After the hiatus…

Haven’t been blogging much of late. You might have noticed. Due to major engineering works on my train line into London during the whole of my long summer holiday,  I was effectively grounded. They may well have been improving the platform lengths at Waterloo but this caused my cultural growth to be temporarily truncated. I wanted a break and I didn’t particularly want to write so I turned my focus homeward and spent my entire summer decorating, gardening and up-cycling old furniture. I had a thoroughly enjoyable five weeks, rolling out of bed straight into painting clothes, hair unbrushed and just getting on with it. More about that another time – I really must get back to some writing now the darker evenings  are drawing closer – but for now, here’s a post I found yesterday, semi-forgotten and half written in my WordPress draft box. 

And so it came to pass that, with temporary membership in hand, I left Sissinghurst (see previous post) and wended southwards to Lewes. Now Nationally trussed and fully paid up with guide book in glove compartment, I decided to check out Virginia Woolf’s house.

The journey took me through some stunning Sussex countryside and as I bowled happily along the A27, listening to my Rolling Stones compilation with my intended destination only a few miles away, I remembered somewhere else I needed to see first. A couple of years ago I visited Charleston – the beautiful home of Bloomsbury Group artist Vanessa Bell and, not so coincidentally, the sister of Virginia Woolf.  The place was so enchanting that I ran out of time to see nearby Bewick church, the interior of which was decorated by Vanessa, her son Quentin Bell and her lover, Duncan Grant.

I turned off the main road down a very narrow country lane and found the tiny church behind an old stone wall.

There was no one about; I had the place to myself.

From the outside, the building looks pretty much like any other small rural country church, but inside is a wonder to behold.

Not only are the walls adorned with these fantastic murals, the pulpit also retains its original Bloomsbury design. 

Pleased I’d made the minor detour, I sallied forth (I’ve always wanted to say that: it seems to fit in here) to the tiny village of Rodmell, just south of Lewes in East Sussex. It was devilishly difficult to find. Usually there are plenty of brown signs indicating a tourist attraction but there were none.  I’d consulted the map before I’d set off. When I say map, I mean a paper one. I don’t have or want a Sat Nav although I do use Google Maps to help plan a journey beforehand but on the road I stick to my trusted old, much thumbed, AA version that is unravelling from its spring binder. The old-fashioned way worked a treat. At the end of a narrow village lane, encrusted with soil deposited by recent tractor wheels, I discovered Monks House, the 17th century country retreat of Virginia Woolf and her husband, Leonard.

The house is small and unassuming, set in a garden which was a riot of colour when I visited. Bought by Virginia and her husband during the 1920’s as a bolthole from their increasingly busy London life, the couple added to and improved the house over the years until in 1940, they began living there full time after their London apartment was damaged during wartime bombing.

The living room is a mismatch of colour, pattern and styles…but it works.

 

The delicate painting on the backs of these dining chairs is the work of Virginia’s sister, Vanessa Bell.

And I can’t resist a jumble of plates and miscellanea on an old dresser.

Virginia’s bedroom is approached by its own door from the outside – an extension to the original building. One immediately gets the sense of her own private domain. It is a shame that none of the books filling the shelves actually belonged to Virginia – especially as the volunteer guide cheerily informed me that when the Trust took the place over the house was crammed full of the couple’s reading material: it literally was stacked all over the place, their shelves having long since proved inadequate. On closer scrutiny of the books  displayed, I discovered that most of them were titles printed after Virginia’s death. This kind of lack of attention to detail really infuriates me so when, later on, I was wandering around the garden and another kindly volunteer, dressed as who I can only assume was supposed to be Lytton Strachey, asked me if I’d like to listen to his reading of part of one of Virginia’s novels, I declined.

Above – two views of the stunning garden and out to the orchard behind. Beyond this is the river where, on 28 March 1941, Virginia drowned herself by wading out, her pockets filled with pebbles.

This painting of Virginia by her sister, Vanessa Bell, hangs in the living room of the house. I wondered what her state of mind was when it was painted. She has a troubled look doesn’t she? She struggled with depression all her life.

As I left the peaceful village of Rodmell and drove home on a glorious early summer evening, I pondered the link between depression and the highly creative. It seems to haunt so many people who have brought great art (in whatever form) to the world. I found this article which made interesting reading.

