Natural History's blog

Design History: The Willow Pattern

Following last week’s post, let’s look at one of the most well-known Chinoisierie designs: the Willow Pattern.

You will see the same scene on every example of the perennially popular blue and white china. Three people crossing the bridge, the temple, the willow tree, the apple tree, the crooked fence and the two birds flying overhead. The scene tells a story, which some say was invented by Thomas Minton in 1790 to sell more pottery but it may have been based on an actual Chinese legend.

So here is the story. Are you sitting comfortably?

Koong-se was the beautiful daughter of a wealthy Mandarin. She fell in love with her father’s humble secretary, Chang. Her father, however, had arranged for her to marry a rich Duke and locked her in a little house (just visible next to the temple) in an orchard to keep her away from Chang.

From here, Koong-se managed to send a message to Chang: “Gather thy blossom, ere it be stolen”. Chang made it to the orchard to rescue her and they hurried across the bridge, Koong-se carrying her jewels in a box – pursued by her father, brandishing a whip (and sometimes the Duke is also pictured).

The couple escaped in a little boat to an island and took refuge in a small wooden house. Koong-se’s enraged father and the Duke set fire to the house. Koong-se and Chang perished in the fire.

The young couple’s souls rose from the ashes and took the form of two doves, which you can see flying above.

Two birds flying high,
A Chinese vessel, sailing by.
A bridge with three men, sometimes four,
A willow tree, hanging o'er.
A Chinese temple, there it stands,
Built upon the river sands.
An apple tree, with apples on,
A crooked fence to end my song.

(Author unknown)

Botanical print tiles

Fired Earth have impressed me again. This time it's with their new botanical print tiles, from their collection Natural History (good title, non?). The collection includes leaf, tulip, sycamore and dragonfly designs as well as simple base tiles to complement the printed pieces. Here's a selection of what's on offer.

I love the detail of the numbering next to the pattern, it makes the tiles look really authentic. The collection is produced by ceramicist Alice Gibbons who sources the imagery from the archives of the Natural History Museum. Some of the images she uses are as old as the 1700's, which I think gives the tiles, although modern, a lot of character and history. I would love a section in my kitchen decorated with these tiles.

Here are some of the 12-tile panels on offer.

Though quite pricey, I think these would create a perfect feature wall in any kitchen.

To finish off, here are some pictures of the dragonfly tiles I mentioned. Although I can't see them in my kitchen I certainly think I could find somewhere in my home to use them as they are just so pretty.

What do you think? Do you prefer the botanical prints or the dragonflys? -Laura.

{All images: Fired Earth}

Taxidermy is Alive & Well (and living in France)

It probably won't surprise you to learn that I love taxidermy.  A blissful childhood that seemed to be largely spent in the Museum of Natural History gave me a strong enough incentive to throw caution to the wind & open my own business inspired by the contents of that one musty building with the creaking staircase and the wonderful things in jars.

It is gratifying to discover that I am far from alone in this love. 

Malplaquet House in London.

Taxidermy is chic & unbelievably versatile.  Whether your home is a gothic mansion or a modernist cube, I promise that you will be able to find the righ stuffed lemur or fossilised whale vertebra to bring the perfect zoological memento mori to the occasion.

The exciting Hollister & Hovey in New York.

The British are doing it, the Americans are doing it, but nobody is doing it as thorioughly as the French at the amazing Deyrolle in Paris.

 The shop was badly damaged by a fire a few years ago, but somehow the effects of the fire, devastating as it was to the owners, are creepily beautiful - which they themselves luckily recognised and turned to wonderful effect with the exhibition Touché par le feu.

Images with thanks from here, here, here here and here.

Fruit of the loom

via

 

I've always had a bit of a thing for Lloyd Loom furniture. I can clearly remember my grandma's linen basket and a bedside cabinet in the spare room where I used to stay. I used to trace my finger along the distinctive gold-painted braiding when I was trying to fall asleep. This is probably why I now have a couple of thrifted pieces of Lloyd Loom in my home; namely a gold linen box we keep in the bathroom and a cute little pink cupboard, which is pride of place in my daughter's bedroom as you can see.

 

There has been a huge resurgence in the popularity of Lloyd Loom in line with the rising trend of up-cycling second-hand furniture. Now it's possible to pick up original re-upholstered and revamped pieces in the usual places such as ebay, folksy and Preloved. Consequently there's also more of a clamour for Lloyd Loom style furniture - not the original but often just as attractive, like this chair from Candle and Blue available from Not on the High Street.

