Category Archives: Country Life

Jane Grigson


Jane Grigson (née McIntire, 13 March 1928 – 12 March 1990) was an English cookery writer.

She was a long-time food columnist with The Observer, and won awards for her cookery books including Vegetable Book (1978) and Fruit Book (1982). She was made Cookery Writer of the Year in 1977 for her book English Food.

Life and writings

Heather Jane Mabel McIntire (later Jane Grigson) was born in Gloucester, Gloucestershire, and brought up in Sunderland, County Durham, where her father George Shipley McIntire was Town Clerk. She attended Sunderland Church High School and Casterton School, Casterton, Westmorland, then went on to Newnham College, Cambridge, where she read English. On graduating from university in 1949, she spent three months in Florence, Italy. After working in art galleries, she went into publishing, joining George Rainbird’s company in 1953 as a picture researcher for the encyclopedic People, Places, Things and Ideas. The editor of the book was poet and critic Geoffrey Grigson (1905–85), whom she later married, becoming his third wife. Grigson subsequently worked as a translator, winning the John Florio prize in 1966 for her work with Father Kenelm Foster on the translation of Cesare Beccaria’s On Crimes and Punishments (1966).

Grigson’s growing interest in food and cooking led to the writing of her first book, Charcuterie and French Pork Cookery (1967), which was accorded the unusual honour for an English food writer of being translated into French. Elizabeth David read the book and was impressed by it, and recommended Grigson as a food columnist for The Observer, for whom she wrote a column from 1968 until her death in 1990. Her long-lasting association with the newspaper produced some of her most successful books, such as Good Things (1971) and Food With the Famous (1979). In 1973, Fish Cookery was published, followed by The Mushroom Feast (1975), a collection of recipes for cultivated, woodland, field and dried mushrooms. She received both the Glenfiddich Writer of the Year Award and the André Simon Memorial Fund Book Award for her Vegetable Book (1978) and for her Fruit Book (1982), and was voted Cookery Writer of the Year in 1977 for English Food.

Grigson died in Broad Town, Wiltshire, on the eve of her 62nd birthday. Her daughter Sophie Grigson (born 1959) is also a cookery writer and broadcaster.

Writing style

In her obituary for The Independent, Alan Davidson wrote:

Jane Grigson left to the English-speaking world a legacy of fine writing on food and cookery for which no exact parallel exists…. She won to herself this wide audience because she was above all a friendly writer… a most companionable presence in the kitchen; often catching the imagination with a deftly chosen fragment of history or poetry, but never failing to explain the “why” as well as the “how” of cookery.

Like her contemporary Elizabeth David, Jane Grigson’s books are known for their witty and sometimes extensive digressions on the history of ingredients and recipes. For example, the introduction to the chapter on pears in her Fruit Book  contains a description of:

poire d’angoisse, which was originally an instrument of torture (a pear-shaped metal contraption was pushed into people’s mouths and then expanded). Poires d’angoisse were called after this abomination, as they were sharp in the mouth too (hay was put into the cooking water in an attempt to soften the flavour). In the 13th century streets of Paris, sellers went round shouting “poires d’angoisse crier haut” which was I suppose a grim reminder of the connection, “Cry loud the pears of anguish”. The phrase “to swallow the pears of anguish” means to suffer humiliations and distress.

She is also frequently opinionated and acerbic in her opinions about foods she does not like. In her Vegetable Book, she says, for example, of the beetroot:

We do not seem to have had much success with the beetroot in this country. Perhaps this is partly the beetroot’s fault. It is not an inspiring vegetable, unless you have a medieval passion for highly coloured food. With all that purple juice bleeding out at the tiniest opportunity, a cook may reasonably feel that beetroot has taken over the kitchen and is far too bossy a vegetable.

Her books also often frequently contain personal recollections of culinary habits in Northumbria, Wiltshire and Touraine.

Legacy

The International Association of Culinary Professionals (IACP) has created the Jane Grigson Award in her honour.

Her personal collection of books on food and cooking forms the core of the Jane Grigson Library, housed at Oxford Brookes University.

It is alleged that it was Grigson who first popularised the idea that if a mussel’s shell does not open during cooking, it is in some way unhealthy, and should not be eaten. However, this is now held to be a misconception, albeit an extremely popular one: after the idea was published in a book of Grigson’s in the 1970s, it was mentioned in 90% of all cookery books by 1990. It is now thought that the opposite is in fact true, and that if a shell remains closed after the cooking process, a mussel has less chance of being “off” than if it opens.

The Jane Grigson Trust was set up in her memory on 3 April 1991, as an educational charity. In March 2015, in commemoration of the twenty-fifth anniversary of her death, the Jane Grigson Trust set up an award for new food writers, the Jane Grigson Trust Award, to be awarded for the first time in March 2016.

Books

•                Charcuterie and French Pork Cookery (Michael Joseph, 1967)

•                Good Things (1971)

•                Fish Cookery (1973)

•                English Food (London: Macmillan, 1974; with illustrations by Gillian Zeiner; an anthology of English and Welsh recipes of all periods chosen by Jane Grigson, for which she was voted Cookery Writer of the Year. A revised and enlarged edition was published in 1979 (ISBN 0 33326866 0), and later editions were issued by Ebury Press with a foreword by Sophie Grigson)

•                The Mushroom Feast: A Celebration of All Edible Fungi With Over 250 Recipes (1975)

•                Jane Grigson’s Vegetable Book (1978) (for which she received the Glenfiddich Writer of the Year Award)

•                Food with the Famous (1979; Grub Street, 1991; vignettes of 11 historical figures – John Evelyn, Jane Austen, Marcel Proust and others – with recipes for their favourite dishes)

•                Jane Grigson’s Fruit Book (1982) (awarded the André Simon Memorial Fund Book Award)

Other books

•                The Best of Jane Grigson’s British Cookery

•                The Best of Jane Grigson’s Desserts

•                The Best of Jane Grigson’s Soups

•                Book of European Cooking, Jane Grigson’s

•                Cooking Spinach

•                Cooking with Exotic Fruits and Vegetables

•                Dishes From the Mediterranean

•                The Elle Cookbook

•                The Enjoyment of Food (an anthology)

•                The Fruit, Herbs and Vegetables of Italy

•                In Celebration of Chives

•                The International Wine and Food Society’s Guide to Fish Cookery

•                The Observer Guide to British Cookery

•                The Observer Guide to European Cookery

•                The World Atlas of Food

•                Preface to An English Flavour by Patricia Hegarty

 

People : Bloomsbury, Duncan Grant


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Duncan James Corrowr Grant (21 January 1885 – 8 May 1978) was a British painter and designer of textiles, pottery and theatre sets and costumes. He was a member of the Bloomsbury Group.

His father was Bartle Grant, a “poverty-stricken” major in the army, and much of his early childhood was spent in India and Burma. He was a grandson of Sir John Peter Grant, 12th Laird of Rothiemurchus, KCB, GCMG, sometime Lt-Governor of Bengal.Duncan was also the first cousin twice removed of John Grant, 13th Earl of Dysart (b. 1946).

Early life

Grant was born on 21 January 1885 in Rothiemurchus, Aviemore, Scotland. He attended school in England from 1894, where he was educated at Hillbrow School, a preparatory school in Rugby, and St Paul’s School, London. Grant showed little enthusiasm for studying but enjoyed art classes. He was encouraged by his art teacher and also his aunt Lady Strachey, who organised private drawing lessons for him. Eventually, he was allowed to follow his desire to become an artist, rather than join the army as his father wished, and he attended Westminster School of Art in 1902. He then studied art at the Slade School and in Italy and Paris.

He was a cousin, and for some time a lover, of Lytton Strachey. Through the Stracheys, Duncan was introduced to the Bloomsbury Group, where John Maynard Keynes became another of his lovers.

Career in art

Grant is best known for his painting style, which developed in the wake of French post-impressionist exhibitions mounted in London in 1910. He often worked with, and was influenced by, another member of the group, art critic and artist Roger Fry. As well as painting landscapes and portraits, Fry designed textiles and ceramics.

After Fry founded the Omega Workshops in 1913, Grant became co-director with Vanessa Bell, who was then involved with Fry. Although Grant had always been actively homosexual, a relationship with Vanessa blossomed, which was both creative and personal, and he eventually moved in with her and her two sons by her husband Clive Bell. In 1916, in support of his application for recognition as a conscientious objector, Grant joined his new lover, David Garnett, in setting up as fruit farmers in Suffolk. Both their applications were initially unsuccessful, but eventually the Central Tribunal agreed to recognise them on condition of their finding more appropriate premises. Vanessa Bell found the house named Charleston near Firle in Sussex. Relationships with Clive Bell remained amicable, and Bell stayed with them for long periods fairly often – sometimes accompanied by his own mistress, Mary Hutchinson.

In 1935 Grant was selected along with nearly 30 other prominent British artists of the day to provide works of art for the RMS Queen Mary then being built in Scotland. Grant was commissioned to provide paintings and fabrics for the first class Main Lounge. In early 1936, after his work was installed in the Lounge, directors from the Cunard Line made a walk-through inspection of the ship. When they saw what Grant had created, they immediately rejected his works and ordered it removed.

