Inherited. Issue 8- Interiors

Inherited.

The Legacy of Maggie Keswick

Jencks

Fine Cell Work: An Interview with Victoria Gillies

CONTRIBUTORS

Editor: Beth Hodges

Photography and Design: Tingshan Liu

With thanks to the following Contributors: The team at the Cosmic House for their resources and time, the team at Fine Cell Work, especially Victoria Gillies for her wonderful interview. To Chris Clarke for sharing his practice with Inherited.and for his insightful interview. To Holly Johnson for giving inspiration to our budding Interior Designers! To Tom Edwards of Abbott and Holder for his ‘Day in the Life’. To the BADA team for their contributions to ‘Objects of Desire’. To the BADA members, whose items feature throughout this issue.

For Media and Press enquiries, please email: media@bada.org

For further information about joining BADA Young Friends, please email: bethany@bada.org, or call 020 3876 0147

For further information about contributing to Inherited.,please email: bethany@bada.org

Follow us on Social Media: @bada1918, @badafriends

Please note, the opinions shared in Inherited.,are not held by the British Antique Dealers' Association and those expressed are those of the contributing individuals.

Inherited . All Rights Reserved.

Letter from the Editor:

Beth Hodges

Dear Reader,

We hope you are having a wonderful start to 2024.

With a slight delay in our normal schedule, we bring you an extended issue for April. With Spring upon us, we are focusing on fresh starts and new beginnings. As well as an exploration of interiors, to bring you new ideas for Spring, with an interview with designer Holly Johnson, we also speak with the Chief Executive of Fine Cell Work, Victoria Gillies who provides us with an alternative way to look at fresh starts.

We also speak with Chris Clarke, a painter whose works are available with BADA member, The Canon Gallery. We are also given an insight into a day in the life of Tom Edwards- director of Abbott and Holder, a picture gallery located adjacent to the British Museum.

You will have to dive right into the issue to hear about the rest! We hope you enjoy the issue and as always, we look forward to hearing from you,

Beth

For more information on membership to BADA Young Friends, email Co-Ordinator, Beth Hodges at bethany@bada.org or call 020 3876 0147.

The Legacy of Maggie Keswick Jencks

From The Cosmic House to Maggie’s Centres: The importance of architecture in relation to the body.

By Beth Hodges

In June of this year, BADA Friends had the rare privilege of taking a tour of The Cosmic House, first opened to the public in 2021. Since then, it has operated as a house museum by the Jencks Foundation, with exhibitions, residencies, and new art projects that revolve around the reinterpretation of The Cosmic House and Charles Jencks’ archive. On their arrival, the exterior seemed to be a very traditional 1840s white stucco townhouse, like so many in Notting Hill However, on entering, they realised that the house is anything but traditional The Cosmic House is one of the key landmarks of Post-modernist architecture Having been built between 1978 and 1983, the building is described as a microcosm of contemporary architectural theory, semiotics and history What I am interested in however, is how the building and its creators have illustrated and since, demonstrated the considerable impact architecture can have on the body. The building, with its fragmented interiors and post-modern design, considers the human body and its interactions with its immediate spatial relationships, alongside a wider consideration of the human race within the cosmos. Its creators, Charles and Maggie Jencks alongside architect Terry Farrell, have injected personality, ideas and tools into the house as a means of communicating the history and potential of architecture. The house, was and still is a social place, in which ideas can be generated amongst friends, collaborators and artists.

The Solar Stair is a cantilever concrete spiral with Eduardo Paolozzi’s Black Hole mosaic at the base.

Photograph by Sue Barr.

Charles Jenckes is considered to be the mastermind of The Cosmic House. However, a voice that is often lost in the telling of the house’s history, is his wife (and standalone designer, photographer, landscape architect and philanthropist), Maggie Keswick Jencks. Since extensive research carried out by previous The Cosmic House resident and artist, Marysia Lewandowska, has uncovered documents, recordings and journals relating to Maggie’s input into The Cosmic House, it can be appreciated that “The Cosmic House has been devoted to a particular narrative in which Maggie’s presence was missing, or put differently, was not sufficiently accounted for ”

The Cosmic House is an emblem of Postmodernism, a movement which emerged in the mid to late 20th Century and spanned architecture, art, literature and philosophy, criticism and science. Charles recognised Post-modernism as a system in which levels of meaning, sometimes complimentary, occasionally contradictory, might co-exist. In other words, Post-modernism, and therefore, The Cosmic House, is a space that can be considered as a level and equal playing field. It is a space in which the questioning of bureaucracy is welcomed, and alternatives should be explored, whether that be in ways of living, socialising or in Maggie’s case, understanding, tackling and living with an illness.

This lust for life and enthusiasm for living is echoed in the Jencks’ other lasting legacyMaggie’s cancer care centres. Read more about the research of Marysia Lewandowska, here:

https://www.jencksfoundation.org/explore/text/histo ries-without-a-voice-marysia-lewandowska-andcatherine-grant-conversation

The Cosmic Oval at the entrance sets up the major and minor themes that visitors will find throughout the house. Photograph by Sue Barr.

This article will explore Maggie’s voice within the world of architecture and design and consider the healing properties and positive impact of thoughtful design and architectural spaces.

Maggie personified everything that The Cosmic House desired to achieve. She was robust, as well as malleable, collaborative and inspirational. She had a sense of the bigger picture and was unapologetic in her requirements and passions Her influence has superseded time and space In fact, it was when Maggie was first diagnosed with breast cancer in 1988, that she became particularly invested in her exploration of Chinese cosmology and her interest in Dao philosophy.

The Garden facadewith a representation of the family of four through the repeated ‘Jencksiana’ motif. Photograph by Sue Barr.

Dao philosophy translates to ‘the way’ and speaks to a way of living in which temporality is considered to have great depth, and time should be viewed in terms of 1000 year periods, rather than weeks and months. Maggie battled with cancer until her passing in 1995. In this time, she struggled between a sense of urgency and ‘running out of time’ (especially when considering her two children, Lily and John), as well as a sense of serenity when considering her own mortality and the privilege she felt to have had the time she had been given.

