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The rectangular top has a narrow border, the apron is fluted horizontally, and the rectangular legs vertically fluted on the outside edges"}],"identifier":[{"accession_number":"M.3-2004","primary":true,"type":"accession number","value":"M.3-2004"},{"priref":"98868","type":"priref","value":"98868"},{"type":"Entry form","value":"195"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/98868","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/98868"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Gift of Nicholas and Judith Goodison through the National Art Collections Fund"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-156032","uid":"adlib-agent-156032","uuid":"3aded83c-6f5c-39b8-a50c-07f712e01b2c"},"summary_title":"Goodison, Nicholas and Judith"}],"date":[{"earliest":2004,"latest":2004,"value":"2004-04-26"}],"method":{"value":"given"}}],"creation":[{"date":[{"earliest":1990,"era":["CE"],"latest":1990,"value":"1990"}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-156308","uid":"adlib-agent-156308","uuid":"1f2e3b2f-0b1c-349c-a02c-05961c8bc51f"},"summary_title":"Peters, Alan, OBE"}],"note":[{"value":"Text from object entry in A. Game (2016) \u2018Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: This severely rectilinear table was the centrepiece of a suite of furniture commissioned by Sir Nicholas Goodison for the reception area outside his office at the head office of the TSB, Milk Street, London. The other pieces were four armchairs and an octagonal occasional table, all with the same fluted decoration. They are some of the most classical of Peters\u2019 works. The table was described in Peters\u2019 invoice, dated 3 March 1990, as a \u2018Console table in sycamore with maple panel\u2019. Documents relating to the commission survive in the archives of Lloyds Banking Group. The original height of the table was 91.5 cm. In a note in the Lloyds archives, dated 10 October 1989, Sir Nicholas wrote \u2018A[lan] thinks 36 [inches] might be just too high, that 34\u00bd might be better. He will however make it 36 and we can saw off the bottom 1\u00bd if it does not look right.\u2019 It did not, and so Peters sawed off the bottom of the legs in the reception area."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-109890","uid":"adlib-term-109890","uuid":"825251c2-9904-34be-b6ab-c855347f2247"},"summary_title":"20th Century, Late"},{"@link":{"type":"reference"},"admin":{"id":"term-119801","uid":"adlib-term-119801","uuid":"9c3b01e1-e276-3275-ac22-1b7c03dad449"},"summary_title":"Elizabeth 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Each table is of Indian rosewood and Indian satinwood. Semi-circular with fan-shaped top, and three pierced supports. The top is formed of a semi-circle of satin wood surrounded by a fan-leaf of rosewood made up of 54 segments which are fluted on the upper surface, and are supported underneath by a curved rail set back from the front edge. The straight side of the table has a single rosewood support pierced by nine vertical openings with curved tops and bottoms. The vertical members and the sections over and under the void are separate pieces of timber. The curved side of the table has two supports of the same construction but with three openings each, which project diagonally from either side of the central opening of the support along the back."}],"identifier":[{"accession_number":"M.2-2000","primary":true,"type":"accession number","value":"M.2-2000"},{"priref":"28427","type":"priref","value":"28427"},{"source":"Fitzwilliam Museum","type":"entry form number","value":"128"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/28427","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/28427"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by Lloyds TSB Group Plc, 71 Lombard Street, London, EC3P 3BS through the National Art Collections Fund in honour of Sir Nicholas Goodison, Chairman, TSB Group Plc 1989-95, Deputy Chairman, Lloyds TSB Group Plc 1995-2000."},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-156309","uid":"adlib-agent-156309","uuid":"0522b5bd-ae26-318c-a301-32b36483ced9"},"summary_title":"Lloyds TSB Group Plc"}],"date":[{"earliest":2000,"latest":2000,"value":"2000-05-08"}],"method":{"value":"given"},"note":[{"value":"Entry date: 2000-05-08"}]}],"creation":[{"date":[{"earliest":1989,"era":["CE"],"latest":1989,"value":"1989"}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-156308","uid":"adlib-agent-156308","uuid":"1f2e3b2f-0b1c-349c-a02c-05961c8bc51f"},"summary_title":"Peters, Alan, OBE"}],"note":[{"value":"Text from object entry in A. Game (2016) \u2018Contemporary British Crafts: \nThe Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: The tables were part of a suite of furniture for the Chairman\u2019s Office of the TSB Group at 25 Milk Street, London. Peters described them in his invoice, dated 15 June 1990, as \u20182 fluted fan tables in solid Indian rosewood\u2019.