Bible of British Taste
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  • June25th

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    David Bridgwater wrote to me a few weeks ago. He had read the art book that I published with Yale, Owning the Past, about the English collectors who scoured Italy, Greece and Turkey for antique sculptures in the eighteenth century and brought them back to furnish their country houses. He said that he had quite a nice house in Bath, and a special interest in eighteenth century English portrait sculpture. He suggested that I might like to visit. Three weeks ago I did.

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    David is a historian cum dealer, who buys beautiful things whenever he finds them, to keep or to sell. But like me, he has a prodigious interest in the provenance of every object that he finds. A lot of his  time is spent reading, researching and traveling in order to build up a backstory or identify the artist-creator connected with what he finds, and what he knows is published on his two blogs, one about eighteenth century portrait sculpture: http://english18thcenturyportraitsculpture.blogspot.co.uk   and the other about the architects who built the houses and streets where he lives  – http://bathartandarchitecture.blogspot.co.uk/   This is the entrance hall of his townhouse in Bath.

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    David and his wife Sarah came to live here 8 years ago, moving from a slightly older house a few streets away ( their two children are both grown up). This house, dated 1792 and designed by Thomas Baldwin as part of the Pulteney Estate, ranks among the finest of Bath’s very elegant Georgian housing stock. According to a bronze plaque on the facade it was home to William Pitt the Younger in 1806 – the longest-nosed of all the English Prime ministers by far. Here is their fabulous high-ceilinged kitchen.

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    The house’s previous use had been as offices.  ‘When we came here all this was smothered with two centuries of paint, it was three years on and off putting it back together. Nothing could have been done without my wife Sarah. There were strip lights like these everywhere. We left these ones. You can see what you’re looking for!’  (You can see one reflected in the looking glass)

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    Industrial double sink unit with the dog bed belonging to their small hairy Griffon Bruxelloise Lulu, who is keeping well out of shot

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    Lulu, at bay,

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    This kitchen is gloriously big.

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    Each piece of furniture stands about 10 feet apart from the others.

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    ‘When we lived in a 1760s house in Walcot Street the kitchen was in the basement, so I stripped off all the old wallpaper and there was the silhouette of the original kitchen dresser marked on the wall. So I had this dresser made to measure, specifically for that wall.’ Now it does service in the Dining Room.

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    The Dining Room, plaster bust of William Pitt the Younger on the left.

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    Now for something really special, David’s ground floor study.

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    The chimney piece has a garniture of Wedgwood flower vases, the two-handled urn shape favoured by Constance Spry.The big one on the far left is not by Wedgwood tho. I particularly liked it, David didn’t.

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    These fabulous garden chairs, now heavily weathered, are actually copies of an antique original. They were sold long ago from the famous Clifton Nurseries in London’s Little Venice, where self-styled ‘Master Plaster Caster’ Peter Hone managed the business dealing in fabulous sculpture and garden antiques. (David Bridgwater ‘got into gardens back in the 80s’ too.) There are a few of Peter’s plaster casts here amongst much older things. Peter says  he’s taken more casts than a ‘Pea podder has podded peas in a pea podding factory’. You can buy his casts from Pentreath and Hall, and see their ‘Hone Museum’ of casts filling the back wall of the Rugby Street shop.

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    Old metal plant labels arranged along the dado rail.

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    A fabulous piece of  eighteenth century Bidriware from India in the middle of the table, the base of a hookah pipe, inlaid with a silvered design of poppy heads.

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    One of those old fashioned push-along machines for marking out white lines on a grass tennis court. I used one of these as a child to mark to paint white lines  onto the lawn in the garden at home but my badminton game remains sub-average.

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    écorché figure, top right, modeled for artists, showing the muscles of the body as if revealed under the skin.

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     very high quality frame of uncertain date or origin

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    And a small but very fine Renaissance-era portrait tondo

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    One of my favourite things, Damascus-style folding chair, one of a very beautiful pair.

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    The first floor drawing room.”All the paint is from a company called Johnsons, they will copy any colour you like.’

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    Indian dowry coffer

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    Household gods. A marble statuette of our first Hanoverian monarch, King George I, small marble bust (sans socle) of Alexander Pope, Ganesha the lucky Elephant god and a bust of Athena. ‘ I bought my first bust of Pope back in 2000. I went to the V and A they said,  Oh its C19th, there’s hundreds of them. I found an engraving of it from 1788, it couldn’t have been any other bust. It was by Roubilliac.’

