Funny how waiting in a queue is now something I enjoy. There’s always something to draw. I started with one foot, then a bit of leg then another…
Back to this month. I’ve had a great time sketching in Burslem, the mother town of the Potteries, starting with this one of Market Place, one of the streets which I’ve already drawn formally a few years ago which you can see here.
Hitchman Street holds some interesting connections for me. When I first saw this red brick terrace, I was on my way to to deliver a framed print of an Audlem street to Williams of Audlem. Not knowing anything about the terraces in Fenton, I looked them up when I got home.
I was surprised to find that the land that these houses were built on was purchased in 1765 by the architect William Baker of Audlem. William Baker (‘the first’ as there were a few more to follow) bought ‘the estate and manor of Fenton Culvert, together with pottery, for his second son William Baker II’ (extract from Stoke Council’s conservation area appraisal). However, it was some generations later when William Meath Baker, the great grandson of the first William, commissioned these terraces. It’s all explained in the conservation appraisal.
Interwoven Initials W M B
Terracotta date stone on gable on Victoria Road
William Meath Baker had inherited the Baker Pottery nearby and built these houses (and many others) to provide accommodation on a philanthropic model for the workers associated with the Baker Pottery.
The Baker Pottery has gone now, but the kilns remain.
Looking up these old threads, it never fails to unearth other connections. When I worked as a conservation architect in Stafford, I spent ten years as part of the team looking after the repair and upkeep of the grade 1 listed Chillington Hall, the south wing which was designed by Francis Smith of Warwick in 1724. Francis Smith was the celebrity architect of the Midlands in his day and it turns out that one of Smith’s pupils was the young William Baker of Audlem, learning from the master.
I’d like to think that an appreciation of good design has been passed down the generations. It certainly shows up here in these terraces.
Been thinking ahead to drawing another stretch of the Great North Road later this year. I like to sketch from the street first to get a good look at some of the details so pitched my perch opposite the Fig and Olive on Upper Steet, Islington.
I use a handy portable camping stool – it’s lightweight and fits easily into a bag and I tucked myself into a corner, well clear of the fire station.
Stating the obvious, it was pretty cold and so on the fist day of the Chinese New Year (Rooster), I chickened out after one sketch and went for an indoor brew nearby. Couldn’t see a Shirker’s Cafe, but this place, the Workers Cafe looked like I could sketch from the empty seat in the front window.
Back home again next day via a catch-up with a dear old pal, meeting up in Milton Keynes.
Plans for January to be a time of taking stock of where I’m going and all that have gone out the window! Instead I’m treating it as a time to recharge the batteries.
We went for a great leg stretch up on the Long Mynd a week into the New Year which helped me recover form some cold bug (too long spent sketching in the cold in Hanley!) when I did the above sketch in Church Stretton whilst Iain went and had a look in a bike shop.
Christmas was fab but we had to say cheerio to our much loved old girl Nina shortly after. She almost made it to 14 years.
It’s a quiet house without a dog (first time in 18 years) – although noticeably cleaner!
Then last Saturday afternoon it was really lovely to meet up with some sketching enthusiasts in Middleport Potteries, as I joined the Stoke branch of Urban Sketchers sketching in and around the buildings.
Middleport is famous for its Burleighware, those rich deep blue and white pots – we have a jug at home which my sister bought for me – like this one:
Thanks for reading and wishing you all a very happy and healthy 2017.
It’s Christmas Eve so this will be a short one. Just wanted to say thanks for all the follows and comments this year and to wish you all the warmest wishes of the season.
Also, some of you sketching fans may be interested to learn about the Society of Architectural Illustration – full of great drawings by architectural illustrators all over the world. I have been working towards joining this society for some time and not long ago sent off a few examples of my work. I’m really pleased to have been elected a member and the Wedgwood Door, Burslem is now my profile avatar!
I will close with a section of St Edward Street, Leek, where last Saturday I had a coffee in Spout (served up in Blue Calico Burleighware – fantastic!) with a great view of the opposite side of this historic street – formerly known as Spout Street.
Thought I would share a few pics of the couple of days spent sketching another stretch of the Holloway Road. This time I brought along a length of cartridge paper which I had prepared at home with a wash of gum arabic and French and English Ochre pigments, to give the paper a bit of warmth.
Note the colourful tote bag by the French American artist Gwenn Seemel – I admire her outlook on copyright as well as her colourful artwork.