\nThey were modelled on a similar pair commissioned for the Stock Exchange and delivered in 1988. In the original design for the Stock Exchange pair (1984), the table tops were supported by four legs connected to an underframe but Peters revised this during the commissioning process after discussion with Sir Nicholas Goodison, in order to introduce the unified arch theme common to the whole commissioned suite. Documents relating to the commissions survive in the archives of the Stock Exchange\nand Lloyds Banking Group. Peters described this pair of tables as \u2018the best of all the attempts I have made at that design\u2019. The tables were given to The Fitzwilliam Museum by Lloyds TSB at Sir Nicholas\u2019s request in lieu of a leaving gift on his retirement from the banking group in 2000. \nAlan Peters was one of the most skilled furniture-makers of his day. In 1949 he was apprenticed to Edward Barnsley (1900\u20131987), of the leading family of \u2018Arts and Crafts\u2019 designer\/makers. After a course at Shoreditch whilst on teacher training, he studied Interior Design at the Central School of Arts. He established his own workshop in Hindhead, Surrey, in 1962, and moved in 1973 to Kentisbeare near Cullompton in Devon. He was acknowledged as the leader of the craft furniture revival of the 1970s. He employed assistants who were usually young people who had trained at college in design and construction; foremost among these were Keith Newton and Stephen Hopper. He moved to Minehead in 1998, but ill health led to a decline in activity. His work was rooted in the Barnsley tradition of fine craftsmanship, exposed joints, etc. The then Director of the Crafts Council, in the foreword to a touring exhibition of Peters\u2019s furniture in 1985, called him \u2018a paramount translator of the traditions of the past into the idioms of today\u2019.\nThat said, Peters was also much influenced by Japanese and Korean vernacular architecture and crafts. He travelled to Japan in 1975 on a Crafts Council bursary and to Korea and Taiwan in 1980. His furniture, made largely on commission, became known for his precision of manufacture, his use of solid woods, his deep understanding of woods and their qualities, his skilled laminations, his fine detailing and his clarity of design. Peters never claimed that his furniture was \u2018art\u2019 and once said that \u2018if some day someone regards a piece of my furniture as a work of art, that\u2019s fine, that\u2019s a bonus, but it\u2019s not my motive in producing it; that has always been to produce a piece of furniture to which I am happy to put my name.\u2019 His book Cabinetmaking: The Professional Approach (1984) was republished in 2009 and his revision of Ernest Joyce\u2019s The Technique of Furniture Making was published in 2003. He was awarded the OBE in 1990. The Alan Peters Award for Excellence was set up in 2010 to continue his legacy. 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The steel inlay comprises square and rectangular strips disposed on either side of a central line"}],"exhibitions":[{"@link":{"type":"reference"},"admin":{"id":"exhibition-1906","uid":"adlib-exhibition-1906","uuid":"55a53e7c-2012-363c-810e-6d3d09542379"},"summary_title":"The Grosvenor House Art & Antiques Fair"}],"identifier":[{"accession_number":"M.12-2005","primary":true,"type":"accession number","value":"M.12-2005"},{"priref":"118970","type":"priref","value":"118970"},{"source":"The Fitzwilliam Museum","type":"entry form number","value":"632"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/118970","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/118970"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Gift of Nicholas Goodison through the National Art Collections Fund"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-166639","uid":"adlib-agent-166639","uuid":"443a5a5c-b664-32c4-8994-01f143671406"},"summary_title":"Goodison, Nicholas"}],"date":[{"earliest":2005,"latest":2005,"value":"2005-07-18"}],"method":{"value":"given"}}],"creation":[{"date":[{"earliest":2004,"era":["CE"],"latest":2004,"value":"2004"}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-171933","uid":"adlib-agent-171933","uuid":"4f7df775-89ff-33ee-8d9a-c8dfdd811b18"},"summary_title":"Wales & Wales"}],"note":[{"value":"Text from object entry in A. Game (2016) \u2018Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: Sir Nicholas Goodison was the first winner, in 2004, of the prize awarded by CINOA (La Conf\u00e9d\u00e9ration Internationale des N\u00e9gociants en Oeuvres d\u2019Arts) for lifetime contribution to the arts. He chose to spend the prize money commissioning a piece of contemporary furniture for The Fitzwilliam Museum from Wales & Wales. He also contributed towards the cost of recording Rod and Alison Wales\u2019 life stories, including the progress of the commission, by National Life Stories, the oral history charity at the British Library, as part of their projects to record the lives of contemporary artists and craftspeople. It was agreed, after Rod and Alison Wales had visited the museum, that they should design and make a marriage chest, echoing The Fitzwilliam\u2019s Renaissance cassoni (such as MAR.M.209-1912), which were customarily given to brides upon their marriage. Wales & Wales were asked to respond to the colours used in such chests as well as in the Museum\u2019s Renaissance paintings. Sir Nicholas specified that there should be a space on top of the chest for the placing of a piece of sculpture or craft, which accounts for the foreshortened bog oak lid. Wales & Wales\u2019s first proposal was for a low chest, echoing the dimensions of the cassoni, but Sir Nicholas asked for a design with more height, fearing that a low chest would be overlooked in the space. He also asked for brighter colours \u2013 closer to the saturated reds and blues used by Renaissance painters to depict the Queen of Heaven \u2013 and suggested steel inlays set in the fumed oak panel. The design and making of the chest are fully explained in Rod Wales, \u2018Love and Marriage\u2019, Furniture and Cabinet Making (Autumn 2005), pp.35\u20139: and the makers also produced a CD-ROM for the Museum recording both the design process (drawings and computer modelling) and the significant stages in the construction.  