Teacher Trail 5 | Page 1

Total Page:16

File Type:pdf, Size:1020Kb

Teacher Trail 5 | Page 1 Teacher Trail 5 | Page 1 UPPER MALL TO HAMMERSMITH TERRACE Look at house number 15 on Upper Mall. There is a blue plaque on the wall. 1a. Who lived here? Thomas Cobden-Sanderson 1840-1922 1b. What did he set up here? Doves Bindery and Doves Press. The Doves Bindery (for binding books) was founded in 1893 and the Doves Press (for printing books) in 1900. After Cobden-Sanderson closed the press in 1916 he threw the type (which made printing blocks) into the river to prevent its use by anyone else. Early 18th century house. Listed Grade II. To the left of the door there is a stone plaque which says the Doves Bindery and the Doves Press and the letters MDCCCXCIII and MCM 1c. Can you find them? These are dates using Roman numbering. 1d. Can you work out the dates? 1893. 1900. MDCCCXCIII is MCM is [M=1,000, D=500, C=100, X=10] 2. What is the name of the public house? The Dove (listed Grade II). Dates from 1790. Known as “The Dove Coffee House” in 1796. The pub was used by watermen, when sailing barges were unloaded here. Go through the passage into Upper Mall. © Hammersmith & Fulham Urban Studies Centre Page 2 | Teacher Trail 5 This photograph of Upper Mall was taken in 1896. 3a. How long ago was this? years ago. 3b. What has changed? What has stayed the same? The large trees on the riverside have Buildings. been cut down. They were elm trees which were planted when Catherine of Braganza (wife of Charles II) lived in Rivercourt House (see Question 8a). They survived for over 200 years. The road is wider. © Hammersmith & Fulham Urban Studies Centre Teacher Trail 5 | Page 3 3c. What do you think are the biggest changes? The large elm trees have been cut down. Go to number 26, Kelmscott House. Look to the left of the door, there is a plaque (dark colour) to George MacDonald. 4a. What was he famous for? Poet and novelist, lived here 1867-77, when the house was called The Retreat. He lived 1824 -1905, works include ‘At the Back of the North Wind’ 1871 and ‘The Princess and the Goblin’ 1872. To the right of the door there is another plaque to a very famous Victorian called William Morris. 4b. What did he do? Poet, craftsman, socialist, 1834 - 1896. Lived here 1878 - 96. Born in Walthamstow. Helped to found the house decorating and furnishing business of Morris, Marshall, Faulkner & Co which became Morris & Co. He founded the weaving and dyeing works at Merton Abbey in 1881 and started the Kelmscott Press in 1891. He helped found the Society for the Protection of Ancient Buildings (SPAB) in 1877. To the left of Kelmscott House is the Coach House. 4c. Who uses the Coach House now? The William Morris Society. The Coach House served as the meeting place for firstly the Social-Democratic Federation (Hammersmith branch formed in 1884) which became a branch of the Socialist League in 1884. Lectures were given regularly every Sunday. Visits can be arranged for your class. Contact the William Morris Society. Phone number 020 8741 3735. © Hammersmith & Fulham Urban Studies Centre Page 4 | Teacher Trail 5 Above the doors there is a stone plaque to Sir Francis Ronalds. 4d. What did he invent and build here? The first electric telegraph, eight miles long was constructed here in 1816. He was an electrical inventor and meteorologist, became a Fellow of the Royal Society (FRS) in 1844. He lived 1788 - 1873. Go over to the curved river wall opposite Kelmscott House. There is a notice about the “Regulation of Traffic in Upper Mall”. 5a. When was it put here? June 1960. 5b. How much money could your fine be? Forty Shillings. 5c. How much money would that be today? £2.00. © Hammersmith & Fulham Urban Studies Centre Teacher Trail 5 | Page 5 Look at this photograph taken in January 1928. 6a. What do you think has happened? Floods - river wall breached Sunday, 7th Jan. Two servant girls were drowned in Rivercourt House (see Question 8a). For newspaper article describing the event see the section Additional Teaching Materials. 6b. What can you recognise in the photograph? Hammersmith Bridge, Lower Mall, house on the left, pier, the curved river wall. © Hammersmith & Fulham Urban Studies Centre Page 6 | Teacher Trail 5 Walk along to houses 30 and 32. 1879. 7a. When were they built? They are good examples of VICTORIAN architecture. If you stand against the river wall you can also see Kelmscott House, which is a good example of GEORGIAN architecture. 