HUNGERFORD ARCADE GEESE AND A BATH

At Hungerford Arcade we have something for everyone, including animals.  A lovely lady came into the Arcade and spotted an old long, tin bath.  She moved out of London and bought a three acre smallholding near Hungerford and moved in a few weeks ago.  She now has pigs and geese for company. The bath is going to be buried in the ground up the rim, then filled with water.  “The bath will be perfect for my geese to play and have fun in!”.  Sounds perfect to me.  


Sadly, our lovely lady was very shy so I had to stand in for her and have my photograph taken posing with said bath!
Rita 




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HUNGERFORD ARCADE: THE DARTMOUTH YEARS

We are very fortunate here at Hungerford Arcade by not only having very dear friends such as Stuart and Caron Miller-Osborne, but by having Stuart as the talented author of our stories, one of which we have here.  Stuart has written this wonderful story which really gripped me as I am sure, it will you too.
Rita

Flora Thompson – The Dartmouth Years

Flora Thompson

Many of you reading this will have visited Dartmouth in South Devon. My wife and I have been visiting this beautiful town for over thirty years. Dartmouth is lucky in its geography in that because of its location it has not really suffered the impact of mass tourism that nearby Torbay has. In the course of my researches, I found out why Dartmouth is the only town in England to have a railway station built but never to have seen a train. It appears that Brunel wanted to run the railway down from Totnes along the Dart and onwards via a tunnel along the Slapton Line towards Kingsbridge and onwards towards Plymouth. Thankfully, due to the lack of capital and awkward land owners, this never happened and the railway only reached Kingswear on the opposite bank. Indeed, I am led to believe that the idea of a bridge was considered but the depth of the river ruled this out and Dartmouth was never connected.

Recently I visited Dartmouth to winter for a while. All was familiar as usual however, I did notice that the town was selling its connections with Agatha Christie even more than normal. The pleasure boats were boasting of trips up the Dart past her house (now owned by the National Trust and well worth a visit) and indeed, Agatha cruises were also being advertised. The Harbour Bookshop (opened by Christopher Robin Milne the son of A.A . Milne in the 1950s) had a nice selection of Agatha literature. This was very acceptable but I thought what of Flora Thompson who lived in Dartmouth between 1928 and 1940? Indeed her ashes are buried in Longcross Cemetery at the top of the town. Agatha, although a resident in Dartmouth, is buried in Cholsey near Wallingford in the church you can see from the railway.



Although her books are available there was none of the hard sell that Agatha enjoys in the area. Indeed when I was visiting Longcross nobody knew where her grave was which was a little surprising as the BBC have just begun to show Lark Rise To Candleford which I hope will raise the authors profile.

In this short piece, I intend to give a brief history of Flora’s time in Dartmouth and also, if you are in the area, directions to her house in the town and should you wish to pay your respects, the location of Longcross Cemetery.

We find Flora in 1927 living in Hampshire with John Thompson whom she married in 1903. They have three children Winifred, Basil and Peter. Flora is just over fifty and has been writing for various journals such as The Ladies Companion and the Catholic Fireside. The work is well received (although her poetry collection Bog Myrtle and Peat is less successful). She had also written a guidebook to Liphook in Hampshire a year or so previously. John now works for The Post Office as Flora had done. 

In 1939 Flora is working on Over To Candleford which in time, is the second part of the trilogy. However, war clouds are growing as Europe prepares to tear itself apart. Dartmouth, because of The Royal Naval College and the shipyards, becomes a target for Nazi bombers. Indeed, a number of people lost their lives in strikes against Dartmouth and nearby Beesands to name but two. There was an even greater loss of life in the Slapton Sands tragedy later in the war.

In view of the threat, John and Flora move to nearby Brixham and a residence less vulnerable. We do not leave Flora here as although she was no longer resident in Dartmouth, she was destined to return under different circumstances a few years later. In 1941 she completes Over To Candleford .
However, a short time later tragedy strikes when her youngest son Peter is killed when his ship The Jedmoor is torpedoed. Later that year, she contracted pneumonia and is confined to bed for some while. When she recovers, she commences Candleford Green which is seen as the final part of the trilogy. In 1943 it is published and is very well received. Flora’s health at the time is sadly declining.



