Mrs Gaskell's earthly paradise

I have just put the finishing touches to my latest literary collage and here's a snap of it:

 

A bit dark, I know, but I can't get it professionally scanned for a week or two.

 

Number 42 Plymouth Grove occupied (and for all I know still does) what is commonly called a leafy suburb of Manchester, well away from the dark satanic mills of the industrial revolution. But leafy suburbs - and Italianate villas like this one - are metaphorically built upon those mills and factories and they are very much present in the writings of Mrs Gaskell. Her husband, a Unitarian minister, was involved with the manufacturing poor as well. So the mills are there, diorama-like, prominently in the background.

As is the livestock which Mr and Mrs G kept in their garden which served the double purpose of providing food and "bringing some countryside to the town".

 

One of the Gaskells' friends and neighbours, the conductor Charles Halle, described the place as "a large, cheerful, airy house, quite out of the Manchester smoke ..." a description I have tried to convey in the image.

 

And there's Charlotte Bronte downstairs, famously hiding behind the curtains from visitors. Couldn't miss the opportunity of putting her into the picture could I?

Homes & Antiques!

Page 14 of the July issue (out now) of

 

are my houses:

 

 

here, have a closer look!...

 

 

Chuffed!

Sheep on my table

A flock of unruly sheep and lambs are taking over the chaos of my worktable...

 

 After publishing that photo a while back of some battered plaster sheep that sit on a shelf in my studio, the product of a venture into souvenirs many years ago when I lived in sheep country, I was asked to do a few samples.

 So I have:

But in papier mache rather than plaster of Paris.

Though still in their sort of Staffordshire-esque naïve style.

Not sure if they are going anywhere, so to speak, but I really enjoyed the messiness and working in 3D for a change.
Poor old Mrs Gaskell was put on the back burner for the duration of this pilot experiment.
I'd better get back to her ...

Sold yesterday ...

... my Pot of Basil picture:

I will miss her, but she is off to a good home in the US.

Mrs Gaskell at home

So I have been ruminating on another northern writer and jotting down some flotsam and jetsom in my sketchbook which may or may not have any relevance eventually when I sift it through.

Mrs Gaskell is a natural follow-on from the Brontes as she was a friend and, famously, the biographer of Charlotte Bronte.



Stage 1!

Elizabeth Gaskell (1810-1865) was married to a unitarian minister and came relatively late to novel writing. Most of them were written in a rather grand-looking seven bedroomed Italianate villa in Manchester. The Gaskells rented the house for £150 a year. At that time Plymouth Grove was described as being "beyond the manufacturing district, in view of open fields" and to complete the semi-rural ambience, there was a cow, pigs and chickens in the garden.

My research - ragbag style

Charlotte Bronte stayed at the Gaskell residence on three occasions and on one of them hid, Jane Eyre-like, behind the drawing room curtains because she was too shy to meet the other visitors. Now there's an idea for one of the windows .........

Cards, cards, cards ...

My writers' houses cards have been receiving a bit of publicity lately, starting with the very lovely Shop Floor Project, a wonderful shop in Ulverston, Cumbria, which also has one of the best designed and most original online shop websites around:

http://www.theshopfloorproject.com/home.html

They are now stocking a selection of my cards which you can see here:

http://www.theshopfloorproject.com/makers_AMANDA_WHITE.html

The Guardian online's Katy Carter had them as a Buy of the Day on Monday May the 6th (you have to scroll down for this one) http://www.guardian.co.uk/lifeandstyle/2013/may/06/buy-of-the-day

Meanwhile, over at Life. Style. etc ...

http://lifestyleetc.co.uk/2013/05/07/life-style-etc-loves-writers-houses/

from where they were picked up by Sian at her blog:

http://www.domesticsluttery.com/2013/05/design-porn-amanda-whites-writers-house.html

And as from next week the Benjamin Franklin House museum near Trafalgar Square in London will have my take on that house for sale in its shop.

All in all a satisfactory snowballing card fortnight!

I'm so pleased people like them.

Haworth Moon

A long silence generally means I'm having trouble ...

And so it was.

I am a slow worker at the best of times and have nothing but envy for the prolific and (apparently) sure-footed output of some artists I follow by blog and website. I, on the other hand, spend a lot of time dithering about finally sticking certain passages down. And I haven't even mentioned changes to the original plan. And changes to the changes. Which sometimes occur to me, eureka-like, while washing up or weeding the garden.

Suffice it to say that at one point I cut this collage in half and redid the whole damn skyscape.

