tag:blogger.com,1999:blog-91983324071860685642024-03-13T23:15:36.657-07:00Peasant Arts - HaslemereA blog recording the Peasant Arts movement in Haslemere, Surrey, UK around the early 1900s, and it's founders Joseph King, Maude Egerton King, Godfrey Blount, Ethel Blount and Greville MacDonald. Arts and crafts, religion, literature, architecture, suffragettes, family trees, local locations and strong beliefs, this story has it all. Over a century later, their promotion of the pleasures of homemade craft is still relevant today.Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.comBlogger328125tag:blogger.com,1999:blog-9198332407186068564.post-16435657896771307172022-11-14T13:11:00.000-08:002022-11-14T13:11:09.794-08:00Rustic Renaissance - how to buy the book!The book is being launched at Haslemere Educational Museum this Saturday 19th November at 11am. All proceeds go to support the museum's Peasant Arts collection.
The price on the day is £7:50, or £10 otherwise. Copies will be available in the museum shop, the Haslemere bookshop and also online through the museum's website here: <a href="https://www.haslemeremuseum.co.uk/shop/shop.html" target="_blank">https://www.haslemeremuseum.co.uk/shop/shop.html</a>
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTr893wQZx87OQkmzS4wHnPXI5oTqPU-o7YkZVOPkCXKrOhojQnDNUBmGBBJV6P0s1_LZAPbfvKTIh_ZHCtIgWrG0USIcc6Ka8FkQ3o4XYmErvpvdtsmQnehaYERrNSZcqLG7aUhVOYVexSXi6jgX3kCUyvreCAjPofy3vJ2emktn1qMwh870iYhym/s574/Capture.PNG" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="574" data-original-width="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTr893wQZx87OQkmzS4wHnPXI5oTqPU-o7YkZVOPkCXKrOhojQnDNUBmGBBJV6P0s1_LZAPbfvKTIh_ZHCtIgWrG0USIcc6Ka8FkQ3o4XYmErvpvdtsmQnehaYERrNSZcqLG7aUhVOYVexSXi6jgX3kCUyvreCAjPofy3vJ2emktn1qMwh870iYhym/s400/Capture.PNG"/></a></div>Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0tag:blogger.com,1999:blog-9198332407186068564.post-68156118750731041992022-11-04T14:10:00.002-07:002022-11-04T14:16:21.120-07:00Rustic Renaissance - the book!<p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhODfJLRJs82cl5DPvC3q8BnO2U97V4TBHTzR-M-_eboCa1eKMBpsS5XZqAc8gEAUFLhgFIazs1w8IkTjkhPCZE_aOpfs70JMvuCHH8zlGVPiMiDITHCDY-vEdphRIuX6Hih3NEYCKgCyWZhs82WBCrUkp0Z_h9k7cEaTT4fM8MMyhltCWh_VcJgaTg" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="528" data-original-width="383" height="534" src="https://blogger.googleusercontent.com/img/a/AVvXsEhODfJLRJs82cl5DPvC3q8BnO2U97V4TBHTzR-M-_eboCa1eKMBpsS5XZqAc8gEAUFLhgFIazs1w8IkTjkhPCZE_aOpfs70JMvuCHH8zlGVPiMiDITHCDY-vEdphRIuX6Hih3NEYCKgCyWZhs82WBCrUkp0Z_h9k7cEaTT4fM8MMyhltCWh_VcJgaTg=w387-h534" width="387" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Rustic Renaissance</i>, Eyre Catherine, Haslemere Educational Museum 2022</td></tr></tbody></table><br /></p><p>It's been a number of years in train, but finally the main findings from this blog are to be published in a nice readable format, in a new book!!! The book was written for the Haslemere Educational Museum with the support of a grant from the Decorative Arts Society, and a preface by Alan Crawford, historian of the Arts and Crafts movement.</p><p>The book is due out later in November 2022, I'll update you with details of how to purchase it, as soon as I know!</p><p>In line with the values of the Peasant Arts Movement, the proceeds of sale will be donated to promote the care of the European Peasant Arts collection at Haslemere Educational Museum.</p>Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0tag:blogger.com,1999:blog-9198332407186068564.post-38830845057811163962019-04-27T14:52:00.001-07:002019-04-27T14:52:25.565-07:00Whitaker Wright and the PeasantsI recently read <i>Ultimate Folly: The Rises and Falls of Whitaker Wright the World's Most Shameless Swindler</i> (Macrory, Henry, Biteback Publishing, London, 2018) about Wright who lived at Lea Park, Witley. Wright is famous for having an underwater glass ballroom in the lake and for committing suicide in the Royal Courts of Justice after being sentenced for fraud by cyanide pill. Whilst Wright was local to the Haslemere Peasant Arts, I had not anticipated any overlap in their lives despite the Kings living at Sandhouse, literally down the road from Lea Park. However, I was rather taken aback when I read this amongst the description of Wright's house, purchased in Witley in 1896.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0wfnMwAMq8HDh9iVdfKHa5EBLtV_lRCrOTk-OO3y_YD2rVGWN62Dd9xSvF19tS7boHugxxgvxwRm_SZsDOcgvC5XdIQdOs5AloCkQBwOSqzRaczKqZ5-64aCEU_7M6VFgUOBzlpoOymE/s1600/Screenshot+2019-04-27+at+22.51.29.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="266" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0wfnMwAMq8HDh9iVdfKHa5EBLtV_lRCrOTk-OO3y_YD2rVGWN62Dd9xSvF19tS7boHugxxgvxwRm_SZsDOcgvC5XdIQdOs5AloCkQBwOSqzRaczKqZ5-64aCEU_7M6VFgUOBzlpoOymE/s320/Screenshot+2019-04-27+at+22.51.29.png" width="212" /></a></div>
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"With money no object, he bought two large tracts of land to the west of the village, paying £150,000 for the Lea Park estate, which included the nineteenth-century manor house, and a further £100,000 for the adjacent South Park Farm estate. This gave him a total of 9,000 acres, or a little over 14 square miles...the acquisition gave him ownership of two local beauty spots, Hindhead Common and the Devil's Punch Bowl...A London architect, Paxton Hood Watson, was contracted to turn the existing manor house into a pleasure palace, and royal warrant-holders George Jackson and Sons, who had carried out work at Buckingham Palace and Sandringham, were entrusted with the ornamental plasterwork. Edwin Lutyens, who had been brought up in the neighbouring village of Thursley...was asked to design some lakeside buildings....<br />
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"...Under Paxton Watson's direction, two wings were added to the existing half-timbered manor house at the stupendous cost of £400,000. The end of the new west wing was adorned with a vast conservatory, which alone cost £10,000 (around £1 million in today's money). ...At the far end of the house - a walk of several minutes along more than 500 ft of corridors adorned with hunting trophies, suits of armour and ceremonial swords -...a domed observatory...Between these two great embellishments were thirty-two bedrooms, eleven bathrooms, seventeen cloakrooms, seven receptions rooms and numerous courtyards paved in white marble and beautified with Moorish arches." (Macrory, p.98)<br />
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The house and grounds were clearly "fit for an Oriental prince" which had been Wright's ambition. It is incredible to think that such a sumptuous residence could exist in this quiet corner of Surrey. As I read on, I was more amazed:<br />
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"The most sumptuous of the upstairs apartments was the so-called bridal suite, formed of two rooms, each 74ft long and 54ft wide...It had thirty windows, and was adorned with moulded ceilings, tall mirrors, oriental carpets and an array of antique Chinese and Japanese furniture. The walls were hung with Japanese silk pictures patterned with foliage on an ivory background. The dressing table, all 32 square feet of it, was covered with a tapestry embroidered with the words 'Love Maketh a Feast With Most or Least."(<i>ibid.)</i><br />
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This distinctive phrase is on a tapestry held at the Haslemere Educational Museum, and was illustrated in <i>The Craftsman </i>(Stewart, Dick, 'Handicrafts of English peasants at Haslemere', pp.589-595, August 1907). Reading the words in these versions the phrase is actually 'With Most of Least, Love Maketh a Feast'. I have not seen a reference made to a 32 square foot version of this. <br />
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It seems extraordinary that someone who epitomised all that the Haslemere Peasants rallied against appeared to have in the heart of his home a piece of peasant tapestry that preached a very different message. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTmt5XnT0tUZUx1Qvf_vGzm040oy5u5Kp2Tt2EI0sA88kJ-zHl8YAeGpXCSExit9Or3rJGPi6ZTMS0Xxn8IYrlODhAxPxzUf3GBkIPj0R5rYR9SF6d9zLviJ_vWFP1irPJ0ObHvklb4bw/s1600/Screenshot+2019-04-27+at+22.42.28.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="208" data-original-width="645" height="128" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTmt5XnT0tUZUx1Qvf_vGzm040oy5u5Kp2Tt2EI0sA88kJ-zHl8YAeGpXCSExit9Or3rJGPi6ZTMS0Xxn8IYrlODhAxPxzUf3GBkIPj0R5rYR9SF6d9zLviJ_vWFP1irPJ0ObHvklb4bw/s400/Screenshot+2019-04-27+at+22.42.28.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Peasant Tapestry, <i>The Craftsman</i>, August 1907</td></tr>
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<br />Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com1tag:blogger.com,1999:blog-9198332407186068564.post-7306035491974122282019-01-26T06:53:00.000-08:002019-01-26T06:53:53.726-08:00Peasant bed hanging on the BBC<div class="separator" style="clear: both; text-align: center;">
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The Victorian House of Arts and Crafts Episode 2 last week, BBC 2 (<a href="https://www.bbc.co.uk/programmes/b0by3gcj">BBC iPlayer)</a> featured the challenge of making a bed in the style of this Heals bed, below. The image of the Heals bed was shown at various points in the show, but sadly at no point did they discuss the appliqué bed hanging or bed cover which was Haslemere peasant tapestry!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbKAie-o3WeVnknwck4O5_UeBlZCanVoWnPcP6uj6QzTRm5aMtReqQEKaXORp-IufWzaJ8AEQ9CCOHvL-KHF_kgWrEp4ftDbEWxaYEQakb_2-QyFTWp7EXhr-FefpXWdsauv2lXJwHWfU/s1600/Screenshot+2019-01-26+at+13.51.59.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="649" data-original-width="1014" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbKAie-o3WeVnknwck4O5_UeBlZCanVoWnPcP6uj6QzTRm5aMtReqQEKaXORp-IufWzaJ8AEQ9CCOHvL-KHF_kgWrEp4ftDbEWxaYEQakb_2-QyFTWp7EXhr-FefpXWdsauv2lXJwHWfU/s400/Screenshot+2019-01-26+at+13.51.59.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">still from The Victorian House of Arts and Crafts, Episode 2,<br />BBC2, 18 January 2019</td></tr>
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The picture appears in the <i>Textiles of the Arts & Crafts Movement</i> (Parry, Linda, Thames & Hudson, 2005) which states "At the Paris Exhibition in 1900 (Exposition Universelle), Heal's exhibited a pair of oak bedsteads with the "covers and hangings of Haslemere 'Peasant Tapestries'".</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgokWOvD5H3Y20ZrQ0Diqbdl_HuY2K9LsD3ETAre5PPRzsINc8wQ9yP0EUe5YmBA8FU_-oyKZJl-PWw7bw_9be_qC4y_KYtUYUrosEp4mySpNE8_P3xKYN79HH_kp7jMw90vJu5pZRTf10/s1600/Screenshot+2019-01-26+at+14.03.25.png" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="374" data-original-width="390" height="382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgokWOvD5H3Y20ZrQ0Diqbdl_HuY2K9LsD3ETAre5PPRzsINc8wQ9yP0EUe5YmBA8FU_-oyKZJl-PWw7bw_9be_qC4y_KYtUYUrosEp4mySpNE8_P3xKYN79HH_kp7jMw90vJu5pZRTf10/s400/Screenshot+2019-01-26+at+14.03.25.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Godfrey Blount bedcovers and hangings, exhibited by Heal's at 1900 Paris Exhibition,<br />Parry, Linda, <i>Textiles of the Arts & Crafts Movement</i>, Thames & Hudson, 2005, p.50</td></tr>
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Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com2tag:blogger.com,1999:blog-9198332407186068564.post-87614203353419206272018-12-07T12:26:00.002-08:002018-12-07T12:26:50.712-08:00Godfrey Blount's Christmas GreetingsThe Haslemere Educational Museum have printed Christmas cards this year with Godfrey Blount designs. These unique cards showcase the special local talent of Haslemere's Peasant Arts movement, and raise money for the museum who hold the only collection of the Haslemere Peasant Arts movement. They have been selling like hot cakes, even the overtly religious design!<br />
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I've now safely bought my cards, so I invite you to buy yours.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Dj0Md9tDzssYqWxEy3vXxBdnVE8cqWZb77Vaqj6xaGhUr_54EqGjtwpM7-y8F24WgawOrSLsOpSjNYCZumswyi10ETZfYJqDIHZT7tpeXm_28gM6XKG6KQfGNbOL5O9IVjX85lqwrYM/s1600/Screenshot+2018-12-07+at+20.24.24.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="548" data-original-width="738" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Dj0Md9tDzssYqWxEy3vXxBdnVE8cqWZb77Vaqj6xaGhUr_54EqGjtwpM7-y8F24WgawOrSLsOpSjNYCZumswyi10ETZfYJqDIHZT7tpeXm_28gM6XKG6KQfGNbOL5O9IVjX85lqwrYM/s400/Screenshot+2018-12-07+at+20.24.24.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Godfrey Blount Christmas Cards,<br />for sale at Haslemere Educational Museum</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_A1GFnLMoDqytK25sGysQO565MD2XRnO-NN8U7_rM1yjXg_sY58gg_PmMMImmSA-KpmCNx5Wy0sSm8zDXv0E4PeEFB0cfoqvAbLxPyRjyWmloRtPNH_tuhPe7kB0hKktD6qiXSoLB3FI/s1600/Screenshot+2018-12-07+at+20.24.58.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="740" data-original-width="551" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_A1GFnLMoDqytK25sGysQO565MD2XRnO-NN8U7_rM1yjXg_sY58gg_PmMMImmSA-KpmCNx5Wy0sSm8zDXv0E4PeEFB0cfoqvAbLxPyRjyWmloRtPNH_tuhPe7kB0hKktD6qiXSoLB3FI/s400/Screenshot+2018-12-07+at+20.24.58.png" width="297" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Godfrey Blount Christmas Cards,<br />for sale at Haslemere Museum</td></tr>
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<br />Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0tag:blogger.com,1999:blog-9198332407186068564.post-34148868428502892542018-08-31T14:07:00.000-07:002018-08-31T14:07:42.329-07:00Haslemere Museum Annual Report 2017<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkp7RYujTReCehca7BBtbnMQnHGxx3y_s3gR5B1jcW-YkHoOR5w0oqLGRbEdLD3Y284czs8kWF5Umy-liZQ5zTtl592IbLn1xibeTa74K-nhC0VuUzQW0TE2DYaVPHH3BwnHGB-An4uF4/s1600/Screen+Shot+2018-08-31+at+22.04.19.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="688" data-original-width="486" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkp7RYujTReCehca7BBtbnMQnHGxx3y_s3gR5B1jcW-YkHoOR5w0oqLGRbEdLD3Y284czs8kWF5Umy-liZQ5zTtl592IbLn1xibeTa74K-nhC0VuUzQW0TE2DYaVPHH3BwnHGB-An4uF4/s400/Screen+Shot+2018-08-31+at+22.04.19.png" width="282" /></a></div>
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Haslemere Peasant Tapestry on the cover of the newly published 2017 Annual Report of the Haslemere Educational Museum.</div>
<br />Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com4tag:blogger.com,1999:blog-9198332407186068564.post-15163412456629238912018-04-02T12:39:00.000-07:002018-04-02T12:40:34.375-07:00Godfrey Blount & the Peasants in New ZealandThe work of the Haslemere Peasants was exhibited in New Zealand as part of a British Government exhibition. The Arts and Crafts works were curated by Walter Crane.<br />
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In 5 December 1906 there is an article in <i><a href="http://paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=search&d=EP19061205.2.7&srpos=1&e=--1896---1927--10--1----2godfrey+blount--">Evening Post </a> </i>describing "the room at the Exhibition Art Gallery devoted to craft works. These were sent out by the British Government as examples of the ideals to follow in our struggle for the beautiful...A visit to the wall in the Craft room specially devoted to the craftwork of William Morris, shows his marvellous power over tone applied to textile manufactures, in all its force. <br />
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<tr><td class="tr-caption" style="text-align: center;">The British Government Arts and Crafts Exhibit at the New Zealand International Exhibition, 1906</td></tr>
