so willing to share with others his immense store of knowledge on matters medieval. I only had the pleasure of John’s company during the last decade of his life. However, because he was not one to boast of his achievements, Brian’s book has opened my eyes here to many details that John never told me about, concerning his family background, his earlier career and his wide circle of friends, both within and outside the world of art.

These latter did not include Nazi-sympathisers, and one of Brian O’Connell’s main achievements, although it only occupies a minor part of his text, was to liberate John Hunt’s good name and reputation from totally unfounded slurs cast upon them in certain quarters in recent years. In contrast, Brian shows how he strove desperately, but, sadly, in vain, to get one particular family of Jews out of Germany in the months preceding World War II. Equally, Brian has disposed of the rumours circulating about John Hunt’s alleged involvement in spiriting the Emly Shrine out of Ireland to the United States – simply by discovering who the real culprits were. From my personal knowledge, I can confirm that such a deed would have been totally contrary to Hunt’s ideals, for he always insisted that Ireland’s treasures should remain in the country. He put his money where his mouth was by acquiring important Irish Bronze Age objects in England and repatriating them to Ireland. Many such objects are now displayed in the great Hunt Collection in Limerick, the contents of which John and his wife Gertrude generously gifted to the Hunt Museums Trust to hold on behalf of the people of Ireland.

The Hunts have merited a worthy champion in Brian O’Connell. He was given free access to the rather slim collection of family papers by John Hunt’s daughter, Trudy, and his daughter-in-law, Patricia, whose husband, John Jr, fought so valiantly, during the last few years of his all too short life, to house and manage his father’s collection.

Dr. Peter Harbison

CHAPTER 1

The Early Years

Many people live all their lives without a glimpse of greatness. He was given many talents and … used them to the full … he achieved a fantastic amount in one lifetime.

Sybil Connolly1

As the light began to fade on a bleak January day, in a graveyard on the edge of Dublin Bay, the mourners huddled for shelter against the penetrating westerly winds. It was clear that a person of some importance in Irish life was being laid to rest. The Taoiseach, Liam Cosgrave, who had personally expressed his deepest sympathy to the widow of the deceased, was represented at the removal by his aide-de-camp, and the President of Ireland, Cearbhall Ó Dálaigh, had attended the funeral mass.2

John Durell Hunt, medievalist, scholar, collector, and art dealer, had died on 19 January 1976 after a short illness, and was interred that cold afternoon in St Fintan’s Cemetery, Sutton, near his former home in Howth. He was survived by his widow, Putzel, and his children, John Jr and Trudy.

In Ireland, through his involvement in the Arts Council and the National Monuments Advisory Council, Hunt had been at the centre of the art world for a quarter of a century. He had helped to restore two medieval castles in County Clare, which formed the nucleus of the biggest heritage attraction outside Dublin for foreign visitors. His private collection of artworks had been vested in the Irish state, and plans were well underway to open a new museum in Limerick to display a selection of its most valuable pieces.

In London, Joe Floyd, Chairman of Christie’s, wrote: ‘He will leave a gap which can never be filled in the fast vanishing ranks of old fashioned true connoisseurs’.3 Across the Atlantic, Richard Randall, museum director and long-time friend wrote: ‘I am sad indeed … for the world which will only realise slowly what a man it has lost.’4 This view of Hunt’s international standing was echoed by James White, Director of the National Gallery of Ireland: ‘Whenever I have travelled in great museums abroad, the names of John and Putzel were an immediate introduction to deep scholarship and knowledge – they truly have been of the inner circle of medievalists who speak a language that can only be learnt over 60 years of application’.5

Objects which Hunt had once owned or dealt with were displayed in many of the world’s temples of artworks, including the Victoria and Albert Museum in London, the Metropolitan Museum of Art in New York, the Museum of Fine Arts in Boston and the Burrell Museum in Glasgow. He had been the principal advisor on medieval art to Sotheby’s in London for almost two decades and had undertaken commissions for art collectors including Randolph Hearst, Harry Guggenheim and the Aga Khan.

Yet, despite his prominent public profile, there was something ‘ever elusive’ about John Hunt.6 How had he made the money to acquire his collection of artworks in a world where most collectors had either inherited wealth or had become wealthy by succeeding in large-scale commercial activity? In Ireland, where everyone knew, or thought they knew, all about their neighbours, who exactly was this man who spoke with the cut-glass vowels, so clearly polished in an English public school?

In the immediate aftermath of his death, Hunt was widely claimed as being Irish-born. The Irish Press, in reporting his passing, described him as: ‘Mr. Hunt who came from near Newmarket-on-Fergus, Co. Clare’, a claim repeated by The Irish Times.7 An obituary published later that year in the North Munster Antiquarian Journal described him as a native of ‘Thomond’, the ancient name for the Mid-West region of Ireland, and Limerick City was identified as his birthplace in two other learned accounts of his life.8

However, references to Hunt’s background in the local press in Limerick, where he had first lived after coming to Ireland, made it clear that he was not from the area. One report stated that he was ‘born in England … of Irish extraction and his one great ambition, long since realised, was to live in the land of his forefathers’.9 Later reports specifically identified this Irish descent as having come through his parents, both said to be from Thomond. One claimed that: ‘the late John Hunt was the son of John Hunt from Co. Limerick and Effie Jane Sherry who came from near Newmarket-on-Fergus’.10 A similar assertion of his father’s Irish lineage can be found in official files dating from his very earliest years in Ireland.11

This acceptance of first-generation Irish ancestry was reflected in a publication launched by the Hunt Museum Trust in 1993, which claimed that ‘John Hunt’s family was from Limerick’, and a display board on the first floor of the Hunt Museum in Limerick stated categorically that ‘John Hunt’s parents were from Limerick and Clare’.12

Yet, although Hunt did have Irish ancestors, none of them were from Limerick or Clare and neither he nor his parents or grandparents had been born in Ireland. Hunt’s immediate antecedents were all English, mostly from an upper middle-class professional background. However, one maternal great-grandmother was indeed Irish-born and, almost certainly, Hunt shared the mistaken belief, held by several other Hunt family members in England, that one paternal great-grandmother was an Irish governess.