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    More busts, Napoleon in the middle.

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    Torchere.

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    ‘An architect’s stand up desk from around about 1760. My favourite thing, found in a warehouse in Newark, it had been there for quite a long time.’

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    ‘It’s a very ingenious thing, beautifully made, a two-man desk, the top tilts. Hidden drawers pull out.’

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    Around the corner, the very best room of all, a genuine cabinet of curiosities ( that over-used term).

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    The walls are unrestored with bare plasterwork in places. The object on the floor is an ancient, lethal. two-man hedge trimmer.

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    Back in the 70s I used to go to France and fill a lorry – bring stoves back, and I’ve got one or two souvenirs left from that time.’

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    The textile wall hanging is Nigerian, it was £3, I found it in a car boot sale. They look like aliens! I’m going to put it in that frame, it’s French C17th, I like that dynamic, to put a bit of Africa in it’

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    This cross-piece from an overmantle is decorated in papier mache with a scene from a hunt, hounds chasing a fox in pursuit of a hare ‘Unfortunately someone had a go at it with paint stripper. I picked the rest of the paint off it but the elegant face of the fox is gone.’

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    The fire surround is Scottish.

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    ‘I took off the paint – it was so thick with paint – but left a bit here, to show what it was like when I got it.’ The figures at the two ends are Bacchus and Ceres. Perhaps it was made for a Dining Room? The china swan was a wedding present from a friend.

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    ‘The bookcases are made of piled up apple boxes  – you could buy crate loads of them at one time.’

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    ‘The staircase didn’t look like this when we moved here – it was festooned with wires and covered with industrial carpet.’

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    View from the master bedroom to the dressing room

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    Bedroom with Bombay Blackwood carved chair

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    Bedroom

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    Dressing room. The leather upholstered button back chair is French. Wall of mirrors.

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    little Venetian looking glass

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    Fabulous ‘artist’s palette’ roccoco looking glass

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    Bathroom

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    ‘This shower  – a friend of mine had it for his house and didn’t want it.’

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    David told me there was something particularly good about this light fitting but I’ve forgotten what, alas

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    ‘Ive always like dealing with dealers,’ David told me. ‘I tried to anticipate fashion. That’s why I got into gardens back in the 80s, that last area of the great house that hadn’t been fully exploited.’ He showed me a koftgari ware box – damacened with a fine pattern of gold inlaid into steel – a very beautiful thing, made to hold a maharaja’s cigars, perhaps. Where did all the good stuff that there used to be – in every junk shop and street market  – go? I wondered. ‘I think it all went to America,’ he says.’

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    Did you collect things when you were little?  ‘Birds eggs, cigarette cards, chewing gum cards, that sort of stuff  – and of course I swopped them.’

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    Just inside the front door, a very handsome hall stand.

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    Very many thanks to David and his wife Sarah. David is on instagram too. He is a huge source of interesting knowledge and enthusiasms and so I offer this a as a sort of pictorial encomium to all that he knows.

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    Excerpts and links may be used, provided that full and clear credit is given to bibleofbritishtaste, with appropriate and specific direction to the original content.

     

  • April2nd

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    On the borders of Sussex, Surrey and Hampshire, Shulbrede Priory is the surviving corner of the rather obscure religious house of Wlenchmere, founded at the end of the twelfth century and suppressed by Henry VIII in the 1530s.

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    The cloister in an old photograph. Since this was taken part of the tree fell on the house and it had to be cut down.

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    The present entrance front was originally the southwest corner of a much larger monastic building complex. Once the Augustinian canons were turned out demolitions and dilapidation set in, but what remains has been altered and restored very little. In 1902 the priory became home to Arthur and Dorothea Ponsonby; they loved the place so much that they bought it, and their granddaughter Catherine and her husband Ian Russell have lived here since the 1970s.

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    The uncapped north corner of the present house; a further range of cellerage (demolished for building stone long ago by Shulbrede’s yeoman farmer tenants) once ran from this corner, where the building ends abruptly now.

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    A garden bench, cushioned with moss. Catherine’s sister Laura Ponsonby, an expert field botanist who worked at Kew Gardens (and died in 2016), lectured on fungi, liverworts and lichens, and once helped the police in a case of murder by poisoning, identifying some deadly nightshade baked in a pie. She used to say that there were ‘enough different species colonising this seat to teach a complete course of mosses and liverworts.’