Then changed the printed page clouds into funereal black curtains. Which may or may not have come about after looking at prints of Victorian curtained hearses recently or possibly thinking about the theatre which was a consequence of thinking about the inherent melodrama of what Lucasta Miller called the Bronte myth. Who knows what goes on in the recesses of my cluttered mind and sketchbooks?

Anyway, here it is. In my amateur photo form. I will get it scanned at some point. The light wasn't very good on this overcast day.

The rain has changed into what? Wind? Elemental sparks? That parsonage must have been fairly crackling with elemental sparks I think.

Detail showing drapes!

The Bronte sisters here are out on a stormy moonlit night. No sign of either Virginia Woolf or Sylvia Plath.

But perhaps an echo of something I noted down among my prelim sketches remains:

"I understand that the sun very seldom shone on the Bronte family," Woolf wrote in 1903.

You can say that again.

Haworth Parsonage Revisited (again)

I have been invited to take part in August in a group show entitled Now for Naive at the lovely Art In The Mill Gallery in Knaresborough, Yorkshire, which is very exciting. They would like some Writers' Houses, preferably with a northern slant. (Here is the link: www.artinthemill.com)

So I immediately thought of Haworth Parsonage for one and searched for a new take on it. My first idea was to place two famous visitors outside: Virginia Woolf and Sylvia Plath. (Never mind half a century separated their visits!). And that's how it started.

But as I have said on more than one occasion, the best laid plans ....

The collage and the papers I sorted into the colour scheme I was after, plus reading Woolf's essay and other stuff, kind of took over and I'm afraid Ms Plath has been subsumed into the paper plot - she's still there alright, but under a few layers of blocking which I don't like to disturb. What a fate! Also in there (but on the surface) are echoes of the sheep painting I finished last week.

The clouds are photocopies of pages from an ancient and battered tome I found in my local library: "Life and Works of Charlotte Bronte and Her Sisters" (Vol. V. Wuthering Heights, Etc). Poor old Agnes Grey, (the only other work in the book) dismissed as a mere etcetera!

It was printed in 1900 by the Brontes' original publisher, Smith, Elder & Co.

Shame on them...

Anyway, more later.

And doubtless more changes......

A Painting! Yes, really!

A little breather between collages took the shape of this small painting:



Calm Before the Storm



 I have tried photographing it in every room, on every terrace, using every setting on the camera .... and still the true dark colour of the sky refuses to be pinned down!

 

In reality I used a mix of Windsor Blue and Violet with a dash of black

to make a rich night sky and here it is, looking like daytime!

The sheep have a muddy Naples Yellow wash too, but you wouldn't know it.

But I have lost patience now.

If I get a truer photo I will replace it.

 

Anyway, it's a small piece intended for a group show in St Ives in August, quarried

from one of my old sketchbooks with doodles done on my last visit to the Peak District.

 

 

Many, many years ago, when I lived there, I used to make and sell sheep along the lines of "fairings"

out of plaster. Very primitive. And I still have these three hanging around in the studio here, very much the worse for wear.

But still inspiring me, it seems, years later.

I'll never kick the Staffordshire pottery habit!

 



Autumn Days - properly finished

Plus cat ....

....... spot the tabby.

Keats House in Autumn

Autumn Days ..... finished.

 

Here is the uncropped photo, taken by me, with my cheapo camera, on the terrace, in the shade .... yeah, I know, I need to get it properly scanned.

To Autumn is one of my favourite Keats poems. We had to learn it by heart at school and it was no chore, I date my Keats obsession from then.

 

I got in the maturing sun, the bees that think warm days will never cease, the soft-dying day and the gathering swallows twittering in the skies...

No full-grown lambs, stubble plains, river sallows or cider-presses - well this IS Hampstead and not Winchester where it was written.

 

I have substituted a thrush for the redbreast of the poem too.

Keats, who lived in the left part of what was then known as Wentworth Place, referred to the thrush in the garden in some of his letters to his great love, Fanny Brawne, who lived on the right hand side of the house. In one letter to her he mentioned "your new black dress which I like so much", so I have given her exactly that.

 

This afternoon I am collecting a large batch of cards and prints of Virginia Woolf's house (Monk's House) to send off to the shop at ..... Monk's House. I will be delivering this picture for scanning at the same time and cards and prints of it will be in my online shop next month.

Back to the past

Here I am returning to my roots!

John Keats started it all, my writers' houses that is, when Keats House contacted me after seeing some of my early efforts on line, with a view to cards and prints.