It is perhaps not too difficult to understand why Hunt’s background was so widely misunderstood. His holding of an Irish passport, his deep interest in Irish history and archaeology and his occasional use of ‘Ó Fiach’, the Irish version of his surname, would undoubtedly have created a widespread assumption that either he or his immediate antecedents were Irish. While there is no evidence of deliberate dissimulation by Hunt about his background, he perhaps felt entitled to make reference to an Irish pedigree, given that he considered himself to some degree to be Irish.

He may also have had pragmatic reasons for emphasising such origins at the expense of his English roots when he first came to live in County Limerick, since the Irish War of Independence, which had ended less than twenty years previously, had left a certain residue of hostility towards English people in some quarters, particularly in rural areas.

Whatever the reasons, the mystique surrounding Hunt was to have unexpected repercussions almost three decades after his death when questions about his background were raised. Among the more attention-grabbing of these was the suggestion that ‘further investigation is needed to establish the reasons and circumstances by which John Hunt obtained Irish citizenship and an Irish passport, especially in the light of unconfirmed suspicions of espionage activities by the Hunts.’13

John Durell Hunt, known to family and close friends as ‘Jack’, was born on 28 May 1900 at 28 St John’s Road, Watford, Hertfordshire, England, a thriving commuter town to the north of London. His father, John Hunt Sr, had married a local woman, Effie Jane Sherry, in 1899 and settled in Watford, commuting to his newly-established architectural practice in Marylebone.

Jack’s paternal grandfather, Frederick William Hugh Hunt, was also an architect and surveyor who had specialised in church architecture. At the relatively early age of thirty-one he had been appointed as surveyor of the estate of Viscount Portman, one of the largest landowners in London and, from 1885, was employed as the Portman Estate agent.14 He lived with his wife Mary Louisa (née Vinall), in a series of substantial residences, with a retinue of a half-dozen staff to care for his household and family of twelve children.15 At the time of Jack’s birth, Frederick Hunt’s home was a splendid five-storey Georgian house at 18 Dorset Square, Marylebone.

Jack’s eight Hunt uncles were typical of the emerging middle class, and quite successful in their chosen careers. His father, as well as a younger brother, Robert Vinall, studied architecture, and two others, Edward Lewis and Lawrence Charles, qualified as doctors. Andrew Allan, having studied at Oxford, became an Anglican clergyman, and Walter Simeon was an engineer. Frederick Giles, a Cambridge law graduate, became a business confidant and legal advisor to Lord Leverhulme, Chairman of Lever Brothers, then the largest company in Britain. The youngest son, Arthur George, was killed in action with the Irish Guards in northern France, just seven days before the end of the Great War.16

John Hunt’s parents, John Hunt Sr and Effie Jane Sherry.

Jack’s maternal grandfather, Henry Sherry, was a solicitor, based at Gray’s Inn in the City of London, who acted for the family estate of his wife, Gertrude (née Harwood). They lived in a substantial villa residence in Watford, with its own gate lodge and accommodation for several full-time staff.

The family environment that Jack was born into mirrored the discipline and rigour of the late Victorian era. A new set of middle-class values with a strong emphasis on religion and education prevailed, along with a ‘children should be seen and not heard’ attitude to childrearing which involved leaving home at an early age to board at a small preparatory school where religion was a major feature. This was followed by attendance at a prestigious public school and later by professional training or entry to Oxford or Cambridge.

Jack grew up in Watford ‘among his mother’s people’. ‘Granny’ Sherry had a deep interest in family history and insisted that Jack, her first grandson, was given ‘Durell’ as his second name in honour of some heroic British Naval ancestors. Jack’s pride in his Durell ancestry was reflected when, for a number of years in his early thirties, he adopted the double-barrelled surname of ‘Durell-Hunt’.

Granny Sherry was a source of both family wealth and a sense of Irish ancestry. Her mother, Annie Jane Blake (b.1816), had been born in Tuam, County Galway, Ireland, and was a member of one of the most prominent of the Norman ‘tribes’ who settled there in the late twelfth century. Granny Sherry had inherited a considerable fortune through her mother, who had succeeded to an estate valued at £210,000 in Fulham, a Middlesex village that within a few years would be absorbed into the suburbs of west London.17 Many of the roads built when the holding in Fulham was developed were given names with family associations, with Blake Gardens and Tyrawley Road recalling connections with Galway and Mayo respectively.18

The reality of Irish ancestry on the maternal side of Jack’s family was reinforced on the Hunt side, although this particular belief in Irish roots was almost certainly without foundation. His grandfather, Frederick Hunt, born out of wedlock in Bedworth, Warwickshire, was fancifully believed by some family members to have been the outcome of a liaison between some unidentified member of the family of Lord Portman and an Irish family governess. The official records present a more mundane picture of both of these notions. Frederick Youle Hunt (b.1841) was registered as the son of Sophia Hunt and Frederick Youle; the latter believed to be an English merchant who traded in South America. Sophie Hunt’s ancestry can be traced for at least four generations in Warwickshire and Leicestershire, with no Irish links.

