Friday, 2 November 2012

Hungarian folk art & the peasant influence

On a recent short trip to Budapest I was struck by the prominence of folk art in the tourist spots, contrasting with the absence of handmade textiles back in Haslemere, Surrey.  The Hungarian tradition of handmade crafts has stood the test of time much better than the small Haslemere movement which did not manage to engage much of the Haslemere population for very long, let alone span the country.

It is clear that the Kings and Blounts were influenced by the peasant art of central Europe and in some of the latter day handicrafts of Hungary, this influence is still evident.  The textile colours reminded me of the bright blue vegetable dyed fabrics from the Peasant Arts movement.  The simple decoration of the mezeskalacs (gingerbread biscuits) design showing a symmetry of two doves reminded me of some of Godfrey Blount's compositions.  It was lovely to chance across various pieces of folk art whilst casually walking around the city.

Hollo Muhely,
Vitkovics Mihaly u.12
Budapest

Folk Flowers,
Hercegprimas,
Budapest

Memories of Hungary shop,
Bazilika, Budapest










Wednesday, 31 October 2012

Adopt a piece of Haslemere's Peasant Art collection

The Haslemere Educational Museum holds many works by the Peasant Arts movement, and also the peasant artifacts collected by them from across Europe that formed the Peasant Arts Museum.  The staff at the museum could not have been more helpful in assisting me in researching Haslemere's Peasant Arts movement.  The museum now have a scheme called 'Adopt an Object' which looks like a really fun idea to help support the museum which is responsible for raising all of its own funds.

Dutch Footwarmer c.1700
Haslemere Educational Museum
On the list of objects you can adopt is this Dutch Footwarmer c.1700, part of the original Peasant Arts Collection, up for adoption for £50.  The promotional material says that you can contact the museum to discuss supporting an object that is not on their list.

Not Peasant Arts related I am afraid, but my favourite object on their list is Arthur the bear.

Arthur the bear,
Haslemere Educational Museum


Saturday, 27 October 2012

New Charles Spooner book by Alec Hamilton

Alec Hamilton joined us on one of the Peasant Arts walks in Haslemere earlier this year.  He is an expert on the architect Charles Spooner, who designed St Christopher's Church in Haslemere, but he also is very well read on the Arts and Crafts movement as a whole.  Alec has provided me with some interesting insights into the Haslemere movement for which I am very grateful.

cover of forthcoming book: Charles Spooner, Arts and Crafts Architect
from Shaun Tyas publishers

Alec's book on Charles Spooner is due to be published in November and should be a fascinating read.   The promotional material reads:

"Charles Spooner was one of the four great names most identified with the Arts and Crafts by no less an observer than C. R. Ashbee: the other three were Sidney Barnsley, Ernest Gimson and W. R. Lethaby. Yet, while they are still revered, Spooner has effectively disappeared. In this new, large-format architectural biography, Alec Hamilton brings Spooner’s work and life back into the light: his churches and church fittings; his houses; his furniture design; his writings and ideas; his friendships and partnerships. And reveals why this shy, diffident, saintly architect, unjustly neglected now, was so loved and admired in his lifetime. Foreword by Alan Crawford 


"Charles Sydney Spooner (1862-1938) taught furniture design at Central School for more than thirty years. He was a member of SPAB’s committee for nearly as long. He was a friend of William Morris, Emery Walker, Christopher Whall, Walter Crane, Heywood Sumner – yet he figures hardly at all in any of their records, archives, memoirs or letters. 

He made a rather dazzling start: elected to the Art Workers Guild in January 1887 while still a student. (He played Jerrybuiltus in Beauty’s Awakening, the Guild’s 1899 pageant - left). He was elected to the Arts & Crafts Exhibition Society in 1890: he exhibited with them at every exhibition until 1928. 