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"One of his energies was the starting of cottage weaving, now carried on by Godfrey Blount, an architect, of Hazlemere (sic), a village in Surrey, Mr Edmund Hunter, of the Edmunds Association of Weavers, and others. They have on view a large and varied collection of hand-woven articles, beautiful in design, in colour and in texture. No. 234 is a hand-spun silk, founded on the thistledown, and has all the lightsome beauty of the down in colouring, and a lightly suggested head of thistledown all over the fabric makes a very fine piece of design. A great deal of the work of the cottage weavers is on view in glass cases about the British sector. Some of these are exceptionally beautiful in texture, and certainly fulfil the adage “that strength and honour are in her clothing.” One especially lifts itself out as more than usually lovely. It is a combination, woven of silk and linen, in flashing grass green colouring, and for perfection has hardly ever been surpassed. These handwoven linens and silks are woven in the cottages of the English villagers by the women themselves. These are for a lifetime. Any housewife who has been lucky enough to own a pair of Irish linen sheets, made by the Irish weavers in their homes, will appreciate what it would mean to have their tablecloths, linen sofa covers, and cream canvas curtains hand-woven.<br />
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"All of these articles are shown here, the produce of spare time in quiet English villages. The men are away working all day, and the Peasants’ Arts Society have endeavoured, with what seems astounding success, to put artistic craft into the hands of the cottagers, and at the same time to put money into their pockets. ..There is another, door-hanging, hand woven, No. 347, with a design of a vine intertwined with the grapes, and a flying bird. This shows how it is possible to harmonise contrasting colour. The colour scheme is a deep olive-green, deep scarlet, deep blue, and deep organe, and in the hands of any one but an artist, such a combination would have made the hanging a thing of horror, a nightmare, where this is quiet and harmonious. This was designed by Edmund Hunter and woven by the St Edmund’s Weavers Society.”<br />
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Christchurch City Libraries (<a href="http://christchurchcitylibraries.com/Heritage/Exhibitions/1906/Exhibits/Art/">here</a>) describes the 1906 Exhibition<span style="background-color: white;"> thus<span style="font-family: "times" , "times new roman" , serif;"> "<span style="background-color: white; color: #3f4344;">The art exhibition proved hugely popular, attracting one and a half million visitors. "To a great many New Zealanders the British Art display… was the most attractive section of the Exhibition".</span><span style="background-color: white; color: #3f4344;"> It was gratifying, the Press enthused, that New Zealanders should have the opportunity to see the largest art exhibit ever shown by the Mother Country at an international exhibition...</span><span style="background-color: white; color: #3f4344;">The </span>exhibition of British art<span style="background-color: white; color: #3f4344;"> at the International Exhibition was the first major collection of non-colonial art seen in New Zealand. The collection "was one of the most perfect … ever sent from Great Britain, and by far the finest ever shown in a British colony"...</span></span></span><br />
<div style="border: 0px; margin-bottom: 0.5em; margin-top: 0.5em; padding: 0px;">
<span style="background-color: white; font-family: "times" , "times new roman" , serif;">"An important Arts and Crafts section, with 690 works by 171 artists, was put together by Walter Crane and Alfred Longden. This section included furniture and furnishings, textiles, jewellery, metalwork, book bindings, glass, ceramics, mosaics, wood carvings, silver and illuminations. Nearly half the exhibitors were women, including the only New Zealander, Alice Beatrice Waymouth of Christchurch who exhibited art jewellery work and sold 8 pieces.</span></div>
<div style="border: 0px; margin-bottom: 0.5em; margin-top: 0.5em; padding: 0px;">
<span style="background-color: white; font-family: "times" , "times new roman" , serif;">The New Zealand Government paid for the collection of the works, packing, insurance, transportation and the cost of installation, a total of £7126."</span></div>
Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0tag:blogger.com,1999:blog-9198332407186068564.post-14724134683419051502018-03-31T12:18:00.002-07:002018-03-31T12:18:53.529-07:00Healthy, happy and sane<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAzUcRWHIPUnGO4ecf7sG6MClMpTSPwW822EDqzkoth9bVWpU4lkbwTeNP0MzQhzOawcnnzJIHvSbRxUxrk76ura53GRQl309nIGJVdQ85zysC-sz4j5ioTMNYyT_RRKGcp59GirYZ5z8/s1600/Screen+Shot+2018-03-31+at+20.11.50.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="146" data-original-width="172" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAzUcRWHIPUnGO4ecf7sG6MClMpTSPwW822EDqzkoth9bVWpU4lkbwTeNP0MzQhzOawcnnzJIHvSbRxUxrk76ura53GRQl309nIGJVdQ85zysC-sz4j5ioTMNYyT_RRKGcp59GirYZ5z8/s320/Screen+Shot+2018-03-31+at+20.11.50.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Quoted in 'The Girl Wanted',<br />Nixon Waterman, <br />Forbes & Company, 1913</td></tr>
</tbody></table>
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<br />Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0tag:blogger.com,1999:blog-9198332407186068564.post-20963607059172388852018-03-30T04:26:00.003-07:002018-03-30T04:26:29.138-07:00The Utter Gladness of the Spring by Godfrey Blount<div style="text-align: center;">
"How can my spirit </div>
<div style="text-align: center;">
fitly sing the utter </div>
<div style="text-align: center;">
Gladness of the Spring</div>
<div style="text-align: center;">
When every crocus</div>
<div style="text-align: center;">
cracks a clod bursts </div>
<div style="text-align: center;">
its shell and shouts</div>
<div style="text-align: center;">
to God"</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Godfrey Blount</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXVn9ntcP5XjlNHQLrikqmErKopUgnhCcUeuk2N0Owv-gXCo9styHHtzi-UPSLLAKaX820XT3ckfm7rJLZAAXEdcogs_e7WuVoo_xGZ0bRXH9GWJRfEAfLVr8Lr4zXnnv7Lw98KCgmSCY/s1600/Screen+Shot+2018-03-30+at+12.20.27.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="585" data-original-width="358" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXVn9ntcP5XjlNHQLrikqmErKopUgnhCcUeuk2N0Owv-gXCo9styHHtzi-UPSLLAKaX820XT3ckfm7rJLZAAXEdcogs_e7WuVoo_xGZ0bRXH9GWJRfEAfLVr8Lr4zXnnv7Lw98KCgmSCY/s640/Screen+Shot+2018-03-30+at+12.20.27.png" width="390" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">by Godfrey Blount<br />reproduced courtesy of Haslemere Educational Museum</td></tr>
</tbody></table>
<br />
<br />
<br />Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0tag:blogger.com,1999:blog-9198332407186068564.post-9883278915440854922018-03-29T14:28:00.000-07:002018-03-29T14:28:51.064-07:00Godfrey Blount, the Peasants & the Clarion Guild of Handicraft<div class="MsoNormal" style="line-height: 18.0pt;">
In 1901 Blount is described as “urging
the readers of the <i style="mso-bidi-font-style: normal;">Clarion</i> to pay
more attention to Morris’s aesthethic theories.<span style="mso-spacerun: yes;">
</span>In response, Julia Dawson helped to launch the Clarion Handicraft Guild ‘Joy
in work, and hope in leisure’ became their motto” (<span lang="EN-US" style="font-family: "times new roman"; font-size: 12pt;">Waters, Chris, <i>British Socialists and the Politics of Popular Culture</i>, 1884-1914, Manchester University Press, 1990, p173).</span></div>
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<span lang="EN-US" style="font-family: "times new roman"; font-size: 12pt;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHI0ofQYuNI0b2vWys_83CwYdXFW-_JOULfFKdL7qP1pSa-s1PYCu1JsRTztyNDFcsvBATJbCWcTTlXcT_L80Cefz9LeHZ15fQsnijT71BT2sJUr8bukhSJ1sZstqOnArzn8Ou8ZgZ2uM/s1600/Screen+Shot+2018-03-29+at+22.11.18.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="427" data-original-width="680" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHI0ofQYuNI0b2vWys_83CwYdXFW-_JOULfFKdL7qP1pSa-s1PYCu1JsRTztyNDFcsvBATJbCWcTTlXcT_L80Cefz9LeHZ15fQsnijT71BT2sJUr8bukhSJ1sZstqOnArzn8Ou8ZgZ2uM/s400/Screen+Shot+2018-03-29+at+22.11.18.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12pt;"><i>The Comrade</i>, Volume 3, Number 3, p.57</span><span style="font-size: small; text-align: start;"> </span></td></tr>
</tbody></table>
<br />
<div class="MsoNormal" style="line-height: 18.0pt;">
Godfrey Blount’s applique panel ‘The Spies’ which
is held by the Victoria & Albert Museum, is recorded as being exhibited in 1903
at the second annual exhibition of the
Clarion Guild. The Peasant Arts Society is
listed as lending it's sympathetic support to the exhibition as one of the “best-known
and most successful craftsmen and craftswomen in the country” (Sp<span style="font-family: "times new roman"; font-size: 12pt;">argo, John, ‘Socialism and the Arts and Crafts
Movement’, </span><span lang="EN-US" style="font-family: "times new roman"; font-size: 12pt;"><i>The Comrade</i>, Volume 3, Number 3, p.57</span> ) Edmund Hunter also exhibited a woven strip. </div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhayeNgIB3RKR9XU03iUdsYf7Rt6nsUQodNK2bz43-aaxbTixr9bgv64RbjPEZxFmrtGtx4G1rv46SMXm6QFFSXKMwv8N-OLEP5nuDtT2fi6nXgG14w5LZEf8n91vX0mKjvvXOOxGC07MQ/s1600/Screen+Shot+2018-03-29+at+22.17.34.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="351" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhayeNgIB3RKR9XU03iUdsYf7Rt6nsUQodNK2bz43-aaxbTixr9bgv64RbjPEZxFmrtGtx4G1rv46SMXm6QFFSXKMwv8N-OLEP5nuDtT2fi6nXgG14w5LZEf8n91vX0mKjvvXOOxGC07MQ/s400/Screen+Shot+2018-03-29+at+22.17.34.png" width="292" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">from <i>The Comrade</i>, Volume 3, Number 3</td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: 18.0pt;">
The Clarion Guild of Handicraft encouraged ordinary people to undertake handicrafts "As most of the members are workingmen and women who have to
earn their living during the day, they are only able to devote their scanty
leisure to the pursuit of the their ideals in this direction. They rent a room for guild purposes, holding
meetings for discussion, classes, and the like, and doing their work there. Thus they overcome a very serious obstacle
which the lack of room in their homes presents.
They avoid making workshops of their already too cramped and overcrowded
homes. …Annual exhibitions are a feature
of the new movement and a beautiful challenge shield of embossed colored
leather, the work of a member of one of the Guilds, is awarded to the local
Guild which makes the best exhibit. At
the second annual exhibition, held in the quaintly beautiful city of Chester,
last Easter, Walter Crane, in a felicitous speech awarded it to the Liverpool
Guild." (ibid.)</div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv1YBlECAzjpp5mQcxEEnVJYfWzraUA-MHPn5IKXzu_wd4VOlXGla_NS5FgGPP980HY_trIJARDEA06rWa0_3DwcnVNvukmQlUUXjdqdmlKE7WGXcT8EX3obUATgYKWH3nSYLhuZ3tEP0/s1600/Screen+Shot+2018-03-29+at+22.11.32.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="570" data-original-width="271" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv1YBlECAzjpp5mQcxEEnVJYfWzraUA-MHPn5IKXzu_wd4VOlXGla_NS5FgGPP980HY_trIJARDEA06rWa0_3DwcnVNvukmQlUUXjdqdmlKE7WGXcT8EX3obUATgYKWH3nSYLhuZ3tEP0/s400/Screen+Shot+2018-03-29+at+22.11.32.png" width="190" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px;"><span lang="EN-US" style="font-family: "times new roman"; font-size: 12pt;"><i>The Comrade</i>, Volume 3, Number 3, p.57</span><span style="font-size: small; text-align: start;"><br /></span></td></tr>
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As Spargo concluded "Why should we not have Socialist Handicraft Guilds in this country? I see no reason why we should not have "Comrade Guilds" patterned after the "Clarion Guilds". For we, too, are of the faith." (ibid.) </div>
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Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0tag:blogger.com,1999:blog-9198332407186068564.post-75173066557724852802018-03-29T13:29:00.002-07:002018-03-29T13:29:42.068-07:00Edmund Hunter's Stag & Deer Silk PanelThis silk panel that was auctioned in 2017 shows in my mind an influence from the Haslemere Peasants. Vine leaves, grapes and deer, it has all the ingredients of Godfrey Blount's designs. Made by Edmund Hunter's St Edmundsbury Weavers, suggested to be made around 1900, when the St Edmundsbury Weavers were based at College Hill, Haslemere.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo4T7yERSwT3LedE5DOR0TCJ1mvlR71M25xRNl7Tu4cH9QiCyDSCp4e9PwVuYoXtlaRke3PjQRbfsFXKRguS9F4vHGPHUvfpenDLiWlYEgGh1WA3DZfbpiTmpfFHvDd3GiRkG-Yh4w5qM/s1600/Screen+Shot+2018-03-29+at+21.15.29.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="593" data-original-width="654" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo4T7yERSwT3LedE5DOR0TCJ1mvlR71M25xRNl7Tu4cH9QiCyDSCp4e9PwVuYoXtlaRke3PjQRbfsFXKRguS9F4vHGPHUvfpenDLiWlYEgGh1WA3DZfbpiTmpfFHvDd3GiRkG-Yh4w5qM/s400/Screen+Shot+2018-03-29+at+21.15.29.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">St Edmundsbury Weavers Stag and Deer Silk Fabric Hanging<br />from <a href="https://auctions.lyonandturnbull.com/auction-lot-detail/ATTRIBUTED-TO-EDMUND-HUNTER-FOR-ST-EDMUNDSBURY-WEAVERS-STAG-/497+++++++68+/++215291">Lyon&Turnbull</a></td></tr>
</tbody></table>
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The piece is described as:<br />
<br />
<span style="box-sizing: inherit; line-height: inherit;">"</span><span style="box-sizing: inherit; color: #3f3f3f; font-family: Lato, "Helvetica Neue", Helvetica, Roboto, Arial, sans-serif; font-size: 14.399999618530273px; letter-spacing: 0.25600001215934753px; line-height: inherit;">ATTRIBUTED TO EDMUND HUNTER FOR ST EDMUNDSBURY WEAVERS</span><span style="background-color: white; color: #3f3f3f; font-family: Lato, "Helvetica Neue", Helvetica, Roboto, Arial, sans-serif; font-size: 14.399999618530273px; letter-spacing: 0.25600001215934753px;"> </span><br />
<span style="background-color: white; color: #3f3f3f; font-family: Lato, "Helvetica Neue", Helvetica, Roboto, Arial, sans-serif; font-size: 14.399999618530273px; letter-spacing: 0.25600001215934753px;">STAG AND DEER SILK FABRIC HANGING PANEL, CIRCA 1900 </span><br style="box-sizing: inherit; color: #3f3f3f; font-family: Lato, "Helvetica Neue", Helvetica, Roboto, Arial, sans-serif; font-size: 14.399999618530273px; letter-spacing: 0.25600001215934753px;" /><span style="background-color: white; color: #3f3f3f; font-family: Lato, "Helvetica Neue", Helvetica, Roboto, Arial, sans-serif; font-size: 14.399999618530273px; letter-spacing: 0.25600001215934753px;">depicting opposed stags on a vine ground, within grey silk border </span><br style="box-sizing: inherit; color: #3f3f3f; font-family: Lato, "Helvetica Neue", Helvetica, Roboto, Arial, sans-serif; font-size: 14.399999618530273px; letter-spacing: 0.25600001215934753px;" /><span style="background-color: white; color: #3f3f3f; font-family: Lato, "Helvetica Neue", Helvetica, Roboto, Arial, sans-serif; font-size: 14.399999618530273px; letter-spacing: 0.25600001215934753px;">42 x 49.5cm, including border 70 x 76.5cm </span><br style="box-sizing: inherit; color: #3f3f3f; font-family: Lato, "Helvetica Neue", Helvetica, Roboto, Arial, sans-serif; font-size: 14.399999618530273px; letter-spacing: 0.25600001215934753px;" /><span style="box-sizing: inherit; color: #3f3f3f; font-family: Lato, "Helvetica Neue", Helvetica, Roboto, Arial, sans-serif; font-size: 14.399999618530273px; letter-spacing: 0.25600001215934753px; line-height: inherit;">Estimate £ 200-300</span><span style="background-color: white; color: #3f3f3f; font-family: Lato, "Helvetica Neue", Helvetica, Roboto, Arial, sans-serif; font-size: 14.399999618530273px; letter-spacing: 0.25600001215934753px;"> "</span><br />
<span style="background-color: white; color: #3f3f3f; font-family: Lato, "Helvetica Neue", Helvetica, Roboto, Arial, sans-serif; font-size: 14.399999618530273px; letter-spacing: 0.25600001215934753px;"><br /></span>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcYU03yMpcJ-wTtfMZjtxHaKHaqRV8BTAwWLLr3fV39wfSIlLvFMOTyb3q-yy2O1TRWxeiidMUF965LKf9nhCPII_e01Q8bp0wFQft9mywPH5EHi3hq4dGYg-tEAzSsztW1UR1O9Jhd9s/s1600/Screen+Shot+2018-03-29+at+21.18.08.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="281" data-original-width="221" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcYU03yMpcJ-wTtfMZjtxHaKHaqRV8BTAwWLLr3fV39wfSIlLvFMOTyb3q-yy2O1TRWxeiidMUF965LKf9nhCPII_e01Q8bp0wFQft9mywPH5EHi3hq4dGYg-tEAzSsztW1UR1O9Jhd9s/s400/Screen+Shot+2018-03-29+at+21.18.08.png" width="314" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">St Edmundsbury Weavers<br />detail from <a href="https://auctions.lyonandturnbull.com/auction-lot-detail/ATTRIBUTED-TO-EDMUND-HUNTER-FOR-ST-EDMUNDSBURY-WEAVERS-STAG-/497+++++++68+/++215291">Lyon&Turnbull</a></td></tr>
</tbody></table>
