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2006, Stand 64
ESTABLISHED 1884 CLOCK Designed and painted by Lewis F. Day English, circa 1877 Furniture and Works of Art 119 Mount Street, London W1K 3NL, England e-mail: [email protected] Telephone: 020 7493 0444 Facsimile: 020 7495 0766 www.blairman.co.uk Open Monday – Friday, 9 am – 6 pm and on Saturday by appointment STOVE TILE Designed by A.W.N. Pugin and manufactured by Minton English, circa 1850 All objects are offered for sale, subject to their remaining unsold. Dimensions are in inches (and centimetres), height × width × depth. Exhibiting The Grosvenor House Art & Antiques Fair, London 15–22 June 2006, Stand 64. The International Fine Art and Antique Dealers Show, New York 20–26 October 2006, Booth B16. TEFAF, Maastricht 9–18 March 2007, Stand 183 © H. Blairman & Sons Ltd, 2006 ISBN 0–9542530–4–3 MEMBER OF THE BRITISH ANTIQUE DEALERS’ ASSOCIATION Now and again in the history of art, works appear that over time come to be recognised as iconic. Within the field of furniture history, the Godwin sideboard (below) and the Mackintosh ‘Argyle’ chair (no. 17), both the creations of architect-designers, undoubtedly fall into this category. Artists and craftsmen also contributed some of the nineteenth- century’s finest achievements. Such highlights are reflected, respectively, in two objects that passed through our hands last year: the wall clock designed and painted by Lewis F. Day (see page 1) and the richly damascened table clock created by Placido Zuloaga (see final page). The opportunity to offer the Bullock cabinet (no. 1) is the culmination of a story that began nearly twenty years ago. -
The Arts and Crafts Movement: Exchanges Between Greece and Britain (1876-1930)
The Arts and Crafts Movement: exchanges between Greece and Britain (1876-1930) M.Phil thesis Mary Greensted University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Contents Introduction 1 1. The Arts and Crafts Movement: from Britain to continental 11 Europe 2. Arts and Crafts travels to Greece 27 3 Byzantine architecture and two British Arts and Crafts 45 architects in Greece 4. Byzantine influence in the architectural and design work 69 of Barnsley and Schultz 5. Collections of Greek embroideries in England and their 102 impact on the British Arts and Crafts Movement 6. Craft workshops in Greece, 1880-1930 125 Conclusion 146 Bibliography 153 Acknowledgements 162 The Arts and Crafts Movement: exchanges between Greece and Britain (1876-1930) Introduction As a museum curator I have been involved in research around the Arts and Crafts Movement for exhibitions and publications since 1976. I have become both aware of and interested in the links between the Movement and Greece and have relished the opportunity to research these in more depth. It has not been possible to undertake a complete survey of Arts and Crafts activity in Greece in this thesis due to both limitations of time and word constraints. -
Volume 103 • 2009 Contents
THE LEICESTER LITERARY & PHILOSOPHICAL SOCIETY TRANSACTIONS OF THE LEICESTER LITERARY Founded in 1835 www.leicesterlitandphil.org.uk & PHILOSOPHICAL SOCIETY. OFFICERS AND MEMBERS OF COUNCIL VOLUME 103 2009 President: Mr R. Gill, MA Life Vice-Presidents Dr T.D. Ford, OBE, PhD, BSc, FGS Mrs H.A.E. Lewis, JP, MA Vice Presidents Mrs A. Dean, B.A. Mr B.D. Beeson Dr M.G.F. Crowe, MA, MB, BChir, FRCGP Professor D.P.S. Sandhu, MD, FRCS (Ed Urol), FRCS (Eng & Glas) Hon. Secretary: Dr M. Hamill MB, BCh BAO, FRCPCH 91 Kingsway Rd, Leicester. LE5 5TU Hon. Treasurer: Mr M. Kirk, OBE, FCA, Elms Cottage, 46 Shirley Road, Leicester LE2 3LJ Hon. Membership Secretaries: Mr B.D. Beeson and Mrs J. Beeson BSc The Hollies, Main St, Frolesworth, Leics LE17 3LL Hon. Programme Secretaries: Dr D.G. Lewis, MA, MD, FRCA and Mrs H.A.E. Lewis JP, MA, 3 Shirley Road, Leicester, LE2 3LL Hon. Transactions Editor: Dr D.G. Lewis, MA, MD, FRCA 3 Shirley Road, Leicester, LE2 3LL Website Editor: Professor M.A. Khan, BSc, PhD, FRAS, FRSA [email protected] Members of Council S.A. Ashraf, MA Professor P.J. Boylan BSc, PhD, FGS, FMA, FBIM, FRSA Mr J.H. Dickinson B Sc CEng, FIMMM, FGS Professor J.C. Fothergill, BSc, MSc, PhD, CEng, BSc Eng, CPhys, FIEE M Inst P FIEE Mrs A. Fuchs 'Steel Fire Dog. Image © Leicester Museums and Galleries' Mr P. Hammersley, CBE, CEng, BSc Eng, MIMechE Mr L. Lloyd-Smith, JP, DipArch, FRIBA Mrs F. Smithson Professor M. Stannard, BA, MA, DPhil, FEA, FRLS Mr M. -
