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Filming locations: Wilton House

I’ve been meaning to write about Wilton House for a while, but was spurred on today when I sold a little brooch in my Etsy shop. I sent a thank-you notecard with the order, one from a set I’d bought many years ago from the Wiltshire Records Office (as was: now the Wiltshire and Swindon History Centre), and the one I chose featured a late 18th century engraving of Wilton House:

Wilton House. Late 18th century engraving.

Wilton House. Late 18th century engraving, showing the south front of the house on the left and the Palladian Bridge on the right.

(Or perhaps more accurately, an engraving of a couple of lovely trees and a party of people, with a section of Wilton House and the Palladian Bridge lurking in the background.)

I regularly drive past the impressive gates of Wilton Houseso regularly that I’ve almost stopped noticing them. Not an easy feat: just look at them! Isn’t it terrible to take something so spectacular so for granted?

The impressive gates to Wilton House. Photo by MrsCommons.

The impressive gates to Wilton House. Photo by MrsCommons.

Unlike many of the other grand houses I’ve written about, Wilton House is still a family home, the seat of the Earls of Pembroke for the last 400 years. The first building on the site was a priory founded in c. 871 AD; the first Earl of Pembroke took possession of the site in 1542. Relatively little of the first, Tudor house survives: what is visible today is mostly the Palladian building of the 1630s and 1640s, designed with the involvement of Inigo Jones, and later alterations by James Wyatt in the early 19th century.

The south front of Wilton House. Photo by John Chapman.

The south front of Wilton House. Photo by John Chapman.

Wilton House, south and east fronts. Photo by Henry Kellner.

Wilton House, south and east fronts. Photo by Henry Kellner.

Wilton House, east front. Photo by Mike Searle.

Wilton House, east front, with the Tudor tower in the centre. Photo by Mike Searle.

The interiors of Wilton House are sumptuous, and among the state rooms designed by Inigo Jones are the Single Cube Room (measuring 30 feet (9.14 m) long, wide and high, and the Double Cube Room, which is 60 feet (18.29 m) long and 30 feet (9.14 m) wide and high.

Wilton House, the Double Cube Room.

Wilton House, the Double Cube Room.

The grounds and gardens are beautiful, with one of only a handful of Palladian bridges in the country, built over the River Nadder.

Wilton House, the Palladian Birdge. Photo by Mike Searle.

Wilton House, the Palladian Bridge. Photo by Mike Searle.

Such stunning locations have not surprisingly been used a lot in movie and television filming.

There is a much more comprehensive list on the Wilton House website location filming page.

A scene from Pride and Prejudice filmed at Wilton House in the Double Cube Room.

A scene from Pride and Prejudice filmed at Wilton House in the Double Cube Room.

Update 10 August 2015: I’ve just learned that the television series Outlander has just finished two weeks’ filming at Wilton House, which is standing in for the Palace of Versailles. Apparently the British furniture and furnishings were moved out, and appropriate French ones were moved in for the duration of the filming. Plus the candle budget was £1000 a day! Simon Callow was one of the actors.

Jessie M King, Arts and Crafts jewellery designer

Jessie Marion King (1875—1949) was a Scottish designer and illustrator. She is perhaps best known for her work as a book illustrator, mostly of children’s books, but her many and varied skills included bookbinding, the decoration of ceramics and tiles, and book cover, wallpaper, textile and jewellery design. I love her jewellery designs so decided to write a short piece about her: her Wikipedia page focuses solely on her book illustrating career so I thought I’d try to fill the gap a little. If you want to know more about her book illustrations, here is a good starting point. But I am here for the jewels!

Jessie M King by J. Craig Annan (autochrome, 1908).

Jessie M King by James Craig Annan (autochrome, 1908).

Jessie enjoyed a successful career teaching and illustrating books and book covers, but as multi-talented and artistic people are often wont to do, she worked just as successfully in several other disciplines. From what I can gather, she first worked for Liberty in the very early 1900s designing wallpaper and fabrics, with commissions to design jewellery and silverwork for Liberty’s Cymric range following soon afterwards. She designed the jewellery but did not make it – that was undertaken by jewellers employed by Liberty.

Jessie’s jewellery designs can be broadly split into two types: pieces made with silver and enamel, often in quite large panels, only very occasionally with a freshwater pearl dangle, and generally more “Art Nouveauy” in feel:

Jessie M King design: silver and enamel pendant necklace and chain, dating from 1905. Made for Liberty & Co, its design is in the Liberty Pattern Book, no 8809. In the collections of the National Museums of Scotland.

Jessie M King design: silver and enamel pendant necklace and chain, dating from 1905. Made for Liberty & Co, its design is in the Liberty Pattern Book, model 8809. In the collections of the National Museums of Scotland.

Pendant necklace of silver, enamel and mother of pearl, designed by Jessie Marion King for Liberty & Co, 1904-1906. Collection of Cheltenham Art Gallery & Museum, UK.

Pendant necklace of silver, enamel and mother of pearl, designed by Jessie M King for Liberty & Co, 1904-1906. Collection of Cheltenham Art Gallery & Museum, UK.

Silver andenamel buckle, designed by Jessie M King for Liberty & Co.

Silver and enamel buckle, designed by Jessie M King for Liberty & Co.

and those made with precious metals (often just gold, or gold with silver, or just silver), precious and semi-precious stones and/or pearls, and only small areas of enamel detailing, which are generally more “Arts and Craftsy” in feel:

Jessie M King brooch design for Liberty & Co. Gold, moonstone and enamel. Liberty model number 1800. Sold by Tadema Gallery.

Jessie M King design for Liberty & Co. Gold, moonstone and enamel brooch. Liberty model number 1800. Sold by Tadema Gallery.

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Jessie M King design for Liberty & Co. Gold, silver, enamel and chrysoprase ring. Sold by Tadema Gallery.

Jessie M King enamel and blister pearl pendant. The drop is a later replacement. Sold by HomeFarmCottage on Etsy.

Jessie M King design for Liberty & Co. Gold, sapphire, moonstone and green enamel necklace. Sold by Van Den Bosch.

Jessie M King design for Liberty & Co. Gold, sapphire, moonstone and green enamel necklace. Sold by Van Den Bosch.