He built seven churches – a modest tally compared to the High Victorians, but, among ‘Arts and Crafts architects’, almost a high number. For he was a religious man: “On most Sundays he was in his place at the 10 o’clock Mass.” He was related to two Archbishops of Canterbury – and Warden ‘Spoonerisms’ Spooner was his cousin. Yet Spooner was also a Modern: his church of St Paul, East Ham, which he thought his best, looks forward with optimism. And he was a lively designer of small country houses (below). In his church furnishings his skills and ability shine most – the muscular altarpiece at St Leonard, Bridgnorth; the checker-board baptistery at St Bartholomew, Ipswich; and the emotionally charged rood screen at St Anselm, Hatch End (above). 

This, the first ever study of Spooner, considers all of his work - churches, church furnishings, houses, furniture - and his partnerships, in particular with a yet more shadowy figure, his wife, Minnie Dibdin Spooner, whose illustrations, paintings and glass design are also now considered here for the first time."

Copies of the forthcoming book can be obtained direct from the publisher (just like in olden times!) Shaun Tyas.  

details of Charles Spooner, Arts and Crafts Architect
(Hamilton, Alec, Shaun Tyas, 2012)

James Archibald Campbell - the connection, case closed

With some excellent research by duncmacg I feel confident that the James Archibald Campbell has been identified as much as possible without access to a time machine.

As I had guessed in my previous post, James Archibald Campbell and Godfrey Blount were at Cambridge University together.  They both attended Pembroke College.  The Cambridge University alumni has James Archibald Campbell as entering Pembroke College in 1874, and being awarded a Bachelor of Arts in 1880.  At six years, this seems to be a longer than an average degree, I wonder why?  The alumni entry gives Campbell the title of "7th of Achandiun and 5th of Barbreck" and also "J.P." presumably standing for Justice of the Peace.  The entry also says "died unmarried Feb. 5, 1926".  Godfrey Blount is at Pembroke College in the 1881 census.

The puzzle of "who was" James Archibald Campbell was emphasized recently when I acquired a copy of George MacDonald and His Wife (MacDonald, Greville, Unwin Brothers, London, 1924) which has the inscription "James A. Campbell with love & gratitude from the writer".

I wonder whether Greville knew Campbell before Campbell met Godfrey Blount?  Either MacDonald and Campbell were old friends through MacDonald's Scottish connections, or MacDonald and Campbell met through Blount.  Whilst the other four main members of the Peasant Arts movement were related (Maude Egerton King and Ethel Blount being sisters, and Greville MacDonald and Joseph King being cousins), Godfrey Blount was the 'outsider' so it is interesting to consider whether it was James A. Campbell's connections with Greville MacDonald that may have brought the most prominent artist of the movement into the fold.  In his book, Greville refers to Campbell's thoughts on his father, George MacDonald, which suggests that Campbell was a family friend, and therefore probably of longer standing than Blount and MacDonald's relationship.

dedication inside a copy of George MacDonald and His Wife
(MacDonald, Greville, Unwin Brothers, London, 1924)


Greville makes a number of references to James Archibald Campbell in this book, although these do not shed much light on Campbell's activities, but they do demonstrate that Greville admired Campbell's explanations of human nature:

"Retribution, according to my friend James A. Campbell of Barbreck, was rather a law of Nature than called for by any instinct of hatred; and he illustrates it by an incident occurring in his family at the beginning of the seventeenth century.  The perpetrator of an accidental death was sought by a rival sept of Campbells to extort the inevitable penalty.  His foster brother, Donald MacCallum, donned his clothes while the fugitive slept and got himself shot in his stead.  The avenging sept showed every honour to the hero and settled a croft upon his family for all time." (p. 40, ibid)

MacDonald writes that "My father might have found an old tartan coat at home and worn it partly for economy, and yet because he liked it", and then expands upon this point "My friend, James A. Campbell of Barbreck, a first authority on such points, writes me that "the tartan coat was often worn in old days, but driven out by tourists and strangers." (p.75, ibid)

