Tag Archives: heritage

North Country Quilts (that’s not the same as Welsh Quilts)

Durham Quilt image from Welsh Quilts blogspot

As the nights draw in, I have started to grumble about the cold.  I have decided it would be nice to have a good old fashioned eiderdown or quilt to put on my bed.  Obviously, this got me thinking about where the different types of quilts come from.  So I am off again, heading up north to look at North Country quilts.  Also known as Durham quilts, but they have always been made across the whole of Northumberland, Durham and Yorkshire.

Durham quilter. Note the fabric here is sateen

North Country quilts are whole cloth quilts, which means instead of being made from scraps of fabric to make the more familiar patchwork quilts, they are made from a continuous piece of fabric.  Like most historic crafts this would traditionally be a cheap, readily available fabric, usually cotton, but sometimes a sateen type fabric.  The exception to this rule was a ‘stripy’, which was a utility quilt that used strips of fabric, which was easier to construct and cheaper.

by Lilian Hedley

 

North Country quilts are often confused with Welsh quilts and this is not surprising, as to the uninitiated they do look similar.  The main differences between the two are;  Firstly, each have different ways of creating the stitched patterns.  North Country quilts have a central motif surrounded by an area of infill patterns, often based around a specific design called the running Durham feather stitch, with a decorated border around the edge.  Welsh quilts also have a central motif which is then framed by two or three squares which are then infilled with patterns, often a spiral motif.  The second way of differentiating between the two regional quilts is the way the edges are finished.  Welsh quilts tend to be finished with a butt edge, secured with a couple of rows of running stitches and North Country quilts tend to be finished with a couple of rows of machine stitching.  Thirdly, North Country quilts are generally padded with cotton, presumably from the local mills and Welsh quilts are padded with wool, from the local sheep.  Last but not least is that although both North Country and Welsh quiltmakers  sometimes made the ‘Stripy’ quilts, the North Country quilts incorporated the strip into the design, with the patterns following the stripes whereas the Welsh quilts ignored the stripes and the patterns remained the same as whole cloth quilts.

I found a really interesting post on the difference between Welsh quilts and Durham quilts on Pippa Moss’s blog.  Pippa goes into great detail on the differences and has some great images of her amazing collection of quilts.  I must say, having looked at all her lovely examples, I really think a nice antique Durham quilt is just what I need for my bed.  I will have to look out for one on ebay as there is not even the smallest chance I am going to make a full size quilt for myself.  I know this for an absolute fact, as I just don’t have the stamina.  I am in the process of making some samples of English quilting for the Design and Stitched Fabric course I have rashly signed up for and it is going to take me a month to make a cushion cover.  But I digress….

I want this one for my bed, but it is at Nunnington Hall. North Yorkshire!

Both the Welsh and the North Country quilts have very intricate designs and patterns, and these patterns could vary, not just from area to area but also within the same village where individuals would have their own distinctive style.  Kate Trusson is a quilter from Swaledale and in an interview for Popular Patchwork she describes how North Country patterns were flowing, using running feathers, leaves, twisted chains, curlicues and spirals.  Julie still uses patterns which are linked to her own locality, Swaledale in the Northern Dales.  These unique patterns have an openness and a primitive quality about them.

Interestingly, Welsh patterns were called ‘string and teacup’ because they used household objects to draw round and used string as a compass and also to mark out straight lines.  There were many ways the patterns were marked out and North Country quilter’s sometimes sent their quilts off to a stamper who printed the chosen pattern onto the fabric to give the quilter a guide to work from.  This method does explain the complexity and symmetry of some examples of whole cloth quilts from the late nineteenth century.

I Love Feathers by Sheila Curtis of Ledbury.

Quilt making both in the UK and America is very much alive and kicking and the traditional patterns are still known and used.  There are also many contemporary quilt makers who push the boundaries of this traditional skill.  You only have to search the internet for Durham quilt making workshops to find a whole host of resources.  If you want to see exquisite examples of both antique and contemporary quilts then I suggest you check out some of the websites below.  Right now I am off to draw up an example of Durham running feather stitch for my course samples and I better order some cotton batting too if I want it to be authentic!

