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The interior back panel is painted bright red, and the interior front and sides painted royal blue. Of deep, straight-sided  rectilinear form wth slanted sides. The back panel extends on the viewer\u2019s right so that the red is visible on the exterior, and there is a recessed red strip along the front lower edge, except for a short distance on the viewer\u2019s left. The hinged lid has a curved apron at the front, and is cut on the slant about a third of the way from the viewer\u2019s left end, leaving a space for the display of an object. 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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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In the shape of a rounded heart sliced in half, with round the top edge, a roll of clay which extends at the pointed end into a tightly coiled scroll. 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On the back of the throne there is a rectangle with relief symbols: a fork and glass, a circle with a curved direction arrow, a triangle enclosing an 'a' with PS reversed below, a man throwing rubbish into a basket, and a circle with CFC in reverse crossed diagonally. The man with a basket is also impressed on the curve of the rock, and on the viewer's left side of the back. 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Game (2016) \u2018Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: Philip Eglin studied Ceramics at Staffordshire Polytechnic and the Royal College of Art, London. Whilst at the Royal College of Art, he worked as studio assistant to the sculptor Eduardo Paolozzi (1924\u20132005) developing a broad knowledge of mould-making and casting processes that continue to inform his working method. In 1986, he established his studio in Stoke-on-Trent, once at the heart of the thriving British ceramics industry, where he combined teaching at North Staffordshire Polytechnic with the development of a highly acclaimed body of contemporary works in clay. This work led to a major Arts Foundation award in 1993 and the Jerwood Prize for Applied Arts: Ceramics in 1996. 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Eglin\u2019s interest in this particular field had been catalysed by the publication of Paul Williamson\u2019s authoritative study on the subject, Gothic Sculpture 1140\u20131300 (Yale University Press, 1998). 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