Jessie Marion King for Liberty & Co. Gold, enamel and amethyst pendant, c. 1900. H: 5.5 cm (2.17 in) W: 2.2 cm (0.87 in) British, c.1900 Fitted Case Minor repair to enamel Literature: cf. Liberty Jewellery sketch-book, page 290 Model number: 8603

Jessie M King design for Liberty & Co. Gold, enamel and amethyst pendant. Liberty model number 8603. Sold by Tadema Gallery. Shows both of her common enamel motifs, the bud and the ‘lily of the valley’/three pointed flower.

Jessie M King for Liberty & Co. Silver pearl and enamel pendant. Liberty model number 9257. Sold by Tadema Gallery.

Jessie M King for Liberty & Co. Silver, pearl and enamel pendant. Liberty model number 9257. Sold by Tadema Gallery.

Jessie M King moonstone and enamel necklace, for sale at Tennants Auctions.

Jessie M King (attrib). Silver, citrine and enamel pendant. For sale at VictoriaSterling at Etsy (click on photo for details).

Jessie M King design (attrib). Silver, citrine and enamel pendant. For sale at VictoriaSterling at Etsy (click on photo for details).

Jessie M King for Liberty & Co. Moonstone, enamel and silver pendant. Sold at Tadema Gallery.

Jessie M King design for Liberty & Co. Moonstone, enamel and silver pendant. Sold at Tadema Gallery.

Jessie M King design for Liberty & Co. A Glasgow School gold and sapphire necklace, Liberty pattern Book model 8498. Sold by Van Den Bosch.

Jessie M King design for Liberty & Co. A Glasgow School gold and sapphire necklace, Liberty Pattern Book model 8498. Sold by Van Den Bosch.

Her colour palette is overwhelmingly blue, green and purple. I have to add this is my personal take on her jewellery and I am no expert!

The Liberty Pattern Book holds many of her original designs, each one numbered.

Some of Jessie M King's jewellery designs in the Liberty book.

Some of Jessie M King’s jewellery designs in the Liberty Pattern Book, with model number. Pattern 8605 (bottom right of the drawings) is shown in its realised form below.

Jessie M King design for Liberty & Co. Gold, amethyst and enamel pendant. Liberty Pattern Book 8605.

Jessie M King design for Liberty & Co. Gold, amethyst and enamel pendant. Liberty Pattern Book model 8605, shown above.

UPDATE 10 November 2015: Last Sunday’s Antiques Roadshow featured a necklace that I am 100% certain was designed by Jessie, although it was not identified as such. I grabbed a few screenshots and wrote a blog post on the necklace, with illustrations of other, similar design by Jessie.

A brief biography:

Jessie was born in New Kilpatrick, near Bearsden in Dunbartonshire, and studied at the Glasgow School of Art from 1892. Here she was influenced by, and later herself influenced the world famous Glasgow Style, a development of Art Nouveau and Arts and Crafts movements. While at the School she was a member of what was later known as the “Glasgow Girls” group of female artists, and met and formed lifelong friendships with artists such as Helen Paxton Brown and Mary Thew.

Jessie was an award-winning student, and in 1899, the same year that she graduated, she was appointed Tutor in Book Decoration and Design at the School of Art, where she continued to teach until 1908. Her first commissions were for book covers, with book illustrations following in 1902, and it was around 1904 that she started to design fabrics for the famous firm of Liberty & Co. of London and just a little later jewellery, also for Liberty.

She embarked on a study tour of Italy and Germany in 1902, and the next year became a committee member of the Glasgow Society of Artists. In 1905 she joined the Glasgow Society of Lady Artists. Her first solo exhibitions were at the Bruton Street Gallery in London in 1905 and at the studio of T and R Annan (Annan’s Gallery) in Sauchiehall Street, Glasgow, in 1907.

Glasgow School of Art, designed by Charles Rennie Mackintosh. Photo by Ad Meskens.

Glasgow School of Art, designed by Charles Rennie Mackintosh. Photo by Ad Meskens.

After a ten year engagement, in September 1909 Jessie married the artist E A (Ernest Archibald) Taylor, and moved with him to Salford where he worked designing for the firm of George Wragge Ltd. Here their only child, Merle Elspeth, was born. The family moved to Paris in 1910, again for Ernest’s career as he had gained a teaching position at Ernest Percyval Tudor-Hart’s studios. In 1911 Jessie and Ernest set up their own art teaching school, the Shealing Atelier. While in Paris Jessie met and was influenced by artists including Henri Matisse, Marie LaurencinThéophile SteinlenJohn Duncan Fergusson, and Samuel Peploe; she also learned the art of batik. The couple ran summer schools on the Isle of Arran in Scotland.

The progress of World War I meant that Jessie and her family had to return to Scotland in 1915, and they settled in Kirkcudbright, at Greengate, a house on the High Street Jessie had bought in 1907 before she was married, and where she was to live for the rest of her life.

Jessie M King and E A's house, Greengate, in Kircudbright. The entrance to the 'Greengate Close' is through the open gate on the right.

Jessie M King and E A Taylor’s house, Greengate, in Kirkcudbright. The entrance to the ‘Greengate Close’ is through the open gate on the right.

Jessie and Ernest gathered artists around them, and an artists’ colony known as the “Greengate Close Coterie” became established in the cottages along an alley behind their home. Friends and visiting artists would stay, sometimes for extended periods, and “according to Robert Burns, of Edinburgh College of Art, no student’s training was complete without a stay in one of the cottages at their home, Greengate.” The cottages in the Close were known by the colour of their front doors.

Jessie was an eccentric character. She dressed flamboyantly, with a fondness for wide-brimmed hats and buckled shoes, long after these had gone out of fashion. One woman, recalling her childhood in Kirkcudbright, remembered Jessie “riding through the streets on her bicycle … We all thought she was a witch!”. Jessie believed that she had second sight, and had been strongly influenced by Mary McNab (d. 1938), her devoted Gaelic-speaking nursemaid and later housekeeper who possessed a wealth of folk tales. Jessie was so connected with Mary that her ashes were scattered on Mary’s grave. 