 

 

 www.lilian-hedley-quilter.com - Queen of North Country quilts who runs courses on how to do Durham running feather stitch and also how to mark out your pattern

www.welshquilts.blogspot.co.uk - beautiful images of Pippa’s collection of vintage welsh and North Country quilts.

www.beamish.org.uk - large collection of quilts

www.quiltmuseum.org.uk - All things to do with quilts

www.stensource.com –  Inspired to make your own quilt?  Here is a source of designs if you aren’t confident in designing your own

Posted in County Durham, Heritage Crafts, Northumberland, Yorkshire | Tagged , , , , , , , , , , , | 1 Comment

The Welsh Cyntell

Large cyntell - Les Llewellyn

I am going over the border today, to a country where traditional culture and language has been fiercely defended for years.  I am slightly wary as to where to start on this as I could easily emigrate and spend all my time just writing about Welsh stuff;  blankets, baskets, love spoons, clogs etc.  But as I have to start somewhere I shall start with the cyntell basket (I believe ‘ll‘ in Welsh is pronouned ‘th‘ so it would be ‘cynteth‘ – but please correct me if I am wrong).

The cyntell is a multi functional basket used around the farm to ‘carry stuff’;  animal feed, potatoes and fruit and they can also be utilised around the home, for laundry and sleeping babies amongst other things.  I also wonder if they were ever used, way back when, as a unit of measure like the trug in Sussex.

Cyntells - Out to Learn Willow

In fact, like the Sussex trug and the Cumbrian swill, the traditional frame basket was not confined to county or country borders.  Known as a cyntell in Ceredigion and Carmarthenshire, identical baskets were found across other regions and over in Ireland, where they were known as skibs, scuttles and Sally Saucers.

Cyntell Basket - Ruth Pybus

 

 

 

The cyntell is formed around a thick, dried willow or hazel hoop, with split and shaped wooden ribs, which together form the frame which is interwoven with willow.  The original farm baskets would have been rustic affairs but a tradition developed to weave more elaborate competition baskets and these are what are more common now.

 

 

The survival of the cyntell is said to be down to three men, D.J Davies, Marvin Morgan and Les Llewelyn.  In the late 1990′s they were all working at St Fagans National History Museum in Cardiff.  Mr Davis was the basket maker, Mr Morgan the miller and Mr Llewelyn whittled love spoons and walking sticks.

D J Davies - The Master (image - Les Llewellyn)

Mr Davies had been the resident basket maker at St Fagans since it opened in 1948, demonstrating the weaving of cyntell basket as taught to him by his farmer grandfather (who had been taught by his father, no doubt).  Aware that Mr Davies was one of the only craftspeople still making the traditional basket, Mr Llewelyn and Mr Mogan decided to ask Mr Davies to pass on his basketry skills.   As Mr Davies had begun to think he would be the last basketmaker in Wales to make the cyntell basket, he was delighted to pass on the skills which had been passed through the generations, via his grandfather.

Having gained the necessary skills to call themselves basket makers, the two younger men set about keeping the traditional Welsh basket making skills alive and kicking.  Mr Davies and Mr Llewelyn became founder members of The South Wales Basketmakers and Mr Davies also became President of the South Wales Stickmakers group.  I believe Mr Morgan became the resident basket maker at St Fagan’s after Mr Davies retired, but unfortunately, when I searched St Fagan’s website I could find no reference to either cyntells or Mr Morgan.

Learn to weave a Cyntell

Luckily for us, many people now seem to appreciate the relevance of craft items associated with particular regions.  The South Wales Basket Makers Group holds regular courses to teach others the essential cyntell skills, with Les Llewellyn running many of these.  It seems the knowledge passed on from Mr Davies is now safe in the hands of  keen basket makers in Wales and beyond.  Indeed, it could be said (at a stretch) that cyntell basket making is a growth industry and let’s be honest –  there is not many of those about these days!!

Courses and Sales

Links through to makers who produce cyntells and also to cyntell making basket courses for interested people.

www.traditionalwelshbaskets.co.uk - Les Llewellyn

www.welshbasketmakers.co.uk

www.framebaskets.co.uk - Ruth Pybus

www.outtolearnwillow.co.uk

www.bobjohnstonbaskets.co.uk

Ray Lister – Ray supplies a video of D J Davies weaving a cyntell, plus he runs frame basket weaving courses at various locations

Owen Jones – Owen also learnt to weave cyntells from DJ Davies and runs the occasional course to.

 

Posted in Basketry, Carmarthenshire, Ceredigion, Traditional Crafts, Wales, Wood, Yorkshire | Tagged , , , , , , , , | 4 Comments

Lambeth Pottery

Right – here it is.  My first blog post for Dulwich OnView my local online community magazine.  I can’t believe how hard it was!  I was limited to eight hundred words and it made me realise that I do drone on abit.  I find it very hard not to include everything I know.  Anyway here it is, all very interesting stuff and great I have found a regional craft right here on my doorstep.  I may well feel obliged to revive the local industry from my garden shed, now there’s an idea!  I could make mugs.