There is, it seems, a high price to pay for prolific creativity.

Now back to my furniture…

 

 

 

 

 

 

 

 

 

Advertisements

It was half term a few weeks back. The SSF was away (on some sort of endurance test to northern climes, as it turned out) and I had unmitigated freedom to contend with. On a whim, I set about redecorating the kitchen. I like painting and I like orderliness. I was orderly. I was methodical. I wrapped my brushes in cling film every evening. Things were going surprisingly well until, after flicking through a few home design magazines, I had the brilliant notion of a ‘feature wall.’ I tried a few test pots out on designated wall, creating a Kandinsky-ish effect. The results were hideous. None of the shades I had chosen remotely resembled those advertised. This spontaneous need for colour injection had slowed my progress. Hastily I covered the mess with a calming neutral and decided an outing was required.

I have a list of Places-I’ve-Been-Meaning-To-Visit. Checking through this by now extensive directory, the thought occurred that several sites I had highlighted belong to the National Trust. So, quicker than you could spit at the mention of Michael Gove, our new Environment Secretary (latterly the destroyer of our education system as we knew it), I performed a complete moral U-turn and decided to sign up for membership. I can’t believe I’m even admitting this, so critical of this institution have I been in the past. And still am and probably still will be.

It didn’t start well.

To explain fully the signing up scenario I’ll have to confess to a recent personal event. I had a birthday. A fairly monumental one as it happens but one that comes with a few welcome perks such as free prescriptions and eye tests, a national rail card and reduced price entry to practically everywhere. Everywhere it would seem, except the National Trust.

After a lengthy drive eastwards to deepest Kent one morning, I arrived at my first planned property intending to join up there and then. However, wielding my driver’s licence as proof of age cut no ice with Miss Twinset who filled in my particulars. She very sweetly and ever so slightly smugly told me that to qualify for a Trust discount one has to have been a member previously for five consecutive years.

Unusually I held my tongue, bit my lip and whatever else most people do in situations such as this while thinking that with age must come acceptance. I imagine if I’d have had a membership of anywhere for five consecutive years then the chances are I’d have done everything on offer pretty much to death anyway: what would be the point of a monetary enticement?

I kept quiet. The new old me signed up meekly and, clutching my temporary pass in my gnarled old hand, I picked up a welcome pack which, I was horrified to discover, included an emblematic sticker for my car. I had now well and truly joined the ranks of those who frequent gift shops to buy local jam and tins of themed biscuits.

I had arrived at Sissinghurst Castle Garden, former home of poet and writer Vita Sackville-West and her diplomat and author husband, Harold Nicholson. The couple bought the place in 1930 and set about making a home for their family. Vita developed her love of gardening here and took delight in planting, designing and experimenting. She lived a fairly wild existence, had many liaisons with other women and a decade long affair with Virginia Woolf but always remained married to Harold.

 

 

When she died in 1962, Harold decided that her legacy should be preserved for us all to enjoy and left the place in the hands of the National Trust. I have to say, they’ve done a good job. The place is beautiful. It helped that the sun was shining and the day warm, but I spent two or three hours just wandering around the gardens and taking the long walk around the lake.

I even had time for a quick lunch in the ubiquitous cafe before heading off to the next place on my list. But that’ll have to wait for another day. This membership thing may well catch on.

 

I went to Woking recently. It’s not far by car and I’d read that there was a Henry Moore exhibition showing there. Now, Woking isn’t a place one immediately associates with culture – it has a mediocre shopping mall, expensive parking and a horribly stressful one-way system currently exacerbated  by complicated roadworks. There is, however, a decent theatre and cinema complex but you have to wade through a phalanx of overly large folk eating their way through super-sized meals in a ‘food court’ full of fast food outlets. It always strikes me as odd that these bulky types, noshing their way through zillions of calories, tend to favour sports clothing: tracksuits, leggings and t-shirts that must surely contain a Lycra percentage, so tight are they stretched across their ample stomachs. Why is that? I’m fairly certain that the sportswear isn’t fulfilling its intended function.

Sorry, I’m straying off topic.