It is not clear how the young Frederick was able to break free from the rigid class structure of mid-Victorian England, attend boarding schools, and obtain an apprenticeship as a trainee architect. Possibly one of the two wealthy families for whom his mother worked in Bedworth paid for the education of Sophia Hunt’s only son. The legend of the Irish governess, however, persisted and several of Jack’s Hunt relations recalled that: ‘we always grew up with a sense of being part Irish and felt that Jack living in Ireland was really him just going back to his roots’.19

Jack’s father, John Hunt Sr, entered his father’s office in 1891 and eventually established his practice at 24 York Place, Marylebone, in partnership with John Hudson, another former apprentice of his father. The practice prospered reasonably well, receiving several commissions on Portman Estate properties, before it was dissolved in 1910, after which John Hunt Sr worked generally as a sole practitioner. It may well have been during the preparation of initial designs for a new church at Callowland, in Watford, that he met his future wife. The young couple were married and set up home in Watford in 1899. Their first-born son, Jack, arrived in May of the following year. A second son, Hugh Sacheverell (Claude), was born four years later, followed by four daughters, Joyce (b.1905), Rosalie (b.1907), Eila (b.1910) and Greta (b.1912).

As the Edwardian era and the new century dawned, the architectural profession in Britain enjoyed an elevated status, with commensurate financial rewards, its members combining technical knowledge and artistic sensitivity to create the edifices appropriate to a country at the heart of the world’s greatest empire. John Hunt Sr might reasonably have expected that similarly propitious circumstances might continue for his own family.

As had been the case with his father and uncles, Jack was sent, at around the age of six, as a boarder to a primary school for boys, Greencroft, where he remained for three to four years.20 He then attended the Tower School at Dovercourt, Essex, a preparatory school that focused on preparing young boys for entry examinations into public schools. There is an indication in a letter he wrote to his mother from here that he had already begun a fledgling career as an antiquarian, referring to ‘being one off the set of regimentals’– probably a collection of military insignia and uniforms.21 In September 1914, having been awarded an exhibition (scholarship) that covered some of the school fees, he went as a boarder to The King’s School, Canterbury, one of the longest established and most prestigious public schools in England.

The King’s School was located within the precincts of Canterbury Cathedral, a splendid example of the earliest Gothic architecture in England, which must have left indelible marks on the impressionable fourteen-year-old. Sir Hugh Walpole, who had attended King’s School some sixteen years previously, wrote:

I would be ready to wager that no boy who lives for a number of years under the protecting wing of one of the loveliest cathedrals in the world is likely to be quite unaffected. Something of that grey stone, of those towering pinnacles, of the music and the green lawns and the flowering May will be a gift from his parents for all his life.22

Based on his later life, in which he was to display a respect and awe for Gothic architecture, a love for medieval artworks, and a deep and abiding interest in religion, one can certainly make the case that Hunt was ‘not unaffected’ by his time at King’s School. Apart from the magnificence of the great buildings, the cathedral contained one of the finest displays of medieval artwork anywhere in Britain. The stained glass dated from the twelfth century and was designed to relate the stories of the Bible to illiterate pilgrims. These memories were to remain with Hunt throughout the years. When, in later life, he came into possession of six of the twelfth-century stained glass panels from the cathedral, they were numbered among his most cherished possessions.

Jack, aged five, with his mother and baby brother, Claude.

The King’s School, Canterbury, which Jack attended as a boarder from 1914 to 1916.

The deep spirituality that Hunt displayed in adult life was stimulated by the pervading religious ethos of the King’s School, which specialised in producing men intending to become Anglican clergymen and placed an emphasis on Religion, Greek and Latin. The school day began at 6am with a psalm and litany, and ended at 5pm with a psalm, litany and a prayer, with attendance at matins and vespers required on Sundays and feast days. One can picture the young Jack going to vespers from a description sketched by a former pupil:

A crocodile of boys, shuffling silently through dark vaulted passages along well worn flag stones on our way into the school chapel in the Cathedral on dark Sunday evenings in winter. There was a ghostly, celibate purity about this, inspired by thoughts of generations of monks who had walked there before us way back in medieval times.23

The narrow focus of the education at King’s was described in mocking tones by Somerset Maugham in his thinly disguised autobiographical novel, Of Human Bondage:

The masters had no patience with modern ideas of education, which they read of sometimes in The Times or The Guardian, and hoped fervently that King’s School would remain true to its traditions. The dead languages were taught with such thoroughness that an old boy seldom thought of Homer or Virgil in later life without a qualm of boredom; and though in the common room at dinner one or two of the bolder spirits suggested that mathematics were of increasing importance, the general feeling was that they were a less noble study than the classics. Neither German nor chemistry was taught, and French only by the form masters.24

Hunt frequently made classical allusions in his correspondence and was later comfortable in translating Latin inscriptions on art objects. However, according to the King’s School archives, he did not make much impact academically in his first year, finishing fifteenth out of sixteen.25 Nevertheless, he did win the Lower School Divinity prize and did much better the following year, finishing eighth out of twenty and again winning a prize, this time for English Literature. The only other record of his time at King’s School shows he was a member of the Officers Training Corps in the rank of private, with his army logbook noting that he completed ‘93½ parades’. Having joined King’s just weeks after war had broken out, the traumatic impact of the conflict would have coloured Hunt’s experience of life at the school throughout his time there. The school magazine carried regular accounts of the 750 former scholars who were fighting in the war.26

In sending his eldest son to The King’s School, John Hunt Sr cannot have anticipated the devastating financial impact that war was to have on his profession as an architect. Construction was largely suspended due to a shortage of materials and, with little work available, many architects enlisted in the armed forces, to the extent that the profession ‘lost a disproportionately higher number of its youngest and brightest stars on the fields of Flanders’.27 Hunt Sr had acquired The Manor, a substantial property on Church Road in 1913, but, just four years later, moved to a much smaller property, Ryecroft, at nearby Park Road.

