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TREASURES OF GLOUCESTERSHIRE

Treasures of Gloucestershire SATURDAY 7TH & FRIDAY 8TH JULY 2012


Treasures of Gloucestershire

The Honourable Company of Gloucestershire presents

Treasures of Gloucestershire An exhibition celebrating the history of the county through its people, places and culture Saturday 7th & Sunday 8th July 2012 Open 10am to 5pm To be held in

The Upper Room, Chorley’s, Prinknash Abbey Park, Gloucestershire Admission £5.00 (£4.00 concessions) Catalogue £10.00

Proceeds from the Exhibition will be donated to The Cheltenham Art Gallery & Museum Development Fund

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Treasures of Gloucestershire

Treasures of Gloucestershire

HRH The Prince of Wales

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Treasures of Gloucestershire

Treasures of Gloucestershire Treasures Gloucestershire

Introduction from Cheltenham Art Gallery & Museum Cheltenham Art Gallery & Museum is at an exciting period in its long history as progress on the re-development scheme, Building for a New Future, continues to move forward with construction of the Art Gallery & Museum’s new extension now reaching the second floor. The ambitious plans will provide additional galleries (over three floors), new open access stores/study facilities and dedicated spaces for lifelong learning, education, outreach services and arts development programmes. Cheltenham Tourist Information Centre will be re-located into the new building, including a larger ground floor café and shop. The scheme will provide a more prominent entrance to the Art Gallery & Museum and create a link to Cheltenham’s oldest building, medieval St. Mary’s Church. Building for a New Future will cost an estimated £5.6 million. We have received substantial pledges from a number of major trusts and foundations, totalling £2 million - of which £750k was generously donated by the Summerfield Trust and £250k by the Friends of Cheltenham Art Gallery & Museum, the Heritage Lottery Fund has pledged £750k, Cheltenham Borough Council has granted a further £2.5 million and grants/gifts amount to £117,801. We still need to raise a further £232,199 to complete this project and are seeking support from trusts, foundations, corporate partners and the public. Your generous support will enable us to welcome visitors from all communities and to develop and sustain our unique collections to share with future generations. It is hoped that the new building will be open from summer 2013. For regular updates on the re-development work (including a link to the live webcam) and to find out more about the Art Gallery & Museum’s continuing off-site programme and events, visit www.cheltenham.artgallery.museum. Within this very special exhibition, we are delighted to be showing some of the treasures from Cheltenham Art Gallery & Museum’s extensive collections. The exhibition is almost certainly the first exhibition of its kind to have been shown since the 1953 show: Elizabeth 1 and the Royal Houses of Tudor and Stuart: Art Treasures from Gloucestershire and the Cotswolds, which was organised by Cheltenham Art Gallery & Museum to commemorate Queen Elizabeth II’s coronation. We have tried to select objects that fit into the chosen themes for Treasures of Gloucestershire; so as well as showcasing some ‘real’ treasures from the collection, the choice also gives a glimpse into its range and variety. Among the more spectacular objects are Ernest Gimson’s small cabinet of drawers dating from 1907, a Court dress from 1880-85 and Stanley Spencer’s painting, Village Life, painted during the period the artist spent in Gloucestershire at Leonard Stanley (1939-40). 2012 also marks the centenary of the British Antarctic Expedition. Cheltenham was the birthplace of one of its key members, Dr Edward Wilson, who was in Scott’s team for the Pole journey. We have included some of Herbert Ponting’s fascinating photos from this expedition, as well as other items from our Edward Wilson collection.

Five Romano British gaming pieces:

Glass gaming piece Reddish-brown with circular insets of blue and white glass

Bone dice The numbers represented by double ring-and-dot motifs

Glass gaming piece Black with three circular insets of white glass

Bone gaming piece Decorated with seven fine concentric grooves

These were found during excavations at St. Michael’s Field in Cirencester in 1974

Bone gaming piece Decorated with three concentric grooves

The selection also includes the unexpected and less well-known, such as the delightful tempera painting by Irene Pownoll Williams depicting the legend of Winchcombe’s Saint Kenelm, the magnificent rolled paper Royal Coat of Arms from 1713, and the highly detailed painting by Graham Brindley, depicting one of Gloucestershire’s characters. Among the loans is a special new acquisition, which we are thrilled to be showing here for the first time, Ploughing match at Northleach by the important Gloucestershire artist John Miles of Northleach. This reflects the Art Gallery & Museum’s developing collection, which is continually being added to with generous gifts from individuals and purchases made with the aid of funding from grants and the Friends of the Art Gallery & Museum. Jane Lillystone Museum, Arts & Tourism Manager Cheltenham Art Gallery & Museum

Copper alloy brooch, Romano British The spring intact but the pin missing, the bow has a row of beaded decoration down the middle. These two items of were found during excavations at the Beeches villa site in in 1971, the same site at which the large hare mosaic at Corinium Museum was found

Copper alloy bracelet fragment, Romano British Formed of two twisted strands of with one end extended to form a hook.

Lent by Corinium Museum

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Treasures of Gloucestershire

Treasures of Gloucestershire

St Kenelm of Winchcombe by Irene Pownoll-Williams (1885-1970) Tempera on board Kenelm was the son of the King of Mercia, whose capital was at Winchcombe. On his father’s death in 819, his older sister Quendryda, who wanted to be Queen, arranged to have him murdered. His death was followed by a series of miraculous events including a letter delivered by dove to the Pope in Rome alerting him to the murder. His body was found, following a search commissioned by the Archbishop of Canterbury, and returned to Winchcombe where he was celebrated as a saint. Irene Pownoll-Williams trained at the Slade and was a member of the Society of Tempera Painters. She lived in Cheltenham, where she taught at Cheltenham School of Art and was a leading member of the Cheltenham Group of Artists. This painting was given to the Art Gallery & Museum by another significant Gloucestershire artist, W A Rixon, who lived at Turkdean Manor.

Two Medieval glazed ceramic floor tiles One decorated in a similar style to the Great Malvern School and which includes an unidentified coat-ofarms, the other decorated with a lion.

Carved limestone corbel In the form of an animal’s head, possibly a dog These tiles and corbel were found in the Abbey grounds, Cirencester, during excavations of the 12th Century Augustinian Abbey of St Mary’s. Lent by Corinium Museum

Lent by Cheltenham Art Gallery & Museum

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Treasures of Gloucestershire

Two Pencil Drawings of Gloucester Cathedral by Edward Adrian Wilson (1872-1912) View of the south transept View across the nave to the south aisle

© Chapter of Gloucester Cathedral.

llluminated Grant of Arms to the newly established Dean and Chapter of Gloucester, dated 28 March 1541/2 Inks on vellum, the seals lost

Wilson was born in Cheltenham and went to school at Cheltenham College. After qualifying as a doctor in 1900, he first went to Antarctica on Scott’s Discovery expedition (1901-1904) and again in 1910 as a member of the Terra Nova expedition. He was one of the party that reached the South Pole on 18th January 1912, only to die of cold and exhaustion on the return journey. These drawings were probably made when he was convalescing after contracting tuberculosis in 1898. Lent by The Museum in the Park, Stroud

The figure shown in the Capital T is the grantor, Christopher Barker, Garter Principal King of Arms. Lent by Gloucester Cathedral Library

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Treasures of Gloucestershire

Chasuble, woven at Prinknash, circa 1950s Designed by Father Raphael Davies of Prinknash Lent by Prinknash Abbey

The Hill Chalice, possibly by Thomas Binks, 1576 The silver communion cup on turned stem with knop and reeded collets and on domed circular foot

The Saint Pius X Chalice Made in gold by Guild of Handicraft, Chipping Campden

The parish of Hill borders the river Severn. Its church dates from the 13th Century although it was remodelled in the mid-18th Century. This Elizabethan Chalice forms part of its church plate and is kept in the Treasury at Gloucester Cathedral.

This chalice incorporates gold melted down from wedding rings that had belonged to the Brethrens’ parents. Hallmarked 1952, it was made to celebrate the beatification of Pius X (1835-1914). In 1913, shortly after the monks of Caldey had converted to Roman Catholicism, Abbot Columba Marmion took Aelred Carlyle, founder of the Prinknash community, to Rome to meet Pope Pius X. The Pope granted permission for the Community to wear white Habits in honour of Our Lady.