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    An ancient stone coffin lid excavated by Arthur Ponsonby and set with a mosaic of other archaeological fragments in the garden wall. Arthur (a radical Liberal MP who later defected to the Labour party) and Dorothea Ponsonby were a rather intellectual and bohemian couple who came upon Shulbrede as a tumbledown agricultural dwelling, moved in and gardened and restored and furnished it on antiquarian principles according to the tenets of the Arts and Crafts movement.

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    Medieval encaustic tiles excavated at Shulbrede by Arthur Ponsonby and displayed on a table top in the hall.

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    The Priory painted for Arthur and Dorothea by their friend Jack Strachey.

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    The crypt was in service as a dairy when the Ponsonbys came to Shulbrede. Arthur Ponsonby made this cool dim room into his study and wrote his comprehensive History of Shulbrede here, published in 1920.

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    On the deep window sill a small museum of archaeological fragments disinterred at Shulbrede during excavations that took place here between the wars. Their labels originally written by Arthur Ponsonby were recopied by his granddaughter Laura.

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    The dining room was once part of the canon’s refectory, the Ponsonbys furnished it with an oak refectory table, Morris chintzes and rush seated chairs. Their decorating style could be called ‘intellectual socialist,’ says Ian Russell. The local manorial court – a law court trying cases relating to land holdings etc – was regularly convened here or the Prior’s Chamber upstairs until the 1920s.

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    Buffet in the dining room with pieces of blue and white striped ‘Sussex ware’ and so on.

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    This dolls house originally belonged to Arthur and Dolly’s daughter Elizabeth Ponsonby who was one of the leaders of the Bright Young Things, said to have been the model for that poignant character Agatha Runcible in Evelyn Waugh’s novel, Vile Bodies. Waugh described the BYT’s pass-times as, Masked parties, Savage parties, Victorian parties, Greek parties, Wild West parties, Russian parties, Circus parties, parties where one had to dress as somebody else, almost naked parties in St John’s Wood, parties in flats and studios and houses and ships and hotels and night clubs, in windmills and swimming-baths, tea parties at school where one ate muffins and meringues and tinned crab, parties at Oxford where one drank brown sherry and smoked Turkish cigarettes, dull dances in London and comic dances in Scotland and disgusting dances in Paris – all that succession and repetition of massed humanity…
    ‘We don’t treat it as an antique, it’s definitely a working doll’s house.’

    Shulbrede Priory

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    The long range seen from the garden, the single story extension on the far left houses the old kitchen. Ian Russell has used his considerable professional expertise as a structural engineer to bring the house’s roofs and chimneys back into good order, following the SPAB’s principles.

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    Outside, a confluence of roofs

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    and inside, the old kitchen range chimney from c.1902. Now this is a store for second-hand books sold for charity on open days.

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    An exuberant hang on the ‘new’ kitchen wall, with Joanna Russell’s schoolgirl staircase painting in the middle and her artist-author sister Harriet Russell’s Partridge and Pear, top right. Peacocks belong to the poultry farm opposite the priory, but spend much of their time and shed their feathers here. This is part of the extension comprising a housekeeper’s room and second kitchen built on by the Ponsonbys in 1914.

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    Walter, the – sometimes malevolent – rescue cat who is prone to lash out at mealtimes, Magpie (not seen) is far more adventurous and emollient. ‘We don’t know their early history, they both came from the cat rescue by the A3. We think that he had rather a difficult childhood.’ (Moments after this photo, Walter attacked.) The cupboards and dresser are painted a glorious deep blue gloss.

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    The larder is a landscape all of its own

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    Catherine Ponsonby painted with her hair tucked behind her ear by fellow Goldsmith’s student Robert Stewart in the 1960s,

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    Landscape near Shulbrede, pastel by Catherine Ponsonby, 1960s.

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    And her lino print of a thieving fox slipping away through the grass at Shulbrede. My favourite thing in the house.

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    The Prior’s Chamber, with the grand piano that Hubert Parry – Dorothea Ponsonby’s father – bought as a student, standing near the window. Sir Hubert Parry set the words of William Blake’s great poem Jerusalem to the stirring tune that we still sing today, Parry’s statuette stands on top of the piano. He composed the Shulbrede Tunes here, each one named for a member of his daughter’s family. A rare colony of Long Eared bats – a species protected by law – roosts in the rafters above.