One of those was a design with the thrush that Keats wrote about in a note to his beloved Fanny chirping away in the foreground:

 

Although it has a certain naive simplicity, the colours didn't work, the atmosphere was wrong and the whole thing seems quite crude now. It was abandoned and committed to my drawer of what I think of as my lost souls, there to languish.  I think my collage style has refined and become more detailed in the intervening couple of years but I still liked the original idea, so I am having another crack at Autumn Days with a view to refreshing the range at the Keats House shop.

 

 

 

I am after a softer, mellower look. This is a badly lit photo taken in the studio on what is a cloudy day. So far the only thing which is certain and stuck down is the lawn. Everything else is just blocked in, in flux and in mortal danger of being messed up by a breeze or rogue cat. Note to self:  It is a windy day and all the cats are in, be afraid ...

 

 

Portrait of a lady

Or should that be Regency wild child instead of lady?

It's a long time since I did any portraits. I was reading about the Shelley entourage again recently and this was the result - inspired by some cuttings I happened upon in my bits and pieces box and by Claire Clairmont, teen runaway who threw in her lot with Shelley and her half sister Mary when they decamped for France.

Then threw herself at Byron and ended up pregnant and deserted.

 

Here she is, older, wiser and still poor, as a governess in Russia where she did her best to distance herself, geographically and metaphorically, from her scandalous past, though judging by her letters and recently discovered memoir (in which she rages against Byron and Shelley's conduct)she retained her splendidly fierce independence of spirit, in contrast to Mary Shelley whose somewhat prim and proper life-after-Shelley always seems a bit of a disappointing anti-climax.

Had she been born a hundred years later I think she would have made a wonderful suffragette.

36 Craven Street

So here it is finished...

 

Dr Franklin is looking out of his first floor rooms, occupied by himself and words. Words being so important to him. I found a clipping featuring eighteenth century typesetting. Oddly enough and quite by coincidence the text was part of a poster advertising slaves for sale. And slaves lived in No 36. Ben Franklin's slaves.

 

I have to say I found it surprising to learn that the enlightened great man owned quite a number.

Two of whom, Peter and King, came to London with him.

I moved Peter, apparently the more "competent and loyal", out onto the street where he is seen bringing in a parcel addressed to Dr Franklin, possibly one of the regular packages sent by his wife Deborah in Philadelphia. King is upstairs, with the other servants, planning his escape.

 

Within a year of his arrival in London King had absconded. He was eventually traced to Suffolk of all places where, it appeared, a lady had take it upon herself to take him in and "gentrify" him, teaching him music and literacy. Franklin didn't pursue the matter further and left King to it. I'd love to know what became of him.

 

Polly is on the front door step in welcoming mode, while Mrs Stevenson is upstairs in what looks suspiciously like party mode. I have added in one of Polly's daughters who in reality would have been younger than she is seen here.

But I'm allowing myself, as ever, to concoct convenient time shifts, artistic licence and all that.

 

I think this is one of my busiest collages to date. Maybe I felt the need to people the house which must be one of the barest museums ever. The inside is stripped back to the bare original minimum, no furniture, and the tour is conducted by an actor. Which probably sparked the theatrical idea here.

Finishing off Dr Franklin ...

 

Down to details ... what is it they say? That the devil is in them? Well it could well be, they certainly take a lot of patience and a bit of swearing - especially when some tiny piece falls on the floor and gets lost amidst the off cuts under the table.

Should be finished today though.

Mmmm that cat needs a tweak or two too......

Ben Franklin & Co

 

Well I said I'd be back on this one.

Sorry about the convex look, still haven't figured out how to correct that on my camera.

I have largely finished the main bricky part of the facade and am now down to the stuccoed ground floor, entrance basement and pavement ...

 

I said there must have been a buzz at No 36 with all these (and oh so many more) occupants and visitors and goings-on and I hope I am managing to convey that. It puts me in mind of the eighteenth century comedies I used to study. All periwigs, New Ideas and comings and goings.

 

Anyway, I have had to squeeze Dr Hewson in in the ground floor window though where exactly his anatomy school was situated within the building I'm not sure. He is looking a bit Hamlet-like with that skull.

And thereby lies the tale I promised to tell ...

 

During restoration work in the basement (which was formerly the garden), a pit was discovered which contained 1,200 pieces of human and animal bones, the detritis of the anatomy school.

Here's a couple of quotes referring to that gruesome find which get the imagination racing:

 

"Dr Hewson had a rich source of subjects at hand: the resurrection men could deliver bodies stolen from graveyards to the Thames wharf at the bottom of Craven Street, while there was a weekly public execution at the gallows on the other side of the garden wall ..."