Later MacDonald in a chapter upon John Ruskin writes that "Ruskin, like my father, had discarded all Calvinistic doctrine, though the latter was in Ruskin's eyes still orthodox.  My father's unqualified optimism kept strong within him the faith that, when all is revealed, the ignominies of man's industrial progress may yet prove to be comprehended within the creative Will: that man may yet become a greater being than if the forbidden fruit had never been tasted."  MacDonald notes this observation with "A propos of this, James A. Campbell of Barbreck writes thus: "Is this so ?  Does not George MacDonald rather feel that 'Industrialism' may be valuable because, like other oppressions, it may lead to repetance?  And does he believe there is any 'Progress' for the soul through 'Evolution' or indeed in any way, except through repentance?"  I believe my friend is right and that his questions are not in disagreement with the observation expressed above, yet their implicit answers express better what my father would wish to be said.  "Everything," my friend again asks, "assuredly for your father was safe in God's hands; but did he consider that man could grow and go forward at all until he 'came to the Father'?" (p.330, ibid)

Campbell's final appearance in MacDonald's book places Campbell in Italy "In the winter of 1896-7 an incident occurred that stirred the best and deepest feelings of the English colony at Bordighera.  Dr John A. Goodchild, the family's medical adviser and much beloved by my father as a man of unusual poetical gift and strange mystical mind, was infamously attacked in an Italian court of law on the false charge of libelling a practitioner of other nationality, who was scarcely a rival.  One after another of my people were subpoenaed, one as witness for the prosecution.  My father was deeply moved, and spoke in court with such fiery indignation in defence of his friend that his evidence probably had much to do with the withdrawal of the case.  James A. Campbell of Barbreck, also beloved of my father , was watching it with keen interest.  He writes of it to myself: " Endowed with a keenly sensitive temperament, pitiful of all sorrow, he did not perhaps recognize the Fire of Charity in his own soul when it flamed forth in defence of others.  On the occasion when he was summoned as a witness before the court, he spoke in chivalrous and strong defence of his friend.  But afterwards he was much troubled that he should have spoken "inadvisedly"; while to those who heard him it seemed that he has only obeyed the orders of his Master, in reference to such occurrences, by taking no anxious thought, and saying what was given him to say." (p.557, ibid)



Friday, 12 October 2012

Trying to understand the James Archibald Campbell connection

I have wanted to learn more about James Archibald Campbell, so I have collected some information together.

I am not clear exactly who James Archibald Campbell was, but I do know that he played an important role in Godfrey Blount's life.  Blount dedicated his book Arbor Vitae to James Archibald Campbell, his dedication is quite touching "To all lovers of handicraft, and especially to my friend James Archibald Campbell of Barbreck, who first taught me to feel the wider life of art, I dedicate this book".

extract from Arbor Vitae (Blount, Fifield, 1910)

In The Heraldry of the Campbells (G. Harvey Johnston, 1921) there is no reference to the Campbells of Barbreck.  However online I can see some Campbells of Barbreck, including what is referred to as the crest and motto of the Campbells of Barbreck, "I bear in mind".

Motto and crest of the Campbells of Barbreck,
from Leopard Antiques

I have found in an ebook "JAMES ARCHIBALD CAMPBELL of Barbreck, Esquire, J. P. for CO. Argyll; B.A. [Cantab.). Born 1854, being the second son of Admiral Colin Yorke Campbell of
Barbreck, by his wife Elizabeth, daughter of James Hyde of Aplcy, near Ryde."


Using these details I then found James Archibald Campbell's father, in the Edinburgh Gazette (23 March 1869) where Colin Yorke Campbell is noted with a few other names as a Retired Captain "to be Retired Rear-Admirals, under the provisions of Her Majesty's Orders in Council 1st August, 1860, 9th July 1864, and 24th March 1866."  The Family Search website has details of the family on it that have enabled me to find their entries on some censuses.  This has Colin Yorke Campbell and his younger son, James Archibald Campbell, both described as Laird of Achanduin.  James is said to have "died unmarried" on 5 February 1926.  The History of the Campbells (Lee, R. L. Polk and Company, New York, 1920) reports that "the Campbells of Achanduin are a branch of the family of Lochnell.  Archibald Campbell, first of Achanduin, was third son of Colin Campbell, fifth of Lochnell...James Archibald Campbell is now the representative of the branches of Achanduin and Barbreck.  He was born in 1854.  Family seat, Barbreck House, Lochgilphead, Argyll."