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    In the sixteenth century this dividing wall was inserted into the Prior’s Chamber and covered with wall paintings illustrating the folk legend in which the animals receive the power of speech on Christmas Eve to announce their Saviour’s birth. A cockerel announces ‘Christus natus est,‘ a duck squawks, ‘Quando, Quando?’, a Raven answers, ‘In hac nocte,’ a bull bellows ‘Ubi, ubi?’and a lamb bleats, ‘In Bethlehem’ (In Be-e-e-eth-le-he-e-em).

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    The arms of King James 1 were superimposed over the middle section of the wall painting at the beginning of the seventeenth century.

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    A tureen, part of a dinner service. ‘Now that is a bit of Roger Fry for the Omega Workshop. I have memories of the food congealing on these plates.’

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    The Bloomsbury artist and critic Roger Fry was a frequent guest at Shulbrede, encouraging Arthur Ponsonby’s painting and drawing.

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    ‘When our children were tiny, every time we got some stickers, we put them all over the tiled wall.’

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    A rather brilliant bathroom painting by Joanna Russell, done when she was at school.

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    Laura Ponsonby’s room.

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     Possibly the satin shoes worn by young Arthur Ponsonby as a page to the elderly Queen Victoria. His father Sir Henry Ponsonby was a courtier and the queen’s Private Secretary.

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    The huge yew hedges – more like walls or bastions – in the south garden

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    and the same topiary at Shulbrede by Joe Ruddy, family friend and colleague of Laura Ponsonby at Kew Gardens, mixed media,

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    ‘That’s by Harriet, its a print from a series of pictures for a joint exhibition of blue images, its got the famous Hokusai Great Wave.’ Blue Escapes painting, screenprint by Harriet Russell.

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    Harriet is a freelance author and illustrator whose work has been commissioned by Hermes, the New York Times, Penguin and many others. Envelopes published by Random House in 2005, was her challenge to the Royal Mail. As a student at Glasgow Art College she designed, drew, stamped and posted dozens of envelopes to herself, concealing her address in cartoons and diagrams, thickets of typescript, collages, a crossword puzzle, a menu and a musical score. You can buy a copy of this funny and ingenious book when you visit Shulbrede Priory, or, here. Of the 130 envelopes she sent, 120 arrived and her triumphant postmen started writing ‘Solved by Glasgow mail center’ on the backs.’The UK postal system has certainly exceeded my expectations.’

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    You can find Harriet’s online shop here.

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    and her blog here.

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    and contact her here.

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    Shulbrede’s flock of geese congregating by the outdoor bookstall

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    goose provoked

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    The cloister…

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    The cloister with photographer Antony Crolla, teeing up for his shot (for The World of Interiors).

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    Shulbrede Priory opens to the public on certain days from May to September each year and small groups can visit by appointment. Contact Ian Russell by email: ian@russellconsult.co.uk
     
    All photographs copyright Ian and Catherine Russell and bibleofbritishtaste.

     

    Excerpts and links may be used, provided that full and clear credit is given to bibleofbritishtaste, with appropriate and specific direction to the original content.

     

     

  • February5th

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    In the autumn of 2016 I visited the artist and renowned textile designer Pat Albeck in the Oxfordshire gate lodge where she has lived for about four years. She came there with her husband the acclaimed stage and costume designer Peter Rice (who died in 2015), leaving the family home near Aylsham in Norfolk. Before that, the couple  – who met as art students at the RCA –  had lived in London with their son Matthew Rice, now a brilliant artist-designer in his own right and married to Emma Bridgewater, the founder of Bridgewater Pottery in Stoke on Trent.

    ‘Matthew and I are quite often at loggerheads taste-wise,’ says Pat. ‘When we reached 80 each, Matthew thought it would be a good idea if we were nearer, so we packed our bags and followed him here. It’s very clever, Matthew designed it, it was a poky little cottage but he added another floor for Peter’s studio, and my studio and the living room.’

    ‘When we reached 80 each, Matthew thought it would be a good idea if we were nearer, so we packed our bags and followed him here,’ she says. ‘Matthew designed it, it was a poky little cottage but he added another floor for Peter’s studio, and my studio and the living room.’ 'I really do like growing vegetables very much.'

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    ‘I really do like growing vegetables very much.’

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    Beneath the large topographical print of a country house in the hall is a more modest painting of a house in the border country  by Charles Oakley(d.2008).

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    Looking from the hall into the garden, orange watering can hand bag on table.

