Wednesday, 15 March 2017

Arts and Crafts Weekend 7-9th July 2017, Haslemere!!!

I'm excited to report that the Haslemere Educational Museum is running a 'Celebration of the Arts and Crafts Movement' on the weekend beginning the 7th July.  There is a packed programme of events, that you can see on the leaflet here.




  • Friday 7th July, 7pm - An Evening Talk by Eric Knowles, a leading authority in Nineteenth and Twentieth Century Decorative Arts.  A well-known face in he world of antiques, having graced the BBC's Antiques Roadshow programme for over 20 years
  • Saturday Morning Lectures at the Museum:
    • 9.30am - The Rustic Renaissance, Lindsay Moreton, Collections Manager, Haslemere Educational Museum.  An introduction to the diverse European Arts Collection at the Museum and the craftspeople who inspired the local Arts and Crafts Movement
    • 10.15am - Craft Routes to Ditchling, Donna Steele, Curator Ditching Museum of Art + Craft.  Discussing the appeal of the rural idyll to these modernist artists and craftspeople.
    • 11.15am - The Beauty and Romance of Arts and Crafts Gardens, Dr Sarah Rutherford, Garden Historian.  
    • 12.00 - F.W. Troup - A Scotsman in Surrey, Professor Neil Jackson RIBA FSA, Charless Reilly Professor of Architecture.  About Troup's work whether casting beadwork or designing houses for Joseph King in Haslemere
  • Haslemere ' Peasant Arts' Trail, 2.30pm - with me! - Wander around the outside of the Arts and Crafts industry buildings and houses of Haslemere with the local expert.  
  • Arts and Crafts Dinner at St Christopher's Church, 7pm.  An evening at St Christopher's Church with an informed tour of this stunning example of an Arts and Crafts building followed by music and dinner by candlelight.
  • Sunday morning- Visit to Munstead Wood.  A guided tour of Gertrude Jekyll's iconic garden at Munstead Wood by the Head Gardener Annabel Watts and neighbour Gail Naughton, owner of The Quadrangle, once the working garden of Jekyll's estate.  The tour will also include a visit to Busbridge Church, home to Morris & Co windows and Lutyens' rood screen.  The churchyard is the resting place of Gertrude Jekyll.
There's a leaflet, and a booking form, which I've photo'd below.  The museum website has a small bit of information on the event at the moment, but it says: For more information, please contact haslemerevisitor@haslemere.com or phone 01428 645425








Wednesday, 1 March 2017

The Set of Valances at the V&A

The final piece that I saw at the Clothworkers Hall was the set of valances that were made by the Haslemere Peasant Industries.  Seeing these up close provided a lot more detail than is visible online.

Set of valances,
Haslemere Peasant Industries c.1900-1905
at the V&A here

The colours and cloth seemed to be very similar to other Haslemere peasant tapestry pieces, and I note that since I wrote about these set of valances on December 2014, the V&A have removed their "possibly made" accreditation of the piece to Haslemere Peasant Industries, and now firmly accredit it to Haslemere Peasant Industries.

It was lovely to see the V&A's collection of Haslemere weaving and tapestry displayed together for my visit.  The majority of the works were by Luther Hooper but the valances occupied a special corner of the table.



A table of Haslemere weaving and tapestry,
August 2016 at
Clothworker's Hall, V&A
The tapestry looked very impressive from a far, but looking at it more closely I was reminded of my post 'Peasant Shopping - Part 4 - Sew You Own Peasant Tapestry' here where the Surrey Times (2 September 1899) reported on the Haslemere Weaving Industry "The work is sold at the depot in London of the Peasant Arts Society, and is exhibited at the Arts and Crafts, Homes Arts, and other handcart exhibitions….Specimens of Peasant Tapestry will be on view at the Tapestry House daily where also orders can be received for finished work, or work prepared for those who desire to sew it themselves."  

Looking more closely a pencil outline on the blue backing cloth is visible in numerous places outlining the leaves and chestnuts.  Not being familiar with the method used to create these tapestries, I do not really understand why there would be outlines on the backing cloth of the appliquéd shapes.  I would have thought that the leaves and chestnuts would have been cut out separately and then pinned and appliquéd on, which would not have led to pencil outlines, so that cannot be how the tapestry was made.  Also, the blue backing cloth has been economically used in places, with different pieces patched together to form the main background.

Set of valances, Haslemere Peasant Industries c.1900-1905
with outlines showing around chestnut and leaf
Victoria & Albert Museum

Set of valances, Haslemere Peasant Industries c.1900-1905
with outlines showing around the chestnut leaf
Victoria & Albert Museum


Set of valances, Haslemere Peasant Industries c.1900-1905
with different cloth sections sewed together on the top and bottom right
Victoria & Albert Museum

In places the thread on the tapestry is blue, and in others gold, so perhaps as well as running out of cloth they ran out of thread?

