Roseberry Avenue

Details

Date: c. 1892
Dimensions: 29.9 x 39.4
Object Type: design
Material: pencil, pen and ink on tracing paper
Catalogue number: A147c
Artist: Mackmurdo | Arthur Heygate | 1851 | 1942
Credit notes: Mackmurdo bequest, 1942

Architectural drawing for Hogarth Cloisters in Ealing, London, showing the first floor plan of Block B. Mackmurdo’s progressive design envisioned a large block of flats with a central courtyard which would be open in summer and enclosed with glass in winter. The building was to be heated with steam, and electric lighting installed in all flats. The architectural historian Nikolaus Pevsner noted in his 1968 book ‘Studies in art, architecture, and design’ that Mackmurdo’s plan also included a central club-house for its residents which would include a dining hall, children’s ding hall, kitchens, laundry, gymnasium, swimming pool and nursery. The ambitous building was never realised.

Details

Date: c. 1892
Dimensions: 29.9 x 36.2
Object Type: design
Material: pencil, pen and ink on tracing paper
Catalogue number: A147b
Artist: Mackmurdo | Arthur Heygate | 1851 | 1942

Architectural drawing for Hogarth Cloisters in Ealing, London, showing the fiirst floor plan of Block A. Mackmurdo’s progressive design envisioned a large block of flats with a central courtyard which would be open in summer and enclosed with glass in winter. The building was to be heated with steam, and electric lighting installed in all flats. The architectural historian Nikolaus Pevsner noted in his 1968 book ‘Studies in art, architecture, and design’ that Mackmurdo’s plan also included a central club-house for its residents which would include a dining hall, children’s ding hall, kitchens, laundry, gymnasium, swimming pool and nursery. The ambitous building was never realised.

Details

Date: c. 1892
Dimensions: 30.5 x 43.8
Object Type: design
Catalogue number: A147a
Artist: Mackmurdo | Arthur Heygate | 1851 | 1942
Credit notes: Mackmurdo bequest, 1942

Architectural drawing for Hogarth Cloisters in Ealing, London, showing the ground floor plan of Block A. Mackmurdo’s progressive design envisioned a large block of flats with a central courtyard which would be open in summer and enclosed with glass in winter. The building was to be heated with steam, and electric lighting installed in all flats. The architectural historian Nikolaus Pevsner noted in his 1968 book ‘Studies in art, architecture, and design’ that Mackmurdo’s plan also included a central club-house for its residents which would include a dining hall, children’s ding hall, kitchens, laundry, gymnasium, swimming pool and nursery. The ambitous building was never realised.

Details

Date: c. 1895
Dimensions: 22.2 x 14.2
Object Type: design
Material: pencil, pen and ink on graph paper
Catalogue number: A135a
Artist: Mackmurdo | Arthur Heygate | 1851 | 1942
Credit notes: Mackmurdo bequest, 1942

Arthur Heygate Mackmurdo designed this building at 3-4 Sloane Street after the the upper section of Sloane Street was widened between Knightsbridge and Basil Street. This required the rebuilding of some of the properties, including the Swan pub which had stood on the site in some form or other since at least 1699. The owner of the property, Messrs Roberts & Gilling commissioned Arthur Heygate Mackmurdo who created this free-Baroque design, in red brick with stone dressings of four storeys. The Swan Pub was accommodated into the ground and basement floors, with flats to the upper storeys. The architect and writer Harry Stewart Goodhart-Rendel is known to have commented on Mackmurdo and this Sloane Street pub in particular in an interview with Nikolaus Pevsner. He condemned MackMurdo as he did Voysey by describing them as not serious architects, and went on say ‘he [Mackmurdo] did a terrible pub at Sloane Street, the sort of thing one’s small daughter would design.’ (Interview between Nikolaus Pevsner and Harry Stewart Goodhart-Rendel, c.1946, published in Architectural Review, 1966)

Details

Date: 1888-1914
Dimensions: 115.6 x 58.4 x 40.6
Object Type: furniture
Material: wood and rush seat
Catalogue number: G56
Maker: Clissett, Philip (08.01.1817 - 1913)
Credit notes: WMG purchase, 1972

This chair was made by Phillip Clissett, a chair-maker from Herefordshire. The chair is based on a traditional design, modified by the Scottish Arts and Crafts architect James Maclaren. The same chairs were used to furnish the Meeting Room of the Art Workers Guild in London. The simplicity of these chairs prompted the furniture designer and architect Ernest Gimson (1864-1919) to seek-out Clissett and learn how to make similar ladder-back chairs under his tutorage.