Wales & Wales is the business partnership of Rod Wales and his wife Alison. Rod Wales studied at John Makepeace\u2019s Parnham College between 1978 and 1980 and Rycotewood College (1975\u201377). Alison studied at Reading Unversity (1970\u201374) and Rycotewood (1978\u201379) and worked briefly in John Makepeaces\u2019s workshop at Parnham (1980\u201381). They set up their workshop at Muddles Green near Chiddingly, East Sussex in 1981. Their furniture has won numerous awards and is well represented in museums, including Cheltenham, Gateshead, Manchester and the Victoria and Albert Museum, London. They work with architects and private clients internationally. They also design outdoor and street furniture, which is licensed to Benchmark furniture and, increasingly in recent years, design furniture for retailers such as John Lewis and Joined and Jointed. Rod and Alison Wales: \u2018Our work is characterised by a robust, unelaborated elegance rooted in a pragmatic understanding of materials and processes. We bring to our work a particular sense of visual personality, yet thrive on the disciplines required by client, market, product type, materials, technology and the other constraints that define a brief.\u2019 A life history interview with Rod and Alison Wales is available at http:\/\/sounds.bl.uk\/Oral-history\/Crafts"},{"value":"Wales & Wales are Alison and Rod Wales."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-109891","uid":"adlib-term-109891","uuid":"ad6efeb2-90e2-3107-ada3-8348ed09c40f"},"summary_title":"21st Century, Early"},{"@link":{"type":"reference"},"admin":{"id":"term-107700","uid":"adlib-term-107700","uuid":"8f5360fb-b262-3ae9-8942-b81cc0e3e848"},"summary_title":"Elizabeth 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chest"}},{"value":"chest"}],"note":[{"type":"history note","value":"Commissioned by Nicholas Goodison with the prize awarded to him in 2004 by CINOA (La Conf\u00e9deration Internationale des N\u00e9gociants en Oeurvres d\u2019Art) for a lifetime of achievement in the arts."}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Publ. pp. 299-300","page":"299-200","type":"reference"},"admin":{"id":"publication-400002285","uid":"adlib-publication-400002285","uuid":"15952748-560a-3e66-85e4-c632827a33b7"},"summary_title":"The Goodison Gift of Contemporary British Crafts to The Fitzwilliam Museum, University of Cambridge"},{"@link":{"notes":"Publ. p. 12,  Sir Nicholas Goodison, 'A Flowering of Talent', pp. 12-17.","page":"12","type":"reference"},"admin":{"id":"publication-5288","uid":"adlib-publication-5288","uuid":"fa17e470-cf4e-3e99-ad62-5bb2b6682a63"},"summary_title":"The Grosvenor House Art & Antiques Fair,  2005 Handbook"},{"@link":{"notes":"Publ. The article describes the commission, conception, and making of the chest, with illustrations on p. 35 a front view,  p. 37, figs. 6 and 7, p. 38, figs 8 and 9 and p. 39, figs. 10-12.","page":"35-39","type":"reference"},"admin":{"id":"publication-200001994","uid":"adlib-publication-200001994","uuid":"a7afe3db-996f-3c88-b1b5-1c977b3a9ac6"},"summary_title":"Love and Marriage"},{"@link":{"notes":"Publ. p. 155, Julia E. Poole,' 5686 Nicholas Goodison Gift, Cambridge, Fitzwilliam Museum,Wales & Wales, Marriage chest'.","page":"155","type":"reference"},"admin":{"id":"publication-5683","uid":"adlib-publication-5683","uuid":"c700cdd7-728b-310a-8703-e54c9d35107c"},"summary_title":"2005 Review, The Annual Report of the National Art Collections Fund"},{"@link":{"notes":"Publ. with colour illustration","page":"63","type":"reference"},"admin":{"id":"publication-5941","uid":"adlib-publication-5941","uuid":"74edf30c-04e4-332f-b562-3c79b967d960"},"summary_title":"The Fitzwilliam Museum Review 2004-2006"},{"@link":{"notes":"Publ. pp. 160-3, no. 63, object description, makers' biography (Rod Wales and Alison Wales), quote, and illustrations on. pp. 161-3","number":"63","page":"160-163","type":"reference"},"admin":{"id":"publication-8258","uid":"adlib-publication-8258","uuid":"71d79ea2-2385-305e-9044-fbb0cde9ffe7"},"summary_title":"Contemporary British Crafts: The Goodison Gift to The Fitzwilliam Museum"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-120885","uid":"adlib-term-120885","uuid":"be1f4781-6077-329b-9f43-edb973899f4d"},"summary_title":"marriage chest"}},"summary_title":"marriage chest","type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-28428","_score":17.869385,"_source":{"admin":{"added":1592996103000,"created":1312637261000,"flag":"Standard