It was during this time of turmoil, that Maggie was compelled to consider her surroundings and the impact they had on her health and mental well-being (or lack of) Within ‘A view from the Front Line’, Maggie documents her experiences in hospital, when she went through a trial for advanced metastatic breast cancer with Dr Robert Leonard at Western General Hospital, Edinburgh.

At this stage, she had decided that she would take an active role in her treatment and in her words ‘remembering to live, whilst in the process of dying’. She comments on the lack of time and space given to caring for the mental health of patients and how an individual is made to feel like a single cog in a huge machine, when faced with the sterility of a hospital. She comments at one stage that “waiting rooms will finish you off.” She considers how patients often don’t mind waiting, but rather it is the spaces they are forced to occupy that escalate anxiety and intensify suffering. Having visited the States with Charles, she had been particularly impressed with a Wellness centre in Santa Monica, designed by Harold Benjamin.

In the last few months of her life, with the assistance of her nurse, Laura- now Dame Laura Lee, CEO of Maggie's, Maggie mapped out a blueprint for a cancer care centre that would provide invaluable support to all those impacted by cancer. She encompassed her love of Chinese landscape gardening, taking inspiration from the gardens in Peking and the Literati garden in Suchow. She integrated her research into and experience of psychological support, nutrition advice, exercise and relaxation therapies, and perhaps most importantly (as it is the first impression of visitors to the centre and the space that enables all the care activities to take place), the architecture.

The first Maggie’s centre was opened in Edinburgh, shortly after Maggie's death in 1996. There are now 26 centres offering emotional support care, with more currently in the pipeline. Developed from the blueprints made by Maggie in her hospital bed, the current architectural brief, given to every designer of a Maggie’s centre, remains to be extremely particular, for the benefit of the visitors to the centres

Maggie’s centres are havens of humanity. Always just a stone’s throw away from the main hospital building, they provide a contrast to the often stark and cold exteriors of hospitals. They are buildings where visitors are permitted to linger and to settle. They emit a warmth that one would think could only be achieved within the confines of a home. However, Maggie’s centres simultaneously allow you to feel enveloped in care and safety, whilst also keeping you open to the world outside and the realities and practicalities of living with cancer.

With many of the centres proudly showcasing interesting facades with unusual colours and textural curiosity, each building inspires exploration. Their symbiotic relationships between inside and outside (Maggie’s architects are required to create as many views to outside spaces as possible, without visitors feeling exposed), almost always evokes a sense of the unexpected. Visitors are given a sense of ownership over the spaces, being encouraged to shift furniture, adjust cushions and use the kitchen facilities and rest spaces as they please. The buildings and the care within are designed to bend to the individual needs of the visitors and no one is made to feel like they are taking up space. Visitors are made to feel welcome through a sense of domesticity. There are no signs anywhere- not even for the toilets- as this is not something you would have in your own home. You only need to ask once and the next time you will know. There are desks for receptionists, but there are no ‘receptions’ in the traditional sense. Visitors are left to pause and consider their surroundings in porch like spaces when they first enter, rather than feeling bombarded. Furniture and zoned spaces are positioned so that a Maggie’s employee can be called to attention at any point and a visitor can catch their eye at a time of emotional distress or simply ask for a cup of tea.

The bathrooms are designed to be beautiful, comfortable and private spaces. There is a requirement for there to be no gaps under doors and there should be space for large mirrors, basins and for chairs to be positioned in front of them There should be no cold draughts throughout the building and there should be a variety of places to sit or lay down, either privately or with friends and family. Access to the outside should be easy to gain, and smell, texture and light should be considered in the design of the outside spaces. Maggie wrote ‘The Chinese garden’, the first major Western publication on the intricate designs of the scholar's gardens of Eastern China. Consideration of outdoor spaces was extremely important to her.

Interior design is easy to dismiss when considering life's more important and difficult circumstances When we consider hospital care, understandably, interior design comes very low on a list of prioritisation when planning patient care. However, this is because it is often considered as irrelevant to treatment. In the space of Post-modernist experimentation, having seen the progress and ideas stemmed from experiencing the interiors of The Cosmic House, Charles and Maggie allowed themselves to consider interior design and living environments as treatments in their own rights. When an individual is faced with cancer, they often stop living, through fear of dying. For those who are going through palliative care, it is important to accept the inevitability of death, however that is not to say that they should carry out the rest of their lives surrounded by sterility and the bare minimum of comfort. The architecture and design across all of Maggie’s centres illustrate how such buildings can provide an anchored space for those who feel detached from life as they know it. They can act as a tool to treat the areas of illness that cannot be addressed within the hospital democracy The power of space and book-marking human interactions with beautiful and considered structures, cannot be denied.

Marcia Blakenham says of Maggie’s Centres, “A building has done a good job if it even lifts your spirits for a brief moment. If it creates spaces which make it easier to be with other people, by creating a comfortable balance between public and private, which make you feel safe but at the same time stimulate your imagination without your even noticing that such a thing is going on, then it has done even more. ”

Read more about Maggie’s centres, here: Maggie's | Everyone's home of cancer care | Maggies

The Architectural Library with the slide-scraper in the foreground, an ad-hoc combination of off the shelf filing cabinets with added MDF ornamentation. Photograph by Sue Barr.

To find out more, visit: https://www.jencksfoundation.org/

Fine Cell Work

An Interview with Chief Executive, Victoria Gillies

When we consider what it means to be given a second chance and a fresh start, we can often take for-granted, the ease in which most of us can start again. Whether that be moving home, changing profession, or simply deleting our social media accounts and clearing our inbox, a second, third or even fourth chance often feels within reach

When considering which charitable initiative to put in the spotlight this month, I came across Fine Cell Work, a charity that supports prisoners and ex-prisoners through training them to do needle work

Fine Cell Work has been operating for 26 years and since 1997, over 8,000 prisoners have been involved in its programme. The aims of Fine Cell Work are to provide paid, purposeful activity, to foster hope, to rebuild lives, to create opportunities and to facilitate reintegration into our communities. They are successful in supporting individuals at all stages of the system, including their eventual release when the risk of re-offending is at its highest.

To be released from prison, is really not to be given a second chance, as for exprisoners, the world is a judgmental, scary and often very different place. In order to give a second chance, we must provide individuals with the tools to navigate this world, so that they are not set up to fail and repeat their offence.