Details

Date: c. 1860 - 1940
Dimensions: 84.5 x 48.3 x 40.7
Object Type: furniture
Material: turned, ebonised wood with rush seat
Catalogue number: G54
Manufacturer: Morris & Co.
Retailer: Morris & Co.
Owner: Jack, Jessie, Miss (1894 - 1972)
Credit notes: WMG purchase

Rush-seated armchair in turned, ebonised wood frame and rush seat. This chair has been widely attributed to the designer Philip Webb in the early 1860s. It was manufactured by Morris, Marshall, Faulkner and Co. and continuously produced by Morris & Co. until the twentieth century. The full range include armless chairs and a three-seater settle. The name ‘Sussex’ chair can be attributed to Morris’s biographer J.W. Mackail who commented that the chair was adapted from a country chair found in Sussex. Black or red Sussex chairs were used in Morris’s first family home Red House and this example (and another G55) was acquired from Jessie Jack, who’s parents George and Annie Jack, both worked for Morris & Co. Another version of this armchair without the spindles in the back was also produced by the Firm, see G27a&b.

Details

Date: c.1919-1923
Dimensions: 186.7 x 66
Object Type: textile
Technique: hand-embroidered
Catalogue number: F123
Designer: Dearle, John Henry (1859 - 1932)
Maker: Tooth , Helen Lucas, Lady (4.6.1853 - 17.08.1942)
Credit notes: Presented by Lady Durand, daughter of Lady Lucas-Tooth, 1952

Embroidered panel showing pear tree with sweet peas growing round the trunk, clumps of daffodils and cornflowers growing at the foot. Coloured silks on cream silk, worked in long and short stitch and stem stitch. Designed by John Henry Dearle for Morris & Co. who provided the silks; worked by Lady Helen Lucas Tooth for the drawing room of her daughters house at Somerfield Keynes near Cirencester.

Details

Date: c.1919-1923
Dimensions: 186.7 x 66
Object Type: textile
Technique: hand-embroidered
Catalogue number: F122
Designer: Dearle, John Henry (1859 - 1932)
Maker: Tooth , Helen Lucas, Lady (4.6.1853 - 17.08.1942)
Credit notes: Presented by Lady Durand, daughter of Lady Lucas-Tooth, 1952

Embroidered panel showing an apple tree with red apples, nasturtiums growing round trunk, with clumps of violets and chrysanthemums at foot. Coloured silks on cream silk, worked in long and short stitch, stem stitch, French knots and satin stitch.. Designed by John Henry Dearle for Morris & Co. who provided the silks; one of six panels worked by Lady Helen Lucas Tooth for the drawing room of her daughter’s house at Somerfield Keynes near Cirencester. The other panels are also in the Gallery’s collection.

Details

Date: c.1919-1923
Dimensions: 185.4 x 94
Object Type: textile
Material: silk
Technique: hand-embroidered
Catalogue number: F121
Designer: Dearle, John Henry (1859 - 1932)
Retailer: Morris & Co.
Maker: Tooth , Helen Lucas, Lady (4.6.1853 - 17.08.1942)
Credit notes: Presented by Lady Durand, daughter of Lady Lucas-Tooth, 1952

Embroidered panel showing a plum tree, with birds, convolvulus growing round the trunk; primroses, crocuses and sunflowers growing in clumps at foot. Coloured silks on cream silk, worked in long and short stitch, stem stitch and blanket stitch. Designed by John Henry Dearle for Morris & Co. who provided the silks; one of six panels worked by Lady Helen Lucas Tooth for the drawing room of her daughter’s house at Somerfield Keynes near Cirencester. The other panels are also in the Gallery’s collection.