Owlpen Manor Gloucestershire
Owlpen Manor Gloucestershire A short history and guide to a romantic Tudor manor house in the Cotswolds Owlpen Press 2006 OWLPEN MANOR, Nr ULEY, GLOUCESTERSHIRE GL11 5BZ Ow lpe n Manor is one mile east of Uley, off the B4066, or approached from the B4058 Nailsworth to Wotton-under-Edge road: OS ref. ST800984. The manor house, garden and grounds are open on Tuesdays, Thursdays and Sundays every week from 1st May to 30th September. Please check the up-to-date opening times (telephone: 01453-860261, or website: www.owlpen.com). There is a licensed restaurant in the fifteenth-century Cyder House, also available for functions, parties, weddings and meetings. There are nine holiday cottages on the Estate, including three listed historic buildings. Sleeping 2 to 10, they are available for short stays throughout the year. Acknowledgements When we acquired the manor and estate in 1974, we little realized what a formidable task it would be—managing, making, conserving, repairing, edifying—absorbing energies forever after. We would like to thank the countless people who have helped or encouraged, those with specialized knowledge and interests as well as those responsible, indefatigably and patiently, for the daily round. We thank especially HRH The Prince of Wales for gracious permission to quote from A Vision of Britain; long-suffering parents, children, and staff; David Mlinaric (interiors); Jacob Pot and Andrew Townsend (conservation architecture); Rory Young and Ursula Falconer (lime repairs); John Sales, Penelope Hobhouse and Simon Verity (gardens); Stephen Davis and Duff Hart-Davis (fire brigades); and Joan Gould and Martin Fairfax-Cholmeley (loans). -
Herefordshire Museum Service Collections Development Policy
HEREFORDSHIRE MUSEUM SERVICE COLLECTIONS DEVELOPMENT POLICY 2012-2017 Approved by Collections and Archives Manager Herefordshire Council Oct 2012 Edited Sep 2014 Review date: Oct 2017 Section One: Collections Development Policy 1 Introduction and statement of purpose p3 2 Overview of the current collections p3 3 Future collection development p4 4 Rationalisation and disposal p8 5 Legal and ethical framework for acquisition & disposal p8 6 Access to Collections p10 7 Policy review procedure p11 Section Two: Detailed Collections Development 1 The History of the Museum, Collections and Buildings p13 2 Social History Collection p15 3 Archaeology Collection p16 4 Numismatic Collection p21 5 Arms and Armour Collection p23 6 Ethnographic Collection p25 7 Photographic Collection p26 8 Fine Art Collection p27 9 Decorative Art Collection p31 10 Furniture Collection p32 11 Costume and textile Collections p33 12 Natural Science and Geology Collections p35 13 Handling Collection p40 Section One: Collections Development Policy 1 Introduction and statement of purpose Statement of purpose: Herefordshire Museum Service connects people with Herefordshire’s past by creating opportunities of direct engagement with museum objects for exploration, enjoyments, curiosity and wonder. We achieve this by: - Leading in collecting and caring for objects and records reflecting Herefordshire life; past, present and future - Celebrating our diverse heritage and enabling lifelong use, learning and enjoyment - Advising and supporting excellence, resilience and sustainability in independent museums and heritage bodies. - Fostering a sense of place and community and promoting well-being Since 1836, public interest in the history, archaeology and natural history of the county was well established with a museum building opening in 1874. -
A HISTORY of COLLECTING VERNACULAR FURNITURE in SCOTLAND Lindsay Macbeth
