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Game (2016) \u2018Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: Clare Henshaw studied at West Surrey College of Art and Design and the Royal College of Art, London. Her early studio works were characterized by strongly coloured vessels, their surfaces engraved with bold narrative imagery. These launched her career with several awards following in swift succession: Dudley Crystal Award, 1988; Designers Guild Award, 1989; Borax Glass Prize, 1991; and Worshipful Company of Glass Sellers Award, 1992. In 1994, however, Henshaw moved to the far north of Sweden to live and work which catalysed a significant shift in her work, resulting in the creation of a series of subtle, abstract glass vessels that reflected the Northern light, landscape and culture of her new home. She returned to the UK in 2002 and continued to exhibit widely, receiving further awards including an Arts Council Award for the Arts in 2005 and a Wingate Scholarship in 2006. Clare Henshaw: `The extraordinary light phenomenon in Sweden, pristine nature and long Arctic winters, shaped my visual sense. It is the starting point for my presently emerging work. This new work reflects on my experience of a place which is covered in a blanket of snow for six months of the year, a place where the silence is penetrating.\u2019"}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-119801","uid":"adlib-term-119801","uuid":"9c3b01e1-e276-3275-ac22-1b7c03dad449"},"summary_title":"Elizabeth I"},{"@link":{"type":"reference"},"admin":{"id":"term-109891","uid":"adlib-term-109891","uuid":"ad6efeb2-90e2-3107-ada3-8348ed09c40f"},"summary_title":"21st Century, Early"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-109307","uid":"adlib-term-109307","uuid":"1f93cbec-c973-35aa-9cdb-35ed88a73600"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"Clifford"}]}]},"multimedia":[{"@link":{"type":"reference"},"admin":{"id":"media-196721","uid":"adlib-media-196721","uuid":"9c5043cb-ed19-3801-98ab-d5791c6ab42f"},"processed":{"large":{"format":"jpeg","location":"aa\/aa33\/C_12A_20_26_20B_2005_1_201505_adn21_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":1025},{"dimension":"width","units":"pixels","value":762}]},"modified":1616268753553,"resizable":true,"type":"image"},"mid":{"format":"jpeg","location":"aa\/aa33\/mid_C_12A_20_26_20B_2005_1_201505_adn21_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":673},{"dimension":"width","units":"pixels","value":500}]},"modified":1616268753553,"resizable":true,"type":"image"},"original":{"format":"jpeg","location":"aa\/aa33\/C_12A_20_26_20B_2005_1_201505_adn21_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":1025},{"dimension":"width","units":"pixels","value":762}]},"modified":1616268753553,"resizable":true,"type":"image"},"preview":{"format":"jpeg","location":"aa\/aa33\/preview_C_12A_20_26_20B_2005_1_201505_adn21_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":336},{"dimension":"width","units":"pixels","value":250}]},"modified":1616268753553,"resizable":true,"type":"image"}},"sort":"0","type":{"base":"media","type":"image"}},{"@link":{"type":"reference"},"admin":{"id":"media-196851","uid":"adlib-media-196851","uuid":"a2539095-d8de-3826-9f22-7e2e3315379f"},"processed":{"large":{"format":"jpeg","location":"aa\/aa34\/large_C_12A_20_26_20B_2005_2_201505_adn21_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":752},{"dimension":"width","units":"pixels","value":1024}]},"modified":1616269902953,"resizable":true,"type":"image"},"mid":{"format":"jpeg","location":"aa\/aa34\/mid_C_12A_20_26_20B_2005_2_201505_adn21_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":367},{"dimension":"width","units":"pixels","value":500}]},"modified":1616269902953,"resizable":true,"type":"image"},"original":{"format":"jpeg","location":"aa\/aa34\/C_12A_20_26_20B_2005_2_201505_adn21_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":753},{"dimension":"width","units":"pixels","value":1025}]},"modified":1616269902953,"resizable":true,"type":"image"},"preview":{"format":"jpeg","location":"aa\/aa34\/preview_C_12A_20_26_20B_2005_2_201505_adn21_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":184},{"dimension":"width","units":"pixels","value":250}]},"modified":1616269902953,"resizable":true,"type":"image"}},"sort":"1","type":{"base":"media","type":"image"}}],"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-120821","uid":"adlib-term-120821","uuid":"ff8e12ed-a2ce-33e3-a41d-f2f9d566e7e9"},"summary_title":"two tall forms"}}],"note":[{"type":"history note","value":"The Crafts Council, 44a Pentonville Road, London, where purchased by the donors"}],"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. 154 brief mention, Julia E. 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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. 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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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. 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Of tall, tapering cylindrical form with base recessed to produce a footring. 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Game (2016) \u2018Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: Rupert Spira studied Ceramics at West Surrey College of Art and Design interspersed with a two-year period as studio assistant to Michael Cardew (1901\u201383). Between 1984 and 1996 he established and ran Froyle Pottery in Hampshire producing a highly successful range of domestic tableware and tiles drawing on a strong knowledge of South East Asian glazes. Spira established a studio under his own name in Shropshire in 1996, from which he developed his international profile as maker of both simple tableware and monumental bowls, jars and cylinder forms, which have won awards in major centres of ceramic art such as Faenza in Italy, Korea and Japan. The presence and quality of these individual works drew on Spira\u2019s disciplined study of ceramic arts from many cultures and his wider reading of histories of thought and art. Words first appeared on Spira\u2019s pots as thought-poems of his own making but gradually developed as calligraphic gestures, based on the words of other poets and writers which guided the inscriptions but remained illegible on the final work. In this particular approach to words, Spira can be seen attempting to layer meaning in ways reminiscent of the work of the seventeenthcentury Japanese potter Ogata Kenzan (1663\u20131743) or the repetitive Qur\u2019anic inscriptions found on certain Islamic pots. 