Grant is quoted in the book The Mary: The Inevitable Ship, by Potter and Frost, as saying:

“I was not only to paint some large murals to go over the fireplaces, but arrange for the carpets, curtains, textiles, all of which were to be chosen or designed by me. After my initial designs had been passed by the committee I worked on the actual designs for four months. I was then told the committee objected to the scale of the figures on the panels. I consented to alter these, and although it entailed considerable changes, I got a written assurance that I should not be asked to make further alterations. I carried on, and from that time my work was seen constantly by the Company’s (Cunard’s) representative.

When it was all ready I sent the panels to the ship to put the finishing touches to them when hanging. A few days later I received a visit from the Company’s man, who told me that the Chairman had, on his own authority, turned down the panels, refusing to give any reason.

From then on, nothing went right. My carpet designs were rejected and my textiles were not required. The whole thing had taken me about a year….. I never got any reason for the rejection of my work. The company simply said they were not suitable, paid my fee, and that was that.”

Personal life

Duncan’s early affairs were exclusively homosexual. These included his cousin, the writer Lytton Strachey, the future politician Arthur Hobhouse and the economist John Maynard Keynes, who at one time considered Grant the love of his life. Through Strachey, Grant became involved in the Bloomsbury Group, where he made many such great friends including Vanessa Bell. He would eventually live with Vanessa Bell, who though she was a married woman fell deeply in love with him, and one night succeeded in seducing him; Vanessa very much wanted a child by Duncan, and became pregnant in the spring of 1918. Although it is generally assumed that Duncan’s sexual relations with Vanessa ended in the months before Angelica was born (Christmas, 1918), they continued to live together for more than 40 years.

Living with Vanessa was no impediment to Duncan’s relationships with men, either before or after Angelica was born. Angelica grew up believing that Vanessa’s husband Clive Bell was her father; she bore his surname and his behaviour toward her never indicated otherwise. Duncan and Vanessa formed an open relationship, although she herself apparently never took advantage of this after settling down with him and having their child. Duncan, in contrast, had many physical affairs and several serious relationships with other men, most notably David Garnett, who would one day marry Angelica. Duncan’s love and respect for Vanessa, however, kept him with her until her death in 1961.

Angelica wrote: “(Grant) was a homosexual with bisexual leanings”.

Later years

In Grant’s later years, his lover the poet Paul Roche (1916–2007), whom he had known since 1946, took care of him and enabled Grant to maintain his accustomed way of life at Charleston for many years. Roche was made co-heir of Grant’s estate. Grant eventually died in Roche’s home in 1978.

Duncan Grant’s remains are buried beside Vanessa Bell’s in the churchyard of St. Peter’s Church, West Firle, East Sussex.

People : Nick Darke Cornish Playwright …… Cornwall In A Different Light


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Nick Darke born Nicholas Temperley Watson Darke (29 August 1948 – 10 June 2005) was an Cornish playwright and writer, poet, lobster fisherman, environmentalist, beachcomber, politician, broadcaster, film-maker and chairman of St Eval Parish Council.

Life and writings

Nick Darke was born in Bodmin in Cornwall and lived most of his life in Porthcothan where his family have lived for four generations after moving there from Padstow. His grandfather was a sea-captain who spent his life at sea and was wrecked twice at the Cape of Good Hope. His father T. O. Darke, was a chicken farmer, fisherman and a distinguished ornithologist . His mother was the actress Betty Cowan. He was educated at St Merryn Primary School and Truro Cathedral School, from where he was expelled for getting drunk on sports day. He then attended Newquay Grammar School and subsequently trained as an actor at the Rose Bruford College in Kent. After making his professional début in repertory at the Lyric, Belfast, he went on to learn his craft at the Victoria Theatre, Stoke-on-Trent, England, where he acted in over eighty plays and directed Man Is Man, The Miser, Absurd Person Singular, The Scarlet Pimpernel, and A Cuckoo in the Nest, 1977–79. At Stoke he wrote his first full-length play, Never Say Rabbit in a Boat in 1977. He gave up acting to write full-time in 1978. Over the next twenty-eight years, he wrote twenty-seven plays which have been performed in theatres all over the world (eight for The Royal Shakespeare Company and two for The National Theatre). He also wrote for radio, television and film.

Many of his plays reflect Cornish society and culture such as the tin mining, countryside, fishermen and the quirky nature of country living. During the later part of his career he worked regularly with the theatre company Kneehigh Theatre. One of his last works, the documentary The Wrecking Season (2004) which he wrote and narrated, charts the lives of Cornish beachcombers, of which he himself was one having moved permanently back home to Porthcothan in 1990. He married the painter Jane Spurway in 1993 and is the father of film-maker Henry and stepfather of Jim, a marine scientist. He was made a Bard of the Cornish Gorsedd in 1996 taking the Bardic name Scryfer Gwaryow (‘Writer of Plays’).

While recovering from a stroke that he suffered in January 2001, Nick Darke was diagnosed with terminal cancer and died, aged 56, in June 2005. A unique beach funeral ceremony was followed by burial in St Eval churchyard. His son Henry and wife Jane Darke continued his legacy in film. The Art of Catching Lobsters, written and directed by Jane Darke, is a moving account of her husband’s death and the grieving process. Premiered on BBC Four on 27 September 2007 it was subsequently shown at the 2007 Cornwall Film Festival A film version of his first play Never Say Rabbit in a Boat is in pre-production and will be made by APT Films. His son Henry Darke has made a film version of Danger My Ally.

In 2009 the Cornwall Youth Theatre Company began Darke Visions, an eighteen-month festival running from Spring 2009 to Summer 2010 celebrating the life and work of Cornwall’s foremost playwright, with the performance of Hells’ Mouth (directed by Harry and Theresa Forbes-Pearce); The Body (directed by Tom Faulkner); and Ting Tang Mine (directed by Rory Wilton and Emma Spurgin Hussey). These plays went on tour in Cornwall during March/April 2009. In 2011 the theatre group o-region toured small-scale venues with a new show One Darke Night which also celebrated Nick Darke’s rich legacy. Combining specially commissioned film (featuring Nick’s son, Henry) and a small cast of players, the play fused extracts from lesser-known works with firm audience favourites such as The King of Prussia and extracts from Nick’s other writings. Compiled by Simon Harvey who had worked with Nick on the production of his final play Laughing Gas in 2006, the production provided fresh insight into the remarkable range and diversity of Nick’s catalogue of work.

Nick Darke’s literary voice is very distinctive and although many of his characters, plots and settings are rooted in the Cornish past, his themes are often of relevance to the Cornwall of today. As one of his earliest reviews, in The Financial Times stated: “Darke gives shape to a Cornish idenitity that feels vital and real and has nothing to do with clay pipes and clotted cream”. Although he made a vital contribution to the culture of Cornwall in the last quarter of the 20th century, he himself claimed only that his greatest achievement (and that of his wife Jane) was convincing North Cornwall District Council not to mechanically rake the beaches in their area that was damaging the natural eco-structure

The Nick Darke Award

The Nick Darke Award has been developed by Nick Darke’s widow, with the support of Nick Darke’s family and Falmouth University. Funded by the university, the annual award is a financial prize aimed at writers, giving them time to write, and offer some support through the writing process. Submissions can be in any of the genres that Nick Darke himself excelled – stage, screen or radio. See the official Nick Darke website for details.