7b. Describe the differences between the two types of architecture. VICTORIAN GEORGIAN Houses no.30 and 32. Kelmscott House. Listed Grade II. Victorian 1837 - 1901 Georgian 1714 - 1830. Decorated brickwork, bay windows. Plain, flat fronted, symmetrical, no Sash windows. ornamentation. Sash windows - small panes. See notes on architecture in Introduction 7c. Which style do you prefer? 7d. Why? © Hammersmith & Fulham Urban Studies Centre Teacher Trail 5 | Page 7 Go back to the Upper Mall. Look at number 36 on the corner. This is Rivercourt House. 8a. Who uses the building now? The Latymer Preparatory School - a private school. Listed Grade II, built around 1808. On this site was the house of Catherine of Braganza (1638 - 1705) wife of Charles II. 8b. Do you like the building? YES NO 8c. Explain why here. Walk to Weltje Road. Look at the side of number 48. There is a blue plaque here. 9a. Who lived here? Eric Ravilious 9b. What did he do? Artist. Eric William Ravilious (1903 - 42) lived here between 1931 - 5. Artist (preferred watercolour), book illustrator for Golden Cockerel Press, and designer for Wedgewood and London Underground. Official war artist. © Hammersmith & Fulham Urban Studies Centre Page 8 | Teacher Trail 5 Look at this photograph, taken on the corner of Weltje Road and Upper Mall. Photograph taken in about 1929. 10a. What can you see that is the same? The buildings. 10b. What has changed? The trees. Road surface. Traffic and people. © Hammersmith & Fulham Urban Studies Centre Teacher Trail 5 | Page 9 As you walk along Upper Mall, look out for this structure. 11a. What do you think it is used for? Any interesting guesses? 11b. Have a closer look and you will see a sign that tells you what it is used for. London Corinthian Sailing Club’s dinghy racing starting box. Built 1962. © Hammersmith & Fulham Urban Studies Centre Page 10 | Teacher Trail 5 Go on to number 60, Linden House. 12a. Do you like this building? YES NO 12b. Why? Listed Grade II, early 18th century. 12c. Who uses this building now? London Corinthian Sailing Club. Sons of the Thames Rowing Club. © Hammersmith & Fulham Urban Studies Centre Teacher Trail 5 | Page 11 The next section of the trail, between Linden House and Hammersmith Terrace has changed a great deal over the years. From Linden House go into Oil Mill Lane and walk a little way towards the Great West Road. This photograph of Oil Mill Lane was taken in 1954. It is looking towards the river. There was a big factory on the riverside. 13a. What has happened to the factory? Demolished. The factory was called the Bemax factory (Bemax was a wheatgerm product). Bemax took over the factory in 1930. Originally it was the Albert Oil Mills. Oil Mill Lane took its name from the factory. 13b. What has been built there instead of the factory? New housing, Lord Napier Place. © Hammersmith & Fulham Urban Studies Centre Page 12 | Teacher Trail 5 Walk back to the riverside, in front of Linden House and look at this photograph of 1904. Hammersmith West Middlesex Albert Mills (later the Terrace Water Company Bemax Factory) 14a. What has changed? The factories and waterworks have been demolished, no chimneys. Albert Mills/Bemax is new housing. Waterworks is now open space. 14b. What has stayed the same? Hammersmith Terrace. © Hammersmith & Fulham Urban Studies Centre Teacher Trail 5 | Page 13 Walk to the Old Ship Public House. Go around to the back (North side). The large building that backs on to the open space is the Victorian Water Pumping Station. Look at this photograph taken in the 1930s. This is now the ‘back’ of the pub. 15. Can you find any evidence that it is the same place? Pillars/tops of pillars alongside the windows. © Hammersmith & Fulham Urban Studies Centre Page 14 | Teacher Trail 5 Go to the open space. Walk over to the paved area that is alongside the river. This photograph of the Upper Mall Open Space was taken in 1968. 16a. Can you see anything that is the same? Pumping Station. St Paul’s Church. Arched windows in wall. The Lower Mall. The Old Ship pub (behind the white wall). 16b. What do you think is happening in the photograph? The old West Middlesex Water Company building (see question 14) has been demolished. Works in progress to create the open space. The open space was opened on 22nd October 1970 by Sir Alan Herbert (see question 23). © Hammersmith & Fulham Urban Studies Centre Teacher Trail 5 | Page 15 Walk along to ‘Black Lion Steps’. 17a. What do you think these steps are for? Access to the river and foreshore. Also known as Bell’s Stairs. Used by watermen to ferry people across the river. 17b. What do you think the arched wall is? Formed part of the buildings of the West Middlesex Water Company. Look at photograph for Question 16 - can see arched window on left. Look at the Black Lion pub side of the arched wall.