But if you'd like to invest in a new piece of Lloyd Loom, your first port of call might be Lloyd Loom of Spalding who still manufacture their furniture in the traditional way, by wrapping kraft paper around wire to form paper threads that are woven into mats. And traditional doesn't have to mean old fashioned or stuffy. Look at these gorgeous linen baskets - collectors' pieces of the future?

Or if, like me, you think Lloyd Loom works nicely in a child's room (there's something almost 'doll's housey' about some of their pieces) then how about this cute range of chairs from Maycroft Lloyd Loom available in different styles and in pastel pink or blue.

 
After all, it's never too early to start educating on good style and design! It's what memories are made of.

The Joy of...Working from Home

I miss working in an office. I do. Some of the bestest, hardest laughs I’ve had were the ones during my formative working years at a frenetic PR agency in London. I literally laughed all day, every day.

I miss the camaraderie, the drinks after work, the gossip, and the visceral relief when Friday comes around. I can’t say I miss the commute, meetings about meetings, 360-degree reviews, hangover naps in the Ladies, dealing with drunken team members with axes to grind at Christmas parties and the mortification of an office rendition of ‘Happy Birthday’. But still.

Since having kids and a career change I mostly work from home now. I’m sure I’m more productive. I don’t laugh as much, it’s true, but I do get a lot done. I relish not feeling tethered to my desk or watched over by the boss.

No interruptions, Radio 4 on in the background, lots of cups of builders and, more often than not, tracky bottoms and no make up. Plus, the freedom to go out for a walk to clear my head or stick a wash on should the need arise. I still can’t quite believe that working from home is allowed, encouraged even. I always feel like I’m cheating a bit.

Until recently I worked at our kitchen table, which is big and white. But it looked messy and I was always having to scrape porridge or playdough from my books and laptop. It also meant that I was constantly hopping on the laptop when the kids were home which I’ve heard is bad parenting.

So, spurred on by Sarah's post, I have created a little office nook upstairs in the corner of my bedroom. I now have a simple white desk with a pinboard above it for tear sheets and a set of shelves for filing. It’s my new favourite place in the house.

Image 3 via Domino Magazine, images 1,2 & 4 taken from tear sheets and source not known, apologies

 

Italian Style

No, no! This post isn't about fashion - it's about something bigger than that: the Italian influenced food and drink. It's delicious, glamourous, fresh, top quality, accessible and very necessary. But that is just my personal opinion. 

Image: Instagram

Italian Campari. Blood Orange Campari Cocktail

Image: Photo Per Diem 

Italian bread. Pugliese crusty loaf

Image: Salt and Serenity 

The wine. My favourites: Chianti, Montepulciano and Sangiovese (all easy drinking). Accompanied by a meat and cheese board

Image: Flickr

And of course the food. Pizza, olives, cheese, pasta... the list goes on

Image: Little Things

Image: Ditte Isager

 

 Image: The Wednesday Chef

Can't get to Italy anytime soon to experience some of this in the flesh? Why not try your hand at having an Italian night? Pick up some Italian wine, olives, fresh pasta, ingredients of your choice, cured meats and cheeses and you are on your way. 

And finally a picture from one of my favourite restaurants in Rome. Fiaschetteria Beltramme (da Cesaretto), Croce 39. Had the most amazing meal in there - fresh pasta, chicken cacciatore and fresh melon for dessert. 

 

Enjoy! Meagan, Row House Nest

My Bearded Pigeon

There are many reasons why I love My Bearded Pigeon. Firstly, the name. Secondly, the fabric with a conscience. Thirdly, the design. I could go on...and I will!

My Bearded Pigeon is based in Australia and created by Cath, combining her love for all things old and all things organic. Her use of vintage maps evokes memories of the past and ticks all the boxes on my list of favourite things.

 

Via

If you want to remember a favourite place you've visited, a place you've yet to discover or simply want a unique cushion that will stand the test of time, then I recommend this shop with all my heart.

 

Via

 

Via

 

Via

Oh and they ship internationally, hurrah!

 

Beetle's about

When I first heard about beetle wings being used in jewellery and on garments, I felt a bit funny. I wasn't really sure how the wings were obtained. However, I'm now informed that the beetles shed their wings quite naturally so I thought it was something NH blog readers might be interested in.