Plays

  • Mother Goose (1977; Victoria Theatre, Stoke-on-Trent) – pantomime
  • Never Say Rabbit in a Boat (1977; Victoria Theatre, Stoke-on-Trent) – his first full-length play, set in Cornwall about an ageing rabbit catcher and a beach seine net company. Hellyar Jan is also a fisherman, smuggler and born liar. The action takes place on the beach of a small bay in North Conrwall and in Hellyar’s old house on the cliff above.
  • Low tide (1977; Plymouth Theatre Company) – about tourism set on a beach.
  • Sinbad the Sailor (1978; Victoria Theatre, Stoke-on-Trent) – pantomime
  • Summer Trade (1979; Orchard Theatre) – takes place in a pub somewhere on the North Cornish coast the day after the ex-landlord’s last night. The new landlord has plans to modernise.
  • Beauty and the Beast (1979; Orchard Theatre) – pantomime
  • Landmarks (1979; Chester Gateway Theatre) – set in the thirties in rural England when horse met the tractor for the first and last time.
  • A Tickle on the River’s Back (1979; Theatre Royal Stratford East) – set on the Thames about a family of lightermen and the decline of the industry on the river over the last 20 years.
  • High Water (1980; Royal Shakespeare Company) – set on a beach early one morning. Two men meet to go wrecking and discover they are father and son.
  • Say Your Prayers (1981; Joint Stock Theatre Company) – set in the time of the Roman Empire, and based on an interpretation of the teachings of St Paul. The play takes a wry look at Christianity as the ‘Born Again’ movement develops into a powerful right-wing lobby in the USA, while the established church in Britain is at its lowest ebb yet.
  • The Catch (1981; for The Royal Court Theatre Upstairs) – two fishermen bedevilled by the European Economic Community cast their nets for a different kind of catch – cocaine.
  • Cider with Rosie (1981) – growing up in the idyllic English countryside between the two world wars (based on the autobiography of Laurie Lee of the same name)
  • The Lowestoff Man (1982; Orchard Theatre Company) – sequel to “The Catch”, a mysterious American arrives to claim his cocaine
  • The Body (1983; Royal Shakespeare Company) – an eccentric West Country community contend with the presence of an American airforce base. “Under Milk Wood meets Dr Strangelove“, was one critical verdict. It was written during the cold war with the USSR when many were concerned about American nuclear weapons on British soil. Nick had a friend whose farm backed onto the St Mawgan Air Base. Every morning the farmer went to check his sheep while a US Marine followed his movements with a gun. In Nick’s research he learned how Marines were trained, broken down and rebuilt so they’d be effective fighting men. Nick said that The Body was a play about identity.
  • The Earth Turned Inside Out (1984; community play for the Borough of Restormel, Cornwall) – the rivalries of two Cornish mining communities set in 1815 at a time when the Cornish copper mining industry was healthy but prone to market forces.
  • Bud (1985; Royal Shakespeare Company) – fifty-year-old Bud has spent twenty years without rancour or spite working his wife’s farm but his peaceful existence comes to an abrupt halt when a misjudgement forces him to question his motivation and examine the ‘acid drop scorchin holes in the startched napkin of our marriage’.
  • The Oven Glove Murders (1986, The Bush Theatre, London) – described by one critic as “an acerbic response to the British cinema revival led by Chariots of Fire“, the play is a writer’s experience of the film industry. A playwright has a screenplay set in The Greenham Common peace camp given the Hollywood treatment by a young producer; a similar premise is the basis of the film The Strike by The Comic Strip team two years later.
  • The Dead Monkey (1986; Royal Shakespeare Company at the Barbican Pit) – a childless Californian couple sit down to a candlelit supper to commemorate the death of their fifteen-year-old pet. The party sours after a series of discomforting revelations. Nick Darke’s best known play, The Dead Monkey has been staged many times around the world, including a major USA revival featuring David Soul and in Germany in translation as Der tote Affe.
  • Ting Tang Mine (1987; for The National Theatre) – reworking of the community play “The Earth Turned Inside Out”: the fate of two competing mining communities used as a parable for Thatcher’s Britain.
  • A Place Called Mars (1988; community play for Thornbury, South Gloucestershire). The play is set on a haunted marshland.
  • Kissing The Pope (1989; Royal Shakespeare Company) – originally known as Campesinos, this is Nick Darke’s play for Nicaragua. Set in revolutionary South America, its main themes are about becoming a man in a violent world and about having to decide why to kill before you know why to live. As part of his research, Nick travelled to Nicaragua during the war and wrote a moving diary of his experiences that was published with the play text by Nick Hearn Books – see Published Works.
  • Fears and Miseries of the Third Term – part contributor (1989, Young Vic Studio).
  • Hell’s Mouth (1992; Royal Shakespeare Company) – story after Sophocles, set in post-apocalyptic dystopia with Cornish nationalists fighting for independence from England.
  • Danger My Ally (1993; Kneehigh Theatre) – is about what happens to two eco-warriors when they are caught trying to blow up an open-cast mine. (The title is taken from the autobiography of F.A. “Mike” Mitchell-Hedges, the English adventurer and traveller who was the real Indiana Jones of his day.)
  • The Bogus (also known as Quoit) (1994; Kneehigh Theatre) – billed as a pan-Atlantic tragi-comedy of murder, corruption and nuptials. When an assassin’s bullet lands Arthur May, President-Elect of the USA, six feet under, John Sty dons his persona and leaves Springville, Utah, on a one-way ticket to the village of Quoit in Cornwall.
  • Knock Out The Pin (1994; Cornwall Youth Theatre Company) – about Newquay
  • The King of Prussia (1996; for Plymouth Theatre Royal/Kneehigh Theatre) – based on the life and times of 18th century Cornish smuggler, John Carter of Prussia Cove, West Cornwall. Nick saw this as a play about looking after your community – the opposite of what he felt was happening in Cornwall and the rest of Britain in the 1990s. He felt the Thatcherite Free Market economy expoused in the 1980s was breaking up industry everywhere and leaving communities vulnerable.
  • The Man with Green Hair (1997; Bristol Old Vic) – drew its inspiration from the Camelford water pollution incident of 1988. A water company somewhere in Cornwall has had a slight mix-up with its chemicals and poisoned the water supply. The mustard-keen pollution control officers want to expose the dirty dealings, the water company and the government want to cover it up. The local community side with the water company, for fear of destroying the lucrative tourist trade.
  • The Riot (2000; for Kneehigh production at the National Theatre) – set in the fishing village of Newlyn in 1896, about the so-called “Sabbath riots”, when the devout Cornish fisherman whose Methodist beliefs forbade them to fish on Sundays demonstrated violently against the Sunday fishing fleet from Lowestoft.
  • Laughing Gas (2005; o-region) a comedy about the life of Sir Humphry Davy unfinished at the time of Nick Darke’s death; completed posthumously by Cornish actor and playwright Carl Grose and produced by the Truro-based production company o-region.
  • One Darke Night (2011; o-region) – a compendium of extracts from Nick Darke’s plays spanning nearly thirty years of his writing career, together with film commentary and extracts from his other writings; intended for simple staging with a small number of performers, emphasis on the words.

Television and films

  • Dancers (a dance therapy programme, TV, 1982)
  • Farmers Arms (BBC1 ‘Play for Today’, 1983)
  • The Bench (TV, 1999)
  • Breaking the Chains (film, 2000) Writer: John Angarrack, Director/producer: Nick Darke. Cornish historian John Angarrack talks to Nick Darke about Cornish cultural suppression and the way forward.
  • The Cornish Farmer (film, 2004) Writer: Nick Darke, Directors: Nick Darke/Mark Jenkin, Producer: Jane Darke. Nick Darke talks to his old friend, Warwick Cowling, about threshing and other farm practices. The film uses 8 mm archive film shot by Nick’s father in the 1960s in St Eval.
  • The Wrecking Season (film, 2004; commissioned by the Arts Council and directed by his wife, Jane Darke, first broadcast on BBC4 22 July 2005) a film about beachcombing on the Cornish coast – available on DVD from Boatshed Films.
  • The Art of Catching Lobsters (film, 2005; first broadcast on BBC4 27 September 2007), Nick and Jane’s second film was initially conceived as a film about Nick’s recovery from a stroke through such activities as beachcombing and lobster fishing. Nick was then diagnosed with terminal cancer and the film became a record of his attempts to pass on his knowledge and experience of lobster fishing and the ways of the sea to his son Henry, as well as a poignant documentary about love, loss and the grieving process—also available on DVD from Boatshed Films.
  • Nick Darke also appeared in the Exmouth to Bristol episode of the TV series “Coast”

Radio

  • Foggy Anniversary (1979)
  • Summer Trade (1980)
  • Landmarks (1981)
  • Lifeboat (1981)
  • The Catch (1983)
  • So Long as Lobsters Swim the Sea (1997; Another Strand feature) – described as “An occasional series where those well-known in one field talk about another consuming interest in their lives. Nick Darke, author of many plays for radio, the National Theatre, and the Royal Shakespeare Company, is also a keen fisherman. He talks about his lobster pots and nets off Padstow.”
  • Cider with Rosie (radio adaptation of Laurie Lee’s autobiography) (1998), in two episodes broadcast by BBC as “The Classic Serial”.
  • Gone Fishing (1998)
  • Bawcock’s Eve (1999) – a mystery story set in Mousehole, Cornwall.
  • Flotsam & Jetsam (1999) – a family tale based in Porthnant Bay, Cornwall.
  • The King of Prussia (1999) – set off the Cornish coast in 1789. A mad king, heavy taxes, and smugglers…and in the other direction, a country on the brink of revolution. Based on his play of the same name.
  • Underground (feature on Cornish tin mining) (2000) – voices of miners and their families are woven into a text by Nick Darke and music by Jim Carey.
  • In quest of Joseph Emidy (2000) – the amazing story of Joseph Antonio Emidy an African slave who eventually became a violinist in the Lisbon Orchestra, fought in the Napoleonic Wars, then settled in Falmouth and became a successful teacher and composer. Produced by Juliam May, with contributions from Richard McGrady (musical historian), Tunde Jegede (composer), Nancy Naro (slavery expert) and Emidy’s descendants.
  • The Fisherman’s Tale (2000) – a group of travellers take shelter in a motorway service station from appalling weather. There is no radio or TV, so to keep each other entertained they each tell a story. Darke’s contribution to the “2000 tales” series “, written on the 600th anniversary of Chaucer’s death. The (verse) text was first performed as a play as part of the Darke Night Out production – see Plays above. Aunt Feen, part-time caretaker of a house on Bobby’s Bay, St Merryn, decides to supplement her income by letting the property to a young man, Jim, without the knowledge of the house’s absentee owner Hugo Bryson Spelles – see the official Nick Darke website for the full text http://nickdarke.net/archives.
  • Atlantic Drifting (BBC Radio 4 documentary produced by Simon Elmes, 30 November 2001 – the forerunner of The Wrecking season film)
  • Dumbstruck (2003; first broadcast on BBC R4) – documentary using an audio diary Nick kept during his rehabilitation after a stroke.
  • Hooked (2005; first broadcast 18 July 2005 BBC R4) – a comedy drama-documentary telling the story of a Cornish couple who are asked for their advice by a Londoner on how to fish for sea-bass, who subsequently cashes in on his new knowledge. Recorded on Porthcothan Beach.