Details

Date: c.1919-1923
Dimensions: 185.4 x 94
Object Type: textile
Material: silk
Technique: hand-embroidered
Catalogue number: F120
Maker: Tooth , Helen Lucas, Lady (4.6.1853 - 17.08.1942)
Designer: Dearle, John Henry (1859 - 1932)
Credit notes: Presented by Lady Durand, 1952

Embroidered panel showing a lemon tree with two birds; honeysuckle growing around the trunk; primroses and poppies growing at the foot of the tree. Coloured silks on cream silk, worked in long and short stitch, stem stitch, French knots and satin stitch.. Designed by John Henry Dearle for Morris & Co. who provided the silks; one of six panels worked by Lady Helen Lucas Tooth for the drawing room of her daughter’s house at Somerfield Keynes near Cirencester. The other panels are also in the Gallery’s collection.

Details

Date: c.1919-1923
Dimensions: 185.5 x 94
Object Type: textile
Material: silk
Technique: hand-embroidered
Catalogue number: F119
Designer: Dearle, John Henry (1859 - 1932)
Maker: Tooth , Helen Lucas, Lady (4.6.1853 - 17.08.1942)
Retailer: Morris & Co.
Credit notes: Presented by Lady Durand, daughter of Lady Lucas-Tooth, 1952

Embroidered panel showing a cherry tree and two birds, clematis growing around tree trunk with foxgloves, lilies and anemones growing in clumps at its foot. Coloured silks on cream silk, worked in long and short stitch, stem stitch, French knots, satin stitch and laid work. Designed by John Henry Dearle for Morris & Co. who provided the silks; one of six panels worked by Lady Helen Lucas Tooth for the drawing room of her daughter’s house at Somerford Keynes near Cirencester. The other panels are also in the Gallery’s collection.

Details

Date: c.1919-1923
Dimensions: 185.4 x 94
Object Type: textile
Material: silk
Technique: embroidery
Catalogue number: F118
Designer: Dearle, John Henry (1859 - 1932)
Maker: Tooth , Helen Lucas, Lady (4.6.1853 - 17.08.1942)
Retailer: Morris & Co.
Credit notes: Presented by Lady Durand, daughter of Lady Lucas Tooth, 1952

Embroidered panel showing an orange tree with roses growing round trunk, clumps of tulips, primroses, irises and peonies at foot with two birds. Coloured silks on cream silk worked in long and short stitch, stem stitch, satin stitch blanket stitch and laid work. Designed by John Henry Dearle for Morris & Co. who provided the silks; one of six panels worked by Lady Helen Lucas Tooth for the drawing room of her daughter’s house at Somerfield Keynes near Cirencester. The other panels are also in the Gallery’s collection.

Details

Date: c.1909-10
Dimensions: 70.5 x 278.7
Object Type: textile
Material: wool on linen
Technique: hand-embroidered
Catalogue number: F102
Designer and maker: Morris | May | 1862 | 1938
Credit notes: WMG purchase, 1951

This embroidered panel was made as a hanging for May Morris’s sitting room at 8 Hammersmith Terrace. A photograph survives of the embroidery in situ (Cheltenham Art Gallery and Museums). The central motif shows Kelmscott Manor, the Morris family country retreat in Oxfordshire, linked to Hammersmith Terrace by the river Thames which flows past both houses.

The first seven lines of the text in Gothic script are from the central verse of the poem June, which prefaces the story of The Love of Alcestis in Morris’s epic poem Earthly Paradise:

See, we have left our hopes and fears behind

To give our very hearts up unto thee;

What better place than this then could we fin

By this sweet stream that knows not of the sea,

That guesses not the city’s misery,

This little stream whose hamlets scarce have names,

This far-off, lonely mother of the Thames?

Additional lines are attributed to the scholar and poet Sir Walter Raleigh:

Though our songs cannot banish ancient wrong

Though they follow where the rose goes

And their sounds swooning over hollow ground
Fade and leave the enchanged air bare,
Yet the wise say that not unblest he dies
Who has know a single May Day.