The following year the Oxford University Press decide to publish Flora’s three books as a trilogy and it is called Lark Rise to Candleford . Its advance run of 5000 copies is sold out in advance. The book is a huge success. During 1945 she starts Still Glides the Stream (a title taken from the Wordsworth poem River Dudden). She is suffering now from angina, although during the later months of 1946 she is correcting the proofs of Still Glides the Stream.

In the early months of 1947 her health improves to such an extent that John (now retired) decides to go away for the day on business. Whilst he is away Flora has another angina attack. He returned to find her in bed. She has a further heart attack later in the evening and passes away peacefully on the 21st May 1947.

After a service at St Barnabas’ Church, she is cremated and returned to Dartmouth. Her ashes are interred at the Longcross Cemetery with her gravestone in the shape of an open book, which she shares with Peter. It is a simple affair with the following inscription.

“To The Dear Memory Of Flora Thompson May 21st 1947”. On the left hand page and on the right hand page, “And Of Her Beloved Younger Son Peter Redmond Thompson Lost At Sea Sept 16th 1941”.

The memorial is very moving in its utter simplicity and in my view reflects the very unassuming woman. Her beloved husband John joined her in the July of the following year, although I cannot see a trace of his grave at Longcross. Also in 1948 Still Glides The Stream was published with Flora never seeing it in print.

The first thing that anyone who knows Dartmouth sees are the hills, they fan off in all directions. If you are going to follow the Flora trail then be prepared (or prepare your motor car for some stiff gradients). Firstly, to her Dartmouth house. It is reasonably easy to find and indeed it can be spotted from the river. If you head in the direction of Dartmouth Castle (well signposted) you will rise very quickly above the town (with superb views of Kingswear to your left). Above Town can be spotted as a very steep lane on your right a short while before you reach Warfleet where the Dartmouth Pottery was once located. Keep your eyes peeled as it is easy to miss. You can drive up the lane which must be one in three or if you are fit, it is a challenging walk. Flora’s house is a short while past a rather nice Modernist residence and happily, it is marked with a plaque for ease of identification. Flora must have trod these steep lanes and paths many times over the twelve years she lived there. Although, now owned by outsiders, (as a lot of houses are in Dartmouth) you can still feel her presence.

She also, after she settled in and let Dartmouth into her blood, began to take walks to Dartmouth Castle and the very original St Petrox Church (rebuilt 1641). There is a splendid tea room near the castle with fine views out to sea. Also, if you have any energy left after visiting her house, there is a rather pleasant cove (Castle Cove) below the castle which is reached by a very steep set of steps. Further up through the woods, you can trace Flora’s walks towards Sugary Cove and beyond.

Longcross Cemetery is quite easily found. If you head off in the direction of Totnes, it is about a mile or so out of the lower town. The cemetery is situated on the left, shortly before the Leisure Centre. If you take the main road nearly opposite The Upper Ferry, this is the most direct route.

If you want to follow Agatha, then you only have to look at the many posters on the embankment for information or visit The Harbour Bookshop (easily found in the centre of Dartmouth).

But if you want to follow Flora, then you will have to delve a little deeper, as I did, to bring to life her Dartmouth years.
Stuart Miller-Osborne 



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Hungerford Arcade: Jessie and Charlotte

 

I came across an article by our brilliant author, Stuart Miller-Osborne which he had written a few years ago. I was so taken with it that I thought you ought to read it and hopefully, get the same pleasure from it as I did. Stuart has been writing for years and I must say, I enjoy each and every one of his articles because he writes so passionately. You can actually lose yourself while reading his works.
Rita

 

 

 

Jessie & CharlotteIt was with sadness, that earlier this year I noticed the obituary of Jessie Tait in The Guardian. Having already a great interest in the works of Susie Cooper and Clarice Cliff I soon discovered the works of Jessie Tait and Charlotte Rhead. Although both were very talented, they are a little overlooked.