Jack left after only one term of his third year, in December 1916, and, with a view to preparing for a career in medicine, was enrolled at the Educational Institute of Scotland in Edinburgh. Here he sat the ‘Preliminary Medical Examination in General Education recognised by the General Medical Council’, passing in English, Latin and French in July 1917 and in mathematics in January 1918.

In June 1918, following the raising of the age of conscription to fifty-one, the forty-eight-year-old John Hunt Sr volunteered for the army. This must have strained family finances further as his children were dependent on him as the family bread-winner. John Hunt Sr was assigned to the Rail Construction Troop of the Royal Engineers as a sapper (private) and threw himself diligently into his work. He was shipped out to Salonika in Northern Greece, just five days before the Armistice, and was injured a few weeks later. He was shipped home in March 1919 and demobbed, whereupon he set out to re-establish his practice.

Jack and his army colleagues. He is standing, far right.

Meanwhile, in October 1918, Jack joined the Inns of Court Officer Training Corps based at Berkhamsted, Hertfordshire, some fifteen miles from the family home in Watford. He transferred in May 1919 to the Kings Royal Rifle Corps and was clearly proud of his army service, keeping several photographs of himself in uniform as lifetime mementoes. He sent one such photograph, published as a postcard, to his younger brother Claude, then a pupil at the King’s School in Ely, near Cambridge.

Having completed almost two years of military service, Jack chose to study to become a doctor. On 6 January 1920 he entered St Bartholomew’s Hospital (Bart’s) in London, signing the register as ‘J. Durell Hunt’. He successfully passed examinations in pharmacy, biology, physics and chemistry over the next two years. There is no record, and at least three conflicting explanations, as to why he didn’t complete his medical studies. Jack described himself as ‘a spoiled doctor … so interested in art that I spent my time in the British Museum and such places instead of studying at medicine’.28 Richard Marks, biographer of William Burrell, wrote that Hunt had to abandon medical studies for health reasons.29 It has also been suggested that ‘his father could not provide tuition fees’.30 Whatever the reasons, sometime, probably in 1924, Hunt left Bart’s Hospital and took the plunge into the world of art and antiques.

Hunt could hardly have received a better apprenticeship than the next eight years in two closely related businesses, White Allom & Co. and Acton Surgey Ltd. Working with both firms must have given him some idea of the business opportunities in supplying works of art to wealthy private collectors and museums with access to substantial funds. It also provided him with a network of contacts with potential suppliers and buyers of such objects, which stood him in good stead in the years to come and gave him, albeit in a junior role, exceptional exposure to one of the most buccaneering eras in the antique trade.31

After the Great War, the antiques trade in Britain had expanded at an unprecedented rate. With the widespread demolition of country houses providing dealers with ‘an undreamt-of mountain of salvage … the antique shop became ubiquitous in country towns and larger villages’.32 Overseas demand added to this trade since arriviste Americans sought to decorate their new mansions with oak panelling, ceilings, chimney pieces and mantelpieces, salvaged from the demolition of country houses in Britain and abandoned chateaux in France. In the best-known novel of Roaring Twenties America, F Scott Fitzgerald describes Gatsby’s mansion as having ‘a high Gothic library, panelled with carved English oak, and probably transported complete from some ruin overseas’.33 Further demand came from the curators of American art museums who began to install period rooms as part of their display of European decorative arts. Many such rooms were shipped across the Atlantic from the demolition of some 500 properties in Britain alone in the inter-war years, and the export of period rooms became a particular specialisation of White Allom & Co.34

A 1930s’ advertisement from Acton Surgey.

White Allom was, at the time, the world’s most famous interior decorating company, manufacturing interiors in London and New York to complement the architectural salvage recovered from the properties of the European aristocracy. The firm’s principal, Sir Charles Allom, had received a knighthood from King George V in 1913 for the re-decoration of Buckingham Palace and acted as antiques advisor to Queen Mary.35 In New York, White Allom’s most high-profile project involved designing and furnishing the rooms to display the art collection of steel magnate Henry Clay Frick. There is no record as to what exactly Hunt’s role was in White Allom, although he may have been engaged in sourcing architectural salvage.36 There have been references to him having studied architecture, probably during his time at White Allom where other staff members took architectural courses at the Regent Street Polytechnic.37

By the late 1920s, Hunt had moved on to work as a buyer with Acton Surgey, a business formed in 1926 by two former White Allom employees, Gladstone Murray Adams-Acton and Frank Surgey.

The prolific art collector, Sir William Burrell, who became Hunt’s most important client in the pre-war years.

The firm’s major break was obtaining the contract from Sir William Burrell, the most prolific art collector in Britain at the time, to refurbish the interior of his mansion at Hutton Castle in Berwickshire, Scotland. This project was to last for more than six years and the supply of furniture, fittings, tapestries and sculptures by Acton Surgey, particularly many large items of architectural salvage, such as oak panelling and stone chimney-pieces, brought the firm’s final bill to Burrell to more than £57,000.

During the next six years, Acton Surgey also sold hundreds of pieces of architectural salvage to American customers, including at least a dozen complete period rooms. Customers included not only wealthy businessmen but also some of the larger museums, and the Philadelphia Museum of Art and the Metropolitan Museum of Art in New York were among the earliest institutions to erect period rooms in their galleries.

Surgey had started to source pieces of medieval and Renaissance art for Burrell, who had signalled his wish to develop this area of his collection. As the business of refurbishment of period rooms began to decline, a significant part of the firm’s business soon involved buying and selling art objects, particularly from the medieval and Renaissance period.

