Bestandsgeschichte
MERL miscellaneous note, B. L. 22 March 1961 – ‘The British Council collection. // This collection of material which is covered by the accession numbers 60/430 to 60/791 contains examples of craft products made in the British Isles. The major part of the collection was prepared immediately after the Second World War for a travelling exhibition which was sent to Australia and New Zealand. // The collection was purchased for a nominal sum by the Museum in two portions, the one in the summer of 1960 and the other in February 1961. // For further details see the individual catalogue cards and the catalogue prepared for the temporary exhibition of the collection.’, MERL 'Catalogue index' card [60/438/1–5] – ‘Trug baskets are strictly localised in manufacture, but are certainly not so in use. Nearly all trug baskets are made at Hurstmonceaux [sic] in Sussex. The derivation of the term may be from ‘trough’ or possibly from the Anglo-Saxon ‘troog’, a boat. The shape shown in these examples is the traditional one which dates from at least the sixteenth century, but other shapes have been adopted such as the bowl-shaped type made by A.F. Rich of East Hoathly for stable or feeding baskets. Other types have been constructed for coal scuttles or have been made into ‘cauls’ for wood, besides the more delicate ladies’ work baskets, and the ‘fruit pickers’ mounted on walking sticks. // The framework of chestnut or ash rods is prepared by splitting a rod into two parts. The inner surface is shaped, but the bark is left on the outer convex one. The rods are then steamed and bent into two ovals, the one for the rim and the other for the handle.The ovals are then placed at right angles to each other and are nailed together. // The body of the basket is constructed from willow wood of the White or Crack varieties; the logs having been cross cut are then split repeatedly to the central core until a series of strips about 1/8 in. in thickness is obtained. The strips are shaped with knives and draw knives which are held in a simple vice or ‘horse’ designed for the purpose. When the strips have been shaped in crescentic sections they are passed through the framework so that they overlap from top to bottom, and are nailed to the rim. Cross pieces of willow are usually added at the bottom for stability. Sawn and planed willow is now used by some makers. Sizes of baskets may vary from eight inches to four feet. // See: E.M. Stowe. Crafts of the countryside, Longmans, 1948, pp.17–22. // H.L. Edlin. Woodland crafts in Britain, Batsford 1956, p.113 & plates 11 & 112. // Smith’s catalogue – ‘Smith’s famous Sussex trugs.’ (in Classified Information)’, MERL 'Catalogue of baskets' form – 'NAME: BASKET, TRUG // Acc. No.: 60/440 // Group: GARDENS. TOOLS. // Neg. no.: 60/3319, 60/3705 // Place of origin: SUSSEX. Hurstmonceaux // Period in use: // Collection – Brit. [British] Council // DESCRIPTION // Materials: Wood/?ash or chestnut, willow, metal/copper. // Shape and construction: See 60/441. Rim of ash or chestnut. Boards of willow. Copper nails. {Type as 60/441} // Dimensions: Length 19” Width 9” Height 6”// Use: // Dialect names: // Distribution: // Additional notes: History // An ancient method of making, mentioned in 16th century, revived by Thos. [Thomas] Smith of Hurstmonceaux [Herstmonceux]in first quarter of 19th century. // Other obj. trug. ref no. 60/441, 60/769, 66/345/1–3 // Maker: Thos. [Thomas] Smith & Sons. Hurstmonceaux [Herstmonceux], Sussex.', MERL ‘Country Craftsmanship’ Exhibition Catalogue, 2 May–31 October 1961, ‘Introductory Note’ by Andrew Jewell – ‘The objects shown in this Exhibition of Country Craftsmanship were originally purchased by the British Council in 1946. They were selected for exhibition in Australia and New Zealand as samples of traditional handcrafts which were then being practised in the British countryside. The Museum of English Rural Life was fortunate to acquire this valuable collection from the Council and to have the opportunity of displaying such a wide variety of skills. // Almost all the crafts shown are still to be found in this country although, in the intervening fifteen years, many of the small firms and individual craftsmen whose products are represented in the Exhibition, have given up working. The number who now remain to carry on these particular traditional crafts continues to decline with the growth of mechanization, the obsolescence of their products and the difficult of finding apprentices to follow them. // All the objects on display have one characteristic in common – they were made to be used. Any aesthetic qualities which the craftsman achieved grew without self-consciousness. Over long years of apprenticeship the craftsman developed an intimate knowledge of the raw material at his disposal and its peculiarities. He acquired by inheritance the methods of his craft which may have had a continuous tradition over centuries of time. And he was quite familiar with the way in which his product was to be used. // We can derive pleasure simply by looking at the shapes and decorations. Both, however, are inseparable from function and environment, and the objects can only be most fully appreciated by an understanding of the purpose for which each was intended. // This, then, is an exhibition of everyday things, made by men and women who might not think of themselves as artists, but whose work, nevertheless, has enriched the daily life of those who live with their products.’, MERL ‘Country Craftsmanship’ Exhibition Catalogue, 2 May–31 October 1961, p.19 – ’212–3. Trug Baskets. The common shape dates from at least the sixteenth century. The framework is chestnut or ash and the body slats are split from white or crack willow. // (Thos. Smith & Sons, Herstmonceux, Sussex.)', British Council ‘Exhibition of Rural Handicrafts from Great Britain’ Exhibition Catalogue, 1946, ‘Introductory Note’ – ‘This exhibition contains only examples of handicrafts that are still being practised in the British Countryside. It is confined to the work of our traditional craftsmen and women who, with very few exceptions, would not think of themselves as artists or designers but whose work, nevertheless, so greatly enriches the daily life of those who live with and use their products. The work of these craftsmen, too, provides the basis from which many artist-craftsmen gain technical knowledge and inspiration. // Included with these rural crafts are eight screens showing handicraft processes which can be undertaken by schools or adults who wish to practise a craft at home. In this way we hope these examples of Britain’s country crafts may be related to a practical aspect of present day life in the Dominions and meet the increasing need to find satisfying ways of using the leisure which machinery now makes available to us. // Along with her traditional rural crafts Great Britain seeks to employ all the resources of modern agricultural science and engineering. We have therefore included with this exhibition some photographs showing examples of recent developments in agricultural machinery.’, British Council ‘Exhibition of Rural Handicrafts from Great Britain’ Exhibition Catalogue, 1946, p.41 – ’17 to 20. Trug Baskets. Made from split willow with chestnut frames, these baskets, made only in Sussex, are widely used in home and market gardening. Thomas Smith & Son, Sussex.', British Council Ref. No. NZ 17.