By the way, if you want a Greengate Close Coterie holiday, the house in which Jessie and Ernest lived in Kirkcudbright is now a B&B.

Portraits of Jessie:

Jessie M King.

Jessie M King.

Jessie M King.

Jessie M King.

Jessie M King painted by her husband E A Taylor. Undated.

Jessie M King painted by her husband E A Taylor. Undated.

Jessie M King.

Jessie M King.

Jessie M King by James Craig Annan.

Jessie M King by James Craig Annan.

Jessie M King by Ernest Archibald Taylor.

Jessie M King by Ernest Archibald Taylor.

Portriat of Jessie M King by Helen Paxton Brown, undated. In the collections of the national Portrait Gallery of Scotland.

Portrait of Jessie M King by Helen Paxton Brown, undated. In the collections of the National Portrait Gallery of Scotland.

Jessiee Marion King 2

Portrait of Jessie M King by Helen Paxton Brown, undated. In the collections of the National Portrait Gallery of Scotland.

Jessie M King by Lena Alexander. (c) Dumfries and Galloway Council (Kirkcudbright); Supplied by The Public Catalogue Foundation

Jessie M King by Lena Alexander. (c) Dumfries and Galloway Council (Kirkcudbright); Supplied by The Public Catalogue Foundation

Jessie M King.

Jessie M King.

Sources: Jewelry and Metalwork in the Arts and Crafts Tradition by Elyse Zorn Karlin, 1993, 139-140; Oxford Dictionary of National Biography entry for Jessie Marion King by Jan Marsh; Jessie M King entry in the ExploreArt at Gracefield Arts Centre website; Jessie Marion King entry in Artists in Britain Since 1945—Chapter K by the Goldmark Gallery; the Jessie Marion King Papers at the University of Glasgow; Jessie Marion King entry in In the Artists’ Footsteps; Jessie M King page on Wikipedia.

This great blog has lots of photographs of Jessie’s illustrations, book covers, painted pottery and other artworks.

Further reading: The Enchanted World of Jessie M King by Colin White, Canongate Publishing Limited, 1989; Jessie M. King and E. A. Taylor: Illustrator and Designer. Sotheby’s Sale of 21 June 1977 at the Charles Rennie Mackintosh Society. Glasgow: Sotheby’s Begravia, 1977. No. 169; Glasgow Style by Gerald and Celia Larner, Paul Harris Publishing, Edinburgh, 1979; Glasgow Girls: Women in Art and Design 1880—1920 edited by Jude Burkhauser, Canongate, Edinburgh, 1990; Tales of the Kirkcudbright Artists by Haig Gordon, Galloway Publishing, Kirkcudbright, 2006; Glasgow Girls: Artists and Designers 18901930 by Liz Arthur, Kirkcudbright, 2010.

Stourhead’s autumn colours

Chap and I headed out to Stourhead this morning to get a fix of autumn colours. The gardens open at 9 and we got there at about 9.30, and there were already plenty of people there. Unsurprisingly most of them seemed to be taking photos.

We did our usual circuit walk around the lake, anticlockwise this time. The colours are pretty good this year but I wonder if the best is still to come.

Stourhead. The Palladian Bridge in the foreground and the Pantheon on the other side of the lake.

Stourhead. The Palladian bridge in the foreground and the Pantheon on the other side of the lake.

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The Temple of Apollo.

The Temple of Apollo.

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View across the lake to the Temple of Flora.

The Pantheon, newly reopened after restoration works this summer.

The Pantheon, newly reopened after restoration works this summer. Look at the red of that acer – it gives that lady’s coat a run for its money!

Beautiful Tulip tree (Liriodendron tulipifera) on the island in the lake.

Beautiful tulip tree (Liriodendron tulipifera) on one of the islands in the lake.

in his grotto.

The river god, representing the River Stour, in his grotto.

Looking back at **8 through the grotto. Love the pebble floor!

Looking back at the river god through the grotto. Love the pebble floor! To the right in this view is the sleeping nymph.

The sleeping nymph in the grotto.

The sleeping nymph in the grotto.

The Bristol Cross, the Palladian Bridge and over on the other side of the lake, the Pantheon.

The Bristol Cross, the Palladian bridge and over on the other side of the lake, the Pantheon.

On the drive home from Stourhead, just to the south of the estate: fantastic little estate smallholding, with outbuildings for livestock. We could see geese, ducks and guinea fowl!

On the drive home from Stourhead, just to the south of the gardens en route to the wonderfully named village of Gasper: a fantastic little estate smallholding, with outbuildings for livestock. We could see geese, ducks and guinea fowl!

The autumn colours are still developing. Alan Power, the Head Gardener at Stourhead, gives updates on his Twitter feed, as well as tweeting some amazing photos (he’s definitely got a better camera and waaaaaay more skill than me!).

On it I found out that in August this year the gardens at Stourhead were Google mapped: soon you’ll be able to take a virtual walk around the estate, courtesy of Google and this young man!

And I have to include this photo that I found on Alan’s twitter feed: it’s the most stunning view of Stourhead, taken by James Aldred in May this year from one of the taller trees on the estate:

Stourhead. Stunning photo by James Aldred.

Stourhead. Stunning photo by James Aldred in May 2014, showing the Temple of Apollo on its heights, and the Palladian bridge in the foreground.

Update on Friday 31 October: I have just heard Alan Power on BBC Radio 4’s PM programme, doing his annual description of the gardens, interviewed by the wonderful Eddie Mair. Alan has such a poetic way of describing the gardens, and his horticultural contributions are rightly a favourite part of PM’s annual cycle. He was recorded this afternoon, chatting for about 8 minutes on the programme, with the full 11½ minute interview available here. It’s well worth a listen: he clearly adores his job, the gardens, the plants and the people who visit, gaining pleasure from their pleasure, and he has a great eye for detail and a passion to share his delight in these fabulous gardens. A few lyrical snippets:

‘Trees in full autumnal song’

‘Early last week we had some wind come through the country … and on its way it undressed some of the trees’

‘On the island there’s a tulip tree that’s been rattled by the wind a little bit and its internal branches have no leaves left and it’s just haloed with a golden yellow’

‘And there’s architecture in the plants as well … looking across to the trees in the distance and there are some poplar trees and some birch trees by the grotto at Stourhead and they’re, they’re bolt upright you could describe them as, so their stems are really striking from a distance, really grey stems and they’re almost the same colour as the columns on top of the Pantheon, so you’ve got architecture within the soft planting and you’ve got the harder architecture of the eighteenth-century temples.’