Lent by Hill Parochial Church Council

The Prinknash Chalice Made in silver-gilt set with gems and with a crystal knop to the stem, by Carl Krall, London 1889 This chalice was the property of Thomas Dyer-Edwardes (1847-1926) who purchased Prinknash Park in 1888. He was responsible for extensive alterations to the house and park and furnished the chapel with vestments and plate; this chalice dates from that period. Mr. Dyer Edwardes became a Catholic in 1924 and in 1925 made a deed of covenant entailing the estate to the Benedictines of Caldey, however he died suddenly in Naples a year later, so soon after he made this deed of gift that it became inoperative. The estate passed his grandson, Lord Lesley, who succeeded his father as the 20th Earl of Rothes in 1927. He honoured his grandfather’s wishes, an act of generosity for which he is still fondly remembered by the community. Interestingly Thomas Dyer-Edwardes was a passenger on the Titanic, disembarking at Cherbourg; his daughter remained on board but survived the disaster. Lent by Prinknash Abbey

Lent by Prinknash Abbey

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Treasures of Gloucestershire

View of Gloucester from Robinswood Hill, 19th Century English School oil on canvas, 1864 Private Collection

Portrait of Catherine Ockold (1665-1744) by John Lewis (active 1737-1769) Oil on canvas, dated 1744 Catherine Ockold was the daughter of Richard Ockold of Upton St Leonards. She married John Bridgeman of Prinknash who was MP for Gloucester in 1701 and whose portrait hangs at Weston Park in Shropshire. The inscription is a wide ranging genealogy of the sitter, who was related by marriage to several ancient Gloucestershire families including the Daunts of Owlpen and the Berkeleys. Private Collection

Painswick Church by Charles March Gere (1869-1957) Oil on canvas, 1922 Born in Gloucester, Charles March Gere studied at the Birmingham School of Art. He later taught there and became a member of the ‘Birmingham Group’ of artists and craftsmen. His illustration of Kelmscott Manor was used for the Kelmscott Press edition of ‘News From Nowhere’ by William Morris; he also produced illustrations for the Ashendene Press. In common with many other members of the Arts and Crafts community at the time, Gere idealised rural life and many of his works present idyllic landscapes. He made his home in the historic wool town of Painswick, known as ‘The Queen of the Cotswolds’ and this view shows some of the famous ninety-nine yew trees in the churchyard. Lent by Newman Fine Art

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Treasures of Gloucestershire

Surveying and Clearing the Site for the New Abbey

Quarrying the Stone – The Builders

The Construction of Prinknash by William Heath Robinson (1872-1944) Surveying and Clearing the Site for the New Abbey Quarrying the Stone – The Builders Putting the Finishing Touches to the Roof at Prinknash Priory Three watercolour drawings, circa 1932 The Benedictine Community moved to Prinknash Park in 1928, they included Dom Basil Heath Robinson, son of the well known artist. In ‘Mending the Roofs’, his father depicts him leaning out of one of the upper windows. Dom Basil was one of the founders of the Prinknash Pottery as well as being a gifted stone carver. Lent by Prinknash Abbey

Putting the Finishing Touches to the Roof at Prinknash Priory

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Treasures of Gloucestershire

Walnut Bible Box Finely carved with the Royal Arms of Elizabeth I and dated 1589 Commemorating the 30 years since her Coronation at Westminster Abbey on January 15th 1559 This walnut box is beautifully carved with strapwork and scrollwork typical of 16th Century England, yet the dancing figures at the front show the influence of the late Renaissance “mannerist” style rarely seen in English furniture of this date. Lent by Sudeley Castle

Two Prospects of Berkeley attributed to Wouter Knijff (c.1607-c.1693) Oil on canvas Berkeley was a motte and bailey castle, constructed by the Earl of Hereford in 1070. Robert Fitzhardinge added a keep in the 12th Century which still survives. Queen Elizabeth I visited in 1572 but the often ruinous alterations made for her visits to other houses were not made at Berkeley; perhaps they did not want to encourage another visit. During the Civil War, the castle was captured by Parliamentarian forces and a breach made in the keep wall to prevent Berkeley becoming a fortified castle in the future. Surprisingly few alterations were made during the 17th, 18th and 19th Centuries. The 8th Earl added much architectural decoration in the 1920s. He was keen to create at Berkeley a perfect medieval image and much of the outer decoration one sees today was made at his instigation. The Prayer Book of King Edward VII illustrated by C R Ashbee (1863-1942) printed at the Essex House Press, 1903

Lent by Berkeley Castle

Charles Robert Ashbee set up the Essex House Press in 1898. It was one of a small number of private printing presses established in the latter part of the 19th century as a reaction against the mass-produced works that had been developed in the Victorian era. This was a major project for Ashbee and the Press, a special edition of The Book of Common Prayer produced as a tribute to the new monarch. He designed a new type for the project which he named Prayer Book. Lent by Court Barn Museum

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Treasures of Gloucestershire

Licence of Alienation, 1545 Ink on parchment with the seal of Henry VIII This document confirms the release from Crown property of the land on which Whittington Court, near Cheltenham, could be built by Richard Cotton of Carmarthenshire. The reverse of the seal shows Henry VIII on horseback, accompanied by a hound. Private Collection

Two 17th Century Leather Bombards The first with deep silver border engraved ‘Oliver Cromwell 1653, the Lord Protector of England, Scotland and Ireland’ and set with the Arms of the Commonwealth. (see ‘Black Jack & Leather Bottells’ by Oliver Baker, page 119, plate 21). The second of plain form cut with a Crown, initialled C.R. and dated 1646. Strangely the Commonwealth bombard is much more elaborate that the Charles I bombard. Lent by Sudeley Castle

Prospect of Sudeley Castle by William Tomkins (1732-1792) Oil on canvas Built by Ralph Boteler in 1442, Sudeley became one of the grandest and most important houses in Gloucestershire by 1500. It has Royal connections spanning centuries. In 1547 the decaying castle was given by Edward VI to his uncle Thomas Seymour. Seymour had secretly married Katherine Parr, the last of Henry VIII’s six wives and in 1548 they moved to Sudeley where she died and was buried. The Castle passed into the hands of Katherine’s brother, The Marquis of Northampton and later to Lord Chandos. The 2nd Lord Chandos extensively remodelled the Castle and much of what can be seen today dates from that period. The Civil War of 1642-1651 saw Sudeley change hands three times and suffer extensive damage; after the Restoration it became a tenanted farmhouse. Sudeley’s fortunes increased in the late 18th Century when it became a popular destination for tourists of the picturesque (including George III). In 1830 the dilapidated Castle was seen by the industrialist John William Dent who over a twenty year period restored the Castle to its present state. Lent by Sudeley Castle

A 17th Century Mortuary Sword With leaf pommel, the basket hilt embossed six masks This form of sword became popular after the execution of King Charles I in 1649. The face or death mask of the martyred king appears on the hilt, hence the name mortuary swords. By repute, this sword belonged to Sir John Denham the poet, courtier and keeper of the King’s works before Sir Christopher Wren. Sir John married into a Gloucestershire family and the sword has been passed down through that line. Private Collection

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Plaster Head of Charles I after Gian Lorenzo Bernini (1598-1680) Bernini was commissioned by Pope Urban VII to make a marble bust of Charles I; he used as his model the famous ‘Triple Portrait’ of Charles I by Sir Anthony van Dyck. The bust was lost in the Whitehall Palace fire of 1698 so this cast is the only record of Bernini’s sculpture. Lent by Berkeley Castle

The Ashbrook Coin Hoard

Royal Coat of Arms, 1713

In November 1935 Mr Albert Vincent found an earthenware jar in a small stone lined pit in the farmyard of Manor Farm, Ampney St Mary (Ashbrook is the old name for Ampney St. Mary). The jar contained almost 350 silver coins from the reigns of English monarchs from Edward IV to Charles I. It is thought that the hoard was hidden around 1646.

This Royal Coat of Arms was made by Mary Smith in coloured and gilded rolled paper. Making pictures from rolled paperwork was a fashionable pastime for ladies in the 18th Century.

The hoard was declared Treasure Trove by a coroner’s inquest; twenty-two coins were acquired by the British Museum and sixteen by Stroud Museum, the rest were returned to the finder. A local benefactor subsequently bought fifty-one coins and gave them to the Corinium Museum in Cirencester. The rest of the coins have been dispersed and cannot now be traced.

Lent by Cheltenham Art Gallery & Museum

This item was given to Cheltenham Art Gallery & Museum by the well-known antique dealer Bertie Isher.

Lent by The Museum in the Park, Stroud

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Treasures of Gloucestershire

Mirror of Venetian Design by David Linley (born 1961) Wood and glass, dated 26 June 1994

Royal Silhouette Vase, commemorating HM The Queen’s Silver Jubilee 1977 Porcelain, limited edition 142 of 500 produced

David Albert Charles Armstrong-Jones, Viscount Linley, is the nephew of Queen Elizabeth II. He acquired a love of art and crafts while at Bedales school and went on to Parnham College “School of Craftsmen in Wood” where he honed his skills under the tutelage of John Makepeace. He subsequently established a furniture making company specialising in top quality inlaid furniture and objects.

Designed by Judy Cousins for Kaiser Porcelain, this unusual porcelain vase cleverly depicts the Queen and Prince Philip in profile, not in relief, but in inverse view. Viewed against a dark background, the profiles facing each other become even more apparent. The vase bears the Royal Coat of Arms to one side and Prince Philip’s personal Coat of Arms to the other.