Article from Dulwich OnView

Anyone who lives in Dulwich and likes a bit of gardening will know that six inches below the ground lies thick and heavy London clay.   I was doing some digging in my garden the other day, swearing at the nasty stuff and I thought to myself – someone should open a pottery to get rid of some of this.

So, whilst breaking my back digging a hole only just deep enough to plant a tulip bulb, I dreamt up a fantastic plan to rid my garden of the gloop.  I will start an swap scheme, anyone who wants a bag of my lovely clay to make pots, can come to my garden and dig themselves two sacks full of the stuff and in exchange they can fill the hole back up with couple of sacks of loam rich compost. Now those who know me will realise I always have some new plan or scheme, some good and some really bad, but I honestly think that this one’s a corker. How can it go wrong?

As this was obviously such a brilliant scheme, I gave up the digging and went inside to start my cunning plan.  Why should I dig when people would soon be queuing up to do it for me?  One quick google search later and I discover Lambeth has always been the home of London pottery and interestingly, it is where Royal Doulton all started.  I never knew that!

To be honest since traditional industries usually developed near the raw materials and since I know Lambeth is built on top of an endless supply of London clay, it shouldn’t have been a surprise that it used to be famous for pottery.

Pothouse on River Thames - Upper Fore Street c1866. Image courtesy of The Vauxhall Society

Pottery has been produced in Lambeth since the Roman times, at least.  The potteries, or pothouses as they were known, were concentrated near the river in the area between Vauxhall Bridge and Lambeth Bridge.  Here they could take advantage of the supply of water, easy access to transportation and the low lying location, which provided the most perfectly humid atmosphere for making pots and most importantly was the supply of London clay.

Large Charger – Pickleherring Pottery 1618 image courtesy of The British Museum

Lambeth’s fame for pottery really took off in the sixteenth century when tin-glazing came to England.

Tin-glazing, or Delftware, is a method of producing a white glazed pottery, which can be over painted with metal oxides to create intricate patterns or pictures and back then this was cutting edge pottery technology.

Lambeth Delftware proved very popular, pothouses produced tiles, wine jars, and apothecary pots.  The industry got a real boast in the mid seventeenth century with the introduction of tea and chocolate into English polite society.  The ladies who lunched were desperate for the very latest teapots and cups to show off at their tea parties.

Hoffbrand Collection English delftware apothecary jars 1640 – 1745. Image courtesy of Royal College of Physician

However, during the eighteenth century Staffordshire took over as the centre of the English potteries and Delftware production in Lambeth declined.  I suppose it would have been very easy for pottery production in Lambeth to fizzle out altogether but I guess the kilns and expertise were there and needed to be used and in the last half of the eighteenth century Lambeth pothouses began to produce a robust type of pottery called salt glazed stoneware,

John Doulton’s salt glazed sewage pipe Image courtesy of www.westnorwoodcemetery.com

The most famous of the Lambeth stoneware potteries is now known as Royal Doulton, but it started back in 1815 as Doulton and Watts.  If truth be told, Doulton and Watt’s made their mark by making the most boring, unglamorous of stuff – leech holders for doctors, ink bottles and chemists pots and most famously the sewage pipes under the roads of LondonIn the 1850′s, after making themselves some money from all the boring stuff, the company began a new initiative called Doulton & Co’s decorative stoneware.   They teamed up with nearby Lambeth School of Art to produce highly decorative tableware, sculptural panels and tiles.

Doulton & Co vase 1874

 

 

It must be said, there were other stoneware potteries in Lambeth and James Stiff and Sons and Stephen Green’s Imperial pottery deserve a mention, but it is fair to say Doulton quickly eclipsed other local firms.

Then, in 1901 the company became Royal Doulton courtesy of Edward VII and continued to be a big employer in the area.  But pottery production on any great scale stopped abruptly in 1956, when the factories had to close due to the new clean air regulations.

 

But never mind the history lesson – back to today and my cunning plan.  You may have noticed that times are hard and banks aren’t lending, yet I really think I may have discovered the solution for many Lambeth residents.  It’s been here all along, right under our feet, gardens full of a heritage product!  Tons and tons of world famous ‘Lambeth Doulton Clay’!  Never mind swap schemes, I’m going to sell my clay!   Local clay for local potters.  With a bit of clever marketing I am sure it would work.  Now I just need a plan to decide what to do with the massive hole I will have in my back garden!

