My Edward Barnsley Art's & Craft Presentation

**thumbsucker** · 28th March 2009, 07:53 PM

As part of my Furniture course at ANU I had to give a presentation on Edward Barnsley, and English Art's & Craft designer maker. My lecturer was so impressed with it he asked me to give the same presentation to his 2nd year, 3rd year and honors students the following day.

This idyllic setting in the Southern English countryside was Edward Barnsley’s Cottage and Workshop located in Froxfield. His small vegetable and flower garden would greet Edward every morning on the way to the workshop.

A friend fondly recalls memories of seeing him “stripped to the waste in all weathers digging, mowing the lawn, hedge trimming or brick laying, and, as always rejoicing in the ‘doing’” 1. Edward lived and worked at Froxfield from 1923 until his death in 1987.

While I do not have time to go into the lives and work of Ruskin and Morris. Only to say that these two men would through their vision of craft and the role of art comes to directly influence Edward Barnsley’s life and work.
The link between Morris and Edward Barnsley is established, when a 19 year old Ernest Gimson is advised by Morris to go to the London office of architect JD Sedding, which was next door to the headquarters of William Morris and Co. This is were Gimson meet Ernest Barnsley, the brother of Sidney Barnsley, and the father of Edward Barnsley. 2
Inspired by Ruskin’s and Morris’s utopian vision, the Barnsley brothers and Gimson moved to the Cotswold’s in 1893, “to pursue the craft of furniture making amidst the persistent rural traditions in architecture and crafts that they so admired. in so doing developed a marketable style, that came to be known as the Cotswold School” 3.

It is into this craft environment that Edward Barnsley is born into. This environment would give Edward a firm foundation in the craft, this however was a mixed blessing since Edward “Barnsley did not have to develop his style from first principles, but adopted it ready formed” 4. Only “in later years , when he was thinking through his work in a more personal way” 5 did he move away from the Cotswold School.
You can see Edward sitting on his mothers lap.

Edward Barnsley at his workbench 1954 6.

1900 - Born William Edward Barnsley at Pinbury, Gloustershire. The son of Sidney Barnsley, and the nephew of Ernest Barnsley.

1905 - “Edward Makes a small table with the help of this father (Sydney Barnsley) help 7.”

1911 - Edward is sent to “a progressive school near Peterfield in Hampshire which encouraged pupils to participate in practical activities. Here he flourished, becoming head boy in 1917, and taught woodworks briefly when the teacher was called up for military service” 8 Edward was a keen cricketer, he considered any ball not hit for six as a wasted ball. Edward was also rather fond of Gilbert & Sullivan 9.

1919 - Makes an English Oak Cupboard for his mother in his fathers workshop 10. English Oak Cupboard with Two fielded panel doors and is made in the Cotswold Style - The cabinet is 2’ 7 1/2” wide, 1’ 1 1/4” deep, and 3’ 3/4” heigh)11. Note the heavy stand.

1919 - Gets his first commission from outside his family 12. A large bookcase featuring 4 fielded panels and was designed for Basil Gimson’s house. He was paid 6 pounds for his work, the bookcase is 6’ 9” wide and 7’ 6” high 13.

In 1919 Edward decided to become a cabinetmaker, his father Sidney, tries to discourage Edward from becoming a cabinetmaker, saying that he would never be able to make a living from it 15.

Edward however hopes to apprentice himself to Ernest Gimson, who was one of the most highly regarded cabinet makers in England at the time and a personal friend to the Barnsley family. Gimson however dies in 1919, before Edward is apprenticed, forcing Edward's to apprentice himself to Geoffrey Lupton between 1919 to 1922. Lupton was a former apprentice of Ernest Gimson 16. In so Edward establishes a direct craft linage going all the way back to Morris, and Ruskin.

In 1923 - Ernest Gimson gives up his business, (reason unknown), and Edward leases the Foxfield workshop and most of the staff from Lupton 17.

The workshop in 1939, The forman Herbert Upton is seated at his bench while Tom Barnet is the gentleman with his back to the camera 18. Note the treadle powered table saw. At this point all work was still being done by hand or foot in the workshop.

