Archive IDs

Documented people in the six categories. Two-letter prefix encodes the category: MK Maker, KP Keeper, CR Carrier, RM Rememberer, ST Steward, GT Gatherer.

• CR-0001 Spring Equinox at Tower Hill
• CR-0002 The Smithfield Porter forthcoming
• CR-0003 The Bonfire Society Captain forthcoming
• CR-0004 May Morning at Magdalen forthcoming
• CR-0005 The Cheese Rolling Marshal forthcoming
• CR-0006 The Olimpick Games Master forthcoming
• CR-0007 The Horn Dancer forthcoming
• CR-0008 The Wassail Leader forthcoming
• CR-0009 May Morning at Magdalen forthcoming
• GT-0001 The Sheffield Collector forthcoming
• GT-0002 The Lantern Slide Rescuer forthcoming
• GT-0003 The Press Preservationist forthcoming
• GT-0004 The Village Archivist forthcoming
• GT-0005 The Farm Machinery Restorer forthcoming
• GT-0006 The Ephemera Collector forthcoming
• GT-0007 Richard Seago, Retired Millwright
• KP-0001 The Churchwarden of St Mary Abchurch forthcoming
• KP-0002 The Porter of Lincoln's Inn forthcoming
• KP-0003 The Churchwarden forthcoming
• KP-0004 The Pub Landlord forthcoming
• KP-0005 Mary Read, Custodian of St Michael’s forthcoming
• MK-0001 Paul Kemp, Millwright
• MK-0002 Lida Kindersley, Lettercutter
• MK-0003 Roxanne Kindersley, Lettercutter
• MK-0004 Vincent Kindersley, Designer & Lettercutter
• MK-0005 Hallam Kindersley, Lettercutter forthcoming
• MK-0006 Emily, Lettercutter
• MK-0007 Stephen Dennett, Boat Builder
• MK-0008 Michael Dennett, Boat Builder
• MK-0009 Lewis Goldwater, Hazel Basket Maker
• MK-0010 David Hart, Silversmith
• MK-0011 William Hart, Silversmith
• MK-0012 Derek Elliott, Silversmith
• MK-0013 Julian Hart, Silversmith
• MK-0014 Seth Kennedy, Watchmaker
• MK-0015 Genevieve Sweeney, Knitwear Designer
• MK-0016 Poppy Ruane, Knitwear Apprentice
• MK-0017 Jonathan Wright, Globemaker
• MK-0018 Louis Craig Carpenter, Woodturner & Furniture Maker
• MK-0019 Phil Benton, Cutler
• MK-0020 Paul Weatherstone, Cutler
• MK-0021 Chris Shaw, Die Engraver
• MK-0022 Chris Hudson MBE, Founder of Chimo
• MK-0023 Neil Wilson, Scissor Maker
• MK-0024 Sam Aston-Clark, Putter-Togetherer
• MK-0025 Jonathan Reid, Scissor Maker
• MK-0026 Evan James, Scissor Grinder
• MK-0027 James Morton, Scissor Maker
• MK-0028 Retired archive entry retired
• MK-0029 Sabino Henda, Scissor Polisher
• MK-0030 Stephen Wright, Silverware Maker forthcoming
• MK-0031 Kylie Cocker, Pocket-Knife Maker
• MK-0032 Kevin Wilebore, Leatherworker
• MK-0033 Grace Horne, Scissor Maker
• MK-0034 Lily Marsh, Stone Sculptor
• MK-0035 Steve Roche, Letter Cutter and Stonemason
• RM-0001 The Village Memory forthcoming
• RM-0002 The Last Witness forthcoming
• RM-0003 Melonie Clubb
• RM-0004 Julie Thomson
• ST-0001 The Fenland Eel Catcher forthcoming
• ST-0002 The Downland Shepherd forthcoming
• ST-0003 The Hay Meadow Farmer forthcoming
• ST-0004 The Coppice Worker
• ST-0005 The Chalk Stream Keeper forthcoming

Long-form thematic writing across the six categories.

• ES-0001 The People Who Carry England
• ES-0002 The Date That Must Not Move
• ES-0003 When the Ceremony Stops
• ES-0004 The Succession Trap
• ES-0005 The Knowledge in Motion
• ES-0006 Open and Closed
• ES-0007 The Last Coracle Makers
• ES-0008 The Last Trugg Maker
• ES-0009 The Norfolk Wherryman
• ES-0010 The Punt Builder
• ES-0011 The Oldest Road
• ES-0012 The Dry Stone Waller
• ES-0013 The Cider Orchardist
• ES-0014 The Marches Hedge Layer
• ES-0015 The Willow Weaver
• ES-0016 Retired archive entry retired
• ES-0017 Retired archive entry retired
• ES-0018 The Fell Farmer forthcoming
• ES-0019 The Volunteer Problem
• ES-0020 When the Keeper Leaves
• ES-0021 The Architecture of Obligation
• ES-0022 The Volunteer Crisis
• ES-0023 The Keys and the Register
• ES-0024 The Last Parish
• ES-0025 The Thatcher
• ES-0026 The People Who Remember England
• ES-0027 The Last Generation of Witnesses
• ES-0028 Landscape Memory
• ES-0029 Before the Motorway
• ES-0030 The Unrecorded
• ES-0031 The Village That Television Built
• ES-0032 Memory as Heritage
• ES-0033 The Managed Wild
• ES-0034 The 97 Percent
• ES-0035 The Seasonal Round
• ES-0036 The Economics of Care
• ES-0037 Reading the Land
• ES-0038 The City as Village
• ES-0039 The Drowned Land
• ES-0040 The Fire and the Chalk
• ES-0041 The River’s Memory
• ES-0042 The Grammar of Stone
• ES-0043 The Border Country
• ES-0044 The Water and the Withy
• ES-0045 The Hefted Flock
• ES-0046 The People Who Gather England
• ES-0047 The Dispersal
• ES-0048 The Collection as Record
• ES-0049 The Trade Preservers
• ES-0050 The Glass and the Paper
• ES-0051 The Workshop in the Garage
• ES-0052 The Institutional Gap
• ES-0053 The Parish Keeper
• ES-0054 Letter Cut in Stone
• ES-0055 Upper Thames Boats
• ES-0056 The Documentary Lineage
• ES-0057 A Morning at Ernest Wright
• ES-0058 A Morning at William Wright forthcoming

Reference documents and registers tied to a category.

• RS-0001 Heritage Crafts Red List
• RS-0002 England's Calendar of Living Traditions
• RS-0003 Ancient Meadows of England
• RS-0004 Understanding Exposure and the Zone System
• RS-0005 England’s At-Risk Private Heritage Collections

Standalone resources outside any single category.

• TL-0001 Zone Exposure Calculator
• TL-0002 How the Archive Is Organised
• TL-0003 Copyright & Licensing
• TL-0004 Being Part of The England Archive
• TL-0005 TEA Field Associates
• TL-0006 IR Convert
• TL-0007 Resize & Convert
• TL-0008 Welcome to the Archive
• TL-0009 Partners
• TL-0010 Start Here
• TL-0011 Contribute
• TL-0012 Submission Specification
• TL-0013 Contributor Style Guide
• TL-0014 Photographic Standard
• TL-0015 Subject Protocol
• TL-0016 Contributors
• TL-0017 About / Vernacular Archive CIC
• TL-0018 120 Film Comparison Chart
• TL-0019 On Being Cited
• TL-0020 On Sources
• TL-0021 Method
• TL-0022 Donate
• TL-0023 Supporters
• TL-0024 Memorial Gifts
• TL-0025 Prints
• TL-0026 Regional Lead Partnership
• TL-0027 Learn a Craft
• TL-0028 Crafts
• TL-0029 The Pipeline
• TL-0030 The Craft of the Archive
• TL-0031 Press & Editorial
• TL-0032 Frame Notes

Personal reflections on the work.

• JN-0001 Before the First Frame
• JN-0002 What the Map Doesn’t Show
• JN-0003 The Question of the Camera
• JN-0004 The Ten-Year Window
• JN-0005 Finding the Five
• JN-0006 Seventy-Four Emails
• JN-0007 The Project Leaves the Building
• JN-0008 Homer Sykes
• JN-0009 Learning the Camera That Changes Everything
• JN-0010 A Walk Through Long Melford with Julie and Melonie
• JN-0011 A Morning at Cardozo Kindersley
• JN-0012 A Morning at Dennett Boat Builders
• JN-0013 A Visit to St Michael’s, Great Gidding forthcoming
• JN-0014 May Morning at Magdalen, 2026 forthcoming
• JN-0015 Learning the Darkroom
• JN-0016 The ring
• JN-0017 A Morning at Hart Silversmiths
• JN-0018 The Blank Roll
• JN-0019 A Morning at Grandeys Place

Production logistics and the working calendar.

• FD-0001 Phase 1.1: foundation window open
• FD-0002 Phase 1.2: the replies are coming in
• FD-0003 Phase 1.3: the first shoots are locked
• FD-0004 Dispatch 1: the archive begins
• FD-0005 Welcomed at Holy Trinity
• FD-0006 Field Diary - Great Gidding forthcoming
• FD-0007 A portrait without a name
• FD-0008 The frame I did not see at the time

Geographic groupings.

• RG-0001 London
• RG-0002 East Anglia
• RG-0003 South Downs
• RG-0004 Thames Valley
• RG-0005 The Cotswolds
• RG-0006 Heart of England
• RG-0007 The West Country
• RG-0008 Yorkshire Dales
• RG-0009 South Yorkshire

Sub-regions and specific places within each region.

• AR-0001 Smithfield
• AR-0002 The Inns of Court
• AR-0003 Tower Hill
• AR-0004 Wren Churches
• AR-0005 Norfolk Broads
• AR-0006 Suffolk Coast
• AR-0007 The Fens
• AR-0008 Ditchling
• AR-0009 Lewes
• AR-0010 The Chalk Downs
• AR-0011 Henley
• AR-0012 Oxford
• AR-0013 The Ridgeway
• AR-0014 Chipping Campden
• AR-0015 Cooper’s Hill
• AR-0016 The Stone Villages
• AR-0017 Abbots Bromley
• AR-0018 Herefordshire
• AR-0019 The Marches
• AR-0020 Glastonbury
• AR-0021 Somerset Levels
• AR-0022 Taunton Vale
• AR-0023 Swaledale
• AR-0024 Upper Wharfedale
• AR-0025 Wensleydale
• AR-0026 Long Melford
• AR-0027 Cambridge
• AR-0028 Chertsey
• AR-0029 Great Gidding forthcoming
• AR-0030 Sheffield

Photo collections attached to a documented subject.

• GL-0001 Paul Kemp - Gallery
• GL-0002 Richard Seago - Gallery
• GL-0003 Lewis Goldwater - Gallery
• GL-0004 Seth Kennedy - Gallery
• GL-0005 Genevieve Sweeney - Gallery
• GL-0006 Jonathan Wright - Gallery
• GL-0007 Louis Craig Carpenter - Gallery
• GL-0008 Phil Benton - Gallery
• GL-0009 Paul Weatherstone - Gallery
• GL-0010 Chris Shaw - Gallery
• GL-0011 Chris Hudson - Gallery
• GL-0012 Ernest Wright Workshop - Gallery
• GL-0013 Neil Wilson - Gallery
• GL-0014 Sam Aston-Clark - Gallery
• GL-0015 Jonathan Reid - Gallery
• GL-0016 Evan James - Gallery
• GL-0017 James Morton - Gallery
• GL-0018 Retired archive entry retired
• GL-0019 Sabino Henda - Gallery
• GL-0020 William Wright - Gallery

Individual photographs in subject galleries. The citation URL redirects to the parent subject page.