Recommended publications
  • Textileartscouncil William Morrisbibliography V2
    TAC Virtual Travels: The Arts and Crafts Heritage of William and May Morris, August 2020 Bibliography Compiled by Ellin Klor, Textile Arts Council Board. ([email protected]) William Morris and Morris & Co. 1. Sites A. Standen House East Grinstead, (National Trust) https://www.nationaltrust.org.uk/standen-house-and-garden/features/discover-the- house-and-collections-at-standen Arts and Crafts family home with Morris & Co. interiors, set in a beautiful hillside garden. Designed by Philip Webb, taking inspiration from the local Sussex vernacular, and furnished by Morris & Co., Standen was the Beales’ country retreat from 1894. 1. Heni Talks- “William Morris: Useful Beauty in the Home” https://henitalks.com/talks/william-morris-useful-beauty/ A combination exploration of William Morris and the origins of the Arts & Crafts movement and tour of Standen House as the focus by art historian Abigail Harrison Moore. a. Bio of Dr. Harrison Moore- https://theconversation.com/profiles/abigail- harrison-moore-121445 B. Kelmscott Manor, Lechlade - Managed by the London Society of Antiquaries. https://www.sal.org.uk/kelmscott-manor/ Closed through 2020 for restoration. C. Red House, Bexleyheath - (National Trust) https://www.nationaltrust.org.uk/red-house/history-at-red-house When Morris and Webb designed Red House and eschewed all unnecessary decoration, instead choosing to champion utility of design, they gave expression to what would become known as the Arts and Crafts Movement. Morris’ work as both a designer and a socialist were intrinsically linked, as the creation of the Arts and Crafts Movement attests. D. William Morris Gallery - Lloyd Park, Forest Road, Walthamstow, London, E17 https://www.wmgallery.org.uk/ From 1848 to 1856, the house was the family home of William Morris (1834-1896), the designer, craftsman, writer, conservationist and socialist.
