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Tag Archives: Arts and Crafts

Jeckyll and the Japanese wave

10 Thursday Nov 2016

Posted by reggie unthank in Aesthetic Movement, Decorative Arts, Norwich history

≈ 13 Comments

Tags

Arts and Crafts, Barnard Bishop and Barnards, James McNeill Whistler, Japonisme, Thomas Jeckyll

Sackler sunflowers.jpg

Thomas Jeckyll’s ‘Sunflower’ andirons – emblems of the Aesthetic Movement. (c) The Freer and Sackler Galleries, Washington DC USA. Photo: Neil Greentree 

He was a key figure in the Aesthetic Movement who helped spread an esoteric fascination with japonisme to the nation, yet Thomas Jeckyll was an unsung local hero who died in a Norwich lunatic asylum. In previous posts [1,2, 3] I discussed how this son of a clergyman from Wymondham, Norfolk  joined the set of London aesthetes including Whistler, Swinburne, Rosetti and fellow Norfolkman Frederick Sandys. This influenced his work  back home in Norfolk where his designs for Barnard Bishop and Barnards’ Norwich Iron Works advertised the Anglo-Japanese Movement on an industrial scale.

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Thomas Jeckyll with his father George in the 1860s ((c) Picture Norfolk. Norfolk County Council)

Jeckyll’s first national success was with the Norwich Gates that he designed for Barnards in 1859 [4]. They took three years to manufacture and, when exhibited in the 1862 International Exhibition in London, were awarded a medal for craftsmanship; Jeckyll – who received ecstatic critical acclaim – was elevated to national attention. The people of Norfolk and Norwich bought the gates by public subscription and presented them to the Prince and Princess of Wales on their marriage in 1863. The gates can still be seen at Sandringham.

Norwich Gates.jpg

Norwich Gates, Sandringham, Norfolk (c) Museum of Norwich, Norfolk Museums Service

But Jeckyll’s continuing reputation was shaped by events on the other side of the world. In 1853-4 US Admiral Perry used gunboat diplomacy to force Japan out of its self-imposed isolation, opening trade with the west. The woodblock prints that emerged had an immediate impact on western art: the works of Manet, Monet, van Gogh, Vuillard, Toulouse-Lautrec, Bonnard, Cassat all showed the signs of Japanese influence, often being occidental versions of original oriental themes [5]. The unusual (to western eyes) cropping of the image, flattened shapes and planes composed of few subtle colours changed the direction of French art in the latter half of the C19th.

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‘Mlle Marcelle Lender en buste’ by Henri de Toulouse-Lautrec (1895); bust of the waitress Okita of the Naniwaya teahouse by Kitagawa Utamaro (1753-1806)

James McNeill Whistler, who was an avid collector of Japanese prints and pottery, is said to have been the first to bring back japonisme to this country after his return from Paris in 1860. The art dealer Murray Marks said that the artist had “invented blue and white in London” [5]. The mania for things Japanese could attract a certain preciousness; after Oscar Wilde said he was finding it hard to live up to his blue china, George du Maurier – one of Jeckyll’s London circle – pricked the bubble with this Punch cartoon:

the-six-mark-tea-pot-400.jpg

The Six Mark Teapot (c) Punch

Aesthetic Bridegroom: “It is quite consummate is it not?”

Intense Bride: “It is indeed! Oh, Algernon, let us live up to it!”

Whistler’s own painting was changed by his exposure to Japanese art. His well known nocturne of Old Battersea Bridge certainly borrowed strongly from Hiroshige’s print of Kyobashi Bridge, part of his One Hundred Famous Views of Edo (as Tokyo was called).

WhistHiro1.jpg

Utagawa Hiroshige, Kyobashi Bridge 1857: James McNeill Whistler, Old Battersea Bridge 1859

While the fashion for things oriental was originally confined to a metropolitan elite, where it developed out of their interest in the fine arts, it soon became a widespread phenomenon of the applied arts [5]. The influential decorative arts designer Lewis F Day recognised that Jeckyll’s work was amongst the first to show this Japanese influence [4]. Art dealer Gleeson White wrote that Jekyll was:

the first to design original work with Japanese principles assimilated – not imitated [6]

As designer for Barnards at their Norwich foundry, Jeckyll was able to spread japonisme  and he did this largely via the Great British Fireplace (coming soon to BBC1). From ca 1870 Barnard Bishop and Barnards produced numerous japonaise designs into which Jeckyll skilfully introduced cranes, cherry blossom, chrysanthemums, sunflowers etc.