• IM-0001 The drainage dyke leading to the mill
• IM-0002 Retired archive entry retired
• IM-0003 Toft Monks Mill framed through bare winter trees, the Broads landscape stretching flat beyond
• IM-0004 Retired archive entry retired
• IM-0005 Retired archive entry retired
• IM-0006 Paul at the door. The scale of the mill becomes real only when a person stands beside it.
• IM-0007 The grounds - pod and shepherd’s hut
• IM-0008 The shepherd’s hut
• IM-0009 Through the veranda - the mill beyond the pines
• IM-0010 The mill from the west, framed by bare branches and pine, the landscape open and flat behind
• IM-0011 Paul Kemp stepping out of the mill doorway, ducking slightly under the arched brick entrance
• IM-0012 Walking the perimeter - unhurried ease
• IM-0013 Chain in hand, looking out across the marshes
• IM-0014 Retired archive entry retired
• IM-0015 Retired archive entry retired
• IM-0016 Climbing down - the ground a long way beneath
• IM-0017 Retired archive entry retired
• IM-0018 Retired archive entry retired
• IM-0019 Paul on the interior ladder of the mill, looking upward, dramatic low light from the window illuminating his face and the brickwork
• IM-0020 Retired archive entry retired
• IM-0021 Side-light - the interior has its own quality
• IM-0022 Retired archive entry retired
• IM-0023 Paul reaching up to touch the large wooden gear wheel inside the mill, looking up at the mechanism with familiarity
• IM-0024 Retired archive entry retired
• IM-0025 Retired archive entry retired
• IM-0026 Paul gesturing with both hands, the mill behind him, explaining something about the engineering
• IM-0027 Retired archive entry retired
• IM-0028 That wide, generous smile
• IM-0029 Retired archive entry retired
• IM-0030 Paul Kemp, millwright. Toft Monks Mill, Norfolk Broads.
• IM-0031 The gear train - timber, iron, two hundred years
• IM-0032 Door bolt - the landscape beyond
• IM-0033 Cast iron roller - heavy, worn, waiting
• IM-0034 Retired archive entry retired
• IM-0035 Retired archive entry retired
• IM-0036 Retired archive entry retired
• IM-0037 Paul arrives at Toft Monks
• IM-0038 Retired archive entry retired
• IM-0039 Paul climbing the mill. The brake mechanism is at the top. The sound of the chain carried across the marsh.
• IM-0040 Releasing the brake - pulled by hand
• IM-0041 Checking the sail fittings at the cap
• IM-0042 A dramatic wide-angle view of the full mill from below, Paul visible beside the base, the sails towering above against cloud
• IM-0043 Inside Toft Monks Mill. Every timber, every joint, every component - the work of a team of specialist craftspeople over two years.
• IM-0044 Paul explaining the main shaft - the windshaft sits at fifteen degrees
• IM-0045 Oiling a joint - maintenance that keeps two centuries running
• IM-0046 The hands
• IM-0047 Retired archive entry retired
• IM-0048 The brake chain
• IM-0049 Retired archive entry retired
• IM-0050 Retired archive entry retired
• IM-0051 Retired archive entry retired
• IM-0052 Retired archive entry retired
• IM-0053 Two centuries of brickwork
• IM-0054 Retired archive entry retired
• IM-0055 Profile - looking up at the sails
• IM-0056 At the mill door
• IM-0057 Hands at rest - the instruments of the trade
• IM-0058 Retired archive entry retired
• IM-0059 Retired archive entry retired
• IM-0060 Retired archive entry retired
• IM-0061 Retired archive entry retired
• IM-0062 Retired archive entry retired
• IM-0063 Retired archive entry retired
• IM-0064 Retired archive entry retired
• IM-0065 Retired archive entry retired
• IM-0066 Retired archive entry retired
• IM-0067 Retired archive entry retired
• IM-0068 Retired archive entry retired
• IM-0069 Retired archive entry retired
• IM-0070 Retired archive entry retired
• IM-0071 An old painted pub sign reading 'Scutchers Arms' showing a Greene King coat of arms with two flanking figures, hung against a pale mint-green wall.
• IM-0072 A Greene King pub sign with a painted yellow stag, hung on chains against a cream brick wall.
• IM-0073 Pink-painted brick corridor with coat hook rail and framed children's artwork along the wall, Old School interior.
• IM-0074 Community hall interior with exposed dark timber roof trusses and stacked red and blue chairs, a red wall at the far end.
• IM-0075 A carved wooden hanging sign reading 'Long Melford' with a painted village scene, beneath the steep timber-trussed roof of the community hall.
• IM-0076 The Old School seen from the front garden, red brick with diaper brickwork and the central bell turret against a blue sky.
• IM-0077 The Old School Community Centre, Saturday morning.
• IM-0078 A stone memorial ball on a plinth in front of the Old School's Victorian red brick facade.
• IM-0079 A close view of a circular stone memorial plaque set into the ground in front of the Old School.
• IM-0080 A distant view of a church cupola rising above a hedge with a grass verge and lamp post in the foreground.
• IM-0081 Julie Thomson and Bhavani walking along a narrow lane beside a long red brick wall with greenery spilling over.
• IM-0082 Julie Thomson walking away from the camera across a narrow brick footbridge with greenery on either side.
• IM-0083 An old stone arch bridge over a small stream, framed by willow branches and chestnut leaves.
• IM-0084 A symmetrical red-brick Victorian house with a blue door and a blue car parked on the lawn.
• IM-0085 Out of the car park, onto the main street.
• IM-0086 A large white and red brick Tudor house with decorative diaper patterning and two steep gables, a figure walking past on the pavement.
• IM-0087 The Bull Hotel's Tudor timber-framed frontage with hanging flower baskets and a painted pub sign.
• IM-0088 Julie Thomson reading a leaflet in a Tudor doorway with a carved timber surround.
• IM-0089 A close view of heavy Tudor roof beams and a carved stone doorway surround showing the number '9' and floral motifs.
• IM-0090 A detail of the carved stone entrance surround at the Bull Hotel, Tudor beams overhead.
• IM-0091 Cocoanut House, reminding us of an industry long gone.
• IM-0092 A three-storey Georgian red-brick townhouse above a modern shopfront on Hall Street.
• IM-0093 The 'Oldspeak Bookshop' with white arched windows, a Union Jack, a red door, and an outdoor clothes rail.
• IM-0094 A red brick 'Ex-Service & Social Club' building with an ornate gable and arched windows, set between shops on Hall Street.
• IM-0095 The 'Blackwell & Co Master Curers & Bakers' shop front with a pale pink wall, an A-frame chalkboard on the pavement and a wooden barrel planter.
• IM-0096 The Blackwell & Co deli from the front, a grey-bearded man in a red check shirt emerging from the doorway with wooden produce crates outside.
• IM-0097 A close-up of a cast-iron air-brick vent set into the base of a brick wall.
• IM-0098 A carved wooden cigar-store figure in a red and yellow headdress standing beside the doorway of a 'Premium Cigars' shop, a man in a trilby hat holding a cigar at the door.
• IM-0099 Julie Thomson standing beside a red K6 telephone box marked 'Walkers Hub', holding a blue folder and a red bag.
• IM-0100 A cyclist in black and pink Lycra removing a helmet in the doorway of a cafe, a grey-haired woman in sunglasses walking past in the foreground.
• IM-0101 A wall protector made by Ward & Silver, Iron Founders.
• IM-0102 A black metal street sign reading 'COCK AND BELL LANE leading to SPRING GARDENS' fixed to a red brick wall, with a smaller prosecution notice above it.
• IM-0103 A narrow lane beside a tumbledown red brick wall with apple blossom overhanging and cottages in the distance.
• IM-0104 'The Old Foundry', a cream-painted building with a prominent circular foundry-wheel motif and red double doors over a cobbled driveway.
• IM-0105 An older couple walking along a cobbled path past a leaded bay window marked 'CHIMNEYS', a red tote bag over the woman's shoulder.
• IM-0106 A red and gold hanging sign reading 'The Long Melford TEA ROOM' with a decorative iron bracket against a white building.
• IM-0107 The yellow door of '4 & 5 Dudley House' on the left and the red door of '1 Dudley House' on the right, with the red tea room sign between on the white wall.
• IM-0108 A red brick facade with an ogee-arched Gothic front door flanked by topiary bays in planters.
• IM-0109 A narrow alleyway between red brick buildings opening out onto a tall rounded yew hedge.
• IM-0110 A white-panelled Georgian front door titled 'The Gables' with a brass urn knocker.
• IM-0111 An extreme close-up of the ornate brass Georgian door knocker on the white-painted door.
• IM-0112 A red brick chapel with tall arched windows and a wooden door, set in a grass yard under a bare tree.
• IM-0113 Wrought-iron railings with fleur-de-lis finials in the foreground, the chapel blurred behind.
• IM-0114 A quirky yellow-brick building with ornate blue signage reading 'Robins Row Ltd' and a 'RAILWAY PASSENGERS ASSURANCE' banner - a former insurance office preserved as its own period piece.
• IM-0115 A white-rendered timber-framed cottage with leaded windows, a woman in black sportswear jogging past.
• IM-0116 A tight close-up of a weathered verdigris and brass urn-shaped door knocker on a black-painted door.
• IM-0117 A shop window display of a model railway diorama with a 'MELFORD' station sign and a horse-drawn cart figure, street reflections in the glass.
• IM-0118 A brick-built converted cottage with a pitched roof, a small 'B&B' sign on the gate and lavender bushes along the low wall.
• IM-0119 Melonie pointing out the houses, Julie filling in the other half.
• IM-0120 The Stour at the top end of Constable country.
• IM-0121 A red-brick Victorian chapel with a bellcote and arched windows beside a residential lane.
• IM-0122 A carved wooden plaque reading 'This church was redecorated and electric lighting installed in 1947 by Mr and Mrs Arthur Coley and Henry'.
• IM-0123 A narrow arched white-painted wooden door set in red brick, a pantile roof above.
• IM-0124 A surviving industrial-era sign on a back-street gable.
• IM-0125 A row of weathered gravestones standing against a fenced green yard, a brick chapel with clerestory windows to the right.
• IM-0126 Saturday on our walk towards The Cricket Club.
• IM-0127 A rusted iron railway girder bridge with peeling paint spanning a small stream, a silver birch trunk leaning across the frame.
• IM-0128 A side view of the same rusted iron girder bridge from the stream bank, looking out across open fields.
• IM-0129 Tall clipped yew hedges flanking a gated drive with a black 'Footpath' signpost and brick gate piers.
• IM-0130 A clipped yew-hedge archway opening onto a narrow gravel path between tall hedges, an estate building glimpsed at the end.
• IM-0131 The gates at the entrance to John Edwards' land.
• IM-0132 The Q3 holding frame - the Bronica version is for winter.
• IM-0133 An upward view of Holy Trinity's tower, its flint and stone chequerboard flushwork catching the light, against a blue sky with clouds.
• IM-0134 The arched Perpendicular doorway of Holy Trinity, flushwork flint and stone panels either side, a plant in the corner.
• IM-0135 The Reverend, Julie and Melonie outside the south door - a wedding soon to take place inside.
• IM-0136 A three-light medieval stained-glass window with kneeling donor figures - a 1910 memorial to Thomas and Ellen Ardley - with Latin inscription below.
• IM-0137 The nave. Your eye runs down to the east window and keeps running.
• IM-0138 A medieval stained-glass three-light window of kneeling ecclesiastical figures in red and blue robes.
• IM-0139 The Tudor red-brick almshouse range of Trinity Hospital with tall chimneys and Gothic windows, cars parked at the side elevation.
• IM-0140 The 1633 outer wall and the bench at the Green.
• IM-0141 On the Green, near the end of the morning - Julie, Melonie and Bhavani.
• IM-0142 Two of the workshop team at the front-room table - a young woman in a white shirt on the left, a man in a dark beanie and round glasses on the right - both holding mugs of tea. A printer's tray cabinet stands behind them.
• IM-0143 The big table in the front room. A young woman with dark hair on the left in profile, Lida Kindersley on the right in glasses, looking past the table; tulips in a vase between them, a longcase clock and a slate sign reading 'check check & check again' on the wall behind.
• IM-0144 A workshop visitor in a knitted jumper standing beside the front-room table holding a mug, mid-sentence, with two seated women looking up at him. Behind him stands the slate sign reading 'check check & check again' and the workshop wall lettering reads 'MORO'.
• IM-0145 Three figures in conversation around the front-room table. Lida Kindersley in the centre with sunglasses pushed up onto her head, holding a floral mug, talking. A young woman with thin glasses to the left listens. The wall behind is hung with framed letter samples and an alphabet panel.
• IM-0146 The workshop's carved wooden 'RECTE NUMERARE KEYBOARDS' sign mounted above stacked pallets and bowls on a shelf. A pendant lamp drops in from above; the workshop's alphabet samples are just visible to the right.
• IM-0147 A salvaged painted street sign reading 'TRUMPINGTON STREET' hung high on a workshop wall, with a Stanley combination square ruler propped on the easel below and pinned-up reference photographs and lettering samples around it.
• IM-0148 Two large alphabet panels mounted side by side on the workshop's white wall - the letterforms cut out of black material in the workshop's house style, A through Z plus an ampersand and ligatures.
• IM-0149 A large framed letter-cut piece on the workshop wall reading 'is hidden in the workshop' in flowing italic capitals. A smaller framed nude figure-study hangs alongside it on the brick wall.
• IM-0150 A wall display of letter-cut samples mounted on white-painted brick: a slate sign reading 'man-u-fakt'yar, v.t. to make, and now usu. by machinery: intelligently in quantity', alphabet panels in roman and Greek, and a wooden carved heraldic crown.
• IM-0151 A bronze portrait head on a stone plinth in the workshop, lit from the side; in the soft-focus background a mirror reflects two figures. A small ceramic vessel and a stone offcut sit beside the plinth.
• IM-0152 Workshop corner with a slate plaque reading 'Grave Stones / Cut in any of the Hand' propped against the wall, large carved letters 'RHS' in front of it, and on the wall above a black and white photograph of an older bearded man at work.
• IM-0153 The workshop's window corner: a framed numerals sample reading '1234567890' hangs centre, a skateboard-deck mounted with cut letters reading 'NEFERTITI' beneath, a round wall clock, an ABCDEF alphabet tile and a potted plant filling the corner.
• IM-0154 A young workshop member with shoulder-length hair in a white shirt, hand resting against face, mid-conversation with a blonde-haired older woman whose back is to the camera. A printer's tray cabinet stands behind, its drawers labelled.
• IM-0155 A workshop corner stacked with finished and offcut stone: a Queen's Silver Jubilee 1977 carved stone roundel on the floor, a slate panel reading 'LETTER S' propped behind it, boxes of cut blocks and offcuts on a low shelf, a tall plant to one side.
• IM-0156 Roxanne Kindersley standing in a white shirt over a black turtleneck, hand raised mid-gesture as she explains. Behind her, a workshop window etched with the dates '1884-1990' is just visible.
• IM-0157 Roxanne Kindersley standing in a white shirt, hand raised pointing at something out of frame, behind a seated woman in a striped top who looks the same way. The workshop's brick wall and ruler edge frame the right side.
• IM-0158 Roxanne Kindersley standing in a white shirt over a dark turtleneck, both hands raised mid-explanation, with another woman in glasses at a desk in front of her. A salvaged 'RED LION SQUARE' street sign hangs on the wall behind.
• IM-0159 A figure in dungarees crouching by a low wooden bench in the main workshop, light falling through a skylight above. On the wall behind: a slate sign reading 'BELLOWS COTTAGE 1844-1990', alphabet samples, and a slate inscribed 'THE CRAFT OF GREAT...'
• IM-0160 The workshop's tool wall: a row of chrome spanners hung along the top, pliers and wire-cutters below, a large drop-forged steel sash clamp stretched across the lower bench, with chisels and other hand-tools racked behind.
• IM-0161 A large slate panel mounted on a brick wall, deeply cut with a Keats verse: 'Do not all charms fly at the mere touch of cold philosophy? There was an awful rainbow once in heaven: we knew her woof & texture; she is given in the dull catalogue of common things.'
• IM-0162 A heavy bench grinder on the workshop's tool bench, twin grinding wheels caked with stone dust, the metal body marked 'X3 / WMP'. Behind it, the workshop's window light.
• IM-0163 A workshop letterer in a knitted top and dark dungarees, working at a wooden vertical easel with a cutting tool in hand, in profile. A slate panel inscribed 'JESUS to H...' visible on a bench in the background.
• IM-0164 A workshop letterer seated at the upright easel, working with a chisel and dummy on a circular stone disc held in a wooden cradle. Behind her, the 'BELLOWS COTTAGE 1844-1990' slate and an alphabet panel are visible on the wall.