‘The leaves have been falling gently and they haven’t been frightened by the frosts.’

Alan has been talking to PM about the autumn colours at Stourhead for six years now, and it’s just a delight.

Malmesbury Abbey, and the sad tale of Hannah Twynnoy

A couple of Sundays ago Chap and I headed north, and visited Malmesbury Abbey and Cherhill in north Wiltshire. I wrote about Cherhill in a previous post, and now it’s Malmesbury Abbey’s turn, and also the sad tale of one of the inhabitants of the Abbey’s graveyard.

South front of the nave of Malmesbury Abbey. Photo by Adrian Pingstone.

South front of the nave of Malmesbury Abbey. Photo by Adrian Pingstone.

'Malmesbury Abbey from the North-West' by Joseph Mallord William Turner, 1791. Watercolour on paper. One of a series of sketches Turner painted of the Abbey.

‘Malmesbury Abbey from the North-West’ by Joseph Mallord William Turner, 1791. Watercolour on paper. One of a series of sketches Turner painted of the Abbey. Tate Britain.

But first, a little about the Abbey itself. It is a wonderful building: its slightly unprepossessing exterior when viewed from the south doesn’t really prepare you for the interior, I feel. As you approach the south door you get the first hint that something exceptional is here: the Norman arch over the entrance porch is simply stunning. Its 850-year-old carvings tell the stories of the creation, the journey of the patriarch and kings, and the life of Jesus.

The Norman porch at Malmesbury Abbey.

The Norman porch at Malmesbury Abbey.

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Inside the porch: six of the Apostles

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Inside the porch: the other six.

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Inside the porch, over the inner door: Christ and attending angels.

The present Abbey is the third house of worship to stand on the site, and this incarnation was substantially completed by 1180. Its construction continued piecemeal over the next two hundred years, and it had a spire taller than that of Salisbury Cathedral (which is a whopping 123 metres (404 feet) high, the tallest in the UK) at the east end, and an impressive tower at the west end. The spire and the tower on which it was built fell around 1500, and the tower fell abut 50 years after that: both collapses demolished large parts of the building. All that is left intact today is the nave of this once-enormous abbey. It is still used for worship, and is a much-loved building surrounded by the ruins of its former glory.

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West window of the nave and enormous Norman columns.

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Looking up at the south wall of the nave.

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The ceiling of the nave with ornate bosses.

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The Watching Loft above the south side of the nave.

The 14th century tomb of King Aethelstan (c.893/895-939 AD), who is buried in an unknown spot somewhere in the Abbey grounds.

The 14th century tomb of King Aethelstan (c.893/895-939 AD), who is buried in an unknown spot somewhere in the Abbey grounds.

The 17th century font in Malmesbury Abbey.

The 17th century font.

One of the many monuments on the walls to the great and the good of the area. This one commemorates

One of the many monuments on the walls to the great and the good of the area. This one commemorates Mrs Elizabeth George of nearby Steeple Ashton, who died in 1734.

Stained glass window designed by Edward Burne-Jones and made in the William Morris workshops in 1901.

Stained glass window designed by Edward Burne-Jones and made in the William Morris workshops in 1901.

A beautiful Jacobean carved oak chair near the altar.

A beautiful Jacobean carved oak chair near the altar.

And wow—look at these flowers. They greet visitors and worshippers alike as they come in through the porch, and whoever was on the flower rota when these were done gets a gold star from me! Such a simple and beautiful arrangement of blue delphiniums, white asters and a white umbellifer—possibly Ammi major (also known as Bishop’s Lace, which is appropriate)—plus foliage.

Flowers in the entrance to the Abbey.

Flowers in the entrance to the Abbey.

Hannah Twynnoy bears the sad distinction of being possibly the first recorded death by tiger attack in the United Kingdom. Little is known of her apart from her gravestone, and a memorial plaque which provided some details of her life and sad demise, but which has since been lost. Apparently Hannah was a young barmaid at the White Lion Inn in Malmesbury, and one day somehow got close enough to a tiger displayed by a visiting menagerie for it to be able to maul her, with fatal results. She died on 23 October 1703, aged 33 years. She was buried in the Abbey grounds, and her headstone reads:

In bloom of Life
She’s snatchd from hence,
She had not room
To make defence;
For Tyger fierce
Took Life away.
And here she lies
In a bed of Clay,
Until the Resurrection Day.

Hannah Twynnoy's gravestone.

Hannah Twynnoy’s headstone in Malmesbury Abbey graveyard.

The west front of Malmesbury Abbey.

The west front of Malmesbury Abbey.

The Old Bell viewed from the Abbey graveyard (nice table tomb in the foreground).

The Old Bell viewed from the Abbey graveyard (nice table tomb in the foreground). The Old Bell claims to be England’s oldest hotel, dating back to 1220.

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Just outside the Abbey grounds is Malmesbury Market Cross, dating from c. 1490.

A good read: John Lahr on Tennessee Williams

Well, I don’t know if it is because I haven’t received it yet, but coming my way is John Lahr‘s new biography of Tennessee Williams, one of my favourite playwrights. Called Tennessee Williams: Mad Pilgrimage of the Flesh, it is published in the UK today. I am sure it will be more than just a good read, though—Lahr is a terrific writer, and the reviews I have seen so far have been glowing.

Tennessee Williams on location during the filming of his play, The Night of the Iguana.

Tennessee Williams on location during the filming of his play, The Night of the Iguana.

I am so pleased that this book has finally been published. I have the first instalment of the biographical series, if it can be called that: Lyle Leverich‘s Tom: The Unknown Tennessee Williams, which was published in 1995 and followed Williams’ life up to 1945, ending as Williams worked on A Streetcar Named Desire. Leverich died in 1999 before he could complete his second part of the biography, and had asked that Lahr should take over the task. I was very sad to hear of Leverich’s death because he had done such a magnificent job on Tom, but I couldn’t have been happier to learn of Lahr’s involvement.

