Category: History

William Baines Leaflet

Following a discussion on the Horbury and Sitlington History Facebook page, I looked out a copy of my leaflet, The Yorkshire of William Baines, produced as part of my Major Project on the Communication Design (graphic design) course at Leeds College of Art.

The project grew and grew until it included an exhibition and a recital by pianist Eric Parkin at the Harrogate Festival in August 1972, followed by another recital in Horbury, Baines’ home town, in the November (the 50th anniversary of his death, aged just 23), when Parkin was joined by contralto Caroline Foster, who performed five songs by Baines. I transcribed the songs from copies of the original manuscripts but fortunately pianist and singer were able to perform despite my inevitable errors.

Since my degree show days, my enthusiasm for pen and ink drawing and my interest in local history remain undiminished, but I’m so glad that my struggles with Letraset Times New Roman are a thing of the past. Letraset was rub-on lettering supplied on a plastic sheet, which was almost impossible to apply successfully. I wish that I could have had access to a time machine to pop forward 46 years to set up the project on my current iMac!

Victor Ambrus

My pen and ink style was heavily influenced by Victor Ambrus, at that time a prolific illustrator of history and children’s books, and later a regular on Channel 4’s Time Team. He incorporated finger prints into his drawings, so, so did I. I felt that if I could use the same pen and the same paper as he did, I might be able to achieve the assured springiness of his line.

I was lucky enough to get a chance to ask him about his technique when he did a session at a Children’s Book Fair in Leeds. I remember him telling me that he used layout paper for pen and ink work, and some readily available dip pen nib (if I remember rightly, he didn’t use a mapping pen).

Gathering material for the leaflet, I borrowed photographs and drawings from residents and former residents of Horbury and ordered copies of documents and photographs from the Baines archive in the Additional Manuscripts department of the British Library, which was then housed in the British Museum.

The publication was to be a booklet, but one of my graphic design tutors, John Daffern, persuaded me at a late stage to try something more adventurous, so it became two broadsheets in a card cover plus a facsimile of a career-changing telegram that Baines received from composer Arthur Eaglefield Hull. All this in a decorated envelope, that I sent out mail order, stamp stuck over the price tag – 5p – in the top right-hand corner.

The leaflet is currently available from the Rickaro Bookshop, Horbury.

Links

Rickaro Bookshop

Horbury and Sitlington History Page Facebook group

The Old Scouring Mill, Horbury Bridge

After sorting and blending, the first stage in preparing raw wool is scouring: washing in hot water. The old scouring mill at Horbury Bridge is a reminder of the Victorian heyday of the West Riding woollen industry, when there were several large woollen mills at Horbury Bridge.

The mill closed long ago and is divided into units, some of them workshops with the one facing the road housing an antiques and second-hand furniture store.

Di Bosco coffee & champagne bar

I drew it from a table in the conservatory in Di Bosco, the coffee and champagne bar, which opened yesterday. Workers from the scouring mill must have drunk here often but at that time it would have been ale and porter, as this building was originally The Ship Inn, which dated back to at least the time that Sabine Baring Gould wrote Onward Christian Soldiers at Horbury Bridge. In 1865 he set up his mission headquarters in a terraced house, which still exists, midway between the Ship and the Horse & Jockey.

He certainly entertained decidedly un-Christian thoughts towards these two public houses, in particular the Horse & Jockey which, in his novel Through Fire and Flood, he has washed away in flash flood of epic proportions which cascades down the Calder Valley like a CGI sequence from  a disaster movie.

In reality it survived and it now has a good reputation for resident chef Michael Oldroyd’s traditional Yorkshire food and, sorry about this Sabine, the landlord’s traditional Yorkshire beers.

Link

Di Bosco coffee and champagne bar

Michael Oldroyd’s Nostalgic Kitchen at the Horse & Jockey

Little Book, Big History

A little book with an intriguing connection to Lawrence of Arabia; Richard Knowles tells the story. I filmed this afternoon at Rickaro Bookshop, Horbury.

I’ve added titles and, if you  watch the video, you’ll realise why we went for Caslon as the typeface.

Link

Rickaro Books

The Antique Architect

My iPad copy of the 1773 etching by M Darly. There’s no indication of colour in the original, so I’ve loosely based that on the Willison portrait, see below.

I was determined not to do any research for my comic strip, working title Adam and the Gargoyle, but here I go again . . .