Entrance to the original Doultons Headquarters on Black Prince Road

 

In the meantime, before I get around to digging myself some London clay I have . found someone who already uses it to produce lovely little bird sculptures.  Find them here at LondonClayBirds.co.uk.  How sweet are these!!

 www.trinitycourtpotteries.co.uk

www.britannica.com

www.vauxhallcivicsociety.org.uk

www.archaeologydataservice.ac.uk

www.doultonartists.co.uk

The Lambeth cholera outbreak of 1848-1849 – Amanda J. Thomas,  McFarland & Co Inc.

Urban achievement in early modern Europe:golden ages in Antwerp, Amsterdam – Patrick K O’Brien, Cambridge University Press

 

 

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Heritage Craft Association

The Heritage Craft Association.org.uk

For a very long time traditional crafts have existed without any formal support network outside of each individual crafts guild or association.  The Heritage Crafts Association is a new association that has been set up to represent the interests of all traditional crafts which do not fall under the remit of other organisations.  The Crafts Council support and promote contemporary crafts, heritage building crafts have the Prince’s Foundation for the Built Environment, but for a long time traditional crafts which don’t fall under either of these umbrella’s have had to muddle along on their own. Clog makers, trug makers, traditional weavers, besom broom makers and a whole host of others have long known that their crafts skills are an important part of living heritage but there has been no organisation to represent them.  Until now!

The Heritage Crafts Association’s website states;

“The Heritage Crafts Association is the advocacy body for traditional heritage crafts. Working in partnership with Government and key agencies, it provides a focus for craftspeople, groups, societies and guilds, as well as individuals who care about the loss of traditional crafts skills, and works towards a healthy and sustainable framework for the future.” heritagecrafts.org.uk

I think the formation of an organisation to promote and protect tradition crafts as living skills, rather than activities which belong in museums can, only be a good thing.  After all as my journey around the country is proving traditional crafts and the skilled craftspeople who practice them, help to define the individuality of an area and link us to our heritage and locality.

If it is true that human progress is made possible by our ability to pass on knowledge and experience then it is imperative these traditional crafts are seen as part of our living heritage rather than packaged as historic reenactments . They form part of our cultural inheritance and as such we are obliged to pass them on to the next generation.

So, the Heritage Crafts Association can only be a good thing as far as I am concerned.  Prince Charles agrees with me, he has agreed to be the Association’s president, which for an organisation only a couple of years old is no mean feat.  They have also gained support amongst government departments and all this in two years – amazing!

Posted in Endangered Crafts, Heritage Crafts, Traditional Crafts | Tagged , , , | Leave a comment

Owen Jones – Nearly The One and Only Swill Maker

Some crafts need a bit of a push and the craft of swill making is one of them.  So I shall be highlighting some of the crafts I have encountered which are teetering on the edge of extinction, almost consigned to history, but not quite.  The craft skills which have been passed from generation to generation for centuries, now being practiced by just a handful of people.

I shall start with the Cumbrian Oak Swill.  You will recall from a previous post about cumbrian swills, these baskets were once used in many different walks of life;  mining, shipping and farming to name but a few and there was a thriving basket making industry to supply the baskets.  Today this thriving industry has contracted down to one full time swill maker, Owen Jones.  He is the Cumbrian swill maker.  It is quite astonishing to think a whole cottage industry has dwindled down to one individual in a generation.

I am not sure what Owen Jones thinks of his role as custodial of the swill making craft, it must be a bit weird to know everyone is documenting you as an endangered species. There are even videos of Owen Jones making a swill archived at the Museum of Rural Life at the University of Reading,  just in case he decides to jack it all in and retrain as a banker.

But I am happy to say that right now Owen Jones retraining as a banker seems unlikely. I have just ordered my first oak swill from Owen and he didn’t mention any plans to stop. In fact he now has an apprentice, so hopefully the craft of swill making is safe for the moment.

If you would like to purchase an oak swill from Owen Jones then his website is -

oakswills.co.uk .

oak swill

Here you can order an oak swill in a variety of sizes, find out which craft fairs Owen will be demonstrating at and also book yourself on to a Swill Making course.  Now that’s something I fancy, three days in the Lake District learning how to make a swill.   I have got a plan to make a really big one and use it as a chair – yes, obviously I would need to put some legs on it!