Jeckyll stove.jpg

Designed by Thomas Jeckyll From Barnards’ 1884 catalogue. (c) Museum of Norwich, Norfolk Museums Service

Japanese heraldic roundels or mon also became a recurring motif in Jeckyll’s designs, providing a ready shorthand for japonisme.

Roundels Fplace.jpg

Jeckylll fireplace (c)  The Museum of Norwich, Norfolk Museums Service

Jeckyll designed numerous pieces of metalwork for the fireside, including perhaps his best-known items: andirons or firedogs in the form of the sunflowers that were to become emblematic of The Aesthetic Movement [7,2]. These sunflowers fenced in Jeckyll’s Pagoda that once stood in Chapelfield Gardens and – in reproduction form – now decorate the gates to these Gardens and to Heigham Park (see previous post [2])

sunflower dogs.jpg

Barnard Bishop and Barnards catalogue 1884. (c) Museum of Norwich, Norfolk Museums Service

But it was this fender – seen in the apartment of Jeckyll’s friend, the Norfolk painter Frederick Sandys – that impressed a leading figure of the Anglo-Japanese Movement, E.W. Godwin. Indeed, Whistler insisted on having one of these fenders in his own apartment even though Godwin, who was refurbishing it, could have supplied fenders in his own designs [4].

Jeckyll-Brass-Fireplace-Fender_2_1.jpg

EW Godwin’s sketch of the ‘Sandys fender’ (c) Victorian and Albert Museum, London

This fender can be glimpsed in part of a larger sketch made in Charles Barnard’s home ‘Greyfriars’, Norwich (demolished). Jeckyll’s sunflower andirons are also illustrated.

BarnardsFPlace.jpg

Firedogs. (c) Museum of Norwich, Norfolk Museums Service

These were not prototypes made just for friends, for the fender must have been sold in fair numbers through Barnards’ catalogues and showrooms. Barnards’ Norwich showroom was on Gentleman’s Walk next to the market. By the 1930s the Hope Brothers had taken over the shop but it was still possible to see on the second floor the balcony railings that Jeckyll designed.

Hope Bros.jpg

(c) Picture Norfolk. Norfolk Museums Service

Barnards also had a showroom in Queen Victoria Street, London.

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Barnards London showroom (c) Museum of Norwich, Norfolk Museums Service

Below, we can see the fender advertised in the London showroom – the photograph providing a glimpse of the mishmash of Japanese, Chinese and even medieval influences available to the rising middle classes wanting to establish their Aesthetic credentials.

barnards showroom.jpg

Barnard, Bishop and Barnards London showroom in the latter part of the C19. (c) Museum of Norwich, Norfolk Museums Service

The scalloped pattern, which became one of Jeckyll’s most frequently used motifs, was based on a Japanese design. For the fender, Jeckyll had used a single layer of semi-circles as the main motif but it is clear from his other work that this had been extracted from the larger seigaiha (blue ocean wave) design.

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Seigaiha pattern on a kimono. (c) SmithjackJapan on Etsy

The overlapping waves were also used on cast-iron garden benches.

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Barnards catalogue 1884. (c) Museum of Norwich, Norfolk Museums Service

A local application of the seigaiha design can be seen on the gates at Sprowston Manor Hotel on the outskirts of Norwich.

SpowstonGates.jpg

Jeckyll also used the wave design independently of the work he did with Barnards. Here it is seen in a terracotta plaque on the garden wall of High House, Thorpe St Andrew (left) and on a quadrant from the ceiling of the Boileau Memorial Fountain (right, demolished) that once stood at the junction of Newmarket and Ipswich Roads near the old Norfolk and Norwich Hospital (see previous post on the fountain [1]).

2waves3.jpg

Left, Jeckyll plaque at High House, possibly made at the Costessey Brickworks. Right, a quadrant of the ceiling from the Boileau Fountain [1]

Fabric is not always durable but in this case the japonaise embroidery, made to Jeckyll’s designs, outlived the Chapelfield Pagoda that was dismantled in 1949. Fortunately, the hangings that decorated the pagoda at international exhibitions are conserved in Norwich Castle Study Centre –the seigaiha design bottom right.