Private Collection

Private Collection

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Treasures of Gloucestershire

“The Waterloo Coat” This coat belonged to George Simon Harcourt Ainslie who, with the 2nd Battalion 69th Regiment, fought at the Battle of Waterloo on 18th June 1815. After returning to England, he dropped the surname Ainslie and settled in Cheltenham. The committee which founded Cheltenham College, with the aim of educating the sons of gentlemen, first met at Harcourt’s house. Lent by Cheltenham College Archives

Lady’s Dress for Presentation at Court, circa 1880 Satin dresses of this type were worn for presentation at Court when a young woman of marriageable age and from a family of rank was presented to the sovereign. Lent by Cheltenham Art Gallery & Museum

Portrait Miniatures depicting the two main Founders of Cheltenham College George Simon Harcourt was the first secretary of Cheltenham College. This portrait was painted by Captain Arthur Jocelyn, CVO, Old Cheltonian (1881-1959) James Shrubb Iredell sat on the founding committee and became College’s first Registrar and Director. This portrait was painted by a Cheltenham artist, J Thomas, circa 1845. Lent by Cheltenham College Archives

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Image Š Chapter of Gloucester Cathedral

The Iredell Cup A silver-gilt vase of Classical design, engraved with the Iredell coat-of-arms and a view of Cheltenham College Made by Martin & Co, Cheltenham, circa 1861-2

The Carne Cross carved by Lt. Col. J.P. Carne, V.C., D.S.O. while in captivity Stone carving

This cup was commissioned and presented to James Shrubb Iredell on November 26th 1862 in appreciation of 22 years’ service as a founder and registrar of Cheltenham College. Founded in the 19th Century, the Cheltenham based jewellers Martin & Co are perhaps best known for supplying the Cheltenham Gold Cup each year.

At the battle of Imjin River during the Korean War, Lt. Col. Carne commanded 1st Battalion The Gloucestershire Regiment and was awarded a Victoria Cross for his gallantry in the face of the enemy. Despite their dogged resistance against overwhelming odds, many of the battalion were captured and held in captivity where they endured dire conditions. Colonel Carne carved this cross using a nail; the cross was then used during worship in the prisoner-of-war camp between 1951 and 1953. It was presented to the Cathedral in 1953, where it is now on permanent display.

Lent by Cheltenham College Archives

Lent by Chapter of Gloucester Cathedral

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Colonel Elwes’ Foxhounds at Colesbourne by Lionel Dalhousie Robertson Edwards (1878-1966) Watercolour and bodycolour, dated 1934 Born in Bristol, Edwards studied at Frank Calderon’s School of Painting, Baker Street, London and was elected R.I. in 1959. He is considered by many to be the mid-20th Century’s best observer of horse racing and hunting. Private Collection Silver Figure of a Royal Gloucestershire Hussar Goldsmiths & Silversmiths Co. Ltd, London 1913 The Royal Gloucestershire Hussars have their origins in the late 18th Century and still exist today as part of the Royal Wessex Yeomanry. This presentation piece was made in the pre-Great War era when mounted Cavalry was still very much an active part of the British Army. Lent by Frampton Court Estate

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Treasures of Gloucestershire

Racehorses on the Gallops by Edward Seago (1910-1974) Oil on canvas

Portrait of the Racehorse ‘Boston’ by Francis Sartorius (1734-1804) Oil on canvas, dated 1776

A self taught artist, Seago had his first solo exhibition in London in 1929. After being invalided out of the army in 1944, he was invited by General Alexander to record the Italian campaigns. Colnaghi exhibited his work annually from 1946 with great success. He accompanied the Duke of Edinburgh on a world tour on board Britannia and many of his works are in the Royal Collection

Boston was owned by Captain Powell Snell (1737-1804) of Guiting Grange who was a great supporter of horseracing and owned some of the best horses in the West of England. In 1775, Boston won the Noblemen and Gentlemen’s Cup at Hereford and the Gentlemen’s Subscription Cup at Gloucester, one of which is possibly the cup shown in this painting of the horse with grooms in front of Guiting Grange.

Private Collection

Captain Snell founded the 1st (Cheltenham) Troop of the Gloucestershire Gentlemen and Yeomanry in 1795, the precursor of the Royal Gloucestershire Hussars Yeomanry. Private Collection

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Cheltenham Races, 19th Century English School Oil on canvas, 1826 This painting shows the Gloucestershire Stakes at Cheltenham in 1826, when summer flat racing was held at the top of Cleeve Hill on an area which forms a natural racetrack. It shows the horses Spectre, Shamrock, Elastic and Effie Deans. The Black Mare by William Simmonds (1876-1968) Black lacquered carved mahogany, 1935

The painting was given to the Art Gallery & Museum by Sir James Agg-Gardner, four times MP for Cheltenham, during his last term as MP in 1926

William Simmonds and his wife Eve moved to Far Oakridge near Cirencester in 1919. They had many friends in the area, including artists William Rothenstein, Alfred and Louise Powell and the poet John Drinkwater. They remained in the area for the rest of their lives. Trained as a fine artist, Simmonds took up wood-carving shortly before the First World War. Working in the Cotswolds, he watched and drew wild and domestic animals in their natural habitat.

Lent by Cheltenham Art Gallery & Museum

In a series of letters to the family of the present owner, William Simmonds wrote ‘..I consider The Black Mare to be perhaps my best work… My wife and I were very pleased to hear that the stout creature is so much loved and so well looked after.’ This sculpture is loaned from the Collection of the late George Eumorfopoulos, a great Oriental scholar and collector. A large portion of his Oriental collection is now in the Victoria and Albert Museum, and his extensive library at the Courtauld Institute. Simmonds’ horse may have appealed to him because of its black lacquer finish and the pose of the horse, which have direct connections with the Chinese and Japanese art. It also shows the connection between the Arts and Crafts movement, the Aesthetic movement and the Japanesque. Private Collection

The late Fred Archer in the colours of HRH the Prince of Wales, 1886 Coloured print Fred Archer (1857-1886) was one of the leading jockeys of the 19th Century. He was born in a small cottage off St George’s Place, Cheltenham and apprenticed in Newmarket. In 1874 he won 147 races, becoming champion jockey of England aged 17. This portrait was published by the Illustrated Sporting and Dramatic News at the time of Archer’s death, aged just 29. Lent by Cheltenham Art Gallery & Museum

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The Paddock, Cheltenham March Meeting by Lionel Dalhousie Robertson Edwards (1878-1966) Oil on canvas

The Outsider by PJ Crook (born 1945) Oil on canvas and wood, 1994

This painting shows the paddock before the new stands were built at the racecourse. Edwards painted Cheltenham Racecourse several times, possibly his most famous pictures being the historic encounters between Arkle and Mill House in the 1960s. This painting is very reminiscent of Sir Alfred Munnings’ picture of the saddling paddock at Cheltenham, 1950.

When depicting Cheltenham races, most artists concentrate on the racecourse and horses. In this painting, the punters are the focus while they in turn are captivated by the television in the corner of the bar. PJ Crook is a well-known artist and tireless in her support of local charities, she is also President of the Friends of Cheltenham Art Gallery & Museum.

Private Collection Lent by Professor Ken & Nancy Simmonds

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Ploughing Match at Northleach by John Miles of Northleach (1781-1849) Oil on canvas, 1831 John Miles is best known for his paintings of prize pigs and cows. This unusual painting shows a ploughing competition in great detail and is painted in Miles’ characteristic naïve style (he was probably a self-taught artist). This important new acquisition for Cheltenham Art Gallery & Museum is being shown here for the first time having been most generously given by Mr and Mrs Christopher Bibby earlier this year.

Treasures of Gloucestershire

The Royal Party during the visit of King George VI & Queen Elizabeth to the Royal Agricultural College, 1946 Photograph The RAC was founded in 1845 as a result of concerns that the government was not supporting education in this important field. The College received no government funding but instead relied on public subscriptions. Queen Victoria granted its charter in 1845 and the College has had Royal patrons ever since. King George VI and Queen Elizabeth visited to celebrate the centenary in 1946 and Queen Elizabeth II and the Duke of Edinburgh visited the RAC in 1996 to commemorate the College’s 150th Anniversary.

Lent by Cheltenham Art Gallery & Museum

Lent by The Royal Agricultural College, Cirencester

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Prospect of Rendcomb, 18th Century English School Oil on canvas, 1780 From medieval times, Rendcomb passed through the De La Mare, Tame, Stafford and Berkeley families, before being bought by Sir William Guise of Elmore in 1635. It is thought the old house was burnt to the ground in the late 17th Century and that Sir William Guise rebuilt the house, an image of which appears in Kip’s engraving for Atkyns’ Gloucestershire. A later Sir William Guise added a third storey to the house in the late 18th Century and the prospect of that house is shown here. Guise sold Rendcomb in 1864 to Sir Francis Goldsmid. His architect, P C Hardwick, demolished the old house and Thomas Cubitt built the present Italianate mansion at an impressive cost of £40,000. Rendcomb is now a private school. Lent by Elmore Court

Cotswold Sheep by Richard Whitford (circa 1821-1890) Oil on canvas, 1875 This is almost certainly by Evesham born Richard Whitford, who took up animal portraiture in the 1850s and who lived in Cheltenham from 1881 to 1885. The importance of the wool trade to the economy of Gloucestershire cannot be understated. From the middle ages, the Cotswolds were known throughout Europe as the source of the best wool. Native Cotswold lion sheep were reared in huge numbers and merchants grew prosperous and incredibly wealthy. Many fine houses and churches in the county, such as Winchcombe, Northleach and Tetbury were built by these merchants. At this time, it is estimated that 50% of the English economy was based on wool. In the 18th Century, cloth manufacturing was centered in the Stroud valleys with its endless supply of water power. In 1610 William Campden wrote ‘In these Woulds there feed in great numbers flockes of sheepe, long necked and square of bulke and bone. By reason of the wealling and hilly situation of their pasture, whose wool being so fine and soft it is held in passing great account among all nations’ . Lent by Cheltenham Art Gallery & Museum