Fine Cell Work pays their stitchers per item and approximately one third of the proceeds is dedicated to stitchers wages. Some individuals send the money to their families at home, others use it for canteen items and many save the money to provide them with some stability on their release.

Through producing items for consumers outside the prison walls, prisoners are given the opportunity to make connections and to give to the public. Often, they receive letters of thanks with images of items in the customers homes.

Ways in which prisoners can engage with Fine Cell Work varies. Most stitchers are participants in ‘cell groups’ which are run by volunteers. Lone Stitchers comprise of individuals who have a high skill set in stitching and have moved to a prison where there isn’t a stitching group. Many of the participants comment on how being given the responsibility of completing commissioned items, brings them pride and helps to pass the time.

Bob, a participant of Fine Cell Work, states: “I’ve been entrusted to work on many of Fine Cell Work’s most important and renowned commissions, which has been a real honour and very humbling. One of my biggest achievements has been handstitching three embroidery components of ‘Odyssey in Quilting’, designed by Ai WeiWei and displayed in 2019 at the Human Touch Exhibition at Sotheby’s. I worked on this piece whilst awaiting test results that would later diagnose me with prostate cancer At the time, I was feeling fear and shock, but focusing on the intricate stitches really helped me to calm and focus my mind, and process those intense thoughts. Whatever problems I have going on, they’re always forgotten when I stitch.”

Prison workshops teach a broader skillset, as participants not only help with needlework, but they also make kits for stitching, as well as textile production, which involves making completed stitched canvases or linens into cushions, bookmarks, purses, etc

These workshops can also assist in creating a sense of community within a prison, as they can provide friendly and encouraging environments to create and work.

Finally, the ‘Open the Gate’ post release programme, works as a form of apprenticeship for individuals, to help them re-integrate into society safely and comfortably. This programme works as an extension of the prison programmes and it helps to further develop individuals skills in managing a business, customer service, event work and many other aspects. Since 2017, 70 apprentices have taken part in the programme and have achieved astonishing rates of success. There was a 2% re-offending rate, compared to the national average of 46%. 43% of the apprentices have gone on to secure employment, as opposed to the national average of 17%. An additional 8.5% have gone onto training or volunteering opportunities.

The efforts of Fine Cell Work contribute to the conversation around the positives of re-habilitation programmes to put an end to the repeated cycle of offending. Practicing arts and crafts activities in prison is a healthy form of self-expression, which is vital to giving inmates an alternative to destructive coping techniques. The disciplined exploration of thoughts and ideas through art, creates resilience and can give clarity to feelings and subsequently deals with the triggers for violent and destructive behaviors. Creativity is also a way in which individuals can build self confidence and ultimately, stitchers can have something physical to show for their time spent inside.

BH: Why do you think there was (and sometimes still is), a reluctance to financially reward inmates in prison, for the work they carry out?

VG: Stitchers working with FCW are paid for their work, with their names attached to the product they make, to encourage customers to write to the stitcher and thank them for their work. This builds a sense of connection with the outside world. The fact that their products are sold makes stitchers feel there is a demand for their work, and therefore a purpose to their diligence. Payment for their hard work is very important to make the stitcher feel that their work is truly valued.

BH: Could you tell me about the origins of Fine Cell Work and the fundamental work that was carried out by Lady Anne Tree in the beginning?

VG: Fine Cell Work was founded by Lady Anne Tree (1927-2010), a British aristocratic social reformer, philanthropist, prison visitor and prison rights activist.

In 1975, Lady Anne succeeded in brokering commissions for two unique needlepoint carpets stitched by prisoners in the infamous UK women’s prison, HMP Holloway, and then sold to wealthy New Yorkers for £10,000 each!

Through this process Lady Anne discovered the potential for high-quality craftwork to be done inside prisons. But she had also come smack up against the challenges of prison bureaucracy, which did not allow for any of the money from the sale of these products to be paid to the stitchers themselves. With a newfound belief in purposeful activity within prison, and an understanding that an essential part of that sense of purpose was grounded in prisoners being paid for their labour and craftsmanship. For twenty years, she campaigned and advocated for prisoners to receive payment for their work in prison cells, until finally in 1992, the law was changed. Five years later Lady Anne received the Prison Minister’s go-ahead for Fine Cell Work to begin working in prisons

How does a stitcher qualify to become a ‘lone stitcher’ and does this require a high level of trust?

A lone stitcher will have been in an FCW group in another prison and would have been transferred to a prison where we currently don’t have a group. The stitchers loyalty to FCW, and our appreciation and gratitude for their skill and work, means there is a mutual commitment to work together.

Does Fine Cell Work maintain contact with many stitchers, once they leave the prison system and can they reach out for further support, when they need it?

We rely on the stitchers to contact us on their release. Some come just for a visit whilst others join our post-release employment programme, Open the Gate in Battersea

How are the designs and products decided on?

We have an in-house design team and work with leading designers who generously donate both their designs and time to collaborate with us. The designs need to fit the skill set of our stitchers, and address the gaps we have. At the moment we need designs providing work for our advanced embroidery stitchers, beginner embroidery stitchers and our advanced needlepoint stitchers.

Could you tell me about the ‘Magna Carta’ commission? It is hard to believe that it’s embroidered!

Cornelia Parker’s Magna Carta is a 13-metre-long embroidery of the Magna Carta’s Wikipedia page that Fine Cell Work had the privilege of working on. I worked on the project from the beginning. Cornelia wanted to use a number of stitchers on the project to mirror the Wikipedia’s entry on the Magna Carta which was the work of many hands She wanted to involve people who had been deprived of their liberty in her artwork about a charter defining civil liberties. 36 different stitchers across 13 prisons contributed to the artwork, along with over 200 other stitchers from varying backgrounds Each stitcher left their mark to create a very 21stcentury crowd-stitched Magna Carta.I stitched the words ‘New Zealand’ on the piece. Cornelia has since commissioned FCW to stitch her artworks.

What challenges does Fine Cell Work face on a day-to-day basis? I imagine it to be difficult working alongside prison staff who are limited in time and resources.