Details

Date: before 1910
Dimensions: 144 x 102 x 41.8
Object Type: furniture
Technique: carved
Catalogue number: G52
Designer and maker: Jack, George Washington Henry (1855 - 1931)
Maker: Turner, Lawrence Arthur (1864 - 1957)
Credit notes: Presented by Misses Jessie and Margery Jack

This cabinet was designed by George Jack and made by Jack and Lawrence Turner. The cabinet is made of light oak with carved panel depicting shepherd, dog, sheep and lambs in a wattle pen. A drawing for the central part of the carved panel showing the ewe and ram is in the collection (A522). There are a few very minor differences between the drawing and the finished design of the carving. George Jack commented about the shape of the panel “It was begun without any premeditated intention as to use, the sloping end being the shape of the board as it came into the author’s hands, the other end being sloped off to match it.” (Wood-Carving Design and Workmanship by George Jack,1903)

Details

Date: 1884
Dimensions: 22.9 x 22.3
Object Type: print
Material: paper
Technique: etching
Catalogue number: P521
Designer and maker: Sickert, Walter Richard, 1860, 1942
Credit notes: Bequeathed by Miss E. M. Pugh, 1963

This etching by Walter Sickert is a portrait of Helen Carte Boulter (born Susan Helen Couper Black; 12 May 1852 – 5 May 1913), also known as Helen Lenoir, the second wife of Rupert D’Oyly Carte, opera impresarion and owner of the Savoy Hotel. Helen was D’Oyly Carte’s assistant and second wife. She became the business manager of the D’Oyly Carte Opera Company company and responsible for the Savoy Hotel.

Details

Dimensions: 81.3 x 43.2
Object Type: textile
Material: printed cotton
Technique: rollerprinted
Catalogue number: F93
Designer: Mackmurdo | Arthur Heygate | 1851 | 1942
Retailer: Century Guild
Manufacturer: Simpson & Godlee
Credit notes: Mackmurdo bequest, 1942

This printed cotton, designed by Arthur Heygate Mackmurdo for the Century Guild, is typical of the Guild’s proto-art nouveau designs, also seen in the book and furnishing designs. This example is a trialpiece and has a stencil at the top centre. The fabric was available in red/brown, ochre/pink, brown, green and turquoise colourways.

Details

Dimensions: 15.2 x 15.2
Object Type: ceramic
Technique: hand-painted
Catalogue number: C217.1
Manufacturer: Morris & Co.
Credit notes: Presented by Michael Whiteway, 1996

Tiles and table glass were a popular and financially important aspect of Morris and Co.’s early output. Despite Morris’s belief that works of art should, as far as possible, be designed and executed by a single craftsperson, ceramics was one of the few areas in which he did not have personal artisanal expertise. Instead, he purchased blank tiles from the Netherlands. According to Jennifer Hawkins Opie: “…white, undecorated tiles ordered from Dutch manufacturers arrived at the Morris works in London ready glazed and fired. These were then decorated by the painters of stained glass already employed by Morris. Of necessity, this was done in enamel colours and this ‘on-glaze’ decoration was fired (a second firing for the tin glaze), initially alongside the enamel-decorated stained glass in the firm’s own kilns in the basement of Red Lion Square.”
This ‘Bay and Willow’ pattern is typical of Morris’s interest in natural, botanical forms. In many cases, individual tiles could be combined to create larger pictorial and decorative schemes.

Details

Date: 25.03.1875
Object Type: archival
Material: pen on paper
Technique: hand-written
Catalogue number: J15
Author: Morris, William, 1834, 1896
Recipient: Morris (née Shelton), Emma (1805 - 1894)
Credit notes: Presented by Dr. Robert Steele, 1939

William Morris writing to his mother about an upcoming trip to Wales and his troubles with dissolving Morris, Marshall, Faulkner & Co. to form Morris & Co.