A HISTORY OF COLLECTING VERNACULAR FURNITURE IN SCOTLAND Lindsay Macbeth The name, Am Fasgadh, meaning the Shelter, came to me in another flash, when I found myself explaining that the function of the museum was to shelter homely, Highland things that were in danger of destruction.1 Isabel Grant (1887—1983) first conceived of Am Fasgadh, the Highland Folk Museum, late in 19 34, motivated by a conviction to record the Highland way of life through its material culture, before both disappeared. As interest in Scotland’s vernacular furniture had, up to this date, been desultory, Grant’s work was shaped by a sense of urgency that made her metaphor of the shelter particularly appropriate. The early history of collecting vernacular furniture in Scotland is dominated by the efforts, not of institutions, but of individuals, many of them women, aware of the potential loss of this aspect of Scotland’s folk life, through neglect and indifference. Ant Fasgadh, Britain’s first folk museum, was founded relatively late in the history of the European folk museum. In Scandinavia, a precedent for fully documented ethnological collections had been established during the previous century, in such museums as the Nordiska Museum founded in 1873, and its outdoor department at Skansen, Stockholm, opened in 1891, Frilandsmuseet, founded near Copenhagen in 1901, and the Sandvig Collection at Lillehammer, opened in 1904.2 One reason, proposed by Grant, for Britain’s late entry into this field, was that the comparatively early industrialisation of Britain had stifled proper appreciation of rural life.3 Countries that became industrialised later, such as Sweden, had the opportunity to appraise the effects of this process already in existence elsewhere. -
The Ownership of Goods and Cultures of Consumption in Ludlow, Hereford and Tewkesbury, 1660-1760
THE OWNERSHIP OF GOODS AND CULTURES OF CONSUMPTION IN LUDLOW, HEREFORD AND TEWKESBURY, 1660-1760 KAREN BANKS B. A. MPhil A thesis submitted in fulfilment of the requirements of the University of Wolverhampton for the degree of Doctor of Philosophy March 2014 This work or any part thereof has not been previously presented in any form to the University or to any other body whether for the purposes of assessment, publication or for any other purpose (unless otherwise indicated). Save for any express acknowledgments, references and/ or bibliographies citied in the work, I confirm that the intellectual content of the work is the result of my own efforts and of no other person. The right of Karen Banks to be identified as author of this work is asserted in accordance with ss. 77 and 78 of the Copyright, Designs and Patents Acts 1988. At this date copyright is owned by the author. Signature…Karen Banks………………………………… Date……4th April 2014…………………………………… Abstract This thesis examines how the lifestyles of the middling sorts evolved during the period 1660 and 1760 as reflected in their relationship to material goods in three contrasting, but geographically near towns. The towns are similar to the degree that their history and circumstances led to them being viewed as backwaters, and this may have influenced consumption practices. Ludlow had lost its importance as the Capital of Wales; it stagnated until its fortunes began to be revived by achieving leisure town status. Hereford was a cathedral city and a county town, but was mainly poorly built and congested. It was locally, rather than nationally important. -
The Ledbury Letter
THE LEDBURY LETTER Number 104 Autumn 2017 The Butcher Row House Museum. Ledbury & District Civic Society “Looking After Ledbury...” LEDBURY & DISTRICT CIVIC SOCIETY Burgage Hall Church Lane Ledbury HEREFORDSHIRE HR8 1DW Butcher Row House Folk Museum Objectives of the Society… To stimulate public interest; promote high standards of planning and ar- chitecture; and secure the preservation, protection and improvement of features of historic, natural and public interest in Ledbury and the sur- rounding district. In this edition.. Letter from the Chairman 4 BRH Museum 6 Planning and Conservation 8 Anniversary Lunch 11 Patricia Wilkin MBE 12 A Royal Visit 12 The Bosbury Chairmaker 13 Following June Bell 15 Theft of George Sexty’s Horse 17 Artistree 18 Education Link 19 Lavender 19 Speakers Programme 20 Editors… Technical Editor... Mary Winfield and Mary Every Graham Every The Ledbury and District Society Trust Ltd www.ledburycivicsociety.org