• IM-0165 Three workshop members at a bench: Roxanne Kindersley standing left in a white shirt, a young woman in a striped top in the centre, and a letterer on the right in a striped top working with a chisel on a circular stone disc. The alphabet panels are visible on the brick wall.
• IM-0166 A wide view across the workshop's back room: several team members at benches working on different pieces, light streaming in from the back, a salvaged painted 'POST OFFICE / MONEY ORDER OFFICE / SAVINGS BANK' sign hung on the high wall.
• IM-0167 A bearded man in a pale jumper and glasses leaning over a stone laid flat on the bench, marking out lettering with a pencil; a heavy wooden mallet rests beside him on a rubber mat.
• IM-0168 Roxanne Kindersley in profile at the workshop, in a white shirt, listening; another team member with curly hair stands turned away in the foreground; carved slate signs visible on the wall behind.
• IM-0169 A finished slate memorial stone, dark and freshly cut, reading 'BELOVED Ellen Winifred HICKS 1910-1951 And her daughter Betty Ellen HICKS 1936-2024'. Two hands - one on either side - rest on the stone's edge while it is steadied on its wooden support.
• IM-0170 The workshop's back office seen through the doorway: tall shelves of black-spined files filling the walls, a wooden chair drawn up to a paper-strewn desk, books and finished work stacked on every surface.
• IM-0171 A hand pointing at the working sketch of a memorial stone for Simon Richard Wethered, pinned to the workshop's drafting board; a long client letter pinned alongside, a framed photograph of two figures in a garden visible to the left.
• IM-0172 Lida Kindersley and a younger bearded man with glasses sit side by side at the front-room table, the man working at a laptop, Lida holding her glasses in one hand mid-thought, looking down at an open book between them. Bottles of wine on the high shelf above; framed letter samples crowd the wall.
• IM-0173 Roxanne Kindersley seated for a portrait in a white shirt over a black turtleneck, hands holding the workshop's sharpened pencil in her lap, looking just past the camera with a calm half-smile. Behind her: the workshop's pigeonhole shelf, the carved 'RHS' letters, an 'RRRR' sample row, a longcase clock, and plants.
• IM-0174 Close on a man's lap and torso: pale jumper, dark jeans, a stone-cutting hammer held loosely in the left hand. A small tattoo on the inner forearm. The workshop's chisel-rack pigeonholes are softly out of focus behind.
• IM-0175 Vincent Kindersley seated for a portrait in a cream jumper, hands resting in his lap, the stone-cutting hammer held in his right hand, glasses on, looking straight at the camera. Behind him the workshop's pigeonhole rack with 'RRRR' alphabet sample, a longcase clock, and a tall plant.
• IM-0176 A man in a beanie and cream sweatshirt standing in the front room near the table, with workshop letter-cuts and pinned reference photos on the wall behind, a vase of tulips on the table and the workshop's painted MORO sign visible to the right.
• IM-0177 Lida Kindersley standing at the front-room counter in her sweater vest and white shirt, holding a floral mug, looking down at a book on the table. The workshop's pinboard wall covers the space behind her, the doorway through to the back workshop visible to the right.
• IM-0178 Lida Kindersley seated in the foreground, hand to her head, eyes turned away in a pause; behind her in the doorway Roxanne Kindersley stands in a white shirt holding a small object, and a man in a cream jumper turns to one side - three generations of the workshop in the same frame.
• IM-0179 A wide view of the front-room table mid-tea: six or seven team members and visitors gathered around it in conversation, the longcase clock and painted carved sign visible on the wall, the high shelf above lined with bottles.
• IM-0180 A wide environmental view of the front room: the big table at centre with team members seated around it, Lida's position to the left, the printer's tray cabinet visible behind, the painted sign and longcase clock to the back, framed letter samples covering the wall on the right.
• IM-0181 Three figures around the front-room table: Lida Kindersley to the left in her vest and pale shirt, a young woman in the centre, a man in a beanie on the right holding a mug. Behind them the workshop's painted carved 'MORO' sign and the printer's tray cabinet.
• IM-0182 Lida Kindersley to the left in profile, talking, hands raised in mid-explanation; Roxanne Kindersley to the right in a white shirt, listening, holding a mug. A figure in the back of the workshop is just visible. The table between them holds a teapot and a long roll of paper.
• IM-0183 Roxanne Kindersley to the right in a white shirt, leaning over a bench and showing a slate panel; the new apprentice - the young woman who had walked in off the street that morning - watches from the left in a knitted cream cardigan, her dark hair falling forward. A framed image hangs on the wall behind.
• IM-0184 Close on Roxanne Kindersley's hands at the bench, fingertips resting on a small slate panel showing the workshop's setting-out marks; a sharpened pencil and another pencil rest on the wood beside it. The workshop's tool clamps are racked along the bench edge to the right.
• IM-0185 A workshop scene: Roxanne Kindersley standing at a bench in a white shirt, examining a small object held in her hands; a woman in a cream cardigan to the left watching closely. The workshop's tool wall fills the right side - chisels, mallets, and a TRAVIS sign.
• IM-0186 Emily, the workshop's letterer, leaning against the tall pillar she is carving, laughing toward the camera. Her chisel and dummy rest on the bench in front of her. Behind her the back workshop opens up - benches, alphabet panels, light from the windows.
• IM-0187 Emily looking sideways at the tall slate pillar she is carving, her hands resting on it. The visible side of the stone is cut with a sailing boat and the words 'calm after' in flowing italic capitals. Behind her, the workshop's alphabet panel and the bookshop visible through the window.
• IM-0188 Close on Emily's hands at work on the pillar: her left hand steadying the chisel, right hand holding the dummy, carving the wave detail above the words 'after'. Her dark hair falls forward across her face as she leans into the stone.
• IM-0189 Emily with her chisel held loosely, looking back over her shoulder at the camera with a faint smile, beside the tall slate pillar she is carving. The back workshop and a tripod-mounted camera visible behind her.
• IM-0190 The exterior wall outside the workshop: signs for 'BELLOWS COTTAGE 1844-1990', 'THE CRAFTS CENTRE OF GREAT BRITAIN', a large carved 'L', an alphabet panel reading 'ABC&XYZ DEFGHIJKLMN OPQRSTUVW', and the Royal coat of arms door knocker by the entrance.
• IM-0191 The corridor running between the front room and the main workshop, exposed brick column on the left mounted with a hand-cut alphabet panel and a slate inscription dated 2005, the back workshop visible through an opening, a desk with a figure working at it.
• IM-0192 A wide view through the workshop: Emily at her tall pillar in profile to the left, the back room's benches and figures working visible through the doorway, a slate tomb panel inscribed for 'Sczerina Neomi Hichens' propped to the right of frame.
• IM-0193 A wide working view of the back workshop: a woman at a bench drawing on paper to the left, two figures standing centre at a draughting table, Roxanne back-on with the camera, Emily seated at her bench to the right, the painted 'A B C D E' panel high on the wall.
• IM-0194 A bearded man in a pale jumper and glasses sitting low at the bench, marking out a stone with a pencil; behind him two figures stand watching - a woman in a striped top and Roxanne Kindersley in a white shirt - with the workshop's plants and brick column behind.
• IM-0195 A pencil setting-out drawing on white paper, mounted to a vertical easel: an intricate circular design of swooping vines, leaves, and the lettering 'CALM CALM AFTER' woven through the curves - the working sketch for the pillar Emily is carving.
• IM-0196 A finished slate memorial in the workshop, foreground right: dark stone with the inscription 'FREDERICK DENNIS JELLICOE BEAKEN 1936-2018 / BETTY MARION BEAKEN 1939-2023'. In the soft-focus background a workshop member moves between benches.
• IM-0197 A scene at the bench: a woman in a wave-patterned top to the left examining a slate panel cut with the words 'JOHNNY'S WAY', Roxanne Kindersley centre-right leaning in to look at it, another figure beyond her bent to the work. The workshop's tool rack visible to the right.
• IM-0198 A tight portrait of Roxanne Kindersley standing in the workshop, both hands raised in mid-explanation, in profile facing left. Behind her the workshop's brick column and the back room recede into soft focus. A woman with curly hair listens in the foreground.
• IM-0199 A bearded man in a pale jumper and glasses leaning over a stone laid flat on a wooden bench, working alone at the marking-out, pencil in hand. The back workshop is visible behind him; a small 'RED LION SQUARE' sign on the wall.
• IM-0200 A close on the desktop in the workshop's office: a hand reaching across to a tray of pencils and pens; on the pinboard above, photographs of David Kindersley and the workshop's history; a laptop showing a video call on the right.
• IM-0201 A wide view of the office: tall ranks of black-spined files filling the walls, a window letting in flat daylight, a woman at the desk under the window working with paper in her lap, a chair piled with cushions to the right.
• IM-0202 A figure in a white shirt mid-explanation gesturing at a pinboard wall covered with photographs, letters, archive material from the workshop's history. A doorway labelled 'THE ROOM' opens behind.
• IM-0203 A long corridor lined floor to ceiling with white archive boxes, each labelled in hand by client name, with a person bending at the far end working on a low shelf. A high tapered light cuts down the centre.
• IM-0204 A close view of the archive box wall: dozens of white boxes with handwritten card labels visible, a worker in a white shirt to the right reaching toward one of them. Each box holds the working papers for a single commission.
• IM-0205 Roxanne Kindersley seated in profile for a portrait, looking off camera, in a white shirt over a 'memento mori' black T-shirt, holding a sharpened pencil and a dummy in her lap. Behind her the workshop's pigeonhole shelf, carved 'RHS' letters, the 'RRRR' alphabet row, and a longcase clock.
• IM-0206 Vincent Kindersley seated for a portrait in a cream jumper, looking off camera with a faint smile, the stone-cutting hammer held loosely in his right hand. Behind him the workshop's chisel-rack pigeonholes, the 'RHS' carved letters, a bronze portrait bust, a longcase clock, and ceramic vases on a shelf.
• IM-0207 Lida Kindersley standing for a portrait in her sweater vest and white shirt, both hands raised in a mid-gesture as she explains, looking past the camera. Behind her the workshop's heart-shaped iron coat-rack and the wall of pinned reference material.
• IM-0208 Lida Kindersley standing in profile in her vest, holding her glasses in one hand, looking aside in a moment of thought. Behind her, the workshop's framed letter-cut piece and the cut-out alphabet panels mounted high on the wall.
• IM-0209 A leather chisel roll laid open on the wooden plank floor of the workshop, each pocket holding a chisel of a different size, the row of tools fading away into the depth of the frame.
• IM-0210 A small slate panel laid on the workshop's plank floor, cut with the workshop's lettering sample: 'GBPAULYFJ VXLOPESW CARDOZO QTHINKM 234 1976 0580'. A camera and pencils rest beside it.
• IM-0211 A full-length portrait of Lida Kindersley leaning casually against the kitchen counter in the workshop, smiling toward the camera, hands holding a pencil and a stone offcut. Behind her the bronze portrait bust of David Kindersley sits on a dresser; a tall houseplant fills the right side.
• IM-0212 Lida Kindersley holding up a large framed black and white portrait of her late husband David Kindersley - a bearded older man with a stone-cutting hammer in his hand. The workshop's pinboard walls fill the background.
• IM-0213 Hallam Kindersley seated for a portrait in the workshop, in a dark sweatshirt printed with the word 'healthiest', long beard, looking straight at the camera. Behind him the workshop's pigeonhole shelf, the carved 'RHS' letters, the bronze bust of his father David Kindersley, a longcase clock, and ceramic vases.
• IM-0214 Stephen Dennett (left, in DENNETT polo, smiling) standing in the yard with Lucy, a younger collaborator (right, in dark T-shirt, smiling toward Stephen). Boats and the workshop tarpaulin behind them.
• IM-0215 Stephen Dennett and Lucy mid-conversation in the yard, the timber-clad workshop and the boat ‘Jolly Brit’ in the background.
• IM-0216 A wooden boat under tarpaulin in the yard, propped on a trailer, with a forklift parked alongside and the workshop building behind.
• IM-0217 Stephen Dennett standing in the yard, leaning against the hull of a boat, looking at the camera with a half-smile. Pale tarpaulin behind him; afternoon light.
• IM-0218 The bow of a wooden cabin cruiser parked in the yard, varnished hull catching the light, the workshop’s pitched roof behind.
• IM-0219 A worker in a flat cap kneeling beside the keel of a wooden boat in the workshop, working at the boat’s underside on the trestles.
• IM-0220 A close view of the cabin and rear deck of a wooden river launch, varnished surfaces and brass detail in the workshop light.
• IM-0221 The propeller and rudder of a wooden hull seen from the bottom, the keel rising overhead in the workshop.
• IM-0222 Stephen Dennett standing beside the propeller of a wooden hull in the workshop, looking toward the camera, hand resting on the timber above the prop.
• IM-0223 Stephen Dennett in motion at the workshop, holding a circular sanding pad mid-gesture, a ladder and the side of a hull behind him.
• IM-0224 Stephen Dennett (back to camera, DENNETT polo visible) examining the bow of a wooden boat in the workshop, the timber bracing of the cradle visible below.
• IM-0225 Stephen Dennett (back to camera, DENNETT LLANTHONY 1934 polo visible) running his hand along the side of a hull under restoration, examining the surface for fairness.
• IM-0226 Stephen Dennett looking up at the bow of a large wooden hull, faint smile, hand resting on the underside of the boat. Workshop light from the right.
• IM-0227 Stephen Dennett at a metal bench grate in the workshop, hand on the grate, looking up and away.
• IM-0228 Stephen Dennett standing in the timber-store mezzanine of the workshop, a tall stack of plywood sheets and shelves of long timbers behind him, looking at the camera.
• IM-0229 A close view of the cabin of a Little Ship of Dunkirk in the yard, the brass DUNKIRK 1940 plaque mounted on the cabin wall.
• IM-0230 A head-and-shoulders portrait of Stephen Dennett in the workshop, looking down and slightly away with a faint smile, the DENNETT polo and a boat hull visible in the background.
• IM-0231 The exterior of the Dennett Boat Builders yard - the timber-clad workshop with the ‘Michael Dennett Boatbuilders Est. 1957’ sign mounted across its front, a balcony above and stacked materials below.
• IM-0232 Two workers handling the launch trestles around the boat ‘Calina, Southampton’, mid-task on a sunlit afternoon at the slipway.
• IM-0233 A worker in a flat cap and dark sunglasses standing on the upper deck of a yacht in the yard, hands on the safety rail, the white funnel beside him.
• IM-0234 A worker in cap and sunglasses standing on the deck of a moored boat at the yard’s slipway, holding a hose, a wooden building and other moored boats behind.
• IM-0235 Two workers in conversation on the slipway between two boats, the river behind them with another moored vessel and willow-lined far bank.
• IM-0236 Stephen Dennett (centre, smiling) on the deck of a Dennett-built boat at the slipway with three other workers behind him, the yard’s phone number painted on the cabin side: ‘MICHAEL DENNETT BOATBUILDERS / 01932 563446’.
• IM-0237 Stephen Dennett pointing across the deck of the Dennett boat at the slipway, mid-gesture and laughing, with two other workers behind him by the cabin.
• IM-0238 A boat hull seen from above with its deck framing exposed - timber ribs and stringers laid across the bottom of the hull, a stencilled inscription faintly visible on one rib.
• IM-0239 Stephen Dennett standing in front of the workshop’s tool wall, head turned, broad smile, the dense rack of hand tools behind him.
• IM-0240 Michael Dennett (left, white hair, jacket) and Stephen Dennett (right, in DENNETT polo) at a workbench together - Michael working a rotary sander on a long timber, Stephen standing close by with a hand on Michael’s shoulder. The corrugated workshop door behind.