John Lahr. Photo by Jill Krementz.

John Lahr. Photo by Jill Krementz.

Lahr wrote my all-time favourite biography, the magisterial Prick Up Your Ears, the biography of Joe Orton, as well as editing Orton’s wonderfully scurrilous and funny diaries and writing the preface to Orton’s collected plays. Orton is, I think, my all-time favourite playwright (what is it with me and gay playwrights?). I love his black humour, his irreverent take on life, and his joyous way with words. He came from Leicester, where I grew up, so maybe I feel a special affinity with him because of this.

In 1988 Lahr came to talk about Orton at the bookshop in Leicester in which I was working. At the time the Haymarket Theatre was putting on two of Orton’s lesser-known plays (The Ruffian on the Stair and The Erpingham Camp), and there was a display of related photographs and artwork in the foyer of the theatre. I cheekily asked the manager if we could borrow a huge black and white photo of Orton for the evening, and he kindly agreed—I remember walking through the streets carrying this massive portrait of one of Leicester’s most (in)famous sons, and chuckling to myself that he was being fêted in the city of which he had never thought too fondly. Lahr’s talk was fascinating, and Orton’s sister Leonie was there too, and answered questions about Joe’s life. It was a very special night. I had taken along all my Lahr books for him to sign, and they are now among my most treasured possessions.

Joe Orton.

Joe Orton.

And nicely completing the circle, I learned not too long ago that Williams greatly admired Orton, and even dedicated a play to his memory.

As well as Williams’ collected plays and short stories, I have a very small collection of books on Williams, only a tiny proportion of the hundreds that have been written about him. Chap bought me the Leverich book when it was published, and others I have picked up at second-hand bookshops. I have Williams’ Memoirs (published in 1972), highly selective and self-censored, as became apparent when I read Leverich; Tennessee Williams’ Letters to Donald Windham 1940-1965, edited by Donald Windham and published in 1977; and another, rather less satisfactory biography, The Kindness of Strangers: The Life of Tennessee Williams, by Donald Spoto and published in 1985. Lahr’s book is going to be well-thumbed before too long.

Lahr’s book has been the Book of the Week on BBC Radio 4 this week, read by Damian Lewis. I admire how the abridger has managed to distil the 784 pages documenting the last 37 years of Williams’ hectic life into 75 minutes. No mean feat!

A William Morris alphabet

I have a tiny brooch for sale in my Etsy shop—it’s a sterling silver letter ‘C’ in a lovely ornate script, decorated with foliage and flowers. It is unmarked and I didn’t know much about it. I described it as best I could and listed it. I didn’t know who the designer or the maker was, and I hadn’t seen anything like it before.

Vintage tiny William Morris design sterling silver brooch forming a letter 'C', and made by Ortak in the 1970s.

Vintage tiny William Morris design sterling silver brooch forming a letter ‘C’, and made by Ortak in the 1970s. For sale in my Etsy shop. Click for details. (NOW SOLD).

A few weeks later I heard from Rowena, a lovely lady on Etsy, pointing out it was a letter ‘C’ (I had photographed it on its side and not realised it was a letter!), and that she thought it might be by Ortak, the jewellery firm based on the Orkney Isles off the northern tip of mainland Scotland. I have two other pieces by Ortak, so was familiar with the company’s story.

Just today I have heard from another seller on Etsy, a lovely lady called Suzanne, who tells me it is definitely by Ortak. She has a sister brooch, a ‘B’ to my ‘C’.

Suzanne's Ortak silver 'B', for sale in her Etsy shop.

Suzanne’s Ortak silver ‘B’, for sale in her Etsy shop. Click for details. (NOW SOLD).

Suzanne knew who had made it, because it came in its box, marked ‘Ortak, Scotland’. A spot of google-fu was in order, now that I knew it was by Ortak for sure.

Up popped an old eBay listing for a letter ‘P’, with its Ortak box—and the information that the design is based on one by William Morris.

Ortak sterling silver brooch, letter 'P', sold on eBay.

Ortak sterling silver brooch, letter ‘P’, sold on eBay.

I was a very happy bunny at this news. William Morris is one of the founders of the Arts and Crafts movement, and a designer of beautiful textiles, tiles, stained glass, furniture, book design and calligraphy—you name it, he probably designed it.

A bit more truffling produced a letter ‘A’:

Ortak silver letter 'A'. Photo by CAtaway on flickr.

Ortak silver letter ‘A’. Photo by CAtaway on flickr.

and I’m sure if I carried on I would have found still more. Morris’s skill at calligraphy is well known, and his illuminated manuscripts and book illustrations are gorgeous and wonderful. And here are some letters designed by Morris that might have been part of the inspiration for the brooch series above:

Letters designed by William Morris.

Letters designed by William Morris.

So a wonderful learning lesson has been had by me today. I love it! Thanks Rowena, and thanks Suzanne!

2018 UPDATE: a few more of these brooches have come out of the woodwork and I wrote a blog post illustrating them all.

Mystery tile revisited: Iznik?

I’ve done some poking about since I last wrote about my mystery tile. (Click on all photos to enlarge).

The mystery tile.

The mystery tile.

I had discounted it being Iznik as most Iznik decorative floral motifs I had seen were flowing and sinuous, rather than angular and geometric, as in my tile.

However, a late-night spot of google-fu brought me to the official blog of the Glessner House Museum in Chicago. In the mid 1880s Iznik tiles which date from the mid-16th century were used to decorate the fireplace of the newly built Glessner House. The photos on the Glessner House website are very similar to my tile:

Iznik tile from the Glessner House

Iznik tile illustrated on the Glessner House blog. Pretty good match, no?

However, it is not clear from the blog whether this is one of the 1970s reproductions that is mentioned, or one of the three original tiles that survive from the Glessner House collection. (Update: this very tile is for sale at Anthony Slayter-Ralph Fine Art, Tile 70 of the Lockwood de Forest II collection, 21.6 x 19 cm (8.5 x 7.5 in.), so I am not sure how accurate the Glessner House information is. The sale description says it can be compared to two tiles in the V&A, accession no. 1227-1883, but sadly there are no photos with the V&A’s collections database entry for these tiles).