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    Pat Albeck’s little picture of her young son Matthew Rice, painted on holiday in Nassau, and more two cat paintings: the first an Xmas card from Julian Trevelyan, the second of swimming cats a ‘Collins’ from Mary Fedden thanking for the invitation to the first night of one of Peter Rice’s productions.  Apples just picked from the abundant garden.

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    Kitchen work top and kitchen table beyond. Above the table hang two student works, prints by Matthew Rice executed at the Central School of Art.

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    One of Pat’s rag dolls, a pyjama case.

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    Jug collection, two mackerel on a plate by Richard Bawden, and our morning coffee. ‘These flowers are from what I call the Glyndebourne border.Whenever I’ve moved house I’ve always had a Glyndebourne border. Peter’s first job was at Glyndebourne and I’d never been aware of how wonderful gardens could be.’

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    ‘In my life I’ve always felt different from everyone else.I was very upset when I was about 10 that everybody in the area had pale green or maroon stair carpets, and we had some most extraordinary ones that my father had had woven at Libertys or something.’ Her father, a Polish emigre, was a furrier and an anarchist. In 1933 he had built his ‘Dream House’ at Anlaby, just outside Hull.
     
    ‘It was Art Deco inside, with a “Stockbroker Tudor” exterior. The house was built in the grounds of Tranby Croft. Our front garden was part of their woods. Tranby Croft was known for the famous Baccarat scandle in 1890 involving the future King Edward VII… I had a stained glass surround to an electric fire in my bedroom. It represented Little Red Riding Hood and was designed and made by students at the Hull Art School.’
     
    At the age of 16 she began four happy years of study at the College of Arts and Crafts in Hull.  ‘ The ambition of all art students at the time was to go on to The Royal College of Art. It was the idea of living in London and working with the best students from all over the country that made the thought so exciting. Well, I made it, and so starts the 50’s.’

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    In the large sitting room an architectural print by Edward Bawden, a poster designed by fellow RCA student David Gentleman  a small portrait of Pat aged 21 by Alan Price and over the chimneypiece, Envelope by Joe Tilson R.A.

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    Sculpture bought from a student degree show at the RCA, Flower painting by Mary Fedden. ‘I lived opposite Mary Fedden in Hammersmith. Her cousin Robin who was a director of the National Trust had asked her who could design a tea towel for them and she recommended me, they got onto me and I designed for them for over 30 years!’ The little cat sitting on the frame was made by Mary too, ‘they were presents that she gave to children.’

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    Above the Empire bureau hangs Fern Garden at East Ruston, a large early paper collage by Pat Albeck of the hellebore wood in Norfolk at her previous house, ‘a wonderful garden, my favourite place in the world.’ On the left, two family portraits painted by her witty friend the artist Harry More Gordon, whose house appears here in an earlier blog highlighting the work of his artist daugher, Domenica More Gordon.

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    ‘In the bottom portrait Matthew is reading a copy of The Field, but in the 10 years between those two paintings he had left home. The beautiful rug I’ve got my foot on was in my nursery, I’ve still got it.’

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    A table lamp by Cressida Bell and behind it a seaside scene by Julian Trevelyan. More Mary Fedden cats.

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    Landscapes in pen and  watercolour by Matthew Rice made at the age of c.15, the result of a private commission to paint Venetian scenes hang in the yellow bedroom.

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    A tour de force still life by Pat Albeck, ‘when I started painting instead of designing, and had a show at the Chelsea Arts Club.’

    ‘I had started doing water colours in the 80’s and 90’s just because Peter and Matthew were always painting and I felt left out. I had always drawn and painted in my sketchbook for design reference, but this was the first time I had done actual pictures. I started using a water colour box, which I had never done before. I had used all kinds of media but never a watercolour box. So this prepared me for lots more painting, which I have been doing ever since.’

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    ‘My life used to be completely full of cats and if I had my life again I would make sure that I got my cat situation better organised.’ Cats by William Chappell, ‘who was a friend.’

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    A crop of works in progress from her new style of ‘cut paper paintings’ on Pat’s drawing board.

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    All done directly from life, from flowers and onions growing in the garden,

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    Part of her archive of textile designs (more of her design archive is held by the Victoria and Albert Museum). ‘My first job in the 50s was working for Jimmy Cleveland Bell. Peter [Rice] was working in the theatre and I was in fashion. My boss was quite unusual, he let me do anything I wanted. He said, ‘You’ve just been to Venice on holiday. So I designed a pattern inspired by the fish market there.”
     