Pagoda_final.jpg

Left: The Chapelfield Pagoda. Right: Jeckyll’s hangings used to decorate the structure when it was exhibited internationally. (c) Norfolk Museums Service

Jeckyll was an inventive designer who was certainly not restricted to one design or material. He had previously collaborated with the sculptor Sir J Edgar Boehm on the Boileau memorial Fountain and when Boehm sculpted the monument to Juliana, Countess of Leicester for the estate church at Holkham Hall it is highly likely that Jeckyll designed the japonaise base [4].

holkham.jpg

Base of the monument to Lady Leicester in the church of St Withburga, Holkham Estate, Norfolk, which is attributed to Thomas Jeckyll

Sources

  1.  https://colonelunthanksnorwich.com/2016/04/15/thomas-jeckyll-the-boileau-family/
  2.  https://colonelunthanksnorwich.com/2016/01/06/jeckyll-and-the-sunflower-motif/
  3.  https://colonelunthanksnorwich.com/2015/12/26/two-bs-or-not-tw…s-thomas-jeckyll/
  4. Soros, Susan Weber and Arbuthnott, Catherine (2003). Thomas Jeckyll: Architect and Designer, 1827-1881. Yale University Press.
  5. Ives, Colta Feller (1974). The Great Wave: The Influence of Japanese Woodcuts on French Prints. The Metropolitan Museum of Art.
  6. The Cult of Beauty (2011). Eds Stephen Calloway and Lynn Feder Orr. V&A Publishing
  7. The Aesthetic Movement (1973). Ed, Charles Spencer. Academy Editions, London.‎

Thanks to: Hannah Henderson, Museum of Norwich, Bridewell Alley for showing me the Jeckyll collection; to Michael Innes for allowing me to photograph the Jeckyll terracotta at his house; to Mary Parker, warden of Ketteringham Church for providing the photograph of the ceiling in the Boileau Memorial; to Lisa Little of Norwich Castle Study Centre, Norfolk Museums & Archaeology Service, Shirehall,for showing me the Jeckyll hangings and to Clare Everitt of Picture Norfolk for permissions.

Visit the display of Barnards’ work and Jeckyll’s designs in The Museum of Norwich, Bridewell Alley, Norwich

The Norwich Society helps people enjoy and appreciate the history and character of Norwich.   Visit: www.thenorwichsociety.org.uk

NorwichSocLogo.jpg

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The sailing ship as an Arts & Crafts motif

26 Friday Feb 2016

Posted by reggie unthank in Art, Decorative Arts, Stained Glass

≈ 9 Comments

Tags

Arts and Crafts, Morris and Co, Norwich buildings, sailing ship emblems

From the mid-C19th to the early C20th, the sailing ship was a common, if not central, decorative motif in the Arts and Crafts movement. It is difficult at this distance to appreciate how popular this image was but some idea of its pervasiveness is indicated by the number and range of household objects to which it was applied. The ship in full sail appears on several buildings in Norwich.

Billowing sails symbolise adventure and escape, which may explain its popularity at the peak of Victorian industrialisation. A previous blog on the Arts and Crafts house mentioned William Morris’ moral crusade against mechanisation and the revival of a medieval style unsullied by industrialisation. When it came to furnishing their aesthetic homes the middle classes, keen to display their artistic leanings, would have been influenced by magazines like The Studio. In this advertisement from that magazine, which overflows with cultural references, Liberty’s of London (“Arts&Crafts Central”) included several sets of billowing sails.

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Advertisement for Liberty’s on the back page of The Studio vol 15, No68 (1898).

LibertyAd1.jpg

The Viking ship on the plate on the mantelpiece is in full sail, like the  galleons on the frieze.

Most Arts and Crafts homes would  have had this motif somewhere for it occurred in paintings and book illustrations, on furniture,  jewellery, pottery, stained glass etc.  A quick survey in a favourite Norwich shop specialising in Arts & Crafts [1] revealed ships in full sail on a wooden fire screen and on a hammered-copper clock face …

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ShipClock _2.jpg

The sailing ship also appears on the building itself; it is seen here on this galleon found on a plaque on Garsett House, named after a former mayor (died 1611). It is said to have been built in 1589 from timbers salvaged from a Spanish galleon defeated in the Armada, hence the alternative name of Armada House [1].