Prisons are overcrowded with critical staff levels in many prisons. People locked up in prison cells for many hours of the day need purposeful paid activity, which creates increasing demand for our in-cell programme.

Embroidery can be a fairly testing activity. How do the stitchers manage such a painstaking and focused task in such an emotionally charged and stressful environment?

People in prison have a lot of time to fill Stitching is a demanding activity that takes time to learn and is all-inclusive. Anyone with the right mindset and determination to learn can do it.

What goals do you have for Fine Cell Work in the coming future?

Our ambition is to double the number of stitchers we work with in the next four years, and to partner with existing textile workshops in prison, to provide a broader range of employability skills to support the participants rehabilitation.

How can our readers support the work you do?

Please visit our website and support our work by buying the beautiful, exquisitely stitched products that make exceptional, thoughtful gifts with social purpose Prisons are in the news for all the wrong reasons and we have, for over 26 years, supported over 8000 people with rehabilitation. We need to keep carrying out this work and would be most grateful for any donations to support this.

What is your favorite piece produced by Fine cell workers to date?

My favourite is the Animaux range. Just to see the characters makes you smile and the stitching is absolutely stunning. I also love our character Christmas decorations and am very much part of the design process as we develop the decorations for the following year 15 months ahead of time

These items are likely to become the ‘antiques of the future’. What message do you hope that people will inherit, alongside the items?

I would like them to know the provenance behind each product stitched. Each piece is unique, stitched by hand with great skill and pride, giving the stitcher a sense of achievement, building their self-respect and offering a pathway to a better future.

Upcoming Events

Founded in 1998, the Young Friends aims to provide a social and intellectual introduction to the world of fine art and antiques. Join the Young Friends membership here.

‘Dazeley: Monochrome’, at Firsts: London’s Rare Book Fair

The Saatchi Gallery, Duke of York’s Square, King’s Road, London SW3

Saturday 18th May at 2:30pm

£10 Entry Fee, complimentary for Inherited subscribers.

Join celebrate photographer Dazeley who will be talking about his fabulous book ‘Monochrome’. These images of plants, animals, and flowers are produced by hand with the original Platinotype method devised by William Willis in 1876. Dazeley’s career has spanned over 60 years, in 1976 he started working out of his own studio in Chelsea, London. His great gift is “making the ordinary look extraordinary”. This will be a chance to hear this distinguished photographer in conversation and to purchase his book afterwards. The event also includes complimentary entry to Firsts as well

Book your Tickets here.

‘Aving a Laugh: Cartoons and comics through the ages

Reindeer Antiques, 81 Kensington Church Street, London

Wednesday 26th June from 6:30-8pm

£12 Entry free

Let’s face it we all need something to make us laugh these days so why not join Peter Alexander and David Isaac for a romp through some great cartoons. From the downright bawdy to more recent images from comics such as the Beano to the weekly Country Life comic strip of Tottering by Gently by Annie Tempest there will be lots to tickle the ribs. All this will be accompanied by a glass of something delicious and some nibbles, so it’s bound to be an evening of fun and laughter and a chance to meet likeminded chucklers.

Book your Tickets here.

Chris Clarke .

Introduced to me by BADA member, Jeremy Green of Canon Gallery, Chris Clarke creates works inspired and informed by English Surrealists and Neoclassicists of the inter-war period. We spoke over zoom, about everything from his pathway to finding his voice, his hunt for antique frames and a shared experience of the suffocating nature of art schools.

Chris’ works are small, exquisitely fabricated and technically painted landscapes and still life pieces. Whereas many artists might sell themselves short, by framing their pieces in an uninspiring frame, Chris takes into account every aspect of his creations, regarding the painting, frame, mount, backing and glazing as an art object with a jewel like quality The overall presentation of Chris’ work is integral to his creation of an experience for the viewer- a dreamlike encounter with childhood memories which read as a love letter to the English countryside and architecture, sculpture and wildlife that is quintessentially British.

The lighter parts of Chris’ childhood involved exploring historic houses and gardens, which sparked his love of craft, textiles and gilding. During our conversation, Chris touched upon a difficult childhood, having lost both of his parents at a young age, taking on the role of carer all before he turned age 16 Resilience, independence and an ability to problem solve was a requirement in his youth, which has stayed with him throughout both his personal life and creative career. Chris’ paintings are hardy little works, solid and confident in their technicality. They are robust, with many layers of opaque and transparent glaze layers, sometimes with aspects of metal leaf. Their frames are often restored antique finds that have already stood the test of time We joke that conservators in the future would have a field day with Chris’ work, scanning the layers of re-worked paint and glazes, hidden beneath the smooth and flawless final layer. However, the appeal of the works, is having said all this, they are incredibly sensitive pieces- with whisper like brush strokes, seamlessly blended colour graduations in hazy skies, speckled with fluffy clouds and fabrics of which you can almost feel the silk texture of their weaves His work is built on a foundation of technical skills and a deep-rooted understanding of the practices of the Old Masters which successfully anchors their ethereal qualities.

I would like to think that everyone can find familiarity in Chris’s works, whether they remind one of a view from a window in a childhood home or the route taken on a regular walk in the countryside, the paintings offer a glimpse of a scene, with the viewer encouraged to complete the memory, with what lies beyond the image itself

Before I even lead the conversation towards the idea of inherited objects, Chris tells me how he always considers how his works will be found and received in the future He shows me the beautiful, marbled backing paper of a recent piece, as well as the picture label, based on a book plate he attaches to the back of every piece- inspired by a 15th Century alter cloth design Chris even cuts and creates his own custom mounts I imagine that those who have the pleasure of owning one of Chris’s works, present or future, would find it to be a wondrous experience, discovering the smaller details of their composition and the care given to ensure that they survive, as intended, for many years to come

Chris’s paintings are rich in both colour and history. The pieces are more about a feeling, than the subject matter Rich reds, yellows and earth tones, contrasted with cool blues and frosted greys evoke the feeling of looking out at a gloomy British day, whilst being in the warmth of your own home Green and blue mottled hues give the impression of a walk at night, lit by moonlight Always built up from a red or pink toned base colour, never white, the paintings have a depth that give them the feeling of being objects in their own right, rather than representations Chris does not enjoy painting in impasto, which if anything speaks to his talent in creating depth, without texture.