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Ceremonial oak wheelbarrow, circa 1875 This oak wheelbarrow is likely to have been used, with a ceremonial spade, at the cutting of the first sod of a railway. After its ceremonial purpose was over, it would have been given to the dignitary involved as a memento. These objects can often be found in libraries where they were kept as decorative curiosities. The crest, a lion erased, is that of the Yorke family. Threshing near Stroud by John Nash (1893-1977) Oil on canvas, 1915 Exhibited at the Royal Academy 1967, no. 78 and at Worthing Art Gallery 1971, no. 3

Lent by Mr John Yorke

A self-taught London artist, John Nash was encouraged by his older brother the artist Paul. He served with the Artists Rifles in World War I and became an official war artist in 1918. He again served as an official war artist from 1940-1944. This painting, dating from 1915 just before he went to war, shows the changing face of agriculture in the 20th Century. Private Collection

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Treasures of Gloucestershire

View in Gloucester from Old Barton Gates, 19th Century English School Oil on board, circa 1810 Barton Street was well known for its medieval fair, held outside the city boundary to avoid interference from the authorities. By the time of this painting the farms and mills were being demolished to make way for smart new townhouses. Many people remember having to wait at the level crossing gates here while trains arrived at and departed from Gloucester Eastgate Station; the Midland railway main line that was built across Barton Street in the 1840s survived until the 1970s. Private Collection Cheese Rolling on Cooper’s Hill by Charles March Gere (1869-1957) Oil on canvas, 1948

Portrait of Jemmy Wood (1756-1836), 19th Century English School Oil on copper, circa 1800

The origins of cheese rolling at Cooper’s Hill are not known but it certainly formed part of Cooper’s Hill Wake in the early 1800s. At that time the event also included events such as shin-kicking and dancing for ribbons. Now a world famous event, the Double Gloucester cheese used is still made by the traditional method in nearby Churcham. Lent by Gloucester City Museum

Jemmy Wood was a banker who accumulated such wealth that he became known as the ‘Gloucester Miser’. He was reputed to wear the same clothes for years on end and to walk everywhere rather than pay for a carriage. Whether these stories are true is unknown however his wealth was certainly immense. Lent by Gloucester City Museum

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Treasures of Gloucestershire

Autumn Calf, 1952 by William Simmonds (1876-1968) Painted oak with ebony inlay, on an ash base

Three Botanical Studies from the ‘Frampton Flora’ Watercolours, circa 1846 The Frampton Flora is a collection of Victorian watercolours painted by a group of female relatives. The sisters Elizabeth, Charlotte, Catherine and Mary Anne Clifford and their aunts Charlotte Anne, Catherine Elizabeth and Rosamond created a portfolio of over 300 meticulously observed botanical watercolours. Between 1828 and 1851, the ladies made their drawings in Frampton on Severn and the surrounding area. The watercolours were finished at home and captioned in ink with the plant’s Linnaean family as well as their common names. Most are dated and some record the subject or the artist.

William Simmonds and his wife Eve moved to Far Oakridge near Cirencester in 1919. They had many friends in the area, including artists William Rothenstein, Alfred and Louise Powell and the poet John Drinkwater. They remained in the area for the rest of their lives. Trained as a fine artist, Simmonds took up wood-carving shortly before the First World War. Working in the Cotswolds, he watched and drew wild and domestic animals in their natural habitat. This Autumn-born calf is typical of his work, the base was probably made by the cabinetmaker, Fred Gardiner. Purchased with the Friends of Cheltenham Art Gallery & Museum Fund Lent by Cheltenham Art Gallery & Museum

Lent by Frampton Court Estate

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Horn believed to be from Blossom the Cow The silver mount with inscription Blossom has a lasting place in the history of medicine. When Dr Edward Jenner inoculated 8 year old James Phipps to test his theories, he did so using pus from the hands of Sarah Nelmes who had caught cow-pox from Blossom. Vaccination takes its name from the Latin ‘vacca’ meaning cow, in this way Blossom’s part in the eradication of smallpox has been honoured. Lent by Dr Jenner’s House (formerly The Edward Jenner Museum)

Portrait of Dr Edward Jenner by Daniel Gardner (1750-1805) Oil on canvas Edward Anthony Jenner (1749-1823), a physician and scientist from Berkeley, Gloucestershire, is considered the father of immunology. Thanks to his work in developing the smallpox vaccine it is thought that he saved more lives than any other man; the last case of naturally occurring smallpox was in 1977 and eradication was declared by the World Health Organization in 1980. In this portrait, Jenner is seated at his desk beside a window through which Blossom the cow can be seen in the pasture beyond. Lent by Berkeley Castle

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Treasures of Gloucestershire

Parliamentary Dispatch Box, circa 1880 By Wickwar of Poland Street, London lined in brown morocco leather, stamped “J R Yorke Esq. MP” Yorke had a long Parliamentary career, firstly as MP for Tewkesbury 1864-1868 then for East Gloucestershire 1872-1885 and again for Tewkesbury 1885-1886

Prospect of Highnam Court, 18th Century English School Oil on canvas, circa 1780

Lent by Mr John Yorke

Built in 1658 for Sir William Cooke, MP and Sheriff of Gloucester, his descendants lived there until 1747 when the house came into the Guise family. John Guise inherited half the estate in 1750 and bought the remainder in 1769. This prospect shows an artisan mannerist house of the first importance. Sir John Berkeley Guise inherited the estates of Elmore, Rendcomb, Highnam and Brockworth in 1834. The finances of the estate were in such disarray that all but Elmore were sold. Thomas Gambier Parry bought Highnam and made many alterations using, amongst others, Lewis Vulliamy as his architect.

The Artist with J R Yorke by William Orpen (18781931) Pen and ink cartoon dated 1905 This amusing cartoon shows J R Yorke looking incredulously at a drawing of himself by Orpen while the artist looks on. This was drawn by Orpen when he visited Forthampton in order to paint a portrait of Yorke’s wife. Orpen enrolled at the Slade School of Fine Art in 1897 where his contemporaries included Augustus John and Wyndham Lewis. On leaving, he hoped to become a caricaturist but after several of his cartoons were rejected by Punch he gave up that ambition. Despite this setback, he went on to become one of the most popular portrait artists of his time. Lent by Mr John Yorke

Lent by Elmore Court

Curlywig Lampoony Esq. by Thomas Gambier Parry (1816-1888) Charcoal on paper, 1867 Thomas Gambier Parry was an artist and collector who studied the technique of the Italian fresco painters before developing his own method. He undertook large mural projects at Gloucester Cathedral and Highnam parish church, as well as Ely Cathedral in Cambridgeshire. This cartoon was a sketch for part of the fresco in St Andrew’s Chapel in Gloucester Cathedral. Later in life he became something of a philanthropist, founding a children’s hospital, orphanage, and college of science and art at Gloucester. Private Collection

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Treasures of Gloucestershire

Portrait of Gustav Holst (1874-1934) by William Rothenstein (1872-1945) Pencil on paper, signed and dated W. R. 1921

Portrait of Charles Hubert Parry (1848-1918), 19th Century English School Pencil on paper, inscribed by Thomas Gambier Parry Charles Hubert Hastings Parry was born at Highnam Court, Gloucestershire and became a composer, teacher and historian of music. His most famous compositions include the choral song ‘Jerusalem’, the Coronation anthem ‘I was glad’ and the hymn tune ‘Repton’, which accompanies the words Dear Lord and Father of Mankind. He was Director of the Royal College of Music from 1895 as well as Professor of Music at the University of Oxford from 1900 to 1908, and was knighted for his services to music in 1898. Private Collection

The von Holst family moved from Riga to England in the early 19th Century. The family was much involved in the local musical scene of the time; Holst’s grandfather composed music for the harp and his father was organist and choirmaster at All Saints, Pittville. Holst dropped the ‘von’ from his name in 1916 in order to sound less Germanic; his poor health meant he was unable to enlist at the outset of war. Influenced by Ralph Vaughan-Williams, Maurice Ravel and English folk music he is most famous for his composition of The Planets. When this drawing was purchased in a sale, it was framed and mounted, however on the removal of the picture from the frame, a further portrait was revealed, almost certainly Holst’s wife Isobel (née Harrison). This is one of the most important drawings of Holst during his lifetime, and the discovery of the additional portrait of his wife on the same sheet adds to its significance. Purchased by the Holst Birthplace Museum in 2009 with support from the MLA/V&A Purchase Grant Fund, The Art Fund, the Trafford Memorial Fund, and an anonymous donation. Lent by the Holst Birthplace Museum

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Treasures of Gloucestershire

Mallards Coming in from the South by Sir Peter Markham Scott (1909-1989) Oil on canvas, dated 1979

Portrait of Thomas Barwick Lloyd Baker (1807-1886) by Edmund Hardy (1807-1886) Oil on canvas, dated 1825 Lloyd-Baker was an educationalist and social reformer who lived at Hardwicke Court, Gloucestershire. He was a founder of the Social Science Congress and in 1852 established the Hardwicke Reform School, the first reformatory in England. He firmly believed that children sent to jail would simply go from bad to worse and that other methods of reform were required. A keen ornithologist, he wrote ‘An Ornithological Index Arranged According to the Synopsis Avium, of Mr Vigors’ (1835) and was a founder member and first President of the Cotteswold Naturalists’ Field Club.