Record","id":"object-28428","indexed":1747160080550,"modified":1714464929000,"processed":1747159409017,"source":"adlib","stream":"fitz-online","uid":"adlib-object-28428","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/28428","uuid":"6b81a272-5901-3b7e-a565-22b36fbd4a94","version":8},"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-166639","uid":"adlib-agent-166639","uuid":"443a5a5c-b664-32c4-8994-01f143671406"},"summary_title":"Goodison, Nicholas"}],"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-67107","uid":"adlib-term-67107","uuid":"a60d0be2-2105-3b16-a693-a7206db57074"},"summary_title":"furniture"}],"component":[{"name":"Decoration","techniques":[{"description":[{"value":"table, Indian rosewood and Indian satinwood, fluted decoration"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-5127","uid":"adlib-term-5127","uuid":"8268a9a5-a090-3d77-aca9-5ee696f565e2"},"summary_title":"fluting"}}]}],"department":{"value":"Applied Arts"},"description":[{"value":"A pair with M.2-2000. Each table is of Indian rosewood and Indian satinwood. Semi-circular with fan-shaped top, and three pierced supports. The top is formed of a semi-circle of satin wood surrounded by a fan-leaf of rosewood made up of 54 segments which are fluted on the upper surface, and are supported underneath by a curved rail set back from the front edge. The straight side of the table has a single rosewood support pierced by nine vertical openings with curved tops and bottoms. The vertical members and the sections over and under the void are separate pieces of timber. The curved side of the table has two supports of the same construction but with three openings each, which project diagonally from either side of the central opening of the support along the back."}],"identifier":[{"accession_number":"M.3-2000","primary":true,"type":"accession number","value":"M.3-2000"},{"priref":"28428","type":"priref","value":"28428"},{"source":"Fitzwilliam Museum","type":"entry form number","value":"128"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/28428","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/28428"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by Lloyds TSB Group Plc, 71 Lombard Street, London, EC3P 3BS through the National Art Collections Fund in honour of Sir Nicholas Goodison, Chairman, TSB Group Plc 1989-95, Deputy Chairman, Lloyds TSB Group Plc 1995-2000."},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-156309","uid":"adlib-agent-156309","uuid":"0522b5bd-ae26-318c-a301-32b36483ced9"},"summary_title":"Lloyds TSB Group Plc"}],"date":[{"earliest":2000,"latest":2000,"value":"2000-05-08"}],"method":{"value":"given"},"note":[{"value":"Entry date: 2000-05-08"}]}],"creation":[{"date":[{"earliest":1989,"era":["CE"],"latest":1989,"value":"1989"}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-156308","uid":"adlib-agent-156308","uuid":"1f2e3b2f-0b1c-349c-a02c-05961c8bc51f"},"summary_title":"Peters, Alan, OBE"}],"note":[{"value":"Text from object entry in A. Game (2016) \u2018Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: The tables were part of a suite of furniture for the Chairman\u2019s Office of the TSB Group at 25 Milk Street, London. Peters described them in his invoice, dated 15 June 1990, as \u20182 fluted fan tables in solid Indian rosewood\u2019. They were modelled on a similar pair commissioned for the Stock Exchange and delivered in 1988. In the original design for the Stock Exchange pair (1984), the table tops were supported by four legs connected to an underframe but Peters revised this during the commissioning process after discussion with Sir Nicholas Goodison, in order to introduce the unified arch theme common to the whole commissioned suite. Documents relating to the commissions survive in the archives of the Stock Exchange and Lloyds Banking Group. Peters described this pair of tables as \u2018the best of all the attempts I have made at that design\u2019. The tables were given to The Fitzwilliam Museum by Lloyds TSB at Sir Nicholas\u2019s request in lieu of a leaving gift on his retirement from the banking group in 2000. Alan Peters was one of the most skilled furniture-makers of his day. In 1949 he was apprenticed to Edward Barnsley (1900\u20131987), of the leading family of \u2018Arts and Crafts\u2019 designer\/makers. After a course at Shoreditch whilst on teacher training, he studied Interior Design at the Central School of Arts. He established his own workshop in Hindhead, Surrey, in 1962, and moved in 1973 to Kentisbeare near Cullompton in Devon. He was acknowledged as the leader of the craft furniture revival of the 1970s. He employed assistants who were usually young people who had trained at college in design and construction; foremost among these were Keith Newton and Stephen Hopper. He moved to Minehead in 1998, but ill health led to a decline in activity. His work was rooted in the Barnsley tradition of fine craftsmanship, exposed joints, etc. The then Director of the Crafts Council, in the foreword to a touring exhibition of Peters\u2019s furniture in 1985, called him \u2018a paramount translator of the traditions of the past into the idioms of today\u2019.\n\nThat said, Peters was also much influenced by Japanese and Korean vernacular architecture and crafts. He travelled to Japan in 1975 on a Crafts Council bursary and to Korea and Taiwan in 1980. His furniture, made largely on commission, became known for his precision of manufacture, his use of solid woods, his deep understanding of woods and their qualities, his skilled laminations, his fine detailing and his clarity of design. Peters never claimed that his furniture was \u2018art\u2019 and once said that \u2018if some day someone regards a piece of my furniture as a work of art, that\u2019s fine, that\u2019s a bonus, but it\u2019s not my motive in producing it; that has always been to produce a piece of furniture to which I am happy to put my name.