It is not always the case that a new non-fiction book is a page turner, but ‘Craft Britain – Why Making Matters’ by Helen Chislett and David Linley is certainly one such. Page after page of beautiful photographs are surrounded by an informative, fascinating and interesting text. To be fair, craft usually photographs well, but these images are exquisite!
In my view, the book starts not on page one, but with the gloriously marbled blue endpapers by Lucy McGrath, acknowledged in the text – reflecting books in the nineteenth century when most would have had endpapers like this. It gives the book the quality that continues on the following pages.
Lucy McGrath is marbling paper here by flicking – in a controlled way – colour on to a thickened water base. A piece of suitably sized paper is then floated on the top and when lifted off the marbling has been transferred on to the sheet of paper. The beautifully patterned paper is used not simply for endpapers but for books, book marks, Christmas baubles and much else.
From the wonderfully colourful to the monotone, but equally exquisite work of Geoffery Preston MBE. He works in stucco/plaster, moulding by hand the flowers, foliage and flourishes that he designs. This is an overmantel that he’s produced and if you want to see more of his work, save up and go to the bar at the Goring Hotel in London where you’ll be amazed at the sea creatures and his designs that are on the wall leading out to the garden. This craft links to pargetting which is included in the book.
Although all craft is beautiful in my eyes, particularly heritage craft (!), it is often, and perhaps usually, useful as well, and none more so than most objects to do with the making of shoes. Steven Lowe owns and runs Crispians which produces lasts for bespoke shoes; lasts are the wooden former, the shape of a person’s foot, around which shoes are made. He also runs Lastmaker House which trains those who wish to learn the craft. When Steven presented at the All-Party Parliamentary Group for Craft a few years ago he explained that the vast majority of those who come on his courses are from abroad; it is a sad situation when this endangered craft cannot recruit those in the UK who could make it viable.
Another craft carried out by only a few people is wheelwrighting. Mike Rowland and Son are featured in the book. The skills are being passed on in that they have trained one apprentice already and now have Sam Phillips, shown here, working in the workshop. Self-employed makers and micro businesses like these find the costs of training almost prohibitive. If just one day a week is set aside for passing on the skills, and it is usually much more, then production goes down by 20% and that’s a craftsperson’s profit, so they can afford to live, not enouigh to pay for an apprentice. Government provision for support for apprenticeships in the UK works well for bankers and hairdressers, but is virtually non-existent for these endangered crafts. This is rather ironic because the crafts are where the whole apprenticeship, journeyman and master system was established!
Many do not realise the craft skills that are involved in scientific glass instrument blowing, but they are definitely right at the centre! A lot of scientific and medical experiments and processes could not take place if they did not have the correct glass equipment to do so. This elegant tower of glass could sit under a spotlight on a shelf in an expensive penthouse suite as an ornament, but it is actually a water jacketed oxygenator made by Terri Adams as part of cardiovascular research. Terri is the University of Oxford’s only scientific glassblower, and this is an endangered craft with fewer than fifty of these craftspeople in the UK.
Nowadays we are used to wallpaper being produced by machine, but this wasn’t always the case. In the past wallpaper was printed from carved wooden blocks, often cherry wood; here Hugh Dunford Wood is carving a pattern in lino bespoke to clients who can choose not only the design but also the colours for the ground and print.
The book is divided into twelve chapters after a foreword by Stephen Bayley and an Introduction. Each chapter is a cornucopia of crafts, with details and photographs of each one. It really is an absolute delight and very highly recommended.
In each corner is a little raised carved ‘button’, not as large as a penny coin, with the symbols of the four evangelists. These are exquisite and the design fits so well in to the circular shape.