• IM-0241 A close head-and-shoulders portrait of Michael Dennett, white hair, looking directly at the camera, dark jacket worn over the DENNETT polo, the workshop softly out of focus behind.
• IM-0242 A worker in a flat cap and grey sweatshirt working at the cluttered tool wall bench, head down on the work, the whole tool rack rising above the bench.
• IM-0243 A close on two pairs of hands at the bench - one pair guiding a router along the edge of a curved timber piece, the other pair holding the workpiece steady. A wedding ring visible.
• IM-0244 A head-and-shoulders portrait of a yard worker in a leather brimmed hat and grey beard, looking past the camera, the workshop dim behind him.
• IM-0245 A close on the workshop tool wall: rows of hanging hand-tools - chisels, planes, callipers, gauges, pliers - against a dark backdrop, the bench surface in the foreground covered in shavings and small parts.
• IM-0246 A worker in a cap working alone at the tool wall bench, head down on a small workpiece, the dense rack of tools rising above and the workshop receding behind.
• IM-0247 Michael Dennett working two long planks of timber at the bench, sleeves rolled, the workshop door behind him.
• IM-0248 A wide view of the workshop’s parts shelves - rows of small drawers and jars, hanging tools and ropes on the left, a circular saw blade and grinder on the right.
• IM-0249 Michael Dennett at the workbench, side profile, sanding a piece of timber with a small electric sander, his jacket sleeve rolled, light from the workshop window beyond.
• IM-0250 A long-cabin wooden river launch moored at the yard’s slipway, the river behind it and the willow-lined far bank, late-morning sun.
• IM-0251 Twin propellers under the keel of a wooden hull in the workshop dry dock, the rudder between them, timber bracing of the cradle below and the boat’s underside above.
• IM-0252 A young apprentice at the bench in the workshop - hooded sweatshirt covered in dust and resin, beanie hat under the hood, working a long timber along its edge with both hands. A row of tools and supplies on the shelf behind him.
• IM-0253 A formal head-and-shoulders portrait of Michael Dennett standing in the workshop in his work jacket and DENNETT BOAT BUILDERS polo, looking directly at the camera with hands in his pockets.
• IM-0254 A formal full-length portrait of Michael Dennett standing in the workshop, hands in his pockets, tools and a partially built hull behind him, the workshop floor scattered with timber offcuts.
• IM-0255 Joint portrait of Michael Dennett (left, in jacket) and Stephen Dennett (right, in DENNETT polo) standing side by side in the workshop, a partially built hull behind them, both looking directly at the camera.
• IM-0256 Stephen Dennett at the workbench in close half-light, head down on the work, the DENNETT polo and tool wall in shallow focus behind.
• IM-0257 Stephen Dennett (foreground left, back to camera) in conversation with the leather-hatted yard worker (centre, smiling broadly through his grey beard), the workshop’s tool wall behind them.
• IM-0258 A row of cast-iron porthole windows hanging from the workshop ceiling - circles of darkened metal in different sizes, the workshop dim around them.
• IM-0259 A worker in a fur-lined cap and grey beard standing at the workbench, looking past the camera, the workshop’s parts shelves and the cluttered bench behind him.
• IM-0260 A worker in a knitted cap reaching up under the side of a hull at the workshop, working at the planking from underneath, the boat’s curve filling the upper half of the frame.
• IM-0261 A worker in a knitted cap reaching up under the side of a hull at the workshop, working at the planking from underneath, the boat’s curve filling the upper half of the frame. Variant frame of IM-0260.
• IM-0262 A wide view of the workshop’s tool wall and bench - hundreds of hand tools hung in racks above a long bench cluttered with parts, jars and offcuts. The bench surface in the foreground is heavily worked.
• IM-0263 Michael Dennett working a long timber at the bench with an electric sander, the workshop’s side wall behind him with the door letting in flat outdoor light.
• IM-0264 A close on Michael Dennett’s hands sanding a length of timber at the bench, the side of his jacket and the timber surface filling the frame.
• IM-0265 A worker walking down the central aisle of the workshop between rows of paint-encrusted boat trestles and the tool shelves, the high roof and corrugated wall behind.
• IM-0266 A line of moored boats at the yard’s slipway, the white river launch in the foreground with its cabin canopy raised, a sailing yacht and other vessels behind, willows and far houses across the river.
• IM-0267 The front of the Michael Dennett Boatbuilders building, the painted ‘Michael Dennett Boatbuilders / 01932 563446’ sign across its facade and a worker standing in the open doorway. A small canopy tent to the right.
• IM-0268 A long wooden river launch moored alongside the yard’s slipway, its cabin and brass detail catching the sun, the river curving past with willows and houses on the far bank.
• IM-0269 The bow of the boat ‘Calina, Southampton’ in the dark of the workshop, the painted nameplate clearly visible on the white hull. A wooden ladder propped against the cradle on the left.
• IM-0270 The young hooded apprentice walking down the long workshop aisle away from the camera, the side of a hull on the left, the bench and tool shelves on the right, the workshop receding to a bright doorway at the far end.
• IM-0271 A formal full-length joint portrait of Michael Dennett (left, in jacket and DENNETT polo) and Stephen Dennett (right, in DENNETT polo, hands folded in front of him), standing in the workshop with a partially built hull mid-frame and the workshop receding behind them.
• IM-0272 Michael Dennett standing in the workshop in his work jacket, looking at the camera, hands in his pockets, the tool rack and a partially built hull visible behind him.
• IM-0273 Stephen Dennett at the bench, side profile, the dense tool wall and shelves behind him, working with a small tool in his right hand.
• IM-0274 Stephen Dennett (back to camera, the DENNETT LLANTHONY 1934 polo across his shoulders) bent over a stack of long timbers in the workshop, planning the next cut.
• IM-0275 Stephen Dennett at the bench using a circular grinding wheel on a small piece of timber, the tool wall and a vintage compressor visible behind him, fluorescent strip lighting overhead.
• IM-0276 A workshop corner: dozens of cast-iron porthole frames hanging from the rafters above a bench piled with lengths of cable, brass fittings and small drawers - the parts archive of a yard that has rebuilt every kind of river boat.
• IM-0277 Stephen Dennett standing inside the open hull of a small boat under construction in the workshop, working a curved timber on the rim, the tool shelves visible behind.
• IM-0278 A low-key portrait of the leather-hatted yard worker in the workshop - DENNETT BOAT BUILDERS polo just visible, soft daylight from the right, the workshop dark behind him.
• IM-0279 An older worker in glasses standing at the workshop’s tool wall, working a small piece in his hands, a row of long timbers laid on trestles behind him.
• IM-0280 A wide view of the workshop with two workers visible - one standing at a long timber on a trestle in the middle distance, another bent over the deck of a small boat on the right. The corrugated workshop walls rise behind.
• IM-0281 Stephen Dennett stepping over the gunwale of a small boat in the workshop, mid-stride, hands raised for balance, the bench and tool shelves filling the background.
• IM-0282 Stephen Dennett standing on the deck of a boat in the workshop, examining the curved bow line, hand resting on the gunwale, the parts shelves and a workshop window behind.
• IM-0283 A high-key view through a workshop doorway out into the yard - a white canopy tent set up in the sunlight, a worker just visible inside the tent, the dark interior of the workshop framing the door.
• IM-0284 A wide view of the workshop’s side wall - a fluorescent strip light over the bench, dense tool racks, a hull on the right edge of frame, and a worker dimly visible at the far bench.
• IM-0285 A worker in cap and dark jacket standing in the workshop next to a partially planked hull, looking past the camera, the tool wall stretching to either side.
• IM-0286 The leather-hatted yard worker (centre) at the workshop bench, head turned slightly, two other workers behind him at separate tasks, walls of pinned posters and tools to the right.
• IM-0287 Stephen Dennett (left, in DENNETT polo) in conversation with the leather-hatted yard worker (centre) and a third worker (right, back to camera), the tool wall and shelves rising behind them.
• IM-0288 A bearded worker in cap and DENNETT polo standing inside the open hull of a boat under construction, the planking curving up around him.
• IM-0289 A tall wooden cabin cruiser propped on chocks in the yard, a wooden ladder leaning against its side, a tarpaulin tent behind it.
• IM-0290 A wide yard scene - several boats on chocks under tarpaulin tents, a ladder and a tripod in the foreground, the riverside trees at the back.
• IM-0291 The leather-hatted yard worker walking through the yard, the boat ‘Mandolin’ on chocks behind him, the workshop building visible to the right.
• IM-0292 The leather-hatted yard worker walking out of the workshop into a bright doorway, the Axminster industrial saw bench in the foreground and rows of tall timber boards leaning against the workshop walls.
• IM-0293 A worker (Stephen Dennett) seen through the cabin window of a boat in the workshop, head down on paperwork at a small table inside the cabin, the wooden ceiling beams of the cabin behind him.
• IM-0294 The boat ‘Matilda’ on a trailer in the yard under a tarpaulin tent, name and lettering visible on the stern, the workshop building behind.
• IM-0295 A sailing yacht under construction in the workshop’s tall main shed, viewed bow-on, the rudder hanging on chains in the centre, the boat’s white hull catching the daylight from the high pitched roof above.
• IM-0296 The same sailing yacht in the workshop seen from the doorway - the boat propped up in the centre of the shed with the open doors framing it, rusted wheelbarrows and equipment to either side.
• IM-0297 A worker in a knitted cap working under the side of a hull, hands raised on the planking, a tarpaulin tent and the workshop wall behind.
• IM-0298 The boat ‘Lavinia II’ on a trailer in a narrow side yard between the workshop building and a neighbouring house, a wooden ladder leaning against the cabin and a metal water-tank in the foreground.
• IM-0299 A vintage marine engine on a wooden pallet outside the workshop, polished brass instrument panel on its side, a corrugated workshop wall behind.
• IM-0300 The post mill at South Walsham. Brick base, white-clapboard cap, the long fantail extending behind.
• IM-0301 Richard at the door of the roundhouse, opening it for us.
• IM-0302 In his overalls against the brick. The first photograph he allowed.
• IM-0303 The woodworking bench. Wooden gear blanks and pulley patterns, laid out on a sacking cloth.
• IM-0304 Richard in the woodworking shop. He built the building.
• IM-0305 Richard alongside the wheeled fantail. The whole apparatus rotates the cap of the mill to face the wind.
• IM-0306 The fantail beam and the steps up to the cap. The structure is built to be pushed.
• IM-0307 The fantail blades and the cap. Wind catches the small wheel; the whole top of the mill turns.
• IM-0308 The geared wheels at the base of the fantail. The brick farmhouse he also built sits behind.
• IM-0309 R M Seago, Millwright, South Walsham, Norfolk. He signed the work.
• IM-0310 Richard at the top of the stairs, the curved wooden ceiling above him.
• IM-0311 The mast. A single column of wood, cut from one tree, a solid block of enormous scale.
• IM-0312 Looking up into the cross-frame. Every joint cut by hand.
• IM-0313 Richard in the upper chamber, the structure he built behind him.
• IM-0314 The Mossen Model 2E milling machine. From another era. Working.
• IM-0315 A bench lathe. A biscuit tin in the foreground catching the swarf.
• IM-0316 A 1920s Fordson tractor. Paint and metalwork restored to the condition it left the factory.
• IM-0317 A farm wagon, its timber tight and true. Maker’s plate on the headboard.
• IM-0318 Richard in the barn. The Fordson behind him is registered TPW 925.
• IM-0319 Richard with the Eddison steam roller. One of the earliest. Engine intact, everything working.
• IM-0320 The rear flywheel. Cast iron, true to the millimetre.
• IM-0321 Pulling the cover off the Queen of the Broads’ Victorian steam engine. The signs above are from the original Yarmouth riverboat.
• IM-0322 The exposed mechanism. Three vertical cylinders, brass valves, every fitting kept.
• IM-0323 A Yarmouth Mercury clipping. He had loved the engine as a boy. He bought it at auction and brought it home.
• IM-0324 The view from the upper chamber. The Norfolk fields run flat to the horizon.
• IM-0325 The brick farmhouse. He also built this. Thirty years on one piece of ground.
• IM-0326 Richard descending the mill stairs at the end of the visit.
• IM-0327 Outside the pub, the banner of the Order is unfurled.
• IM-0328 Gathered on the pavement; a SHRED STATION lorry idles past.
• IM-0329 A bearded Druid stands in the middle of the pavement; a runner cuts past.
• IM-0330 Lined up along a glass-fronted office, the Order waits to start.
• IM-0331 Floral crowns and a stoneware chalice. The spring offerings.
• IM-0332 A photographer crouches; the wooden cross goes up at the head of the line.
• IM-0333 In single file along the church wall. The banner of the Order at the rear.
• IM-0334 A flat oat cake offered up. Spring still ahead, the trees still bare.
• IM-0335 Crossing towards All Hallows-by-the-Tower, the church the procession passes every year.
• IM-0336 Crossing in formation. All Hallows on the skyline.
• IM-0337 TOWER OF LONDON, carved into the wall. A runner stretches against it as the Order passes.
• IM-0338 Two ages of London at one wall. The Order, a runner, the same stone.
• IM-0339 All Hallows at the left, a City dragon at the right - the boundary marker of the old square mile.
• IM-0340 The circle begins to form on the paved square. Modern glass behind, palm fronds at the edge.
• IM-0341 Two members in conversation; a long lens cuts in from the right.
• IM-0342 The flag goes up. A dark-suited cleric looks on from the back.
• IM-0343 A bearded Druid holds his pole steady against the glass-and-steel City behind.
• IM-0344 Two film cameras around her neck. The Order draws a small press of its own each year.
• IM-0345 The sword is brought into the circle, carried upright at the shoulder.
• IM-0346 A hire bike, a phone, Tower Bridge behind. The Order moves through this London.
• IM-0347 Striding into the circle, a banner for a London sports festival hung behind.
• IM-0348 A phone held up at the kerb, filming. The procession moves on.
• IM-0349 Two members in floral crowns. The papers carry the words the circle will say.
• IM-0350 The flat oat cake, held in both hands. A spring offering carried into the circle.
• IM-0351 Two members of the Order in conversation, a PADEL AFFAIR sign behind them.
• IM-0352 Photographers up on a Tower Hill bench. The gothic window of the church behind.
• IM-0353 On the bench, watching. Trinity House behind, All Hallows steeple to the right.
• IM-0354 The central figure mid-sentence; the circle listens.
• IM-0355 The Druid’s staff, a hooked length of wood, carried past a padel-court fence.
• IM-0356 A basket of flowers, a takeaway coffee. The ceremonial and the everyday side by side.
• IM-0357 Two senior members of the Order walking close. They have done this for decades.
• IM-0358 Wetherspoons, Traitors Gate, a Waymo self-driving Jaguar at the kerb, and the Order walking past. Three Londons in one frame.
• IM-0359 A man in a fedora crossing the road. The Order in white in the middle distance.
• IM-0360 A man walking past the Port of London statue. Scale that the City still keeps.
• IM-0361 A selfie at the foot of the statue. Two cameras, one moment.
• IM-0362 Past Traitors Gate. The chalkboard offers fish and chips, steak frites, burger and fries.
• IM-0363 A photographer crouched in the road; the Order on Seething Lane, where Pepys lived.
• IM-0364 The banner of the Order at the centre. Floral crowns at the head of the line.
• IM-0365 Through the gate, the staff carried first. A passer-by stops to watch.
• IM-0366 A basket of flowers at the head, the order’s pamphlet at the rear.
• IM-0367 Lined up before the rite begins. The banner, the staff, the floral crown.
• IM-0368 Back inside the pub. The sword carried point-down at his side. The day half-over.
• IM-0369 The ceremonial cloth raised in the back room of the pub. Dart boards either side.
• IM-0370 A sword held close. Carried into the pub the way it was carried into the circle.
• IM-0371 In the back of the pub. Heads bent over a table; conversation continues in the doorway.
• IM-0372 Helping with the veil. Flowers and a pillar candle on the table behind.