Barbreck House, Argyll
from geograph.org

Elsewhere I have found a write up on the house which suggests that the house is still in the Archibald Campbell family "Barbreck House, the most prominent mansion house in this part of Argyll, was built by Major General John Campbell of Barbreck and completed in 1789. Some 20 years before building his new house General Campbell, or Colonel Campbell as he then was, raised a regiment known as the Barbreck Highlanders to fight in North America. The Campbells of Barbreck were the custodians of Barbreck’s Bone, a plate of ivory reputed to be a cure for madness. The house is a private residence. "

In the 1861 census Colin Yorke Campbell is living in 117 George Street, Midlothian, Edinburgh with his wife Elizabeth Campbell (nee Hyde) born in Belize, Honduras, about 1821, and children:

  • Donald C. D. Campbell born about 1849 in Edinburgh
  • James A. Campbell born about 1855 on Ryde, Isle of Wight
  • Susan H. Campbell born 1856 on Ryde, Isle of Wight
with also:
  • a visitor, Donald Campbell, nephew born 1851in India
  • a tutor Edward Luckman 
  • mother-in-law, Susan Hyde
  • sister-in-law, Helen G Hyde
  • two nurses, Jane McKenzie and Louise Marstiller
  • a house maid, Sarah Mc Karty
  • a lable? maid, Sarah Brook
  • a cook, Anne J Martin
In 1871 Colin Yorke Campbell, Rear Admiral is living in Barbreck House, Craignish, Argyll.  There is only Colin Yorke Campbell living at that address on the transcribed census, but I wonder whether there were other people, living there such as his wife, children and servants but that they have not been transcribed (yet), Barbreck House appears to be too large to live in by yourself.   I then found James Archibald Campbell, then 16, at school in Brenchley, Kent.  The school appears to be St Andrews Parsonage, run by the vicar of Paddock Wood.  Around that time, up to 8,000 people would arrive every season to work on the hop farms around Paddock Wood (Wikipedia).

In 1881 James Archibald Campbell is living with his parents, sister and a visitor Robert J. Handcock at 12 Norfolk Square, Paddington, London.  James' profession is stated as "B.A. Cambridge" and the visitor as an undergraduate at Cambridge.  I cannot find James Archibald Campbell on any subsequent censuses.  However the 1881 census reveals that Blount was at Cambridge at the same time as Campbell.  Blount was recorded in Pembroke College, Cambridge in the 1881 census.  

I wonder what James Archibald Campbell did after 1881?

I think that he may be the James A Campbell which has a book in the British Library titled 'Easter Day Church-Going' (verses) published 1895?, details online here.



Saturday, 22 September 2012

Haslemere's Diamond Jubliee Peasant Mural & Influences




To commemorate the Diamond Jubilee a number of local schools created a mural to decorate the empty site of the former Clements Windows factory on Weyhill.  The mural celebrates Haslemere's heritage.  A number of the painted panels are 'Peasant Arts influenced'.  I thought it was about time I shared their images on here.  It's unfortunate that the mural is on a pavement side of Weyhill which is rarely walked past, and it is difficult to observe the detail when driving past, so it was only when I bravely walked past it this morning, that I was able to identify the Peasant Arts influenced panels.

It is interesting to see the images of the Peasant Arts reinterpreted.  The railway line running between Godfrey Blount's trees is an interesting composition, as is the girls leaving Sandhouse with their spinning wheels (and one of them falling down!) and the Godfrey Blount deer approaching the Hindhead tunnel.