Sometime in 1932, Hunt was given notice by Acton Surgey, presumably due to a decline in the sale of period rooms to the US after the Wall Street stock market crash of October 1929. Whether Hunt would have chosen this particular time to establish himself as a dealer is unclear, but it was probably inevitable that, sooner or later, he would have set up in business on his own. The experience and the knowledge of the art trade that he had gained in the previous eight years was now to be put to good use. Working as a buyer for Acton Surgey, Hunt developed contacts with many members of the aristocracy who, in changed economic circumstances, were disposing of works of art that had been in their families for generations.

It is also likely that he had already made his first contact with an important future client, Alice Head, who was William Randolph Hearst’s personal representative in Europe, and the biggest single buyer of period rooms from Acton Surgey during Hunt’s time there. Hunt would also have seen the potential market in America for European artworks, not only from wealthy private individuals but also from art museums. He initially came into contact with the Metropolitan Museum of Art in New York through his role in Acton Surgey, and was there when the latter firm concluded a significant deal with the Philadelphia Museum of Art to supply an oak panelled Tudor period room in 1929.38

Hunt’s interest in the restoration of ancient castles may also have been sparked by projects undertaken by his employers, including Hearst’s medieval castle in Wales and the interior of Sir William Burrell’s castle in Scotland. Most importantly, Hunt had made a very favourable impression on Burrell, a person who would soon become his most important client.

From the 1920s we can also glean the first evidence of Hunt’s deep spirituality. At the age of twenty-five he converted to Roman Catholicism and was baptised on Christmas Eve, 1925 at the London Jesuit headquarters.39 Just over a year later, on 11 February 1927, he was confirmed by the Auxiliary Bishop of Westminster, Joseph Butt, at Westminster Cathedral. Hunt was to maintain his strong religious beliefs throughout his life and chose to reflect this aspect of his character in his work and his friendships. He ‘was a man of profound spirituality. Art divorced from religion had no meaning for him. The monks who inspired the creation of the Cross of Cong would have found in him a kindred spirit. The crucifix, however artistic in design, was always for him the source of his deep abiding faith, a faith that inspired every action of his life’.40

During the 1920s there were to be several milestones in Jack’s family life. His eighty-year-old grandfather, Frederick Hunt, passed away on 16 July 1921, leaving an estate of £12,990. Jack’s father moved from Watford in 1925 to a new home, at 10 Royal Crescent in west London, where he lived with Effie and the younger family members and ran his architectural practice. He passed away at the age of fifty-nine in October 1929, leaving a modest estate valued at £2,200. Following this, Jack moved to live with his mother at Royal Crescent for a number of years.

John Hunt Sr seems to have had a good relationship with his eldest son and may have influenced him in many of his pursuits. Certainly, Jack always affirmed that it was through his father, who he described as ‘an architect with a passionate interest in art and archaeology’, that he originally got his love of ancient things.41 An American journalist, who interviewed him in 1970, maintained that: ‘His father, an architect and archaeologist, started (him) on the collecting jag when he was 12, after he scuffed up a flint arrowhead on an English country road.’42 She quoted Jack’s recollection of the incident: ‘When I took it home my father held it in his hand and wove such a story for me of the primitive hunters who had lived there and what their life was like, that every object I’ve handled since brings the same sort of thrill’.43

John Hunt Sr was not as successful in the field of architecture as his father, Frederick, nor did he enjoy the same level of prosperity or status. The main impression of John Hunt Sr in family lore was of someone who was artistic, not very driven, possibly indolent, and certainly not very good at making money.44 The family oral tradition is that money was in short supply, particularly from the post–war years to the time of his death. A grand-daughter of John Hunt Sr recalled her own mother speaking frequently of her grandfather’s disregard for material goods: ‘he was always giving things away’ and recalled a story of him arriving home one evening without his overcoat, which he had handed over to some poor person he had met in the street.45

Jack enjoyed an active social life as a tall, handsome young bachelor in 1920s London.46 Photographs from that period show him dressed smartly, or in dapper outfits on the running board of racing cars. However, as we shall see later, sometime around the beginning of the next decade, his social life and career paths were to merge when he met someone who was to become his partner, in every sense of the word, for the rest of his life.

Notes

1 Sybil Connolly to Putzel Hunt, 19 January 1976. Connolly, an internationally renowned dress designer, was a very close friend of the Hunts from the 1950s onwards, basing her operation initially at their former property in Dublin’s 71 Merrion Square which she purchased from the Hunts in 1957

2 National Archives of Ireland, file 2006/133/134

3 Joe Floyd to Putzel Hunt, 27 January 1976

4 Richard Randall, Director, Walters Art Museum, Baltimore, Maryland to Putzel Hunt, 23 February 1976, HFA

5 White, James, ‘John Hunt, an appreciation’, The Irish Times, 24 January 1976, p 11

6 Ruiz, Cristina, ‘The Legacy of the Ever Elusive John Hunt’, The Art Newspaper, No. 73, 1 September 1997

7Irish Press, 21 January 1976, p 4; The Irish Times, 18 April 1978, p 8

8 Culhane, Rev. James Canon, North Munster Antiquarian Journal, Vol. XVIII, 1976, p 93; Doran, Patrick F, ‘Studia in Memoriam John Hunt’, North Munster Antiquarian Journal, Vol. XX, 1978, p 3; Peter Harbison, Studies, Vol. 65, Winter 1976, p 322

9Limerick Leader, 28 April 1954, p 3

10 ‘Central figure in Bunratty Restoration Dies’, Clare Champion, 23 January 1976

11 A military intelligence report (undated, but probably 1941) recorded that: ‘Mr. Hunt is supposed to be ‘one of the Limerick Hunts’ … His father was Irish and a member of the well known Hunt family of Friarstown, Croom, Co. Limerick’. File no. G2/4371 Military Archives, Cathal Brugha Barracks, Dublin

12 Doran, Patrick (ed.), 50 Treasures from the Hunt Collection, Hunt Museum/Treaty Press, 1993

13 These latter two issues were raised in a 165 page document, The Hunt Controversy - A Shadow Report, written by Erin Gibbons and issued by the Simon Wiesenthal Centre, Paris, in December 2008

14 The Portman Estate held 270 acres of land in London running from the north side of Oxford Street and east from Edgeware Road through the district of Marylebone.