This tile differs from my tile in that the interior of the flower spike is painted to delineate the fish scale-like sections, whereas mine has a bumpy, textured interior and the sections are more circular. The Glessner ones are said to be some 6 inches square (although the one above is 8.5 x 7.5 inches), whereas mine is a tad over 8 inches square. Plus my underglaze background colour is a blueish white, whereas the Glessner House ones are a cleaner, crisper white.

Iznik tiles in the dining room fireplace in the Glessner House, before their removal in the 1930s.

Iznik tiles in the dining room fireplace in the Glessner House, before their removal in the 1930s.

The Glessner House blog provided a photo of similar tiles in the tomb of Muhi al-Din Ibn ‘Arabi in the Sheikh Muhiddin Mosque in Damascus. Another quick google told me that he was properly known as (deep breath) ‘Abū ‘Abdillāh Muḥammad ibn ‘Alī ibn Muḥammad ibn ‘Arabī (also as Muhiddin(e) ibn Arabi), an Arab-Andalusian Sufi mystic, poet and philosopher who died in 1240 AD, and was buried in Damascus. Centuries later his tomb was decorated with these vivid Iznik tiles. They too have the painted fish scale-like interior divisions of the flower spikes.

Iznik tiles in the tomb of 'Abū 'Abdillāh Muḥammad ibn 'Alī ibn Muḥammad ibn `Arabī in Damascus.

Iznik tiles in the tomb of ‘Abū ‘Abdillāh Muḥammad ibn ‘Alī ibn Muḥammad ibn ‘Arabī in Damascus. These have the painted fish scale divisions within the flower spikes.

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Ibn Arabi’s tomb, Damascus, Syria. Photo from http://hakkani.wordpress.com/2011/04/30/sheikh-ibn-arabis-tomb-jabal-qasyoon-syria/

So the question is, is mine Iznik too? Is it genuine Iznik, older than the ones at Damascus? Is it genuine Iznik, younger than the ones at Damascus? Was it made by another pottery centre, apeing the Iznik style? Is it a modern reproduction? I don’t think it is the latter as it simply looks and feels too old: it was made in a fairly crude way, the glaze is very crackled and crazed with age, and it has had a life with all its breaks and stains. But I could very easily be wrong.

Time for some more research ….

UDATE: More developments here.

Linda’s chickens

Our friend Linda is not only a very generous chicken-egg-giver, but also a very talented chicken artist (is that a thing? Well, it is now): she has a Flickr album of the terrific drawings she has done of her chucks using her iPad.

So now I can match the eggs to the chicken:

Linda's eggs: left to right blue ones

Eggs from Linda’s chickens: left to right blue ones = Cotswold Legbar, little cream ones = Australorp; big white pointy ones = Ancona.

Cotswold Legbar by Linda Coleman.

Cotswold Legbar by Linda Coleman.

Australorp chicken by Linda Coleman.

Australorp chicken by Linda Coleman.

Ancona chicken by Linda Coleman.

Ancona chicken by Linda Coleman.

Mary Thew, Arts and Crafts jeweller

Mary Russell Thew (1876—1953, née Mary Russell Frew) was a Scottish Arts and Crafts jeweller, perhaps best known for her free-flowing use of silver wire, with trails and beads, as well as using materials such as abalone and cabochon semi-precious gemstones. Her work is in the collections of the Victoria and Albert Museum in London.

Mary Thew.

Mary Thew. Partly gilded silver brooch with abalone, jade, turquoise and citrine. In the collections of the V&A.

Mary was born in Hillhead in Glasgow in 1876. She studied for a short time at the Glasgow School of Art in the mid 1890s, becoming friends there with Jessie Marion King and Jessie’s husband E.A. Taylor, before marrying her husband, James Mursell Thew, in 1903. James was an engineer, and enjoyed silversmithing as a hobby and making pieces for Mary; she soon began making designs herself. James died after only a few years of marriage, and with a young son to support, Mary decided to turn her hobby into her career. She took a short course of four lessons in jewellery making from famed Arts and Crafts jeweller Rhoda Wager, who had also studied at the Glasgow School. This must have been some time before 1913, as after that date Wager emigrated, first to Fiji and then to Australia, where she was to live for the rest of her life. Mary became a member of the  ‘Greengate Close Coterie’, a group of friends and artisans who came to live for extended periods in the village of Kirkcudbright, where King and Taylor had settled in 1915. From 1911 Mary was a member of the Glasgow Society of Lady Artists, and she won the Society’s Lauder Award for a case of jewellery in 1925. She also exhibited at the Walker Art Gallery in Liverpool. An undated jewellery box of Mary’s is marked ‘Mary R. Thew, 704 Anniesland Road, Glasgow W.4.’  She also lived in Helensburgh at some point in her life.

Mary Thew.

Mary Thew. Silver brooch with a galleon design, set with freshwater pearls, amethysts and citrines. Sold by Tadema Gallery. Source: Zorn Karlin 1993, 143.

Mary Thew.

Mary Thew. Silver and abalone galleon brooch. Sold by Dukes Auctioneers.

Mary Thew.

Mary Thew. Silver and abalone galleon brooch. Sold by Van Den Bosch.

Mary took much inspiration from the jewellery of foreign countries whenever she travelled. She also designed Celtic-inspired pieces, as well as making jewellery with the popular Arts and Crafts galleon motif. Her freeform wirework pieces are perhaps her most iconic, though: trails and beads of wire wrapped to form a circular frame, on which are mounted cabochon semi-precious stones or abalone plaques or freshwater pearls.

Mary Thew.

Mary Thew. Silver and carnelian wirework brooch. Sold by Sworders Auctioneers.

Mary Thew.

Mary Thew. Silver, chalcedony and freshwater pearl wirework brooch. Sold by Tadema Gallery.

Mary Thew.

Mary Thew. Silver, chalcedony and moonstone wirework brooch. Sold by Bonhams.

Mary Thew. Brooch recently sold on eBay.

Mary Thew. Silver and amethyst wirework brooch recently sold on eBay.

Mary Thew. Sold by Van Den Bosch.

Mary Thew. Silver and lapis lazuli wirework brooch. Sold by Van Den Bosch.