Nick Darke also appeared on the Radio 4 programme “Nature” (broadcast 16 February 2004).

Other projects

  • The Lobster (1998) for speaker and chamber group (‘Thoughts of a crustacean upon entering a trap’, text by Nick Darke). Performed at the QEH in 1998 by Nicole Tibbels (speaker) with the Mephisto Ensemble conducted by the composer, Christopher Gunning (born 1944). Recorded by them on the Meridian label (CDE 84498).

Published works

  • The Body (RSC playtext: Methuen Publishing, pbk 1983); ISBN 0-413-53340-9
  • Ting Tang Mine & Other Plays (New Theatrescripts: Methuen Publishing, pbk 1987); ISBN 0-413-17930-3
  • Kissing The Pope – play text and Nicaraguan travel diary (Nick Hern Books, pbk 1990); ISBN 1-85459-047-2
  • Cider with Rosie (Heinemann Plays: new edition, hrdbk, 1993); ISBN 0-435-23295-9
  • The Riot (Methuen Modern Plays: Methuen Drama, pbk 1999); ISBN 0-413-73730-6
  • Nick Darke Plays (Methuen Contemporary Dramatists: Vol 1, pbk 1999) – incls “The Dead Monkey”, “The King of Prussia”, “The Body” and “Ting Tang Mine”; ISBN 0-413-73720-9

Farrow & Ball : Such Sophisticated Colours And Creators Of Elephants Breath Amongst Others …


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Farrow & Ball are an English manufacturer of paints, and wallpapers largely based upon historic colour palettes and archives. Their colour names, such as Elephant’s Breath, have become talking points in themselves.

History

The company was started by John Farrow and Richard Maurice Ball in the 1930s in Wimborne Minster, Dorset. They have worked with the National Trust for Places of Historic Interest or Natural Beauty of the UK, in formulating near to exact matches for the restoration of historic building interiors and exteriors. Today they maintain an updated colour card of 132 colours. Farrow & Ball also produce wallpaper patterns made using traditional block, trough and roller methods and made using Farrow & Ball paint.

Showrooms and stockists

The company has 52 showrooms across the UK, US, Canada & Europe as well as a global network of stockists carrying both paint and wallpaper.

Books

Farrow & Ball has produced three books; Paint and Colour in Decoration, The Art of Colour and Living With Colour

OPENING

Paint pioneers John Farrow and Richard Ball founded the company in 1946. They met while working at a local clay pit and later went on to build their first factory in Dorset.

IMPORTANT CONTRACTS

In the 1950s Farrow & Ball won some important commercial contracts which included supplying the paint for Ford Motor Cars in Dagenham and Liverpool, Raleigh bicycles and even the THE FIRE AND THE END OF AN ERA

As the 60s came to an end John and Richard were less and less involved with the business, and eventually sold the company to Bakers which was run by Norman Chappell (of Chappell Green fame!). Following a fire that destroyed the original factory, they moved to their current site near Wimborne where they’ve resided ever since.

NATIONAL TRUST

In the early 1990s Historical Decorator Tom Helme and Corporate Financier Martin Ephson took over the running of the company. They began to branch out by developing a range of National Trust paints, working closely with historical buildings, and helping to restore them with colours sympathetic to their eras.

A DECADE OF FIRSTS

The 1990s was a decade in which they achieved some major milestones and successes

1992 – They appointed our first independent stockist, Paint & Paper, who they still work with today.

1995 – They started to make artisanal wallpapers, ensuring that they followed in their founder’s footsteps by using traditional block and trough printing methods.

1996 – The first flagship showroom opened on the Fulham Road in Chelsea.

1999 – Saw the opening of the first overseas showroom in Toronto, quickly followed by Paris and New York.

1999 – They launched their website http://www.farrow-ball.com and stepped into the digital world.

ECO FRIENDLY

In January 2010 they made the bold decision to move our entire range of paints away from oil based to water based finishes with low or minimal VOC content. This was a forward thinking move, affirming their ongoing commitment towards helping the environment we live in, and once again putting them ahead of the competition.

EMBRACING THE DIGITAL WORLD

Embracing the digital world, they launched their Facebook, page in 2010, which was quickly followed by their Twitter, Instagram, Pinterest and YouTube. accounts. In May 2014 they also launched their online interiors magazine, The Chromologist – a place for people to be inspired by colour. Across all of their digital platforms they have over 300,000 online fans as well as over 500,000 visitors to their website every month.

COLOUR CONSULTANCY GOES GLOBAL

In 2012 their in-home Colour Consultancy service went global! This bespoke service gives their customers the chance to meet one of their trained Colour Consultants in the comfort of their own home. The Colour Consultant will build a colour scheme based on the overall look the client is trying to achieve, as well as taking into account light and architectural features.

People : Frank Bramley , Newlyn School Artist, Known For Paintings Of Interiors …


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Frank Bramley RA (6 May 1857 – 9 Aug 1915) was an English post-impressionist genre painter of the Newlyn School.

Personal life

Bramley was born in Sibsey, near Boston, in Lincolnshire to Charles Bramley from Fiskerton also in Lincolnshire.

From 1873 to 1878 Bramley studied at the Lincoln School of Art. He then studied from 1879 to 1882 at the Royal Academy of Fine Arts, where Charles Verlat was his instructor. He lived in Venice from 1882 to 1884 and then moved to Newlyn, Cornwall.

Bramley married fellow artist Katherine Graham, daughter of John Graham from Huntingstile, Grasmere, Westmoreland, in 1891.The couple lived at Orchard Cottage, which at the time was called Belle Vue Cottage, from 1893 to 1897. In 1895 they moved to Droitwich in the West Midlands.They lived at Bellue Vue House in 1889 and by 1900 had settled at Grasmere in the Lake District.

Bramley died in Chalford Hill, Gloucestershire in August 1915.

Career

Having returned to England from Venice in or after 1884, Bramley established himself in the Newlyn School artist colony on Rue des Beaux Arts in Newlyn. Along with Walter Langley and Stanhope Forbes, he was considered to be one of the “leading figures” of the Newlyn School.

In contrast to other members of the Newlyn school, Bramley specialised in interiors and worked on combining natural and artificial light in his paintings, such as A Hopeless Dawn.

During his time in Newlyn, Bramley was a particular exponent of the ‘square brush technique’, using the flat of a square brush to lay the paint on the canvas in a jigsaw pattern of brush strokes, giving a particular vibrancy to the paint surface. In the early 1890s, his palette became brighter and his handling of the paint looser and more impastoed, while his subject matter narrowed to portraits and rural genre paintings.

An example of Bramley’s use of the square brush technique is his painting Domino!.

His A Hopeless Dawn (1888) is held by the Tate Gallery, London after having been purchased for the nation by the Chantrey Bequest and is one of Bramley’s most favored works. Praised by the Royal Academy, Penlee House also appreciate this Bramley work: “The painting’s strong emotional and narrative content, together with its aesthetic appeal and tonal harmony, make this one of the most admired Newlyn School works to this day.”

Bramley was one of the founders of the New English Art Club, but left the organization after having received condemning comments from Walter Sickert.

In 1894 Bramley became an Associate of the Royal Academy (ARA) and in 1911 he became a Royal Academician (RA). He was also a gold medal winner at the Paris Salon.

Exhibitions

  • 1884 – 1912: Royal Academy
  • 1890: Domino, Dowdeswell Exhibition

Works

Selected paintings include:

  • A Venetian Market Girl,
  • Primrose Day,
  • Everyone His Own Tale,
  • Domino,
  • Eyes and No Eyes,
  • A Hopeless Dawn,

People : Octavia Hill , Social Reformer, Friend Of Ruskin And Co Founder Of The National Trust …… What A Woman !


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Octavia Hill (3 December 1838 – 13 August 1912) was an English social reformer, whose main concern was the welfare of the inhabitants of cities, especially London, in the second half of the nineteenth century. Born into a family with a strong commitment to alleviating poverty, she herself grew up in straitened circumstances owing to the financial failure of her father. With no formal schooling, she worked from the age of 14 for the welfare of working people.

Hill was a moving force behind the development of social housing, and her early friendship with John Ruskin enabled her to put her theories into practice with the aid of his initial investment. She believed in self-reliance, and made it a key part of her housing system that she and her assistants knew their tenants personally and encouraged them to better themselves. She was opposed to municipal provision of housing, believing it to be bureaucratic and impersonal.