Jessie Tait (1928-2010)

Dorothy Jessie Tait was born in the heartlands of the Potteries in Stoke-on Trent on the 6th March 1928 the youngest of three children. Jessie was from a working class background and in those days many people, no matter how talented ended up in dead end jobs in factories and the like. Jessie was lucky, at thirteen she commenced studies at the Burslem School of Art. It was during this period that for a while she became assistant designer to Charlotte Rhead. However this was not a success and she joined the firm of W R Midwinter in 1946 aged eighteen.
By that time the war had been over for a year or so but the country was exhausted by the conflict. My mother noted that although the precious peace had been gained the whole country was grey and the savage winter of 1947 did little to help. As with the fallout of World War One it was almost a natural reaction that things needed refreshing.
Roy Midwinter, the son of  WR Midwinter around the time decided to take research trip to the west coast of America and not long after became aware of the works of  people such as the Hungarian Eva Ziesel (Who is still with us at the grand old age of 104 at the time of writing). The overtly fussy designs were going out of fashion. People wanted something new, more streamlined. They wanted the clutter replaced. In a sense people wanted to breathe. When I  watch movies from the 1950s (especially some of the Alfred Hitchcock ones) what strikes me more than the plot is the design, the feel of the 1950s. You can almost feel the environment breathing again, you can almost taste the freshness in the fashions, the cars and the designs on the time.
 
In time Roy Midwinter designed a new set of shapes for some of the plates and cups. The plates resembled the oval shapes of the televisions of the time and this was complemented by quiet unfussy cups.  This new range was launched in 1953 and Jessie started creating the new patterns, although initially she had misgivings about the new shapes. She thought they might be considered too radical.
 
Although we might not know them by name some of Jessie’s designs became icons of the era. Homeweave (which resembled a gingham tablecloth) and Red Domino were two fine examples. She also with her Fantasy range ventured into the territory of Joan Miro, the Spanish artist with the lively lines and spirals of his work.
 
Jessie was able as with Susie Cooper and Clarice Cliff to identify the pulse of the times. Her Zambesi design with its zebra stripes (and the occasional splash of red) was in my view slightly reminiscent of certain of the abstract expressionists of  the time. It is a design that we have all seen and recognise and if we are of  a certain age, we can remember these designs in the magazines of the day.
 
Those who knew Jessie found her a modest and very practical woman who moved with the times. As the 1950s moved into the 1960s then as with everything tastes changed. To some extent the brave new world of the fifties began to feel stale. As a certain prime minister noted at the time “ You have never had it so good ” .  Many homes had televisions, some now familiar household appliances were becoming mass produced. Society had appeared to become more liberal. The Lady Chatterley prosecution had failed. A minor incident involving a girl from near Windsor, an MP, a Russian diplomat and a swimming pool at Cliveden had helped to bring down a Government. There was a massive slum clearance programme  and people were to live in Le Courbusier’s cities in the sky. The consumer wanted different shapes and designs and in view of this Midwinter introduced a new range of shapes in the 1960s
 
Gone were the streamlined shapes of a decade before. New, more cylindrical shapes were introduced and Jessie created designs such as Mexicana and Sienna to name but two. However, her Spanish Garden was the most memorable .I recently saw some examples of the Spanish Garden range  but still cannot really make up my mind about them . Maybe it is because I was brought up with them in my childhood, but deep down I think it is a longing for the freshness of the fifties designs, again it is personal taste.
 
Jessie married in 1970 and around this time completed her final designs for Midwinter which was named Nasturtium. Although I have not seen any examples for a while, if my memory serves me correctly it was a rather bright orange floral pattern which was very much of its time. At this time Midwinter was taken over by J & G Meakin  and subsequently by Wedgwood and really the freedom of the designers including Jessie was curtailed with a more corporate approach . Jessie moved to Johnson Brothers (another part of the Wedgwood empire) in 1974 and as far as I can see remained there to her retirement in 1993.
 
Jessie’s designs were like pieces of music on the wireless. You recognise the piece but cannot put a name to it. Her designs are very evocative of 1950s and the 1960s. It is strange to consider that what was then thought to be the state of the art is now treated with a soft nostalgia.            
 
 
Charlotte Rhead (1885-1947) 
 
I have always considered Charlotte Rhead to be a modern designer, but she was actually born a generation before Jessie Tait (Indeed in the same year as certain David Herbert Lawrence) and some years before both Susie Cooper and Clarice Cliff.
 