I was headed for the Lightbox. This is Woking’s arts venue and it occurred to me that I’d been there once before, years ago, when I took Son (aged about twelve) to an exhibition about Surrey during WW2. Why I haven’t been back since is a mystery…the place is a light and lively proactive three story area stuffed full of ever changing exhibitions and workshops for school parties with a very acceptable looking cafe area in the foyer where any suggestion of chips with Lycra is thankfully absent.

img_2182

I was amazed that entry to the Henry Moore cost me just £3 – which also allows me entry into any exhibitions at the Lightbox FOR A WHOLE YEAR. While I couldn’t believe this my gob was even more smacked when the young lady behind the till mentioned apologetically that if I lost the entry card she had just given me, I’d have to pay £5 to replace it. This must be the best value exhibition centre IN THE WORLD.

The Henry Moore show ‘Sculpting from Nature’ concentrated on inspiration he drew from his surroundings– studies of shells, feathers and bones. The collection included drawings, maquettes, studio materials and working models plus three or four of his monumental sculptures, all loaned by the Henry Moore Foundation.

img_2180

From a very young age, Henry Moore was an avid collector of natural things and at the Lightbox show there is a central cabinet filled with some of his precious finds. It’s easy to spot how these organic shapes – from driftwood and shells to shards of flint – were transformed into his iconic work that is so distinguishable today.

img_2177

An informative archive black and white film, playing on a loop looks into the work of one of Britain’s most famous contemporary sculptors and there are shots of Henry walking around his garden at Perry Green – a place I visited several years ago with WF1 and which I think now requires a return.

But my tour of Woking’s Lightbox was far from over, for on the third floor was another fascinating exhibition. The Ingram Collection of Modern British Art was commemorating the one hundredth anniversary of the artist John Minton (a new name to me) who was inspired by the British Neo-Romanticism movement of which John Piper and Graham Sutherland were major figureheads. Alongside Minton’s works were those of his contemporaries, John Craxton, Julian Trevelyan and Alan Reynolds, none of which I was familiar. I love discovering new things.

img_2172

Two Fishermen, 1949 by John Minton (1917-1957)

img_2167

Thames Houseboats, The Weir 1963, by Julian Trevelyan (1910-1988)

img_2162

I am With Child, 2008, by John Craxton (1922-2009)

According to Art Fund’s director, Stephen Deuchar, Chris Ingram is one of the most active and thoughtful collectors of modern British art today. Well, I’ll agree with that – I had a bonus hour wandering around a virtually empty gallery, enjoying the work of many painters I’d never heard of. Thanks to Chris Ingram, I say.

And thank you, Lightbox. As I left, I snapped this statue outside the main entrance. It shows author HG Wells, who moved to Woking in 1895 and wrote his most famous novel ‘War of the Worlds’ while living in a house on Maybury Road.

img_2181

On the journey home I cogitated over other famous Woking residents and it came to me that the Modfather, Paul Weller, hails from here. If you’re in the dark as to who I’m talking about – remember The Jam from the early eighties? Remember one of their hit singles,  Town Called Malice? Paul Weller wrote that song about Woking, his childhood home.

Just how diverse can one town be?

 

Henry Moore Sculpting from Nature runs until 7 May

Ingram Collection runs until 26 March

Lightbox, Woking.

 

 

 

Only in England

I’ve recently been lamenting the lack of any decent blogging fodder so I cheered up no end when presented with a little gift this morning courtesy of breakfast news: the urge to share proved irresistible.

Steve Bloom, an independent second-hand bookseller from Hawes, a tiny village in the Yorkshire Dales, hit national headlines this week because he dares to charge people 50p to browse in his shop, Bloomindales. (Get it? Bloom–in–Dales? The story gets better).

Steve generously offers to refund the browsing fee should a purchase ensue but the local parish council are up in arms because, according to various media reports, they have had twenty complaints in four years (good grief, how do they cope?) about Mr Bloom’s rudeness when customers refuse to cough up. He even called one man ‘a pain in the arse.’ Amazingly, opinion on this earth shattering news is divided. Some folk seem outraged that a nominal fee is required – haven’t they ever been to a craft fair? Here in Surrey it’s quite usual for a £10 entry fee to be charged – and there’s no refund under any circumstances, not even if you clear the knitted animal stall right out.