\u2019 His book Cabinetmaking: The Professional Approach (1984) was republished in 2009 and his revision of Ernest Joyce\u2019s The Technique of Furniture Making was published in 2003. He was awarded the OBE in 1990. The Alan Peters Award for Excellence was set up in 2010 to continue his legacy. It is open to furniture-makers under 30."},{"value":"The tables were designed in 1988 and made in 1989 as part of a suite of furniture for the Chairman's Office and Dining Room of the TSB at 25 Milk Street, London. See the tables' file for a plan of the rooms and for the correspondence between Sir Nicholas Goodison and Peters concerning the commission."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-109890","uid":"adlib-term-109890","uuid":"825251c2-9904-34be-b6ab-c855347f2247"},"summary_title":"20th Century, Late"},{"@link":{"type":"reference"},"admin":{"id":"term-107700","uid":"adlib-term-107700","uuid":"8f5360fb-b262-3ae9-8942-b81cc0e3e848"},"summary_title":"Elizabeth II"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-116327","uid":"adlib-term-116327","uuid":"fa14f54f-9382-3493-936a-4d588eeb9c4c"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"Cullompton"}]}]},"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-110025","uid":"adlib-term-110025","uuid":"fce46643-22bb-322c-8638-02825129233a"},"summary_title":"Indian satinwood"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39986","uid":"adlib-term-39986","uuid":"5e623980-7c87-3f20-8836-1f0b2ab6a115"},"summary_title":"East Indian rosewood"}}],"measurements":{"dimensions":[{"dimension":"Depth","units":"cm","value":"50.7"},{"dimension":"Height","units":"cm","value":"83.5"},{"dimension":"Width","units":"cm","value":"122"}]},"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-74053","uid":"adlib-term-74053","uuid":"8070a143-6567-3d75-b6f4-642c22430675"},"summary_title":"side table"}}],"note":[{"type":"history note","value":"The Chairman's Office and Dining Room of the TSB, 25 Milk Street, London; moved to the Deputy Chairman's Office, Lloyds TSB Group Plc, 71 Lombard Street, London"}],"objects":[{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-28427","uid":"adlib-object-28427","uuid":"55e9f53b-836e-35dd-926d-e298ec7dc296"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-74053","uid":"adlib-term-74053","uuid":"8070a143-6567-3d75-b6f4-642c22430675"},"summary_title":"side table"}},"summary_title":"side table"},{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-238737","uid":"adlib-object-238737","uuid":"60664469-f34d-3468-b2cd-ec89765ec74e"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-71409","uid":"adlib-term-71409","uuid":"f0091670-8068-3254-a8e1-028ef3b403bf"},"summary_title":"armchair"}},"summary_title":"armchair"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Publ. p. 293","page":"293","type":"reference"},"admin":{"id":"publication-400002285","uid":"adlib-publication-400002285","uuid":"15952748-560a-3e66-85e4-c632827a33b7"},"summary_title":"The Goodison Gift of Contemporary British Crafts to The Fitzwilliam Museum, University of Cambridge"},{"@link":{"type":"reference"},"admin":{"id":"publication-200000755","uid":"adlib-publication-200000755","uuid":"d4e42ea5-8e47-3797-9f54-c0dec909700a"},"summary_title":"Crafts Magazine (1996)"},{"@link":{"notes":"Publ. pp. 82-5, no. 28 (with its pair M.2-2000), illustrated pp. 83-5. 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Elm (Ulmus procera), sculpted using handheld power machines, followed by spokeshaves, files, scrapers, and finally hand held abrasive papers on blocks. The finish is two coats of beeswax. The seat is one piece of wood. The back leg is laminated vertically, and is held to the fin-shaped back support by an internally longitudinally tapering slot dovetail housing. The two front legs profiled into a tricorn cross section using a spindle moulder and holding jigs.The principal joints are internally positioned stainless steel threaded bars, resined into the timber. A pair with M.1-2005"}],"identifier":[{"accession_number":"M.2-2005","primary":true,"type":"accession number","value":"M.2-2005"},{"priref":"118399","type":"priref","value":"118399"},{"date":[{"earliest":2004,"latest":2004,"value":"2004-12-15"}],"source":"The Fitzwilliam Museum","type":"Entry form","value":"616"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/118399","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/118399"}],"inscription":[{"location":"on bottom of back leg","method":"written in black","transcription":[{"value":"MADE\\BY\\IAN\\BOON\\2004"}],"type":"maker's mark"},{"location":"top of right leg","method":"stamped","transcription":[{"value":"Matthew"}],"type":"maker's mark"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Gift of Nicholas and Judith Goodison through the National Art Collections Fund"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-156032","uid":"adlib-agent-156032","uuid":"3aded83c-6f5c-39b8-a50c-07f712e01b2c"},"summary_title":"Goodison, Nicholas