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The piece sold for £1,000.</div>
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<br /></div>
<span style="background-color: white; color: #3f3f3f; font-family: Lato, "Helvetica Neue", Helvetica, Roboto, Arial, sans-serif; font-size: 14.399999618530273px; letter-spacing: 0.25600001215934753px;"><br /></span>Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0tag:blogger.com,1999:blog-9198332407186068564.post-47515952161778419522018-03-17T08:38:00.000-07:002018-03-17T08:38:57.698-07:00Royal Academy artists petition for H.G. Hine’s familyThere is a letter on eBay that is currently for
sale $500, you can purchase it <a href="https://www.ebay.co.uk/itm/1913-Petition-Signed-by-13-British-Artists-of-Royal-Academy-for-HG-Hines-Family/251797099551?ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2060353.m1438.l2649">here</a>.<br />
<div class="MsoNormal">
<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Dated June 1913, on headed paper from the private members
club, The Athenaeum, Pall Mall, the letter is addressed to the Prime Minister.,
Herbert Henry Asquith.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRHT7WfjsYhT8xivFvQBjMtEfctMemaQCU-7X5OaiyerysS6aHfCh4snQnfdrzLbcuA6RN5BxuAoHsme8NTbYm-MGke_YrM58DvNXpLS4YKCK4VhcDPLS_0D8NzLK09Ydb_pvk5VIRWbQ/s1600/Screen+Shot+2018-01-27+at+22.00.28.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="345" data-original-width="536" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRHT7WfjsYhT8xivFvQBjMtEfctMemaQCU-7X5OaiyerysS6aHfCh4snQnfdrzLbcuA6RN5BxuAoHsme8NTbYm-MGke_YrM58DvNXpLS4YKCK4VhcDPLS_0D8NzLK09Ydb_pvk5VIRWbQ/s400/Screen+Shot+2018-01-27+at+22.00.28.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Petition to the Prime Minister<br />
from eBay here https://www.ebay.co.uk/itm/1913-Petition-Signed-by-13-British-Artists-of-Royal-Academy-for-HG-Hines-Family/251797099551?ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2060353.m1438.l2649</td></tr>
</tbody></table>
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“We desire to bring to your notice the claims for a Civil
List Pension of the three unmarried daughters of the late Henry George Hine –
Vice President of the Royal Institute of Painters in Water Colour.<o:p></o:p></div>
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<br /></div>
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Mr H. G. Hine was held in very high esteem both as an artist
and a man by the leading members of his profession.<span style="mso-spacerun: yes;"> </span>He was one of the first contributors to
“Punch” and drew for other publications.<span style="mso-spacerun: yes;">
</span>Later in his life he took on any?? High position as an exponent of the
essentially British Art of Water-Colour painting.<span style="mso-spacerun: yes;"> </span>His refined and thorough work – reflecting
his loveable & gentle character-revealed to his fellow countryman the
beauties of the South Downs, the charms of his native County of Sussex.<span style="mso-spacerun: yes;"> </span>His pictures are<span style="mso-spacerun: yes;"> </span>always sought after for International
Exhibitions.<span style="mso-spacerun: yes;"> </span>Where they are certainly
valuable additions to the British Section.<span style="mso-spacerun: yes;">
</span>He died at an advanced age, working till within a few days of his death.<span style="mso-spacerun: yes;"> </span>He had a large family & died poor.<o:p></o:p></div>
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This appeal to aid his three unmarried daughters is to
enable them to rest from the work which up to the present they have bravely
continued<o:p></o:p></div>
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<br /></div>
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The ages of these ladies are seventy, sixty-six and
sixty-four."<o:p></o:p></div>
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<br /></div>
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A number of signatures, of which the following names can be
deciphered (or copied from the write-up on the sale): <o:p></o:p></div>
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"Edward J. Poynter<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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Ernest Waterlow<o:p></o:p></div>
<div class="MsoNormal">
Walter William Ouless<o:p></o:p></div>
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Frank Dicksee<o:p></o:p></div>
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Hubert von Herkomer<o:p></o:p></div>
<div class="MsoNormal">
William Blake Richmond KCB RA<o:p></o:p></div>
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Briton Riviere<o:p></o:p></div>
<div class="MsoNormal">
George Clausen<o:p></o:p></div>
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<div class="MsoNormal">
John Seymour Lucas"<o:p></o:p></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1dhGUqJPH-GXdj2bwEuGJfFxxQ054KhdAWvOfY2MDQSRCfiixVFX_Dr7XgsvsYrnh35tihUGyBJNZyXSXDlXgSyRlmTy6dwChpAsueGsavX-gN4k8sDh_tjVPlLV2yDh7ikjNNoQJsiA/s1600/Screen+Shot+2018-01-27+at+22.00.44.png" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="366" data-original-width="525" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1dhGUqJPH-GXdj2bwEuGJfFxxQ054KhdAWvOfY2MDQSRCfiixVFX_Dr7XgsvsYrnh35tihUGyBJNZyXSXDlXgSyRlmTy6dwChpAsueGsavX-gN4k8sDh_tjVPlLV2yDh7ikjNNoQJsiA/s400/Screen+Shot+2018-01-27+at+22.00.44.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Petition to the Prime Minister<br />
from eBay https://www.ebay.co.uk/itm/1913-Petition-Signed-by-13-British-Artists-of-Royal-Academy-for-HG-Hines-Family/251797099551?ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2060353.m1438.l2649</td></tr>
</tbody></table>
<br />
<div>
Looking at the Hine family tree, I think the 3 sisters that the petition is requesting a Civil List pension for are:</div>
<div>
Alice Hine (1843-?)</div>
<div>
Elizabeth M Hine (1846-1922)</div>
<div>
Marian Hine (1848-1937) - who was living in Haslemere in Greenbushes (1901) and Silverbirches (1911).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0nTBMl0tfhLzmQYc2XmGjkF1nczWz_EXvDXeK-Ysj4UJ9WIUf9pTcjxa29K4opwx1HdD_IyQ8TXPYlKXl7mfjwH3_vyyXzXiILrAYjDMnWmUJTpKB5U3roBp6xvun4HW3r0jfcAIgpfE/s1600/Screen+Shot+2018-01-27+at+21.35.50.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="259" data-original-width="597" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0nTBMl0tfhLzmQYc2XmGjkF1nczWz_EXvDXeK-Ysj4UJ9WIUf9pTcjxa29K4opwx1HdD_IyQ8TXPYlKXl7mfjwH3_vyyXzXiILrAYjDMnWmUJTpKB5U3roBp6xvun4HW3r0jfcAIgpfE/s400/Screen+Shot+2018-01-27+at+21.35.50.png" width="400" /></a></div>
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Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0tag:blogger.com,1999:blog-9198332407186068564.post-6508027772531072402018-03-16T15:49:00.003-07:002018-03-16T15:49:41.220-07:00Black Magic and White by Mrs Godfrey BlountThis poem printed in <i>The Vineyard, </i>April 1913 reminds me of Ethel (Mrs Godfrey Blount) & Maude's presentation to the General Meeting of the the Peasant Arts Fellowship in 1912 (Caxton Hall, 28th February), which is recorded in their <i>Peasant Arts Guild Paper </i><span lang="EN-US" style="font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif;"><span class="Apple-style-span" style="font-family: Times, "Times New Roman", serif;">“To give a little girl the use of her hands is to bring a disinherited princess back into her kingdom” (‘Our experience of the Influence of Handicraft upon the Workers’, </span><i><span class="Apple-style-span" style="font-family: Times, "Times New Roman", serif;">Peasant Arts Guild Paper, </span></i></span><span lang="EN-US" style="font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif;"><span class="Apple-style-span" style="font-family: Times, "Times New Roman", serif;">No. 10 , Ethel Blount and Maude E. King). </span></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJSpV3f9q6KVrPKTIarmltneMqok5KRkFKK-p5UvQwftIWrY-7B1ITcQBrdRfxcY3SYH_0LqaT9bsCrF15KMUiQlm9bqD11hUAK5rRx8j_WrGME7Hc5aAXDmPoCus9OTd70BICVM01mA0/s1600/Screen+Shot+2018-03-16+at+22.46.48.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="224" data-original-width="385" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJSpV3f9q6KVrPKTIarmltneMqok5KRkFKK-p5UvQwftIWrY-7B1ITcQBrdRfxcY3SYH_0LqaT9bsCrF15KMUiQlm9bqD11hUAK5rRx8j_WrGME7Hc5aAXDmPoCus9OTd70BICVM01mA0/s400/Screen+Shot+2018-03-16+at+22.46.48.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">from Blount, Ethel, <i>The Story of the Homespun Web</i></td></tr>
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<br /></div>
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<div style="text-align: center;">
When time was young a princess fell</div>
<div style="text-align: center;">
(A heart most rare,</div>
<div style="text-align: center;">
A soul most fair!)</div>
<div style="text-align: center;">
Beneath a fiendish wizard's spell.</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
His Hell-broth won, the poison wrought;</div>
<div style="text-align: center;">
Afar from man</div>
<div style="text-align: center;">
The princess ran</div>
<div style="text-align: center;">
De-humanised, a thing distraught.</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
From out the kindly human ranks</div>
<div style="text-align: center;">
She ran, accurst, </div>
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For blood a-thirst,</div>
<div style="text-align: center;">
With tawny stripes upon her flanks,</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Then came at night in dreadful quest</div>
<div style="text-align: center;">
To roam and roam</div>
<div style="text-align: center;">
Around her home</div>
<div style="text-align: center;">
Where once with Love she took her rest.</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
She saw her husband's spear and dart;</div>
<div style="text-align: center;">
The eyes of ire</div>
<div style="text-align: center;">
Glared forth the fire</div>
<div style="text-align: center;">
That fed upon the tiger-heart!</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
She saw her children's dolls and ships;</div>
<div style="text-align: center;">
Without a sound</div>
<div style="text-align: center;">
She snuffed around</div>
<div style="text-align: center;">
And licked those dreadful, dreadful lips;</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Then saw her pretty weaving gear</div>
<div style="text-align: center;">
Of flax and loom;</div>
<div style="text-align: center;">
In puzzled gloom</div>
<div style="text-align: center;">
The tiger-heart began to fear</div>
<div>
<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqYTL76ryMhcUOhc0scE0Wv7QNporYDAsc_7GkyIjHQHF6tnftrVYZt4mfkdG9QQH9WNV6D2kXTEx2jKaOez13hh3OSIS8pprOy_H3s7Htgizq1QWTL5C7RQzreiDWHHqw1tnufEFhPSg/s1600/Screen+Shot+2018-03-16+at+22.47.34.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="237" data-original-width="302" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqYTL76ryMhcUOhc0scE0Wv7QNporYDAsc_7GkyIjHQHF6tnftrVYZt4mfkdG9QQH9WNV6D2kXTEx2jKaOez13hh3OSIS8pprOy_H3s7Htgizq1QWTL5C7RQzreiDWHHqw1tnufEFhPSg/s400/Screen+Shot+2018-03-16+at+22.47.34.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Times, "Times New Roman", serif;">from Blount, Ethel, </span><i style="font-family: Times, "Times New Roman", serif;">The Story of the Homespun Web</i></td></tr>
</tbody></table>
<div>
<br /></div>
<div>
<br /></div>
<div style="text-align: center;">
There lay her little spinning-wheel,</div>
<div style="text-align: center;">
The band unbound,</div>
<div style="text-align: center;">
The reel unwound;</div>
<div style="text-align: center;">
The tiger-heart began to feel.</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
There lay her dainty little pirn,</div>
<div style="text-align: center;">
The thread undone,</div>
<div style="text-align: center;">
The wool unspun;</div>
<div style="text-align: center;">
The woman-heart began to burn;</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
The cruel heart, the eyes of steel</div>
<div style="text-align: center;">
Began to yearn,</div>
<div style="text-align: center;">
Began to turn</div>
<div style="text-align: center;">
At sight of flax and fleece and wheel.</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
The yellow stripes and eyes of gloom</div>
<div style="text-align: center;">
Began to fade,</div>
<div style="text-align: center;">
Passed into shade;</div>
<div style="text-align: center;">
The princess stood beside her loom.</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
The loom and spindle, flax and fleece,</div>
<div style="text-align: center;">
The living art,</div>
<div style="text-align: center;">
Called back her heart</div>
<div style="text-align: center;">
And filled her soul with vital peace.</div>
<div>
<br /></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwt8L4I00lU4fCA0ggOk6_2JuHKf-Nzl5h3dIkVS0rcFQY30V3i57imRljASpMtod8tfXrB1SoZ74K7fzO5pa2TUBssui_vrwXUB6cZB6aXUIsIqyX5Z8yLuJHip_D1gD9rIC8c9FrMoY/s1600/Screen+Shot+2018-03-16+at+22.41.55.png" imageanchor="1" style="font-family: Times, "Times New Roman", serif; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="546" data-original-width="489" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwt8L4I00lU4fCA0ggOk6_2JuHKf-Nzl5h3dIkVS0rcFQY30V3i57imRljASpMtod8tfXrB1SoZ74K7fzO5pa2TUBssui_vrwXUB6cZB6aXUIsIqyX5Z8yLuJHip_D1gD9rIC8c9FrMoY/s320/Screen+Shot+2018-03-16+at+22.41.55.png" width="286" /></a></div>
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Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0tag:blogger.com,1999:blog-9198332407186068564.post-54490872801574456232018-03-11T12:05:00.002-07:002018-03-11T12:05:28.107-07:00Greville MacDonald, Wildwood and Electoral Rolls Greville MacDonald moved to Haslemere upon retirement and lived in Wildwood, a house on Weydown Road, which still bears this name today. However, having looked at the electoral register for Greville MacDonald, it's interesting to see that before moving to Haslemere, Greville was living in a house also called Wildwood, on North End, Hampstead, London.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvCkyZNZFil9hiJsNb2hTnUe_jHlymFu5H-oSvCDIGBPAdUwW-4JqnODunnOU5Rgli-30kBU8T2D9Mrax6LhDeQ8sqG2DuDFNexy9sdfdWZmQhqYyInDNADwSMuTEw5aH4huh3qL0vHEw/s1600/Screen+Shot+2018-03-11+at+18.41.56.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="595" data-original-width="953" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvCkyZNZFil9hiJsNb2hTnUe_jHlymFu5H-oSvCDIGBPAdUwW-4JqnODunnOU5Rgli-30kBU8T2D9Mrax6LhDeQ8sqG2DuDFNexy9sdfdWZmQhqYyInDNADwSMuTEw5aH4huh3qL0vHEw/s400/Screen+Shot+2018-03-11+at+18.41.56.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tooley's Farm, Hampstead Heath,<br />also known as Wildwood<br />old postcard</td></tr>
</tbody></table>
This property was on what was previously called Wyldes Farm, which was divided in 1903 into 3 farms, one of which was called "Tooley's or Wildwood" (<a href="http://www.hampsteadheath.net/wildwood.-wyldes---collins-farm.html">Hampstead Heath net</a>). The property seems to suit Greville's literary tastes. It has a blue plaque to the artist John Linnell and to William Blake. MacDonald greatly admired Blake and wrote various articles on him such as "William Blake: His Critics" (vol. 2, p558), "William Blake: His Masters" (vol. 2, p626) and "William Blake: The Practical Idealist" (vol.5, p98) in <i>The Vineyard</i>. The City of London writes <a href="https://www.cityoflondon.gov.uk/things-to-do/green-spaces/hampstead-heath/heritage/Pages/the-wyldes-farmhouse.aspx">here</a> that:<span style="font-family: "times" , "times new roman" , serif;"> "Wyldes soon became the destination of eminent people. In the earlier part of the 19th Century several well-known artists of the day either stayed at or visited Wyldes, including: </span><br />
<br />
<ul style="line-height: 1.6em; overflow: hidden;">
<li><span style="font-family: "times" , "times new roman" , serif;">John Linnell</span></li>
<li><span style="font-family: times, "times new roman", serif;">William Henry Hunt</span></li>
<li><span style="font-family: times, "times new roman", serif;">William Collins (whose son Wilkie, the novelist, used to play in the garden when a child)</span></li>
<li><span style="font-family: times, "times new roman", serif;">George Romney</span></li>
<li><span style="font-family: times, "times new roman", serif;">John Constable</span></li>