Peter Scott was born in London to the famous explorer Robert Falcon Scott and the sculptor Kathleen Bruce. Not only an accomplished artist, he was also a keen sportsman winning a bronze medal for sailing at the 1936 Berlin Olympics. He later served in the Navy during World War II and was awarded the D.S.O. Among his varied achievements he will perhaps be best remembered for his conservation work. He founded the Wildfowl and Wetlands Trust in 1946 at Slimbridge in Gloucestershire and was a co-founder of the World Wildlife Fund in 1961. He has been called the ‘father of conservation’ by some and his work continues at Slimbridge to this day. Private Collection

Private Collection

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Treasures of Gloucestershire

Discovery in Winter Quarters by Edward Adrian Wilson (1872-1912) Watercolour, dated 13 Sep 1902 The Discovery left Dundee in 1901 and reached the Antarctic in early 1902 where she was anchored at the southern limit of McMurdo Sound, named Winter Quarters Bay. This view of Discovery was painted just before the attempt by Wilson, Scott and Shackleton to reach the Pole. Discovery remaining icebound until early 1904.

Photograph of the South Polar party at the South Pole, 18 January 1912 Photographer: Petty Officer Edgar Evans (pulling the string) Shown left to right: Dr Edward Wilson, Petty Officer Edgar Evans, Captain Lawrence Oates, Captain Robert F. Scott, and Lieutenant Henry Bowers.

Lent by Cheltenham College Archives

About ten photographs were organized by Bowers; the film was found at the last camp and developed later. Lent by Cheltenham Art Gallery & Museum

Dr Edward Wilson’s mug, beaker and plate, 1900 Aluminium These basic utensils were used by the explorer on sledging expeditions during the British Antarctic Expedition, more commonly called ‘The Discovery Expedition’, 1901-1904. The mug fits over the beaker, and the handles fold inwards against the body of the vessel for ease of carrying. Both have Dr Wilson’s initials ‘E.W.’ scratched into the base. Ross Great Ice Barrier and A Berg off it by Edward Adrian Wilson (1872-1912) Watercolour, dated 25 Jan 1902

These items were given to Cheltenham Art Gallery & Museum by Dr Wilson’s widow, Oriana.

Lent by Cheltenham College Archives

Lent by Cheltenham Art Gallery & Museum

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Treasures of Gloucestershire

Photographs of the Antarctic, 1910–1911 Photographer: Herbert Ponting Ponting was the first official expedition photographer, and his images have become synonymous with the Antarctic. Shown here: Dr Wilson & Lieutenant Pennell salting seal skins, 27 December 1910 The first warm sunny day (-15f ) Hut & Erebus, 17 September 1911 The pressure ridges of the ice crack from the Barne Glacier to Inaccessible, looking to Cape Royds (Capt. Scott), 8 October 1911 Photographs of the Antarctic, 1911 Photographer: Herbert Ponting

Lent by Cheltenham Art Gallery & Museum

Huge ice bastions of the Castle Berg, 17 September 1911 An Adelie penguin about to turn eggs, November 1911 Lent by Cheltenham Art Gallery & Museum

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Treasures of Gloucestershire

The Severn Bore by Charles March Gere (1869-1957) Oil on canvas

The Great Flood, Gloucester 1947 by James Walker Tucker (1898-1972) Oil on canvas

The Severn Estuary has the second highest tidal range of any river in the world. This natural phenomenon occurs when high tides meet the downward flow of the river.

The floods of 1947 were caused by heavy snowfall followed by a quick thaw. Much of the country was affected but Gloucester was particularly hard hit, to the extent that relief work in the city was aided by the Australian Red Cross

Lent by Gloucester City Museum Lent by Gloucester City Museum

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Treasures of Gloucestershire

Design for a Lawnmower Ink and colour wash ¼ scale drawing On 31st August 1830 Edwin Beard Budding (1796-1846) was granted a patent for a machine for ‘the purpose of cropping or shearing the vegetable surface of Lawns, Grass plats and Pleasure grounds’. This was the world’s first lawnmower. This drawing and a technical specification were submitted to the High Council of Chancery on 25th October 1830 to substantiate his patent. Budding got his inspiration for the lawn mower from the helical blades of the cross cutting machines used in the Stroud woollen mills to trim the nap of the cloth. Lent by The Museum in the Park, Stroud

Budding type adjustable spanner Lantern clock by William Holloway William Holloway was born in Wiltshire sometime in the 1630s. He moved to Gloucestershire in 1658. A memorial in the churchyard at Stroud gives the date of his death as 16th March 1693. This lantern clock, dated 1674, is one of four by this maker in The Museum in the Park. Lent by The Museum in the Park, Stroud

The lawnmower was not Budding’s only invention. In 1843 he registered his design for an adjustable spanner. Like earlier designs it had one fixed and one moveable jaw. Budding’s innovation was to replace the steel wedge of the earlier models, which had to be hammered into place, with a screw threaded adjuster which, when turned, moved the jaw up or down the shaft. It enabled rapid and accurate adjustments to fit a wide range of nuts & bolts. Lent by The Museum in the Park, Stroud

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Treasures of Gloucestershire

Motorcycle and sidecar by Baughan Motors In 1921 Harry Baughan (1895-1968) founded Baughan Motors in Stroud. He began by building light cars, but soon turned to motor cycles. This machine was built at Piccadilly Mill, Lower Street, Stroud in 1929. It has a 500cc overhead valve Blackburne engine, which drives both the rear and sidecar wheels. This unusual design gave excellent grip on soft ground. Ridden by Bill Hayward, Baughan Motors Works Manager, with Marjorie Grant Heelas in the sidecar, it won many trials between 1929 and 1946. It was so successful that it was banned from many competitions. The photograph at the top of the facing page shows the motorcycle in competition for the 1946 Cotswold Cup, just past the Weighbridge Inn near Nailsworth. The spectator with a cine camera on the right of the photograph is Harry Baughan, founder of the company. This was the last competitive event in which this motorcycle took part and it won its class, despite carrying a 50% penalty due to the sidecar wheel drive. On loan from the British Motorcycle Charitable Trust Lent by The Museum in the Park, Stroud

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Treasures of Gloucestershire

Work table by Ernest Gimson (1864-1919) Gimson and the Barnsleys sought to escape the city and create a community in which they could revive the arts. In 1893 they moved to Gloucestershire and in doing so planted the first seeds of the Cotswold Arts & Crafts movement. This work table belonged to Gimson and shows the typical ‘hayrake’ stretcher and wishbone tension braces, forms he borrowed from local agricultural equipment. Lent by Sir Nicholas & Lady Mander

Oakridge Craftsmen by Sir William Rothenstein (1872-1945) Oil on canvas William Rothenstein was a Renaissance man, important as a teacher, art historian and writer as well as an artist. He lived at Far Oakridge from 1912-1919 and again in the 1930s. This painting shows all those involved in work on his house in the village, from left to right: Harry Davoll, cabinet maker, Harry Gardiner, builder, his brother Fred, cabinet maker, Alfred Bucknell, blacksmith and Tom Hunt, cabinet maker. Lent by Cheltenham Art Gallery & Museum

Candlestick designed by Ernest Gimson (1864-1919) Ebony base with macassar ebony shaft and arms inlaid with bone, with brass sockets.

Chest of drawers by Edward Barnsley (1900-1987) Constructed in flame figured walnut and with coromandel drawer pulls and raised panels to the sides. This piece is believed to have been made by Edward Barnsley when aged just 16. His father reputedly criticised him for being over-cautious with the drawers, making them too loose.

Gimson’s Daneway workshop carried out a number of commissions for inlaid pieces of this type, often for ecclesiastical settings. This piece, one of a pair, was intended for domestic use, and remained in the Gimson family. It was lent by Humphrey Gimson, Ernest Gimson’s nephew, to the 1951 Exhibition of Cotswold Craftsmanship at the Montpellier Rotunda, Cheltenham. Lent by Cheltenham Art Gallery & Museum (from the collection of Anne Locke Gimson)

Lent by Rodmarton Manor

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Treasures of Gloucestershire

Punchbowl painted by Alfred Powell (1865-1960) The earthenware pot made by Josiah Wedgwood & Sons. Double portrait of Christian William and Anthony Cocks Lawrence, circa 1850 Oil on board, elaborately framed The Lawrence family owned several Gloucestershire estates in the 19th Century, including Whittington Court and Sevenhampton Manor. Private Collection

Alfred Powell and his wife Louise worked with Wedgwood throughout their careers, decorating pottery with hand-painted designs. They revitalised hand-painting, and trained many young ceramic painters. Based in Tunley, near Cirencester, they were part of the artistic community that began with the arrival of Gimson and the Barnsleys in 1892. This large punch bowl depicts three houses, and is a celebration of the Cotswold landscape and architecture. Two of the houses were local to Powell: Daneway House had been Ernest Gimson’s showroom and in the 1920s it was leased to a friend of the Powells, the Arts and Crafts printer Emery Walker; Rookwoods Farm is a 17th Century manor house near to Tunley. The third house depicted is Owlpen Manor, near Uley, which was bought and restored by Norman Jewson in 1925. This item was purchased with 50% Government grant-in-aid administered by the V&A