    [Show full text]
  • 2018 Annual Report
    2A018 nnual Report Details Trustees, staff and volunteers The William Morris Society PRESIDENT WMS VOLUNTEER ROLES Registered address: Jan Marsh (to 12 May 2018) Journal Editor: Owen Holland Kelmscott House Lord Sawyer of Darlington (from 12 May 2018) Magazine Editor: Susan Warlow 26 Upper Mall Librarian: Penny Lyndon Hammersmith TRUSTEES Journal Proofreader: Lauren McElroy London W6 9TA Martin Stott, Chair (to 12 May 2018) Stephen Bradley, Chair (from 12 May 2018) The William Morris Society is extremely Tel: 020 8741 3735 Rebecca Estrada-Pintel, Vice Chair fortunate to be able to draw on a wide range Email: [email protected] Andrew Gray, Treasurer of expertise and experience from our www.williammorrissociety.org Natalia Martynenko-Hunt, Secretary volunteers, who contribute many hundreds of Philip Boot (from 12 May 2018) hours of their time to help with welcoming TheWilliamMorrisSociety Jane Cohen visitors to the museum, delivering education @WmMorrisSocUK Serena Dyer (to 12 May 2018) sessions to schools and families, giving printing williammorrissocietyuk Michael Hall demonstrations, answering enquiries, Kathy Haslam (to 12 May 2018) cataloguing and caring for our collections, Registered Charity number 1159382 Jane Ibbunson (from 12 May 2018) office administration, serving refreshments and Fiona Rose maintaining our garden. John Stirling (from 12 May 2018) We are grateful to all who give up their time The Trustee Board operates through five to help with the work of the Society. committees. These are: Finance and General
    [Show full text]
  • ANNUAL REPORT | 2019 | 2 Welcome
    2A019 nnual Report Details Trustees, staff and volunteers The William Morris Society PRESIDENT STAFF Registered address: Lord Sawyer of Darlington Curator: Helen Elletson Kelmscott House Curator (parental leave cover, 26 Upper Mall TRUSTEES from August 2019): Theresa Kneppers Hammersmith Stephen Bradley, Chair Society Manager: Cathy De’Freitas London W6 9TA Rebecca Estrada-Pintel, Vice Chair Finance Manager: Penny McMahon Andrew Gray, Treasurer Volunteer Development and Outreach Officer Tel: 020 8741 3735 Natalia Martynenko-Hunt, Secretary (from September 2019): Miranda Poliakoff Email: [email protected] Philip Boot www.williammorrissociety.org Jane Cohen (to May 2019) VOLUNTEER ROLES Richard de Peyer (co-opted Oct 2019) Magazine Editor: Sarah Wilson TheWilliamMorrisSociety Michael Hall Journal Editor: Owen Holland @WmMorrisSocUK Jane Ibbunson (to Oct 2019) Journal Proofreader: Lauren McElroy williammorrissocietyuk Fiona Rose Librarian: Penny Lyndon John Stirling Registered Charity number 1159382 The William Morris Society is extremely The Trustee Board operates through five fortunate to be able to draw on a wide range of committees. These are: expertise and experience from our volunteers, Finance and General Purposes, who contribute many hundreds of hours of Collections, Library and Display, their time to help with welcoming visitors to the Education and Publications, museum, leading guided tours, delivering Marketing, Communications and Membership education sessions to schools and families, and Business Development. giving printing demonstrations, answering enquiries, cataloguing and caring for our collections, office administration, serving refreshments and maintaining our garden as well as giving invaluable time to our committee work and special projects. We are grateful to all who give up their time to help with the work of the Society.
    [Show full text]
  • The Designs of William Morris Free
    FREE THE DESIGNS OF WILLIAM MORRIS PDF Phaidon Press,William Morris,Editors of Phaidon Press | 160 pages | 19 Oct 1995 | Phaidon Press Ltd | 9780714834658 | English | London, United Kingdom + Best William Morris patterns images | william morris, morris, william morris designs William Morrisa founder of the British Arts and Crafts movementsought to restore the prestige and methods of hand-made crafts, including textilesin opposition to The Designs of William Morris 19th century tendency toward factory-produced textiles. With this goal in mind, he created his own workshop and designed dozens of patterns for hand-produced woven The Designs of William Morris printed cloth, upholstery, and other textiles. The first textile designs Morris made were created in the s. Furthermore, it is not worth doing unless it is either very copious and rich, or very delicate - or both. His first The Designs of William Morris designs were primitive, but later, working with his wife Jane, he created a set of wall hangings for his residence in the London suburbs, Red House. One of his designs in this historical style, stitched by Jane Morris, won the Morris company an award in an international competition in Morris and his workshop began making embroideries for the households of his friends as well as larger panels for some of the many new churches being constructed in England. In these designs, Morris created the decorative elements, while his friend Edward Burne-Jones drew the figures, and a team of embroiderers manufactured the work by hand. Other wall hangings were designed to be sold off the shelf of the new Morris and Company shop on Oxford Street which owned in Later, he and his daughter May made designs for panels for "embroider yourself" kits for cushion covers, fireplace screens, doorway curtains, bedcovers and other household objects.