    ‘I had too much work towards the end of the decade. I decided then to have an assistant to work with me. This was the start of a series of amazing girls who worked for me, each staying with me for about a year. My first assistant was Susan Collier who later created the textile company Collier Campbell. Most of my assistants came straight from their degree course at art school. They have nearly all gone on to greater things.’

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    ‘I have designed two or three hundred tea towels.’

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    ‘Before, tea towels in England were plain, except occasionally when they were designed for advertising, eg Colman’s mustard, or they had “Glass Cloth” woven in a primary colour stripe down the middle. There were all these new products waiting to be decorated.’ (This picture copyright:Back to the Drawing Board/ Keele University.)

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    ‘This was a design I did in the 60s. John Lewis suggested I did them a William Morris design, and I said, I don’t copy things but I can do something inspired by him. ‘Daisy Chain’ is not quite what they wanted, but it was their ‘Best Seller’ for 15 years. Each year I produced new colourways. It was used for countless different things, plastic coated for tablecloths, laminated into trays, made up as skirts, oven gloves and eventually, in the brown colourway, into dog cushions. For the National Trust I did something much more Morris-y for William Morris’s house.’

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    Dining Room. Large collage by painter–poet  Sophie Herxheimer, bought by Pat Albeck, ‘because I liked it so much.’

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    ‘A friend of mine discovered an old 50s Horrockses skirt of mine on ebay. I did it in ’55. It cost me £70 to buy on ebay.’ The Venetian fish market-inspired pattern. For more of her wonderful patterns from the 50s click the link here :

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    ‘When I was at Horrockses there was an exhibition of a stage designed called Sophie Fedorovitch at the V and A, she had just died. I was commissioned to design some fabrics based on her costumes, I rather enjoyed it, they were done on arithmetic [graph] paper in the mid 50s, Madame Butterfly.’

    Back to the Drawing Board: Pat Albeck.

    A  designer stuck together a lot of my National Trust paper bags and used them as a backdrop for the Stephen Sondheim musical,  Into the Woods.

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    ‘These belong to Lanhydrock, my range of earthenware ceramics made by Portmeirion for the National Trust in the 1980s. They turned out looking very modern. It’s my very, very favourite design that I’ve ever done and that I still use, based on a border of tiles in the kitchens at Lanhydrock.’

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    Wrapping paper and wall paper designs by Pat Albeck. ‘Domenica More Gordon worked for me briefly after art college. I asked her to design wrapping paper, she didn’t know what I meant, ‘We always use newspaper,’ she said!’

    Back to the Drawing Board: Pat Albeck.

    ‘I drew these very, very carefully, they are early sample designs. I was about 23 at the time.I worked differently for the pottery industry in Stoke on Trent. Because it was expensive bone china like Minton and Spode and stuff, I felt it had to be very beautifully carefully drawn. I really enjoyed doing it.’

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    ‘Two tea towels were designed by Peter [Rice] for the National Trust, they wanted something architectural, that was one, the other is the story of wool. Pansy is one of my furnishing fabrics for  John Lewis. When felt tips came out I fell madly in love with them, ‘tho everyone was very superior about them.’

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    National Trust tea towels from the 1970s. ‘I used acorns, oak leaves and oak apples to design this Tea Towel for The National Trust. The acorn is The National Trust’s emblem. I was designing things that people might be tempted to buy at the end of a visit to a National Trust house or garden. This influened my style. I was using line drawing as my work became more representational and my colour became more muted, to go with the historic houses. Also it meant that I really had to learn to draw buildings accurately. Many of my designs were for specific properties, which I always visited, so I got to know a lot about the English countryside.’

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    Pat Albeck’s cut paper pictures, a selling show held in 2016.

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    Flowers in a Greek key jug. Cut paper picture by Pat Albeck, 2016.

     

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    Keele University’s forthcoming exhibition program will feature Peter Rice, Matthew Rice and Emma Bridgewater.
     
    Pat Albeck’s next selling show ‘A Cut Above,’ will be held at Colefax and Fowler’s new showrooms, opening on the 22nd of May to coincide with the Chelsea Flower Show.

     

    Excerpts from Pat Albeck’s website, www.pat-albeck.co.uk 

    Thanks to Pat Albeck and Matthew Rice. All images copyright Pat Albeck and bibleofbritishtaste.