A section of Haslemere's Diamond Jubilee mural 

Peasant Arts influenced section of Haslemere's Diamond Jubilee mural


Tree of Life by Godfrey Blount, 1896
V & A Museum



Peasant Tapestry wall hanging by Godfrey Blount,
Studio International, vol 29, p125





Peasant Arts influenced section of Haslemere's Diamond Jubilee mural: the Wheel & Spindle Club walking outside Sandhouse

Girls carrying their spinning wheels to class, Sandhouse driveway
The Wheel and Spindle Club, Sandhouse, Witley
Reproduced courtesy of Haslemere Educational Museum
Sandhouse, Witley c.1902
Built for Joseph and Maude Egerton King by Francis Troup
from the Francis Troup Archive, RIBA



Peasant Arts influenced section of Haslemere's Diamond Jubilee mural:
the Wheel & Spindle Club



The Wheel and Spindle Club, Sandhouse, Witley
Carding and spinning. 
Reproduced courtesy of Haslemere Educational Museum
Peasant Arts influenced section of Haslemere's Diamond Jubilee mural:
the Wheel & Spindle Club and Maude Egerton King

Maude Egerton King? with some of her work,
Reproduced courtesy of Haslemere Educational Museum



Peasant Arts influenced section of Haslemere's Diamond Jubilee mural






section of Haslemere's Diamond Jubilee mural:
a Godfrey Blount deer by the new Hindhead tunnel
Deer design by Godfrey Blount
from Arbor Vitae, 1899

section of Haslemere's Diamond Jubilee mural:
some words from Tennyson


Friday, 14 September 2012

Another Peasant Industries piece at the V&A?

The Victoria and Albert Museum have recently added a third item to the 'artist/ maker' of the Haslemere Peasant Industries, although they have caveated it with "possibly, made".  It is intriguing, I wonder what any of you think about whether it was made by the Haslemere Peasant Industries?

Set of valances
possibly made by Haslemere Peasant Industries,
c.1900-1905, Victoria & Albert Museum 


The valance is described as “four embroidered upper valances of linen appliqué.  Ground of mid-blue plain weave linen with a pattern of an angular meandering stem acorn (based upon historic meandering leafy stem borders) bears leaves and nuts/ fruits.  Applique of plain weave linen in cream mid-brown, green and grey, pale blue and dark blue satin stitched silks secure outlines.  Lined with natural linen, a variety of fastening tapes are attached to the top edge.  The ground is pieced in places and drawing of pattern is occasionally visible on the blue ground.”   All four valances appear to be slightly different sizes, reflecting the individuality of each hand-made piece.  The four measurements are given as:
  • 21.5cm x 182cm
  • 22cm x 213cm
  • 20cm x 205cm
  • 23cm x 214cm
As they are described as upper valances, I presume they would either have been made for the top of a four poster bed or for windows.  I wonder which?

Interestingly the valances were given to the V&A by "JFW Morton and Courtaulds Ltd", in I believe 1977.  The linen on linen and satin stitching seems consistent with Haslemere's peasant tapestries.  As does the  drawing of the pattern being "occasionally visible" because it is well-documented that the tapestries were made by amateurs.  The green, yellow and orange colours of the fruits are similar to the colours in one of the Victoria & Albert Museum's other tapestries, The Spies (by Godfrey Blount, c.1900), a simple comparison shows them not be identical.  Unfortunately, most of the pictures of the tapestries are in black and white, so it is difficult to find many colour comparisons.


detail of The Spies,V&A Museum
(Blount, G., c.1900)

detail of Set of valances
possibly Haslemere Peasant Industries
V&A Museum (c.1900-1905)


The leaves appear to be horse chestnut leaves.  Godfrey Blount illustrates these in Arbor Vitae in his 'Classification of Leaves' chapter.   

from Arbor Vitae (Blount, G.,
Arthur Fifield, 1910, 3rd edition)

Blount's writing on the composition of 'the spiral' lends some understanding to the design.  Blount identifies different leaf shapes, of which the horse chesnut is one, and outlines the “four main positions of the petiole in regard to the spiral, and they apply equally well to most kinds of spiral and almost any form of leaf….I need not suggest, I should certainly fail to enumerate, how many delightful varieties of pattern can be based on these four methods; and even if we limited outselves to the narrowest paths that tradition allows, and refused to exercise any independent imagination, with our fifteen leaves and our four methods of insertion we should be able to supply our friends with a choice of at least sixty patterns if they happened to want to carve a lintel or embroider a table-cloth.