1924 - In 1924 Edward has his first opportunity to exhibit a Cabinet at the Wembley Exhibition 19, he later gives this cabinet to his wife Tatiana Hedwig as a wedding present. It took him 208 1/2 hours to build and its stands 4’ 6” high, 3’ 2” wide and 101/2” deep 20. The cabinet is firmly rooted in the Cotswold style.

1924 - Herbert Upton joins Edward as an apprentice at age 14 21, this would be the start of a live long, and fruitful working relationship.

1925 - Geoffrey Lutpon immigrates to Southern Africa, and Edward purchase the workshop, garages, sheds, and several cottages and about an acre of land from Lupton 22.

1931 - The great depression has taken hold and Edward considered closing the workshop and finding work as a freelance designer. This in part can be attributed to his lack of business experience, which meant that he rarely made a profit and often lost money on pieces. Edward never charged overheads, because his father Sidney did not do so (Carruthers and Greensted p.23). In the end his wife Tania went out to work, so that workshop could remain open. Edward also started taking paying pupils at this time, to make end meet 23. Edward was also inclined to keep his prices as low as possible 24, echoing William Morris who in his “1876 outburst against ‘ministering to the swinish luxuries of the rich’” 25.

In 1931 he is given a lifeline. A commission for a Brown Oak Cabinet for a Mrs Neil. In a telegram to Mrs Neil, he writes - “I am left without words to thank you. I found your wire when I arrived at the R.A. After a day’s job hunting - and it cheered me greatly and I am encouraged and helped far beyond the bare facts of a sale”…. The position is at present that I am trying to avoid either bankruptcy or voluntary liquidation by getting all the work I can. 26”.

These two pieces are again clearly placed within the Cotswold style.

Note the heavy tiered feet, the large even “oversized” draw handles used in the Oak Sideboard. The Sideboard was made in 234 hours, cost 31 pounds and 10 pence 27.

The English Walnut Cabinet was made in 517 hours, it is 2’ 10’ wide, 1’ 3” deep, and 5’ 6” high 28.

Note the veneered panels used in the English Walnut Cabinet on Stand. This would have been cut by hand because at the time of manufacture, electricity was still not available in the Froxfield workshop. If you are not familiar with cutting veneer by hand it is done using a two man bow saw, with the work secured in a special vice.

Between 1938 to 1945 the production of work at the Froxfield workshop seems grinds to a halt. Pieces from this period are conspicuously missing from the catalogue. This is understandable since the outbreak of WW2 resulted in shortages both men and materials which were conscripted on behalf of the war effort. This however was a critical time for Edward, he could not avoid the changes going on outside his Froxfield workshop. It forced him to engage in the questions that here to, he did not need to address. Having been born into a craftsman’s family Edward was given

1938 - Edward accepts an offer as a part-time teacher as a Design Adviser at the East Midlands Training College in Louchborough. This injected a steady stream of funds into the workshop. Edward remained in this position until his retirement 1965. It is believed Edward’s encounters with students at the training college encourage Edward to reassess the issues involved in design and why his work as a craftsman was essential to him 29. It was also through his role as an educator that Edward was able to disseminate the Cotswold style to a new generation of craftsman 30.

At the same time Herbert Upton was promoted to forman in Edward’s workshop 31.

1939 - 1945 - With the outbreak of war on the continent, many of the craftsman in the workshop are mobilized by to work as part of the war efforts. Of critical importance is the experience of Herbert Upton who spent the war working making aircraft. This exposed Upton to modern methods and machine tools, experiences that he would bring back to the Froxfield workshop at the end of the war 32.

In the same period Edward became involved in art’s & craft debates which sought to address the many fold contradictions facing craftsman in England at that time. Many of these debates still remain unresolved to this day. These debates focused Edward to start to “reclaim the idea of craft for its own sake. Attempting to ensure that some craft skills were preserved and that craft-workers would be better regarded in society, they reasserted their believe that satisfying work with hand and brain had an important place in a civilized world. 33”

In 1944 during an exhibition - a noted illustrator John Farleigh criticized Edward’s work saying “The exhibits were undoubtedly beautifully made, he said, but were dull and heavy and unsuited to the spirit of the coming age.” 34 It is said that Edward’s style changed almost immediately. He began to “express a more personal style, influenced las by the new technical skills of his forman Herbert Upton 35.

In 1945 Edward’s active engagement with the questions of design in a changing world lead to him being awarded a Commander of the British Empire by King GEORGE VI. This led Edward’s fame to spread, resulting in a blossoming of commissions 36.