Charlotte was born into a family that had strong connections with the pottery business. Her father Frederick Alfred Rhead began his career at Mintons as a pate-sur-pate (paste on paste)  artist and became well known around the potteries . Her elder brother Frederick Hurten Rhead also became a well known pottery designer in the USA.
 
Although she was sickly child suffering from a severe gastric illness and shortly after that a broken leg which caused her to miss a great deal of schooling by the time the new century arrived the Rhead family were living in Fenton and Charlotte and her sister Dollie were studying at the Fenton Scholl of Art.
 
She started work at Wardle & Co in Hanley (where her brother was the art director). She did not stay long but it helped to develop her skills. By 1912 when she was twenty-seven she had had experience as an enameller, a tile maker and a designer.
It was during that year that Charlotte’s father was appointed art director at the famous company of Wood & Sons. She fine tuned her skills in the following years and by 1922 her name was beginning to appear as a back stamp as Lottie Rhead Ware
 
In 1926 Charlotte joined Burgess & Leigh and her design output was prolific as ever. Oddly enough there was a major fire at the Woods Crown Works which make have helped her to make her decision or she just felt it was time to move on. Burgess &  Leigh were so excited by their new appointment that they commissioned a full page advertisement in the Pottery Gazette. She selected a skilled team and from this time her name was appearing on back stamps . She was making her mark in the industry.
 

As the thirties dawned Charlotte was to be found working for Crown Ducal Ware and in the following years she was producing a large number of designs that were popular both in the UK and overseas. She was also a talented businesswoman who understood the marketplace. She developed new glazes (and lustre’s) and her snow glaze received a very favourable reception at the time.
 
The decade however ended on a sour note as Charlotte was diagnosed with cancer. She received treatment which was initially successful and she continued her career returning to Woods again in 1942. She worked here for the next five years, but her cancer returned once again in 1947 and sadly Charlotte died at the age of sixty two on the 8th of November 1947.
 
Although Jessie and Charlotte worked together, I have not been able to discover much detail about that period. Both women appeared to have been very modest (although Charlotte was noted as being quite retiring) but their designs were by the accident of time poles apart. Whilst Jessie Tait was associated with the designs of the 1950s and 1960s Charlotte Rhead designs were from the Deco period (although here she was eclipsed by Clarice Cliff and her bolder designs) Charlotte’s origins lay to some extent in the Arts & Craft movement and Art Nouveau.
 
Although a generalisation, there is something very biomorphic about a number of her designs. There is an organic feel to the designs which is absent to a great extent in most of the works of the time. Although Deco grew out of the Nouveau movement to some degree there is something very traditional about her designs. If you view one of her plates, for instance, a Charlotte Rhead has the feel of the past. Whereas a Clarice Cliff immediately identifies itself as a product of the era.
 
 
Had Charlotte lived beyond 1947, would her style have changed to reflect the new shapes and designs ? This is a hard question ,but I believe that her work would not have changed to any great extent. She would have taken in the shock of the new and in her own way incorporated it into her work.
 
Although their paths only crossed briefly both Jessie and Charlotte, in their own fashion, contributed to the fascinating history of ceramics during the twentieth century. 
Stuart Miller-Osborne


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Hungerford Arcade Visit By Mademoiselle

WELCOME MADEMOISELLE

We really enjoy meeting our visitors from around the world and this lovely lady from France was no exception.  She was in rather a hurry but bought this beautiful piece of vintage material, posed for a photograph with Hungerford Arcade co-owner, Adrian Gilmour then rushed off before I could write down her name.  I will have to be a lot quicker in future!
Rita

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Hungerford Arcade Bargain Hunters’ Return

BARGAIN HUNTERS’ RETURN
TO
HUNGERFORD ARCADE
 
As many of our regular visitors will know, we at Hungerford Arcade quite often play host to a number of different television programmes. It’s always a pleasure to welcome in the contestants and presenters of shows such as Bargain Hunt and The Antiques Roadtrip.