Now dubbed the Basil Fawlty of booksellers and the rudest shopkeeper in Britain, Mr Bloom can probably look forward to celebrity status and a long line of customers just waiting to be insulted. After all, there are now Fawlty Towers themed events which command top dollar. Why not Bloomin’ Bad-tempered Books?

Should we be expected to pay-to-browse? Mr Bloom has conceded to a sign on his door detailing his 50p eccentricity. Is it eccentric? Perhaps he’s just brilliant at marketing and all this adverse publicity will get the punters pouring in.  I do hope so.

So – what do you think? While you’re making up your mind, here’s a bit of vintage Basil to remind us all of what it is to be British. Enjoy!

 

 

 

 

Tis the season…

I wonder why it is that, however carefully you pack away the Christmas lights each year, you end up wrestling with a tangled mass of wires before draping them over the tree to discover that they’ve decided not to work. They worked fine during the plug-in test in their jumbled state. This is one of life’s many little irritations and reasonably resolvable after checking the efficacy of each individual bulb but it is a seasonal time-waster.

I managed to avoid one of the stressful Christmas traditions this year – that of actually going out and buying the tree in the first place. For once, last year’s tree has been flourishing, potted up in the back garden, requiring very little maintenance other than the occasional watering. Because I have to have a real tree – and I’m very determined about this – nothing will incite me to unfold a fake tree from my attic – the task of selection and carriage falls to me. Many a year I have suffered scratches to face and arms as I force the shapeliest spruce I can find into my modest hatch-back.

img_2138

So with the tree decorated, all presents wrapped and cards written, unusually I had time on my hands so, as you do, I hemmed a pair of curtains. Now, this might not sound like much but let me tell you, my sewing box and I are distant acquaintances. It sees the light of day occasionally if a button goes astray but coming out as part of some sort of enjoyable leisure activity is, frankly, risible.

I put this down to the trauma I suffered as a child in my first year at secondary school at the hands of our sewing mistress, Mrs Gorrill. She was a sour-faced little woman, always dressed in black (I think it may have been taffeta – whatever it was, it rustled) and she would rap us over our knuckles with her pinking shears if the stitching on our gingham cookery aprons wasn’t neat enough. My knuckles that term were red raw and I spent much of the time in that sewing room unpicking my sub-standard effort gazing across to the adjacent hut where the boys were doing technical drawing, wondering why girls were excluded from learning about perspective.

We were relegated to ‘domestic science’ which I reckon was only a generation away from ‘housewifery.’ I wasn’t much better in the cookery room, either. I remember my Swiss roll unravelling and ending up on the floor and being told off for pointing a saucepan handle over a hot ring when, in my defence, I’d been taught at home to angle handles away from the edge so that smaller siblings wouldn’t reach up and tip molten liquid over themselves. I think the teacher burned her hand on that handle as she was reprimanding me…hadn’t she heard of oven gloves?

These days cookery is called ‘Food Technology’ and anyone is allowed to take it as a subject, although its current status has gone the way of many of the more useful subjects on the national curriculum and has been savagely down-graded in favour of the academic subjects. While students are still required to make (in my opinion) unnecessary culinary items – fresh pasta, for instance, whoever is going to make their own pasta in halls of residence? – for some pupils, creating dishes in the kitchen is what they excel at and should be given as much kudos as an A star in English or Maths.

img_2144

Little Mai from the Moomins looks just like my old sewing teacher

But what am I thinking? This wasn’t meant to turn into an education based rant. I simply wanted to wish everyone a very Merry Christmas and a Happy New Year. Have fun, enjoy yourselves – and cheers to another blogging year!

 

 

Funny Shorts

No, the title doesn’t refer to the wearing of hideously patterned Bermudas: just a couple of moments that amused me recently and which I thought were worth sharing.

I was on my way to lunch with WF1 when I spotted this. Other road users must’ve thought I was some sort of mad woman as I laughed away to myself, veering off the road when I could safely park up, walk back and take a snap.

img_2130
It’s great, isn’t it? There are definitely some cases where the absence of proof reading or checking is vital to our well-being. It certainly made me feel better. Thank goodness for illiteracy.

I was obviously in frivolous frame of mind that day because not much further on I saw a homemade poster taped to a road sign advertising a
‘Massive Rug Sale‘.
And I wondered how large a rug has to be before it’s a carpet.