Attributed by the sellers to Sibyl Dunlop, but I am pretty sure this is by Mary Thew.

Attributed by the sellers to Sibyl Dunlop, but I am pretty sure this is by Mary Thew. Moonstone and Biwa pearls wirework brooch, with what looks like gilded silver (hard to tell as the photo isn’t the best). Sold by Dreweatts & Bloomsbury.

In 1939 Mary was living in Milngavie, a small town some 10 km (6 miles) north-west of Glasgow. Here Nan Muirhead Moffat, a newspaper reporter, described her workshop:

The desk is surmounted by shelves from which hang the numerous tools required for this complicated craft. The jeweller sits on a high Windsor chair … Within easy reach are her bottle of sperm oil and sulphuric acid, borax (used as a flux), a polishing lathe, a rolling machine, a vice, and a sandbag for hammering repousse. In the sketch, the artists is shown revolving a ring, on a wire ‘wig’, in a Bunsen-burner flame, while she uses foot bellows. While working, she always wears a leather apron and another is fixed under the desk to catch any jewels or pieces of metal which might be dropped.

Mary Thew at work in her studio in her garden.

Mary Thew at work in her studio in her garden.

The reporter then went to look at Mary’s jewellery:

Brooches, pendants, rings, ear-rings, chains, bracelets, buckles and links shimmered and glowed in the afternoon sunshine. I also saw beautiful crosses, showing Celtic influence, with characteristic inter-lacings and whorls, and I admired silver butter-forks, spoons and key-rings.

Mary Thew. Matirx turquoise and silver Celtic cross pendant, signed on the back with Mary's 'T' mark. Her signed pieces are very rare. For sale on Etsy: click on photo for details.

Mary Thew. Matrix turquoise and silver Celtic cross pendant, signed on the back with Mary’s punched ‘T’ mark. Her signed pieces are very rare. For sale on Etsy: click on photo for details.

Mary Thew opal and pearl-decorated Celtic cross. No mention in the description if it was signed on the back. Sold in 2006 by Lyon and Turnbull.

Mary Thew opal and pearl-decorated Celtic cross. No mention in the description if it was signed on the back. Sold in 2006 by Lyon and Turnbull.

Mrs Thew told me that once she had to make silver hinges for an old book, belonging to Professor Latts, the cracked covers of which were made from the wood of an old battleship. Recently she had been making a great many hand-wrought silver tops for the fashionable embroidered handbags. She had also made copies, to order, of antique jewellery.

The artist has an instinct for creating a pleasing balance between space and decoration in her work, and she has a fine colour sense. She neither overloads with ornamentation nor allows her devotion to detail to detract from the general effect of her design. 

Entrancing treasures

In the drawers a heterogeneous collection of gems from all over the world was mixed in an entrancing disorder—American jade from Salt Lake City, Scottish pearls, Connemara marble, New Zealand shells, Mexican fire opals, corals, malachite, crystals, moss-agates, green pebbles, and magic moonstones.

Mary Thew.

Mary Thew. Silver, abalone and freshwater pearl brooch. Sold by Tadema Gallery. Source: Zorn Karlin 1993, 143.

Mary Thew.

Mary Thew. Silver and abalone brooch, for sale at Tadema Gallery.

Mary Thew. Silver and abalone brooch. Sold at Bonhams.

Mary Thew. Silver and abalone brooch. Sold by Bonhams.

Mary Thew 10

Mary Thew. Silver and Abalone brooch. Sold by Auction Atrium.

Mary Thew didn’t often sign her work, but when she did it was usually in the form of a ‘T’ punched on to the back of the piece.

Celtic cross pendant signed by Mary Thew: a 'T' made of punched dots, punched through from the other side before the matrix turquoise stone was set. Signed pieces are very rare. For sale on Etsy: click on photo for details.

Celtic cross pendant signed by Mary Thew: a ‘T’ made of punched dots, punched through from the other side before the matrix turquoise stone was set. Signed pieces are very rare. For sale on Etsy: click on photo for details.

Her work is now very sought-after, and is sold by specialist jewellery galleries in London such as Tadema Gallery and Van Den Bosch.

I was very lucky to find an unattributed Mary Thew brooch, which I sold in my Etsy shop. It wasn’t signed but had the characteristics of her work, including freeform wirework, trails and beads, as well as an abalone plaque. The Director of Decorative Arts at Lyon and Turnbull in Edinburgh corroborated my identification. The day I found that brooch was a very special one indeed, and for a short while I was the proud possessor of a Mary Thew masterpiece! I’m pleased to report that it has since returned to Scotland, its ancestral home.

The Mary Thew brooch I sold in my Etsy shop.

The Mary Thew brooch I sold in my Etsy shop.

Another view of my Mary Thew brooch.

Another view of my Mary Thew brooch.

Mary Thew (attrib.) silver and abalone brooch, sold on eBay in November 2015 and a companion piece to my brooch.

Mary Thew silver and abalone brooch, sold on eBay in November 2015 and a companion piece to my brooch.

Another view, showing the trails and beads and flowers.

Another view, showing the silver trails and beads and flowers.

Given the wide range of jewellery types that Mary Thew made, as mentioned in the 1939 article, it would be wonderful to see more examples of her non-brooch jewellery. Tadema Gallery has sold a bracelet of hers, but apart from that, and the two Celtic cross pendants above, the only pieces of which I have seen records have all been brooches. (The pendant/necklace below was made recently, using a Mary Thew brooch.)

Mary Thew. Silver, jade, goshenite and peal pendant and necklace. Sold by tadema Gallery.

Mary Thew. Silver, jade, goshenite and pearl pendant and necklace, made using the original brooch below and sold by Tadema Gallery.

Mary Thew.

Mary Thew. Brooch from which the above pendant/necklace was made. Tadema Gallery ref 7172.

Mary Thew. Silver and opal doublet bracelet. Sold by Tadema Gallery.

Mary Thew. Silver and opal doublet bracelet. Sold by Tadema Gallery. (Looks like lapis lazuli, but I assume that’s the colour reproduction).

An art glass faux turquoise and silver pendant, attributed to Mary Thew. For sale in my Etsy shop, Inglenookery: click on photo for details.