It is a long process before Chris deems a piece to be finished. Many of the works currently available have been re-worked multiple times Working directly onto canvas, rather than creating preliminary sketches, the experimentation and colour development takes places on the final work.

Preferring to saturate the canvas, Chris does not see the point in him creating sketches when he can dive right in with the colours he has in mind for his creations.

Once ‘complete’, the painting will sit on an easel in his studio, whilst he contemplates the appropriate frame or mount In this time, Chris can experience the pieces in different lights. Chris speaks of being an art student in London in the 80’s He recalls being told that ‘figurative painting is dead’, which at the time he did not have the confidence to question When I ask what advice he would give to readers of Inherited, he says he would encourage people, as much as they can, to preserve their own voice Now he sees that his art tutors were quite arrogant and that there is no area of art that can be considered to be ‘expired’ He also speaks about the tendency of art school to favour concept and social commentary, over skill and technical prowess Throughout his study at both Grimsby School of art and then City and Guilds, he developed skills in everything from gilding, through to painting (including the creation of his own paint), as well as japanning and Verre Eglomise (reverse gilded glass), and rather than set them all aside in favour of one particular skill, Chris applies them all in his practice

During the Pandemic, Chris’s account on Instagram was hacked and he had no recourse to reclaim it Following this, he lost confidence and stopped creating art for a year. It is wonderful to see that Chris is back in full force, and he is certainly one to watch.

The Makers Series: Martin Brothers

The sons of a wholesale stationers’ clerk, the four Martin Brothers, Robert Wallace, Walter, Edwin and Charles are amongst the most important names in British art pottery, creating some of the weirdest and most wonderful studio pottery pieces of the late Victorian and early 20th century.

Parents Robert Thomas Martin and Margaret Fraser moved from Suffolk in the early 19th century, making a home for their nine children in London. Eldest son Robert Wallace Martin (18431923) showed early artistic promise and was apprenticed to the architectural sculptor J.B. Phillips.

He enrolled in drawing classes, first at the Lambeth School of Art and later at the Royal Academy School from 1864, before opening his first studio in the late 1860s, where he made terracotta sculpture.

In the meantime, younger brothers Walter Fraser Martin (18571912) and Edwin Bruce Martin (1860-1915) had also begun studying at Lambeth School of Art and were apprenticed to the British ceramics manufacturer Doulton & Co in Lambeth, where they made stoneware pottery.

The three joined forces in 1873, opening their first studio in Fulham, and were joined by a fourth brother Charles Douglas Martin (1846-1910) in the role of company manager. As business blossomed, the brothers moved to larger studios at a disused soap works on the canal side at Haverlock Road, Southall. This also gave them access to an inexhaustible source of clay from the nearby Southall Brick Company.

They worked predominantly in saltglaze stoneware, a technique which requires firing the clay at high temperature with salt thrown into the kiln to create a shiny glass-like glaze or rough orange peel type matt glaze, dependent on variations in the process. Their commitment to a distinctive colour palette of subdued browns, greens, greys, and blues helped make Martinware instantly recognisable and highly collectible.

Each brother held a distinct but equally important role within the family business, with Robert Wallace acting as company figurehead and principal modeller, Walter specialising in the potter’s wheel and glazes, Edwin working as principal thrower and decorator, and Charles managing the shop, which opened in High Holborn in 1878.

Influenced by English writer and philosopher John Ruskin, the Martin Brothers work tapped into Ruskin’s philosophy that “workers could not produce beautiful things if they were enslaved to the mechanical process. ”

Their unique handmade designs represented a stark contrast to the increasing industrialisation of Victorian England, with mass manufacture viewed as the enemy of artistic interpretation. The Brothers reliance on traditional techniques and quality craftsmanship, allowed them to offer a unique product in which no two pieces were ever the same.

Consequently, the Martin Brothers are widely credited as pioneers of British studio pottery, bridging the gap between decorative early Victorian ceramics and the vibrant studio pottery movement of the early 20th century.

There are three distinct styles synonymous with Martin Brothers ware, the first of which and arguably the most popular are the Wally Birds (pictured right). These were a series of tobacco jars or vases fashioned in the style of a grotesque bird or owl.

The name Wally Birds is an affectionate nickname taken from the sculptural designs first created by Robert Wallace. The birds were designed to mimic characteristics of key public figures of the time, such as politicians or industrialists and instantly gained huge acclaim.

The second common style of Martinware is the grotesque form, another lifelong obsession for Robert Wallace, established during his time working with J.B. Phillips and based on the gargoyles and Gothic features of medieval architecture.

The resulting work includes a panoply of fantastical twisted and occasionally terrifying face jugs (see image two), sinister statuettes in the form of musical imps, and a series of weird and wonderful spoonwarmers that take inspiration from sea creatures

The final popular category is the gourd vase (image below), which were usually the work of Edwin and Walter Martin and perfectly illustrate their skills as master potters. Nips, veins, and bumps were often added to the clay to mirror decorative effects found in nature This, coupled with the brothers’ trademark muted palette, put their wares at the forefront of the emerging Victorian Arts and Crafts movement.

Ironically, given their products broad appeal in fashionable London circles, the brothers made comparatively little profit from their work. Indeed, Robert Wallace admitted in 1910 that, “my brothers and myself never got more than Labourers’ wages

This is largely due to the brothers somewhat eccentric method of manufacture. Tight finances meant the kiln at Southall was only fired once or twice a year and since they could not afford protective coverings, every item came in direct contact with the naked flames. On one occasion only one piece from an entire year’s work survived the process!

This eccentricity in their business practice, was accentuated still further by business manager Charles who was said to be so fond of his brothers’ works that he often hid the best examples under the shop’s floorboards Tragically, many of these fine works were destroyed in a fire at the High Holborn shop in 1903. It is said that the incident dramatically affected Charles’ mental health and he was admitted to an asylum before passing in 1910.

Fortunes took a turn for the worse, two years later, when Walter passed away in 1912, and the studio was closed for good after Edwin’s death in 1915. Despite being the eldest of the four, Robert Wallace lived on until 1923, when he passed away aged 80. All four are buried at the Havelock Cemetery in Southall, London, a short walk from their studio

100 years after the opening of their first studio, Martinware experienced a major revival in the 1970s, driven largely by their autumnal colour palette which worked so well with interior design trends of the time.