15 Mary Louisa was the daughter of Edward Vinall, the first vicar of St. John’s Church in Hildenborough, Tonbridge, Kent.

16The Record of Old Westminsters. London, England: Chiswick Press, 1928, p 494

17 This arose through kinship to John Powell, accountant and executor to the Paymaster General of the British Army, Henry Fox, later the first Baron Holland.

18 While these Hunt ancestors were mostly part of the established order in late eighteenth-century Ireland, one family member, George Blake of Garracloon, became Commander-in-Chief of the Irish rebel forces in 1798 after General Humbert landed with French troops at Killala, County Mayo. Following the defeat of the Franco-Irish forces at Ballinamuck in County Longford, Blake was captured and hanged from the spokes of a cartwheel. A monument to him stands today in nearby Tubberpatrick cemetery.

19 Victoria Dickenson, daughter of John Hunt’s sister, Greta, interview, 21 April 2010

20 Probably Greencroft Primary School, Nottingham

21 John Hunt to ‘My Dear Mother’, from The Tower, Dovecourt Essex, undated

22 http://www.kings-school.co.uk/

23 http://www.kings-school.co.uk/ link to ‘Memories of King’s’ ‘William Simpson, at King’s School, 1929 – 1932’

24 Maughan, W. Somerset, Of Human Bondage, George H. Doran Company, London, 1915, Chapter XV, line 35

25 Letter to author from Paul Pollak, School Archivist, King’s School Canterbury, 1 June 2005

26 ‘School Speech Days’, The Times, 31 July 1917, p 3

27 Girouard, Marc (ed.), Directory of British Architects 1834-1914, Royal Institute of British Architects, Continuum: London 2001, p xiii

28The Irish Times, April 20 1962, p 10

29 Marks, Richard, Burrell – Portrait of a Collector, Richard Drew Publishing: Glasgow, 1983, p132

30 Hunt, John Jr., The Irish Times, 18 January 1992, p 25

31 Sandy Martin, interview, 8 December 2006

32 Harris, John, Moving Rooms, The Trade in Architectural Salvage, Yale University Press, 2007, pp 112-113

33 Fitzgerald, F. Scott, The Great Gatsby, Charles Scribner’s Sons, New York, 1925, Chapter 3

34 Harris, Op. cit.

35 To this day White Allom can display several Royal Warrants including that as ‘architectural decorator’ to the present Queen Elizabeth

36 Sandy Martin, interview, November 2005

37The Irish Times, 18 January 1992, p 25; see Marks, op, cit. p 108

38 Harris, Op. cit., p 173

39 Baptismal certificate issued by Fr. L Belton, S.J. Church of the Immaculate Conception, Farm St., London, W.1., 11 December 1957

40 Culhane, Rev. James Canon, North Munster Antiquarian Journal, Vol. XVIII, 1976, p 94

41The Irish Times, April 20 1962, p10

42 Lambert, Eleanor, New Journal, Mansfield, Ohio, Collectors Share ‘Squirrel Instincts’, 4 June, 1970, p 18

43Ibid.

44 Richard Hunt, interview, 20 April 2010

45 Victoria Dickenson, interview, 22 April 2010

46 Richard Hunt, Op. cit.

CHAPTER 2

Becoming an art dealer 1933 to 1940

Art dealers bridge the academic and the commercial worlds. They are scholars and salesmen, custodians and collectors. They are daring and dashing, discrete (sic) and sometimes devious bargain-hunters and promoters. They are curious, and that is what art is about – discovery.

Carter B Horsley47

Hunt started in business as an art dealer in January 1933, operating from 13 St James’s Place, Piccadilly, a peaceful cul-de-sac in ‘the quietest part of aristocratic London’.48 He often styled himself ‘John Durell-Hunt’, and continued to use this surname until late 1934, when he reverted to ‘Hunt’. The exclusive St James’s district, with its royal residences and gentlemen’s clubs, was close to the centre of the art trade, a short stroll from London’s most exclusive galleries and antique shops, as well as the two leading art auction houses, Sotheby’s and Christie’s.49 Sydney Burney, an ‘innovative gallery owner and collector in his own right’ shared the premises at St James’s Place, but the two businesses operated separately.50

During the next seven years, the life of John Hunt underwent a radical change. At the start of the decade he had been employed in a relatively modest position as buyer for a firm, established only three years earlier, which dealt in architectural salvage and medieval art. He lived with his widowed mother in a leasehold property in Holland Park, along with a half-dozen male sub-tenants, and his employers in 1932, the worst year for unemployment of Britain’s 1930s depression, had dispensed with his services, leaving him without a job.

There is no evidence to suggest that he had yet made any impact on the art world. No trace of him can be found earlier than 1933 in the correspondence files of any art museum or gallery, or in the transaction records relating to any significant art object. Nor had he ever been published or quoted in any learned art publication.

Yet, before the decade ended, Hunt had established himself as possibly the most prominent dealer in medieval art in Britain. His scholarship in relation to works of art from the medieval era had been accepted by respected antiquarians, including many leading art and museum curators, for whom he had sourced precious objects which had greatly augmented their collections. There is no record of Hunt receiving any financial windfall through inheritance, yet his changed financial circumstances were reflected in the eleven-bedroom mansion he had acquired in Buckinghamshire.51 Here he displayed many of the precious artworks that already formed the nucleus of a lifetime’s collection and entertained his clients who were, in most cases, also numbered among his circle of friends.