Flight Barr & Barr soup tureen, cover and stand Painted porcelain highlighted in gilt, circa 1823

Lent by Cheltenham Art Gallery & Museum

This tureen bears the crest, coat-of-arms and motto of the Lawrence family. Private Collection

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Treasures of Gloucestershire

Cabinet of Drawers designed by Ernest Gimson (1864-1919) Veneered in ebony with marquetry inlays of ebony, walnut, and holly and with polished steel hinges. The door linings are veneered in mahogany and the drawers have whitebeam fronts and silver handles. Made at the Daneway workshop, circa 1907 In 1892, the young Ernest Gimson decided to move to the country in search of the simple life with fellow architects Sidney and Ernest Barnsley. Living first in cottages on the Pinbury estate near Cirencester, and then at Sapperton, he set up a furniture workshop and designed handcrafted furniture, metal and plasterwork until his death in 1919. The Cotswold style he and the Barnsleys created was hugely influential in 20th Century furniture design in Britain. This piece was made by Ernest Smith, one of Gimson’s cabinet makers, who recalled that Gimson would not let him sand the veneers level. When Smith asked why, Gimson explained that he had once seen an old floor partially repaired until it was level; the planed section looked dull while the untouched areas were worn and had a rich patina. This observation led Gimson to leave some uneven surfaces in order to catch the light.

Table designed by Sidney Barnsley (1865-1926) Made by Alfred Wright at Rodmarton Workshops This oak table has a hayrake stretcher lying flat against the floor, the sturdy hexagonal legs are decorated with simple chip carving. Strongly influenced by vernacular woodworking traditions in its design and construction, it was made to a Sidney Barnsley design in the 1920s. Lent by Rodmarton Manor

Lent by Cheltenham Art Gallery & Museum

Child’s Chair by Norman Jewson (1884-1975) Carved and painted wood, dated 1916 While he is best known for his work as an architect Norman Jewson was hands-on in his approach and became a skilled craftsman particularly in plasterwork and woodcarving. This child’s chair has humorous carved characters from village life acting as splats.

Set of painted wood alphabet blocks, circa 1914 Designed by C R Ashbee and carved by Alec Miller (1879-1961)

Private Collection

Lent by Court Barn Museum from the Ashbee Family Collection

Alec Miller trained as a woodcarver in Glasgow and joined the Guild of Handicraft when it moved to Chipping Campden in 1902. When the Guild disbanded in 1908, Miller stayed for another 30 years, working initially as a carver and later as sculptor. These bricks were made for Mary, the Ashbees’ eldest child.

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Treasures of Gloucestershire

Library desk by C R Ashbee, Guild of Handicraft, Chipping Campden, late 19th Century Ebonised oak with embossed brass fittings, carved with the motto Inter Folia Fructus

Quinti Horati Flacci: Carmina Sapphica, Printed by Ashendene Press, 1923 Leather bound miniature volume The Ashendene Press was founded by Charles St John Hornby (1867-1946) in 1895 as a hobby. It became a leading private press, alongside Kelmscott and Doves, until it closed in 1935. St John Hornby was not only a friend of Arts & Crafts luminaries such as William Morris, Norman Jewson, Ernest Gimson, Alfred Powell and Ernest Barnsley, he was also a renowned collector of their work. This volume, a marvellous specimen of miniature publishing, is one of only a few printed, one of which was presented to Queen Mary for inclusion in the Dolls’ House Library. Queen Mary’s Dolls’ House was completed in 1924, the original concept came from the Queen’s cousin, Princess Marie Louise, who discussed the idea with Sir Edward Lutyens at the Royal Academy Summer Exhibition of 1921. Sir Edward designed and constructed the dolls’ house while Princess Marie Louise used her connections in the art world to arrange contributions. The result was a showcase of miniature art and modern goods of the period, even the miniature bottles were filled with the appropriate wines and spirits. It was stipulated that contributions should be on a scale of “one inch to the foot”, identical to those of Lilliput in Swift’s “Gulliver’s Travels”.

Designed by C R Ashbee for a noble family shortly after the Guild of Handicrafts moved from London to Chipping Campden. Ashbee along with other luminaries of the Arts and Crafts movement was determined to preserve craftsmanship of the highest order. The metalwork and the carving on this desk show many of the traits of the Guild. There are influences here of the Japanesque style which was sweeping the West as trade with Japan recommenced after 200 years of self imposed isolation. Private Collection (Detail)

Private Collection

Decorative Panel designed by C R Ashbee (1863-1942) Made by the Guild of Handicraft, 1892 Embossed, coloured, and gilded leather The Guild of Handicraft was founded in London in 1888. In 1902, C R Ashbee and many Guild members moved to Chipping Campden, called ‘City of the Sun’ by Ashbee. The Guild sought to ‘seek not only to set a higher standard of craftsmanship, but at the same time, and in so doing, to protect the status of the craftsman.’ The Guild stayed in Chipping Campden until it folded in 1908, but many of the craftsmen and women stayed on in the town, creating an enduring artistic community. This panel predates the Guild’s arrival in Gloucestershire, and is part of a 20 panel frieze made for the sitting room of a house in Herefordshire. It is the Guild’s earliest known scheme of leather-work. The panel probably depicts pomegranates, and the floating circles in a sinuous pattern are reminiscent of the Continental Art Nouveau style.

Tennis Racquet Stand designed and made by Alfred Wright at Rodmarton Workshops This interesting oak piece was made by the Rodmarton Estate carpenter in about 1925

Purchased with the assistance of 50% Government Grant-in-Aid administered by the V&A.

Lent by Rodmarton Manor

Lent by Cheltenham Art Gallery & Museum

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Silver backed hand mirror by George Hart, Guild of Handicraft Unmarked, circa 1900-1910 design and manufacture The back of this mirror is decorated with intricate peacock design and was given by Hart as a present to his wife on their wedding day. Together with drawing for the hand mirror, George Hart No. 24 Lent by Hart Gold and Silversmiths Silver mounted glass decanter by Julian Alexander Hart, 2004 Made to a design by R C Ashbee One of the silversmiths in Ashbee’s Guild of Handicraft was George Hart who from 1912 took on the running of the workshop, joined by his son Henry in 1930. The tradition is carried on within the family by his son David who now runs the business with his son William, nephew Julian and Derek Elliott who served his apprenticeship with David. Lent by Hart Gold and Silversmiths

Design book by C R Ashbee, published in 1908 This book illustrated his many and varied designs, which have continued to inspire the work of later silversmiths. Lent by Hart Gold and Silversmiths

Silver muďŹƒn dish by George Hart, 1903/4 This classic circular dish and cover was made to a design by C R Ashbee Lent by Hart Gold and Silversmiths

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Treasures of Gloucestershire

Three fabric samples by Phyllis Barron (1890-1964) and Dorothy Larcher (1882-1952) Printed linen, circa 1920s-1930s

Day-Bed by Edward Barnsley (1900-1987) Made in oak and having octagonal legs and shaped terminals, the cart shaped back is heavily chamfered and with fielded back splats. A similar piece made for Rodmarton is illustrated in “Edward Barnsley Sixty Years of Furniture Design and Cabinet Making” (p. 27 EBET 1982) being designed by Sidney Barnsley but made at Edward Barnsley’s Froxfield workshop in 1925. Lent by Rodmarton Manor

Phyllis Barron and Dorothy Larcher established their reputation as hand-block printers of fabric in the 1920s. Their distinctive designs printed on good quality materials were new and individual. In 1930 they moved from London to Painswick to extend their workshop and to become part of the expanding groups of artists based in the area. These fabric samples were part of the collection of Barron and Larcher’s friends, Robin and Heather Tanner. The designs are Small Basket, Carnac and Winchester. Winchester was used for the choir stalls in Winchester Cathedral and the curtains in the Fellow’s Dining Room in Girton College, Cambridge. Purchased with the support of the V&A Purchase Grant Fund and the Friends of Cheltenham Art Gallery & Museum Lent by Cheltenham Art Gallery & Museum

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Treasures of Gloucestershire

Marriage Bed designed by Gordon Russell (1892-1980) Made by Edgar Turner at Russell & Sons, 1921 and carved by Will Hart Walnut frame with blue paint and gilding Gordon Russell was greatly influenced by Ernest Gimson and the Barnsleys’ furniture designs. He moved to Broadway, Worcestershire as a child and started repairing furniture for his father’s hotel, the Lygon Arms when he was only sixteen. His company, Gordon Russell Ltd, went on to be one of the most influential furniture companies of the 20th Century. Russell became the Director of the Council of Industrial Design in 1947, and was the first chairman of the Crafts Council. This bed was made as the marriage bed for Russell and his wife Toni on their marriage in 1921. Chipping Campden woodcarver Will Hart had been a member of the Guild of Handicraft with his brother George, the silversmith. The carving includes Gordon and Toni Russell’s initials and the date 1921. Lent by Cheltenham Art Gallery & Museum

Pair of brass standard lamps by Guild of Handicraft or the Birmingham Guild, circa 1900 We cannot attribute these lamps to a specific maker. They are from a house furnished with many works by the above Guilds. George Hart of Chipping Campden has no drawings or designs for these lamps. Private Collection

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A pair of three-light candlesticks designed and manufactured by W.A.S. Benson & Co Best electroplate and brass Writing desk by Sidney Barnsley (1865-1926) This fine walnut and ebony cabinet made in 1913 is one of Barnsley’s masterpieces. Based on an earlier form, the fall front secretaire cabinet of the William & Mary period, it has many distinctive features. Finished with holly stringing and with moulded octagonal panels of macassar ebony, the exposed dovetails form patterns. The stepped sledge feet are typical of the Gimson school, even the back is finished in raised panels within moulded frames.