Having taken part in an episode of the programme just weeks S6300128earlier, Ashleigh and George Tinson enjoyed their experience of the Arcade so much that they came back for more – this time without the horde of cameras and microphones behind them!  Deliberating carefully over this large copper tray, they were tight lipped about what may or may not have happened in the saleroom at Cirencester – the scene of the final showdown!  But, by all accounts they had a marvellous experience in Hungerford and the Arcade in particular! They highly recommend being a contestant on Bargain Hunt and say the possibility of a profit at the end of the day is nothing compared with the experience as a whole. If you would like to take part in the show and get hold of your very own Red or Blue Team jersey then just fill in the application form on the website:

Alex Rogers
 
Bargain Hunters: Ashleigh & George Tinson For all the latest news go to our Newsletter at www.hungerfordarcade.co.uk

 

 
 
 

 

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Hungerford Arcade Myth or Memory

If you happen to be in London around 
the 17th to 22nd March, why not pop down to Craft Central in St John’s Square and see Hungerford Arcade stallholder, Jane Corbett’s first London exhibition.  She will be resident for 6 days showing her decorative yet discerning mixed media sculptures.  Jane’s curious creations range from fragile porcelain and intricate textiles to botanically inspired sculptures in wax, paper and wire work all housed in antique glass domes, display cases and cabinets.

 
Jane lives and works in Hungerford and has run her own millinery business in Hungerford for 15 years.  Her clients include HRH the Duchess of Cambridge and she made Mrs. Middleton’s hat for the royal wedding. 
So, as you might imagine the exhibition will feature a sprinkling of millinery, but don’t expect anything as literal as a wearable hat!
 
Works in one section of the exhibition, including a velvet lined box housing inexplicable instruments, suggest that Jane has rediscovered artifacts belonging to a fascinating and largely overlooked 19th century collector known only as TM – but that is another story in itself.
 

The exhibition is called Myth or Memory and is on from 17th to 22nd March at Craft Central, 33-35 St John’s Square, London EC1M 4DS.
www.janecorbett.co.uk


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Hungerford Arcade Walking With Bartholomew

Our wonderful author, Stuart Miller-Osborne writes the most fabulous stories which I know a lot of you wonderful people all around the world enjoy reading.  Well, here is another of Stuart’s gems which makes fascinating reading.
Rita  

WALKING WITH BATHOLOMEW



It is said that if you stood in Hungerford High Street and threw a stone in any direction that it would land in the countryside that surrounds our town. Although I would not recommend this, as it might upset the local wildlife this statement is very true. We are surrounded by some of the most beautiful countryside in Southern England. From the bleakness of Salisbury Plain to the rolling beauty of the Marlborough Downs, from the mysteries of the Savernake Forest to the poetry of Richard Jefferies Liddington Hill.
You might just get up one morning and head in the general direction of the countryside, with no real plan in mind and stumble across what you may and maybe research what you have seen and found on your return. I believe I have heard this referred to as free-walking. Or maybe you will use a map either physically or on-line. There are many maps on the market each very good in their own way but do you sometimes long to be just that little bit lost?  Really, about half way between the worlds of free-walking and Ordinance Survey. 

Well there may be an answer at hand, treat yourself to an old copy (1910-1925) of a Bartholomew’s Half-Inch Map covering the area you wish to explore. Bartholomew’s a familiar name but you cannot just put your finger on who they are and where to purchase them. Well if you want an up to date Bartholomew’s map then they are still available although now to be found as a trade name under the banner of HarperCollins (Collins Bartholomew). But that is not so much fun; modern maps maybe provide too much information and remove the romance of walking a little. Sometimes you want to look at that mysterious mound in the meadow and wonder at its past and not be informed that it was just spoil from the latest by-pass. 

But what of Bartholomew’s who are they and why is the name imprinted on the consciousness of anybody born prior to the nineteen-seventies? Well the answer is to be found many miles from Hungerford, in Scotland.

It all started with a George Bartholomew (1784-1871) who worked as an engraver in Edinburgh and started the cartographic dynasty. His son John Bartholomew Senior (1805-1861) founded the Bartholomew company in about 1826 and twenty years later he produced the memorable General Atlas of 1846. Another two John’s, John Bartholomew Junior (1831-1893) and his son John George Bartholomew (1860-1920) really brought the company to prominence and soon it was publishing its own researched copies.