Another of Hill’s concerns was the availability of open spaces for poor people. She campaigned against development on existing suburban woodlands, and helped to save London’s Hampstead Heath and Parliament Hill Fields from being built on. She was one of the three founders of the National Trust, set up to preserve places of historic interest or natural beauty for the enjoyment of the British public. She was a founder member of the Charity Organisation Society (now the charity Family Action) which organised charitable grants and pioneered a home-visiting service that formed the basis for modern social work. She was a member of the Royal Commission on the Poor Laws in 1905.

Hill’s legacy includes the large holdings of the modern National Trust, several housing projects still run on her lines, a tradition of training for housing managers, and the museum established by the Octavia Hill Society at her birthplace.

Biography

Early years

Octavia Hill was the daughter of James Hill, corn merchant and banker, and his third wife, Caroline Southwood Smith. He had been widowed twice, and had six children (five daughters and a son) from his previous marriages. He had been impressed by the writings on education of Caroline Southwood Smith, the daughter of Dr Thomas Southwood Smith, a pioneer of sanitary reform. He had engaged Caroline as a governess for his children in 1832, and they were married in 1835, three years before Octavia was born in Wisbech, Cambridgeshire, her father’s eighth daughter and ninth child. The family’s comfortably prosperous life was disrupted by James Hill’s financial problems and his mental collapse. In 1840 he was declared bankrupt. Caroline Hill’s father gave the family financial support, and took on some of Hill’s paternal role. Southwood Smith was a health and welfare reformer concerned with a range of social issues including child labour in mines and the housing of the urban poor. Caroline Hill held similar views on social reform, and her interest in progressive education, influenced by Johann Heinrich Pestalozzi, and Southwood Smith’s daily experience in his work at the London Hospital in the East End inspired Octavia Hill’s concern for the poorest in early Victorian London. She received no formal schooling: her mother educated the family at home.

The family settled in a small cottage in Finchley, now a north London suburb, but then a village. Octavia Hill was impressed and moved by Henry Mayhew’s London Labour and the London Poor, a book that portrayed the daily lives of slum dwellers. She was also strongly influenced by the theologian, Anglican priest and social reformer F. D. Maurice, who was a family friend. She began her work on behalf of London’s poor by helping to make toys for Ragged school children, and serving as secretary of the women’s classes at the Working Men’s College in Bloomsbury in central London.

A co-operative guild providing employment for “distressed gentlewomen” accepted Hill for training in glass-painting when she was 13. When the work of the guild was expanded to provide work in toy-making for Ragged school children, she was invited, at the age of 14, to take charge of the workroom. The following year she began working in her spare time from the guild as a copyist for John Ruskin in Dulwich Art Gallery and the National Gallery. She was deeply aware of the dreadful living conditions of the children in her charge at the guild. Her views on encouraging self-reliance led to her association with the Charity Organisation Society (COS), described by Hill’s biographer Gillian Darley as “a contentious body which deplored dependence fostered by kindly but unrigorous philanthropy … support to the poor had to be carefully targeted and efficiently supervised. Later in life, however, she began to think the COS line … was over-harsh.”

Hill was short, like all her family, and indifferent to fashion. Her friend Henrietta Barnett wrote: “She was small in stature with long body and short legs. She did not dress, she only wore clothes, which were often unnecessarily unbecoming; she had soft and abundant hair and regular features, but the beauty of her face lay in brown and very luminous eyes, which quite unconsciously she lifted upwards as she spoke on any matter for which she cared. Her mouth was large and mobile, but not improved by laughter. Indeed, Miss Octavia was nicest when she was made passionate by her earnestness.” Barnett also spoke of Hill’s streak of ruthlessness. Gertrude Bell called Hill despotic. Later in Hill’s life, the Bishop of London, Frederick Temple, encountered her at a meeting of the Ecclesiastical Commissioners, and wrote, “She spoke for half an hour … I never had such a beating in all my life.”

Housing for the poor

Parliament and many concerned reformers had been attempting to improve the housing of the working classes since the early 1830s. When Hill began her work, the model dwelling movement had been in existence for twenty years, royal and select committees had sat to examine the problems of urban well-being, and the first of many tranches of legislation aimed at improving working class housing had been passed. From Hill’s point of view these had all failed the poorest members of the working class, the unskilled labourers. She found that their landlords routinely ignored their obligations towards their tenants, and that the tenants were too ignorant and oppressed to better themselves. She tried to find new homes for her charges, but there was a severe shortage of available property, and Hill decided that her only solution was to become a landlord herself. John Ruskin, who was interested in the co-operative guild, knew Hill from her work as his copyist and was impressed by her. As an aesthete and a humanitarian he was affronted by the brutal ugliness of the slums. In 1865, having inherited a substantial sum of money from his father, he acquired for £750 the leases of three cottages of six rooms each in Paradise Place, Marylebone.

Ruskin placed these houses, which were “in a dreadful state of dirt and neglect”, under Hill’s management. He told her that investors might be attracted to such schemes if a five per cent annual return could be secured. In 1866 Ruskin acquired the freehold of five more houses for Hill to manage in Freshwater Place, Marylebone. The Times recorded, “The houses faced a bit of desolate ground occupied by dilapidated cowsheds and manure heaps. The needful repairs and cleaning were carried out, the waste land was turned into a playground where Mr. Ruskin had some trees planted.”

After being improved the properties were let to those on intermittent and low incomes. A return of five per cent on capital was obtained as promised to Ruskin; any excess over the five per cent was reinvested within the properties for the benefit of the tenants. Rent arrears were not tolerated, and bad debts were minimal. As Hill said, “Extreme punctuality, and diligence in collecting rents, and a strict determination that they shall be paid regularly, have accomplished this.” In consequence of her prudent management, Hill was able to attract new backers, and by 1874 she had 15 housing schemes with around 3,000 tenants.

Hill’s system was based on closely managing not only the buildings but the tenants; she insisted, “you cannot deal with the people and their houses separately.” She maintained close personal contact with all her tenants, and was strongly opposed to impersonal bureaucratic organisations and to governmental intervention in housing. In her view, “municipal socialism and subsidized housing” led to indiscriminate demolition, re-housing schemes, and the destruction of communities.

Housing management

At the heart of the Octavia Hill system was the weekly visit to collect rent. From the outset, Hill conceived this as a job for women only. She and her assistants, including Emma Cons combined the weekly rent collection with checking every detail of the premises and getting to know the tenants personally, acting as early social workers. At first Hill believed, “Voluntary workers are a necessity. They are better than paid workers, and can be had in sufficient numbers.” Later, she found it expedient to maintain a paid workforce. Her system required a large staff. Rent was collected on Monday, Tuesday and Wednesday mornings. Rent accounts were balanced in the afternoons and arrangements were made with contractors for repairs. On Thursdays and Fridays arrears were pursued, contractors’ invoices paid, new tenancy lettings and tenants’ moves organised.

If any of Hill’s assistants had spare time, whether during normal working hours or in frequent voluntary after-hours working, it was used to promote tenants’ associations and after-work and children’s after-school clubs and societies. In 1859, Hill created the Southwark detachment of the Army Cadet Force, its first independent unit, which gave training along military lines for local boys. Hill considered that such an organisation would be more like the “real thing” than such existing outfits as the Church Lads’ Brigade and therefore more attractive to young men “who had passed the age of make-believe”. She invited a serving officer of the Derbyshire Regiment to set up the company, and such was its popularity that its numbers had to be capped at 160 cadets.

Hill’s principles were summed up in an article of 1869: “Where a man persistently refuses to exert himself, external help is worse than useless.” She was an outspoken critic of the principles of “outdoor relief” or the Speenhamland system of poor relief as operated by various Poor Law Boards. Because these systems did not encourage recipients to work, she regarded them as “a profligate use of public funds.” Under her methods, personal responsibility was encouraged. She insisted on dealing with arrears promptly; she appointed reliable caretakers; she took up of references on prospective tenants, and visited them in their homes; she paid careful attention to allocations and the placing of tenants, with regard to size of families and the size and location of the accommodation to be offered; and she made no rules that could not be properly enforced.

An American admirer described her as “ruling over a little kingdom of three thousand loving subjects with an iron scepter twined with roses.” Although Hill drove her associates hard, she drove herself harder. In 1877, she collapsed and had to take a break of several months from her work. Darley ascribes a number of contributory causes: “chronic overwork, a lack of delegation, the death of her close friend Jane Senior, the failure of a brief engagement” as well as an attack on her by John Ruskin. The Hill family found a companion for her, Harriot Yorke (1843–1930). Yorke took on a great amount of the everyday work that had caused Hill’s collapse. She remained her companion until Hill’s death. A further palliative was the building of a cottage, at Crockham Hill near Sevenoaks in Kent, where they could take breaks from their work in London.

Open spaces

Among Hill’s concerns was that her tenants, and all urban workers, should have access to open spaces. She believed in “the life-enhancing virtues of pure earth, clean air and blue sky.” In 1883, she wrote:

There is perhaps no need of the poor of London which more prominently forces itself on the notice of anyone working among them than that of space. … How can it best be given? And what is it precisely which should be given? I think we want four things. Places to sit in, places to play in, places to stroll in, and places to spend a day in. The preservation of Wimbledon and Epping shows that the need is increasingly recognised. But a visit to Wimbledon, Epping, or Windsor means for the workman not only the cost of the journey but the loss of a whole day’s wages; we want, besides, places where the long summer evenings or the Saturday afternoon may be enjoyed without effort or expense.