and Judith"}],"date":[{"earliest":2005,"latest":2005,"value":"2005-01-31"}],"method":{"value":"given"}}],"creation":[{"date":[{"earliest":2004,"era":["CE"],"latest":2004,"value":"2004"}],"maker":[{"@link":{"role":[{"value":"designer"}],"type":"reference"},"admin":{"id":"agent-171233","uid":"adlib-agent-171233","uuid":"4a750862-6f50-350c-9b30-f30ef7d46467"},"summary_title":"Burt, Matthew"},{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-171234","uid":"adlib-agent-171234","uuid":"f11f0c33-5970-3f62-b499-2b98fa772dbd"},"summary_title":"Boon, Ian"}],"note":[{"value":"Text from object entry in A. Game (2016) \u2018Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: Matthew Burt studied Zoology and then Furniture-Making at Rycotewood College. He worked for a time as an apprentice to Richard Fyson (1917\u20132007) of Kencot, Oxfordshire before establishing his own workshop in 1979 in the Wylye Valley in Wiltshire. He was much influenced by the Arts and Crafts movement, Kencot being near Kelmscott, the home of William Morris (1834\u201396), and Sapperton where Ernest Barnsley (1863-1926), Sidney Barnsley (1865\u20131926) and Ernest Gimson (1864\u20131919) worked and inspired a generation of craftsmen. His business expanded and in 2013 he moved it to a larger purpose-built site in Hindon, in south-west Wiltshire, close to his village showroom. The site includes a dedicated design studio and well-equipped workshops, where with his wife Celia, the administrative director, he leads a team of designers, makers and apprentices. The business works largely to commission, creating free-standing and fitted furniture for private clients, museums, galleries, restaurants, cafes, pubs, business headquarters, churches and gardens. His visitors\u2019 benches can be seen in the Ashmolean Museum, the Courtauld Gallery, the National Museum of Wales and the World Museum, Liverpool. The design and prototypes were developed by Matthew Burt between 2000 and 2003. This prototype was completed in 2001. Chairs can be made by any of the senior craftsmen in his workshop. Burt\u2019s aims were to rely on the intrinsic strength of wood and do away with the traditional mortiseand- tenon support frame, to produce a comfortable sculpted form with economy of material. The seat is made of one piece of wood. During the design stage of the commission Burt lengthened and widened the fin back of the chairs to give it more presence in relation to the seat."},{"value":"The design and prototypes were developed by Matthew Burt between 2000 and 2003, and the chairs can be made by any of the four craftsmen in his workshop, in this case Ian Boon"}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-109891","uid":"adlib-term-109891","uuid":"ad6efeb2-90e2-3107-ada3-8348ed09c40f"},"summary_title":"21st Century, Early"},{"@link":{"type":"reference"},"admin":{"id":"term-107700","uid":"adlib-term-107700","uuid":"8f5360fb-b262-3ae9-8942-b81cc0e3e848"},"summary_title":"Elizabeth 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A pair with M.2-2005"}],"identifier":[{"accession_number":"M.1-2005","primary":true,"type":"accession number","value":"M.1-2005"},{"priref":"118398","type":"priref","value":"118398"},{"date":[{"earliest":2004,"latest":2004,"value":"2004-12-15"}],"source":"The Fitzwilliam Museum","type":"entry form number","value":"616"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/118398","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/118398"}],"inscription":[{"location":"on bottom of back leg","method":"written in black","transcription":[{"value":"MADE\\BY\\IAN\\BOON\\2004"}],"type":"maker's mark"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Gift of Nicholas and Judith Goodison through the National Art Collections Fund"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-156032","uid":"adlib-agent-156032","uuid":"3aded83c-6f5c-39b8-a50c-07f712e01b2c"},"summary_title":"Goodison, Nicholas and Judith"}],"date":[{"earliest":2005,"latest":2005,"value":"2005-01-31"}],"method":{"value":"given"}}],"creation":[{"date":[{"earliest":2004,"era":["CE"],"latest":2004,"value":"2004"}],"maker":[{"@link":{"role":[{"value":"designer"}],"type":"reference"},"admin":{"id":"agent-171233","uid":"adlib-agent-171233","uuid":"4a750862-6f50-350c-9b30-f30ef7d46467"},"summary_title":"Burt, Matthew"},{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-171234","uid":"adlib-agent-171234","uuid":"f11f0c33-5970-3f62-b499-2b98fa772dbd"},"summary_title":"Boon, Ian"},{"@link":{"role":[{"value":"workshop"}],"type":"reference"},"admin":{"id":"agent-188693","uid":"adlib-agent-188693","uuid":"d50a95ed-2176-350e-af5c-f492130fba5d"},"summary_title":"Albany Workshops"}],"note":[{"value":"Text from object entry in A. Game (2016) \u2018Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: Matthew Burt studied Zoology and then Furniture-Making at Rycotewood College. He worked for a time as an apprentice to Richard Fyson (1917\u20132007) of Kencot, Oxfordshire before establishing his own workshop in 1979 in the Wylye Valley in Wiltshire. He was much influenced by the Arts and Crafts movement, Kencot being near Kelmscott, the home of William Morris (1834\u201396), and Sapperton where Ernest Barnsley (1863-1926), Sidney Barnsley (1865\u20131926) and Ernest Gimson (1864\u20131919) worked and inspired