Later John’s also helped to cement the companies name into our memories. For the record these were John Ian Bartholomew (1890-1962) and a member of the fifth generation of the Bartholomew’s John Christopher Bartholomew (1923-2008). 

Whilst the early Bartholomew’s would have been atlas’s possibly on a larger scale it was really a change in the recreational habits of the Victorians that noted the needs for more intimate maps. The Industrial Revolution had produced cloying diseased towns and cities and certain members of the population were beginning to want to explore what was left of the green and pleasant land. The bicycle was beginning to make itself felt and the ideas of Mr Marx and Mr Engels were beginning to revolutionise the way people thought and the way they worked. This said it was going to be a number of years before the average working man would be able to get up and go and explore the countryside. 

If you wanted to explore parts of Scotland then by 1875 Bartholomew’s were publishing its individual folded half-inch series. In 1897 the company added the England and Wales series which were an instant success. Colour was being used to provide more detail (The Ordnance Survey maps were still using the black and white one-inch maps). These maps were very accurate and by using a larger two miles to an inch format the whole presentation was easier to read and use. 

But how do you find these early maps and how do you recognise the issue. Well in some ways we are back into John Land again. The early maps from 1897 onwards were brown of cover with the beautifully unwieldy title of Reduced Ordnance Survey for Tourists and Cyclists and the area covered (Devon for instance) was noted on a printed sticker pasted over the middle of the cover. Although a little hard to see there was subtle classical feel to the cover which is very comfortable to the eye.

By 1904 the title was reduced to the New Reduced Survey for Tourists and Cyclists these covers were also blue instead of brown and the maps were cloth backed instead of made of paper as the brown 1897 ones were. This simple change of material also explains why you can quite easily find one of the Bartholomew Blues but may struggle to find a Bartholomew Brown. Although Bartholomew Blues date back to c 1904 there is evidence that the Bartholomew Browns did linger on to 1911, maybe longer.

The early Bartholomew Blues also had advertisements noting other Bartholomew products and also a guide to the sheet numbering. If for instance you wanted to explore The Lake District then you knew which Bartholomew’s map to choose. Also as cycling became more popular then additions were added for cyclists such as hints as to the quality of the roads also the Cycling Touring Club logo appeared on these maps from 1904. Whether you were on two wheels or two legs your Bartholomew’s was becoming more and more valuable. 

Quite a few of us remember the slightly later Bartholomew maps which had a more colourful cover than the 1904 editions. They were still Bartholomew Blues but there was the use of orange lettering as well as the CTC logo which was much more prominent. This new more familiar style emerged around about 1930 and lasted for a number of years before changing again and again in line with improvements in printing techniques and presentation. If you purchased a Bartholomew map in the nineteen sixties or seventies then the map you would have purchased would have been radically different to the one your father would have purchased a generation earlier. 

Recently I purchased a Bartholomew map of Salisbury Plain dating from between 1910 and 1920. It is interesting to look at it. You could still reach Marlborough by railway as well as alight at a choice of two Savernake stations (High Level and Low Level) for onward exploration through the forest. The Forest Hotel (now residential) was there for your overnight comfort and although the Kennet and Avon Canal was in decline. I believe that The Bruce Tunnel that runs under the GWR was still in use.
There was a tiny village on Salisbury Plain called Imber which had existed since before the Domesday Book which by its remoteness was mainly a village where agricultural folk lived. If you take 1920 as a benchmark then this quiet little village had only twenty three years to live as the army took it over during the war and to this day have not returned it to its rightful owners (there are open days but apart from the church and a couple of other buildings the village is derelict). 

In 1920 with the help of your Bartholomew’s (and maybe the weather) you would have been able to take refreshment at the Bell Inn (I am told that the building still stands) as you travelled across the plain. 

This is the beauty of my map; I can see Wiltshire and West Berkshire as the people alive at the time would have seen it. Hungerford is shown on the map and geographically has not changed much but in other parts of the area major roads and motorways have appeared. The railway network has withered (Grafton and Burbage railway station, next stop, no more) and where there were meadows there are now houses.