She campaigned hard against building on existing suburban woodlands, and helped to save Hampstead Heath and Parliament Hill Fields from development. She was the first to use the term “Green Belt” for the protected rural areas surrounding London. Three hills in Kent (Mariners Hill, Toys Hill and Ide Hill) which she helped to protect from development form part of the belt.

In 1876 Hill became the treasurer of the Kyrle Society, founded in that year by her eldest sister, Miranda, as a “Society for the Diffusion of Beauty”. Under the slogan “Bring Beauty Home to the Poor” it aimed to bring art, books, music and open spaces into the lives of the urban poor. For a short period it flourished and expanded, and although it declined after a few years, it was a template for the National Trust, 20 years later.

Before that, however, Hill was engaged in a campaign in 1883 to stop the construction of railways from the quarries in the fells overlooking Buttermere, in the English Lake District, with damaging effect on the unspoilt scenery. The campaign was led by Canon Hardwicke Rawnsley, who secured the support of Ruskin, Hill, and Sir Robert Hunter, solicitor to the Commons Preservation Society. From 1875 onwards, Hunter had been Hill’s legal adviser on the protection of open spaces in London. Both he and Rawnsley, building on an idea put forward by Ruskin, conceived of a trust that could buy and preserve places of natural beauty and historic interest for the nation.

On 16 November 1893, Hill, Hunter and Rawnsley met in the offices of the Commons Preservation Society and agreed to launch such a trust. Hill suggested that it should be called “The Commons and Gardens Trust”, but the three agreed to adopt Hunter’s suggested title, the “National Trust”. Under its full formal title, the National Trust for Places of Historic Interest or Natural Beauty was inaugurated the following year. The trust was concerned primarily with protecting open spaces and endangered buildings of historic interest; its first property was Alfriston Clergy House and its first nature reserve was Wicken Fen.

Later years

The number of homes managed by Hill continued to grow. Although Ruskin had turned against her in a bout of mental instability, she found a new supporter, the Ecclesiastical Commissioners, who handed over to her the management of their housing estates in several poor areas of south London. By the end of the nineteenth century, Hill’s women workers were no longer unpaid volunteers but trained professionals. Hill’s influence spread beyond the properties under her own control. Her ideas were taken up and copied, with her enthusiastic support, in continental Europe and the United States of America. Beatrice Webb said that she “first became aware of the meaning of the poverty of the poor,” while staying with her sister, who was a rent collector for Octavia Hill in the East End. Queen Victoria’s daughter, Princess Alice of Hesse-Darmstadt, was taken incognito on a tour of some of Hill’s properties, and she translated Hill’s Homes of the London Poor into German. Among those whom Hill trained was her assistant and secretary, Maud Jeffery, who was later engaged by the Commissioners of Crown Lands to run new housing estates in London on Octavia Hill’s lines. Even some local authorities, despite Hill’s distrust, followed her model: some of the earliest examples of municipal council housing, at Kensington and Camberwell, were run on her lines, with the acquisition of working class houses, and their gradual improvement, without evictions or demolitions.

Despite her opposition to interference by national or local government in the provision of housing, Hill had to cope with the newly created London County Council and the involvement of the council and other local authorities in providing housing for the poor. In 1884 a royal commission on the housing of the working classes was set up, but the prime minister, W.E. Gladstone, and his ministerial colleagues vetoed a proposal to include Hill among the members of the commission. The municipal authorities quickly surpassed her in the number of properties under their management. A.S. Wohl notes that in the 1880s Hill had about £70,000 worth of property under her management, and at the end of her career she was managing the dwellings of “perhaps three or four thousand people at the most.” The London County Council, by contrast, had a budget of £1,500,000 for its programme of rehousing London’s poor in 1901–02.

Hill was opposed to other reforms that came about in the early part of the twentieth century. She was against female suffrage on the grounds that “men and women help one another because they are different, have different gifts and different spheres”. She also believed that provision of social services and old-age pensions by the government did more harm than good, sapping people’s self-reliance.

Hill died from cancer on 13 August 1912 at her home in Marylebone, at the age of 73.

Legacy and memorials

When John Singer Sargent’s portrait of her was presented by her fellow-workers in 1898, Hill made a speech in which she said, “When I am gone, I hope my friends will not try to carry out any special system, or to follow blindly in the track which I have trodden. New circumstances require various efforts, and it is the spirit, not the dead form, that should be perpetuated. … We shall leave them a few houses, purified and improved, a few new and better ones built, a certain amount of thoughtful and loving management, a few open spaces…” But, she said, more important would be “the quick eye to see, the true soul to measure, the large hope to grasp the mighty issues of the new and better days to come – greater ideals, greater hope, and patience to realize both.”

The Horace Street Trust, founded by Hill, became a model for many subsequent housing associations and developed into the present trust that bears her name, Octavia Housing. Today it owns several of the homes, including Gable Cottages, designed by Elijah Hoole, who worked with Hill for many years. Hill’s determination to provide community space can still be seen in the shape of the Red Cross site in Southwark (1888), among others. The Octavia Hill Society website states that with a community hall, and soundly maintained attractive houses, Hill here anticipated the fundamental ingredients of town planning by some 15 years.

The Settlement Movement (creating integrated mixed communities of rich and poor) grew directly out of Hill’s work. Her colleagues Samuel and Henrietta Barnett, founded Toynbee Hall, the first university-sponsored settlement, which together with the Women’s University Settlement (later called the Blackfriars Settlement) continues to serve local communities. Overseas, Hill’s name is perpetuated in the Octavia Hill Association in Philadelphia, a small property company, founded to provide affordable housing to low and middle-income city residents.

Women who had trained under Hill formed the Association of Women Housing Workers in 1916. This later changed its name to the Society of Housing Managers in 1948. After merging with the Institute of Housing Managers in 1965, the society became the present day Chartered Institute of Housing in 1994. The CIH is a professional body for those working in the housing profession in the UK and overseas. The training that Hill gave to Charity Organisation Society volunteers contributed to the development of modern social work, and COS continued to be instrumental in developing social work as a profession during the twentieth century. COS is still in operation today as the charity Family Action.

In 1907, Parliament passed the first National Trust Act, enshrining the trust’s permanent purpose and giving it powers to protect property for the benefit of the nation. The trust now looks after a wide range of coast, countryside and historic buildings. According to the trust’s website, “Staff, volunteers and tenants are engaged daily in providing access to open spaces for people’s enjoyment, providing habitats for wildlife and in improving our environment – ‘for ever, for everyone’.”

Commemorations of Hill herself include a monument to her at a Surrey beauty spot, on the summit of a hill called Hydon Ball (now owned by the National Trust). Shortly after her death, the family erected a stone seat there, from which walkers can enjoy views over the Surrey countryside. The Octavia Hill Society was set up in 1992 “to promote awareness of the ideas and ideals of Octavia Hill, her family, fellow workers and their relevance in today’s society nationally and internationally”. Under the society’s auspices her birthplace at Wisbech has been turned into the Octavia Hill Birthplace Museum. In 1995, to mark the centenary of the National Trust, a new variety of rose, “Octavia Hill”, was named in her honour.

RHS : The Royal Horticultural Society, From Wedgewood To Chelsea …


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The Royal Horticultural Society (RHS) was founded in 1804 in London, England as the Horticultural Society of London, and gained its present name in a Royal Charter granted in 1861. The Royal Horticultural Society is the UK’s leading gardening charity and claims to be “the world’s largest gardening charity”.

The charitable work of the RHS helps to protect plants, gardens and green spaces. The RHS helps over two million school children to start gardening, supports gardening in more than 1,700 communities, and encourages people to grow their own food.

The charity promotes horticulture through flower shows such as the RHS Chelsea Flower Show, Hampton Court Palace Flower Show, RHS Tatton Park Flower Show and RHS Cardiff Flower Show. It also supports training for professional and amateur gardeners.

History

Founders

The creation of a British horticultural society was suggested by John Wedgwood (son of Josiah Wedgwood) in 1800. His aims were fairly modest: he wanted to hold regular meetings, allowing the society’s members the opportunity to present papers on their horticultural activities and discoveries, to encourage discussion of them, and to publish the results. The society would also award prizes for gardening achievements.

Wedgwood discussed the idea with his friends, but it was four years before the first meeting, of seven men, took place, on 7 March 1804 at Hatchards bookshop in Piccadilly, London. Wedgwood was chairman; also present were William Townsend Aiton (successor to his father, William Aiton, as Superintendent of Kew Gardens), Sir Joseph Banks (President of the Royal Society), James Dickson (a nurseryman), William Forsyth (Superintendent of the gardens of St. James’s Palace and Kensington Palace), Charles Francis Greville (a Lord of the Admiralty) and Richard Anthony Salisbury, who became the Secretary of the new society.

Banks proposed his friend Thomas Andrew Knight for membership. The proposal was accepted, despite Knight’s ongoing feud with Forsyth over a plaster for healing tree wounds which Forsyth was developing. Knight was President of the society from 1811–1838, and developed the society’s aims and objectives to include a programme of practical research into fruit-breeding.