I’d packed half a dozen clothes pegs to clip the paper to a folder which seemed to work quite well. Even though it’s non-stop busy along this road, several people stopped to pass the time of day with me and thanks to Sean for taking this photo and sending it to me.
The drawing is now complete, scanned and can be seen in full on my website. Limited edition prints are now available to buy.
There’s many a fine building in Bonny Burslem but none with an entrance quite like the one into the Wedgwood Institute.
I recently finished the Wedgwood drawing which I began a few months ago. I picked up the pencil for this one having been influenced some time ago by a poster I bought of the entrance to the Natural History Museum, London, by Alfred Waterhouse.
I bought and framed this poster when I was an architecure student and it’s now on the wall of our son’s flat, an architectural student, thirty+ years later! I still love the drawing and this is what made me choose to spend some time on the Wedgwood entrance with its intricate tile and terracotta details.
I’ve used traditional pigments with gum arabic on some very heavy (600 gsm) hot pressed watercolour paper. I really like the combination of the warm French and English Ochres, against the bright green malachite and azurite. I’m also hooked on using the pigment called ‘Caput Mortuum‘ – it seems to end up on quite a few of my icons!
It has been a treat to pause and spend time on a small part of a street but it only makes me want to zoom in further and pick up on the terracotta work. This is quite a rich subject which I may explore in future having been sidetacked by some of the tiles in Newcastle under Lyme.
Not long ago I received an email from Mr Tom Renshaw who used to live at no 9 Stone Road Eccleshall. Tom had received a birthday card from his daughter which showed the cottages closer to the town centre which I drew a couple of years ago.
Tom gave some insights into the earlier life of some of the buildings – the wooden fronted building used to be a corn merchant, ‘F.Gardner’ and the building next to it a bakery, ‘where we would buy bread fresh from the oven and eat it without butter or anything else’.
When you reach 82, why not celebrate the whole year? It allows me time to wish you a very happy belated birthday Tom and to sign off with a close up of your former home.
So here we have the finished drawing of 32 to 56 High Street, Eccleshall, complete with guest appearances by local residents. This has been great fun to include you all and I hope you can still recognise yourselves…
Greetings cards are now in stock at Gallery at 12 in Eccleshall of this latest drawing. Prints also available to order and you can see the drawing in full over on my website:Drawing the Street.
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I’ve been working on this drawing in my local class taught by David Brammeld. It was only when I began this drawing that I discovered that one of my classmates was a regular Maxims disco diva at this legendary night spot! It used to be known as the ‘Place Mate’ when it was owned by the same proprietors as ‘The Place‘ in nearby Hanley where disco was born and David Bowie and Led Zeppelin once played as pop youngsters.
However, when the dual carriageway was constructed around Newcastle-under-Lyme, Maxims was severed from the life blood of the town centre and now all that is left are these empty shells.
I wouldn’t have given these buildings much thought if it hadn’t been for the comments given by Moya when I displayed some of my drawings in Newcastle Library a few years ago:
‘Stand with your back to St Giles. Look across the dual carriageway to what used to be Maxim’s Night Club. This used to be the old Catholic Club and overspill rooms for St Marys School. Also, it was the Old Pomona pub. When they took Evans sweet factory down behind it, they discovered that there was a courtyard and it had been a coaching Inn….Sammy Bell’s pottery was excavated in the car park/ courtyard area. The base of the Kiln is in the grounds of Newcastle Museum...’
The gloomy front masks a surprising gable window behind with a mosaic of pottery fragments.
From local records, it was bought by Samuel Bell in 1724 for £156 who set up a potworks there and then in 1729, took out a patent for ‘Agate Ware’.
Not knowing these buildings, I walked around the back and peered through the hoardings which now surround the site. I was so surprised by what I saw that I thought they were definitely worth recording as part of my street records. However, a flat elevation wasn’t going to give any idea of the complexity of the roofs and layout so I opted for a sketch perspective instead.
I used Dr Martin’s Payne’s Grey ink on a sheet of Khadi cotton rag paper, a heavy, textured and grainy paper – lovely to draw on.
There are plans underway for a new use for these buildings but it’s unlikely that they will remain in this organic sprawl for much longer. I would be interested to hear of any other insights into the history of these buildings.
Thanks for the comments Moya and thank you for reading.