    [Show full text]
  • A Workshop by the William Morris Society Museum for Citizenship
    C reating A Workshop by the William Morris Society Change Museum For Citizenship Key Stages 2 with and 3 William Notes for Students Morris Speakers at the Coach House How did change happen? Lucy Parsons (Died 1942) One way people can change the way our community is organised An African-American freed and what it stands for is by creating an activist group. William slave whose husband was Morris created a space for his group in the Coach House at hanged for being an Kelmscott House, where people could meet to discuss social anarchist in Chicago change and organise protests. When Morris moved to Kelmscott House in 1878, he began to bring art and a sense of community to what was then a poor and run down area of London. In 1883 he joined the Social Democratic Federation, which fought for Annie Besant (1847-1933) equality among men and set up the Hammersmith group. Unsatisfied with their progress two years later, Morris convinced She fought for women’s the group to become a branch of the Socialist League. rights and helped organise the Matchgirls Strike of The following are just some of the many speakers and 1888 contributors that participated in the meetings at the Coach House. Peter Kropotkin (1842-1921) Walter Crane (1845-1915) An important anarchist from An important socialist Russia who did not believe in illustrator and artist who government and wanted helped start the Art equality for all Worker’s Guild in 1884 and Royal College of Art in 1896 Working Conditions William Morris (1834 – 1896) was a successful Victorian businessman who made textiles, wallpapers, stained glass windows and furniture and had a shop on Oxford Street called Morris & Co.
    [Show full text]
  • AFTERWORD Why a Spooky Tale?
    AFTERWORD Why a spooky tale? Charles Dickens’ ‘A Christmas Carol’ has proved an enduringly popular ghost story. It was first published on 19th December 1843 and had sold out by Christmas Eve. Another twelve editions followed within its first year and it has never been out of print since. M. R. James (1862 – 1936), former Provost of King’s College, Cambridge and Director of the Fitzwilliam Museum, was also instrumental in making ghost stories a seasonal ‘treat’. M.R. James – 1900 Illustration: James McBryde Photographer unknown – public domain M. R. James’s (1904) ‘Ghost Stories of an Antiquary’ M. R. James would read his latest tale to friends at his college - in his own words, ‘usually at the Christmas season’ - thereby establishing a Cambridge tradition. Mark Gatiss explained in his BBC television programme on M. R. James, ‘He could combine his historical expertise, his scholarly fascination for the strange and the obscure with the desire to thrill, delight, and above all to connect with his friends… What must have made the reading really compelling is the rich detail and knowledge that Monty brought to them.’ Eluding to the entities which are invoked in M. R. James’s stories, Gatiss said of the author, rather chillingly, ‘It sounded as though he knew whereof he spoke.’ In this ‘Afterword’, the David Parr House will be linked to Monty James via William Morris and Charles Fairfax but, as it is October, first some more spookiness… Last month’s submission covered William Morris’s interest in medieval manuscripts and the printing press, so I shall start with the word: ‘Ghost’.
    [Show full text]
  • Hope and Change: Teaching News from Nowhere Religion, with Morris Advocating That We All Must Live Our Lives As Artists: ‘The Repulsion to Pessimism
    Hope and Change: Teaching News from Nowhere David Latham MY FIRST EXPERIENCE with teaching News from Nowhere was not at all what I expected. I had scheduled the book as the final text on our Victorian literature course, one intended to provide an inspirational resolution to the complex problems raised through-out the course. Earlier in the year we had read ‘The Defence of Guenevere’ and ‘King Arthur’s Tomb,’ poems about the triangular love relationships that lead to the decay of Camelot, a Celtic version of the fall from paradise and the hell that follows. With each poem and novel during that year I would repeatedly emphasize that the archetypal fall from paradise is one that each generation experiences, as most of us fall too quickly from hope and idealism to cynicism and despair, a fall that signals our transition from growth to death. The cynical attitude is the resort of those who are too lazy to struggle for more growth and who thus begin dying in their youth. News from Nowhere would provide the antidote; it would inspire us to strive towards the restoration of paradise. But I was not prepared for the depth of cynicism in the class. The students rolled their eyes at the naivety of Morris’s dream: ‘He can’t be serious; it’s Nowhere because it will never work; even the sunny weather would scorch the earth; I mean, get real.’ Though I had defined the mythical fall as a generational fall from the short growth of youth to the lengthy decay of death, I had overlooked the subtle ways each generation may experience the fall differently.