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Armada House, St Andrew’s Street, Norwich

The south wing of Armada house was cut away in 1898 to allow construction of a road carrying the new tramway [2].

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Armada House on St Andrew’s Hill, opposite Cinema City. (c) Picture Norfolk

Perhaps the best known ship in the city is on George Skipper’s Haymarket Chambers, currently the home of Prêt à Manger.

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George Skipper’s Haymarket Chambers 1901-2. (c) RIBApix

Not quite as depicted in this drawing, each of the two lozenges on the towers contains a large Royal Doulton tile bearing a galleon [3]. The Doulton artist WJ Neatby (of Harrods’ Food Hall fame) also designed the tiles for Skipper’s Royal Arcade nearby but although the ‘Haymarket’ sailing ship is in Neatby’s bold art nouveau style I have been unable to find evidence in Doulton catalogues that ties him to this work.

SkipperShipSmall_1.jpg

From the grandeur of the building I had thought the facade might have originally hidden a cinema but the semicircular tympani within the arches  contain Doulton terracotta palms – either a reference to J H Roofe’s superior grocery stores on the ground floor or to the exotic possibilities offered by the Norwich Stock Exchange situated above the shop [4].

This beautiful stained glass panel on Tower House (below), at the junction of Kingsley and Newmarket roads, is quite similar, hinting at common influence.

TowerHouseNorwich_1.jpg

For a source of these influences we can look again to The Studio, which disseminated the designs of contemporary style-makers. Christopher Dresser, for example, was a luminary of the Arts and Crafts Movement and an 1898 edition of the magazine shows one of his fabric designs…

Ch Dresser Ship Design.jpg

Christopher Dresser design for cretonne. From, The Studio vol 15 No. 68 (1898)

Charles Robert Ashbee was another artist of immense importance to the Arts and Crafts Movement and was founder of the Guild of Handicraft. The sailing ship was one of his favourite motifs and it appeared frequently in the guild’s work.

C R Ashbee vam.co.ac.uk.jpg

Brooch, originally a pendant, designed by CR Ashbee ca 1903. (c) V&A Images

CFA Voysey’s designs for Arts and Crafts houses were widely copied but as someone who designed contents as well as houses his influence was all-pervasive, as seen here in his design for fabric.

CFA Voysey fabric design.jpg

‘Three Men of Gotham’. Design for printed velvet by CFA Voysey ca 1889. RIBA Collections

Another key figure was Edward Burne-Jones, associated with the Pre-Raphaelite  Brotherhood and a founding partner of William Morris’ decoration and furnishing business, Morris & Co. Burne-Jones was commissioned by Morris to design this dramatic stained-glass panel for the home of an American tobacco heiress who had been told of the Viking origins of the area.

Burne-Jones-Viking_Ship1.jpg

The Voyage to Vinland the Good 1883-4. Designed by Edward Burne-Jones, made by Morris & Co. (c) Ad Meskens/Wikimedia Commons

It may be unfair to follow this technical and artistic tour de force with the ship in the window of The Gatehouse pub on Dereham Road for the building is a very late example of Arts & Crafts style (see Twinned Towers post); when the glass was installed in 1934 contemporary artists would have been more familiar with a simpler, geometric Art Deco style.

TheGatehouse Norwich_1.jpgAround 1900 Glasgow was the undisputed centre for art nouveau design in Britain and Jessie Marion King was one of its leading exponents, focusing mainly on illustration. She, along with Margaret MacDonald – wife of Charles Rennie Mackintosh – was one of the ‘Glasgow Girls’ and Jessie’s feminine, curvilinear style shares resemblances with the MacDonald/Mackintosh group. The sailing ship in the illustration below does not look as ruggedly seaworthy as the Burne-Jones Viking ship but is one of countless examples of the sailing ship in children’s books, stretching to ‘Swallows and Amazons’ and beyond.

JessieM King_4.jpg

‘Wynken Blynken and Nod’ by Jessie M King. The Studio vol 15 No. 70 (1899)

No ships in the image below – just an excuse to show one of Jessie King’s beautiful book covers.

JessieM_King.jpg

From her ‘Three Ages of Woman’ designs, Jessie M King’s cover illustration for George Routledge and Sons’ series of classic books

As we have seen, the ship motif was executed in a wide variety of materials, one of the more unusual being the coloured pebbles used on this post-war panel outside St Paul’s church Tuckswood, Norwich.