Herbert Upton upon his return in 1945, convinces Edward to change the way furniture is made in the workshop. No longer would individual craftsman be responsibility for interpreting Edward’s designs. Instead Upton took more control over the whole process, directing individual craftsman through every stage 37.

**thumbsucker** · 28th March 2009, 07:54 PM

In the 1946 a petrol driven circular saw was bought and installed in the workshop 38. Up to this point all the work at the Froxfield workshop was done by hand. Edward resist the mechanization of the workshop believing “that these would change the nature of the work and that the craftsman’s enjoyment of it. However due to Herbert Uptons experience building aircraft during the war and the realties of competing for larger corporate commissions forces Edward to relent 39.

1946 - Here we have a Mahogany Sideboard designed and made for a Mrs. Maximillian Gunning 40. Note the refinement in the undercarriage and the lighter feel of this piece.

It is from this point you will see Edward developing his own style.

1949 - Alan Peters become an apprentice under the forman Herbert Upton 41.

1950 - Walnut Cabinet with light Ebony and sycamore inlay. Designed for Mrs. Ida Neil it took 1230 hours to build and cost 200 pounds. Note the refinement the the proportions of the doors, the lack of iron knobs, and the finer dimensions of the feet 42.

In 1955 electricity becomes available to the workshop and a thickness planer and bandsaw are installed 43.

1959 - Writing Table - English Walnut with sycamore and ebony inlay. Made in 295 hours 4’ wide, 1’ 10 1/4” deep and 2’ 1/4” high 44.

1961 - Lady’s Writing Table - Note the Bent Lamination Stretcher in the undercarriage 45.

1962 - Lady’s Bedside Table made from Walnut and sycamore inlay. Designed for Mrs. John Barnsfield, made in 251 hours and cost 90 pounds It is 2’ 3” wide 1’ 31/2” deep and 3 feet high 46.

1973 - “A gardening accident partially disables his left hand. 48” Page 13

1976 - “Makes last piece with his own hands: an Oak blanket chest for Dr Mary Capes. 50” - Page 13

Note the through tenon, employing reveled joinery so quintessential to Art’s and Crafts furniture. Also the refined use of sycamore inlay in the legs.

Drink Cabinet - This piece I was not able to date, however it is one of the few examples of Edward’s Barnsley’s work that I could find in color. I am adding it here because it exhibits, a sense of what I feel is a quintessential of piece Edward’s Barnsley’s. It is a simple, restrained cabinet, yet still true to its Art’s and Craft legacy.

In 1980 The Edward Barnsley Trust was founded, the trust aims to educate a new generation of craftsman in traditional craftsman’s skills. After undergoing their basic training, the apprentices are encouraged to design their own work within the Edward Barnsley tradition. 53

The following are some sample of work being produced today at the Edward Barnsley, Froxfield workshop.

Bibliography

1 Roger Powel., Edward Barnsley: Sixty Years of Furniture Design and Cabinet Making, Ed. Unknown (The Edward Barnsley Education Trust, 1982), 5.

2 Nicholas Mander., Ernest Gimson, (Owlpen Manor, 2008), http://www.owlpen.com/gimson.shtml (accessed 22 March 2009).

3 John Levitties., Cotswold School Furniture, (Antiques And Fine Art, 2006), http://www.antiquesandfineart.com/ar...fm?request=698 (accessed 22 March 2009).

4 Annette Carruthers., Pioneers of Modern Craft: Twelve essays profiling key figures in the history of the twentieth-century craft, Ed. Coatts Margot (Manchester University Press, 1997), 14.

5 Annette Carruthers., Pioneers of Modern Craft: Twelve essays profiling key figures in the history of the twentieth-century craft, Ed. Coatts Margot (Manchester University Press, 1997), 14.

6 Roger Powel., Edward Barnsley: Sixty Years of Furniture Design and Cabinet Making, Ed. Unknown (The Edwards Barnsley Education Trust, 1982), 17.

7 Roger Powel., Edward Barnsley: Sixty Years of Furniture Design and Cabinet Making, Ed. Unknown (The Edwards Barnsley Education Trust, 1982), 12.

8 Annette Carruthers., Pioneers of Modern Craft: Twelve essays profiling key figures in the history of the twentieth-century craft, Ed. Coatts Margot (Manchester University Press, 1997), 13.