Company No: 1340233 Registered Charity No: 507391 2 DIRECTORS AND OFFICERS OF THE SOCIETY 2016 / 17 President Joe Hillaby Vice President Vestlemøy Lunt Chairman Chris Johnson 635 069 Vice Chairman Andy Tector Treasurer & Membership Graham Every 631 174 Secretary Planning & Conservation Anthony Peake 636 312 Speakers Mary Winfield 632 247 Education Link Mary Winfield 632 247 Booking Secretary Chris Johnson 07977 781 826 Burgage Hall Butcher Row Volunteer Prue Yorke 633 655 Rota Butcher Row Museum Ken Chapman CO-OPTED DIRECTORS Secretary Christine Tustin 634 934 Notice is hereby given that membership records of the Ledbury & District Trust are held on a database system. Those requiring access to the data held concerning themselves should contact the Membership Secretary. -
Evidently He Supplied Other Traders As Well
2.3 Made for Heal’s : Key Suppliers Whilst it is beyond the scope of this thesis to examine thoroughly the other factories used by A.H. and the Heal business to make furniture for the shop, details of a number of suppliers are recorded here because they throw light on his methods and may also provide some leads for further research. Some of these workshops were evidently very small and little is known of them other than the fact that their relationship with Heal‟s was so close that the same piece of furniture might sometimes be manufactured by Heal‟s own factory or sometimes by the subcontractor. Others were larger and capable of supplying large quantities if required, but one maker who was supplying Heal‟s even before A.H.‟s time and whose relationship with the firm was very close was Frederick Coote. 2.3.1 Frederick Coote (1832-1919) Frederick Coote was a furniture manufacturer with workshops at 187a Tottenham Court Road, London at the end of the 19th century. He had close links with Heal‟s of 196 Tottenham Court Road, for whom he made bedroom furniture but he also is known to have produced furniture for CFA Voysey, so evidently he supplied other traders as well. Although A.H. himself did not list any Cootes in his book of London Furniture Makers 1660-1840,324 the Dictionary of English Furniture Makers mentions a cabinet maker and upholsterer called Benjamin Coote at 104 Tottenham Court Road in 1839 and an I.C. Cootes (sic) at the same address as upholsterer and house agent in 1837. -
The Short Arm Experiment. John Boram
THE SHORT ARM EXPERIMENT John Boram i. Close up of short, set back arm configuration This article makes an introductory study of the diverse solutions employed in the construction of short or ‘set-back’ arms employed in various English regional chair making traditions. My curiosity about the origins of such design features used in ‘Sussex Rush-seated Chairs’ advertised by the London decorating firm Morris & Co. (Figure z) was first kindled when I read Simon Jervis’s article ‘Sussex Chairs in 1820’ in Furniture History (1974)1, and Janet Pennington’s subsequent article ‘Sussex Chairs’ in Regional Furniture (I 995)2* What was of considerable interest was not only the relationship with specific regional chairs such as the rush-seated models originally made in the Sussex village of East Hoathly, but also the possible links with French regional traditions of design which can be traced back to the beginning of the eighteenth century.3 Although these influences on English regional chair making appear to be intermittent, they led eventually to the designs that are now associated with the Arts and Crafts movement. With regard to the latter, the most obviously French design amongst the Morris range was the so-called ’Rossetti’ arm chair that resembled the distinctly regional Provencal Regional Furniture Volume XVIII 2.004 JOHN BORAM 13 chaise a gerbe (sheaf of corn) chair pattern (top left, figure z)4. By contrast, the ‘Sussex’ armchair (top right, figure 2) appears to be a hybrid that shares French and English regional construction. Further research into cross-Channel vernacular forms revealed a varied range of unusual under-arm support devices, some of which appear to have been transposed, by the eighteenth century, into English regional traditions of chair making. -
Festival Programme!