Villages such as South Marston (the home of Alfred Williams) and Coate (most notably connected with Richard Jefferies) were some miles from the town of Swindon and my Bartholomew’s showed this to be true. As we know today both villages are really only glorified suburbs of the town which is a little sad. 

But where do you purchase these wonderful maps? Well it is easier than you might think, if you go into most middle market antiquarian bookshops then you will probably find one. Antique shops and arcades are a good point of reference and of course the internet. I was very lucky when I picked my Bartholomew’s as the first two I found were of Hampshire and Salisbury Plain. If you are looking for a specified area then you might need to search a bit. 

The later Bartholomew Blues (1930 onwards) are obviously easier to find but the earlier Bartholomew’s are not that rare (although you do not see the Bartholomew Browns that often). Prices vary considerably, I picked my two up for a pound each, but I have seen them priced for more. The condition of the map also is a consideration. But I think if you are willing to pay between five and ten pounds then you should be able to pick a good Bartholomew Blue

It is here the fun starts, pack your sandwiches, lock your children away and send your dog to a cattery. Choose your area and either catch a train to your starting point or start walking from your town. You should set yourself two rules:

1/ Always take notice of where your Bartholomew’s takes you (unless you find the M4 or the like blocking your progress). Try to envisage where the map would have taken your grandparents.Where they would have stopped and possibly stayed, what they might have seen and heard. I have in my travels been surprised how much has not changed in this area. The barn noted in 1911 is the barn you see in 2014. The small country lane ten miles from Marlborough is still the leafy quiet country lane ten miles from Marlborough. 

2/ Always take your mobile. Bartholomew is a good companion but as you must remember is advanced in years and sometimes you might just a helping hand from this modern age.

Recently I walked some twelve miles with Bartholomew towards Swindon partially using footpaths and sometimes the main road. My destination was Liddington Hill as I wanted to sit where Richard had sat some one hundred and fifty years ago. The map helped me find it easily (although I was aware of its location) and as I sat on the grass looking down I closed my eyes and thought of the description that my Bartholomew’s had given me. There was no motorway scarring the landscape at the base of the hill. All that could be heard were the birds Richard had described in his books and all that I saw that day were the meadows that Bartholomew had described as they retired quietly towards the distant town of Swindon.   

Stuart Miller-Osborne







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Hungerford Arcade A Big Thank You

When we had the 6th Battalion REME in Hungerford for their welcome home from Afghanistan parade.  In the background making sure all was well were the police.   They did a fabulous job and they even found a few minutes to have some photographs taken with Hungerford Arcade co-owner Adrian Gilmour and myself.  They were great fun as you will see from the pictures we took and we thank them very much.  

We would also like to thank a young man, Charlie Ogilvy who celebrated his 8th Birthday on Monday.  Hope you had a wonderful day Charlie.


Charlie Ogilvy now 8 years of age

Adrian “It wasn’t me Officers!”

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Hungerford Arcade: Waterlily Beauty Salon

WATERLILY BEAUTY SALON
BLACK ROCK, AUSTRALIA
A beautiful young lady visited Hungerford Arcade with her parents, Mike and Carol.  Daughter, Clare Martin came over from Australia on holiday to spend time with her parents. Adrian and I had a very interesting conversation with her and learnt that Clare went to Australia five years ago and worked as a Beautician in the Waterlily Beauty Salon at Black Rock. After a year, she bought the business and now has three employees whom she was in the Arcade buying presents for. Clare said one of the girls loves antiques and they will each receive a beautiful gift on her return. 
Rita

Beautiful Clare Martin with
Arcade co-owner, Adrian Gilmour


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Hungerford Arcade 1766 Ladle

LADLE MADE IN 1766


This ladle was made in 1766 in London by James Tookey and features the “Onslow Pattern”. An interesting point to note is the join ¾ of the way up the handle. The technique used is called a half-lap joint that was more common in carpentry. Technology at the time of manufacture would not have allowed for the handle to be cast in one solid piece of silver, so the half-lap joint was employed. Difficult to see and impossible to feel, the joint is as strong today as it was the day it was made.  
 Alex Rogers

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