• IM-0373 The function room afterwards. A pint, a basket of flowers, the rest of the day.
• IM-0374 A photographer asking the senior member how it had gone.
• IM-0375 Closing the day. Two members, two floral crowns, the warmth of the pub behind.
• IM-0376 The workshop in the wood. A canopy of plastic sheets over a hand-built timber frame, raised on rough posts. Everything visible is one practitioner’s working day.
• IM-0377 The Kelly Kettle. Boiling water for tea is the first task at the workshop on any working morning.
• IM-0378 Close-up of the Kelly Kettle’s aluminium body and its angled spout, the chimney still warm, the working metal scratched and dull from years of fires.
• IM-0379 The fire. One log, well laid. The work of the day starts from here.
• IM-0380 A heavy round chopping block raised on four short rough-cut wooden legs, sitting on a floor of hazel shavings, the morning’s offcuts strewn around its base.
• IM-0381 Lewis Goldwater standing in the coppice, gesturing with one hand as he explains a hazel stem to camera, a pair of loppers in his other hand, the woodland thick behind him.
• IM-0382 Reading the tree before cutting. The canopy shape tells you what the stem below has been doing.
• IM-0383 The knobs. Each one is a year the stem grew around something - a snapped tip, a deer bite, a passing illness. They are how you read the stem’s history.
• IM-0384 Lewis standing among the silver birch and hazel of the wood, holding a small billhook loosely at his side, looking off into the trees.
• IM-0385 Choosing the rod. Length, straightness, the angle it leaves the stool at - all read by eye before the cut.
• IM-0386 Three-quarter portrait of Lewis among the hazel stems, his right hand resting against a smooth rod, the wood softly out of focus behind him.
• IM-0387 Lewis standing beside a heavier tree trunk on the woodland floor, his expression set, a quiet pause between cuts.
• IM-0388 The loppers. Used on stems too thin to bother the billhook with - which most basket rods are.
• IM-0389 The cut. Low to the stool, angled so the stub does not collect rain.
• IM-0390 The rings. He counted nine. The rod was older than most of the apple trees in the neighbouring orchard.
• IM-0391 A froe and mallet at rest on the workbench.
• IM-0392 Shaping the splint. Each pass takes a millimetre off; the rod becomes a strip of usable width by repetition, not by force.
• IM-0393 Lewis’s hands draw a small knife along a pale hazel splint, working over a folded denim apron laid across his thigh.
• IM-0394 Detail of Lewis’s working boots on the woodland floor, a hazel rod and a curl of bright bark shaving on the ground between them.
• IM-0395 Lewis under the translucent plastic canopy of his workshop, holding a mug of tea in both hands, looking calmly at the camera. Stacked baskets and rod bundles flank him.
• IM-0396 The frame. Splints set into the rim radiate downward and outward; the weave will travel around them.
• IM-0397 Close-up of two hands at work, one pulling a thin pale splint across the lap, the other guiding it with a small blade. The blue working apron beneath.
• IM-0398 Wider seated view of Lewis at the workbench working on a piece across his lap, the apron covering his thighs, the working bench and the morning’s setup visible around him.
• IM-0399 Lewis seated on the wooden bench inside the workshop, drawing a long hazel rod across his lap, the half-built basket waiting beside him, the woodland behind.
• IM-0400 Lewis seated with a basket-in-progress on his lap, gesturing mid-explanation, a thin splint held in one hand as he describes its place in the weave.
• IM-0401 The work is serious. He is not.
• IM-0402 Lewis seated focused on his work, a small splint between his hands, the basket-in-progress balanced on his lap.
• IM-0403 Lewis viewed through a screen of hazel rods in the foreground, the basket on his lap, the framing of the photograph itself made of his material.
• IM-0404 Lewis holds the partial basket frame up between his hands, the radiating splints catching the light from the canopy above.
• IM-0405 Wider environmental view of Lewis at the workbench, weaving a basket on his lap, an empty completed Whisket sitting at his feet, more rods stacked at the side of the shelter.
• IM-0406 Close view of Lewis working on the wickered basket frame, pulling a splint through the gaps between rods, the camera close to the basket lip.
• IM-0407 Lewis with one arm raised, drawing a long splint up and over the top of the basket frame, his glasses catching the light.
• IM-0408 Lewis bowed over the basket on his lap, both hands threading a splint into the weave.
• IM-0409 Tight close view of both hands at work on the rim of the basket, fingers tucking a splint into a gap between the standing rods.
• IM-0410 Close view of Lewis’s hands flattening a splint into the weave near the rim, the basket arching up at one side.
• IM-0411 Hands holding a coil of pale splints with one hand, working a small knife along the end with the other, trimming a splint to fit.
• IM-0412 Hands threading a fresh splint into the basket weave, the finished side of the basket visible to the left of the frame, the new splint pulled through with both thumbs.
• IM-0413 Hands gripping the basket frame from above mid-weave, the radiating splints visible beneath.
• IM-0414 Hands smoothing the woven side of a basket-in-progress, the wristwatch visible on one wrist, the curve of the basket rising under the fingers.
• IM-0415 Pliers for the awkward last pass at the rim - the spot where the fingers alone cannot quite finish the work.
• IM-0416 Close portrait of Lewis from above, head bowed at the work, the curve of his glasses and the small grey hairs in his beard caught in the diffuse light from the canopy.
• IM-0417 A Whisket made by Charlie Jones - one of the last of the traditional Radnorshire makers, and the maker Lewis learned from in turn. The label keeps the lineage straight: this basket is not stock, it is record.
• IM-0418 Split-hazel basketry is on the Red List of Endangered Crafts. Lewis is one of a handful of working practitioners in the UK. The booklet sits inside the basket like a reminder.
• IM-0419 A Whisket basket viewed from a low angle, the radiating splints of the base visible through the open weave above, the rim wrapped tight.
• IM-0420 Close-up of the rim of a finished Whisket basket, the rod bow of the handle bound to the rim by a tight wrapping of fine splint.
• IM-0421 The handle joint. The bark is left on the bow because the bark is the strength.
• IM-0422 Two finished Whiskets and a smaller Swallow basket lined up along the working bench, a label dangling from one, the older bark surfaces darker than the freshly woven ones.
• IM-0423 The week’s output and the year’s output, kept together so a buyer can see how the splint colours change as the bark dries.
• IM-0424 Lewis bent over a finished Whisket on the workbench, inspecting the weave at the rim, the workshop behind him.
• IM-0425 Two pale freshly woven Whiskets sitting upright on a wooden plank against a darker wall, the larger basket behind, the smaller in front.
• IM-0426 The Charlie Jones Whisket again, lifted to show the working shape. The round bottom lets the basket rest stable on a hearth or a tabletop and gathers what falls into it.
• IM-0427 A hand placing a finished Whisket back on the wooden workbench, the basket’s rim and bow handle in detail, the bench textured by years of work.
• IM-0428 The Whisket. Round-bottomed, hazel-bowed, splint-woven. The form is unchanged since the form was first made.
• IM-0429 The hazel backpack baskets of the Carpathian region are functional, strong and visually beautiful.
• IM-0430 Hands placing a small basket down on the workbench among the others, the working surface scattered with hazel chips.
• IM-0431 A three-quarter portrait of Lewis Goldwater standing outside the shelter holding the day’s Whisket at his hip, the woodland canopy behind him.
• IM-0432 Lewis Goldwater, hazel basket maker, with the day’s Whisket. Turnham Green Wood, Herefordshire, May 2026.
• IM-0433 A dark-haired man in a wool jumper sits at a cluttered workbench, examining a small silver piece between his fingers, racks of tools and offcuts around him in the dim workshop.
• IM-0434 A white-haired silversmith bends low over his bench under an angled lamp, gripping a small punch against the work in close concentration.
• IM-0435 A small hand-cranked rolling mill on the workbench, its paired steel rollers and threaded adjusters sharp against the blurred workshop behind.
• IM-0436 Seen from above, a craftsman's hands cradle a domed silver bowl on a wooden stake, working its edge with a small tool.
• IM-0437 David Hart, bespectacled and white-haired in a heathered jumper, stands at his bench holding a small silver piece, a wall of hanging hand tools and metal hoops behind him.
• IM-0438 A man in a tweed jacket and glasses leans over the bench in profile, working at a small task with offcuts and a draped cloth before him.
• IM-0439 An antique cast-iron geared fly-press, its large toothed wheel, pinion gears and handwheel rendered in crisp close detail.
• IM-0440 A weathered open shelf of chemical bottles and jars - solvents, flux and acids - above a paint tub in a corner of the workshop.
• IM-0441 A long wall rack of hammers and hanging hand tools above a heaped tray of curved steel stakes and rods, the boarded wall of the workshop behind.
• IM-0442 A ball of paper receipts and dockets impaled on a spike, fanned outward like a flower, hanging against the dark workshop interior.
• IM-0443 Looking up to the workshop ceiling beams where three large balls of spiked paper receipts hang, a strip light glaring at the right.
• IM-0444 David Hart in profile at his window-lit bench, leaning on folded arms beside a rack of doming punches, papers pinned on the wall above.
• IM-0445 A dark-haired bespectacled man in a wool jumper works a silver piece against a polishing spindle at the bench, side-lit by the window.
• IM-0446 A hand holds a small silver bowl pressed against a horizontal steel raising stake, the dark bench behind.
• IM-0447 A grey-haired bespectacled silversmith bends over his bench amid a dense foreground of finished silverware - candlesticks, cups and trophies catching the light.
• IM-0448 A polished silver pierced-gallery dish set on a wooden doming block, glittering against a soft-focus clutter of tools and silver.
• IM-0449 A close three-quarter view of a grey-haired bespectacled silversmith bent in concentration over his bench, racks of bangles and tools softly behind.
• IM-0450 Two hands planishing silver: a small hammer poised above a silver disc held on a domed mushroom stake.
• IM-0451 A dark-haired bespectacled man in a ribbed jumper bent over his work, holding a hammer and a small silver piece, eyes down in focus.
• IM-0452 An elderly bespectacled silversmith plays a gas blowtorch over a silver workpiece held in tongs, the flame lighting his face.
• IM-0453 An elderly man in a checked-collar tank top works a silver blank on the stake with a small tool, an electrical box on the dark wall behind.
• IM-0454 Stacked antique leather-bound pattern books, one splayed open to old cutlery and comb design drawings, a handwritten price visible on the page.
• IM-0455 An extreme close-up of a hexagonal silver pepper caster engraved with a coronet above an entwined WH cipher, its lid pierced with beading.
• IM-0456 A silver model of the Chipping Campden Market Hall, its gabled roof and arched bays rendered in miniature, beside a tall caster and a glass condiment bottle.
• IM-0457 A lidded silver tazza on a beaded stem, its domed cover topped by an ornate pierced finial, set on draped cloth in low light.
• IM-0458 Deep shelves crammed with stored wooden pattern dies and stamping blocks, several pencil-labelled with job and date references.
• IM-0459 David Hart stands mid-sentence in the workshop, hands resting on a bench, a blank drawing board on the wall behind him.
• IM-0460 A vintage portable cassette radio perched on a grimy cabinet amid bottles and clutter, its dials and speaker grilles facing the room.
• IM-0461 A wall rack of hanging hand tools above a shelf, with old pinned-up etchings of birds and rural scenes curling on the boards.
• IM-0462 A dense bench-top thicket of dark-handled chasing and forming tools stood upright in a block, with glass jars and a small white crucible in front.
• IM-0463 A bearded craftsman in a checked shirt talks with two visitors across a press in the lived-in workshop.
• IM-0464 A corner of the workshop hung with steel hoops and a board of stakes and mallets above shelves of doming punches, a wheel rim leaning at the right.
• IM-0465 Half-finished silver knife blanks laid across reference photographs of antique cutlery on the bench, a small silver bowl at the upper left.
• IM-0466 A bearded craftsman in a checked shirt works a small silver piece while David Hart looks on from behind in the cluttered workshop.
• IM-0467 An environmental portrait of a heavy-set bespectacled craftsman in a grey jumper facing the camera, a wall of tools and a hand-saw behind him.
• IM-0468 An environmental portrait of David Hart, white-haired in black-framed glasses and a grey jumper, seated and addressing the camera amid his tool racks.
• IM-0469 An environmental portrait of a grey-haired bespectacled craftsman, arms folded, in a tank top over a checked shirt, before the workshop tool wall.
• IM-0470 An environmental portrait of a bearded man with his hair in a top-knot, in a checked shirt, seated with arms resting, the workshop's hanging tools behind him.
• IM-0471 A group portrait of four Hart's silversmiths lined up across the workshop, the elderly David Hart at the left, a wall clock and hanging dockets above them.
• IM-0472 Chipping Campden High Street seen from beside stone steps, past the railed Cotswold-stone war memorial fountain to a long terrace of gabled limestone houses under a flat grey sky.
• IM-0473 An upward study of the Market Hall bell-cupola and clock against cloud, a wrought-iron weathervane spiking off the lead-roofed lantern above a stone gable.
• IM-0474 A painted fingerpost waymark directs walkers along the Cotswold Way, Heart of England Way and Monarch's Way as two pedestrians pass a row of stone cottages behind.
• IM-0475 The medieval High Cross stands on its stepped octagonal base in the middle of the street, framed by parked cars and the gabled stone frontages of the High Street.
• IM-0476 A frontal study of the carved octagonal monument, its heraldic shields and dense panels of inscribed names sharp, the street receding behind.
• IM-0477 The open-arched stone Market Hall seen straight on, its twin gabled bays and pointed arches fronting the street, a half-timbered building to the right.
• IM-0478 A wider street view of the gabled Market Hall with its bell-cupola and clock, flanked by Cotswold cottages and parked cars down the High Street.
• IM-0479 A stone-and-brick cafe front with bay windows, outdoor tables and chairs and hanging baskets, its painted fascia sign above the door.
• IM-0480 Looking down the worn flagstone aisle of the Market Hall arcade under its timber roof, the stone arches framing the bright street beyond.
• IM-0481 The Market Hall arcade from the corner, stone piers and round-headed arches over a cobbled floor, a half-timbered building visible through the openings.
• IM-0482 A near-abstract upward study of the Market Hall timber roof - repeating curved oak trusses, rafters and purlins seen from directly below.
• IM-0483 The Market Hall's heavy timber roof beams and curved braces seen from inside, a run of stone arches and the bright street along the lower edge.
• IM-0484 A view out from within the Market Hall arcade, a central pointed arch framing parked cars and a half-timbered house across the street.
• IM-0485 A quiet sloping back-street of terraced Cotswold-stone houses with sash bay windows, the road curving away past the edge of the Market Hall arcade.
• IM-0486 A dated stone almshouse with arched windows and gables, an elderly man pausing on a bench beside framed wreaths on a low wall, the date 1897 carved in the gable.
• IM-0487 The cobbled courtyard entrance to the Old Silk Mill, a stone doorway under a round blue plaque, a hand-lettered notice board and a cafe table set with a teapot.
• IM-0488 A close study of the round commemorative plaque on the Silk Mill's rubble-stone wall recording that C. R. Ashbee brought his Guild of Handicraft here from London in 1902.
• IM-0489 The white tenant directory of the Old Silk Mill beside the dark doorway, listing the businesses by floor - among them Hart Gold and Silversmiths - under an iron wall lantern.
• IM-0490 A large mounted archival photograph on the Mill wall showing Edwardian Guild craftsmen standing in a Campden street, a green fire-exit sign below it.
• IM-0491 The workshop stairwell, display niches of silver and framed drawings on the white wall, beneath a hand-lettered sign reading Harts, Craftsmen in Hand Made Silver, Visitors Welcome.
• IM-0492 Looking up the worn workshop staircase to a large mounted portrait photograph of a bearded Edwardian man, lit from a skylight, framed pictures down the side wall.