St Paul Tuckswood_1.jpg

The last of the Norwich ‘ship’ emblems comes from Norfolk House in Exchange Street. The building – now a part of City College – was constructed after the war on the site of a furniture store that had been bombed in the Baedecker raids. Although constructed in a modern style it was intended that the building reflect something of local history and this was effectively achieved with the artwork below. The East Anglian shield is comprised of the cross of St George and the smaller St Edmund’s shield with its three golden crowns. Surmounting this is a craft that must have been a common sight into the early C20th – the Norfolk wherry whose shallow-draught allowed it to trade on the Broads.Norfolk House_1.jpg

Before the war, Raymond King and his wife had been impressed by the simple style of modern architecture in Sweden and wanted to build something forward-looking on the site. The model was the Town Hall at Halmstad in southern Sweden.

Norfolk House_Plunkett_1.jpg

Norfolk House, Exchange Street Norwich. Taken in 1951 by georgeplunkett.co.uk

This plaque in the foyer marks the inauguration of the building in 1951, the year of the Festival of Britain that celebrated British renewal and enterprise after a debilitating war.

NorfolkHousePlaque_1.jpg

The bronze plaque includes the Norfolk wherry, mirroring the ship on the parapet. Like all ships with wind in their sails it projects a brighter future … and one with an appropriately local flavour.

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Please let me know if you know of any other ship motifs in Norwich and Norfolk.

Sources

1.Antiques & Interiors, 31-35 Elm Hill, Norwich (www.artsandcraftantiques.co.uk)

2. georgeplunkett.co.uk. See entry on ‘Princes St 1 Garsett House’.

3. Bussey, David and Martin, Eleanor (2012). The Architects of Norwich. George Skipper, 1856-1948. Pub, The Norwich Society (available from citybookshopnorwich.co.uk).

4. racns.co.uk

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Twinned towers

14 Thursday Jan 2016

Posted by reggie unthank in Decorative Arts

≈ 4 Comments

Tags

Arts and Crafts, Cardiff Castle, Castell Coch, Gothic revival, Norwich buildings, The Artichoke pub Norwich, The Gatehouse pub Norwich, William Burges

When I first came to Norwich I was delighted to find two pubs in the Arts and Crafts  style whose conical roofs reminded me of a castle I used to see regularly throughout my childhood in Wales.

The first public house was The Artichoke at the top of Magdalen Street. Built in local materials (red brick and flint) with tapering chimney and mullioned windows it is very much in the Arts and Crafts tradition. But perhaps its most distinctive features are the conical roofs capping two-storey semi-circular bays.

ArtichokePH_Pixlr.jpg

The Artichoke, Magdalen Street Norwich

In view of these Arts and Crafts signifiers it was surprising to find that The Artichoke was built well after the First World War. The pub was built in 1932 by local builder R G Carter [1] for the brewers Youngs, Crawshay and Youngs. The photograph below was taken by George Plunkett that year and it has not changed substantially since then.

Magdalen Rd Artichoke PH1932PlunkettPixlr.jpg

The Artichoke in 1932 (georgeplunkett.co.uk)

The other pub is The Gatehouse on Dereham Road built in 1934, again by R G Carter and although Carter’s archives show no record of the architect(s) it is highly likely the two pubs were designed by the same hand(s).

Gatehouse PH Pixlr.jpg

The Gatehouse, Norwich 2016

The Artichoke resembles its sister building in having a two-storey bay under a conical roof, a dominant tapering chimney and the use of local materials – although the flint, here, is restricted to a panel in which it alternates with concrete blocks.  There have been minor structural changes since George Plunkett captured  it in 1939 (e.g., loss of one of the  chimneys to the right). This photograph also illustrates the use of the cat-slide roof, sweeping down from ridgeline to groundfloor. This was a feature of some of Edwin Lutyens’ domestic architecture of the earlier Arts and Crafts period and underlines the mixture of styles employed here.