Martin Brothers popularity continues to grow with important pieces much prized by collectors and curators alike and prices now reaching six figure sums on regular occasions. Notable examples can be seen in the collection of the British Museum, the V & A Museum, the Fitzwilliam Museum, Cambridge and the Metropolitan Museum, New York

Take a look at A. D Antiques on bada.org to see a stunning collection of Martinware pieces

Every month, we take a look at cultural objects or reference points that have taken our interest or inspired us creatively.

1. Objects of Desire.

Tessa Metcalfe Jewellery is a small jewellers, a stones throw away from our BADA offices, within the heart of Hatton Garden I have one of her pieces – a small single claw ring with an inset opal. Her work is a love letter to the pigeons that call London home. She takes the grotesque claws of a pigeon and creates beautiful and desirable pieces. Tessa’s work is full of dark humour, poking fun at beauty standards and embellishing the claws with their own tiny rings and gold manicures. Her pieces have a unique attention to detail, with her tiny Pidgeon emblem stamped on the band of each piece and the jewels held by heart shaped settings. The next on my wish list is the ‘Pearl of London’ as featured above The pearl, spinning in the clutches of the pigeon’s manicured claws is a statement piece. Tessa says in regards to her work:"I think it's important to retain a level of irony and humour when working with ridiculously expensive, emotionally charged and essentially useless objects. They can bring such pleasure, carry messages of love, pain, loss. They hold our deepest stories and fantasies, and yet always are just a small and expensive piece of metal and stone."

Tessa Metcalfe Jewellery

2.

Best known for his groundbreaking comic book fiction, Alan Moore is the creator of several masterpieces of the genre including Watchmen, The League of Extraordinary Gentleman, V for Vendetta and From Hell

His lesser know first novel ‘Voice of the Fire’, first published in 1996, is a remarkable body of short stories each loosely connected through their setting in and around Moore’s beloved hometown of Northampton.

The ambitious work spans a time frame of 6,000 years, from the early neolithic period through Roman Britain and the English Civil War to the present day. Be warned, the first story Hob’s Hog is written entirely in the primitive internal monologue of an Ancient Briton and as such is a rather challenging but ultimately rewarding read.

Deeply macabre and darkly comic in equal measure, each tale combines Moore’s passion for history with recurring themes of magic, religion, madness, lust, and greed. If you are only familiar with his work in the graphic novel genre, I assure you, you have a real treat in store

A Day in the Life Of…

Tom Edwards of Abbott and Holder

We are a very busy, central London gallery - two floors, open six days a week - and carry a large stock of British Works of Art from the mid-eighteenth to late-twentieth centuries. Each month we publish ‘The List’. Started in 1946, ‘The List’ introduces 100 new works to stock each month. It is published online, usually in two halves (of 50 works) during the first and third weeks of the month Alongside ‘The List’ we have a monthly Exhibition or featured Group of works by a particular artist… Consequently, hundreds of pictures pass through our hands each month. Managing such a large scale of turnover requires a number of people, all working very hard!

Alongside myself, Henry Louch manages the gallery, Lewis Langham oversees companywide operations (we have a second premises in South London for storage, photography and logistics), James McAuslan takes care of photography, Mark Coakes is our full-time framer and mounter, and Natalie Duff is our all-essential book-keeper… But this role-call does not account for the numerous conservators and other art market professionals we work with on a daily basis

One of the great pleasures of dealing pictures is the variety. You are constantly meeting fascinating people, and coming across beautiful art works These are the things that colour the job and make no day quite the same as another. But here is a run-down of my typical routine…

Nowadays, I log in to various auction platforms to take part in the day’s bidding. Our doors are thrown open at 10am. Even on a ‘quiet’ day there is a steady flow of visitors, placed as we are, near the British Museum. On busy days we can have dozens and dozens of visitors Between telephone calls and serving customers I will be buying pictures and planning ahead; organising our new stock into Lists, liaising with whatever artist we are about to show, arranging adverts and other marketing, planning my diary, updating our website etc. etc. … But, of course, most importantly, we will be making sales!

My days begin early, usually before 6am. I have a busy home life with small children, so I steal a few moments to look at my diary, go through emails that have come in overnight and remind myself of prospective lots coming up at auction that day. Once the school-run is over, my first job of the day is usually viewings, whether that is travelling to an auction house or visiting a collector. When I do not have a morning viewing appointment I will walk my dog to work. The gallery days starts at 9 30am and we ‘openup’ much like any other shop; unlock, tidy, refresh the window display, hang/re-hang pictures etc. Coffee is brewed, emails are read and written

We close for lunch 1-2pm, during which time I will swim or walk my dog again. I tend to arrange London appointments (in the gallery or out and about) for the afternoons. But if I have none, then I am either back at my desk and the art of busy shop-keeping, or at the library for research. Afternoons at the gallery can be very busy indeed as the sales from the day before are wrapped and packed in time for the courier to collect UK and International sales, and our trusted man-with-a-van to collect London sales. Vans come and go to the gallery and to our workshop throughout the day. Having a firm grasp of the flow of objects as they come in, and eventually leave us, is an essential part of the job.

The gallery closes at 5pm and we are usually away by 5.30pm. It is rare not to have a couple of evenings a week when I am at a function But on the whole evenings are a family affair. I take to my home study at about 10pm, which I find is the best time to get some quiet cataloguing done. I systematically view auctions online over the weekend, so once I have done some cataloguing I need only go through the lots I have earmarked for the next day’s auctions and review my diary – I will do both these things again in the morning. I end my week-days reading around the subject - another great pleasure (and vital part) of the job!