    [Show full text]
  • Westerwald Stoneware at Kelmscott Manor : Morris, Pottery and the Politics of Production
    This is a repository copy of Westerwald Stoneware at Kelmscott Manor : Morris, pottery and the politics of production. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/148418/ Version: Accepted Version Article: Chitty, Gillian Shirley orcid.org/0000-0001-6521-3785 and Stocker, David (2020) Westerwald Stoneware at Kelmscott Manor : Morris, pottery and the politics of production. The Antiquaries Journal. pp. 363-397. ISSN 1758-5309 https://doi.org/10.1017/S0003581519000027 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ WESTERWALD STONEWARE AT KELMSCOTT MANOR Morris, Pottery and the Politics of Production Gill Chitty, FSA, and David Stocker, FSA Gill Chitty Centre for Conservation Studies, Department of Archaeology, University of York, Kings Manor, York YO1 7EP [email protected] David Stocker Institute for Medieval Studies, Parkinson Building, University of Leeds, LS2 9JT [email protected] Kelmscott Manor, the country home of William Morris, houses a remarkable collection of ceramics bearing a singular relationship to one of the most influential figures in Victorian cultural history.
    [Show full text]
  • Ruth Levitas Memory, Place and Utopia the Relationship Between
    Ruth Levitas University of Bristol Memory, place and utopia The relationship between memory and utopia is a complex one. At first glance they are antithetical: memory refers to the past, utopia to the future; memory is what has been, utopia is what is to come, the novum, the not yet. Yet reflection reveals this apparent antithesis as illusory. Utopia is not always located in the future. Images of lost paradises and golden ages are placed in the past, accompanied by versions of the Fall. Usually these are beyond the memory of any living individual, inscribed in the collective memory as myth or history, as something that must not be forgotten. The more recent past may be the repository of utopian longing as well, perhaps especially following cataclysmic disasters such as wars and tsunamis: expect the phrases “before the war” or “before the tsunami” to be recurrent in individual life histories and social scripts, as versions of “before the fall”. At a more banal level, successive generations persistently locate a golden age when crime was minimal and “you didn’t have to lock your door” approximately thirty years earlier. Remembered utopia is always a reconstruction of the past. But if the not- yet has the otherness of the novum, representations of future utopia are always simultaneously dependent on existing cultural resources. Indeed, the intelligibility of all cultural production rests on shared memory, since languages and systems of signs are learned. This endorses Fredric Jameson’s insistence that Utopia is literally inconceivable, as well as terrifying in its implication of the annihilation of our selves as we know them.
    [Show full text]
  • Curator for Kelmscott House, Headquarters Of
    THE WILLIAM MORRIS SOCIETY KELMSCOTT HOUSE ROLE PROFILE TITLE: Learning and Engagement Officer CONTRACT: Fixed term 6 months; flexible part-time; 21-28 hours per week SALARY: Pro rata £22k to £24k FTE depending on experience REPORTING TO: Society Manager CLOSING DATE: 20/03/2020 JOB DESCRIPTION: Working with the Society Manager and Curator, to promote and develop the Society and deliver its charitable objects and strategic plans through initiation and development of educational, learning and outreach activities. Principal responsibilities: Broaden audiences and engage with local communities by contributing to an integrated learning, interpretation, publishing and audience development programme. Develop and deliver activities, learning sessions and outreach as part of a programme of educational visits, outreach and life-long learning opportunities and events, in collaboration with learning volunteers. Develop and maintain a database of contacts for all primary schools in the London Borough of Hammersmith & Fulham and neighbouring boroughs, and promote the Society’s learning offer to all schools in LBHF. Liaise with schools, colleges, teachers and lecturers via email and telephone to answer queries relating to the Society’s learning offer and community engagement activities. Devise, develop and promote two 45 minute outreach activities, one for KS1 and one for KS2, for delivery in schools. Research and develop a range of adult learning and participation activities. Promote learning programmes, projects and digital learning resources. Feedback and act upon evaluation of learning activities, events and programmes. Recruit, induct and manage volunteers to agreed standards in line with Society policies for educational and museum/collections-related activities including retail and venue hire.