William Arthur Smith Benson (1854-1934) was a designer and manufacturer of metalware, particularly of light fittings. He was a key part of the Arts and Crafts movement producing simply decorated and ingenious designs. His use of machinery set him apart in approach from those members of the Arts and Crafts movement who insisted on hand-work and old fashioned methods. Although his methods may not have strictly conformed to the ideals of his peers they did lead him to enormous commercial success. An active member of the Art Workers’ Guild, he also designed furniture and wallpapers for Morris & Co. Lent by Mr John Yorke

Lent by Sir Nicholas & Lady Mander

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Treasures of Gloucestershire

Four Etchings by Frederick Landseer Maur Griggs (1876-1938) Owlpen Manor, 1931 The Minster, 1918 Memory of Clavering, 1934 The Ford (Comstock 9), 1915 The cider press at Owlpen by Norman Jewson (1884-1975) Watercolour, dated 1927 Jewson worked on a huge number of Gloucestershire houses between the World Wars. The most important of these and the project for which he will be remembered is the repair of Owlpen Manor. He purchased the nearruin in 1926 before sensitively bringing it back to life using local craftsmen and materials to ensure that the texture and romance of the place was not lost.

Griggs moved to Chipping Campden in 1903. He became associated with many of the Arts & Crafts ďŹ gures including Norman Jewson with whom he set up the Campden Trust. He led the etching revival of the 1920s and 1930s, perhaps his best known work is the depiction of Owlpen Manor included in this group of four of his etchings. Private Collection

Lent by Sir Nicholas & Lady Mander

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Treasures of Gloucestershire

The headdress designed by Philip Treacy Cut gold ecclesiastical filigree lace

The shoes designed by Manolo Blahnik Gold over purple silk

Wedding Costume worn by Isabella Blow (1958-2007) The dress designed by Nadia di Valle of Spaghetti Silk velvet, embroidered with glass beads Isabella Blow (née Delves Broughton) married Detmar Blow, the lord of the manor of Painswick, at Gloucester Cathedral in 1989. The wedding had a medieval theme which can be seen in all the garments. The collar of the dress was inspired by the Crécy window in the Cathedral, and the dress by the powerful medieval queen, Eleanor of Aquitaine. The shoes were inspired by Diane de Poitiers, the mistress of Henry II of France, and the headdress by that worn by Diana Cooper in ‘The Miracle’. Isabella Blow was one of the most influential and eccentric characters in British fashion during the 1980s and 1990s. As a talent spotter and stylist, working for Tatler and Vogue, her best known discoveries were British fashion designers Alexander McQueen and Philip Treacy, as well as models Sophie Dahl and Stella Tennant. The Arts & Crafts house Hilles, near Stroud, which was the Blows’ Cotswold base, was built by Detmar’s grandfather, starting in 1913 but never completed. Always keen to support local culture in Gloucestershire, Isabella Blow gave her wedding outfit to Cheltenham Art Gallery & Museum in 1996.

Portrait of an Old Woman by Graham Brindley (born 1947) Oil on canvas This exhibition includes portraits of many important Gloucestershire figures, this painting by contrast represents an ordinary person. The old woman, painted by Cheltenham artist Graham Brindley, was a Cheltenham character who fed the pigeons on the Promenade. Lent by Cheltenham Art Gallery & Museum

Lent by Cheltenham Art Gallery & Museum

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Treasures of Gloucestershire

Minotaur with Acrobats by Sophie Ryder (born 1963) Copper wire sculpture, 1997 Sophie Ryder is a Gloucestershire based sculptor. This work created during a residency at Cheltenham Art Gallery & Museum is typical of her work. It uses anthropomorphic figures and her use of copper wire creates three dimensional ‘drawings’. Those who have walked along Cheltenham’s Promenade in recent years, can hardly fail to have noticed her 9ft high bronze sculpture, The Minotaur and the Hare, which was cast in Pangolin Studios, Chalford. Morning by Kit Williams (born 1946) Oil on board, dated 2001

Lent by Cheltenham Art Gallery & Museum

Kit Williams’ 1979 book ‘Masquerade’ led a generation of treasure hunters on a quest for a buried 18ct gold hare. Many were convinced the hare would be found at Haresfield Beacon but it was later discovered at Ampthill in Bedfordshire. Cheltenham’s Regent Arcade contains the Wishing Fish Clock by Williams; catching a bubble blown by the fish entitles you to make a wish. Private Collection

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Treasures of Gloucestershire

Orpheus Study 23 by Bridget Riley (born 1931) Gouache on paper, 1978

Touchstone by Antony Gormley (born 1950) Carved stone, circa 1982

Bridget Riley studied at Cheltenham Ladies College between 1946 and 1948 and is one of Britain’s leading artists. She came to prominence as an ‘Op’ artist in the 1960s.

Antony Mark David Gormley OBE RA is a British sculptor who achieved international recognition with his works Angel of the North in Gateshead and Another Place, a temporary installation on Crosby Beach near Liverpool. Gormley was awarded the Turner Prize in 1994.

The painting was given to Cheltenham Art Gallery & Museum by Cheltenham Ladies College in 1979. The contours of the artist’s hands are incised across the surface of the stone creating a visual pun. These handprints suggest a tool grasped in the artist’s hand, his touch giving it life, making of it a forceful but ambivalent talisman.

Lent by Cheltenham Art Gallery & Museum

Lent by Mr Hugo Mander

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Treasures of Gloucestershire

Sitting Couple on Bench by Lynn Chadwick (1914-2003) Fabricated bronze, 1990 Lynn Chadwick was one of the most important post-war sculptors of the 20th Century; his long career spanned more than 40 years. Known primarily for his figures and beasts, all of which had an abstract element, many of his couples have a triangular head for the female figure and a square head for the male figure. Sitting Couple on a Bench is made of sheet bronze and expresses the lines and tension common in his previous couple sculptures. Chadwick purchased Lypiatt Park near Stroud in 1959 and restored the building; it is now open to the public and houses a permanent display for his sculpture collection.

Willendorf Man by Anthony Abrahams Bronze sculpture, from an edition of 5 Anthony Abrahams lives and works in Gloucestershire. Having graduated from Cambridge with an Arts degree, he studied at the Anglo-French Art Centre in London. After a successful career in advertising he studied sculpture and soon developed his own distinctive language. Abrahams’ carefully poised, enigmatic figures follow a tradition in British sculpture that began in the 1950’s with sculptors such as Armitage, Butler, Chadwick, Frink and Meadows. The exaggeration of some features and the repression of others, unified by formal and textural qualities, give his sculpture a personal and expressive quality as if Prehistoric fertility symbols had been reborn in the contemporary world. His emblematic figures, caught in playful postures, remind us of ourselves and of those familiar to us. Abrahams’ work is in private collections in the UK, USA and Europe. His most recent major piece, ‘Ozymandias, King of Kings’ can be seen at King’s Place, London.

Lent by the Estate of Lynn Chadwick

Lent by Gallery Pangolin

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Treasures of Gloucestershire

Treasures of Gloucestershire

Village Life or Village Gossips by Stanley Spencer (1891-1959) Oil on canvas, 1940 Stanley Spencer spent nearly two years living in Leonard Stanley near Stroud where he stayed at the White Hart. He came with his artist friends George and Daphne Charlton and this painting encapsulates his experiences in the village. It shows on the left the pub landlord and his grandchild, together with the lady who took in the washing. Stanley himself appears on the right, alongside Daphne with whom he began an affair and his estranged wife Hilda. The group awaits the second coming of God. The painting was purchased by Cheltenham Art Gallery with a grant from the Contemporary Art Society and a gift from Sir George Dowty. Lent by Cheltenham Art Gallery & Museum

Lost or Strayed by Briton Rivière (1840-1920) Oil on canvas, 1905 Briton Rivière came to Cheltenham as a boy when his father became drawing master at Cheltenham College. Taught to paint by his father, he exhibited regularly at the Royal Academy where this painting was shown in 1905. Lost or Strayed was voted one of Cheltenham Art Gallery & Museum’s most popular paintings by the public in 2005. Lent by Cheltenham Art Gallery & Museum

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Treasures of Gloucestershire

The ‘Bird Fanciers’ by Giovanni Domenico Tiepolo (1727-1804) Pen and brown ink and wash over black chalk on paper

A Minuet Danced in a Ballroom by Giovanni Domenico Tiepolo (1727-1804) Pen and grey ink and wash on paper

Born in Venice to Giovanni Battista Tiepolo and his wife Maria (nee Guardi), Tiepolo became assistant to his father by the age of thirteen, working with him on famous commissions in Wurzburg and Madrid. He returned to Venice shortly after his fathers death in 1770 and his work gradually developed away from his fathers religious and mythological works to a more secular style. His wonderful drawings reflect the mores of life in Venice in the 18th Century.