Holly Johnson Interiors

Home | Holly Johnson (hollyjohnsonantiques.com)

@hollyjohnsonantiques

We design and deliver exceptional bespoke individually designed Interiors. We truly enjoy creating uplifting wonderful interiors working closely with our clients to their taste and needs Our skills range from supplying fabrics ,furniture, wallpaper and paint in one off capacity to major residential renovations and new builds We can advise from planning applications onwards. We like to think out of the box and bring over 20 years’ experience to each project We truly enjoy each individual project, however small and intimate to some of our larger projects. However, each design is totally tailored to our client’s tastes and desires We work very closely with each customer throughout the whole process. Our aim is to create an individual Interior which is absolutely exceptional

Our Knutsford Studio acts as a showroom for our sister Company Holly Johnson Antiques, which supplies period and mid-century Furniture, Lighting and accessories. We have experience of over 20 years of working on exceptional residential projects Throughout the years we have carried out renovations on many Grade 1 and 2 listed properties throughout England and Wales and have an amazing team of builders, craftsmen and artisans. We have worked on many new build projects for clients bringing our expertise in architectural design to the initial stages of planning. We have also worked throughout Europe from Ski Chalets to Villas in Southern Europe Nothing is impossible We have a solid reputation for our Historical design knowledge, seemingly mixing periods and styles, classism and modernism with comfort and ease. Our aim is to create wonderfully elegant homes.

What is your favourite room in a typical house to design and why?

I love a hallway , mainly because it is the first impression of the homeowner's “home” and it sets the standard and scene- the character of the people who live there. Often it states the palette and style for the rest of the house. You are also open to a multiple of options choice wise in this area. It can be theatrical, architectural or it can house an art collection. On our last project we converted the hallway into a wonderful family room, with comfy sofas and chairs, even a TV and we covered the walls with a wonderful scenic Iksel wallpaper

How involved are your clients in the design process- are they usually quite happy to follow your lead?

Each of our projects are totally led by the client and the design totally reflects their taste. We guide them through, bringing them ideas, working through all options. We have a wonderful stable of different highly skilled craftsman and decorators to work with. For us it makes each project unique.

Can you name an item that you have used as part of the scheme in a client’s space, that you now wish you had kept for yourself?

Often, I like to place a “key” item into an important rooma “hero” piece. This could be a painting or an antique piece of furniture. I would say I would have liked to have kept each of these “important” items but then I would just end up a Collector rather than an Antiques Dealer Disastrous, as I love to shop.

Is it a challenge to design spaces that feel luxurious, whilst maintaining a level of practicality and durability? I have in mind the properties you have designed for Ben and Holly’s Hideaways.

That is my job. A space has a function, a purpose. This is most important, and the design must work within this frame You must ask yourself, how is this area to be used and how are people going to navigate this area? With Ben and Holly’s Hideaways, the houses are used by people on holiday ,so their needs and how they use the rooms are very different than that of how they live in their own homes.

Obviously, safety , fire regulations , access for all ages are big issues. Also, the Holiday houses are often used for large gatherings, family birthdays etc. so the reception areas have to be designed with this in mind. On the other hand, in the holiday homes we can design in a slightly braver, eccentric manner. The settings can be slightly more theatrical and full of imagination and novelty which gives a fun experience for our clients

Wallpaper seems to be a key feature in many of your designs. Could you talk a little about how you source your wallpaper and what makes it so unique?

We love wallpaper. We love to use wallpaper. I have never been frightened of colours, patterns and textures. I love layering wallpapers and fabrics, but you must have an “eye” to work with this look.

Is there a house that you would love to design the interiors for, or perhaps a dream client you would like to work with?

Each new project and each new client is a dream, as a whole new experience starts again. Everything starts from scratch and is centered around the new clients taste and this is great fun and always a wonderful journey.

Where do you get your inspiration?

As I keep pointing out to Ben, inspirational travel just has to be done ! He thinks it is an excuse for me just to go on holiday ! I beg to differ.

Would you let an interior designer loose in your own home?

Absolutely, if they were good. Roman and Williams any day of the week.

What is a design feature that you would try and talk a client out of having in their home?

There is never a no-no. The client is always right, and I can make anything work . That is my job. No client has terrible taste. Everyone loves beauty and beauty is in the eye of the client. We help put their idea of beauty into play for the project. Every home is personal. That’s why I love what I do. We love a challenge.

What is the ‘bravest’ or most daring scheme you have pulled off?

It is very easy to spend lots of money on luxury items to create the wow factor. For Ben and Holly’s Hideaways we recycled fabrics and furniture throughout the project which was more challenging but very rewarding. We still needed to create a lavish experience look and I feel we achieved this. On another project one of the main reception rooms had no natural light. Therefore, we had to use a certain palette in the wallpapers and textiles to create a brighter feel. We had to also be very inventive with the lighting scheme.

What is your favourite period of interior design?

Every single period. I am a total nerd for specific periods. I have a huge library of historical, architectural and Interior books. Books about historical designers and craftsmanship. Furniture books. History of art books. Archives and Archives. I constantly look at period paintings and photos for inspiration. It is an addiction.

Do you have any predictions for where interior design will take you in the future?

I do think that tastes are moving away from the bland palettes of the last couple of decades. Colour, texture and patterns are emerging, giving individuality to homes. I love seeing items and works of art people have collected throughout their lives in interior settings, out on show. A home should reflect the life of the inhabitants . Also, antiques are environmentally friendly - don’t buy new- recycle.

Do you have any advice for our readers who might aspire to become an interior designer?

You can come from anywhere. A painting or decorating background, a joinery background, tiling background, design and tech, art foundation course etc: this will all come in helpful. Interior designers should be more practical and hands on. Having a trade in hand will be hugely beneficial Interior Design should not be seen in any elitist way.

What would you be doing if you weren’t an interior designer?

Possibly a luxury travel advisor who had to do lots of travel research by testing out each individual trip personally and on a regular basis.

Do you have a signature piece or a motif that we might see in all your interiors?

A piece by Piero Fornasetti- an absolute must.

Hipstoric Interiors

A special edition of Collector’s Cohort: Your Guide to collecting from the leading Trade Association in fine art, design and antiques.