Stop press:  Swill making is spreading.  A welsh maker, Ruth Pybus, learnt her skills from Owen Jones and now offers swill baskets alongside the traditional Cyntell, a welsh willow frame basket.  You can find her baskets here -

www.framebaskets.co.uk

 

NB – Are you a maker of swill baskets?   Let me know so I can add you to my list.

 

Posted in Cumbria, Endangered Crafts, Traditional Crafts, Wood | Tagged , , , , , , , , , , , | 1 Comment

The Cumbrian Oak Swill

image from oakswills.co.uk

Ok, having begun my Traditional Craft journey around the British Isles down south in sunny Sussex, I am now going to head up north to take a look at the Cumbrian oak swill basket.  Again, I have purely personal reasons for choosing Cumbria as my second destination.  It is my favorite place ever and no it doesn’t rain all the time.

The Cumbrian swill is an oval, wooden basket and it is closely related to the Sussex trug, as they are both spale or spelk basket, (spale or spelk being the thin strips of wood, which in the case of the Cumbrian swill are cut from 25 – 30 year old oak coppice).  But whereas the Sussex trug is made by the wooden strips being layered and nailed down to create the form, the Cumbrian swill is made by weaving them.  The origins of the Cumbrian swill is buried in the depths of time but it is similar to other regional variations of woven spale baskets.  Skuttles were produced in the Wyre Forest in Worcestershire and other baskets went by the name of whiskets and slops.

Skuttle basket maker in Worcestershire 1935

Photographed by Marjorie Wright (1889-1973), Image from Museum of Rural Life.

How long swills have been part of life is unclear but similar baskets were used to carry corn in the Iron Age and throughout history they have found use in various industries; mines, mills, ironworks to name but a few.  On farms they were used for sowing, harvesting and feeding animals and in the home they were utilised when ever there was a need for a large receptacle.

Cumbrian swill making centred around the Furness area of Cumbria or Cumberland as it once known and this location would have been a major factor in the success of turning a cottage industry into a trade in its own right.  The woods of  Furness Fells would have provided the coppiced oak for the swill makers and there was a ready market for the swills in the mills, mines and farms throughout the North.

Swill makers from Backbarrow

Image taken from www.levenvalleyhistory.co.uk/woodland-industries

The swill makers were so successful that some intrepid Swillers, as they were called, from Ulverston, Kendal and Gatehouse-of-Fleet moved lock, stock and barrel up to Gargunnock in Scotland in 1865, probably encouraged to come by the local Laird, setting up a rival Scottish Swill making industry.

So what about now?  Fast forward through the twentieth century, passed the World War’s, passed the introduction of production lines and plastic and on to the present day. How are the Cumbrian swill makers doing?  To be honest…..it’s not good!  If there was list of endangered crafts at risk of extinction, then swill making would be on the top of the critical list.  There is only one full time Cumbrian swill maker left and his name is Mr Owen Jones. If you google his name, there are numerous articles on how he is the last in a long unbroken line of swillers and how he has single handedly kept the craft of swill making alive.  I won’t duplicate all that here as there really is a wealth of information on Mr Owen Jones.  There is a particularly lovely video of him making a swill on the Museum of Rural Life website (will post a link when I have worked out how!)

Anyway I do sincerely hope the oak swill is not like the Quagga (that funny zebra with just a few stripes)  the last one died on the 12th August 1883 in Amsterdam zoo.  The world watched and only after it had died did people sit up and say ‘Oh dear, they are all gone – too late now!’

But I like to think there is hope and the oak swill is definitely not as dead as a Dodo. There is an increasing appreciation of traditional regional crafts and their role in our material cultural heritage and a growing willingness to protect associated traditional skills.  I won’t bang on about the importance of Heritage Crafts here, as this is a post about the Cumbrian oak swill but I am planning on giving it a whole post all to itself. Well actually I am going to give it a whole page all to itself!

Next up – I am going to Dorset to take a look at Dorset buttons!!

Posted in Cumbria, Heritage Crafts, Traditional Crafts, Wood | Tagged , , , , , , , , , | 2 Comments

The Right Royal Sussex Trug

The Sussex Trug is a funny old place to start my Traditional Craft journey around the British Isle’s because some would say; it isn’t actually that old, especially in traditional craft terms, having first shot to fame in 1851.  But the trug is so very much associated with Sussex and is so firmly rooted in my childhood memories, it seems a very good place to begin.