9 Roger Powel., Edward Barnsley: Sixty Years of Furniture Design and Cabinet Making, Ed. Unknown (The Edward Barnsley Education Trust, 1982), 5.

10 Roger Powel., Edward Barnsley: Sixty Years of Furniture Design and Cabinet Making, Ed. Unknown (The Edward Barnsley Education Trust, 1982), 12.

11 Roger Powel., Edward Barnsley: Sixty Years of Furniture Design and Cabinet Making, Ed. Unknown (The Edward Barnsley Education Trust, 1982), 24.

12 Roger Powel., Edward Barnsley: Sixty Years of Furniture Design and Cabinet Making, Ed. Unknown (The Edward Barnsley Education Trust, 1982), 12.

13 Roger Powel., Edward Barnsley: Sixty Years of Furniture Design and Cabinet Making, Ed. Unknown (The Edward Barnsley Education Trust, 1982), 25.

14 History, (The Edward Barnsley Workshop), http://www.barnsley-furniture.co.uk/history/default.htm (accessed 22 March 2009).

15 Annette Carruthers., Pioneers of Modern Craft: Twelve essays profiling key figures in the history of the twentieth-century craft, Ed. Coatts Margot (Manchester University Press, 1997), 13.

16 Annette Carruthers., Pioneers of Modern Craft: Twelve essays profiling key figures in the history of the twentieth-century craft, Ed. Coatts Margot (Manchester University Press, 1997), 13.

17 Annette Carruthers., Pioneers of Modern Craft: Twelve essays profiling key figures in the history of the twentieth-century craft, Ed. Coatts Margot (Manchester University Press, 1997), 13.

18 Roger Powel., Edward Barnsley: Sixty Years of Furniture Design and Cabinet Making, Ed. Unknown (The Edward Barnsley Education Trust, 1982), 16.

19 Roger Powel., Edward Barnsley: Sixty Years of Furniture Design and Cabinet Making, Ed. Unknown (The Edward Barnsley Education Trust, 1982), 12.

20 Roger Powel., Edward Barnsley: Sixty Years of Furniture Design and Cabinet Making, Ed. Unknown (The Edward Barnsley Education Trust, 1982), 25.

21 Roger Powel., Edward Barnsley: Sixty Years of Furniture Design and Cabinet Making, Ed. Unknown (The Edward Barnsley Education Trust, 1982), 12.

22 Annette Carruthers., Pioneers of Modern Craft: Twelve essays profiling key figures in the history of the twentieth-century craft, Ed. Coatts Margot (Manchester University Press, 1997), 13.

23 Annette Carruthers., Pioneers of Modern Craft: Twelve essays profiling key figures in the history of the twentieth-century craft, Ed. Coatts Margot (Manchester University Press, 1997), 14.

24 Annette Carter, Mary Greensted., Good Citizen’s Furniture; The Art’s and Crafts Collections at Cheltenham, (Lund Humphrey Publishers, 1994), 13.

25 Annette Carter, Mary Greensted., Good Citizen’s Furniture; The Art’s and Crafts Collections at Cheltenham, (Lund Humphrey Publishers, 1994), 12.

26 Roger Powel., Edward Barnsley: Sixty Years of Furniture Design and Cabinet Making, Ed. Unknown (The Edward Barnsley Education Trust, 1982), 32.

27 Roger Powel., Edward Barnsley: Sixty Years of Furniture Design and Cabinet Making, Ed. Unknown (The Edward Barnsley Education Trust, 1982), 33.

28 Roger Powel., Edward Barnsley: Sixty Years of Furniture Design and Cabinet Making, Ed. Unknown (The Edward Barnsley Education Trust, 1982), 36.

29 Annette Carruthers., Pioneers of Modern Craft: Twelve essays profiling key figures in the history of the twentieth-century craft, Ed. Coatts Margot (Manchester University Press, 1997), 16.

30 Annette Carruthers, Mary Greensted., Good Citizen’s Furniture; The Art’s and Crafts Collections at Cheltenham, (Lund Humphrey Publishers, 1994), 39.

31 Roger Powel., Edward Barnsley: Sixty Years of Furniture Design and Cabinet Making, Ed. Unknown (The Edwards Barnsley Education Trust, 1982), 13.