Blue and gold threads on the tapestry

Blue threads on the tapestry
The valances are all different lengths.  I had thought when I saw them online that the valances would have been used for a bed, but perhaps they were for windows instead?  In this photograph the middle valance on the table was a darker colour than the outer two, perhaps due to sunlight, although it does seem to be a more dirty colour?

Set of valances,
Haslemere Peasant Industries c.1900-1905
at the V&A

The end pattern of each valance is different, and I could not work out how they would have fitted together.   The bottom valance seemed to have lost it's ties.
different endings on the set of valances
Haslemere Peasant Industries c.1900-1905
at the V&A
I am no expert but my conclusion on this piece is that it does appear to originate from the Haslemere Peasant Industries, who am I to say that the V&A are wrong(!), but that it could not have been made by Godfrey Blount as it's make up is too amateurish.  Maybe it was made by women in the Tapestry Studio, like in the Art Journal photograph of 1906, or perhaps it was a 'sew your own' kit that was bought and made at home.

Sarah Tyssen, who is the weaver living at the Weaving House, and therefore is much more knowledgeable on this subject has told me: "The colour differences in the ground cloth could be down to the fact they were using natural dyes. It would be impossible to repeat the exact same colour in a different dye batch.  The handwoven cloth would also be very precious, and they would be restricted by the width/length woven, hence the joins in the ground cloth. 

The pencil lines may well have been drawn by Godfrey Blount as a guide? The pattern pieces could then be cut and stitched on by the women?"

The Tapestry Studio, Kings Road, Haslemere from Art Journal, 1906

Saturday, 11 February 2017

St Christopher's Church at the V&A - Vineyard poplins

One of the Luther Hooper pieces I saw at the Victoria & Albert Museum's Clothworkers Hall was not attributed to St Christopher's Church, but the motifs in the fabric were reminiscent of St Christopher's Church Vineyard Poplin woven hanging by the St Edmundsbury Weaving Works (which I posted on here).  This woven silk sample is described by the V&A as a 17th century design.

Luther Hooper silk damask
T.274-1970, Victoria & Albert Museum

The vine leaves, grapes, corn and what could be a corncrake?  Which is exactly the same content as on the Vineyard Poplin.  The corncrake hiding in the corn looks a bit odd in the Luther Hooper silk, but I cannot make out what else it could be?

Vineyard Poplin, St Edmundsbury Weaving Works
St Christopher's Church, Haslemere

Luther Hooper silk damask
T.274-1970 Victoria & Albert Museum

St Christopher's Church at the V&A - the Curtains

Back in January 2013 I wrote (in this post) about my discovery that the silk damask curtains or 'furnishing fabric' designed by Luther Hooper for St Christopher's Church are at the Victoria & Albert Museum.  There were no photographs of the fabric, just the description: "silk damask. With a design of clover leaves alternating with the monogram 'I.H.S', set in gothic ogives which are combined with palmette and beaded band  ornament in white on a red ground" (V&A website entry here)

Seeing the fabric itself, I quickly concluded that it was not in any of the photographs that I had seen of St Christopher's Church.  The colours were vibrant, and the 'white background' seemed to be more like silver.  I wonder where in the church this fabric would have been?  I have just come across a postcard of the church in 1904 where there is a curtain across the top window, maybe this is a curtain of the fabric?

St Christopher's Church postcard c.1904
Haslemere

The V&A have added photographs of the damask that are better than mine, but they have photographed the damask with the 'IHS' back to front!

Luther Hooper silk damask
made for St Christopher's Church
T.35-1953, Victoria & Albert Museum









Friday, 27 January 2017

St Christopher's Church at the V&A - Silk Damask


In the Summer I finally made it to the Clothworker's Centre, Blythe House at the Victoria & Albert Museum to see their Luther Hooper pieces.  I saw some pieces that were familiar to me from looking at them online, but it was fascinating to see them in real life.

For example, the portion of silk damask side curtain to the altar.  I had seen this picture first in the Art Journal, February 1911.   The damask in St Christopher's Church is described as "red-gold silk damask altar curtains", Spooner describes that the "altar curtains are of red silk damask with copper coloured silk lining, designed by Luther Hooper" (Nicholson, C., and Spooner, C., Recent Eccelesiastical Architecture, Technical Journals Ltd., London, c.1910).   Hooper describes that "their copper-coloured silk lining was woven by Messrs. Warner and Sons of London to the design of the writer" (Art Journal, ibid). 

Portion of Silk Damask, Side Curtain to Altar,
St. Christopher's, Haslemere
designed by Luther Hooper
from Art Journal, February 1911

The colouring of the silk damask held by the Victoria and Albert Museum is clearly not the same as in the Art Journal, but the design is.  