Exhibit A – Ellen Terry's Beetle Wing Dress

Earlier this year, the National Trust revealed how they had enlisted the help of Zenzie Tinker to undertake 1,300 hours of 'painstaking conservation' to restore a dress worn by the Victorian actress Ellen Terry.

Covered in the wings of 1000 beetles, the dress is beautifully depicted in John Singer Sargent's portrait of the actress which can be seen at the Tate gallery. But as for the actual dress? Well, you can see that yourself at the Trust-owned Smallhythe Place.

Image 1: Ellen Terry as Lady Macbeth, 1889, by John Singer Sargent © Tate
Image 2: Conservation work in progress © National Trust

 

Exhibit B – Rheanna Lingham Beetle Wing Chain Earrings
 
I spotted these earrings over at The Shopfloor Project and thought they were very striking indeed. Designed and made by Rheanna Lingham, they feature iridescent beetle wings layered over one another and incorporated with gold-plated chains. Rheanna's work features bird wings and feathers in addition to beetle wings. Find out more here: http://www.rheannalingham.com/

Image 1 and 2: © Rheanna Lingham

The gardener is on annual leave...

As you’re reading this, I’m most certainly under a straw hat in my Nan’s tiny idyllic village in Provence, enjoying a week of sun, books, family and never-ending meals (and naps, to digest said meals).

I have left my young plant pots in safe hands, don’t you worry: a friend of ours has kindly accepted to keep an eye on the (newly trailing) lobelia, lavender, asta and my very very young herbs:

from left to right, meet Mini Chive, Shy Parsley and Sheepish Basil Pistou who have all grown from tiny little seeds!

So since I'm being a total slob on my Nan Marguerite's deckchair, I thought I’d fill this lack of gardening activity on my part with a bit of cultural inspiration for you instead.

I first came across Martha Todd’s conceptual art on my 30th birthday when I dug out one of her beasties from my pile of pressies.

Her porcelain animals are so striking I decided to track her down and find out more about her inspirations.

GM: What struck me the most the first time I set eyes on one of your creations was the contrast between the material used and the subject matter.  Porcelain is usually associated with dainty china. But the fact it was used here to faithfully recreate a rat’s head caught my attention instantly.  The realistic and somewhat slightly frightening details of the animal are in no way embellished. How did you get to choose porcelain for this collection?

MT: I am particularly drawn to and amused by the darker side of life. Life would be quite dull without experiencing the horrors of reality, I am constantly highlighting the fine line between fun and filth. The rat's head is part of a collection of hunting trophies mainly made up of vermin and pests. The animals we choose to ignore and avoid, the hidden scavengers. The white porcelain not only makes these creatures precious (as I believe they should be regarded), but also gives a certain amount of ambiguity to the work, that is the viewer must take a closer look in order to ascertain what the piece is - forced to acknowledge the usually ignored.

GM: On the other hand, your body of work also presents the audience with a dream-like world, where pigeons have dogs heads and turtles with rats heads carry soup recipes in their tails. What inspired you to mix and match species in this surrealist way?

MT: I started off mixing animal parts when I was making souvenirs of Manchester. I took moulds from a selection of cheap gifts from various pound shops in the area. I wanted the work to represent my findings around the city. The turtle soup recipe was made after there was a reported rat infestation in China Town. The pigeons were representing the various homeless characters I had spoken to who had told me their drunken stories, again there was a parallel made between the ignored and avoided (the tramp and the pigeon). The pieces look fun. There are some lucky Chinese cats with pit-bull terrier heads, but they contain a story about a drunk I bumped into who was on his way to a porn cinema and was happy to tell me all about it. Not that I think that this is a particularly fun pass time! But these souvenirs reflect the reality of the city. I suppose I was interested again in the idea of taking a closer look and then being a little shocked yet also amused.

GM: There is a touch of humour in your work, as well as a darker –if not scary– aspect as well. How do you like your art to impact on the viewers’ reaction?

MT: The viewers reaction to the work is all important to me. It is fascinating watching people view my pieces. Everyone is drawn to the absurd, we are by nature voyeuristic. It is interesting to see who is drawn to what type of work. Ironically the more gruesome of my pieces for example my distorted pupa/babies and a life size toddler with a tail were both bought by upper class Ladies.     

GM: Your Gary and Friends pieces demonstrate ceramics can be adapted to different techniques, with the use of different clays or glazing for instance. Are you intentionally trying to break away from traditional ceramics techniques in your work?