<li><span style="font-family: times, "times new roman", serif;">William Blake"</span></li>
</ul>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP_jmI5LE4WaKGAceTJKBaOSldlqKcVaO87NpCzgzUswkAqD34AStb3pZ7qiMx546v9NI3Zb9JxavZwfCB8MnYs3OhvXWguss_dAlPlaH-V1zfsrU4U_qzayy3enFiTvG6BqHnhgwIzRw/s1600/Screen+Shot+2018-03-11+at+18.47.23.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="245" data-original-width="371" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP_jmI5LE4WaKGAceTJKBaOSldlqKcVaO87NpCzgzUswkAqD34AStb3pZ7qiMx546v9NI3Zb9JxavZwfCB8MnYs3OhvXWguss_dAlPlaH-V1zfsrU4U_qzayy3enFiTvG6BqHnhgwIzRw/s320/Screen+Shot+2018-03-11+at+18.47.23.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">from Wyldes Farm, Hampstead</td></tr>
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<span style="font-family: "times" , "times new roman" , serif;"><br />It appears that Greville must have had some happy association with the name 'Wildwood' and transferred it from Hampstead to Haslemere. </span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br />Looking at Greville's other addresses on the electoral roll:</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinqGV-lLrgJaDfEuVoJvIOX01rDGyEVH7D1yG7n03j4YEv0iaqW92BXQV8hm-aCFYmlbyGG0gedqR8cdSUIone47bjMkd-L65ncxN_wCIONzKSn_iCIf-LsjpZWkvCAGlEohyHGZvSb3s/s1600/Screen+Shot+2018-03-11+at+18.56.58.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="230" data-original-width="535" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinqGV-lLrgJaDfEuVoJvIOX01rDGyEVH7D1yG7n03j4YEv0iaqW92BXQV8hm-aCFYmlbyGG0gedqR8cdSUIone47bjMkd-L65ncxN_wCIONzKSn_iCIf-LsjpZWkvCAGlEohyHGZvSb3s/s400/Screen+Shot+2018-03-11+at+18.56.58.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hollywood House, Kingstonhill</td></tr>
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<ul>
<li><span style="font-family: times, "times new roman", serif;">From 1889 Greville is registered at 47 (or sometimes 49) Queen Anne Street, Marylebone. </span></li>
<li><span style="font-family: times, "times new roman", serif;">In 1892 Greville moved to nearby 85 Harley Street. </span></li>
<li><span style="font-family: times, "times new roman", serif;">In 1910 Greville is still registered at 85 Harley Street, but is noted as living at Holmwood, Kingstonhill This house might be what is now called Holmwood House, and was previously owned by Ronnie Wood of The Rolling Stones, as reported in The Daily Mail </span><a href="http://www.dailymail.co.uk/tvshowbiz/article-1298502/Rolling-Stones-party-palace-13m.html" style="font-family: times, "times new roman", serif;">here</a><span style="font-family: times, "times new roman", serif;">.</span></li>
<li><span style="font-family: times, "times new roman", serif;">Between 1906-1914 Greville is registered as a qualifying property St George's Cottage, Haslemere</span></li>
<li><span style="font-family: times, "times new roman", serif;">In 1915 Greville is recorded at Wildwood, North End, Hampstead</span></li>
<li><span style="font-family: times, "times new roman", serif;">In 1920 and 1921 MacDonald is registered at 17 Duke Street, the Peasant Arts Society HQ, but is noted as "abode, Wildwood, Haslemere".</span></li>
</ul>
Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0tag:blogger.com,1999:blog-9198332407186068564.post-12496280238052790912018-03-10T14:17:00.003-08:002018-03-10T14:18:14.459-08:00From Stockbroker to Peasant: the Kings and the Sings<br />
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It is reported that Joseph King's grandfather founded the Liverpool Stock Exchange, <i>The Provincial Stock Exchange </i>(Thomas, William Arthur, Routledge, 2012) explains "Sing, White and Company was formed in 1825 by Joseph King, one of the first brokers in Liverpool, and Chairman of the Stock Exchange from 1840-44. In 1877 the business was continued by his nephew Alexander Millington Synge, and since then a member of the family has held a connection with the firm." Sing, White and Company merged with Tilney, Parr and Rae in 1966.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYdhl5Uob2GIHEUJOkp2psgE1_fh7yTC6O2gks1ggMySkH28mnZaLtLsEpZBmO8PDVEsVanCnIOftItyNkKE3wncX4n285RuiGWebFsfwv2WLHHGKom7BZSKM_idVSQST31ohJqdzabhA/s1600/Screen+Shot+2018-03-10+at+22.03.27.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="428" data-original-width="577" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYdhl5Uob2GIHEUJOkp2psgE1_fh7yTC6O2gks1ggMySkH28mnZaLtLsEpZBmO8PDVEsVanCnIOftItyNkKE3wncX4n285RuiGWebFsfwv2WLHHGKom7BZSKM_idVSQST31ohJqdzabhA/s400/Screen+Shot+2018-03-10+at+22.03.27.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Liverpool Stock Exchange building,<br />
situated in the East Wing, on the right<br />
from <a href="http://www.liverpoolpicturebook.com/2014/12/pics-of-day.html">The Liverpool Picture Book</a></td></tr>
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Thomas explains that "The leading movers in the establishment of the Association were probably the nine sharebrokers given in the 1835 Liverpool Directory. Richard Dawson entered the stockbroking profession in 1827 having been a "gunpowder agent" and one time agent to Norwich Union Fire and Life office. Thomas Barber, Thomas Harris and Thomas Read became brokers in 1834, John Fletcher in 1835, as also did Jonathon Flounders who gave up his previous profession of being a "Gentleman". Joseph King described as an accountant in 1825 took to share dealing around 1827, as did William O'Kill, also an accountant. Thomas Coglan was certainly active in share dealing in 1827 and was also the proprietor of the Floating Bath in the Mersey. In addition to the twenty-one at the first meeting, ten new members joined in April, and a further fifteen during the remaining months of 1836. ...At subsequent meetings held at the Mersey Coffee House and "Mr King's office" the admission fee was fixed at 10 gns" </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIre8QRLKVD6tGPGUsmYExr8XrGUkF9nAnGEQjPji2zs1tq35DV-8uYXGigIP-yHhxyxd0d_SXpRYKepieXB5MFHi1LdZIsaUi4erJiNRdrtMInCnJAMTOU_EOC4i8b4QYhy1gPuGY52A/s1600/Screen+Shot+2018-03-10+at+21.58.34.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><br /></a>It seems strange that King did not include his name in the company Sing, White and Company, if he formed the company himself. However looking at the family tree it would appear that the 'Sing' is Joshua Sing, who was King's brother-in-law. According to <i>The family of Synge or Sing</i> online <a href="https://archive.org/stream/familyofsyngeors00syng#page/18/mode/2up/search/florentina">here</a> Joshua was a Justice of the Peace. Alexander Millington Synge who continued the business was Joshua's second son. Alexander's second child was Mary Florentia Synge, she is marked "Of Haslemere" in <i>The family Synge or Sing</i> and therefore I feel confident in identifying her as Flora Synge. It was Flora's weaving that was used to unveil the Blue Plaque at Green Bushes Weaving House a few years ago, see <a href="http://www.haslemeresociety.org/greenbushes-weaving-house.html">here </a>for more details. And so in two generations the stockbroker became a peasant, in what the movement would have called the third group of the future peasantry "<span style="background-color: #fff9ee; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 15.399999618530273px;">These are the men and women whom a surfeit a civilisation has left healthily dissatisfied, </span><span style="background-color: #fff9ee;"><span style="font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="font-size: 15.399999618530273px;">and who will be peasants by choice, not by birth" (</span></span><i style="font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.399999618530273px;">The </i><span style="font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="font-size: 15.399999618530273px;"><i>Vineyard, </i>New Series, Christmas 1918)</span></span><span style="font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif;"><span style="font-size: 15.399999618530273px;">.</span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj51arUJuHeDlZ7AsoPGdza-HcgkNCmyvO3yR6hyphenhyphenSqD4lLPsob_6AnEOKDmIG0dYeY7RvHmaXtpLOGho-0MLRb3JmXOI1e5fJDMV3zps0bwWIT31Q8fJ1U1SwOfsfF1xkAyjojVLiWnxKA/s1600/Screen+Shot+2018-03-10+at+21.31.06.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="623" data-original-width="339" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj51arUJuHeDlZ7AsoPGdza-HcgkNCmyvO3yR6hyphenhyphenSqD4lLPsob_6AnEOKDmIG0dYeY7RvHmaXtpLOGho-0MLRb3JmXOI1e5fJDMV3zps0bwWIT31Q8fJ1U1SwOfsfF1xkAyjojVLiWnxKA/s400/Screen+Shot+2018-03-10+at+21.31.06.png" width="217" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">'Miss Flora Synge at her spinning wheel <span style="background-color: white; color: #222222; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 12px;">at Kings Road, Haslemere in 1917' </span><br />
<span style="background-color: white; color: #222222; font-family: "georgia" , "utopia" , "palatino linotype" , "palatino" , serif; font-size: 12px;">from Janaway, John, </span><i style="color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 12px;">Surrey: A Photographic Record 1850-1920<span class="Apple-style-span" style="font-style: normal;">, Countryside Books, 1984</span></i></td></tr>
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Alexander lived in Dawstone, Windermere. This was a notable Arts and Crafts house designed by Dan Gibson in 1903. It features in <i>The Arts and Crafts Houses of the Lake District </i>(Hyde, Matthew and Whittaker, Esme, Frances Lincoln, 2014) "built high above the town of Windermere on the outskirts of Heathwaite, is typical of the arts and Crafts houses occupying elevated sites. The distance of the site from Lake Windermere, in comparison to the properties which line the lake's banks, would have been compensated for by the views that were afforded from this position. As the writer Lawrence Weaver observed in the magazine <i>Country Life</i>, it is 'perched on the hill like an eyrie from which the vision sweeps round a complete panorama from Helvellyn to Morecombe Bay'. The owner of Dawstone, the Liverpool stock and share broker Alexander Millington Sing, had purchased the site, known as Undermillbeck Common, from G.H.Pattinson." The house is now called Gillthwaite Rigg, a part of which is now a B&B. Interestingly there is a photograph that purports to be a "ventilation grille incorporating the initials of the house owner at Dawstone", see below, although I am puzzled by the sequence ASM and not AMS if this is the case. Joseph King, Alexander's cousin, also liked to put his initials on his buildings, and perhaps this was a family trait.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk1_C2K89I6AXsAyu8UuP06J2BTMmMdQF4mYW27es53nBnK-ah3hB85tkFMb_w4fqC7gQcHrnqYHFo2zJg2Xx4nTM7s1hvblIwx1O0WLKOP9BgVRn3qIetWWZTP5_XU4Sd5r8F7BJyQZ8/s1600/Screen+Shot+2018-03-10+at+21.50.55.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="250" data-original-width="378" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk1_C2K89I6AXsAyu8UuP06J2BTMmMdQF4mYW27es53nBnK-ah3hB85tkFMb_w4fqC7gQcHrnqYHFo2zJg2Xx4nTM7s1hvblIwx1O0WLKOP9BgVRn3qIetWWZTP5_XU4Sd5r8F7BJyQZ8/s320/Screen+Shot+2018-03-10+at+21.50.55.png" width="320" /></a></div>
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<tr><td class="tr-caption" style="text-align: center;">from <i>The Arts and Crafts Houses of the Lake District,</i><span style="text-align: start;"><span style="font-size: x-small;">(Hyde, Matthew and Whittaker, Esme, Frances Lincoln, 2014)</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIre8QRLKVD6tGPGUsmYExr8XrGUkF9nAnGEQjPji2zs1tq35DV-8uYXGigIP-yHhxyxd0d_SXpRYKepieXB5MFHi1LdZIsaUi4erJiNRdrtMInCnJAMTOU_EOC4i8b4QYhy1gPuGY52A/s1600/Screen+Shot+2018-03-10+at+21.58.34.png" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="311" data-original-width="497" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIre8QRLKVD6tGPGUsmYExr8XrGUkF9nAnGEQjPji2zs1tq35DV-8uYXGigIP-yHhxyxd0d_SXpRYKepieXB5MFHi1LdZIsaUi4erJiNRdrtMInCnJAMTOU_EOC4i8b4QYhy1gPuGY52A/s400/Screen+Shot+2018-03-10+at+21.58.34.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dawstone ground floor plan from<br />
<i>Built from Below: British Architecture and the Vernacular,</i><br />
(Guillery, Peter, Routledge, 2011)</td></tr>
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Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0tag:blogger.com,1999:blog-9198332407186068564.post-46478896234520680682018-03-04T01:01:00.000-08:002018-03-04T01:01:47.266-08:00The Independent Labour Party, Harold Monro & Arthur Romney GreenThere were numerous lectures at the Independent Labour Party, Haslemere on Kings Road, held in Arthur Romney Green's workshop and showroom. In addition to the Ramsay MacDonald and Joe St Loe Strachey, chaired by the Lord Bishop of Dorking written in a previous post <a href="https://peasant-arts.blogspot.co.uk/2012/11/haslemere-independent-labour-party.html">here</a>, there is a record of Harold Monro giving a lecture.<br />
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Monro (1879-1932), see Wikipedia <a href="https://en.wikipedia.org/wiki/Harold_Monro">here</a>, was a poet and proprietor of the Poetry Bookshop, an influential shop that sold and published poetry in Bloomsbury, London.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz0eZfM3QjybpWktO1BQ_9rThi-kWBq7wFYhqn8ybUNhXu4wOTz4zsdk19Y5i1_dJIlmgRpYC_KVQeTAH907bY8QhZzUs3krjmGi94uhBKezgeeAqZ6GiX8UaoyExzv_7Wmnov8TsgBTk/s1600/Screen+Shot+2018-01-28+at+14.32.18.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="510" data-original-width="349" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz0eZfM3QjybpWktO1BQ_9rThi-kWBq7wFYhqn8ybUNhXu4wOTz4zsdk19Y5i1_dJIlmgRpYC_KVQeTAH907bY8QhZzUs3krjmGi94uhBKezgeeAqZ6GiX8UaoyExzv_7Wmnov8TsgBTk/s400/Screen+Shot+2018-01-28+at+14.32.18.png" width="272" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><i style="text-align: start;">Harold Monro and the Poetry Workshop </i><span style="text-align: start;">(Grant, Joy, University of California Press, 1967)</span></span></td></tr>
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In <i>Harold Monro and the Poetry Workshop </i>(Grant, Joy, University of California Press, 1967), online <a href="https://books.google.co.uk/books?id=F_I6z2zf8tIC&pg=PA7&lpg=PA7&dq=harold+monro+and+the+poetry+workshop+grant&source=bl&ots=29z5oUVgrU&sig=vyPuHZsvmNJD9sHsbuYnHlWnKYU&hl=en&sa=X&ved=0ahUKEwjTxbCN7frYAhUJI8AKHSbzCCcQ6AEIRTAF#v=onepage&q=romney&f=false">here</a>, Grant writes:<br />
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"Through James Guthrie, Monro came into contact with the community of weavers, embroiderers and other craftsmen who inhabited Haslemere at that time, and were trying to conduct their lives on the principles of Ruskin and Morris.<span style="mso-spacerun: yes;"> </span>He was especially friendly with Romney Green, the designer and carpenter, who made superb tables and chairs out of ponderous baulks of oak, and who later supplied the furniture for the Poetry Bookshop.<span style="mso-spacerun: yes;"> </span>‘This rugged, fiery, somewhat intractable yet generous creature’, Arundel del Re writes, ‘loathed all forms of aestheticism and literary cant.’<span style="mso-spacerun: yes;"> </span>He believed, with Whitman, that art was for the regeneration of man.</div>
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"There were thus kindred souls of progressive outlook near at hand, and we hear of Monro going to Haslemere to lecture to the Independent Labour Party there.<span style="mso-spacerun: yes;"> </span></div>
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"…The interior (of the Poetry Bookshop) fulfilled the promise of the outside.<span style="mso-spacerun: yes;"> </span>Monro called in Romney Green to provide bookshelves, tables and settles in his characteristic style – massive but finely proportioned furniture hewn from great baulks of oak.<span style="mso-spacerun: yes;"> </span>It added to the homeliness of the<span style="mso-spacerun: yes;"> </span>shop and with its flavour of <i>rus in urbe </i>suggested the character of the proprietor."</div>
<!--EndFragment-->Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0tag:blogger.com,1999:blog-9198332407186068564.post-11524896596166857662018-03-01T13:58:00.001-08:002018-04-01T13:52:05.768-07:00Why Peasant? Part 2 - the future 3 groups of peasantryThe editorial of <i>The Vineyard </i>(New Series, Christmas 1918) continues in it's explanation of why the movement used the word "Peasant" by explaining about their vision of the future 3 groups of peasantry:<br />