• IM-0493 The wide, time-frozen bench room, a younger craftsman at the central bench amid racked hand tools, two wall clocks and a sunlit cottage window.
• IM-0494 An elderly silversmith in spectacles works at a soldering station, hose in hand, before a sooty hearth recess hung with cloths, buckets and a polishing lathe.
• IM-0495 A deep-focus view of the densely cluttered workshop, an elderly craftsman seated at the far bench under a lamp, the foreground crowded with tools, silver and a teacup.
• IM-0496 A younger craftsman works at a paper-strewn bench with a mug at his elbow, the back wall hung with files, a clock and framed certificates above ranked hand tools.
• IM-0497 A square close portrait of a bespectacled younger craftsman in a chunky jumper bent over his bench, drawings spread before him, hand tools racked behind.
• IM-0498 A low-lit corridor view of an elderly craftsman at a bench-mounted polishing wheel deep in a back room, light falling from a window onto his work.
• IM-0499 A younger craftsman sits at a jeweller's bench with its leather catch-skin and bench peg, holding a piece up to work it, a second worker dim in the sunlit background.
• IM-0500 A younger craftsman at a polishing spindle works a small silver bowl by hand, sleeves pushed up, the bench behind hung with pliers, files and coiled wire.
• IM-0501 A glazed display cabinet of finished silver - goblets, bowls, jewellery and trays - beside a battered metal chest and framed design drawings on the wall.
• IM-0502 A low close-up inside a display case of a row of silver bangles and a dark stone ring on a mirrored shelf, each beside its handwritten price tag.
• IM-0503 A single hammered-finish silver goblet on a baluster stem, lit on a black plinth, a second silver vessel softly out of focus behind it.
• IM-0504 Two silver pendants on dark card stands - a pierced openwork heart locket and a round flower-form pendant - against a soft out-of-focus workshop window.
• IM-0505 A dense tool wall: metal and timber racks crammed with hammers, stakes and files mounted on tongue-and-groove boarding.
• IM-0506 A workbench corner with raising stakes, lengths of stock and coils of wire on the wall, a large flywheel to the right.
• IM-0507 A wide, low-light view of the bench room, a lone craftsman bent to his work beneath the leaded windows, foreground benches scattered with tools and parcels.
• IM-0508 A glazed showcase of finished silver - jugs, beakers and a footed bowl, pendants hung on the back panel - lit dimly, an apron hanging at the right.
• IM-0509 A framed calligraphic poem titled The Guild hung on the wall, two columns of pen-lettered verse with an attribution beneath.
• IM-0510 A floor-standing rack packed with hammers, mallets and stakes beside a pale cupboard, more hammer heads racked on the timber wall.
• IM-0511 A doorway view through the workshop, an open timber door pinned with an old photograph of a silversmith at his bench, a passage of display cases beyond.
• IM-0512 David Hart seated and bent over his bench beneath the big leaded window, surrounded by tools, jars and work-in-progress, framed through foreground clutter.
• IM-0513 Two craftsmen at facing benches under the windows, the nearer man working under a bench lamp while the elder works at the far bench.
• IM-0514 A younger craftsman in a wool jumper and round glasses works a piece on a spindle with a hammer, the workshop machinery and a large flywheel behind him.
• IM-0515 A grey-haired craftsman in glasses handles metal with tongs at a casting station, ingots on the bench before him in the dark surround.
• IM-0516 A tight side-profile of a grey-haired craftsman directing a small torch onto a rounded silver vessel held in his hand, files and blocks on the bench.
• IM-0517 David Hart in heavy black-framed glasses leans over a glass display counter, seen through the reflective glass with a wineglass and silver pieces in the foreground.
• IM-0518 The elderly silversmith bent over the display case, smoothing tissue over silver salts with both hands, footed bowls on the shelf above, shot through the showcase glass.
• IM-0519 A full-length portrait of David Hart standing in the workshop in a grey jumper, a hand resting near a glazed cabinet of silver, a bench vice and tools at the left.
• IM-0520 A frozen-in-time bench room: a large hand-cranked flywheel centre-frame, a board of files and stakes, hoops and patterns hung above, a galvanised bin and buckets, the leaded window behind.
• IM-0521 An elderly hand resting on and turning the leaves of a large handwritten order ledger, the pages dense with cursive entries and place-names.
• IM-0522 The elderly silversmith in profile reading over the open ledger at a stand, typed notices pinned to the cupboard door beside him.
• IM-0523 Stacked leather-bound ledgers and order books piled on a cabinet, a hand resting on the topmost, a silver chalice and a monitor behind.
• IM-0524 An open archive album of old monochrome catalogue photographs of Hart silverware - chalices, ewers and standing cups - laid in a grid on a cluttered desk.
• IM-0525 A hand lifting a large pencil drawing of a circular embossed dish over a plan-chest drawer of measured working drawings.
• IM-0526 Seen from above, a large ornate silver charger lying in tissue in a drawer, a deep vine-and-grape repousse border encircling a central armorial shield.
• IM-0527 The elderly silversmith holds up a large embossed charger to show the camera, standing beside a tall cupboard bearing a printed Sheffield Smelting Company trade placard.
• IM-0528 Two large ornate repousse chargers being handled - one tilted up to show its vine border, the other flat on the bench showing a central armorial shield - among plan-chest drawers.
• IM-0529 The elderly silversmith standing in the showroom holding something to his ear in thought, beside a glass counter of jewellery by the window.
• IM-0530 A three-quarter portrait of David Hart turning to face the camera in the showroom, a wall of framed photographs and a circular Guild plaque around him.
• IM-0531 A hand-lettered framed trade sign hung high in the showroom reading Hart and Huyshe, Campden, Designers and Craftsmen, Gold and Silver Articles for Church and House.
• IM-0532 A hand pointing at a silver model of a chapel building, a miniature architectural maquette, on a dark shelf among stored pieces.
• IM-0533 The exterior of the Guild of Handicraft building, the long Arts-and-Crafts stone mill on Sheep Street, its rows of leaded industrial windows and an arched doorway, a single figure at an upper window.
• IM-0534 A cluster of hanging painted trade signs on a timber post by the road - the Hart workshop sign, a coffee-shop sign and a gallery sign - against an overcast Cotswold sky.
• IM-0535 A Chipping Campden street down a brick pavement beside an honey-stone terrace, a heavy cascade of wisteria in full bloom spilling over iron railings, a lone figure walking ahead.
• IM-0536 The green framed through a dark Market Hall arch - the gabled Market Hall, the war memorial cross and a flagpole beyond, with two people and a dog on the lawn and the High Street behind.
• IM-0537 An upward view of a tall mullioned and transomed gabled stone oriel window in the manner of Grevel's House, a carved gargoyle to the left, set against the sky.
• IM-0538 A High Street pavement view with a curtain of wisteria in full bloom cascading over iron railings and a stone house front, a lone figure walking the brick footway in the distance.
• IM-0539 The honey-stone frontage of the Lygon Arms Hotel with rounded dormer windows and a hanging heraldic sign bracket, a car parked on the road in front.
• IM-0540 The painted Lygon Arms Hotel name sign seen through a frame of overhanging leaves, the lettering legible in a gap in the foliage.
• IM-0541 A weathered timber glazed notice case on lichened stone holding a printed poster for the Chipping Campden Literature Festival.
• IM-0542 A narrow whitewashed pedestrian alley with a worn brick-paved floor leading toward a sunlit garden and greenery at its far end.
• IM-0543 A laser-cut steel shop sign reading Gin, Whisky, Rum fixed to a stone pier beside a wine merchant's window of bottles and a tasting notice.
• IM-0544 A toy and gift shop window display behind white glazing bars, with a child's jumper, boxed toys, soft toys and books.
• IM-0545 The 1627 open-arched Market Hall seen from the road, its gabled stone bays and pointed arches in side light, a woman walking into the right-hand arch.
• IM-0546 Inside the Market Hall, a silver-haired woman photographs through an arch toward the war memorial, silhouetted against the bright opening among the stone piers and cobbles.
• IM-0547 A High Street streetscape, a row of stone shops with a projecting sign, pedestrians and a small dog clustered at a shopfront, a large tree and parked van to the right.
• IM-0548 A view out from under the Market Hall's timber-raftered roof, through three stone arches across the cobbled floor to the shops and parked cars of the High Street opposite.
• IM-0549 Inside the Market Hall, looking along its cobbled bay under the medieval timber wagon roof, arches opening to the street and a bright arch ahead framing the town beyond.
• IM-0550 The Market Hall, war memorial cross and flagpole on the green framed through a Market Hall arch, two people with a dog posing on the lawn.
• IM-0551 A wide townscape of the green: the gabled Market Hall with its clock-and-cupola turret on the left and the tall war memorial cross on the right, a bench on the grass and the stone High Street receding under a heavy sky.
• IM-0552 A group of older people on the wide flagstone pavement examining a circular bronze pavement marker set in the stone, the Jackson-Stops office and a pub behind them.
• IM-0553 A low-angle view of the war memorial cross, a person seated on the stone plinth in the foreground and another reading the memorial, the Market Hall cupola to the left.
• IM-0554 A close study of the octagonal war memorial base, its inscribed name panels and carved heraldic shields above, a row of small white remembrance crosses and laid poppy wreaths around the foot.
• IM-0555 The war memorial cross close at the right with its heraldic shields and name panels, the Market Hall cupola, a bench and the descending stone High Street to the left under a grey sky.
• IM-0556 An environmental portrait of Julian Hart, bearded and in a checked shirt, seated and looking at the camera in the workshop, a large cast-iron flywheel to his right and ranked tools on the timber wall behind.
• IM-0557 A square environmental portrait of Julian Hart, bearded with his hair in a top-knot, in a checked shirt, seated and facing the camera before the workshop's wall of hanging tools.
• IM-0558 Seth Kennedy standing in the centre of his workshop holding a watch part, the upright straight-line engine to his left and the rose engine to his right.
• IM-0559 Seth Kennedy facing the camera with his hands open mid-explanation, the engine-turning machines to his left and a "Forth and Back" world map and framed prints on the wall behind.
• IM-0560 Seth Kennedy seated at his bench, looking to the camera with his hands resting over a watch part, the anglepoise lamp at his right and framed prints behind.
• IM-0561 A close profile of Seth Kennedy in glasses looking down at his work, the bench lamp glowing beside him.
• IM-0562 A wide view of the workshop with Seth Kennedy standing among the machines holding a part, blinds and a ceiling light above, the straight-line engine in the foreground.
• IM-0563 The office corner of the workshop - a glazed oak bookcase, framed vintage motoring prints, a laptop on a desk, a glass dome cloche and a leather chair.
• IM-0564 The rose engine. The stacked brass cams - rosettes - rock the work against a rest so a fixed cutter draws curved, repeating patterns into metal.
• IM-0565 The straight-line engine. Where the rose engine curves, this one draws straight - the basketweave and barleycorn lines that run dead parallel across a dial.
• IM-0566 The straight-line engine seen with its overhead line-shaft, pulley wheels and drive belts, flywheels and slide rest on the bed.
• IM-0567 A close-up of the rose engine’s stacked rosettes - patterned cams - seen end-on, framed by the machine’s black cast frame.
• IM-0568 Each rosette is a different wave. Swap the cam, change the pattern.
• IM-0569 A low-angle view down the toothed bed of the straight-line engine, the crank handle at the far end, the workshop behind.
• IM-0570 First the blank is set in pitch and trued, so it runs dead flat under the cutter.
• IM-0571 Then the division is set - the index ring that decides how many cuts will ring the disc.
• IM-0572 Retired archive entry retired
• IM-0573 On the straight-line engine the cuts run parallel rather than around - the same discipline, a different geometry.
• IM-0574 The numbers in ink are the recipe: how many divisions made each pattern. A turner keeps the counts the way a cook keeps a book.
• IM-0575 The finished cut - light caught in lines no machine made for the purpose any more, and few hands still can.
• IM-0576 Hands holding a dark round tray of about ten engine-turned silver discs, each cut with a different pattern - sunburst, basketweave, spiral.
• IM-0577 An open silver pocket-watch case held in a palm, the inner lid engine-turned, the engraving "SPIRAL BREGUET / AUBERT Genève" visible.
• IM-0578 Two hands assembling a silver pocket-watch case at the bench, bagged parts and a finished watch to the right.
• IM-0579 A bench still life - a dark tray of engine-turned discs and several silver pocket watches laid on white card, two wall-mounted spanners behind.
• IM-0580 A bench still life under window blinds - an upright wooden rack of gravers and files, pocket watches and loupes laid out.
• IM-0581 A bench still life - lathe tools and stakes in a wooden block on a drawer, a pocket watch at left, a brick wall behind.
• IM-0582 A close portrait of Seth Kennedy bending into a loupe at the bench, concentrating.
• IM-0583 Seth Kennedy standing behind a bench with a vise, a part in hand, facing the camera, the "Forth and Back" world map and framed prints behind.
• IM-0584 The rose engine. The round rosette stack at its heart sets the curve of every line it cuts.
• IM-0585 The drive: line-shaft, pulleys and belts that turn the work under the cutter.
• IM-0586 Retired archive entry retired
• IM-0587 The socks, sold by the pair and by subscription.
• IM-0588 A season’s colours, banded and ready - argyle, stripe and marl.
• IM-0589 Retired archive entry retired
• IM-0590 Genevieve and her apprentice Poppy at the circular sock machine.
• IM-0591 Poppy at the machine. She came through a four-month course and picked the craft up fast.
• IM-0592 An openwork panel held to the light - the structure is the pattern.
• IM-0593 An armful of the palette - the colours a collection is built from.
• IM-0594 Master and apprentice, under the sign.
• IM-0595 Retired archive entry retired
• IM-0596 The table at the front of the studio, laid with the range.
• IM-0597 Checking a finished piece against the light.
• IM-0598 The working room - storage to the left, machines to the right, a geometric sample pinned to the wall.
• IM-0599 At the machine, under her own name.
• IM-0600 Retired archive entry retired
• IM-0601 Yarn feeding in. The cones overhead run down into the needle bed.
• IM-0602 The pink she was excited about - merino, naturally dyed.
• IM-0603 Talking through how a colour comes to be.
• IM-0604 A rail of the season in lambswool - colours she chooses for feeling as much as fashion.
• IM-0605 Winding yarn onto cones before it goes on the machine.
• IM-0606 Jonathan Wright at the bench.
• IM-0607 An antique globe mid-restoration - the cleaned gore bright against the years.
• IM-0608 Scoring a gore by hand.
• IM-0609 The cut follows the line exactly - there is no second chance on a gore.
• IM-0610 Hand-drawn figures for a bespoke globe - his own menagerie before it becomes cartography.
• IM-0611 Jonathan Wright in his workshop at Grandeys Place.
• IM-0612 Working the surface of a large globe.
• IM-0613 At work on an antique globe.
• IM-0614 Hours at the sphere, one small area at a time.
• IM-0615 The colourist’s bench - watercolour, brushes, and a plate for a palette.
• IM-0616 A French globe in for restoration - Paris, the maker’s cartouche still legible.
• IM-0617 The stand and meridian, empty - the cradle a globe sits in.
• IM-0618 Reading up - the craft is half library, half bench.
• IM-0619 Retired archive entry retired
• IM-0620 Explaining how a flat printed map becomes a sphere.
• IM-0621 The cartography up close - terrain, lettering, the odd sea monster.
• IM-0622 Retired archive entry retired
• IM-0623 Three states at once - a bare core, an empty stand, a finished globe.
• IM-0624 The tool wall - dividers, calipers, brushes, and a shelf of globe cores above.
• IM-0625 The maker.
• IM-0626 At ease among the globes.
• IM-0627 Retired archive entry retired
• IM-0628 Louis Carpenter on the workshop floor below the globemaker.
• IM-0629 Talking through the work, a celestial globe waiting on its stand.