LEDBURY POETRY FESTIVAL 2O17 30 JUNE–09 July 2017 Programme poetry-festival.co.uk # LPF2017 @ledburyfest Ledbury Poetry Festival 30 June – 9 July 2017 Photo: James Maggs James Photo: Happy 21st Ledbury! The celebrations spill onto the streets, into unexpected locations and places. To surprise all sorts of people who might not expect to, but find they do in fact enjoy poetry. This is a Festival in many languages, welcoming poets from all over the world. It celebrates translation, collaboration, exchange and sharing – of words, experiences, places, feelings, convictions, stories, histories, pleasures. Festivals are a joyful gathering and I would like to thank everyone who makes this joyous Festival possible! Chloe Garner, Artistic Director Community Programme From helping with chronic pain management, to working with homeless young people in poetry and film, the Festival’s community programme reaches out to people facing social exclusion due to physical or mental health issues, disabilities, age or learning challenges. Our highly skilled poets and practitioners engage these groups in life-affirming ways with poetry and the creative process. There are many ways these groups can be involved in the Festival: see the Segments event on Monday 3rd July, and Epic Youth on Saturday 8th July, and the huge Outdoor Magic Project (below). The impact this work can have is astounding, reducing loneliness and isolation, and encouraging self expression and artistic engagement. New and Emerging Writers Programme The Festival supports poets at all stages of their careers. New and emerging writers have access to a raft of integrated and sector-leading initiatives including residential voice- coaching, festival workshops, open mics, and the poetry competition. -
A Select Bibliography of Books, Theses and Articles on Furniture Published Between July 19 9 4 and June 2004
A SELECT BIBLIOGRAPHY OF BOOKS, THESES AND ARTICLES ON FURNITURE PUBLISHED BETWEEN JULY 19 9 4 AND JUNE 2004 Ivan Sparkes AAV, Marianne and STRITZLER-LEVINE, Nina, editors. Finnish modern design : Utopian ideals and everyday realities 1930-1997. London. Yale University Press, 1998. ABBOTT, Nick. ‘The Burrell Collection’. RFS Newsletter (Spring 2004),io- i i . ABENDROTH, Uta. World design : the best in classic and contemporary furniture. San Francisco. Chronicle Press, 2000, 432pp. ADAM, Peter. Eileen Gray, architect/designer : a biography. New York. Harry Abrams, 2000. ADAMSON, Jeremy. The furniture o f Sam Maloof. New York/London. W.W.Norton, 2001, 272pp. (American designer). ALBERICI, Clelia. II mobilLlombardo. Novara. De Agostino; Milano. Gorlich, 1996, 264pp. ALCOUFFE, Daniel. ‘Francois Guillemard : an oeuvre awaiting discovery’. Furniture History, vol.27 (1999) 1-4 x. ALDRICH, Megan. ‘Marquetry in the Medieval Court : the octagonal tables of Pugin and Crace’. Decorative Arts Society Journal, no.25 (2001) 48-58. ANDERSON, Alistair Scott. ‘William James Neatby : designs for furniture, metalwork and interiors’. The Decorative Arts Society Journal, no.26 (2002) 40-59. (Art Nouveau designer 186 0-19 10 ). ANDREWS, John. ‘The ACC Antique Furniture Index’. Antique Collecting (March 2000) 47-50. ANDREWS, John. ‘The ACC Antique Furniture Index : results for 200 1’. Antique Collecting (March 2002) 46-49. ANDREWS, John. ‘The ACC Antique Furniture Index : what happened in 2002’. Antique Collecting (March 2003) 4-7. ANDREWS, John. ‘The ACC Antique Furniture Index : what happened in 2003’. Antique Collecting (Feb. zoo4) 4-7. ANDREW S, John. ‘Antique furniture price trends’ Antique Collecting’ (A p ril 1999) 16-21.