<br />
"This future peasantry will mainly consist of three groups. there will be the land labourers, survivors of centuries of neglect or brutal legislation; and those other survivors - or some of them - from the War. To the first we owe amends for immemorial abuse and neglect, and a share in the earth where they grew our bread under conditions we now shamefully acknowledge. To the second we owe gratitude for immeasurable heroism: and since they took into their sacred flesh the wounds that kept us and our country whole, a foothold in it is surely none too high a reward. - Let us hope that the politician and patriotic landowner are getting ready for the steadily increasing land-hungry crowds of them. - Many of the settlers, being Cockney born, or with a city bent from early days, will not enter fully into their country inheritance; but their children, born in the country, should inherit to the full. But this they certainly will not unless we see to it that they are born into right rich country conditions and not into one of the schemes newly devised for "brightening rural life," where the "Cheapest Cottage Competition," the Cinema and Extension Lecture, as compensation for dung-hill duties, loom so large. The country-born, in right conditions, will not play by proxy, asking for tram or motor to carry him to football or cricket-field or music-hall, where the tired factory hand gapes at the professional whom he pays to express his emotions for him. Traditional country life, being rooted in the vital earth and therefore capable of indefinite growth and enrichment on its own lines, will, as ever, blossom in seasonal festivals and inspire its own arts and games.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkozwvGBMxayxQMlj5bVj1g9YCKWi_pPlZN_XYydKmlLdzR7eQ2BQJSvkiT3AkqrjYUPL4S_NLBZfIKUJW63v0Ee_EbeC-4p20YiktfaVWVENHNZtU2gT-mR0CdaKV5xxcWGX3n4A3Beo/s1600/Screen+Shot+2018-03-01+at+21.19.20.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="395" data-original-width="272" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkozwvGBMxayxQMlj5bVj1g9YCKWi_pPlZN_XYydKmlLdzR7eQ2BQJSvkiT3AkqrjYUPL4S_NLBZfIKUJW63v0Ee_EbeC-4p20YiktfaVWVENHNZtU2gT-mR0CdaKV5xxcWGX3n4A3Beo/s400/Screen+Shot+2018-03-01+at+21.19.20.png" width="275" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">"The sun bonnet"<br />
from <i>Old West Surrey</i><br />
Gertrude Jekyll, Longmans, Green and Co.,<br />
1904</td></tr>
</tbody></table>
To these two groups will be gradually added another; at first in individuals and families, and later, when the pioneers have tackled the first difficulties, in increasing numbers. These are the men and women whom a surfeit a civilisation has left healthily dissatisfied, and who will be peasants by choice, not by birth. Certain of them have money, some are poorer since the war, and all will probably become much poorer still: but by no means is it money or its lack that is going to determine the choice in most cases. Here and there pilgrims from the City of destruction have long ago found salvation in the rigours and joys of land life. With others, the war-time handling of broom and spade has been a bit magical, convincing them that the slavish grind in city office and over-furnished house which the upkeep of snobbery used to demand was sheer waste of life. For them, if it is permissible to misquote Shakespeare in a good cause,<br />
<br />
"Life has suffered a war-change<br />
Into something rich and strange."<br />
<br />
one of the best firsts of poverty being the discovery of the richness and the strangeness of daily life when quit of this silly tyranny and with its face toward adventure. If as parents they will no longer wear themselves out to send boys to Harrow and girls to Roedean, but are content that farm and carpenter's workshop and smithy should widen earlier scholarship, who that knows the Scottish peasantry will fear lest this preclude the better sort of culture?<br />
<br />
In this coming country revival, the Vineyard and the Peasant Arts Guild are ready to play a real if unpretentious part. They will advocate and teach useful and beautiful handicrafts: but to affect the atmosphere in which revival and reform are brought about is still more nearly their concern: to show why the best traditional peasant life is vitally desirable, and why certain thriving social enterprises manifesting themselves in model barracks which radiate through neat public gardens from the vast co-operative factory in their midst (while admittedly less evil than what went immediately before) are <i>not</i> desirable, and are quite incompatible with the building of Jerusalem in England's green and pleasant land.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFUeV9Qu_EqhtBDVKN20m6EvIVBCJ_vASXgngRDgc5XtXSw1GbQnNp3lTM_pRAwv06Oio2-5cW072sQKLgsQq8-m585piCRh-BIvxAvF54rFPlWON4hof4oNrn2Uyd8ocDYJ9CQoTo2CE/s1600/Screen+Shot+2018-03-01+at+21.53.24.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="435" data-original-width="287" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFUeV9Qu_EqhtBDVKN20m6EvIVBCJ_vASXgngRDgc5XtXSw1GbQnNp3lTM_pRAwv06Oio2-5cW072sQKLgsQq8-m585piCRh-BIvxAvF54rFPlWON4hof4oNrn2Uyd8ocDYJ9CQoTo2CE/s400/Screen+Shot+2018-03-01+at+21.53.24.png" width="263" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ticino spinner,<br />
early 1900s postcard, online <a href="https://www.pinterest.co.uk/pin/543387511262147157/">here</a></td></tr>
</tbody></table>
...Beautiful things" that is, good art and craftsmanship, "cannot be had for the asking or learning, but are the natural outcome of healthy conditions and innocent feelings...The love of money is the root of all evil. It made machines and it made the modern manufacturing city. If you are one of their victims, struggling for freedom, do not rest your hope on any possible turn of fortune's wheel which might lift you into the seat and circumstance of your masters. That would make you only ten times more the servants of Mammon. Aim, instead, at something equally remote from the minds of both master and servant, employers and employed. Place what faith you can summon in a new motive for your labour, however distant its realisation may seem to be, in the resurrection of the life you have lost, the birthright of the imagination you have bartered away. Resist the temptations of novelty, luxury, and competition. Make for simplicity and peace, for kindness and enthusiasm, and for those good things which are summed up in the real business and the real delights of country life."Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0tag:blogger.com,1999:blog-9198332407186068564.post-55227199293779662842018-02-25T11:20:00.002-08:002018-02-25T11:21:39.964-08:00Why Peasant? - Part 1 - the Ideal<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifgn6PVWiND3wX1gzw1vlshfknC8ce8KnGXnQbsnbsRGAEKdymtUpkzV_IhVT307U0lFOasaMaT5fiHDujwIQUEJGzk0XpZcJaPaAPCAVUTxBSR6emt4RAye7hXAYK4WTRrhfTawUZLMI/s1600/Screen+Shot+2018-02-25+at+18.52.16.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="711" data-original-width="475" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifgn6PVWiND3wX1gzw1vlshfknC8ce8KnGXnQbsnbsRGAEKdymtUpkzV_IhVT307U0lFOasaMaT5fiHDujwIQUEJGzk0XpZcJaPaAPCAVUTxBSR6emt4RAye7hXAYK4WTRrhfTawUZLMI/s640/Screen+Shot+2018-02-25+at+18.52.16.png" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">from <i>The Vineyard, </i>Christmas 1918</td></tr>
</tbody></table>
The phrase 'Haslemere Peasant Arts' tends to be met with puzzlement and derision, so what does the word peasant mean in this respect? The Peasant Art movement's respect for Tolstoy and Peter Rosegger is a large part of their use of this word I think. In the editorial titled 'Revival' for the New Series of The Vineyard in Christmas 1918, it is explained thus:<br />
<br />
"The word <i>peasant</i> strikes the key note, sets the tune for the whole movement. But there are certain people who while they irresponsibly enjoy and use the fruits of its craftsmanship, still kick against this word. It savours of Arcadian affectation; or it suggests nothing livelier than a drab inarticulate agricultural labourer; or, as another cheerfully asserts, "We <i>have</i> no peasants" ; and therewith an end.<br />
<br />
"The word as we use it is prophetic rather than descriptive of latter-day English fact. We chose it because it creates a desirable atmosphere in which to work, and it holds up an ideal. The peasant as we think of him, and as he is at his best in the less industrial countries and districts, in Norway, Sweden, Brittany, Tuscany, gets the inspiration of his play, his art and his festivals from the same sources as his labour and bread. He is, in the main, a reverent and resourceful being, blest with energies which are not exhausted in his tussle with nature but still run over in singing and dancing and carving nice patterns on the potato bowl or his baby's cradle. So was it with the English peasant in other centuries and that although certain of the conditions of his existence were very cruel. And he made innumerable songs out of his daily life and labour - ploughing, reaping, shearing, lambing, harvesting, courting : songs of such sweetness, pathos and grandeur that a fine musician will travel England over to-day to beg an old labouring man, dying in the workhouse, to sing them to him.<br />
<br />
This being so, it is plain that the quality of the stuff of the peasant's life is of first-rate importance. And now - since the war has so speeded up politics and forestalled our sluggish national evolution that even those people who used to describe the gradual extermination of agriculture by industrialism as "inevitable progress" have been made to understand that a nation cannot live for long without peasantry any more than a tree without roots - it is timely to consider who will be the peasant of the future, and what will be the stuff of their life.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhePdyBONZRucCuZQB_OSiD8eTzLoCU4fYTHHGNGDptgIVNRF_ap_DSFU1OtIIfGUsiu0y_4CSvkpmAvsB1MhcV6oXv-Le9_Qcrb0R3qvaNUz2eX1GkkE6Gjne_hyphenhyphenMuicGFXdxFfj0N1yg/s1600/Screen+Shot+2018-02-25+at+19.17.56.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="485" data-original-width="721" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhePdyBONZRucCuZQB_OSiD8eTzLoCU4fYTHHGNGDptgIVNRF_ap_DSFU1OtIIfGUsiu0y_4CSvkpmAvsB1MhcV6oXv-Le9_Qcrb0R3qvaNUz2eX1GkkE6Gjne_hyphenhyphenMuicGFXdxFfj0N1yg/s400/Screen+Shot+2018-02-25+at+19.17.56.png" width="400" /></a></div>
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For many centuries, but especially since the beginning of the industrial era, all so-called progressive nations have been ill-using those on whom their life depended, the bread-growers; but none have done this so systematically as England. Our folk must have been virile and spirited indeed to quit themselves so bravely as fighters, craftsmen, pageant-players, singers and dancers, in spite of feudalism Tudor tyranny, Game laws, Land laws, Poor laws, and Enclosure Acts. And yet the mediaeval peasant was a freer man than his descendant who sought escape from the worst agricultural conditions in industrialism: at least his hand was the master of his tools, and his outdoor labours were a perennial spring of feeling and fancy. "Out of the ground God made all things grow, including Art." Out of the factory might come smoke, strikes, and ultimately higher wages: but God Himself could not make anything <i>grow</i> there. There the man, the master of tools, became tool of the machine, a hard taskmaster that had no use for his heart, or his hand, except as a slave.<br />
<br />
None the less when we consider the countryman's martyrdom in the eighteenth century, we do not wonder that when a note of hope sounded along the green lanes, only too many of them, now serfs once more, tramped away towards "freedom" among the dark satanic mills. There, in the devitalising or exciting air of factory work and city crowd, the rustic lost his creativeness, his energy for personal play; he blurred his type and forgot his songs. With those of his kin who stayed behind life went hardly enough. But here and there among the older folk to-day - in their racy talk, their stoicism, their hedgerow thrifts and humours, their exquisite skill in the arts of thatching, huddle-making, hedge-binding, etc. and among the very young children, too, before the town-made schools have drilled them into uniform clerk hood - we get the gleam and grit of a once great peasantry. <br />
<br />
And now the world's war - the fine flower and logical result of mechanical civilisation - has in four short years rushed the race nigh such ruin as the slower, surer processes of industrialism in peace time could have accomplished only one or two more generations. we still have a population of swarming millions, indeed: but out of that incomparable rally of devoted youth and vigour, beauty and genius, who went into the war, comparatively few have lived long enough to hand on life to children. This sudden almost irreparable loss it is, rather than the slow attrition of industrialism, that has shocked the sleepiest awake to the urgent need of national repairs, as well for the body as the soul, in the re-planting of peasantry.<br />
<br />
<br />Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0tag:blogger.com,1999:blog-9198332407186068564.post-47552003879230608292018-02-17T09:55:00.000-08:002018-02-17T09:55:34.781-08:00Godfrey Blount in Kirtlington, 1894-5<div class="separator" style="clear: both; text-align: left;">
<i>Kelly’s Directory of Oxford</i>, 1895 records Blount living in Nutlands,
Kirtlington. Blount was elected as a member of the Kirtlington Parish Council 1894, as written in my previous post <a href="https://peasant-arts.blogspot.co.uk/2014/10/godfrey-blount-kirtlington-parish.html">here</a>. This is a Grade II listed
building on Bletchingdon Road (OX5 3HF) which is now converted into flats. The building is described by British Listed Buildings (<a href="https://www.britishlistedbuildings.co.uk/101046538-nutlands-kirtlington#.WmzhsrZ0dR0">here</a>) as:</div>
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“House. c.1830 with later additions. Coursed squared
limestone and some brick; Welsh-slate roofs with brick gable stacks. Probable central-stair plan with
rear ranges. Regency style. 2 storeys. Symmetrical 3-window front has large 12-pane sashes flanking a central half-glazed door and, at first floor, has smaller 12-pane sashes linked by an ashlar sill band which returns around the gable<br />
ends. A hipped-roofed slated verandah extending across the front has ornamental trellis panels including segmental arches in front of the windows. Interior not inspected." <o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0KP0wQXhftZZrOzUrjhIdNGMwdb1oADPdalrLd3yBCclLI2HGF12HYnvv72QSNu-rkkx_LGPU3cr06np4cfNo_fSmypN4YndWAFCr2PBhsf8BhZX1TAMvAbgqOszIUTEi4wEZcwLxHk8/s1600/Screen+Shot+2018-01-27+at+20.29.15.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="219" data-original-width="403" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0KP0wQXhftZZrOzUrjhIdNGMwdb1oADPdalrLd3yBCclLI2HGF12HYnvv72QSNu-rkkx_LGPU3cr06np4cfNo_fSmypN4YndWAFCr2PBhsf8BhZX1TAMvAbgqOszIUTEi4wEZcwLxHk8/s400/Screen+Shot+2018-01-27+at+20.29.15.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nutlands, Kirtlington, Oxford,<br />
home of Godfrey Blount 1895</td></tr>
</tbody></table>
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The first reference to Blount’s work that I have found is in
<i>Studio International </i>(No. 13, April 1894) "A chest with panel in repousse work,
is one of an admirable series of similar work by Mr Godfrey Blount, of Kirtlington,
Oxford.<span style="mso-spacerun: yes;"> </span>From the photographs we have
seen it is possible to speak very warmly of the quality of Mr Blount’s work,
especially the proportion of the framing and the massing of the ornamental
details, without injury to the dignity on the whole. <span style="mso-spacerun: yes;"> </span>It is so easy to fritter away the effect of