This month, it wasn’t too difficult to choose just one term to explore within Collectors Cohort- as it was just one that cropped up time and time again on every social media platform and Interior design website… ‘Hipstoric’ . At the BADA offices, the team was praising the lords of interior design for shining a light on a style that encompasses both inherited antiques and modern design must-haves, such as refreshing colour palettes and innovative living spaces. With an urgency for the care of the planet at the forefront of many of our minds when designing our spaces at home, the integration of family inherited pieces or secondhand goods into our houses is essential to master. For many, when we consider the world of antiques, it brings to mind dark Interiors, cluttered corners, outdated furniture and dull lighting. Who would want to fill their home with another individual's unwanted nick-nacks? However, if Hipstoric design tells us anything, it’s that less is more and each piece should tell a story about your personality and heritage. In the modern day, with homes now fulfilling a whole host of different functions- a place for relaxing, working and socialisingpracticality is key. Shopping is very low on our list of priorities, so what better way to rid ourselves of the requirement to always buy new, when we can invest in the items we inherit or antiques that have already stood the test of time?

The sleek and sterile interiors of 2022, with greige colour palettes, colour coordinated accessories and massproduced furniture are making a swift exit and Hipstoric designs are taking centre stage and it is really quite liberating. Hipstoric is a design choice, rather than just a trend and allows a freedom to evolve our homes alongside our current interests, moods, living situations and (importantly) budgets- all whilst maintaining a set of key pieces to anchor our creativity. With the help of our BADA members and a ‘hot or not’ scale, this feature will illustrate the craze that is revolutionising our Pinterest boards…

Gran’s Cabinet just got Interesting…

Brown furniture is back! You would be a fool to turn down your grandparent's mahogany dresser or oak chest of drawers. That regency cabinet, once seen as outdated, is now your best friend- practical and perfect for channeling Bridgerton-esque living. It is estimated that a new chest of drawers results in a carbon footprint 16 times higher than buying its classic antique equivalent. Another eco-friendly bonus of antique furniture is that pieces often have natural finishes, rather than the more toxic, modern alternatives. In a design sense, antique furniture brings warmth and character to a home and lets face it, much more individuality than the Ikea alternative. If you lean into the fact that clashing is classy, it is much easier to acquire new pieces of antique furniture as your home or family grows- no need to purchase a full set of Ikea white MDF furniture!

Nail your Nick-Nacks

Now is the time to retrieve your box of treasures from the loft and unearth all the trinkets you have always loved, but have never displayed. Hipstoric celebrates the quirky and the kitsch, with objects that show personality and tell a story being in favour. Whether it’s your grandma’s old lladro ornaments, a slightly garish floral vase from your auntie or even old comics from your dads childhood, they can look fabulous when their positioning and display is considered. We urge you not to display everything you have on your living room side-unit, for fear of looking like a boot fair open for business. However, have you considered giving all your tiny trinkets a home in an antique pigeon hole shelving unit? A cabinet of curiosities can be a great way to display items, whilst keeping them contained and uncluttered, maintaining the practicality and considered design of the rest of your home. Installing wall hooks is a handy way in which to display antique or inherited kitchen ware, from vintage jugs to beautifully patinated utensils and retro jelly moulds. You can also make your heirlooms the centre of attention and bring the colourways into surrounding décor. For example, would the pretty blue and cream of your teacup set look rather lovely when applied to your throws and cushions? Experimentation is key here and you might find that your revealed treasures inspire some lovely conversations with friends and family.

patterns, colours and textures. If anything, layering different fabrics and extending your colour palette by just a few tones can make for a much more expensive and luxurious interior. In these chilly autumn and winter months, bare floorboards will just not do. Try layering your rugs, to create interest and an easy way to mix antique and modern. If you are nervous, a fun way to build confidence in contrast, is through the Hipstoric version of a print wall… We have moved on from mass produced prints of palm trees and ‘Live, Love, Laugh’ and we encourage you to mix it up! Try hanging antique oil paintings, next to neon signs and framed newspaper cuttings and family mementos next to folk art shop signs and antique maps. You can even throw in a beautiful mezzotint if you please. If you loosely revolve your display around a theme or a colour featuring in each piece, you will be surprised as to how adventurous you can get A contemporary artwork can look fabulous framed in a regency gold frame, with scrolls and patina Equally, an antique map can look stylish with a modern frame with a pop of colour The great thing about a Hipstoric wall is that you can continuously change it up when you expand your collection. If you are unsure, follow the lead of a painting you love- perhaps something abstract. Pick out the colours that clash but somehow work, and bring them into your home.

Clashing is Classy

Come on Over

When all is said and done, you want your house to be a home. Hipstoric style is the perfect way to make your house feel homely and welcoming. Consider your friends and family when you are designing your space and choose pieces that encourage guests to be social and to interact with your exciting home. Primarily, seating is key. Fill your home with gorgeous antique ottomans, plenty of dining chairs, as well as cosy reading corners You can layer up embroidered and textured cushions and throws, to create warmth and interest Antique chess and solitaire boards, as well as compendiums are great for inspiring playing board games over a glass of wine, as well as acting as beautiful display pieces. If you want your guests to feel as special as stars in a movie, invest in some antique drinkware, such as beautifully cut or coloured wine glasses, or an ornate wine coaster. For those who prefer a cup of tea, there are a plethora of teapots and tea sets to be found in antique and charity shops alike, if you haven’t had the privilege of inheriting a set from a family member If you have a little more of a budget to spend, a fireplace surround, for a real (or fake!) fire is a lovely feature and can act as an alternative focal point to a television

Patina is a Girls Best Friend

Long gone are diamante embellishments, pristine and unblemished furniture pieces and ‘hotel living’ chic. Hipstoric encourages items to be used and loved and to subsequently enjoy their natural aging Patina, in the antiques world, is something that is often desired as it can be a tell-tale sign of the age of the piece and it is considered quite beautiful to see the life of an object worn on its surface. Patina can apply to a variety of objects. Copper, brass and bronze items often develop a patina, produced by oxidation or other chemical processes.

The patination of copper and bronze items is green and is known as verdigris. Wooden furniture shows patination through the colour becoming rich and deep, with a luster and sheen. We are not talking about distressed as in the holes in your jeans here… but the natural aging of an object. If you can, embrace this look by buying antique or second hand

The tones and colours of items that have aged differently over time can add wonderful detail to an interior and makes it seem as though you have been collecting items for years on end! Leather also patinates in a certain way, becoming soft, textured and mottled in colour. In the same way that there is nothing better than a worn leather jacket, try investing in a footstall or ottoman made of an aged leather, in a red or deep brown