26, Queen Square,

Bloomsbury, London,

March 25^th, 1875

Dearest Mother

Many thanks for your letter. I would have come to see you before now, but was obliged not to be out of the way while the trouble about the partnership was still about: I expect the deed now to be signed on Tuesday or Wednesday next; after that I am going to fulfil and engagement I made last Christmas with Faulkner of going to Wales with him: We shall go on Tuesday or Wednesday night to Shrewsbury and then on the next day to the agent who lives near Llanidloes, & to whom Faulkner has written for ponies: we shall then have about a week’ ride about the hills & so back: on my return I shall come down to you for a day. I think it will do me good to go for this turn: I have been working very hard lately, & have been much bothered by this law business the past six weeks: my recalcitrant partners have behaved so badly that I felt half inclined more than once to throw the whole affair into Chancery: but law is too ticklish a matter for one to throw one’s whole chances of livelihood into it; and I think I have done the best I could after all: though ‘tis a deal of money to pay for shear nothing, and I doubt if their claims would have been recognized in the Court of Chancery – however ‘tis all done now I hope – Janey has been rather unwell of late, I suppose the bad weather has touched her up. The children are both very well, and are very good & dear.

The weather does seem to be changing at last: I hope you have been pretty well all through this cold & wretched spring.

Give my best love to Henrietta, I want very much to see her & you especially, my dearest mother.

I am

Your loving son

William Morris

P.S. Love to Emmie also.

Details

Date: 18.07.1873
Object Type: archival
Material: pen on paper
Technique: hand-written
Catalogue number: J13
Author: Morris, William, 1834, 1896
Recipient: Morris (née Shelton), Emma (1805 - 1894)
Credit notes: Presented by Dr Robert Steele, 1939

Letter written from William Morris to his mother describing his second journey to Iceland in 1873.

Reykjavik

July 18^th

Dearest Mother,

We got in here safely this morning about ½ past 11 after a rather tedious voyage in which I was rather sick: it blew very hard the night before and we had to lay under the lee of the land for 6 hours before we could get round the last headland. I am very well and we shall start, well provided with, tomorrow morning: meantime I am so hurried with many things that they must excuse me to you for not writing more copiously to you.

With dearest love to yourself and Henrietta

Believe me dear mother

Your most affectionate son

William Morris

P.S. I expect to be back in London about the 12^th of September.

Details

Date: 07.1873
Object Type: archival
Material: pen on paper
Technique: hand-written
Catalogue number: J12
Author: Morris, William, 1834, 1896
Recipient: Morris (née Shelton), Emma (1805 - 1894)
Credit notes: Presented by Dr. Robert Steele, 1939

Letter written from William Morris to his mother describing his second journey to Iceland in 1873.

Thursday

Granton

Dearest Mother

I am still here and shall be till tomorrow about 2 p.m. the ship being late: I am rather wearied with waiting but it can’t be helped. Today has been fine but rather windy and it is a beautiful evening now – I have just been to take our berths: there is nothing changed aboard the ship, but the Captain is a stranger to me.

If you write to me you must send off the letter on 16th of August addressed Poste Restante Reykjavik Iceland via Granton.

I hope all things will go better than well with you while I am away. Give my best love to Hennie & tell her I did post that letter.

We had a very comfortable journey down here on Tuesday; and I am very well.

There are 4 or 5 big ironclads lying off here now: queer ugly-looking things.

Good bye dear mother and take care of yourself.

I am

Your most affectionate son

William Morris

Details

Date: 16.07.1871
Object Type: archival
Material: pen on paper
Technique: hand-written
Catalogue number: J10
Author: Morris, William, 1834, 1896
Recipient: Morris (née Shelton), Emma (1805 - 1894)
Credit notes: Presented by Dr. Robert Steele, 1939

Letter written from William Morris to his mother describing his first journey to Iceland in 1871.