• IM-0630 One of his stands - the broad horizon ring carries the calendar; the globe is Jonathan Wright’s.
• IM-0631 A contemporary stand - splayed turned legs, his own design language.
• IM-0632 Among the globes he builds stands for.
• IM-0633 The woodshop - timber, saw, and a turned form in progress.
• IM-0634 Reaching for stock at the bench.
• IM-0635 Reading the grain before the cut.
• IM-0636 In the shop - stands, turned vessels, and the bandsaw.
• IM-0637 At the bench, under the tools.
• IM-0638 Louis Craig Carpenter in his workshop at Grandeys Place.
• IM-0639 The machines - lathe, drill, bandsaw.
• IM-0640 Melonie at the south porch of Holy Trinity, the society booklet in her hands - her inheritance made visible.
• IM-0641 The same door, without the booklet - Melonie at her parish church on a Saturday in April.
• IM-0642 Julie at the churchyard wall, her hand on a stone she has researched - the historian at the record.
• IM-0643 Along the wall, the old stones leaning against it - Julie among the village record she keeps.
• IM-0644 Phil Benton, mid-sentence - which is how most of the morning went.
• IM-0645 At the rolling machine - the rollers that ease a flat blank into its section.
• IM-0646 At the polishing spindle.
• IM-0647 A blank held to the wheel, the other hand steadying.
• IM-0648 The finished piece - a shell-bowled caddy spoon, the stem struck with the three feathers.
• IM-0649 And the die that makes the mark - cut once into steel, struck into every spoon.
• IM-0650 The die store - thousands of patterns the factory has stamped, kept on the shelf.
• IM-0651 Blanks, fanned in a tray.
• IM-0652 And one held up - the flat blank a knife begins as.
• IM-0653 Setting a handle pattern into its flask.
• IM-0654 Pattern to cavity - the shape that will print into the metal.
• IM-0655 Numbers chalked on the rails - the index to a library only a few people can still read.
• IM-0656 The two halves of a “pistol” handle mould - named for the shape - that close together to print the handle.
• IM-0657 Beside the fly-press, where a knife begins.
• IM-0658 A palm of offcuts from the clipping press - the waste that tells you the work is moving.
• IM-0659 Feeding stock across the bench, the template board behind.
• IM-0660 The copper beakers, in the finishing room.
• IM-0661 The mould and the beaker spun over it - the same shape, one in iron, one in finished metal.
• IM-0662 Embossed copper trays, stacked - the pattern rolled in, the centre left blank.
• IM-0663 A tray in the hand - embossed all over but for the centre, left for whatever it will commemorate.
• IM-0664 An engraving die - the pattern cut by hand, the centre kept blank for a name.
• IM-0665 Another, brushed clean - a coaching scene etched into steel.
• IM-0666 “Eye protection must be worn.” The sign is new; the machine is not.
• IM-0667 Blade to the wheel.
• IM-0668 At the spindle, the old drive belts hung up behind.
• IM-0669 The light comes off the wheel like water.
• IM-0670 On the shop floor, between the rack and the press.
• IM-0671 Mid-explanation, hands going - the natural state.
• IM-0672 A tight head-and-shoulders portrait of Phil Benton looking straight to camera, glasses pushed up on his forehead, caught mid-word, machinery softly blurred behind him.
• IM-0673 Phil Benton, cutler. More than forty years at the bench, and not done yet.
• IM-0674 A blade taken to the wheel.
• IM-0675 Paul at the fitting bench, a tray of cream handle blanks beside him.
• IM-0676 Paul Weatherstone, in the knife-finishing section he runs.
• IM-0677 Where one section hands to the next - Phil pointing the work through to Paul’s end.
• IM-0678 Paul Weatherstone, cutler - the blade in one hand, the handle in the other, his whole section behind him.
• IM-0679 Drilling the handle to take the tang, the blanks heaped below.
• IM-0680 At the wheel.
• IM-0681 The spray of sparks that says steel is meeting stone.
• IM-0682 The whole body goes into it - feet set, both hands steady.
• IM-0683 Close in on the edge - the part that has to be exactly right.
• IM-0684 Polishing the blade down to its finish.
• IM-0685 On the glazing wheel.
• IM-0686 A handle taken to the wheel for its final smoothing.
• IM-0687 His corner of the works - the benches, the bins, the light from the yard windows.
• IM-0688 Paul at his bench handling a finished knife, his own reflection caught in the glass partition to the left.
• IM-0689 It starts with a drawing - a crest or a monogram sent in by a customer.
• IM-0690 A finished die - letters and crests cut into steel, in reverse, ready to strike.
• IM-0691 The hand punches - the small alphabet of marks a die is built from.
• IM-0692 A close head portrait of Chris Shaw looking down in thought, the shelves of his workshop soft behind him.
• IM-0693 Chris Shaw, die engraver, in the corner of Chimo that has been his for decades.
• IM-0694 Talking it through - he explains the work as plainly as he does it.
• IM-0695 Reading a die against the light, the engraving machine alongside.
• IM-0696 A crest cut in relief - the kind of mark that ends up stamped on a piece of silver.
• IM-0697 Setting a block on the machine.
• IM-0698 At the pantograph - the tracer follows the master while the cutter writes it into steel.
• IM-0699 His corner of the works - the bench, the shelves, the chair, the light from the yard.
• IM-0700 One of the engraving machines, at rest.
• IM-0701 The geared arm and sliding bed that reduce a big pattern down to a small die.
• IM-0702 The machine that has done most of his life’s work.
• IM-0703 Working a job out on paper before a cutter ever touches steel.
• IM-0704 The work that goes on under his roof - a piece taken to the wheel.
• IM-0705 Retired archive entry retired
• IM-0706 Chris Hudson - Yorkshire-born, Merchant Navy officer, and the man who built Chimo.
• IM-0707 A close portrait of Chris Hudson in profile, snow-white hair and beard catching the light, a calm and distinguished expression.
• IM-0708 The clock rack - the whole works on one wall, name by name.
• IM-0709 Among the boxes and benches - the boss walks the floor.
• IM-0710 Karen, who runs the office - and, in practice, much of the day-to-day of the place.
• IM-0711 Chris in the office, the model ship behind him - a nod to the years at sea.
• IM-0712 Walter Trickett & Co - one of the old Sheffield names Chimo took in and kept alive.
• IM-0713 Looking in at a name he saved - the sign now hangs over the working floor.
• IM-0714 With Paul Weatherstone - the founder and one of the hands that make the work.
• IM-0715 The office that runs the works - Karen at the desk, Chris across it.
• IM-0716 Karen at the desk where the orders, the wages and the hundred small decisions land.
• IM-0717 Going over the finished holloware - the silver and glass the name is built on.
• IM-0718 At the head of the table, the ship over his shoulder.
• IM-0719 The man himself, at ease - sharp, warm, and entirely unhurried.
• IM-0720 The view from the works - the brick city the trade was built in, and is leaving.
• IM-0721 Part-finished blades, racked - each one ground, not stamped from a mould.
• IM-0722 A tray of finished pairs - tailor shears, dressmakers, household scissors.
• IM-0723 Retired archive entry retired
• IM-0724 The maker’s mark - ERNEST WRIGHT, SHEFFIELD, struck into the finished steel.
• IM-0725 On the office wall, the forging stages - a blade shown step by step, from rough blank to finished bow.
• IM-0726 “Wear ear protectors and goggles.” The hand-painted law of the shop floor.
• IM-0727 At the packing bench, where finished pairs are wrapped and boxed.
• IM-0728 Neil Wilson, the senior maker at Ernest Wright.
• IM-0729 Mid-explanation - he can take the whole process apart in front of you, stage by stage.
• IM-0730 Sighting down the blades - the join is the whole craft.
• IM-0731 The two halves before the marriage - each blade made to ride against the other.
• IM-0732 At the bench - the slow work of getting a blade exactly true.
• IM-0733 On the wheel, the old drive belts behind.
• IM-0734 The grindstone that puts the hollow and the twist into the blade.
• IM-0735 Steel to stone.
• IM-0736 The sparks read the steel - too long on the stone and the temper is gone.
• IM-0737 At the rumbler - the drum that tumbles the parts smooth.
• IM-0738 Ceramic media and polishing paste turn for hours, taking off every burr and mark.
• IM-0739 The box it leaves in - Ernest Wright, est. 1902.
• IM-0740 In the room he runs - and the room that trained him.
• IM-0741 The workshop is a small world, and Neil is at the middle of it.
• IM-0742 Checking the action - opening and closing a pair until it runs clean.
• IM-0743 Induction annealing - the steel heated and cooled to soften it where it has to be worked.
• IM-0744 Blades ranked in a tray, each curve ground by hand.
• IM-0745 Sam Aston-Clark at the bench, in the window light.
• IM-0746 The putter’s bench - a hammer, a stake, and a pair coming together.
• IM-0747 On the fly-press - the weighted arm comes round to form the cold steel.
• IM-0748 A John Norton press - older than anyone in the building, still doing its one job.
• IM-0749 Hammering the curve onto the blade - the move that makes the cut.
• IM-0750 Setting one blade against the other, by hand and by eye.
• IM-0751 Reading the gap - holding a pair to the light to see daylight between the blades.
• IM-0752 At the big press, under the twin weighted arms.
• IM-0753 Checking the work between strokes.
• IM-0754 The bench mid-flow - a row of pairs in the making.
• IM-0755 The hammer he reaches for a hundred times a day.
• IM-0756 Sam, at the bench that made him a putter.
• IM-0757 A tray of finished pairs - every one married by hand.
• IM-0758 A formal seated portrait of Sam Aston-Clark facing the camera, flat cap, glasses and leather apron, the workshop windows behind him.
• IM-0759 The floor mid-shift - part-made pairs on the rods, the makers at their stations.
• IM-0760 Every pair is checked by hand before it leaves the building.
• IM-0761 Jonathan Reid, beside the grinding machine he can never quite leave alone.
• IM-0762 A word with a colleague between runs, the respirator still hanging at his neck.
• IM-0763 The grinder with its hood up - this is where the blade gets its angle.
• IM-0764 A blade in hand at the grinder, the bins behind him sorted by model and size.
• IM-0765 The glazing wheels next door, where the ground blades are brought to a polish.
• IM-0766 Leaning on the grinder, between runs.
• IM-0767 A square portrait of Jonathan, arms folded, smiling, the wall clock above his shoulder and the grinding machine to the right.
• IM-0768 The grinding machines, head-on - the wheels that grind the taper into every blade.
• IM-0769 At the bench, ear defenders up, working a part before it goes to the wheel.
• IM-0770 A blade to the wheel - the grind throws a fan of sparks the length of the trough.
• IM-0771 Seated at the wheel, taking the edge down one blade at a time.
• IM-0772 The grinding row - Evan at his wheel, another maker further down the line.
• IM-0773 The grinding shop mid-shift - benches of blades, the makers at their stations.
• IM-0774 Evan James seated astride the wooden grinding horse in a cap and glasses and dungarees, looking to camera, a large wrench hanging on the wall behind him.
• IM-0775 Evan James at his station, under the painted order to wear ear protectors.
• IM-0776 James Morton at his machine, six years into the trade.
• IM-0777 A blade to the belt - the flexible grind that brings the edge up.
• IM-0778 Reading the blade by eye, glasses down, ear defenders on.
• IM-0779 The same motion, blade after blade.
• IM-0780 Seen down the bench - the back of a long shift.
• IM-0781 Gloved hands, the blade held steady to the wheel.
• IM-0782 At the wheel, the extraction hood above the work.
• IM-0783 James Morton seated at his machine, shaved head and full beard, tattooed arms, gloved hands resting, looking off-camera with a slight smile, the bright workshop behind him.
• IM-0784 The machine in full - old Sheffield iron, still earning its keep.
• IM-0785 Retired archive entry retired
• IM-0786 Retired archive entry retired
• IM-0787 Retired archive entry retired
• IM-0788 Retired archive entry retired
• IM-0789 Retired archive entry retired
• IM-0790 Retired archive entry retired
• IM-0791 Retired archive entry retired
• IM-0792 Retired archive entry retired
• IM-0793 Retired archive entry retired
• IM-0794 Retired archive entry retired
• IM-0795 Sabino Henda at his polishing station - thirteen years on the wheel.
• IM-0796 A word with a colleague, the buffing wheel idling at his side.
• IM-0797 Leaning into the wheel, blades racked along the bench to his left.
• IM-0798 The polishing machine, between jobs - spare mops hung ready above.
• IM-0799 Scarf up against the dust, a pair worked against the mop.
• IM-0800 Sabino Henda at the polishing wheel, his station for thirteen years.
• IM-0801 Finished shears in front of the firm’s credentials - Made in Britain, a Heritage Crafts member, a Sheffield trade still certified.
• IM-0802 Part-made pairs on the rods - the bows formed, the blades still to be brought together.
• IM-0803 The order behind the craft - every fastening in its labelled drawer.
• IM-0804 A Darth Vader stands guard by a hundred-year-old tool chest - the workshop keeps its sense of humour.
• IM-0805 The range laid out on leather - the WRIGHT name etched into the finished steel.
• IM-0806 The Kutrite, boxed with a Sheffield-Made certificate - the kitchen scissors whose revival nearly broke the firm, and outlived it.
• IM-0807 Awards on the office shelf - the marks of a trade that is still recognised, not just remembered.
• IM-0808 The abrasive belts, hung by grade - the flexible grind that brings each blade to its edge.
• IM-0809 The floor mid-morning - light from the tall windows, the makers at their stations, the painted law of the shop on the pillar.
• IM-0810 Down the length of the shop - benches along the windows, a maker at the far bench.
• IM-0811 The office, with the workshop through the glass - the front of house and the floor, a few feet apart.
• IM-0812 On the wall: the last blank from T. G. Lilleyman & Son, Ltd., salvaged by one of its employees the day Lilleyman’s closed in 2009 and donated to Ernest Wright.
• IM-0813 Stork embroidery scissors.
• IM-0814 Thread nips.
• IM-0815 Trimming scissors.
• IM-0816 Kitchen scissors - the all-purpose Turton pattern, serrated jaw and bottle-opener bow.
• IM-0817 Household scissors.
• IM-0818 Dressmaker’s shears.
• IM-0819 Side-bent tailor’s trimmer.
• IM-0820 Tailor’s shears.
• IM-0821 Blades hung to wait their turn - the work moves through in batches.
• IM-0822 Threaded on the rods in their hundreds, each one still to be ground, hardened and put together.
• IM-0823 The small work - embroidery blades and bows laid out among the hand tools.
• IM-0824 A tin of cutting compound on the drill bed - the small consumables a working shop runs on.
• IM-0825 Three finished pairs, three jobs - the same logic of blade and bow at every scale.
• IM-0826 The trolley of work in progress, wheeled between stations.
• IM-0827 A tray of blades on edge, waiting on the next pair of hands.
• IM-0828 One of the old machines - a double-ended spindle, still earning its place on the floor.
• IM-0829 The office again, the floor always in view through the glass.
• IM-0830 The range opened out on its leather roll - the whole family of pairs in one frame.
• IM-0831 A finished cruet stand - twin pots and a figural stem, one of the firm’s holloware patterns.
• IM-0832 Stephen Wright leaning on a workbench, smiling broadly to camera, sunglasses hooked on the collar of his firm polo shirt, machinery behind him.
• IM-0833 At the bench, among the presses that shape every blank.
• IM-0834 A fork part-made - the tines cut, the blank not yet shaped.
• IM-0835 A finished tea strainer, the bowl pierced with hundreds of holes.
• IM-0836 Stephen Wright mid-gesture with both arms spread, talking and smiling in the workshop.
• IM-0837 At the finishing barrel, where parts are tumbled smooth.
• IM-0838 Stephen with his daughter Samantha in the office, a world map of the firm’s trade behind them.
• IM-0839 A strip of spoon blanks, stamped from the sheet and still joined - the start of every piece.
• IM-0840 A finished fork, held out from the dark.
• IM-0841 Stephen Wright standing among the drop-stamp presses of his workshop, smiling, a finished fork in his hand.
• IM-0842 A finished teaspoon, the pattern struck into the handle.
• IM-0843 A finished service, laid out on tissue before it is wrapped.
• IM-0844 The last stage - a finished piece cradled in tissue.
• IM-0845 At the die rack - the steel tools that stamp each pattern.
• IM-0846 A finished teapot on the firm’s own box - his father’s name, William Wright, printed on the carton.
• IM-0847 Checking a finished jug, the bench beside him ranked with dishes.
• IM-0848 At the press, reading a blank by eye - the order board behind him.
• IM-0849 At the polishing spindle, where the silver comes up bright.
• IM-0850 Stephen Wright standing full-length in the centre of his workshop, the round finishing barrel to his left and benches around him.