Royal Horticultural Society gardens

The Royal Horticultural Society’s four major gardens in England are: Wisley Garden, near Wisley in Surrey; Rosemoor Garden in Devon; Hyde Hall in Essex and Harlow Carr in Harrogate, North Yorkshire.

The Society’s first garden was in Kensington, from 1818–1822. In 1821 the society leased part of the Duke of Devonshire’s estate at Chiswick to set up an experimental garden; in 1823 it employed Joseph Paxton there. From 1827 the society held fêtes at the Chiswick garden, and from 1833, shows with competitive classes for flowers and vegetables. In 1861 the RHS (as it had now become) developed a new garden at South Kensington on land leased from the Royal Commission for the Exhibition of 1851 (the Science Museum, Imperial College and the Royal College of Music now occupy the site), but it was closed in 1882. The Chiswick garden was maintained until 1903–1904, by which time Sir Thomas Hanbury had bought the garden at Wisley and presented it to the RHS.

RHS Garden Wisley is thus the society’s oldest garden. Rosemoor came next, presented by Lady Anne Berry in 1988. Hyde Hall was given to the RHS in 1993 by its owners Dick and Helen Robinson. Dick Robinson was also the owner of the Harry Smith Collection which was based at Hyde Hall. The most recent addition is Harlow Carr, acquired by the merger of the Northern Horticultural Society with the RHS in 2001. It had been the Northern Horticultural Society’s trial ground and display garden since they bought it in 1949.

Royal Horticultural Society shows

The RHS is well known for its annual flower shows which take place across the UK. The most famous of these shows being the RHS Chelsea Flower Show, visited by people from across world. This is followed by the Hampton Court Palace Flower Show (which the RHS took over in 1993) and RHS Tatton Park Flower Show in Cheshire (Since 1999). The most recent addition to the RHS shows line up is the RHS Show Cardiff, held at Cardiff Castle since 2005.[5] The society is also closely involved with the spring and autumn shows at Malvern, Worcestershire, and with BBC Gardeners’ World Live held annually at the Birmingham National Exhibition Centre.

Britain in Bloom

In 2002, the RHS took over the administration of the Britain in Bloom competition from the Tidy Britain Group (formerly and subsequently Keep Britain Tidy). In 2010, The Society launched ‘It’s your neighbourhood’, a campaign to encourage people to get involved in horticulture for the benefit of their community. In 2014, the ‘Britain in Bloom’ celebrates its 50th anniversary.

Education and training

The RHS runs formal courses for professional and amateur gardeners and horticulturalists and also validates qualifications gained elsewhere (e.g. at Kew Botanic Gardens).

The RHS Level 1 Award in Practical Horticulture aims to develop essential horticultural skills and to provide a foundation for further RHS practical qualifications at Levels 2 and 3. It is aimed at anyone who has an interest in plants and gardening.

Level 2 qualifications provide a basis for entry into professional horticulture, support career development for existing horticultural workers or can provide a foundation for further learning or training. There are separate theoretical- and practical-based qualifications at this Level and the RHS Level 2 Diploma in the Principles and Practices of Horticulture combines the theoretical- and practical-based qualifications.

Level 3 qualifications allow specialisation in the candidate’s area of interest. They can offer proficiency for those looking for employment in horticulture, they can support further career and professional development for those already working in the field, or they can provide a basis for continued learning or training. As for Level 2, there are theoretical- and practical-based qualifications at Level 3 and a Diploma that combines both.

The Master of Horticulture (RHS) Award is the Society’s most prestigious professional horticultural qualification. It is of degree level and it is intended for horticultural professionals. The course allows for flexible study over a period of three years or more.

Medals and awards

People

The society honours certain persons with the Victoria Medal of Honour who are deemed by its Council to be deserving of special recognition in the field of horticulture. Other medals issued by the society include the Banksian, Knightian and Lindley medals, named after early officers of the society. It awards Gold, Silver-gilt, Silver and Bronze medals to exhibitors at its Flower Shows.

The Veitch Memorial Medal, named after James Veitch, is awarded annually to persons of any nationality who have made an outstanding contribution to the advancement and improvement of the science and practice of horticulture.

Other awards bestowed by the society include the Associate of Honour and the Honorary Fellowship.

Plants

The Award of Garden Merit, or AGM, is the principle award made to garden plants by the Society after a period of assessment by the appropriate committees of the Society. Awards are made annually after plant trials.

Older books may contain references to the following awards, which were based mainly on flower quality (but which are not referred to in current (2014) RHS websites and reports):

PC: Preliminary Certificate

HC: Highly Commended

AM: Award of Merit (not the same as the AGM)

FCC: First Class Certificate (once a very prestigious award)

Royal Horticultural Society libraries

The RHS is custodian of the Lindley Library, housed within its headquarters at 80 Vincent Square, London, and in branches at each of its four gardens. The library is based upon the book collection of John Lindley.

The RHS Herbarium has its own image library (collection) consisting of more than 3,300 original watercolours, approximately 30,000 colour slides and a rapidly increasing number of digital images. Although most of the images have been supplied by photographers commissioned by the RHS, the archive includes a substantial number of slides from the Harry Smith Collection and Plant Heritage National Plant Collection holders.

The reference library at Wisley Garden is open to visitors to the Garden.

Publications

Journals

The society has published a journal since 1866. Since 1975 it has been entitled The Garden and is currently a monthly publication. The RHS also publishes both The Plantsman and The Orchid Review four times a year, and Hanburyana, an annual publication dedicated to horticultural taxonomy.

Plant registers

Since the establishment of International Registration Authorities for plants in 1955 the RHS has acted as Registrar for certain groups of cultivated plants. It is now Registrar for nine categories – conifers, clematis, daffodils, dahlias, delphiniums, dianthus, lilies, orchids and rhododendrons. It publishes The International Orchid Register, the central listing of orchid hybrids.

People : DDDD Deborah The Dowager Duchess Of Devonshire, Gardener On A Scale Like No Other…


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Deborah Vivien Cavendish, Duchess of Devonshire DCVO (née Deborah Freeman-Mitford; 31 March 1920 – 24 September 2014), was the youngest and last surviving of the six Mitford sisters who were prominent members of English society in the 1930s and 1940s.

Life

Known to her family as “Debo”, Deborah Mitford was born in Asthall Manor, Oxfordshire, England. She married Lord Andrew Cavendish, younger son of the 10th Duke of Devonshire, in 1941. When Cavendish’s older brother, William, Marquess of Hartington, was killed in combat in 1944, Cavendish became heir to the dukedom and Marquess of Hartington; in 1950, upon the death of his father, he became the 11th Duke of Devonshire.

The Duchess was the main public face of Chatsworth for many decades. The Duchess wrote several books about Chatsworth, and played a key role in the restoration of the house, the enhancement of the garden and the development of commercial activities such as Chatsworth Farm Shop (which is on a quite different scale from most farm shops as it employs a hundred people); Chatsworth’s other retail and catering operations; and assorted offshoots such as Chatsworth Food, which sells luxury foodstuffs which carry her signature and Chatsworth Design which sells image rights to items and designs from the Chatsworth collections. Recognising the commercial imperatives of running a stately home, she took a very active role and was known to run the ticket office for Chatsworth House herself. She also supervised the development of the Cavendish Hotel at Baslow near Chatsworth and the Devonshire Arms Hotel at Bolton Abbey.

In 1999 the Duchess was appointed a Dame Commander of the Royal Victorian Order (DCVO) by Queen Elizabeth II, for her service to the Royal Collection Trust. Upon the death of her husband in 2004, her son Peregrine Cavendish became the 12th Duke of Devonshire. She became the Dowager Duchess of Devonshire at this time.

She and the duke had seven children, four of whom died shortly after birth:

  • Mark Cavendish (born and died 14 November 1941)
  • Emma Cavendish (born 26 March 1943, styled Lady Emma Cavendish from 1944), mother of the fashion model Stella Tennant
  • Peregrine Cavendish, 12th Duke of Devonshire (born 27 April 1944)
  • An unnamed child (miscarried December 1946; he or she was a twin of Victor Cavendish, born in 1947)
  • Lord Victor Cavendish (born and died 22 May 1947)
  • Lady Mary Cavendish (born and died 5 April 1953)
  • Lady Sophia Louise Sydney Cavendish (born 18 March 1957)

She was also a maternal aunt of Max Mosley, former president of the Fédération Internationale de l’Automobile (FIA), as well as the grandmother of Stella Tennant, a fashion model.

Death

Her death, at the age of 94, was announced on 24 September 2014. The Duchess was survived by three of her seven children, eight grandchildren and eighteen great-grandchildren.

Selected interviews

She was interviewed on her experience of sitting for a portrait for painter Lucian Freud in the BBC series Imagine in 2004.

In an interview with John Preston of the Daily Telegraph, published in September 2007, she recounted having tea with Adolf Hitler during a visit to Munich in June 1937, when she was visiting Germany with her mother and her sister Unity, the latter being the only one of the three who spoke German and, therefore the one who carried on the entire conversation with Hitler. Shortly before ending the interview, Preston asked her to choose with whom she would have preferred to have tea: American singer Elvis Presley or Hitler. Looking at the interviewer with astonishment, she answered: “Well, Elvis of course! What an extraordinary question.”