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The base is made separately from the sides. Of robust baluster form with incurved neck and foot, domed cover with projecting rim, and a finial comprising a depressed globular knop made in two halves, surmounted by a smaller ball. On three sides of the body there are plain oval cartouches flanked by scrolling foliage. The rest of the surface is decorated in relief with putti amongst scrolling acanthus foliage and flowers against a matted ground. The incurved neck and foot are plain. The projecting edge of the cover is decorated with bound laurel, and the dome with three circular cartouches containing a stylized bud, two of which are flanked by putti with swags below them, and by acanthus foliage which extends round the sides, against a matted ground. In the centre there is a plain silver band from which the finial rises. The depressed globular knop is decorated with upward and downward pointing acanthus foliage, radiating from the bottom and top respectively, and the ball above has a stylized flower on its top."}],"exhibitions":[{"@link":{"catalogue":"8","type":"reference"},"admin":{"id":"exhibition-1937","uid":"adlib-exhibition-1937","uuid":"12be6802-a3f6-36bf-982b-e5e4b0cab551"},"summary_title":"The Cassel Silver"},{"@link":{"catalogue":"85","type":"reference"},"admin":{"id":"exhibition-3305","uid":"adlib-exhibition-3305","uuid":"534a3247-91a9-398f-abe9-7b419586f568"},"summary_title":"Feast and Fast: The Art of Food in Europe (1500-1800)"},{"@link":{"type":"reference"},"admin":{"id":"exhibition-3815","uid":"adlib-exhibition-3815","uuid":"8e5244e3-f18e-3d6b-9c58-5238f666b36e"},"summary_title":"Refugee Silver: Huguenots in Britain"}],"identifier":[{"accession_number":"M.11 & A-2005","primary":true,"type":"accession number","value":"M.11 & A-2005"},{"priref":"118971","type":"priref","value":"118971"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/118971","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/118971"}],"inscription":[{"description":[{"value":"in shield-shaped outline"}],"location":"on neck","method":"struck","transcription":[{"value":"I.B a crescent below and two pellets"}],"type":"maker's mark"},{"description":[{"value":"leopard's head"}],"location":"on neck","method":"struck","type":"hallmark"},{"description":[{"value":"lion passant"}],"location":"on neck","method":"struck","type":"hallmark"},{"description":[{"value":"gothic"}],"location":"on neck","method":"struck","transcription":[{"value":"Q"}],"type":"hallmark"},{"description":[{"value":"circular yellow paper label"}],"location":"inside cover","method":"hand-written in black biro","transcription":[{"value":"300"}],"type":"label"},{"description":[{"value":"rectangular pale blue label"}],"location":"on base","method":"hand-written in blue biro","transcription":[{"value":"300"}],"type":"label"}],"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":"Purchased with the Cunliffe and Perceval Funds, aided by grants from the National Art Collections Fund and the MLA\/V&A Purchase Grant Fund"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-150858","uid":"adlib-agent-150858","uuid":"d36d1847-4d6a-33eb-974b-f4b061db49f9"},"summary_title":"Sotheby's"}],"date":[{"earliest":2005,"latest":2005,"value":"2005-07-18"}],"method":{"value":"bought"},"note":[{"value":"The jar formed part of the Cassel Collection sold to a consortium of museums through Sotheby's."}]}],"creation":[{"date":[{"earliest":1673,"from":{"earliest":1673,"era":["CE"],"latest":1673,"precision":"circa","value":"1673"},"latest":1674,"note":[{"value":"The date letter is indisctinct but appears to be gothic Q for 1673-74. It is definitely not the gothic R for 1674-75."}],"range":true,"to":{"earliest":1674,"era":["CE"],"latest":1674,"value":"1674"}}],"maker":[{"@link":{"role":[{"value":"goldsmith"}],"type":"reference"},"admin":{"id":"agent-171934","uid":"adlib-agent-171934","uuid":"4b2cfbce-f412-34fa-b69b-b39357ff516d"},"summary_title":"Bodendeich, Jacob"}],"note":[{"value":"Jacob Bodendeich was born at L\u00fcneberg where he served his apprenticeship between 1650 and 1654. He probably came to London at the end of the 1650s and was granted citizenship in 1661. Shortly afterwards he married Susan Mouse, daughter of the goldsmith William Mouse. Bodendeich excelled at chasing and was one of the most talented goldsmiths working in London during the 1660s and 1670s, a period of ostentatious expenditure on furnishings and plate. He registered his mark in May 1664 and was made free of the City of London in August 1673 and of the Goldsmiths\u2019 Company in October 1673. He died in 1681. He signed himself Bodendeich, but his name is sometimes anglicized as Bodendick. The most detailed discussion of his life and work is by Eric J.G. Smith (see Documentation, 2001 and 2002)"},{"value":"Label text from the exhibition \u2018Feast and Fast: The Art of Food in Europe, 1500\u20131800\u2019, on display at The Fitzwilliam Museum from 26 November 2019 until 31 August 2020: Ginger jar and domed cover with putti amongst foliage Although the purpose of Chinese porcelain \u2018ginger jars\u2019 remains unclear, their bulbous shape became very fashionable in Europe. Imitations were made in silver during the seventeenth century, such as this one made by the London-based German silversmith, Jacob Bodendeich, and in hard- or soft-paste porcelain in the eighteenth century, purely for decoration."},{"value":"This \u2018ginger jar\u2019 is a handsome example of the silver vases which were displayed on top of cabinets and elsewhere in wealthy households at that time. John Evelyn remarked on the \u2018huge Vasas of wrought plate\u2019 in the apartment of the Duchess of Portsmouth in his diary in October 1683. 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