Mary was also a talented artist and musician. She died in 1953 in North Wales.

Sources: Jewelry and Metalwork in the Arts and Crafts Tradition by Elyse Zorn Karlin, 1993, 142-3; ‘Round the Studios: 7. Mrs Mary Thew – Jeweller’ by Nan Muirhead Moffat, The Glasgow Herald, 18 May 1939, 8; Mary Thew entry at the In the Artists’ Footsteps website; Mary Thew entry in Artists in Britain Since 1945—Chapter T by the Goldmark Gallery.

Further reading: Glasgow Style by Gerald and Celia Larner, Paul Harris Publishing, Edinburgh, 1979; Glasgow Girls: Women in Art and Design 1880—1920 edited by Jude Burkhauser, Canongate, Edinburgh, 1990; Tales of the Kirkcudbright Artists by Haig Gordon, Galloway Publishing, Kirkcudbright, 2006; Glasgow Girls: Artists and Designers 18901930 by Liz Arthur, Kirkcudbright, 2010.

Favourite Etsy shops: The Litus Gallery

There are some amazing artists and craftspeople on Etsy, and I wanted to write about some of my favourites. Top of the pile is The Litus Gallery.

I was so delighted when I found this shop: DD McInnes is an artist living near Canterbury in Kent, a self-professed fantabulist who paints the most whimsical, fantastical oil paintings, some of which are inspired by 17th, 18th and early 19th century paintings, and which have animals, including birds, invertebrates and insects taking the place of the human sitters. DD describes the paintings as ‘A unique collection of dream-like, darkly humorous paintings and prints of mythical beasts and metaphysical poets for the discerning Virtual Grand Tourist.’  

'The Tender Foils' by DD McInnes.

‘The Tender Foils’ by DD McInnes.

'Portrait of a Young Man', by DD McInnes.

‘Portrait of a Young Man’, by DD McInnes.

'The Spectral Lovers' by DD McInnes.

‘The Spectral Lovers’ by DD McInnes.

The paintings have such terrific titles as ‘The Contessa di Faraglione Arrives for the Evening Ball‘, and ‘The Morning Exercise, Newthorpe Park, May, 1768‘, and ‘La Passeggiata of the Lady Dowager, Siena, 1796‘, and ‘Mister Renard’s Dappled Gray, “Lightning Bolt”, with the Jockey Lamb, Up‘, and ‘Henry Lord Byfield, 1st Viscount of Framlington, Rides Out on His First Grand Tour, 1795‘, and ‘The Game of Quoits at Dunmow Lacey, Afternoon, 1814‘, and ‘A Table at Mrs. Goatsby’s Coffee-House, Berwick St. London, 1767‘. I’m not sure whether all of these are based on original paintings and their titles, or are the product of DD’s fevered imagination, but I have had fun trying to find out. (I could just ask DD, but where’s the challenge in that?)

A couple of them I recognise:

‘The Yuletide Handsel’ by DD McInnes

‘The Yuletide Handsel’ by DD McInnes

The Reverend Robert Walker Skating on Duddingston Loch, better known by its shorter title The Skating Minister, by Sir Henry Raeburn.

‘The Reverend Robert Walker Skating on Duddingston Loch’, better known by its shorter title ‘The Skating Minister’, by Sir Henry Raeburn, 1790s.

'The Swing' by DD McInnes.

‘The Swing’ by DD McInnes.

'The Swing' by Nicolas Lancret, 1730-35.

‘The Swing’ by Nicolas Lancret, 1730-35.

and DD mentions the inspiration in the title of a few more:

'The Eight Lives of Mr. Tybalt' (after Nicolaes Eliaszoon's 'Portrait of Nicolaes Tulp', 1633)" by DD McInnes.

‘The Eight Lives of Mr. Tybalt (after Nicolaes Eliaszoon’s “Portrait of Nicolaes Tulp”, 1633)’ by DD McInnes.

'Nicolaes Tulp' by Nicolaes Eliaszoon Pickenoy, 1633.

‘Nicolaes Tulp’ by Nicolaes Eliaszoon Pickenoy.

"On the Way Home (After William Blake's Engraving 'The Traveller hasteth in the Evening,' 1793)" by DD McInnes.

‘On the Way Home (After William Blake’s Engraving “The Traveller hasteth in the Evening,” 1793)’ by DD McInnes.

'The Traveller hasteth in the Evening 14 Publishd 17 May 1793 by WBlake Lambeth' Engraving from 'For Children. The Gates of Paradise', by William Blake, 1793.

‘The Traveller hasteth in the Evening 14 Publishd 17 May 1793 by WBlake Lambeth’
Engraving from ‘For Children. The Gates of Paradise’, by William Blake.

'The Turnip Spinner (After Chardin's, "Gabriel Godefroy watching a top spin", c.1735', by DD McInnes.

‘The Turnip Spinner (After Chardin’s, “Gabriel Godefroy watching a top spin”, c.1735’, by DD McInnes.

'Portrait of Auguste Gabriel Godefroy' by Jean-Baptiste-Siméon Chardin, 1741.

‘Portrait of Auguste Gabriel Godefroy’ by Jean-Baptiste-Siméon Chardin.

'I Want, I Want (after William Blake)' by DD McInnes.

‘I Want, I Want (after William Blake)’ by DD McInnes.

'I want! I want!'  Plate 9, For the Sexes: The Gates of Paradise, by William Blake.

‘I want! I want!’, a plate in ‘For Children: The Gates of Paradise’, by William Blake.

And if you want yet more whimsy, read the shop’s ‘About’ page. I love it!

I don’t know DD’s gender, but I’m guessing DD’s a ‘he’ as the phrase ‘grizzled painter’ is used. Mind you, as DD says the oil paints used are delivered by packs of dromedaries across the marshes of Kent, maybe I should take absolutely everything with a pinch of salt …

DD sells the original oil paintings, plus fine art prints of some of the paintings and lovely notecards too, in the Litus Gallery shop on Etsy. It’s well worth a visit, and I guarantee you’ll come away smiling.

(Sadly necessary disclaimer: I’m writing about shops that grab my fancy and fire my imagination. I’m not being paid or otherwise rewarded to do this—just spreading the love!)