Poyle Manor, the substantial property in Buckinghamshire owned by the Hunts 1936-1946.

From the outset of his career as an art dealer, Hunt focused his efforts on objects from the medieval period, from the late years of the Roman Empire in the fourth century to the beginning of the sixteenth century. In a letter to prospective clients, he set out as the scope of his proposed activity: ‘specialising in fine early Works of Art, particularly in early sculptures and metal work’.52 A reviewer who inspected one of the first collections of objects he had for sale noted: ‘The pieces to be found here are much out of the common and always difficult to come by. Mr Hunt is a keen seeker after rarities, specialising mainly in early periods’.53

This focus was unusual for its time and presented a significant business challenge, given the relatively limited market for such objects. While other dealers in London sold medieval pieces as part of their general trade in antiquities, nobody else, apart from Frank Surgey, one of his former employers at Acton Surgey, made it a specialisation. As one dealer commented: ‘It is not an easy market to walk into as … it takes a great deal of study and patience. Pieces are rarely signed or documented, and there are so many fakes and 19th-century pastiches out there.’54

Medieval art had only been ‘re-discovered’ in the middle of the nineteenth century, with art critics such as Ruskin, the architect Augustus Pugin and the pre-Raphaelite artists inspiring a renewed interest in all aspects of medievalism. Before that time, the medieval period was viewed as a dark age, in artistic terms, which had been eventually redeemed by the Renaissance. Only during the second half of the nineteenth century, and the early years of the twentieth, had significant collections of medieval art been formed by wealthy businessmen such as J Pierpont Morgan in the US and the Frenchman, Louis Carrand.

However, when Hunt set out his stall there were still many factors which lessened interest in objects from the medieval period, particularly for private collectors. One was that the great majority of such objects were religious in character, as opposed to the fine art objects crafted for wealthy patrons or royal rulers from the Renaissance period onwards. Most medieval art pieces had been created by sculptors as an expression of religious devotion to a divine God – ad maiorem dei Gloria – and were used for various Christian rites or as prayer objects. In Protestant countries, such as Britain, medieval art was associated with Catholicism and, as a result, few had an appreciation of its artistic merit or any interest in collecting it.55

There was also the difficulty of provenance. As many medieval art objects had been dispersed through centuries of political and religious turbulence in mainland Europe and Britain, the history of their ownership was rarely known. The iconoclasm of the Reformation in the sixteenth century had led to the destruction of countless statues and religious images. In England, the majority of religious art objects were destroyed, either during the dissolution of the monasteries by Henry VIII, or the implementation of the Act against Superstitious Books and Images in the reign of Edward VI.56 The trade of sculpting in alabaster, a soft crystalline form of gypsum suitable for carving fine details on indoor sculptures, was completely wiped out, although Nottingham had been the foremost centre of this craft in Europe for almost two hundred years.57 Towards the end of the eighteenth century the French Revolution had led to the demolition of thousands of churches and abbeys in rural France, including such artistic wonders as the Benedictine monastery at Cluny, which housed the second largest church in Christendom.

The prevailing attitude of indifference towards medieval art was exemplified in Britain during the restoration of the windows at Canterbury Cathedral in the 1850s when much of the stained glass, crafted by some of the most skilled glaziers of the twelfth century, was removed and cast aside, to be replaced by contemporary reproductions.

Other issues, such as the size and materials of medieval art objects, discouraged widespread interest in such objects by private collectors. Many religious sculptures, designed for churches, were too large to display anywhere except in museums or in the grandest mansions. While precious metals, such as gold and silver, were frequently employed by the skilled medieval metalworkers, many of the objects were made from what were perceived as lesser materials, such as wood or alabaster. In other cases, where more perishable materials were used, such as in tapestries or clothing, frequently all that survived were fragments of the original piece. In the context of wealthy patrons purchasing art to display in their domestic surroundings, there was no established fashion for such items amongst the growing body of interior decorators in the early decades of the twentieth century.

All of these factors meant that, for all practical purposes, the market that Hunt intended to serve was going to be mainly museums and the very largest private collectors. The potential clientele for these rare objects was unlikely to be sourced from a passing trade.

Having decided precisely what niche of the art dealing business he was going to engage in and identified his potential market, the challenge for Hunt was two-fold, namely to source the artworks and find potential clients. In both of these endeavours the evidence suggests that he was extremely successful. He was familiar with the exceptional business opportunity that the art dealer Joseph Duveen had seized in matching an extensive supply of art from Europe – mostly paintings – to meet a seemingly inexhaustible demand from wealthy Americans in the early decades of the twentieth century. He had also been able to observe close-up, through his time spent working both at White Allom and Acton Surgey, how a substantial trans-Atlantic business, running to several million pounds a year, had been created in the export of architectural salvage, including complete period rooms, to the US.

The essence of Hunt’s career was his observation that, despite what has been described as ‘the nineteenth-century re-discovery of European medieval art’, a great supply of it was still lying unrecognised or unappreciated in churches and family collections, and that most collectors and museums, due to their limited understanding of such pieces, had little interest in acquiring it.58 However, Hunt believed that if he could source such objects, relate the story of their artistic significance and hopefully discover some persons of elevated status in the provenance chain, there was a worldwide market to be served. In pursuing his objectives Hunt had to become a ‘taste maker’.59

Much of the worth of an art dealer, such as Hunt, lay in his ability to find unique sources of valuable objects through his skills at art sleuthing. As a result, there is a cloak of concealment about many of the objects he dealt with and, in the majority of cases, very limited provenance. It was universally accepted that asking an art dealer where he sourced an object was as impertinent as asking a doctor to produce the references in the medical textbooks on which he based his diagnosis of a patient. If Hunt were to disclose from whom an art treasure had been acquired, it would result in others going to the same source. Indeed, in all his correspondence with potential customers, he was never once asked where he had acquired an object, unless it was something which he had bought at a public auction. So it is not unusual to find Hunt going to great lengths to provide details on the provenance of objects during the Middle Ages, but never having to disclose where he himself might have acquired the piece three months earlier.