a generation of craftsmen. His business expanded and in 2013 he moved it to a larger purpose-built site in Hindon, in south-west Wiltshire, close to his village showroom. The site includes a dedicated design studio and well-equipped workshops, where with his wife Celia, the administrative director, he leads a team of designers, makers and apprentices. The business works largely to commission, creating free-standing and fitted furniture for private clients, museums, galleries, restaurants, cafes, pubs, business headquarters, churches and gardens. His visitors\u2019 benches can be seen in the Ashmolean Museum, the Courtauld Gallery, the National Museum of Wales and the World Museum, Liverpool. The design and prototypes were developed by Matthew Burt between 2000 and 2003. This prototype was completed in 2001. Chairs can be made by any of the senior craftsmen in his workshop. Burt\u2019s aims were to rely on the intrinsic strength of wood and do away with the traditional mortiseand- tenon support frame, to produce a comfortable sculpted form with economy of material. The seat is made of one piece of wood. During the design stage of the commission Burt lengthened and widened the fin back of the chairs to give it more presence in relation to the seat."},{"value":"The design and prototypes were developed by Matthew Burt between 2000 and 2003, and can be made by any of the four craftsmen in his workshop, in this case Ian Boon"}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-109891","uid":"adlib-term-109891","uuid":"ad6efeb2-90e2-3107-ada3-8348ed09c40f"},"summary_title":"21st Century, Early"},{"@link":{"type":"reference"},"admin":{"id":"term-107700","uid":"adlib-term-107700","uuid":"8f5360fb-b262-3ae9-8942-b81cc0e3e848"},"summary_title":"Elizabeth II"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-119953","uid":"adlib-term-119953","uuid":"b6cb7d62-18ad-3942-bbee-d8a50951232c"},"summary_title":"Sherrington"}]}]},"materials":[{"note":[{"value":"Ulmjus procera grown in Scotland and felled because it had died, due to Dutch elm 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brief mention, Julia E. Poole, '5685 Nicholas and Judith Goodison Gift, Cambridge, Fitzwilliam Museum . . .;, p. 154, no. 1 (not illustrated).","page":"154","type":"reference"},"admin":{"id":"publication-5683","uid":"adlib-publication-5683","uuid":"c700cdd7-728b-310a-8703-e54c9d35107c"},"summary_title":"2005 Review, The Annual Report of the National Art Collections Fund"},{"@link":{"notes":"Publ. pp. 156-7, no. 61, object description,illustration, and maker's biography","number":"no. 61","page":"156-157","type":"reference"},"admin":{"id":"publication-8258","uid":"adlib-publication-8258","uuid":"71d79ea2-2385-305e-9044-fbb0cde9ffe7"},"summary_title":"Contemporary British Crafts: The Goodison Gift to The Fitzwilliam Museum"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-117337","uid":"adlib-term-117337","uuid":"4384df20-5604-3ac1-aff2-e396ed3bf20d"},"summary_title":"Contemporary Craft"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-68511","uid":"adlib-term-68511","uuid":"baabefa7-4a52-3313-8355-36b2162d52a4"},"summary_title":"chair"}},"summary_title":"chair","techniques":[{"description":[{"value":"Elm (Ulmus procera), sculpted using handheld power machines, followed by spokeshaves, files, scrapers, and finally hand held abrasive papers on blocks. 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Game (2016) \u2018Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: Fred Baier studied furniture at Birmingham College of Art followed by an MA at the Royal College of Art in London. He established his first studio in Birmingham in 1975 with the aid of a Crafts Advisory Committee Major Award and moved to his current studio in Wiltshire in 1989 on return from a three-year residency in New York. His internationally recognized forty year career has been built through exploring and building innovative structures for contemporary furniture which draw on an interest in geometry, industrial history and different material qualities such as colour and pattern. He has worked as a consultant to the Design Council; ABK architects; Terry Farrell Architects; and Mister Luna B.V. furniture Italy. He has taught at the Royal College of Art, London and has furniture in numerous public and private collections including commissions for Oxford Management Centre, Hackney Museum and the House of Lords. He traces his early interest in making things to the influence of a grandfather who taught him the rudiments of woodworking and left him a set of tools. Whilst still at school in Hull he worked in a local factory making ships\u2019 binnacles and doing bar fitting and as a student in Birmingham he spent most holidays working for an industrial pattern maker and spent time shuttering concrete for the M6. This wealth of practical making experience underpins the fluency of Baier\u2019s work but it is his ability to harness computing as an inspirational tool for designing and making in a studio context that has made him a leader in the field. He is fascinated by the shift from the industrial to the digital age and as early as the mid-1980s worked with a 3D modelling programme, VAMP, to render a computer sketch of a prism-form chair, now in the collection of the Victoria and Albert Museum. Tetrahedron\/Toroid Table is a fine example of Baier\u2019s fascination with sculptural and geometric form that is enabled by these new tools. As he says of it himself, \u2018A tetrahedron, standing on its own and at rest will always present one of its points upwards. By combining it with an interpenetrating doughnut, that is chocked to prevent rolling, the two simple solids help each other to present a useful triangular surface\u2019. \u2018What Baier does is what Henry Moore did on the seashore. Moore walked on the seashore and found objects he could later twist into sculpture. Baier uses the computer to turn up three-dimensional forms from the seashore of mathematics.