Arkivhistorik
Object research project, Delphine Chalmers, September 2018 – ‘This metal teapot with a wooden turned handle, measuring 18cm in height and 20cm in diameter, is designed for a narrow boat. A piece of “coloured bargee ware”, painted at the workshop of canal carrier L.B. Faulkner of Van Wharf Works at Linslade, Bedfordshire, in the year 1945-6, it was used by bargees living on England’s canals. The spout and handle are red, and the sides are green and decorated with red roses. The outer part of the lid is red with a white rose pattern, whilst the inner part is green with yellow roses. The significance of this “Egyptian” pattern, which originated in Eastern Europe, is unclear but it would certainly have been painted at speed – the cabin of a narrow boat could easily be decorated with the same patterns in one day. Though highly decorated, the teapot was made to be used, and the painter would have learnt the skills displayed through long years of apprenticeship. The item comes from the British Council Collection, which contains examples of craft products made in the British Isles. A large part of the collection was prepared immediately after the Second World War in 1946 for a travelling exhibition to Australia and New Zealand, which showcased samples of traditional handicrafts practised in the British countryside at the time. Many of these skills have now been lost due to mechanization, decreasing demand and the shortage of apprentices. The collection was purchased by MERL in two parts in 1960-61.', 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, ‘General card’, Bargee Ware – ‘All the Bargee Ware shown in the examples 60/430–60/437 comes from the workshop of L.B. Faulkner, Canal Wharf, Linslade, Leighton Buzzard, Bedfordshire. The origins of the traditional designs of the rose and castle remain obscure – one thing is sure and that is that the speed at which the work is executed. A whole boat cabin can be painted in a day. // For a detailed account of the narrow boat see:– Barbara Jones: ‘The Unsophisticated Arts’, The Architectural Press, 1951, pp.47–68. // For a discussion of canal operations see:– C. Hadfield: ‘British Canals’, Phoenix House, 2nd ed., 1959.’, MERL 'Catalogue index' card – ‘The teapot stands 7” high and its end base has major and minor axes of 7 1/2” and 5 1/2” respectively. // The spout and the handle are red and the sides are green, decorated with red roses. The outer portion of the lid is red with white roses and the inner portion is green with yellow roses. // From: L.B. Faulkner, Canal Wharf, Linslade, Leighton Buzzard, Beds.’, 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, Barge painting, p.4 – ‘The origin of the rose and castle designs used for the decoration of narrow boats would appear to be in eastern Europe. The painting was done with great speed and a whole boat could be completed in a day. All the examples shown [60/430–60/437] were executed at the Canal Wharf Works of L. B. Faulkner, Leighton Buzzard, Beds.’, MERL ‘Country Craftsmanship’ Exhibition Catalogue, 2 May–31 October 1961, p.5 – ’21. Tea pot’, 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, Bargee Ware, p.45 – ‘These painted utensils are used by the bargees who live on the canals which pass through the heart of England. The barge itself, including the cabin, is also decorated in this way. The designs are popularly known as “Egyptian,” suggesting their probably gypsy origin.’, British Council ‘Exhibition of Rural Handicrafts from Great Britain’ Exhibition Catalogue, 1946, p.45 – ’78. Teapot. Decorated by L. B. Faulkner, Bedfordshire.’, British Council Ref. No. NZ 78.