Reykjavik

July 16th [1871]

Dearest Mother

Just a few lines to say that I am here safe and well after a prosperous voyage, and that we set out tomorrow on our riding with 20 horses: we have got a room to sleep in here in the smallest of cottages, wh: is however clean and neat: it is bright and hot here today though the wind is N and blowing over the sea: I am eager for the journey as this little town is not in itself interesting: the poneys promise well, they are fine little chaps. We did not go straight to Reykjavik but first to Bernfirth in the east; we came there about 3 on Thursday morning, and sailed all day along the coast: it was a most wonderful sight, as we passed by the two biggest mountains in Iceland; they are ice clad at the top, and the glacier seems to run right down their sides into the sea: there were about 24 passengers in all; rather a tight fit in such a little boat; but they were all very good tempered: 10 were English besides our Icelandic friends: and strangely enough 2 were known to me in one way or other: the Captain and mate are very nice gentlemanly fellows, they are officers in the Danish navy, and talk English well. The boat starts for the homeward voyage on the Sept: 1st so I shall be in London from the 7th to the 10th I should say: all depending on the weather. Magnússon has introduced me to several people here: some of them very interesting. My fellow travellers are as good tempered and helpful as may be, and we have had many a laugh already: we stopped a whole day (12 hours) at the Faroes, and went a long walk over the mountains to a ruined church there; it is a strange and beautiful place and we enjoyed ourselves hugely. The summer here has been hitherto one of the best on record; I don’t know about the looks of the weather now, but we must hope for the best; and are at all events well prepared for everything. I am sorry to have to send such a shabby note, but I have a good deal to do, and have not a great deal of privacy either. You would laugh so if you saw this queer little town & the cottage we sleep in: we are well fed up to now, and I am quite well.

Best love to you and Henrietta, tell her I saw such beautiful hill flowers in the Faroes. I hope all goes on well with the moving.

I am

Your most affectionate son

William Morris

Details

Date: 08.07.1871
Object Type: archival
Material: pen on paper
Technique: hand-written
Catalogue number: J9
Author: Morris, William, 1834, 1896
Recipient: Morris (née Shelton), Emma (1805 - 1894)
Credit notes: Presented by Dr. Robert Steele, 1939

Letter written from William Morris to his mother describing his imminent journey to Iceland in 1871. In the top right corner Edinburgh is spelt ‘Edinborough’.

Granton

by Edinborough.

July 8^th [1871]

Dearest Mother

We went down here on Thursday evening and took up our quarters at an inn overlooking the pier, and with a beautiful view down the firth: we sighted the boat at about ½ past 11 this morning, and after watching her for some time we made out that it must be ours, as indeed it turned out. Magnússon & I have just been on board and taken our berths – queer little dens enough, but the boat is trim and clean, & the cabins comfortable for so small a vessel. She has been a gunboat and carries the Danish mail -flag and looks a good sea-boat; we sail about 8 oclock tonight and are like to have a quiet time of it as long as we are under the lee of the land; but we shall be tossed about a bit afterwards I fancy. I will write from Reykjavik where I shall be about next Friday: the boat has 5 passengers from Copenhagen and about 14 get on board here: the Captain looks a civil quiet man, and the steward also they don’t seem to talk much except Danish. The weather is somewhat showery here but is better today: all seems like to go well with us. We shall be off the Orkneys tomorrow morning. So goodbye for the present: I hope you will get into the new house comfortably: will you be living there when I come back? Let us know when you write; my address is simply Poste Restante Reykyavik Iceland with a 4d stamp, and you must post it on the 12 August.

My best love to yourself and Henrietta & Emma if she is with you: my haste must excuse a longer letter.

I am

Your most affectionate son

William Morris

Details

Date: 11.11.1855
Object Type: archival
Technique: hand-written
Catalogue number: J4
Author: Morris, William, 1834, 1896
Recipient: Morris (née Shelton), Emma (1805 - 1894)
Credit notes: Presented by Dr. Robert Steele, 1939

William Morris tells his mother of his decision to forsake Holy Orders for a career in architecture