At home with Geffrye

How could anyone not like a museum called Geffrye? (Pronounce as Geoffrey or Jeffrey, depending on your spelling preference). I’d never heard of this place until recently whilst trawling my Art Pass guide. (Quite frankly, I’m beginning to think the Art Fund should be paying me commission, the amount of times I mention the organisation favourably on this blog). Situated right by the railway station at Hoxton – an area of London I’d not visited since the early seventies -The Geffrye Museum is now in one of the most sought after postcodes for young moneyed Londoners – especially the ones with the lumberjack shirts and beards, apparently. (I don’t know what constitutes a female hipster but I’m guessing facial hair isn’t a requirement).

Hoxton lies just north-east of the city between Bethnal Green and Shoreditch. In my student days we had to travel to Shoreditch once a week to the college annex which was housed in a building that wouldn’t have been out of place in a Dickens novel. It had one of those cage lifts with the metal fretwork doors. We used to pile into this rickety structure, overload and get it stuck on purpose every Friday just to abbreviate and alleviate the tedium of Mr. Goldstein’s Cosmetic Science classes.

Anyway, back to Geffrye. When I saw that this is a Museum of the Home, I knew that WF1 (Work Friend 1) would be my ideal companion for the day. She likes anything home design related and of course shares the same days off as me. We discovered that it’s easy to get to from Waterloo and arrived as early as our off peak train cards would allow.

img_2074

The spacious front lawns at the Geffrye

I picked up a comprehensive guide book which explains that ‘the museum is set in the former almshouses of the Ironmongers’ Company, built in 1714 to provide homes for the elderly poor. They were founded with a bequest made by Sir Robert Geffrye, a wealthy merchant who became Master of the Ironmongers’ Company (one of the London guilds) and Lord Mayor of the City of London.’

The buildings were converted into a museum of furniture and opened in 1914. The surrounding gardens were – and still are – a free space for local people to enjoy.

img_2082

Conservatory overlooking the rear gardens

The museum has arranged its collection into a series of living-rooms through the ages, depicting the way the middle classes have lived since 1630. There is plenty for the visitor to read by way of storyboards and there are ‘feeling’ samples of the textiles used in each set which enhances the whole sensory experience. We were very impressed – the curating here has been done with meticulous attention to detail.

img_2102

An 1830 drawing room

img_2104

An 1870 drawing room

img_2108

At home in 1890

img_2110

How we lived in 1910

img_2111

The height of modern living in 1935

One of the almshouses – Number 14 – has been restored so that visitors to two of the rooms can glimpse life as it would have been in the 1780’s and the 1880’s. A very knowledgeable and enthusiastic guide spends around half an hour explaining the history and restoration process which we found fascinating.

img_2083

A simply furnished bed-sit, circa 1780

img_2084

Same room, updated 100 years to 1880.

With the help of lottery funding and the work of the Geffrye Museum Trust (funded by the government) the resources available here are just wonderful. A full range of educational programmes is offered throughout the year for schools, families, youth groups and adults. WF1 and I visited during the half-term break so it was crowded with children busily finding out about how their ancestors lived. There is a delightful café on site where you have to wait to be seated. While waiting, you stand beside a delicious array of home-made cakes and pastries and when you are finally seated overlooking the gardens and bee hives, a waitress takes your order. I had home-made soup and sour dough while WF1 had a tasty looking sandwich on home-made bread. There is an option to have a full cooked meal with wine…maybe next time.

The gift shop’s not bad either: tasteful merchandise with relevance to home and garden and a good selection of books. Any trashy logo-imprinted tat was thankfully conspicuous by its absence.

img_2090

A view through the garden ‘rooms’

Outside, between the museum and the station, the gardens are divided into a series of period garden rooms reflecting the rooms inside. There is a Knot Garden; a Herb Garden, a Town Garden and so on. Going in late October doesn’t show the gardens at their best so WF1 and I have already pledged to return next spring.

img_2093

Entry to the museum is free (donations obviously welcome) and there is a charge of £3 for the almshouse tour which must be booked on the day in advance.

What’s not to like? I’d have no qualms about awarding the Geffrye five stars.