from Arbor Vitae (Blount, G.,
Arthur Fifield, 1910, 3rd edition)


"Once more let me warn you to avoid falling into any mechanical or methodical habit.  Remember that your original spiral may be gracefully Greek, or stiffly Gothic – as open as a tidal stream, or as sinuous as a mountain torrent.  Keep an open mind, too, in the matter of colour.  Every leaf is not green in Nature, nor every stalk brown.  Much may happen to the petiole itself before it reaches the leaf.  It may indulge itself in an extra twist or two to make up for a lack of agility in its parent stalk, or to show its own lightheartedness; or else it may become a minor and subordinate spiral, dividing itself and throwing off two or more leaves instead of one…But however diverse and replete our patterns become, we must always maintain their conventional arrangement; and however much we borrow ideas from Nature, we must never, except for purposes of study, copy her examples.  To do that, and call it Art, is rank blasphemy.  With such restrictions as these, the deeper our acquaintance with Nature is, the more interesting our patterns will become; but our knowledge must pass through the alembic of our imagination before it becomes Art."

rotated picture of Set of valances
possibly made by Haslemere Peasant Industries,
c.1900-1905, Victoria & Albert Museum 
from Arbor Vitae (Blount, G.,
Arthur Fifield, 1910, 3rd edition)

The location of the leaves and fruits are at the identical positions to those illustrated in Arbor Vitae.  If the leaves are horse chestnut, it would appear logical for the yellow and orange fruits to be representing the spiky horse chestnut seeds, which tend to be yellowy green, but then as Blount says, we should not be copying the examples of nature.   He writes that "….the bud and the fruit are simple enough to be used with great effect.  The first appearance of the bud is a knobbly protuberance on the side of the spiral.  Its first duty is to blance a leaf on the opposite side, or humbly help to fill an empty interstice whenever it may occur rather than to pose as itself the main feature of an interval
from Arbor Vitae (Blount, G.,
Arthur Fifield, 1910, 3rd edition)
from Arbor Vitae (Blount, G.,
Arthur Fifield, 1910, 3rd edition)

"…Some buds – especially those of large trees, such as the horse-chestnut, lime, and sycamore – develop into crosses or variously graceful shape, and are for that reason particularly valuable and suggestive."

Blount describes the place of fruit in the spiral “The flower too is really the apex of the tree, the crowning glory of the plant.  Shorn of stalk and leaf, like the prize blossoms in a flower show, it is on a surfeit of luxury, and a sin against good taste.  Such reasons as these prevent the flower from often taking the place of the lead in the spiral.  But where the flower fails, the fruit succeeds admirably, either as an occasional alternative to the leaf, or even…entirely as a substitute for it. 
from Arbor Vitae (Blount, G.,
Arthur Fifield, 1910, 3rd edition)
...Here too, the squirrel’s harvest of homely nuts, with all the rustic fruits of our forest trees, acorns and chestnuts, beech mast and pine cones, will have their place…Surely here, if anywhere, is the clasp of Nature’s necklace; here at once her beginning and her end.  Fuller than the leaf, simpler than the flower, the seed and the fruit are the first palpably solid forms we must learn to use.  Full of mystery; dead but how living!  Inert, but how active!  A grain of mustard seed to-day, but to-morrow the birds of the air shall make a town of it!...It is a source of myth and a motive of decoration, as true now as it ever was, and one that cannot fail to excite our keenest interest while the mystery of life remains, as may it ever, unsolved."  

The mystery of the origin of the Set of valances may not be conclusively solved, but they do appear to me to be authentic Haslemere Peasant tapestries.

from Arbor Vitae (Blount, G.,
Arthur Fifield, 1910, 3rd edition)

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