decoration by too ornate adjuncts, that this reticence deserves commendation.”<o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyoyTEBId1oPM_yFnCjWg9xkrNv5zPlm60EcBVyAlLmUtXGL5nkfnsiezy8yhQ6yiSCOKQghalcWjQ0ycoWqkgodYJNlukP4Kk0r2zA3Ilmtki_pz2HfQ_jcDUHX_Eoib1mlqmoH8EZcM/s1600/Screen+Shot+2018-01-27+at+20.29.30.png" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="201" data-original-width="287" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyoyTEBId1oPM_yFnCjWg9xkrNv5zPlm60EcBVyAlLmUtXGL5nkfnsiezy8yhQ6yiSCOKQghalcWjQ0ycoWqkgodYJNlukP4Kk0r2zA3Ilmtki_pz2HfQ_jcDUHX_Eoib1mlqmoH8EZcM/s400/Screen+Shot+2018-01-27+at+20.29.30.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Chest with panel in repousse work by Godfrey Blount<br />
<i>Studio: International art </i>(No. 13, April 1894)</td></tr>
</tbody></table>
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<!--EndFragment-->Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0tag:blogger.com,1999:blog-9198332407186068564.post-32653372059705877452018-02-11T15:00:00.000-08:002018-02-11T15:00:01.347-08:00Peasant love-songsMary Mudie wrote in <i>The Vineyard</i> in May 1914 the lead article entitled 'The Woman's Part in Peasant Life'. This was the write-up of an "address given before the Peasant Arts Fellowship, March 11, 1914". In this article, Mudie states:<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH31KXAZ1hn8DFstIom8ZdBqNDydlNcpoCuDAx2xx8jBXvcWGqMIOOwzBdCgLViTtCaVx6Cj3GQahjR0uQvOWy0rVYHj9F9YbwLSeCFqEe6Y4zWEpjvGP8Q71fwWvxCtRmY-E_6C4qLxU/s1600/Screen+Shot+2018-02-11+at+13.12.27.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="395" data-original-width="346" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH31KXAZ1hn8DFstIom8ZdBqNDydlNcpoCuDAx2xx8jBXvcWGqMIOOwzBdCgLViTtCaVx6Cj3GQahjR0uQvOWy0rVYHj9F9YbwLSeCFqEe6Y4zWEpjvGP8Q71fwWvxCtRmY-E_6C4qLxU/s400/Screen+Shot+2018-02-11+at+13.12.27.png" width="350" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Spine design from<br />
<i>The Vineyard</i></td></tr>
</tbody></table>
"The position and influence of women in any country, it seems to me, may best be shown by its love-songs, because they reflect man's ideal of womanhood. Tried by this test Italy would stand high, for her love-songs set woman on a throne, and they are true folk-songs made by the people. Women may well bear themselves with dignity whose lovers court them in such home-made lyrics as those sung among the Tuscan hills. One begins:<br />
<br />
<div style="text-align: center;">
<i>O shining star! O soul serene and mild,</i></div>
<div style="text-align: center;">
<i>I trust to make with thee a lasting peace ....</i></div>
<div style="text-align: center;">
<i><br /></i></div>
<div style="text-align: left;">
and the lover goes on to describe her gentle manner and lovely ways, and the speech so sweet and so noble that the birds stop their singing, the river its flow to listen to her words.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Even the best translation fails to render the simple yet exquisite music of the originals, but in her <i>Folksongs of the Tuscans Hills, </i>lately published, Miss barrack's translations may give some idea of the peasant woman as her lovers and her neighbours see her. In one of the <i>Fiori</i> a little maid says to her lover:</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<i>Nettle flower fair!</i></div>
<div style="text-align: left;">
<i>Please do not mind my dress that is threadbare;</i></div>
<div style="text-align: left;">
<i>It is not in the clothes that Love doth dwell,</i></div>
<div style="text-align: left;">
<i>It is within the heart, - thou knows well.</i></div>
<div style="text-align: left;">
<i><br /></i></div>
<div style="text-align: left;">
His answer is:</div>
<div style="text-align: left;">
<i><br /></i></div>
<div style="text-align: left;">
<i>For riches, O Sweetheart, I'd love thee ne-er,</i></div>
<div style="text-align: left;">
<i>Not if three mountains all of gold were thine;</i></div>
<div style="text-align: left;">
<i>But for thy lovely looks, thy manners fair:</i></div>
<div style="text-align: left;">
<i>Thy nobleness is worth a Duchy old,</i></div>
<div style="text-align: left;">
<i>A pearl thou art that's threaded in the gold:</i></div>
<div style="text-align: left;">
<i>Thy nobleness is worth a treasure found,</i></div>
<div style="text-align: left;">
<i>A pearly thou art upon a golden ground.</i></div>
<br />
Sometimes it is the lover who regrets his poverty; he sings:<br />
<br />
<i>I'm born in poverty and have no claim</i><br />
<i>To court a maid so noble and so bright</i><br />
<i>For poverty indeed spoils every aim.</i><br />
<i>I've set myself upon too great a height.</i><br />
<i>Yet </i>gentlehood<i> I have in seeking thee,</i><br />
<i>So thou - for poverty dismiss not me.</i><br />
<i><br /></i>
<i>What is her answer?:</i><br />
<i><br /></i>
<i>How many folks there be who wed for wealth!</i><br />
<i>But he can work for goods who has good health,</i><br />
<i>Our goods they come and go as doth the wind -</i><br />
<i>What use for them without content of mind?</i><br />
<i>Riches! they, like the sea, return, depart.</i><br />
<i>What use for them without content of heart?</i><br />
<i><br /></i>
When he has to go away to work he tell:<br />
<br />
<i>When from my village late I did depart,</i><br />
<i>Weeping I bade my love farewell - but she,</i><br />
<i>Who is most noble, courteous of heart,</i><br />
<i>Held me to ask when my return should be.</i><br />
<i><br /></i>
<i>And I made the answer with such words as these:</i><br />
<i>My coming back shall be when God doth please -</i><br />
<i>And I made answer with humility,</i><br />
<i> The coming back shall be unless I die - </i><br />
<i>And I made answer with these words of faith,</i><br />
<i>The coming back shall be - unless for Death.</i><br />
<i><br /></i>
She, grieved at his tears, tries to keep up his courage and says:<br />
<i><br /></i>
<i>Be happy, love, and if you needs must leave,</i><br />
<i>Do not take gloom upon you heart for load.</i><br />
<i>See! if I knew it 'twould be mine to grieve</i><br />
<i>That sadly you should go along your road.</i><br />
<i>By all means go - and quickly come again.</i><br />
<i>Leave sighing unto me - who must remain.</i><br />
<i><br /></i>
That is how the lover thinks of his girl; she is gentle, noble and courteous; she is to be the high white column of his home, and he longs for the day when he shall bring her, as the peasant custom is, to his father's house:<br />
<br />
<i>O! when will that one day of glory come</i><br />
<i>When softly thou shalt mount my stair and stand</i><br />
<i>With all thy brothers round thee in our home!</i><br />
<i>I shall be first to take thee by the hand.</i><br />
<i>O when will come, Sweetheart, that glorious day</i><br />
<i>When to the priest we go, our </i>yes<i> to say.</i><br />
<i><br /></i>
Long after they are married he still sings to the wife of many years, how she is like an olive tree which sheds its fruit but keeps its silver leaves; like the sea which winds and waves may trouble, but which keeps its level, however much rain may fall; she is like the tender grass of spring that every day grows lovelier to the sight."Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0tag:blogger.com,1999:blog-9198332407186068564.post-49306771133413090342018-02-11T05:15:00.001-08:002018-02-11T05:15:45.896-08:00Haslemere Peasants & the Appleton's weaversI have been unable to find any direct reference between the Haslemere Peasants weaving on Kings Road, Haslemere and the manufacture of braid a few hundred metres further down the road at Appleton's, Sickle Mill, Sturt Road. It would be remiss not to mention this similar manufacturing industry taking place in Haslemere at the same time as the Haslemere Peasant Industries.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH5LJjEBeV2U3pBfqdHPJ1Cqy4WSP4iombjtfbmu1eCHuTaVmwuO4aJRLSPNVc8Bk-QW0nq7G9PCFSkTJjexCOsSwyRHTrx3Kb2AlXX07cR0__ss_KEMB4uUk1wjgZwKA-kaYLSLKm7TM/s1600/Screen+Shot+2018-01-27+at+16.58.12.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="382" data-original-width="517" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH5LJjEBeV2U3pBfqdHPJ1Cqy4WSP4iombjtfbmu1eCHuTaVmwuO4aJRLSPNVc8Bk-QW0nq7G9PCFSkTJjexCOsSwyRHTrx3Kb2AlXX07cR0__ss_KEMB4uUk1wjgZwKA-kaYLSLKm7TM/s400/Screen+Shot+2018-01-27+at+16.58.12.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Appletons, Sturt Road and the Haslemere Peasant Industries, Kings Road, <br />
Haslemere, an 8 minute walk apart (Google Maps)</td></tr>
</tbody></table>
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Appleton's mill in Haslemere would have been long established before the Haslemere Peasant movement began. It's existence and proximity to the Haslemere Peasant Industries on Kings Road would have been known to the Kings and Blount's, and I wonder what part that knowledge played in their decision to establish a Weaving House and Tapestry Studio on Kings Road? The journey between the two sites is 8 minutes on foot (according to Google Maps), and at the time there were no recorded buildings between them.<br />
<br />
Kelly's Directory of Kent, Surrey & Sussex 1891 (p.211, online <a href="http://specialcollections.le.ac.uk/cdm/ref/collection/p16445coll4/id/167114">here</a>) stated that "the principle trade or manufacture of the place (Haslemere) is hoop making." Kelly's 1913 Directory, the next one I can find online, records a dramatic increase in the town and that the principal trades are "brick and tile making and the makings of braid, bindings and cord etc." The reference to braid, bindings and cord being a reference to Appletons and not to the Haslemere Peasant Industries.<br />
<br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihkCfX0OzUleBOAeU4QpfvOfkZFOlfb3_uTrEttak33szAYyX7FoQk6lR2M7dBkKOjFiSP020DmeyUoZrXj-WDH15zgCKSv1-BPPsogfOcY0BM7QBaaRnvhCHqU0Bs8YEmu3TWBqhkzk0/s1600/Screen+Shot+2018-01-27+at+17.10.43.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="390" data-original-width="495" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihkCfX0OzUleBOAeU4QpfvOfkZFOlfb3_uTrEttak33szAYyX7FoQk6lR2M7dBkKOjFiSP020DmeyUoZrXj-WDH15zgCKSv1-BPPsogfOcY0BM7QBaaRnvhCHqU0Bs8YEmu3TWBqhkzk0/s400/Screen+Shot+2018-01-27+at+17.10.43.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Military braid, perhaps similar to braid that was manufactured at Appletons,<br />
Sickle Mill, Haslemere c.1900</td></tr>
</tbody></table>
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The Shottermill Scrapbook records “Mrs Dunce died in 1944,
at the age of 95.<span style="mso-spacerun: yes;"> </span>It is interesting to
recall that in her young days, she was employed by Mr Appleton, at Sicklemill,
where he carried on a mill for making braid for soldiers uniforms and for making
wick for candles.<span style="mso-spacerun: yes;"> </span>It is believed that at
one time, this was the only mill in the country making this braid, and in Mrs
Dunce’s time, a good many people were employed there.<span style="mso-spacerun: yes;"> </span><o:p></o:p><br />
<span style="mso-spacerun: yes;"><br /></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOVTigxrji7IvVrMbBeISJ7ET3YWDQ-Ze0GQAOKX5kfeLY5TzToPY8csFfUzG7UJXJjSChsOF-mDjRMpNBskwFgJzGHUt8gBl36EqiR1L8CDG7XYbkvCLIaFebicNuOhfZlq-RrtAVT_Q/s1600/Screen+Shot+2018-02-11+at+13.11.29.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="510" data-original-width="389" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOVTigxrji7IvVrMbBeISJ7ET3YWDQ-Ze0GQAOKX5kfeLY5TzToPY8csFfUzG7UJXJjSChsOF-mDjRMpNBskwFgJzGHUt8gBl36EqiR1L8CDG7XYbkvCLIaFebicNuOhfZlq-RrtAVT_Q/s640/Screen+Shot+2018-02-11+at+13.11.29.png" width="488" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Plaque outside Sickle Mill,<br />
Sturt Road, Haslemere</td></tr>
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“Sicklemill was a paper mill in 1762, and passed into the
Appleton family at the beginning of the 19<sup>th</sup> century.”<span style="mso-spacerun: yes;"> </span>(Haslemere Society website, online <a href="http://www.haslemeresociety.org/uploads/1/0/3/8/10380361/shottermill_scrap_book.pdf">here</a>)
<o:p></o:p></div>
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<br /></div>
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Winter and Collyer record that “Sickle Mill was owned by
James Simmons who made paper there until 1870.<span style="mso-spacerun: yes;">
</span>Through the second half of the century Henry and Thomas Appleton
manufactured braid for decorating military uniforms….Messrs Appleton, who also
manufactured braid at Elstead, sold Sickle Mill at auction in 1911.” (Around
Haslemere and Hindhead in Old Photographs, Alan Sutton Publishing, 1991).<o:p></o:p><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7Snu6_e_qXuVy6H6VzOyi1nc3eDdcJGHzz_wIC1-anuIVn9CklH8KxSL3haZ1k1iw1YHi1cSObZvO-5SDBCEsLzSY70bX5Qg3XcJOJSKmRo-AjzdS5xVOt-mBUqsclIz5QtcEuRG2GP4/s1600/Screen+Shot+2018-01-27+at+16.46.47.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="342" data-original-width="648" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7Snu6_e_qXuVy6H6VzOyi1nc3eDdcJGHzz_wIC1-anuIVn9CklH8KxSL3haZ1k1iw1YHi1cSObZvO-5SDBCEsLzSY70bX5Qg3XcJOJSKmRo-AjzdS5xVOt-mBUqsclIz5QtcEuRG2GP4/s400/Screen+Shot+2018-01-27+at+16.46.47.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Sickle Mill (Winter & Collyer, Around Haslemere and Hindhead in Old Photographs,<br />
Alan Sutton Publishing Limited, 1991)</td></tr>
</tbody></table>
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The industry was described as “the manufacture of worsted
lace and epaulettes for the trimming of military uniforms” by S<i>urrey’s
Industrial Past</i> (online <a href="http://www.sihg.org.uk/books/SurreyIndPast5.pdf">here</a>).<span style="mso-spacerun: yes;"> </span>The Appleton family of father Henry and son
Thomas from London first set up machinery for spinning and weaving in Pitfold
Mill, Haslemere in 1835, a mill owned by James Simmons, a local
papermaker.<span style="mso-spacerun: yes;"> </span>Thomas Appleton moved to
nearby Elstead and began manufacturing there in an old corn mill.<span style="mso-spacerun: yes;"> </span>In 1851 Thomas Appleton, then 35, was described
in the census as “master manufacturer of small ware employing 100 hands”.<span style="mso-spacerun: yes;"> </span>In 1854 he bought Sickle Mill from Simmons. <span style="mso-spacerun: yes;"> S<i>urrey's Industrial Past</i></span><i> </i>reports that the firm left the district
in the 1880s.<span style="mso-spacerun: yes;"> </span>By contrast Winter and Collyer
report that Appleton bought Sickle Mill c.1870 and sold the mill in 1911. However Kelly's Directory in 1913 records a John B. Appleton, surely a relative of Henry and Thomas, residing at Sickle Mill.<o:p></o:p><br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjYDeSTOjcD566w1fsE4eR-4nSHdiza5H7rUlkBi0WHXU9T0V9n8CcI6nu4BavcpBYBk-KcehTwVjidMMTAidhgZC_vbgLvqJEq9ruG4eD04cws-v4hh7wW1V8QiAmdNXr5rVDDIoJ0A4/s1600/Screen+Shot+2018-01-27+at+16.48.18.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="360" data-original-width="1031" height="138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjYDeSTOjcD566w1fsE4eR-4nSHdiza5H7rUlkBi0WHXU9T0V9n8CcI6nu4BavcpBYBk-KcehTwVjidMMTAidhgZC_vbgLvqJEq9ruG4eD04cws-v4hh7wW1V8QiAmdNXr5rVDDIoJ0A4/s400/Screen+Shot+2018-01-27+at+16.48.18.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px; padding-top: 4px;">Sickle Mill today, from Google Maps</td></tr>
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<span style="background-color: white;"><span style="font-family: "times" , "times new roman" , serif;">Appletons is still in business today! A few years ago I got in touch with Diana Cawdron, the current owner, to see if she had any information to share, unfortunately she had none and explained "I bought the company in March 2013 and it had been in the family for 180 years. Very little of the company history was preserved but I do know that it was very involved in military uniforms such as embroidery and goldwork so I’m sure there would have been braiding too. I met an elderly lady whose mother as a girl had made plumes and cockades for military hats for Appletons. Unfortunately I have no record of connection to Haslemere. When we took over the company was reduced to selling only tapestry wool and was based in Chiswick and Epsom."</span></span><br />