In 2010, the BBC journalist Kirsty Wark interviewed the Duchess for Newsnight. In it, the Duchess talked about life in the 1930s and 1940s, Hitler, the Chatsworth estate, and the marginalisation of the upper classes. She was also interviewed on 23 December by Charlie Rose for PBS. She spoke of her memoir and other interesting aspects of her life. On 10 November 2010, she was interviewed as part of “The Artists, Poets, and Writers Lecture Series” sponsored by the Frick Collection, an interview which focused on her memoir and her published correspondence with Patrick Leigh Fermor.

Titles from birth

  • The Honourable Deborah Vivien Freeman-Mitford (1920–1941)
  • The Lady Andrew Cavendish (1941–1944)
  • Marchioness of Hartington (1944–1950)
  • Her Grace The Duchess of Devonshire (1950–2004)
  • Her Grace The Dowager Duchess of Devonshire (2004-2014)

People : Dan Pearson, Garden & Landscape Designer, Created Paul Smith’s Garden & Japan’s Millenium Forest ……


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Dan Pearson (born 9 April 1964) is an English garden designer, landscape designer, journalist and television presenter. He is an expert in naturalistic perennial planting.

Early life

Pearson was brought up in an Arts and Crafts house on the Hampshire-Sussex border. His father is a painter who taught fine art at Portsmouth Polytechnic and his mother taught fashion and textiles at Winchester School of Art.

He had a weekend gardening job for Mrs. Pumphrey at Greatham Mill Gardens, Hampshire that cultivated his interest in gardening. He decided against going to Art College, and dropped out of his A levels (backed by his parents) to be able to go to the RHS Garden, Wisley, at 17. During 1981–1983, he became an RHS Wisley Trainee, Certificate Course, aged 17. While at Wisley his mother introduced him to Frances Mossman, for whom he designed a garden. Dan then went to the Royal Botanic Garden Edinburgh for a year to work in the Rock Garden and the Woodland Garden. Pearson then completed the three-year Kew Gardens course. Then he went back to maintaining Frances Mossman’s garden – Home Farm in Northampton. He also had student scholarships to study wildflower communities in the Picos de Europa, Spain, and in the Himalayas.

Pearson then set up his Garden Design business in 1987.

Career

Since 2002, he has been designing a number of gardens as well as giving lectures around the world, including the U.K., Italy, the U.S.A. and Japan.

He has designed gardens for Jonathan Ive, Paul Smith art dealer Ivor Braka, Russian businessman Vladislav Doronin. Carlo Caracciolo (the late owner of the Italian newspaper l’Espresso) and his colleague on The Guardian newspaper, Nigel Slater (this garden was a joint effort with Monty Don). He has also restored the landscape at Althorp House (post Diana’s death) post 1997 and worked on the landscape for the Millennium Dome. Dan has now done five show gardens at RHS Chelsea Flower Show. In 1992, 1993, 1994, 1996 (with an outstandling roof garden), and 2004 (for Merrill Lynch). He has also worked at the Botanic Garden of Jerusalem. He designed the Roof Garden of Roppongi Hills, Japan in 2002.

Pearson is a tree ambassador for The Tree Council and a member of the Society of Garden Designers. In 2011, he was elected an honorary fellow of the Royal Institute of British Architects and was a member of the jury for the 2011 RIBA Stirling Prize.

He has a working relationships with some of the most known architects practising in the UK including Zaha Hadid, Rogers Stirk Harbour + Partners, Feilden Clegg Bradley Studios, David Chipperfield Architects and 6a Architects, London, which led to Pearson being elected Royal Designer for Industry in 2012.

At the Garden Media Guild Awards of 2011, he was awarded the prize for ‘Inspirational Book of the Year’.

Another large project was the Tokachi Millenium Forest Garden, in Shimizu, Hokkaido, which was featured on BBC Radio 4 programme Designed in Britain, Built in Japan. Another project is Maggie’s Centre in Charing Cross, London.

The Garden Museum in Lambeth, London held an exhibition on his work, between 23 May 2013 to October 2013. Pearson has created a new planting design for the border in front of the Museum.

He is also working as horticultural advisor for Thomas Heatherwick’s Garden Bridge, over the Thames in London.

Television career

Pearson has presented and appeared in several TV series on BBC2, Channel 4 and Channel 5. In 1992, he presented the first garden makeover programme, Garden Doctors. A book of the same name later followed the series. He presented Dan Pearson: Routes around the World on Channel 4, a six-part travel and horticultural series, by Flashback Productions, in 1997.

In 2008, the BBC filmed a 12-part series, A Year At Home Farm, in Northampton, which Dan had been designing the gardens for since 1987. A book later followed the series.

He appears occasionally on BBC’s Gardeners’ World, and also regularly talks on radio.

Writing

Pearson has written for such newspapers as The Guardian, The Telegraph (during 2003-2006), and The Sunday Times on the subject of landscaping and home gardening. He has been the garden columnist for the The Observer Magazine since 2006. He sits on the editorial board of Gardens Illustrated magazine. His writing also includes Gardeners’ World magazine, and various magazine and newspaper articles.

Bibliography

  • Pearson, Dan (1996). Garden Doctors (A Channel Four book). Boxtree Press Ltd. ISBN978-0752210292.

Co-authored with Steve Bradley

  • Pearson, Dan (27 Feb 1998). ‘The Essential Garden Book’. Conran Octopus Ltd. ISBN978-1850299196.

Co-authored with Sir Terence Conran

  • Pearson, Dan (4 Jan 2001). The Garden: A Year at Home Farm. Ebury Press. ISBN978-0091870324.
  • Pearson, Dan (28 September 2009 (hardback) 3 October 2011 (softback)). Spirit: Garden Inspiration. FUEL. ISBN978-0956356291.

Introduction by Beth Chatto

  • Pearson, Dan (7 March 2011). Home Ground: Sanctuary in the City. Conran Octopus. ISBN978-1840915372.

Personal life

Pearson has a brother called Luke, who is a product and furniture designer, and a partner in the company ‘Pearsonlloyd’

In 2010, he moved from Peckham in London to a property with 20 acres of land in Somerset.

Plant Hunters : Tom Hart – Dyke, Young Inspirational Man on a Mission….. His Story Would Make For an Exceptional Film…..


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Thomas Guy Hart Dyke (born 12 April 1976) is an English horticulturist and plant hunter. He is the son and heir of Guy and Sarah Hart Dyke at the family seat of Lullingstone Castle, Eynsford, Kent. He is the designer of the World Garden of Plants located on the property. The World Garden contains approximately 8,000 species of plants, many collected by Hart Dyke from their native environments. He presented an episode of Great British Garden Revival in 2013.

Early life and education

Hart Dyke attended a state primary school in Eynsford and then transferred to St. Michael’s School in Otford. He attended Stanbridge Earls in Hampshire until age seventeen and then entered Sparsholt College Hampshire, near Winchester, where he studied tree surgery and forestry.

In an interview in 2006, Hart Dyke credits his grandmother as having first interested him in plants at age three.

Tom Hart Dyke is first cousin of the English comedian Miranda Hart.

Kidnapping

Hart Dyke follows a tradition of Victorian and Edwardian British plant hunters, such as Francis Masson, who risked life and limb to acquire rare species of plant. In 2000, Hart Dyke was kidnapped by suspected FARC guerrillas in the Darién Gap between Panama and Colombia while hunting for rare orchids, a plant for which he has a particular passion.

He and his travel companion, Paul Winder, were held captive for nine months and threatened with death. He kept himself going by creating a design for a garden containing plants collected on his trips, laid out in the shape of a world map according to their continent of origin.

Tom wrote about his experiences in Colombia in his book, The Cloud Garden. The story of his kidnapping ordeal was dramatised in the Sky1 documentary series “My Holiday Hostage Hell”.

World Garden of Plants

On his return home, Hart Dyke put his design into practice within the walls of the family’s Victorian herb garden. The story of the creation of The World Garden of Plants was the subject of a BBC2 6-episode series, “Save Lullingstone Castle” (KEO Films) in 2006. This was followed by a second 6-episode series, “Return To Lullingstone Castle” on BBC2 in 2007.

In May 2006, Hart Dyke managed to get an Australian Eucalyptus caesia plant (common name Silver Princess) to flower for the first time in the UK. He was inspired by orchids at his first school, St. Michaels, Otford, Kent.

Hart Dyke featured in the PBS Nova programme in 2002, Orchid Hunter that documented his return to hunting rare orchids in dangerous terrain in another politically unstable area in Irian Jaya in the rainforests of Western New Guinea.

Toms books are a fascinating read and a real inspiration and i highly recommend them both. As for the ‘World Garden’ this is developing beautifully now and i enjoy going throughout the season to appreciate differing elements. Well worth a visit, the whole family really welcome you and are happy to talk and explain. Tom’s enthusiasm is infectious and i challenge anyone not to want to pick up a trowel the moment you get home.