As James Byam Shaw has pointed out in his corpus on Giandomenico’s drawings, “these sheets are finished pictorial compositions executed for his own amusement. These subjects, together with the Punchinello scenes (of which he produced over one hundred), are Giandomenico’s most original contributions to Venetian paintings of the period.” Private Collection

Private Collection

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Treasures of Gloucestershire

Glass Vase by Sam Herman Signed, dated 1989 and numbered 36 The Whittington Loving Cup, by Peter Dreiser (1936-2006) Etched glass, dated 1987 Examples of Dreiser’s work can be found in the Royal Collection, the V&A and the Fitzwilliam Museum. Considered the finest glass engraver of recent times, some of his techniques were developed in Bohemia prior to the 18th Century. In this piece, Whittington Court near Cheltenham is depicted beneath a stormy spring sky.

Glass Vase by Sam Herman

Born in the USA Herman studied under Professor Littleton at Washington. He was one of the founders of the Studio Glass movement in Britain from his London studio the Glasshouse. He taught at the Royal College of Art and was perhaps the most influential teacher on the subject of art-glass manufacture in the late 20th Century. Private Collection

Private Collection

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Treasures of Gloucestershire

To What Degree, 2003 by Richard Jackson (born 1959) Glass sculpture

Watchman No 9 by Rachel Woodman Glass vase with inner vase

Scent bottle by Colin Reid Cast and polished glass, 1988

Rachael Woodman has an MA fom the Royal College of Art and her career has included designing glassware for Dartington Crystal. From her studio in Bath, she has established a reputation for the exquisite purity and dazzling colour of her glass.

Colin Reid established his studio in Gloucestershire in 1981 and since then has achieved acclaim throughout the world. Using a lost wax casting technique, his work often contrasts complicated textures with highly polished surfaces. Among his commissions are 'Musa Cavendishii' for Chatsworth House and 'Cipher' (among the largest pieces of kiln glass in the country) for G.C.H.Q.

Her works are to be found on display at the Victoria & Albert Museum, London and The Corning Museum of Glass, New York.

Confident and challenging best describes the work of Richard Jackson. It is the result of thoughtful development through 20 years of making objects in glass, that integrate concept with technical skill in their realisation. Throughout this time he has travelled widely recording images and impressions of his experiences, using drawing, writing and photography. is resulting works in glass express his findings, and questions raised, through forms that are provocative yet harmonious, animated with markmaking and carving which challenge the boundaries between surface and internal language.

Inevitable Motion, 2003 by Sally Fawkes (born 1968) Glass sculpture The nature of visual perception is rich and ambiguous and can stimulate extraordinary sensory experiences. Fawkes’s glass sculptures express the sensations created by interactions between the visible and invisible possibilities of place.

Richard Jackson’s work is represented in public collections including Victoria and Albert Museum, National Museums of Scotland and M.A.V.A. Museo de Arte en Vidrio de Alcorcon, Madrid, Spain. He received a Diploma in Techniques and Technology of Hand Glassmaking and Decoration from Dudley College of Technology in 1986. He went on to study his BA at WSCAD, Surrey, graduating in 1989. Throughout the 90s he travelled and worked in glass studios in the USA, Denmark and UK. In 2000 he set up a glass studio with Sally Fawkes in Gloucestershire.

Sally Fawkes graduated with a first class honours from the University for the Creative Arts. She has an extensive international exhibition profile as well as creating many site specific artworks for both interior and exterior locations. Her work is represented in private, corporate and public collections worldwide, including the Victoria and Albert Museum, National Museums of Scotland, and Fitzwilliam Museum, Cambridge. The late Dan Klein described Fawkes work as “self-explanatory narratives full of feeling and content. They communicate without any need for words, delighting the eye and setting thought processes in motion.” Sally Fawkes works alongside her partner Richard Jackson in their studio near Stroud, Gloucestershire.

Private Collection In Rachel’s own words 'Glass is so rich in possibilities - transparent, opaque, translucent, invisible, smooth, glossy, textured. As a vehicle for colour, it is matchless. Realising this potential requires a fine balance between control and extravagance. It is my chosen form of expression because it is rich enough and versatile enough to work at both a spiritual and a purely visual level.... I think in glass, I dream in glass, I cannot imagine life without it.'

Richard Jackson has an extensive international exhibition profile and works to commission. Private Collection

Private Collection

Private Collection

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Treasures Treasures of Gloucestershire Gloucestershire

Winner of The Honourable Company of Gloucestershire’s Jubilee Craft Award 2012 (established practitioner)

The Honourable Company of Gloucestershire Diamond Jubilee Craft Awards 2012 in association with

One of the Treasures of Gloucestershire is surely its historic association with the Arts & Crafts Movement, which was famously grounded in the Cotswold landscape with C.R. Ashbee’s arrival in Chipping Campden in 1902. But the roots of the movement that reconnected design and physical craftsmanship in the midst of the Victorian industrial era surely have even deeper philosophical roots in our Gloucestershire landscape and heritage, which had a profound influence on the way William Morris and his colleagues saw and recreated the vernacular traditions of English architecture, furniture and design. In providing a welcoming and stimulating environment to Ashbee, the Barnsley brothers, Ernest Gimson and their many colleagues, the Cotswolds quickly became the cradle of the movement. That rich inheritance is now a main focus of the magnificent collection of the Cheltenham Art Gallery & Museum, whose appeal the Treasures of Gloucestershire exhibition is supporting. The Honourable Company of Gloucestershire exists to support the county in all its diversity and creativity, and in recognition of Her Majesty The Queen’s 2012 Diamond Jubilee has created two Jubilee Crafts Awards, one for established practitioners of hand-crafts and one for students. Each award is for £500. The Awards are being made in association with the Gloucestershire Guild of Craftsmen, whose Chairman, Mary Greensted, is a leading authority on the Cotswold Arts & Crafts Movement. The winning entries are being exhibited as part of the Treasures of Gloucestershire exhibition. Craftsmanship is at the heart of the wonderful heritage of the Cotswolds and the county of Gloucestershire, but it is as a living tradition, reflected in the wealth of talent and enterprise of our practising craftsmen and women, that in Diamond Jubilee year we celebrate their contribution, not just in enriching our past, but in continuing to enrich our present and future.

Nick Ozanne Working on a manually operated wood framed loom, Nick Ozanne creates not a throw-away object but a classic heirloom piece that can be rediscovered and reinterpreted over the following years, a direct reaction of the current throw-away society. He uses only natural fibres such as silk and wool which work with the needs of the human body to provide comfort, warmth and tactile reassurance, as well as improving and softening with age and use. The pieces are meant to be used; to be touched, stroked, caressed and lie against the skin, providing a feeling of luxurious softness. Inspired by such varied themes as the novel Brideshead Revisited, portraits in London’s National Gallery, glazed cakes in a French patisserie and his old school ties, Nick hand weaves and hand finishes a range of items from unisex scarves with matching ties to lambs wool blankets and cushions. After graduating from the Winchester School of Art where he gained a degree in woven textiles, Nick launched his studio label named ‘Leto & Ariadne’ in London in 2009, and the following year relocated to Gloucestershire to establish his weaving studio.

Patrick Brooke, Warden. The Honourable Company of Gloucestershire

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Treasures Treasures of Gloucestershire Gloucestershire

Winner of The Honourable Company of Gloucestershire’s Jubilee Craft Award 2012 (student)

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Protecting your finances Rosie Hofman Rosie Hofman is an adventurous designer/maker who thrives on being original in approach and creating unique treasures. Her jewellery collection ‘Talis’ is constructed using intriguing components that interact with each other; this interaction and movement gives the collections a mechanical yet organic quality. The pendent can be taken apart so the wearer can change the configuration and amount of the components, allowing them their own opportunity for creativity. Rosie’s inspiration comes from her doodles that are a cocktail of inspirations developed throughout her creative life. She enjoys the contrast between the symmetry of mathematics and the random patterns of nature and strives to stimulate a child-like curiosity in the viewer through intriguing design and style.

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Treasures of Gloucestershire

We operate in many

fields. It all began over 125 years ago with Land Management.

Since then Strutt and Parker have diversified and become one of the country’s leading property experts. As well as retaining a close connection with the land and farming community, we have a passion for people and property – both residential and commercial. Today we have over 50 offices and hundreds of expert consultants to help and advise you on everything you need. Come and see us on our stand at the Moreton Show on Sunday 1st September 2012.

Strutt & Parker, 15 Dyer Street, Cirencester, Gloucestershire, GL7 2PP Tel: 01285 659661 Land Management - 01285 659661 National Estate Agency - 01285 653101

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Treasures of Gloucestershire exhibition catalogue 2012  

Full colour illustrated catalogue of exhibits in The Honorable Company of Gloucestershire's exhibition curated by Chorley's, 2012

Treasures of Gloucestershire exhibition catalogue 2012  

Full colour illustrated catalogue of exhibits in The Honorable Company of Gloucestershire's exhibition curated by Chorley's, 2012

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