 

"A significant find in the pit gave a direct link to Hewson's school was a portion of turtle spine and mercury. In an experiment conducted in 1770 at the Royal Society, Hewson showed the flow of mercury through a turtle to highlight the lymphatic system."

Mmmmm .... thinks .... can I fit a turtle in there somewhere?

 

Hewson, as I already said I think, was married to Polly, the daughter of the landlady. Their marriage was not a long one. Just four years. He died a victim of his profession. In 1774 he contracted blood poisoning after carrying out a dissection and died aged just 34.

 

Dr Franklin paints a vivid picture of the sad time in a letter to his wife:

"Our family here is in great Distress. Poor Mrs Hewson has lost her Husband, and Mrs Stevenson her Son-in-law. He died last Sunday Morning of a Fever which baffled the Skill of our best Physicians. He was an excellent young Man ... belov'd by all that knew him. She is left with two young Children, and a third soon expected. He was just established in a profitable growing Business, with the Prospects of bringing up his young Family advantageously."

 

Polly eventually moved with her children first to Paris then to Philadelphia to be close to Franklin after the end of the Revolutionary War.

 

Golly, this is a long post.

Sorry about that.

Will continue anon with the identities of other personages on the Craven Street scene.

Benjamin Franklin in Craven Street

So here's the current state of play as regards my latest house.

Number 36 Craven Street, an unassuming Georgian terraced house which just a few years ago was in a dire state of delapidation, has the honour of being the only surviving home of Benjamin Franklin, statesman, diplomat, writer, philosopher and all round good American egg.

Franklin shipped up at this house, then owned by one Mrs Stevenson, on July 26, 1757 when he was 51. There he lived on and off for the next 16 years, occupying the first floor rooms. His long-suffering wife, Deborah, was averse to sea crossings and stayed behind at their Philadelphia home.

The Stevensons became Franklin's surrogate family, in particular the daughter of the house, Polly, with whom he corresponded regularly when away.

 

Franklin was sought out by the leading radical politicians of the day and his first floor suite of rooms became a focus for American dissidents, philosophers and writers.

 

Polly married in 1770 and her husband, a doctor, ran a private anatomy school in the house.

All in all No. 36 must have had quite a buzz about it.

So I have decided to feature some of the occupants in the windows to try to give an impression of that buzz:

Things are still a bit fluid and I still have to find places for several more characters in this almost theatrical line-up.

More about them, their doings - and the recent discovery of human bones in the garden - in my next post!

Back to Bricks

After a surfeit of leaves and greenery, I'm going urban again. Georgian again.

 

 

As you see, I am still at the messing-about-with-proportions blocking-in stage.

Reminds me of that old Rolf Harris cry of "Can ya tell what it is yet?"

Well it's in London, with a strong American connection is all I'm saying until I am sure I will carry on and get going with it.

 

Selling Writers' Houses

 

Sold: Writers' Houses collages that have found new homes recently

Thank you to everyone who has purchased original collages from my Writers' Houses series recently and also to everyone who has bought large giclees from my website and small digital prints and greeting cards from my online shop.

 

I'm so glad that people "get" my obsession with historic literary bricks and mortar!

 

Here's the link to my online shop if you are interested:

http://www.etsy.com/people/AmandaAWhite?ref=si_pr

 

and my website:

 http://www.amandawhite-contemporarynaiveart.com/

The Waves and the Writing Lodge

After The Waves (Virginia Woolf's Writing Lodge)

 

I will not disguise the fact that this latest picture has been something of a slog. I tell you if I don't see another ruddy leaf it'll be a day too soon. Hundreds of the things there are in this. Well, that's what it felt like anyway. Which of course is the effect I was after, but still ...

 

I have promised myself an urban house next. Lots of bricks to take away the pain of all these leaves.

 

Having said all that I think I managed to approximate to what I was after re the subject of the piece, that is, the moment when Leonard comes out to tell Virginia that The Waves is a masterpiece. She sure earned that drink down by her side! (So did I when I glued in the last leaf). I've put waves (thank you, National Geographic) in the windows of her writing hut and there is a bit of a wavy thing going on with the whole composition too - chestnut tree included.

Sea greens and sea blues ... and a foam of daisies encroaching on the terrace.

Whoops - you'll have to click on the picture if you want to get a complete view (otherwise you'll miss the ubiquitous Amanda W cat!)