In the 1930s, there was no export licensing regime in the UK for objects of cultural interest and no other intrusion by officialdom in the entirely unregulated business of art dealing. Cultural goods could be freely exported from Britain, no matter what their value or importance as ‘national treasures’.60 Indeed, the inclusion, for the first time, of antiques and works of art in a wide-ranging licensing regime for exports in 1940 was not done to preserve cultural heritage, but rather to ensure the full remission of scarce foreign exchange from the overseas sale of such objects to wartime Britain.61 Yet, even in the absence of any legislative control, there is some evidence that Hunt held the view that objects of cultural significance, in the context of national heritage, should ideally be restored to their place of origin.

As Hunt established himself in the art world, his personal life too was changing. There are no precise details as to when he first encountered a brown-haired, blue-eyed German, Gertrude Kreitz (née Hartmann), known affectionately to all as ‘Putzel’. They met in London sometime after she had moved there following her application, in August 1929, for divorce from her husband of four years, Peter Robert Kreitz.62 They may well have got together while attending an evening art course because Putzel, in a 1970 interview, made reference to ‘when Jack and I were courting in art school in London’.63

Gertrude (Putzel) Hartmann, on the day of her First Communion, 15 April 1917.

Putzel was born on 6 February 1903 and baptised in the Alt-Katholisch church at Schloss Mannheim (Mannheim Castle).64

Sometime later her parents separated, and her mother took Putzel and her brother to live with their grandparents in the staff quarters of Schloss Mannheim where their grandfather, Heinrich Messel, was employed in the office of the District Court. Putzel’s mother re-married in 1911 and moved to Baden-Baden but Putzel continued to live with her grandfather at Schloss Mannheim. Putzel’s time at Schloss Mannheim awakened in her a love of art, since part of the extensive collections of the Grand-Duke Friedrich of Baden had been stored for many years in the castle cellars. While her grandfather has often been described as the curator of the collection, it is more likely, given the collections were not on public display and his background, initially as a prison officer and later as a court official, that any role he may have exercised in relation to the collection was over its security. But, living in the Schloss, one can surmise that Putzel would have had the opportunity to have regular access to view the art treasures stored there.

The chaos that swirled around Mannheim in the aftermath of the Great War and the early years of the Weimar republic left a deep impression on Putzel, then in her teenage years. Mannheim Castle became a particular target of mob outrage after the German communists, known as the Spartacists, took complete control of Mannheim in February 1919 and formed a Soviet Republic. The Times related that: ‘The crowd marched on the military and civilian prisons, forced the entrances and released the prisoners. They then proceeded to the castle where documents, typewriters and furniture were thrown into the streets and burnt. Mannheim station was captured by the Spartacists and the town completely isolated’.65 The authorities responded by declaring martial law and, when the army eventually regained some degree of control over the city, Putzel witnessed the execution of many of the Spartacists in the castle grounds.66 Riots, shootings and general lawlessness continued in Mannheim for the next five years.

Apart from the normal romantic attraction, the relationship between Jack and Putzel also merged their life interests and careers. A report of one particular deal, which Putzel claimed ‘set us up to begin life’, illustrates that, from their earliest days as a courting couple, romance and business were intertwined: ‘Jack bought … a small gilded bronze bird he had found on a barrow in a Portobello market stall’ as a present for her.67 Putzel, noticing that the bird was from the twelfth century, refused to accept it as a present and offered instead to sell it, which she did successfully in Germany where the bird was part of a celebrated ancient reliquary and, ‘with the gilt bird money as a starter, the couple married and pooled their skills for finding and identifying long-lost treasures’.68 In another interview, she referred to their joint interest in antiquities, recording that ‘when we married everyone said that it was because he wanted two statues that I had. But of course it wasn’t that. We always had the same interests.’69

Jack and Putzel on their wedding day, 21 June 1933, with Jack’s mother, Effie Jane and his sister, Joyce.

Jack and Putzel got engaged in April 1932 and, after Putzel’s divorce was finalised in February 1933, the way was clear for their wedding. Because she was divorced and Altkatholisch, it was not possible to have the ceremony in a Roman Catholic church and so the wedding took place in Marylebone Registry Office in London. Because of Hunt’s sense of spirituality and his conversion to the Catholic Church, he may have regretted the absence of a church ceremony. Their wedding, on 21 June 1933, was witnessed by Jack’s mother, Effie Jane, his eldest sister, Joyce, and art dealer Sydney Burney.

The close relationship between the petite Putzel and the tall and handsome Jack was noted by many of those who knew them, as were their many differences in character. Jack was polite, charming and well-spoken but somewhat diffident, disorganised and inclined to take a back seat in his wife’s presence. Putzel, on the other hand, was forceful, outspoken and gregarious, but very charming with men, particularly older men. In business they were very much a team, although Jack liaised with the larger clients, those with family heirlooms to dispose of, who would never, in the prevailing mores of the 1930s, have contemplated the idea of doing business with a woman. Both were extremely bright, with a passion for art, but Jack was more academic and Putzel more practical and commercial. Putzel did not appear to share Jack’s deep spirituality.