\u2019 Peter Dormer (1949\u201396), critic and author Fred Baier: \u2018I met my first computer boffin in the days when a computer filled half a room and we have now passed a point where computing is used at every stage of design and development: I feel pleasure in taking part in this transition in design. 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Game (2016) \u2018Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: This pair of chairs was made from English oak planted at Longleat, Wiltshire, in 1740 and felled in 1980. They were originally designed as part of the ceremonial furniture for the graduation ceremonies at Plymouth University. The university commissioned four chairs of these dimensions and three larger chairs (95 cm high) bearing its shield on the aluminium backs (Serendipity 2), all upholstered in blue leather. These were made by the same craftsman with Jemma Thompson gilding the shields. The chairs were a development of Makepeace\u2019s Serendipity 1 design, a chair with four legs and aluminium back, which was among the exhibits in his retrospective touring exhibition John Makepeace: Enriching the Language of Furniture originated by the Devon Guild of Craftsmen in 2010\u201311. Its appearance in the exhibition\u2019s showing at Somerset House led to this commission. John Makepeace is one of the leading and most influential furniture designer\/makers of the last forty years. His own formative influences were the furniture of Scandinavia, which he visited in 1956, traditional African artefacts and dwellings (he travelled there in the mid-1960s), and the work of the Barnsleys, Sidney (1865\u20131926), Ernest (1863\u20131926) and Edward (1900 1987). He began work as a furniture-maker with an apprenticeship to Keith Cooper (b.1917) in Dorset. He set up his own workshop in his home county of Warwickshire. He had some considerable early success with the London retailers Habitat, Heal\u2019s and Liberty and was widely acclaimed for his innovative dining table made for Liberty in 1975. He was invited to join the Crafts Council in 1972. He was soon commissioned to design and make furniture by Templeton and Keble Colleges, Oxford, Banque G\u00e9n\u00e9rale du Luxembourg, and museums and corporate and private collections both in Britain and abroad. He bought Parnham House, Dorset in 1976, where he established his workshops and founded the Parnham Trust and the School for Craftsmen in Wood, which was opened in September 1977 and later became Parnham College. The Trust provided integrated courses in design, making and management for aspiring furniture-makers. Upwards of 200 aspiring furniture-makers took the course, including Jim Partridge and Rod Wales. In 1982 the Parnham Trust bought Hooke Park, a 350-acre area of woodland nearby, where Makepeace established a European programme of collaborative research which explored the improved utilisation of indigenous timber, resulting in a number of award-winning buildings. He moved Parnham College to Hooke Park in 2000, appointing a new director. The College was subsequently amalgamated with the Architectural Association. Following the sale of Parnham in 2001, John Makepeace purchased Farrs, a listed house in Beaminster, where he continued with his work as a designer\/maker. He was awarded the OBE in 1988 and has received several other awards including the American Furniture Society\u2019s Award of Distinction in 2002. He now works almost entirely to commission, especially for private clients, principally as a designer, with independent craftsmen who have been members of the Makepeace Studio over the last 30 years. He is renowned for the subtle elegance of his designs and the excellence of the craftsmanship, and for the attention he pays to the function, structure and context of each furniture commission. \u2018John Makepeace has a special place in the history of design and fine furniture making.\u2019 Professor Jeremy Myerson, Royal College of Art, London John Makepeace: \u2018As a designer and a maker, I am constantly searching for more eloquent concepts for furniture. My objective is to achieve freer, lighter, stronger and more sculptural forms better suited to their function and more expressive of what is unique about each commission. My passion is to create masterpieces that enrich people\u2019s lives and the language of furniture.\u2019 A life history interview with John Makepeace is available at http:\/\/sounds.bl.uk\/Oral-history\/Crafts"},{"value":"The design of the chairs was originally made by John Makepeace for ceremonial furniture for the Graduation Ceremonies at Plymouth University.  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