|Art Workers' Guild logo|
|No. 6, Queen Square,|
address of the Art Workers' Guild
According to Crane, many members of The Art Workers' Guild had attended meetings of the Chelsea Conspirators. He also observes that in 1888 as part of the Arts and Crafts Exhibition Society "many members of the Art Workers' Guild took a prominent part as presidents of various sections, as paper readers, or in the discussions"(ibid).
|F.W. Troup in the 1920s|
Stamp (Stamp, Gavin, A Hundred Years of the Art Workers Guild) describes of the Guild "Meetings are held fortnightly in the Hall built in the yard of No 6, Queen Square, and Bloomsbury. This hall is a convivial place it was designed by F.W. Troup and built in the 1913-14...(the Master) wears a chain of office made by Sir George Frampton, sits in a chair designed by W.R Lethaby for the short-lived firm Kenton & Co behind a table provided in 1888 as a temporary measure by W.A.S Benson. Members sit on (uncomfortable) ladder-backed, rush seated Clissett chairs, based on a design by Ernest Gimson. All very formal, very quaint, very traditional; yet within the Guild, as in civilization in a more general sense, a tradition may enshrine and pass on great truths about human nature and life. In the case of the Guild this truth is summed up in the motto on the Master’s chain and in the symbol above the Master’s chair, designed by Walter Crane: ‘Art is Unity’".
|Troup Hall, drawn by Thomas Raffles Davison 1918|
The hall Troup designed seems to also be called 'Troup's Hall' which is a lasting testament. Stamp (ibid) remarks "A bust of Morris sits in pride of place in the niche above the Master’s chair in Troup’s Hall, yet when Morris’s name was first put up forward as a member in 1888 he was literally blackballed in the election. Fortunately, owing to what Gordon Russell called ‘an entirely reprehensible and utterly justifiable bit of fiddling on the part of a scrutineer’, the black ball was deftly removed from the box." When I included the drawing of Troup's Hall (above) in my earlier Troup post, I thought the ceiling was wooden beams, but looking at more recent photographs of the Hall I was surprised to see that it actually glass.
|Troup Hall, Art Workers' Guild|
|Extract of speeches and exhibitions of Francis Troup,|
'Mr Francis William Troup', Mapping the Practice
and Profession of Sculpture in Britain and Ireland 1851-1951,
University of Glasgow History of Art and HATII, online database 2011).
|Gilbert Bayes (1872-1953),|
dressed in the robe of Master of the Art Workers' Guild,
robe donated by F.W. Troup in 1924
Troup donated a number of items to the Art Workers' Guild:
- Donated a red gown of office to be worn by the Master of the Guild and black gowns to be worn by the two honorary secretaries in 1924 [AWG annual report for 1924, p.10] - these robes are doubtless the ones referred to on the Art Workers Guild website, and were designed by Voysey: "The Master serves for a single calendar year, and is supported by two honorary secretaries. They conduct the formal business of meetings in robes designed by the architect C. F. A. Voysey." This is complicated by a history of the Guild that says "The current Master wears a strange red robe, designed, some says, by Voysey (though Ashbee thought this, and other traditions, were created by Troup along with the Hall)." (Stamp, ibid)
- Troup was reported in the 1926 to have "not only safeguarded the interests of the Guild in connection with the new building next door [no further information given], but generously gave his 'party-wall' fee to pay for a new arrangement of the electric lighting of the Hall" [AWG annual report for 1926, p.9].
- In Troup's will he left a bequest to the Guild of £250. He also left "The Works of William Morris" (24 volumes), 'a collection of valuable books on Architecture and other crafts' (45 volumes), a collection of slides, a red painted table (designed and painted by Burne-Jones), two armchairs designed by W.R.Lethaby and E.Gimson [Fifty-eighth annual report of the Committee of the Art Workers' Guild, pp.5-6].
|Troup Hall ceiling, Art Workers' Guild|
- the 1923 speech on 'Line': "Troup suggested a reconciliatory shaking of hands between Sullivan and Jackson at the end of the meeting"!
- 'Scottish Art, 1500-1800' also in 1923: "Troup spoke with slides of Scottish buildings, gardens and illustrations of period domestic life, all lent by Sir R. Lorimer courtesy of J. Warrack." - this is interesting as Troup worked with Lorimer on Whinfold, the house at Hascombe in 1898
- the 1925 talk on 'Substitutes in the Crafts': "Ladies' Night. Subject opened by H. Ricardo, followed by S. B. Caufield, A. Rackham, T. Wilson, F. W. Troup, C. R. Ashbee and N. Heaton"
- the 1929 Inigo Jones speech: "J. A. Gotch read paper and showed slides, followed by (C.R.) Ashbee and Troup"
- the 1938 speech 'Scotland's contribution to the Arts': "F. W. Troup spoke post-interval about Scottish architecture ancient and modern, showing many of his own drawings"
|Troup Hall detail, Art Workers' Guild|