    [Show full text]
  • Macdonald, Morris and “The Retreat”1
    MacDonald, Morris and “The Retreat”1 Nicholas Salmon or most readers of the [William Morris] Journal, the Society’s headquartersF at Kelmscott House are immediately associated with William Morris who lived there from 1878 until his death in 1896. However, under its previous name—The Retreat—it was the home of another eminent Victorian writer, George MacDonald. MacDonald was probably better known to the contemporary reading public than Morris, as his books sold in huge numbers both in Britain and the United States. Richard H. Reis has even made the controversial claim that MacDonald was “a more important writer . than a number of his better-known contemporaries” amongst whom he cites “Arthur [Hugh] Clough, Charles Kingsley, Walter Pater, [and] . William Morris” (143). The most remarkable thing is that while both men were living at the house they wrote fantasy novels that have since been acknowledged as the precursors of the works of C. S. Lewis and J. R. R. Tolkien. Morris’s famous prose romances were written at Kelmscott House, while MacDonald wrote two of his most important works at The Retreat: At the Back of the North Wind (1871) and The Princess and the Goblin (1872). Links existed between the two men, however, even before George MacDonald and his family moved to The Retreat in 1867. During his early career one of MacDonald’s greatest patrons was the philanthropist Lady Noel Byron. Indeed, MacDonald later acknowledged this debt by portraying her sympathetically as Lady Barnard in his novel The Vicar’s Daughter (1872), which was also written, incidentally, while he was living at The Retreat.
    [Show full text]
  • 2015 Winter Newsletter
    SATURDAY, JANUARY 16, 2016 1:00 - 4:00pm Leather Workshop 4:00 - 8:00 pm Appetizers, Annual Meeting, Guest Lecture & Dinner VOLUME 17, No. 4 WINTER 2015 Boettcher Mansion 900 Colorow Road Golden, CO 80401 our focus this year for our Winter symposium is on Dinner will be catered, with drinks and appetizers be- Arts & Crafts leather from 1900-1929. Rich beauty and ginning at 4pm. Cost is $40 for CACS members, $50 craftsmanship went into fi ne leather accessories, such as non-members. RSVP to Cynthia at 720-497-7632 by Janu- billfolds, blotters, bookends, boxes, cigar cases, document ary 12, 2016. cases, glove cases, mats, napkin rings, paperweights, purs- es, and wastebaskets. Before the lecture though, try your hand at working with leather in our hands-on workshop taught by Jeff Icen- We are very lucky to have Daniel Lees as our guest lectur- hower. The leather workshop is from 1-4pm at Boettcher er. He is the author of Artistic Leather of the Arts and Crafts Mansion. Background information will be provided, as Era which was supported in part by a 2005 research grant well as all materials and tools. Students will take home from the Arts & Crafts Research Council of the Grove Park their own leather coaster from the class. Workshop price Inn Arts & Crafts Conferences. Daniel’s book has been fea- is $15 for CACS members, $20 for non-members. tured in American Bungalow and on Antiques Roadshow. Daniel will also bring in some lovely examples from his own extensive Arts & Crafts leather collection. He’s ex- tended the offer to do unoffi cal appraisals of any A&C leather by those attending, so bring in your leather trea- sures for all to see.
    [Show full text]