32 Annette Carruthers., Pioneers of Modern Craft: Twelve essays profiling key figures in the history of the twentieth-century craft, Ed. Coatts Margot (Manchester University Press, 1997), 17 - 18.

33 Annette Carruthers., Pioneers of Modern Craft: Twelve essays profiling key figures in the history of the twentieth-century craft, Ed. Coatts Margot (Manchester University Press, 1997), 18.

34 Annette Carruthers., Pioneers of Modern Craft: Twelve essays profiling key figures in the history of the twentieth-century craft, Ed. Coatts Margot (Manchester University Press, 1997), 17.

35 Annette Carruthers., Pioneers of Modern Craft: Twelve essays profiling key figures in the history of the twentieth-century craft, Ed. Coatts Margot (Manchester University Press, 1997), 17.

36 Annette Carruthers., Pioneers of Modern Craft: Twelve essays profiling key figures in the history of the twentieth-century craft, Ed. Coatts Margot (Manchester University Press, 1997), 17.

37 Annette Carruthers., Pioneers of Modern Craft: Twelve essays profiling key figures in the history of the twentieth-century craft, Ed. Coatts Margot (Manchester University Press, 1997), 18.

38 Roger Powel., Edward Barnsley: Sixty Years of Furniture Design and Cabinet Making, Ed. Unknown (The Edwards Barnsley Education Trust, 1982), 13.

39 Annette Carruthers., Pioneers of Modern Craft: Twelve essays profiling key figures in the history of the twentieth-century craft, Ed. Coatts Margot (Manchester University Press, 1997), 19.

40 Roger Powel., Edward Barnsley: Sixty Years of Furniture Design and Cabinet Making, Ed. Unknown (The Edward Barnsley Education Trust, 1982), 37.

41 Annette Carruthers, Mary Greensted., Good Citizen’s Furniture; The Art’s and Crafts Collections at Cheltenham, (Lund Humphrey Publishers, 1994), 157.

42 Roger Powel., Edward Barnsley: Sixty Years of Furniture Design and Cabinet Making, Ed. Unknown (The Edwards Barnsley Education Trust, 1982), 59.

43 Roger Powel., Edward Barnsley: Sixty Years of Furniture Design and Cabinet Making, Ed. Unknown (The Edwards Barnsley Education Trust, 1982), 13.

**Andy Mac** · 28th March 2009, 08:11 PM

Hi thumbsucker,
That is a really interesting and well put together presentation! I have no doubt you lecturer was impressed, and thanks for sharing it.

I didn't realise the guy hung on so long and kept producing.

Cheers,

**kevjed** · 28th March 2009, 08:37 PM

Well done TS,
that's a lovely presentation and very informative. I look forward to chasing up some of the references you have kindly included in the bibliography.
Great stuff
Keivn

**AlexS** · 28th March 2009, 08:52 PM

Great presentation TS. Those photos really show the influence Barnsley had on Australian contemporary furniture deign. I hadn't realised it before.

**Tankstand** · 29th March 2009, 08:51 AM

Thankyou Thumbsucker!

That was a good read.

I especially was touched by that last quote / poem, oh to be remembered after we have gone by something we have produced.

**artme** · 29th March 2009, 08:58 AM

No wonder your lecturer was impressed TS.!!!

Fabulously interesting and exceptionally well presented!

**mikm** · 29th March 2009, 09:32 AM

Good read, thumbsucker.
Thanks

**Woodwould** · 29th March 2009, 09:35 AM

Nice presentation TS!

I used to live quite near the Barnsleys' workshops when I lived in England and I was very good friends with a guy who worked there. I used to drop in occasionly to catch up and have a squiz at the WIP. The standards set and maintained were of the highest order - somewhat zen-like.

**Glennet** · 29th March 2009, 11:05 AM

Thanks for posting that, I found the postwar history particularly interesting; like somebody else said I didn't know he had continued working and developing new designs for so long.

**STAR** · 29th March 2009, 01:53 PM

Thank you for sharing and presenting us with your research. It is truly inspiring. It is pleasing your lecturer was impressed and is encouraging you to reach your potential.

Peter.

**Afro Boy** · 29th March 2009, 06:36 PM

I love reading stuff like this, especially when it's been put together so well.

Awesome work TS.

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