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<span style="background-color: white;"><span style="font-family: "times" , "times new roman" , serif;">Looking at their website today, it is interesting to read that Appleton's recently provided the tapestry wool for completing the missing sections of the Bayeux Tapestry! I wish the continuation of the firm every success.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_BzTb2RfsiseqKTbAexbMqt2PJqSiqzlStJbAqchoOzInEEXTd1iz0R_hjWJcJXFvmcTOGT_iYNAi6B5gkhzfXKkjRRKioSvR0gBcIh0C0FHGENg62Lnf3ILqW86krI_K1YyQpVu4PAc/s1600/Screen+Shot+2018-01-27+at+16.41.47.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="199" data-original-width="941" height="82" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_BzTb2RfsiseqKTbAexbMqt2PJqSiqzlStJbAqchoOzInEEXTd1iz0R_hjWJcJXFvmcTOGT_iYNAi6B5gkhzfXKkjRRKioSvR0gBcIh0C0FHGENg62Lnf3ILqW86krI_K1YyQpVu4PAc/s400/Screen+Shot+2018-01-27+at+16.41.47.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">from Appleton's website <a href="http://www.appletons.org.uk/appletons-wool-in-action/">here</a></td></tr>
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<span style="background-color: white;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></div>
Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0tag:blogger.com,1999:blog-9198332407186068564.post-89581733164302532212018-02-10T14:47:00.003-08:002018-02-10T14:47:39.335-08:00Tolstoy Frontispieces in The Vineyard, 1911In Volume 1 of <i>The Vineyard,</i> two of the frontispieces illustrations on January 1911 and February 1911, a photographs of Tolstoy. The photos are both credited as having been taken by V. Tchertkoff. In my previous posts I had written about the links between Tchertkoff and Godfrey Blount (here), and Greville MacDonald (here). <br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_G9ZoDTqXATFxiX-wHs_LYkRT8fZUU-ToHkTvJky5Tb5fephzkZr6tibO6bQnGtXvx7usXA-Vu9R6fGoaNzEKIZOBc5JEpTS_EfHqy-W2BE6TtkEvNKcz7Q5sQEfkcqCELTXrvASLh1Y/s1600/Screen+Shot+2018-02-10+at+22.07.55.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="676" data-original-width="438" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_G9ZoDTqXATFxiX-wHs_LYkRT8fZUU-ToHkTvJky5Tb5fephzkZr6tibO6bQnGtXvx7usXA-Vu9R6fGoaNzEKIZOBc5JEpTS_EfHqy-W2BE6TtkEvNKcz7Q5sQEfkcqCELTXrvASLh1Y/s640/Screen+Shot+2018-02-10+at+22.07.55.png" width="412" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Autographed specially for the Editor of <i>The Vineyard,<br />Frontispiece, The Vineyard,</i> January 1911<br /></td></tr>
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In the January 1911 frontispiece the signed photograph of Leo Tolstoy is described as specially written for the editor, it is dated over two years earlier, August 1908. I had first assumed that this meant Maude Egerton King who is described as being the editor of <i>The Vineyard</i>, but I think that Maude was not the editor of <i>The Vineyard</i> at this point. The November 1910 issue (also in Volume 1) for example has the editorial 'The Withered Hand', the editorials are not attributed, but 'The Withered Hand' by Greville MacDonald is No.4 of the Peasant Arts Guild Papers. <br />
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In the January 1911 issue of <i>The Vineyard</i> MacDonald has an article titled 'Tolstoy', to commemorate the life of Tolstoy after his death in November 1910. MacDonald writes:<br />
<br />
"In <i>The Slavery of our Times</i> Tolstoy puts the truth about industrialism with a power that not even Ruskin has reached..But what has Tolstoy done for the World? Neither reformer nor specialist, philosopher nor theologian, he has yet stirred the world's heart to know itself and to seek more life. He has pleaded, as no man we can recall ever pleaded before, for submission the ancient sources of life: Love which brought it to pass, which teaches it through joy and sorrow; and Truth which fed it from the breasts of inspiration that it might wax strong into manhood and come back home. Man's home is the Kingdom of Heaven; joy in life in his inheritance. Not by politics or riches or conquests will that kingdom come. It lies waiting within; for Love and Truth alone hold man to man and all to God.<br />
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"The Prophet is taken from us."<br />
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The loss of Tolstoy continues to be marked in the February 1911 edition of <i>The Vineyard</i> as Tolstoy again has the frontispiece and the quote below states "If I say, really meaning it in my heart: 'Thy will be done, as in heaven, so on earth,' i.e. both in the temporal life and in the life everlasting, I need neither confirmation nor any proofs of immortality. Live by that part of your soul which is conscious of being immortal, not fearing death. This part of the soul is Love.'"Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0tag:blogger.com,1999:blog-9198332407186068564.post-29471359741967017792018-02-10T08:32:00.000-08:002018-02-10T08:32:17.967-08:00Christ and Machinery by Greville MacDonaldGreville MacDonald's article 'Christ and Machinery' was the lead article in <i>The Vineyard, </i>February 1912. The reference to the factory and power-looms were of particular interest to me.<br />
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"At first sight the different between this age and all others seems great, because now clever and powerful men have set up something between the poor and themselves to save their consciences: they have machinery. They no longer compel the multitudes to till their lands and fight their battles; their machines, whether power-looms or Government offices, do the enslaving for them. The weaker and poorer people are quite as much benefited, they assure us, as themselves; for they also have lost their simple independence along with all the simple art and, like the mighty in their seats, are become salves to complex mechanic contrivance. The poor now, like the rich, have won an inheritance of parasitism, and find it almost as hard as the rich man to enter into the Kingdom of Heaven...<br />
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<tr><td class="tr-caption" style="text-align: center;">design by Godfrey Blount,<br />The Vineyard, Feb 1912</td></tr>
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"Will the world never understand why it is so hard for the rich man to reach Jerusalem, whose fields he sows with dragon's teeth, whose portals he fortifies with blast furnaces, whose harbours he guards with Dreadnoughts, whose empyrean he curtains with nebulous filth - all, lest himself get access to the joy within? Christ's message concerns the sleeping birthright of man's own humanity, the gifts of his divinity that set him free from the dominance of those very things, all of which shall be given into his hands when his spirit is inspired by love, worship, humbleness, so that he can use them and not be enslaved by them. The Grace of God cannot be other than this gift of the Truth that makes us free. It deals with the ancient simplicities of life - service, sacrifice, forgiveness - the things that count neither the cost nor the reward - the things that must be true, must be served, must be submitted to, just because they are the Christ in us, the only way, the real nature of man.<br />
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"The rich man, dependent upon slaves, money, machines, to save him from labour and service, can hardly enter the Kingdom of Heaven, because that Kingdom is the consummation of the natural divine Life which he despises and crucifies. And now the poor factory hand has not much more chance, because in him also he natural divine life - the way of Christ - even though he would still serve whom he loves, is starved and may die. Christ's message to-day, as it was nineteen hundred years ago, is this, that the slave, be he rich or poor, cannot find place in this Kingdom, just because he would starve there. Either we have never known what that message meant, or with open eyes we do actually uphold those machine-systems of art and thrift, government and scholarship, charity and peace, which, in exact proportion to their efficiency, plot for the final humiliation of Christ in more success than even Judas Iscariot in his greed or Pontius Pilate in his smith could encompass.<br />
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"But the Resurrection is eternal."Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0tag:blogger.com,1999:blog-9198332407186068564.post-48308256820168310852018-02-10T05:57:00.000-08:002018-02-10T05:57:31.704-08:00Greville MacDonald & Vladimir ChertkovI have explored Arthur C. Fifield's links with Vladimir Chertkov (in my previous <a href="https://peasant-arts.blogspot.co.uk/2018/02/arthur-c-fifield-godfrey-blounts-friend.html">post</a>), Fifield being Godfrey Blount's publisher and joint beneficiary in Blount's will. Greville MacDonald writes about also knowing Tchertkoff (Chertkov). MacDonald gives more accurate details of Chertkov's exile from Russia, and provides an interesting insight into the Tuckton House colony. In <i>Reminiscences
of a Specialist </i>(1932) he recalls:<br />
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“(A)musing, if no more profitable, were my adventures in
comradeship with the Tolstoyans, and my intimacy with Vladimir Tchertkoff,
Tolstoy’s greatest friend, with whom, it will be remembered, that mighty,
unstable intransigent finally left his home to die.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Vladimir Chertkof,<br />
from <a href="https://commons.wikimedia.org/wiki/File:Vladimir_Chertkov.jpg">Wikipedia </a></td></tr>
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Once an officer in the Russian Imperial Guard, Tchertkoff
had been exiled for publishing a defence of that sect of Dukhobors which
claimed to follow literally, in social and individual conduct, the Christian
Beatitudes.<span style="mso-spacerun: yes;"> </span>Tchertkoff had to choose
between Siberia for a number of years and permanent exile with confiscation of
his estates.<span style="mso-spacerun: yes;"> </span>He preferred the
latter.<span style="mso-spacerun: yes;"> </span>His mother, however, was wealthy
and, though an “evangelical,” was, I take it, the support of that delightfully
absurd community of multifold dissentients, whether Siberian criminals, or
English extremists, which her son established and autocratically
controlled.<span style="mso-spacerun: yes;"> </span>I was happy in meeting this
lady once when on a visit to London.<span style="mso-spacerun: yes;"> </span>She
seized the opportunity for imploring me to rescue her son from his
free-thinking and the inevitable “wrath to come.”<span style="mso-spacerun: yes;"> </span>I tried to show her that, so far from being
an unbeliever, he was, in his own domain (known as Tuckton House, Christchurch,
Hants) following Christ’s teachings, even if he could not accept Church
dogmas.<span style="mso-spacerun: yes;"> </span>And I think she was in a measure
comforted.”<o:p></o:p></div>
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MacDonald describes visiting Chertkov at
Tuckton House, Christchurch: <o:p></o:p></div>
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“his religion was only ethical; and his numerous guests and
dependants had to repudiate all the customs and conventions generally thought
necessary to social happiness.<span style="mso-spacerun: yes;">
</span>Vegetarians and teetotallers they <i style="mso-bidi-font-style: normal;">must</i>
be.<span style="mso-spacerun: yes;"> </span>All were equal, so long as they did
not entertain theories that clashed with their host’s.<span style="mso-spacerun: yes;"> </span>The only person unshackled by this
non-conformity was Madame Tchertkoff.<span style="mso-spacerun: yes;">
</span>She had her boudoir, tastefully furnished, and a grand piano at which
she would gloriously sing to me passionate Russian peasant-songs.<span style="mso-spacerun: yes;"> </span>She took her meals alone, and, her invalidism
unquestioned, was allowed animal food.<span style="mso-spacerun: yes;">
</span>The rest of us, English guests or Siberian refugees, of whom there was a
constant influx, fed in the kitchen.<span style="mso-spacerun: yes;">
</span>Each filled his own plate from a dish of beans or the huge bowl of
vegetable soup which the cook constantly replenished from her stock-pot.<span style="mso-spacerun: yes;"> </span>The deal table was bare but clean.<span style="mso-spacerun: yes;"> </span>Yet the knives and forks needed no ill-bred
inspection to discover blemishes not quite insignificant.<span style="mso-spacerun: yes;"> </span>Nor was it obligatory to use those
substitutes for fingers: indeed, my host’s son – a lad of sixteen, enthusiastic
for Reform and the New Art – sucked his soup from the bowl with gibbous lips,
and so audibly offensive was his eating that I saw the wisdom of an evolutional
improving upon Nature’s providings.<o:p></o:p></div>
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“At my first meal I was certainly out of my element.<span style="mso-spacerun: yes;"> </span>While Vladimir Tchertkoff was lavish of his
transcendental philosophy, grandly and simply maintained, he failed to see that
I, too conventional to reach across my fellow-guests and grab at the beans, got
nothing to eat.<span style="mso-spacerun: yes;"> </span>Yet the cook,
fortunately English, understood my difficulty and kept me supplied.”<o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1qT0SpQORINmJFnWJAWtiy0jEfrx4xYjenvIjxfSeiZlIaUGqX2WkbzmtQA7pRBl7L-YKMoU3P5H4PPwpTO3-iPCxg3BjbwM9JIxMsJy0kMqRz8YPGvIKIZpuLVS-JlsNhikQpf2i-lA/s1600/Screen+Shot+2018-02-03+at+16.15.29.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="622" data-original-width="421" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1qT0SpQORINmJFnWJAWtiy0jEfrx4xYjenvIjxfSeiZlIaUGqX2WkbzmtQA7pRBl7L-YKMoU3P5H4PPwpTO3-iPCxg3BjbwM9JIxMsJy0kMqRz8YPGvIKIZpuLVS-JlsNhikQpf2i-lA/s640/Screen+Shot+2018-02-03+at+16.15.29.png" width="432" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tolstoy & Chertkov<br />
from <a href="https://www.pinterest.co.uk/pin/139541288434516012/">Pinterest</a></td></tr>
</tbody></table>
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MacDonald then describes giving a speech to a group that
evening and feeling like “a fish out of water.<span style="mso-spacerun: yes;">
</span>My subject was “The Evolution of Religious Instincts.”<span style="mso-spacerun: yes;"> </span>Tchertkoff was in the chair.<span style="mso-spacerun: yes;"> </span>One of the audience rose while I was still speaking,
and asked, in a voice trembling with passion, how I dared tell rationalists
like themselves things I knew to be false.<span style="mso-spacerun: yes;">
</span>But the chairman smoothed away all friction with his tactful
eloquence…Later, my friend almost quarrelled with me, and his liking
waned.<span style="mso-spacerun: yes;"> </span>For in a subsequent talk, so
strenuously did I uphold the need to man of a personal God – not merely the
concept of God – if our religion was to help us through the anguish of life for
which He was responsible, that Tchertkoff’s philosophic anger, like the
working-man’s at the lecture, was set blazing.<span style="mso-spacerun: yes;">
</span>Then I remembered what the knout had been to my friend’s forefathers,
and was glad not to be a Russian peasant….”<o:p></o:p></div>
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Greville writes “For at Tuckton he had installed a
printing-press; and the colony’s chief business was the reissue of Tolstoy’s
works on thinnest Indian paper.<span style="mso-spacerun: yes;"> </span>With the
Russian’s marvellous instinct for circumventing the law, my friend smuggled
into his beloved land millions of these censored books, distributing them among
the peasantry as free gifts.<span style="mso-spacerun: yes;"> </span>He even
wanted to translate and similarly issue my own little book on <i style="mso-bidi-font-style: normal;">The Religious Instinct</i>, and he
autocratically bowdlerized it for copy.<span style="mso-spacerun: yes;">
</span>But after our quarrel the matter was dropped…<o:p></o:p></div>
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“With Tchertkoff all life was sacred: we had no more right
to destroy even the humblest inhabitant than, say, the Czar had any right to
compel his subjects to kill his enemies.<span style="mso-spacerun: yes;">
</span>The subject cropped up at breakfast after the first occasion when I
addressed his followers.<span style="mso-spacerun: yes;"> </span>It had a
peculiarly personal interest for me, because a lively fellow-creature, with
convictions of its right to live upon others – hitherto Siberian convicts – had
chosen to share my bed and deny me sleep.<span style="mso-spacerun: yes;">
</span>Without, of course, hinting at my discomfort, I asked my host if he