Ex: Coll: Oxon

Nov: 11th 1855

My Dear Mother

I am almost afraid you thought me scarcely in earnest when I told you a month or two ago that I did not intend taking Holy Orders. If this is the case I am afraid also that this letter now may vex you; but if you have really made up your mind that I was in earnest I should hope you will be pleased with my resolution. You said then, you remember, and said very truly, that it was an evil thing to be an idle objectless man; I am fully determined not to incur this reproach, I was so then, though I did not tell you at the time all I thought of, partly because I had not thought about it enough myself, and partly because I wished to give you time to become reconciled to the idea of me continuing a lay person. I wish now to be an architect, an occupation I have often had hankerings after, even during the time when I intended taking Holy Orders; the sign of which hankerings you yourself have doubtless often seen. I think I can imagine some of your objections, reasonable ones too, to this profession – I hope I shall be able to relieve them. First I suppose you think that you have as it were thrown away money on my kind of apprenticeship for the Ministry; let your mind be easy on this score; for, in the first place, an University education fits a man about as much for being a ship-captain as a Pastor of souls; besides your money has by no means been thrown away, if the love of friends faithful and true, friends first seen and loved here, if this love is something priceless, and not to be bought again anywhere and by any means; if moreover by living here and seeing evil and sin in its foulest and coarsest forms, as one does day by day, I have learned to hate any form of sin, and to wish to fight against it, is not this well too? Think, I pray you, Mother, that all this is for the best; moreover if any fresh burden were to be laid upon you, it would be different, but as I am able to provide myself for my new course of life, the new money to be paid matters nothing. If I were not to follow this occupation I in truth know not what I should follow with any chance of success, or hope of happiness in my work; in this I am pretty confident I shall succeed, and make I hope a decent architect sooner or later; and you know too that in any work that one delights in, even the merest drudgery connected with it is delightful too. I shall be master too of a useful trade; one by which I should hope to earn money, not altogether precariously, if other things fail. I myself have had to overcome many things in making up my mind to this; it will be rather grievous to my pride and selfwill to have to do just as I am told for three long years, but good for it too, I think; rather grievous to my love of idleness and leisure to have to go through all the drudgery of learning a new trade, but for that also good. Perhaps you think that people will laugh at me, and call me purposeless and changeable; I have no doubt they will, but I in my turn will try to shame them, God being my helper, by steadiness and hard work. Will you tell Henrietta that I can quite sympathise with her hard disappointment, that I think I understand it, but I hope it will change to something else before long, if she sees me making myself useful; for that I will by no means give up things I have thought of for the bettering of the world in so far as lies in me.

You see I do not hope to be great at all in anything, but perhaps I may reasonably hope to be happy in my work, and sometimes when I am idle and doing nothing, pleasant visions go past me of the things that may be. You may perhaps think this a long silly letter about a simple matter, but it seems to me to be kindest to tell you what I was thinking of somewhat at length, and to try, if ever so unsuccessfully, to make you understand my feelings a little: moreover I remember speaking somewhat roughly to you when we had conversation last on this matter, speaking indeed far off from my heart because of my awkwardness, and I thought I would try to mend this a little now; have I done so at all?

To come to details on this matter. I purpose asking Mr. Street of Oxford to take me as his pupil: he is a good architect, as things go now, and has a great deal of business, and always goes for an honourable man; I should learn what I want of him if of anybody, but if I fail there (as I may, for I don’t know at all if he would take a pupil) I should apply to some London architect, in which case I should have the advantage of living with you if you continue to live near London, and the sooner the better, I think, for I am already old for this kind of work. Of course I should pay myself the premium and all that.

My best love to yourself, and Henrietta, and Aunt, and all of them:

Your most affectionate son

WILLIAM.

P.S. May I ask you to show this letter to no one else but Henrietta.

Details

Date: c. 1907
Dimensions: 96.5 x 48.9 x 40.6
Object Type: furniture
Material: wood and rush seat
Catalogue number: G47
Designer: Gimson, Ernest (1864 - 1919)
Maker: Gardiner, Edward ( - 1958)
Manufacturer: Daneway Workshops
Credit notes: Presented by Helen, Joyce and Evelyn Brooks, 1971

With its pair, a settle and armchair of matching design, the suite was commissioned by William Edward Brooks FRIBA (1879 – 1945) from the Daneway House workshops at the time of his marriage in 1907. All were made to Gimson’s design by Edward Gardiner. Purchased in 1971 with its original rush seating.

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