My characters might have been reasonably convincing in the pencil roughs but, when it came to inking and resolving the details, it didn’t seem to be working. I realised that, for instance, I don’t know what kind of tailcoat my architect character, Robert Adam, might have been wearing c. 1770, when he was busy with improvements and decorative schemes for Nostell Priory.

Of course, I’m creating a pantomime version of Adam but it needs to relate the historical character so I was delighted when Google turned up a caricature, an etching dated 11th October 1773, by the prolific satirist Matthew Darly (fl. 1741-1778), now in the collections of the British Museum. It occurs to me that this might be the work of his wife Mary Darly (fl. 1756-1779), who was was also a publisher, satirist, teacher and caricaturist.

The ‘Antique Architect’, one of a series of Characters, Macaronies & Caricatures that Darly published, most probably depicts Robert Adam (1741-1797) as Robert and his brother James had recently published their first volume of Works in Architecture.

Porte Crayon

As I copied the etching on my iPad (in Clip Studio Paint, as usual), one detail that I found odd was the writing implement. It looks like a double-ended pen, topped and tailed with steel nibs, which I imagine would have been impractical to use.

Again, thanks to good old Google, I’m able to identify it as a porte crayon, a travel pencil: a piece of bamboo split at both ends to accommodate two crayon leads, with two brass rings to keep the leads in place. In the one that I’ve drawn from a photograph on an auction site, there’s red at one end and graphite at the other.

Robert Adam portrait

Image re-used under the terms of the Creative Commons Attribution-NonCommercial-NoDerivatives licence

Robert Adam
George Willison (1741–1797) (attributed to)
National Portrait Gallery, London

Links

The Antique Architect, etching by M Darly at the British Museum

Nostell Priory and Parkland, National Trust

Getting to know the Gargoyle

I called in at the Stables at Nostell Priory this morning to take a another look at the gargoyle. He’s bigger than I imagined – about half as big again – that’s one of the disadvantages of drawing from a photograph.

I photographed him from an angle this time, to get a three-quarters view, which brings out different facets of his character, so, whereas before I thought that he was rough around the edges, cracked and crazy-looking with dinky little ‘Fungus the Bogeyman’ style horns, I now see that he’s rough, yes, crazy and cracked, yes, but with the rather stylish, swept-back horns of a young goat.

A good-looking guy, for a gargoyle, that is.

Published
Categorized as History

The Menagerie Lion

This stone lion, reclining on the lawn, always takes me by surprise as we walk past a large evergreen oak and it springs into view. Surprisingly, a real lion was once kept here in the Menagerie at Nostell Priory, just yards from the Doncaster to Wakefield turnpike road, behind a high stone wall in an old quarry. There’s a story that it once escaped and roamed around the area.

Once again it’s an iPad drawing, which has the advantage that, even after I’ve added the colour, I can hide the paint layer and turn it back into a line drawing with one tap of my Apple Pencil.

Nostell Gargoyle

This gargoyle guards a collection of medieval finials, pillar fragments and a battered font housed in one of the stalls in the stable block at Nostell Priory.

Drawn – closely following a photograph I’d taken – in Clip Art Studio with an Apple Pencil on my iPad Pro.

Link

Nostell Priory, National Trust

Roman Villa at Lupset

In my art college days, back in the late 1960s and early 70s, if you looked down Manor Road, Ossett, towards the newly constructed M1 motorway (this section opened in 1968), you’d see, not the tree-fringed grassy slope Lupset Hill that I sketched last week (left), but the spoil heaps of Roundwood Colliery.

The name Lupset might be from the Norse ‘Lufa’s, or Luppa’s Headland’.

Mosaics, presumably from a Roman villa, were reported from Lupset in the nineteenth century, but they have since disappeared. As a boy, William Briggs, a market gardener from Thornes, saw:

‘Some Roman tessellated pavements just beneath the surface in the field between Snapethorpe Hall and the road leading to Ossett (Ossett Street-side) . . . he had bared them with his cap in order to look more particularly at the pattern.’

Wakefield, Its History and People, J W Walker, Chapter II

So, if you live between the A638, which follows the course of a Roman road, the Via Vicinalis, and the site of Snapethorpe Primary School (the site of the old Hall) and you keep finding small square tesserae when you’re digging the garden, you might be on the site of a long lost Roman villa.

Newsagents in Colour

Here’s the coloured version of Kershaw’s Newsagents, now no. 7, Queen Street, Horbury.