There have been Trug’s in Sussex in one form or another since way back when.  The word trug is thought to have derived from the Old English word trough or trog which means ‘made of wood’ or ‘boat like form’.  The first trough’s or trog’s were carved, wooden, boat shaped vessels and were used by farmers for measuring and harvesting and there are references to them in medieval manuscripts. But what is a bit hazy is when these solid wooden Trog’s evolved into the baskets we now know as Trug’s.  It is known that a sixteenth century Sussex trugger called John Edwards left all his trugger tools to his son and the tools are almost the same as the trugger tools used today and trug’s also appear in paintings as far back as the 1700′s.

However the Trug really came into its own during the 1800′s,  In a village called Herstmonceux (Yes I know, it is a funny name!  It’s pronounced Herst-mon-zoo and it comes from combining the Anglo-Saxon word hyrst, which means “wooded hill” and the name of the Monceux family, who were lords of the manor in the 12th century)  lived a Mr Smith.  It seems that Mr Smith had the bright idea of taking the original trug and making it better.  Some say that he actually invented the Sussex Trug, it but it was more likely he was a master trug maker and he made the best trugs in the village.

We do know his trug were made in the traditional Sussex style; a lightweight basket made from Sweet Chestnut and Cricket Bat Willow. The Sweet Chestnut, grown locally on the wooded hills, he used for the rim and handle and the Cricket Bat Willow, from the nearby Pevensey Marshes, he used to make boards for the body of the basket.  Mr Smith’s Sussex Trug was very popular locally and he developed a thriving market selling to local farmers.

The really big moment in Sussex Trug’s history came in 1851 when Mr Smith took his basket to the Great Exhibition of 1851.  There, his stall was visited by Queen Victoria who order a number of Trug’s to give as gifts.  The Sussex Trug was renamed the Royal Sussex Trug and Mr Smith personally walked all the way to Buckingham Palace, pushing his hand cart, to deliver the Queens Trug’s.

Obviously Mr Smith was a very happy man, his business flourished and a trug making cottage industry developed.  Competitors sprung up and trug making spread throughout Sussex and Kent and even as far as Somerset.  Everyone chugged along quite nicely and the trug continued in production into the early twentieth century until, alas, along came mechanisation and plastic.

Now here is where the story could have ended, the lovely Royal Sussex Trug killed off by machines and plastic, luckily for us it isn’t the end. Admittedly things got a bit hairy for Trug making for a while, farmers no longer needed Trugs to collect their eggs and apples and the plastic punnet became the preferred container.  After the Second World War Trug production gradually shrank back into Sussex until there was only a handful of companies left, one being the original Thomas Smith company.  These Trug makers survived by pure tenacity  and also by adjusting their marketing plan.  Instead of selling mainly to farmers they begun to sell more to gardeners.  The Sussex Trug became the must have accessory for the dedicated gardener.

So there we have it, a potted history of the Sussex Trug.  Along the way the Sussex Trug really has had its ups and downs, through the seventies and eighties I remember more than one  story about how the last trug makers were on the verge of shutting up shop. But it does seem they have now carved themselves a niche market.  The Sussex trug makers have also diversified and now produce a ply version of the traditional trug.  Go to any gardening online shop and the chances are that there will be a wooden trug of some description for sale.  They now even have to fight off the threat of cheap, imported copies from China.  However, the genuine article for me remains the Royal Sussex Trug, made only by the original Smith company.  Although I must say if I am perfectly honest, I don’t think much of the music they play in their workshop, but despite the music – they make a jolly fine old Trug!!

Next post is going to be on the Cumbrian Oak Swill.  I am so loving this!  In an age when we all moan about generic high street brands, it’s so great to focus on the regional crafts which are still alive and kicking.  Think Cheddar Cheese and Cornish Pasty for the craft industry!!

There are many places to buy Sussex trugs, some are made in Sussex and some are imported from Eastern Europe or China.  It’s fair to say that the cheaper it is the more likely it is not to be a genuine Sussex trug.  If you want to be sure that you are getting the real deal then The Cuckmere Trug Company is where you need to go, deep in the sussex countryside and bizarrely the workshop is also within earshot of Druzilla‘s zoo.  So alongside the tweeting of blackbirds and sparrows you can hear monkeys and parrots too!

The Cuckmere Trug Company 

 

Posted in Heritage Crafts, Sussex, Traditional Crafts, Uncategorized, Wood | Tagged , , , , , , , , , , , | 2 Comments