MT: I am not trying to break away from any tradition as such, apart from the notion that all ceramicists must make pots. I accidentally fell into ceramics and love the fact that you can really reproduce anything in clay, the versatility of the material is endless. From clinical precision work, to smoke fired rustic pieces, you can sculpt in it or replicate existing objects. It is just amazing. I am though currently branching out away from ceramics and looking at other materials, such as resin, fibre glass and car body filler. I'm afraid I'm not a dedicated ceramicist, I am constantly fascinated by finding new ways of making three dimensional objects. 

GM: I never leave the house without a notebook and a camera (well, an iPhone really), just in case I come across something I’d like to turn into a blog post. What is your chosen medium to record sudden whiffs of inspiration on-the-go?

MT: I'd like to say that I never leave my house without my SLR camera. Or my faithful sketchbook. But I live and work in London and unfortunately I have (ashamedly) also succumbed to the iPhone generation. If I do see something particularly inspirational I tend to pop back with my trusty Nikon. I have a bit of a thing for graffiti in toilets, I have been known to go back to specific pubs purely to photograph the scrawls in the cubicle. It's  funny how different establishments attract different standards of scribblings, my favourite one was 'I'm riding the bipolar express' granted this wasn't in a Wetherspoon's, although perhaps it would have been more fitting than an a fancy wine bar.

GM: Is your work currently on show anywhere?

MT: I have some pieces in 'Guts for Garters' on Royal College Street in Camden as part of their Surreal Women Show. 

GM: You live in London so you must get to see plenty on the art front. Which is the most memorable art exhibition you’ve attended in the past few weeks?

MT: To be honest I haven't been to many shows lately. I get bored quite quickly in galleries. I much prefer to go to museums, junk shops and to see collections. I recently went to the Tunbridge Wells Museum which was so bad it was great. They had a fine array of bad taxidermy and a small but rather wonderful collection of various types of dolls, from wooden to bisque right up to modern day plastic. I much prefer to spend my time in funny little eccentric places. I regularly visit the Wellcome Trust, just to see Henry Wellcome's collection of wonders, I  especially love his selection of prosthetic limbs through the ages. 

GM: Are you able to give us some clues as to what your next project(s) may be about?

MT: I currently work in a sculpture studio for a company that makes mannequins. It's fascinating. In a lot of ways it is the absolute opposite to what I have been previously doing with my own work. I spend a lot of my time removing the imperfections in order to create a figurative form that is acceptable for human consumption. But during this process there are moments of abjection that amuse me. The inevitable broken fingers, the heads clamped in fibre glass moulds. I really want to look at these processes and produce a body of work that is based on beautification through horrific imagery. I love the fact that our main material is car body filler, I find it amusingly ironic. So I will be having a play around with these notions. I'm going from making the gruesome in porcelain to producing idealistic beauty with a tub of Easy-sand from Halfords, seems to be the perfect route to take.

 

I hope you enjoyed this intellectual interlude. I promise to be back in the garden (or at least on my garden staircase) upon my return so find me again here in 2 weeks' time with the latest.

Until then, bonnes vacances!

pics 1 & 2: Gaelle Monin
all other pics: via Martha Todd's website 

Decluttering and Simplifying

We have been living in Oxford for three years now and are beginning to get itchy feet.  We had always planned our sojourn here to be a brief one, although Natural History has extended our stay somewhat.  We have a list of places that we want to live in and our next stop will probably be New York or Philadelphia for a couple of years before going East, East, East.

With this in mind, what terrifies me is packing.  I can travel surprisingly light, but packing up a whole house?  And because of the timing of our last couple of moves, I didn't throw anything out, but packed it into boxes and brought the whole kit and caboodle.

No more.

I crave emptiness.  No baggage.  No boxes of clothes lurking in storage.

So I spent the weekend bringing everything out of storage and tipping open every box and bag on our back lawn and making three piles - keep, bin, ebay.  I am embarrassed to tell you how big the bin & ebay piles were.  Even the keep pile is pretty shocking and requires some editing.

However, I am VERY VERY VERY excited to be shedding so much, even if the job of getting it all washed, photographed and listed is going to be a mammoth one (but necessary if I am going to fund my new wardrobe!).

Images are of my current dream home - Another Colorful Apartment in Paris - I plan to copy the bedroom by getting rid of my cumbersome bedstead and placing the mattress on the ground so that I can push it futher under the sloping ceiling.