would have any compunction in circumventing a flea’s interference with a
child’s rest.<o:p></o:p></div>
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<br /></div>
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“Yes,” he replied in measured emphasis, “and no! for we
never kill even an insect.<span style="mso-spacerun: yes;"> </span>But in such a
case, I certainly catch the innocent thing – and I have satisfied myself that a
finger-and-thumb’s grip doesn’t damage or even hurt it.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“And then?” I asked<o:p></o:p></div>
<div class="MsoNormal">
“We keep a match-box, with a perch conveniently fixed, and
carefully put the flea in it.<span style="mso-spacerun: yes;"> </span>In the
morning we set it free in the garden.”<o:p></o:p></div>
<div class="MsoNormal">
“But it’s <i style="mso-bidi-font-style: normal;">not </i>a
vegetarian,” I objected.<o:p></o:p></div>
<div class="MsoNormal">
To which there was no response, unless this question
sufficed:<o:p></o:p></div>
<div class="MsoNormal">
“But have you seen my son’s poultry yards?”<o:p></o:p></div>
<div class="MsoNormal">
I was then conducted over the whole grounds; and the boy
showed me with justifiable pride an enclosure in which hundreds of magnificent
cocks were crowded, but no hens.<span style="mso-spacerun: yes;"> </span>They
kept poultry for the sake of the eggs; but, as a certain number of cockerels
were incontinently hatched out and must not be eaten, they were kept separate
and in perpetual conflict: this being sanctioned because not contrary to their
nature.<span style="mso-spacerun: yes;"> </span>I extorted the equivocal fact
that as soon as the cocks became too many they were sold; and, being
exceptional fine, thanks to careful cross-bred, they were supposed to be
ensured against roasting or boiling.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZz1U_CtR6dO9Ht11JQ3TW2OUvEcdogLkI1ZIIuAB-1GtZGtV67QAb9G__grUwRrOohvxM0aiVLBqdT5RaN_xsIftphviPE2yBdH49s03ig7TPV8k85MDSjnLTVkwU8Uzn7ng-yBUlklM/s1600/Screen+Shot+2018-02-03+at+16.17.55.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="516" data-original-width="390" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZz1U_CtR6dO9Ht11JQ3TW2OUvEcdogLkI1ZIIuAB-1GtZGtV67QAb9G__grUwRrOohvxM0aiVLBqdT5RaN_xsIftphviPE2yBdH49s03ig7TPV8k85MDSjnLTVkwU8Uzn7ng-yBUlklM/s640/Screen+Shot+2018-02-03+at+16.17.55.png" width="482" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Spot the Siberian convict?<br />
Original photographs from the Free Age Press and Tuckton House, Christchurch<br />
for sale on Abebooks <a href="https://www.abebooks.co.uk/first-edition/Vladimir-Chertkov-Tchertkoff-Free-Age-Press/12304127027/bd">here</a></td></tr>
</tbody></table>
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“..My last meeting with Tchertkoff was delightful, if
astonishing.<span style="mso-spacerun: yes;"> </span>I was once again lecturing
to his Brotherhood in Bournemouth, but as I had to leave early the next day
preferred staying at an hotel.” Although perhaps he preferred to not share a
bed with a Siberian convict!<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
“He was so far anxious to rectify our differences that,
although he had absented himself from the meeting, he brought a Russian peasant
to me in the early morning and allowed me to do a small operation on him.<span style="mso-spacerun: yes;"> </span>He then took breakfast with me, though the
patient was sent home.<span style="mso-spacerun: yes;"> </span>Tchertkoff’s
clothing must have amazed the hotel guests.<span style="mso-spacerun: yes;">
</span>But that a certain grandeur of demeanour, in spite of shocking shoes,
the repudiation of a shirt, the home-spun, well-darned knickerbockers and a
pullover for a jacket, proclaimed him the aristocrat, I think the manager might
have protested.<span style="mso-spacerun: yes;"> </span>The morning being cold,
he had added to his absurd raiment a red flannel chest-protector pinned <i style="mso-bidi-font-style: normal;">outside</i> his pullover!<span style="mso-spacerun: yes;"> </span>After doing full justice to the breakfast, he
went with me to the station…” (<i>ibid.</i>)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
You can read more about “Bournemouth’s radical Russian
printers” in this article on Dorset Life: http://www.dorsetlife.co.uk/2012/09/viva-iford-bournemouths-radical-russian-printers/<o:p></o:p></div>
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Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0tag:blogger.com,1999:blog-9198332407186068564.post-26689143266915276042018-02-05T11:52:00.000-08:002018-02-05T11:52:50.476-08:00Arthur Fifield and Chertkov: The Free Age Press<div class="MsoNormal">
After writing my <a href="https://peasant-arts.blogspot.co.uk/2018/02/arthur-c-fifield-godfrey-blounts-friend.html">previous post</a> I have found this article
online by Holman which gives more details of Arthur Fifield and Chertkov (‘Translating
Tolstoy for the Free Age Press: Vladimir Chertkov and His English Manager
Arthur Fifield’, Holman, Michael J. De K., The Slavonic and East European
Review, Vol 66, No 2, April 1988).<span style="mso-spacerun: yes;"> </span>The
article included information from a record written by Fifield.<span style="mso-spacerun: yes;"> </span>“In 1933, at the request of Chertkov, with
whom he had had no contact for a quarter of a century, Fifield wrote an account
of his time as Manager of the FAP.<span style="mso-spacerun: yes;"> </span>The
account, a typewritten copy of which has been given to the present writer by A.
Brandt Esq., bears the heading: <i style="mso-bidi-font-style: normal;">THE FREE
AGE PRESS (English Branch).<span style="mso-spacerun: yes;"> </span>Joint
Editors: V. Tchertkoff, A. C. Fifield, Manager: A. C. Fifield.<span style="mso-spacerun: yes;"> </span>1900-1902.<span style="mso-spacerun: yes;">
</span>A Brief Statement of Its Work, by A. C. Fifield, 1933</i>.<span style="mso-spacerun: yes;"> </span>Fifield’s <i style="mso-bidi-font-style: normal;">Statement</i>,
which runs to some twenty-three closely typed pages, has been of considerable
assistance to the present writer in the preparation of this article.”<o:p></o:p><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZFZa9fC3S67snV8Qy8xMlgWMhubLE5ezk0NOAMN6wCQ9ygyF9K_zVtk9hLyjYLJ43gRzx-zejWAL6HeG2tKCWCbkfQXYYs8D30uKM5bjyePH3WGOIUt_PY4uBZxBc_5mBGFdEyQ-6_dI/s1600/Screen+Shot+2018-02-05+at+19.46.07.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="458" data-original-width="268" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZFZa9fC3S67snV8Qy8xMlgWMhubLE5ezk0NOAMN6wCQ9ygyF9K_zVtk9hLyjYLJ43gRzx-zejWAL6HeG2tKCWCbkfQXYYs8D30uKM5bjyePH3WGOIUt_PY4uBZxBc_5mBGFdEyQ-6_dI/s640/Screen+Shot+2018-02-05+at+19.46.07.png" width="372" /></a></div>
<br /></div>
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<br /></div>
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“It was at Tamworth Hall that Chertkov first met Arthur
Fifield.<span style="mso-spacerun: yes;"> </span>Fifield, fourteen years
Chertkov’s junior, was then in his late twenties.<span style="mso-spacerun: yes;"> </span>He was a regular attender at the Brotherhood
Church and, from September 1897, acted at Secretary for its weekly gatherings.<span style="mso-spacerun: yes;"> </span>Of primary importance to Chertkov, however
was the fact that, in addition to his Tolstoyan sympathies, Fifield had
first-hand experience of the production and distribution of books in Britain.
…When Chertkov left London for Essex, they remained in regular contact,
exchanging letters and often coming together to discuss matters concerning<span style="mso-spacerun: yes;"> </span>Chertkov’s translating, editing and
publishing problems.<span style="mso-spacerun: yes;"> </span>It was not until
early 1900, however, that Chertkov formally rote to Fifield, inviting him to
leave his work in London and join him in the country in order to establish a
small publishing business initially devoted entirely to the production of
cheap, un-copyrighted editions of translations of Tolstoy, asking ‘It is not a
question of whether you will accept, but whether you dare refuse.’”<o:p></o:p></div>
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<br /></div>
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Fifield had been working for the James Bowden firm, which
had just closed down.<span style="mso-spacerun: yes;"> </span>His last work
there had been the “manufacturing and marketing of penny editions of Charles
Sheldon’s religious novels, selling three million copies in six months! Chertkov
could hardly have hoped to equal these sales, but the fact that Fifield had
first-hand experience of publishing literature of a quasi-religious nature for
mass distribution made him a particularly valuable acquisition.<span style="mso-spacerun: yes;"> </span>Although well aware of the difficulties of
working with Chertkov, Fifield enthusiastically took up the offer, writing in
his ‘Statement’:<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
I was not sorry to change for something much nearer to my
heart.<span style="mso-spacerun: yes;"> </span>I wanted to be a ‘good
Tolstoyan’, to be useful in the world, to take little and give much, and not to
compete but to originate.<span style="mso-spacerun: yes;"> </span>I was 32 years
old, had been married six years, and my wife shared my ideals.”<o:p></o:p></div>
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<br /></div>
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The Free Age Press was funded not be Chertkov but by
Alexander Nikolayevich Konshin.<span style="mso-spacerun: yes;">
</span>“According to Fifield, Konshin, who came of a family of wealthy
cotton-spinners based in the textile town of Serpukhov, was the sole source of
capital first providing an outright gift of £300 and a year later giving a
further £200.<span style="mso-spacerun: yes;"> </span>It was from these
donations that Fifield’s own salary was paid, to begin with £2 10s. 0d. and
later, at Konshin’s wish. Once the business was under way, £3 per week…<o:p></o:p></div>
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<br /></div>
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The FAP did not print ‘in-house’ and required no elaborate
equipment.<span style="mso-spacerun: yes;"> </span>The office was a back bedroom
in Fifield’s home, first at Catford in South East London and later at Wick
Cottage in Southbourne, Hampshire.<span style="mso-spacerun: yes;"> </span>Thus,
although the imprint on the early FAP editions was ‘Maldon, Essex’, physically
there was never a Free Age Press at Maldon.<span style="mso-spacerun: yes;">
</span>Instead, Fifield maintained regular contact with Chertkov by letter and
made frequent visits to Purleigh to consult with him, but when ready to print
he engaged outside printers, often the Edinburgh firm of Morrison and
Gibb.<span style="mso-spacerun: yes;"> </span>“<o:p></o:p></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIacsJ5Mmr2iu1MYJF-XJcsu9F_UGLrizzj4ptQiR-d_GpamVnI8v5zrEQpNYUNxhRLsE_bzP794fpEW-ufphhRbicsvqZsrwT2rdJ9C-j4-_mgFnQmCHiXFdjFTNMXb2pwcWJVJlntSg/s1600/Screen+Shot+2018-02-05+at+19.49.51.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="456" data-original-width="333" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIacsJ5Mmr2iu1MYJF-XJcsu9F_UGLrizzj4ptQiR-d_GpamVnI8v5zrEQpNYUNxhRLsE_bzP794fpEW-ufphhRbicsvqZsrwT2rdJ9C-j4-_mgFnQmCHiXFdjFTNMXb2pwcWJVJlntSg/s400/Screen+Shot+2018-02-05+at+19.49.51.png" width="291" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">from Open Plaques<br />http://openplaques.org/plaques/7941</td></tr>
</tbody></table>
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<br /></div>
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Tolstoy wrote with his appreciation<o:p></o:p></div>
<div class="MsoNormal">
“Dear Friends,<o:p></o:p></div>
<div class="MsoNormal">
I have received the first issues of your books, booklets and
leaflets containing my writings, as well as the statements concerning the
object and plan of The Free Age Press.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
The publications are extremely neat and attractive, and –
what to me appears most important – very cheap, and therefore quite accessible
to the great public, consisting of the working classes.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<br /></div>
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I also warmly sympathize with the announcement on your
translations that no rights are reserved.<span style="mso-spacerun: yes;">
</span>Being well aware of all the extra sacrifices and practical difficulties
that this involves for a publishing concern at the present day, I particularly
desire to express my heartfelt gratitude to the translators and participators
in your work, who in generous compliance with my objection to copyright of any
kind, thus help to render yor English version of my writings absolutely free to
all who may wish to make sue of it.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<br /></div>
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Should I write anything more which I may think worthy of
publication, I will with great pleasure forward it to your without delay.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
With heartiest wishes for the further success of your
efforts,<o:p></o:p></div>
<div class="MsoNormal">
Leo Tolstoy."<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
"…All unused to business by nature and training as he was,
even despising its claims on time and attention, and impatient with any new
chains of obligations, Tcherkoff yet bowed his neck to my English yoke and
subdued himself for three years sufficiently to enable me to issue no less than
forty three separate publications of a total length of 2,2024 pages, in the
translation of which he took a very large share, with a total circulation of
209,000 copies besides a quarter of a million leaflets.<span style="mso-spacerun: yes;"> </span>And multiplying the page length by the
circulation attained one can say that The Free Age Press put before the
English-speaking world no less than 424 million of pages of Tolstoy’s writings,
on a self-supporting basis, with no personal profit; besides permitting very
extensive reproduction of the articles and stories in magazines and newspapers.<o:p></o:p></div>
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"The relationship was improbable, and the achievement, even
when viewed from a distance of nearly ninety years, truly remarkable.<span style="mso-spacerun: yes;"> </span>Yet a doubt still remains.<span style="mso-spacerun: yes;"> </span>With only a few exceptions, the FAP concerned
itself exclusively with Tolstoy’s political and religious works.<span style="mso-spacerun: yes;"> </span>As such it certainly helped focus British
attention in the early years of this century on Tolstoy’s unequal struggle
against Russian authoritarianism.<span style="mso-spacerun: yes;"> </span>It
also made a considerable contribution to English-language pacifist and
Christian-anarchist writing in the period leading up to the First World War.<span style="mso-spacerun: yes;"> </span>It was, however, very much part of a
religious and political crusade directed against current Russian conditions,
and for this, and the urgency that inevitably accompanies such a crusade, there
was a price to pay, especially in terms of continuing relevance and lasting
value.<span style="mso-spacerun: yes;"> </span>Conditions in Russia changed, first
after the 1905 Revolution, then again, far more radically, in 1917.<span style="mso-spacerun: yes;"> </span>And although Tolstoy did address himself to
problems of a universal relevance, supreme propagandist that he was he
considered them in a contemporary context that is only with difficulty
accessible to the modern reader.<span style="mso-spacerun: yes;"> </span>For
this reason, if not other, when the modern reader hears the name Tolstoy, it is
to <i style="mso-bidi-font-style: normal;">War and Peace</i> and <i style="mso-bidi-font-style: normal;">Anna Karenina</i> that his thoughts first
turn, and not to FAP editions of <i style="mso-bidi-font-style: normal;">The
Slavery of Our Times,</i> <i style="mso-bidi-font-style: normal;">The Kingdom of
God</i>, and <i style="mso-bidi-font-style: normal;">I Cannot Be Silent</i>.”<o:p></o:p></div>
Katehttp://www.blogger.com/profile/18199594054597664825noreply@blogger.com0