I’ve been able to narrow down the dates of the postcard that I drew this detail from to 1938-1939, so immediately before World War II.

The Savoy Cinema

It was the cinema poster than gave me my first clue. The Savoy was an out-of-town cinema, latterly a bingo hall, next to the Whinney Moor Hotel on Horbury Road, Wakefield.

I walked past it on what turned out to be its last night, walking back from an evening class in Wakefield. It burnt down that night and was eventually replaced by the Lupset Medical Centre. My evening class ran from September 1990 to June 1991, but I can’t remember the date of the fire.

Anyway, getting back to dating that poster:

Bank Holiday was a British drama film directed by Carol Reed and starring John Lodge and Margaret Lockwood. It was released 27 January, 1938. Being out-of-town, I suspect that the Savoy showed movies a week or two after their initial release.

Love Under Fire must have been showing well after its first screening on 20 August, 1937. An American drama, set during the Spanish Civil War, it starred Loretta Young and Don Ameche. Don Ameche had a long film career; he starred in Cocoon: The Return in 1988.

Radio Times

Despite being able to browse through every copy of The Radio Times for that period (see link below), I haven’t been able to spot a specific issue which featured the first broadcast of Elizabeth, the Queen Consort, (better remembered by my generation as The Queen Mother).

There was a lot of coverage of various royal visits in the Radio Times during 1938. This was probably due to the Government and Buckingham Palace trying to undo the potential damage caused by the recently abdicated Edward VIII and his wife (Wallis Simpson, as was), visiting the German Chancellor, Adolf Hitler, and his Minister of Propaganda, Joseph Goebbels, in October 1937.

If you do take a look through the Radio Times for that period and you spot a broadcast billed as Elizabeth’s first, please let me know.

Pearson’s Magazine

I can only decipher the title of one of the periodicals on display, Pearson’s, a magazine of speculative fiction and predominantly left wing political comment, which at that time was edited by John Reed Wade, who had been in charge since 1920. W.E. Johns, author of the Biggles stories, took over as editor in May the following year but the magazine ceased publication in November, which confirms that the photograph must have been taken pre-war.

The magazine or poster to the left of the news-rack, in the doorway, which is also visible in the window, shows a large ship with a crane in the background, so I’d guess that this is a feature about the building of the liner RMS Queen Elizabeth, which was launched by Elizabeth, the Queen Consort, at Clydebank, Scotland, on 27 September, 1938.

There’s what could be a comic in the middle of window. The Beano was already established at the time (although Leo Baxendale’s Bash Street Kids wouldn’t appear for another fifteen years, so probably not worth bothering with).

Queen Street Today


The Kershaw’s Newsagents is now Bike Medic, but there’s still a barber’s, Mister Lister’s next door. The shop fronts have changed a little but the drain pipe – and its top funnel – is still the original!

Before taking the photograph, Barbara and I had called for coffee and freshly baked scones (cherry, this morning) at the Rich & Fancy cafe, three doors up from the bike repair shop.

Local Colour

I couldn’t find any colour reference so I decided to try a bottle green for the newsagent’s, which I believe was a popular colour at that time.

For me it doesn’t ring true, even though I’ve faded it out a bit in my colour image (top), however the advantage of having drawn it as a digital image is that I could change the colours on the paint layer if I wished, without damaging my line drawing in any way.

I can also easily output the drawing in line, black and white half-tone or sepia.

I like the sepia but it does make the scene look too cosily Victorian, rather than Britain on the eve of war.

Links

Savoy Cinema

Bank Holiday, film, 1938.

Love Under Fire, film, 1937

Radio Times, the 1930s

Pearson’s Magazine

Newsagents in Pen

I’ve used the pen tool with the G-pen nib in Clip Studio Paint in this drawing of  Kershaw’s Newsagents, Horbury, in 1938. The effect is very similar to my regular pen and ink drawings, although bringing the whole drawing together wasn’t so straightforward; although I appreciated being able to zoom in on the different sections of the drawing as I worked, this did mean that it felt a bit like working on a jigsaw: I’d concentrate on one area, such as an edge, but I’d lose sight of the picture of a whole as I did that.

Adding colour was also unfamiliar to me, compared with using my watercolours. I’ve stuck to one brush to get the feel for that particular setting, but the result feels like colouring using a felt-tip pen.

The whole exercise has been useful for getting used to the range of marks that I can produce with pen and brush in the program. I’m sure that I’ll find it useful.