Gate House PH1939Plunkett Pixlr.jpg

The Gatehouse (georgeplunkett.co.uk)

The Welsh castle in question – Castell Coch –  is, however, very much a product of the Victorian era and an outstanding example of the Gothic Revival. It was designed by the King of the Goths, William Burges, for the Third Marquess of Bute, John Crichton-Stuart [2].

castell coch rob carney Pixlr.jpg

Castell Coch (courtesy Rob Carney)

Built high on the side of a valley a few miles north of Cardiff, it was this castle that my sister and I craned our necks to see whenever we were driven to the city along the road below. We knew it as The Fairy Tale Castle – a description used by locals long before they’d seen the towers and turrets of Disney World.

Castle_Coch_from_A470Pixlr.jpg

Castell Coch from the A470 (Wikimedia Commons/RJMorgan)

In 1875 Burges built the red castle – Castell Coch – on the remains of a thirteenth century fort for Bute. Bute’s father had almost bankrupted the family in developing Cardiff docks but by the time John was born he  was referred to as ‘the richest baby in the world’, due to the wealth extracted from the family’s South Wales coal fields. Burges was a romantic, a dreamer who found his ideal client in Bute. Both men shared a deep passion for the medieval period and in Castell Coch Burges delivered Bute a Gothic fantasy, as he had done with the more extensive restoration of Cardiff Castle.  However, Bute never slept a night at Castell Coch.

Cardiff Castle Pixlr.jpg

Banqueting Room Cardiff Castle (cardiffcastle.com [3])

“a great brain has made this place. I don’t see how anyone can fail to be impressed by its weird beauty … awed into silence from the force of this Victorian dream of the Middle Ages.” (John Betjeman, 1952).

In designing Castell Coch, William Burges seems to have deliberately favoured the picturesque over historical accuracy: his towers were capped by conical roofs that were more typical of continental castles than of the 400 or so medieval castles dotted around Wales.

In doing this, Burges was following his passion for thirteenth century Gothic. In particular, he admired the French Gothic Revival and the works of a near contemporary Eugene Viollet-le-Duc [4], perhaps most widely known for his restoration of the medieval city of Carcassonne.

carcassonne Pixlr.jpg

Carcassonne (www.renfe-sncf.com)

Viollet-le-Duc was a controversial figure in that his works were imaginative recreations rather than faithful restorations but it was exactly this vein of medieval romanticism that Burges admired. “Billy” Burges’ own home, The Tower House (1875-81), in London’s Holland Park was a hymn to medievalism [5]. Like Castell Coch and Cardiff Castle it was furnished in medieval style, from the door-furniture to the  circular stair tower capped with a conical roof.

Over the years The Tower House has been home to Poet Laureate John Betjeman, actor Richard Harris (and singer of the strange but lovely ‘MacArthur Park’) and Jimmy Page of Led Zeppelin and ‘Circular Staircase to Heaven’ fame.

TowerHouse_RIBA_Pixlr.jpg

Burges’ Tower House, London (courtesy RIBA [6])

As a solution to capping circular towers it’s not surprising that conical roofs can be traced back to early medieval castle-building (not forgetting the defensive tower houses built in the Scottish Baronial style). The Gothic Revival brought back the conical tower at a time of anti-industrial romanticism but perhaps only the wealthy few could afford such architect-designed structures. CFA Voysey’s more domestic Arts and Crafts houses  allowed elements of these style to filter down to the middle classes into the beginning of the twentieth century but by the end of World War I the style had gone out of fashion. Hence the surprise at seeing such strong echoes in The Artichoke and The Gatehouse in the 1930s.

Stained Glass The Gatehouse Norwich.jpg

Norman influence in The Gatehouse PH, Norwich

Sources

  1. http://www.rgcarter-construction.co.uk/about/ [and RG Carter archives].
  2. Rosemary Hannah (2012).”The Grand Designer”. Pub Birlinn.
  3. A visit to the fabulous interior of Cardiff Castle is highly recommended (www.cardiffcastle.com) as is Castell Coch only five miles away (http://cadw.gov.wales/daysout/castell-coch/?lang=en).
  4. https://en.wikipedia.org/wiki/Eugène_Viollet-le-Duc
  5. https://en.wikipedia.org/wiki/The_Tower_House
  6. RIBApix at https://www.architecture.com/image-library/customers/login.html

I thank Jonathan Plunkett for access to the essential Norwich website:  www.georgeplunkett.co.uk. I am grateful to Mark Wilson and Alan Theobald for information on these two public houses.

 

 

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Recent Posts

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