Silk damask by Luther Hooper,
Victoria & Albert Museum

Not only did they have the damask but they also had pattern papers of the same design.   As they were getting these textiles out for me, the V&A took photographs to add the photos to their collection records.  

Luther Hooper, pattern paper
Victoria & Albert Museum
Item T.13:2-1999, Online here

Luther Hooper, pattern paper
Victoria & Albert Museum

Saturday, 24 December 2016

Peasant Christmas

Wishing you all a Merry Christmas.  Next year I hope to return to writing this blog and finishing my research!

from the Haslemere Educational Museum, Peasant Arts Collection

Thursday, 25 August 2016

On the Arthur Romney Green Christchurch trail - the Priory

Walking out of the former 3 Bridge Street, Arthur Romney Green's (ARG's) workshop, showroom and home, it is only a few metres further down the road until you reach the bridge over the River Avon.  ARG "loved the symmetry of the five arches...describing the built arch 'so gracefully suspended over empty space by virtue of its weight' as one of the miracles of human art like the sailing shop and the bicycle."  (Life to the Lees, Elkin, Susan, 1998).

View of Prezzo, formerly 3 Bridge Street, from the bridge,
Christchurch, Dorset

The bridge over the Avon by 3 Bridge Street,
Christchurch, Dorset

From the bridge you can see the Priory, the remains of the great tower of Christchurch castle and the Norman House.  You have to walk past the Norman House and castle remains to access the Priory.  English Heritage describes these buildings as "the mound top-keep or great tower was a part of a large Norman castle that once dominated the town...Nearby is the 12th century riverside chamber block known as the Norman House, one of the few remaining examples of domestic Norman architecture in England.  Built in about 1160, it provided grand and comfortable living quarters for the lord of Christchurch.  The tall circular Norman chimney is a particularly rare survival."
The view from the bridge across to The Priory,
Bridge Street, Christchurch
The Priory approach is particularly impressive.  Following the description of the ARG furniture in the  Priory by Elkin (ibid.) we were aiming to go to the Lady Chapel at the far end of the building, but we stopped to see the main features on the way.




It was a good job we did because the nice surprise was that the ARG chairs are now placed at the front of the nave altar and choir stalls.   Elkin describes only one of these chairs in her book, the one of the right below, although surely they are both by ARG and are displayed opposite each other as "a magnificent ceremonial chair".  The geometric designs on the chairs are classic ARG, the mirror of the cut-out pattern on the left opposite the other carved with various Christian symbols.


the nave altar at Christopher Priory,
the ARG chairs facing each other either side of the altar

There 'IHS' at the top, and a star of David below it on the right, with another star of David below on the far left.  A circle with a cross in them are I think referred to as a 'solar cross' or 'sun cross'.  The fourth row of symbols are two 'X's.  The final row, that can be seen at least from standing as a visitor, seems to have the initials HRX.  These symbols by the side of the altar which has the large altar cloth symbol of the triquetra reflects an interest I suspect by someone at the Priory in Christian symbolism.  Wikipedia explains the triquetra as representing "the Holy Trinity: the Father, Son, and Holy Spirit. The unbroken circle represents eternity. The interwoven nature of the symbol denotes the indivisibility and equality of the Holy Trinity. It symbolizes that the Holy Trinity is three beings of power, honor, and glory but is indivisibly one God".

ARG ceremonial chair engraved with Christian symbols,
Christchurch Priory
Walking further into the Priory, looking at the High Altar, we saw the two prayer desks opposite each other.  Elgin describes these as "Instead of a ball shape for the hand to grasp at the top of each upright, there is a truncated octahedron.  It's a mathematical idea typical of Green.  He had the same shape carved in stone for eventual use on his tombstone." (ibid.)


High altar, with ARG prayer tables opposite each other
Christchurch Priory

The positioning of the chairs at the nave altar and the prayer desks at the High Altar is all the more remarkable for the story behind ARG's commission, as Elkin explains "She and Green were still unmarried, and although most of their London friends had been away of their position, they saw little need to advertise it on arrival in Christchurch.  When, however, the Vicar of Christchurch, Canon Gay, decided to order some pieces for the Lady Chapel in the Priory, Green thought that he had better 'own up'.  And his honesty cost him the order.  It wasn't until several years later, when Gay's successor saw Green's and Bertha's dog, Fanny, clad in a cosy jacket, that he observed that a man who looked after his dog so well couldn't be all bad, so he placed an order." (ibid.)

ARG prayer table, high altar
Christchurch Priory

ARG prayer table, high altar
Christchurch Priory

ARG prayer table, high altar
Christchurch Priory
I could not find the moveable altar rails which Elkin had also identified as at the Priory, but I think that the chairs and prayer tables are more distinctive and pleasing to the eye.  ARG's memorial stone is shown on the Dorset Life website here.


Head of ARG's memorial stone,
Christchurch

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