• IM-0851 Fork blanks by the binful - the work in bulk, before it is anything you would recognise.
• IM-0852 One of the small team at the buffing wheel - the work Stephen leans on others to keep moving.
• IM-0853 A finished pot on the firm’s own carton - the name printed where every order can read it.
• IM-0854 Stephen Wright standing in the middle of his workshop, hands in his pockets, smiling, drop-stamp presses and benches flanking him.
• IM-0855 Stephen mid-flow - the talk runs as fast as the work.
• IM-0856 Stephen with one of his makers - both shirts read W. Wright Silverware (Sheffield) Ltd.
• IM-0857 The floor mid-shift, two men at their benches under the tall windows.
• IM-0858 Down the aisles - decades of tooling and parts, kept because it is still used.
• IM-0859 A die block, the pattern cut into its face in reverse - struck into the metal, it comes out raised.
• IM-0860 A cast handle, checked before it is fitted - holloware is built up from parts like this.
• IM-0861 A bin of cast handles, waiting to be soldered to their bodies.
• IM-0862 Loading the dipping rack - cutlery is jigged up before it goes into the plating tank.
• IM-0863 At the vibratory finisher - parts ride in ceramic media until the surface comes smooth.
• IM-0864 Stephen at the polishing lathe, bringing a piece up to its final brightness.
• IM-0865 The rolling mills - sheet and strip are rolled down to gauge here before anything is stamped.
• IM-0866 Setting the mills - the gap between the rollers decides the thickness of the metal.
• IM-0867 A morning’s holloware gathered together - teapots, jugs, a beaker, a tray.
• IM-0868 The length of the works - benches and machines down both sides, the floor worn smooth.
• IM-0869 The press shop - drop-stamps and fly presses, the heaviest end of the trade.
• IM-0870 The soldering bench - where spouts, handles and feet are joined to the bodies of the holloware.
• IM-0871 In dispatch - finished work wrapped and boxed to go out to the hotels and restaurants.
• IM-0872 A drop-stamp press, decades of work in the wear on its frame.
• IM-0873 The works from above - one floor, every stage of the trade under a single roof.
• IM-0874 Finished serving pieces, boxed with the order note, ready to ship.
• IM-0875 Stephen and Samantha in the office - the firm in the present tense.
• IM-0876 A drum of golden swarf - the bright waste curled off the lathes.
• IM-0877 Spun dishes in raw brass, gold before the silver - held up to the light before plating.
• IM-0878 The press shop - a century of painted iron, orange and green and red, still earning its keep.
• IM-0879 Stephen at the bench, working a fixture by hand.
• IM-0880 A finished jug, mirror-bright - the surface a plain pour of light.
• IM-0881 Two forks checked against each other - the pattern has to match, piece to piece.
• IM-0882 Stephen Wright in the plating room mid-explanation, both hands raised, one foot up on a drum, caught full of energy.
• IM-0883 The wet end of the trade - the plating and finishing room, tubs and chemicals and stone.
• IM-0884 Into the magenta - forks ride a bowl of ceramic media that grinds and burnishes them smooth.
• IM-0885 The media close up - crimson stones that do, slowly, what a hand once did with grit and water.
• IM-0886 A crate of brass spoon blanks, stacked and gold, waiting their turn under the press.
• IM-0887 The offcuts, kept - brass is too dear to sweep up and throw away.
• IM-0888 The press head-on - red over green, a die in the bed, a few hundredweight of iron waiting to fall.
• IM-0889 The working memory - dies racked and pattern templates hung, every shape the firm can still make.
• IM-0890 The skeleton - the fretwork of brass left when the blanks are punched out, gold even as scrap.
• IM-0891 The pattern library in trays - Pride, Queens, and the rest of the named flatware the firm makes.
• IM-0892 Number two, in works green - a fly press for cutting and forming, labelled and logged.
• IM-0893 Finished silver against the dark of the machines - the contradiction the whole place runs on.
• IM-0894 Tiered stands and trays - the afternoon-tea silver that goes out to the hotels and dining rooms.
• IM-0895 Brass dishes and a caster body, still gold - one bench away from becoming silver.
• IM-0896 A press with its guard down, dies and strip in the bed, the flywheel ready to drive it.
• IM-0897 Stephen with a catalogue of old patterns - the kind of book he reads for pleasure.
• IM-0898 Kylie Cocker on the floor of the Joseph Rodgers workshop at Kelham Island.
• IM-0899 Tapping a knife together on the stiddy - the little steel anvil every Sheffield cutler works to.
• IM-0900 Drilling a bolster on the pillar drill.
• IM-0901 At the drill press, framed by the machine.
• IM-0902 Ear defenders down, head bent to the work.
• IM-0903 Bringing the scales down on the wheel.
• IM-0904 Every blade and bolster is drilled by hand, one at a time.
• IM-0905 Checking the fit - blade, spring and scale.
• IM-0906 Into the parts drawers for a handful of springs.
• IM-0907 Glazing the marks out on the flat.
• IM-0908 At the bench, the fan running.
• IM-0909 Assembly - the blades and springs laid out to hand.
• IM-0910 The knife stood on the stiddy.
• IM-0911 Setting the pin.
• IM-0912 The taps land in the same place every time.
• IM-0913 Closing the pivot, tap by tap.
• IM-0914 With Emma Lawes, who grinds and polishes.
• IM-0915 At her place at the bench.
• IM-0916 Kylie Cocker sits on her work stool facing the camera, the bank of parts-drawers to one side and the museum’s arched windows behind.
• IM-0917 Kylie Cocker, pocket-knife maker, Joseph Rodgers.
• IM-0918 Walking me through it.
• IM-0919 Under the old shop sign: Joseph Rodgers, England.
• IM-0920 Showing the piece in hand.
• IM-0921 The bench under the arched windows at Kelham Island.
• IM-0922 Drilling, close up.
• IM-0923 Steadying the work under the bit.
• IM-0924 Kylie and Emma Lawes at the machines.
• IM-0925 Finishing on the linisher.
• IM-0926 Dressing the edge of a cut strip.
• IM-0927 Punching the stitch holes; cut blanks stacked ready.
• IM-0928 Marking a piece by hand.
• IM-0929 At the bench in the Portland Works leather shop.
• IM-0930 Kevin Wilebore bent over his bench working, shelves of dye bottles and offcuts around him and a fire-exit door to the left.
• IM-0931 Checking the line of a cut piece.
• IM-0932 Kevin Wilebore, bearded and in glasses and an It’s Grim Up North t-shirt, holds a pale curved template at the bench.
• IM-0933 Hardware in hand - he hand-finishes his buckles from raw castings.
• IM-0934 Slicking an edge smooth.
• IM-0935 Kevin Wilebore stands at his bench looking down at his work, the bright bench-lined workshop around him.
• IM-0936 Kevin Wilebore stands with a hand to his beard, thinking, in front of shelves of dye bottles and rolled hides.
• IM-0937 Kevin Wilebore in his workshop.
• IM-0938 Kevin Wilebore works in profile at the bench, the long workshop and a doorway behind.
• IM-0939 The tools to hand.
• IM-0940 Cut blanks, stacked and ready to make up.
• IM-0941 The bench.
• IM-0942 A bench scattered with leather tools, a box of metal fittings, knives and a leather phone case on a green mat.
• IM-0943 Kevin Wilebore in profile marking a tan leather piece at the bench, the bright bench-lined workshop and shelves of goods behind.
• IM-0944 Kevin Wilebore, leatherworker, Portland Works.
• IM-0945 Cutting with the round knife.
• IM-0946 A shelf of finished work.
• IM-0947 A round leather travel case with buckled straps sits on a shelf beside vintage leather cases on orange racking.
• IM-0948 Belts, bags, a holster and an apron - the range.
• IM-0949 Kevin Wilebore reaches into metal storage shelving stacked with leather and materials.
• IM-0950 Closing up the weekender.
• IM-0951 Showing the weekender he designed.
• IM-0952 Kevin Wilebore stands looking at the cognac weekender bag on the bench, shelves of hides behind.
• IM-0953 The weekender - his own design.
• IM-0954 Kevin Wilebore lifts a large roll of material from the storage shelves, the round tanning pans behind.
• IM-0955 The cognac weekender bag standing on the bench, sewing machines and bright windows behind.
• IM-0956 The old flat-bed machine.
• IM-0957 Kevin Wilebore’s long workbench crowded with leather tools, dyes and offcuts beneath a green-framed window.
• IM-0958 Tools the length of the bench.
• IM-0959 The workshop at Portland Works.
• IM-0960 Kevin Wilebore cuts a long strip of leather at the bench, the finished weekender bag beside him.
• IM-0961 The weekender bag in the foreground as Kevin Wilebore reaches to a stack of cut leather pieces behind.
• IM-0962 Kevin Wilebore works at the bench beneath the tall windows of the old works, leather and tools spread in front of him.
• IM-0963 Kevin Wilebore works a small wet-formed piece of leather at the bench in his It’s Grim Up North t-shirt.
• IM-0964 The leather store.
• IM-0965 A vintage valve radio sits on the orange shelving among leather cases.
• IM-0966 Work and old cases on the racking.
• IM-0967 Pouches and sheaths, cut and part-made.
• IM-0968 At home, where the visit began over coffee.
• IM-0969 Retired archive entry retired
• IM-0970 The hilt of the scissor sword.
• IM-0971 The scissor sword she spent a year tracking down - and, on the stand, her corsetry.
• IM-0972 Grace Horne sits on a deep red sofa at home, hand to her chin, a mug and papers on the coffee table in front of her.
• IM-0973 Grace Horne talks animatedly in her workshop, one hand raised mid-gesture, against the exposed stone-brick wall.
• IM-0974 A finished small pair, checked in the hand.
• IM-0975 A design drawn out - some of her scissors are nearly jewellery.
• IM-0976 Grace Horne gestures with both hands as she explains something in the workshop, against the curved stone wall under an anglepoise lamp.
• IM-0977 Retired archive entry retired
• IM-0978 In the workshop - a former Victorian public toilet, curved walls and all.
• IM-0979 Working a bow over the bick.
• IM-0980 Close on Grace Horne’s hands turning and inspecting the forged bow of a pair of scissors, her blue sleeve and the warm bench beyond.
• IM-0981 A close portrait of Grace Horne mid-speech in the workshop, glasses on, a hanging lamp and the stone wall behind.
• IM-0982 Grace Horne stands at her bench by the window, smiling down at a small pair of scissors in her hands.
• IM-0983 Grace Horne bends over her bench beneath the window, working, the bench lined with files and scribes in racks against the brick wall.
• IM-0984 Stepping out the geometry - the other book is on the anatomy of scissors.
• IM-0985 Grace Horne marks a measured drawing on graph paper with a scriber against a steel rule, a small pair of scissors and dividers beside her hands.
• IM-0986 A side-lit profile of Grace Horne working intently at her bench, hand at the work on a white sheet, in deep shadow.
• IM-0987 Measuring to the thousandth - the engineer’s habit.
• IM-0988 Grace Horne, scissor maker, Sheffield.
• IM-0989 Filing a blade by hand - the method she works without the old industrial machines.
• IM-0990 Grace Horne stands in the workshop holding a small pair of scissors, looking down at them, a plywood-lined wall behind.
• IM-0991 Grace Horne stands smiling in her bright kitchen, hand on hip, vases of pink peonies on the island and flowers and plants along the window.
• IM-0992 The archive at home - labelled boxes of scissors and the literature on them.
• IM-0993 Grace Horne sits on a deep red sofa at home, hand to her chin, a potted palm beside her and a mug on the table.
• IM-0994 Bag in hand, off to the workshop.
• IM-0995 Grace Horne leans against the curved stone wall of the workshop, gesturing as she talks, the tool bench and vice to one side.
• IM-0996 Scissors on the map that covers the bench.
• IM-0997 Grace Horne’s hands fit a small part to a pair of scissors at the bench, a finished pair and a forged blank resting on the wood.
• IM-0998 A forged pair, held against the page.
• IM-0999 Pages of her own scissor research, drawn out by hand.
• IM-1000 The window on the street. The workshop is tiny, and she can see the road.
• IM-1001 A finished pair of polished scissors with a maker’s stamp lies open on the worn wooden workbench in warm light, another forged pair behind.
• IM-1002 Finished, and laid out on the green.
• IM-1003 Over Grace Horne’s shoulder, she works a small forged pair of scissors at the bench, more forged scissors and a vice in front of her.
• IM-1004 Grace Horne gestures with both hands as she explains something, a small pair of scissors held up, against the curved stone wall.
• IM-1005 Over Grace Horne’s shoulder she works the bow of a pair of scissors with a tool, several forged pairs laid out on the curved bench.
• IM-1006 Grace Horne sits at the bench by the window examining a scissor bow in her hands under the bench light, the stone wall behind.
• IM-1007 Steel and notes, clipped to the wall.
• IM-1008 Grace Horne sits at her bench smiling warmly to the camera, a small pair of scissors in her hands, a microscope and vice beside her against the stone wall.
• IM-1009 The wall of scissors.
• IM-1010 The workshop interior - a small drill press and machine on a bench beneath a window, the curved white-painted brick walls of the old building around it.
• IM-1011 Grace Horne sits working at the bench beneath the window and an industrial lamp, the curved stone wall of the converted toilet curving around her.
• IM-1012 An old hand press mounted on a bench against a plywood wall in the workshop, trays beside it and greenery at the window.
• IM-1013 The glass roof of the old public toilet.
• IM-1014 Grace Horne stands in a plywood-lined back room of the workshop holding a cloth, a bench grinder and tool chest beside her.
• IM-1015 Grace Horne stands in the back machine room holding a scribe and small scissors, reaching toward a grey tool chest by the window.
• IM-1016 Through the glass: Grace at her bench, the street reflected over her.
• IM-1017 Lily Marsh standing by her bench with a rucksack in her hands, looking off to one side, a dummy mallet and a chisel resting on a shelf in the foreground, the crowded workshop behind her.
• IM-1018 Listening, before the work started. She had done psychology, then a stretch working in a prison, before she ever came to stone.
• IM-1019 Lily Marsh in profile, hair tied back, talking with her hands raised, the bare brick wall of the workshop behind her and a maker working at the right edge of the frame.
• IM-1020 Lily started carving in 2013, after a two-year diploma. She had always been the one drawing and painting; stone was the creative outlet she had been missing.
• IM-1021 A tight study of Lily Marsh’s hands - one fist gripping the chisel against the worked face of the stone, a ring on her finger, the round wooden mallet caught at the top of the frame, her jeans behind.
• IM-1022 Close view of Lily Marsh carving, respirator over her mouth and glasses pushed up, both hands working a chisel against the stone, the wooden mallet blurred in motion.
• IM-1023 Out in the yard, where the dust can blow off and the light is better.
• IM-1024 Lily Marsh kneeling beside the finished standing stone in the yard, mallet raised, a pallet truck behind her, the sculpture lit so its leaning, polished crest catches the daylight.
• IM-1025 Lily Marsh, Stone, Letter and Sculpture Studio, Stag Works.
• IM-1026 Lily Marsh facing the camera in the workshop, a respirator hanging round her neck and a dummy mallet held against her body, glasses on, the studio clutter softened behind her.
• IM-1027 The Stone, Letter and Sculpture Studio at Stag Works, Sheffield. The address I walked straight past with three people standing in front of it.
• IM-1028 Three people standing inside the workshop around a tall block of white stone on a wheeled trolley - Lily Marsh at left in a work apron, a man in a cap with a respirator round his neck at centre, and a bearded visitor in a dark hooded top at right, brick walls and crowded shelving behind them.
• IM-1029 Steve, watching the work. He is a letter cutter and stonemason, and the surprise of the day - I had not planned for a second maker.
• IM-1030 The two of them at work in the same room - Lily on her sculpture, Steve at the bench. A carved stone sheep waits on the pallet.
• IM-1031 Lily Marsh in a respirator and glasses, leaning into the work, a round-headed dummy mallet raised in one hand and a chisel held to the pale stone in the other, the tall carved form rising on the right.
• IM-1032 Retired archive entry retired
• IM-1033 The tooled texture and the dressed facet side by side. Everything you see is decided by hand, blow by blow.
• IM-1034 The trade, side by side in the yard. Steve cutting letters, Lily carving form.
• IM-1035 Lily Marsh standing in the middle of the shared workshop holding a dummy mallet and chisel, a large stone template with a blue drawn outline propped at her left, the crowded studio around her.
• IM-1036 Lily and Steve. They share the room, and often the same commission - his lettering, her sculpture.
• IM-1037 Lily Marsh leaning against her bench with her arms crossed, smiling sideways, while Steve stands beside her laughing, a large dark artwork of an eye and antlers on the wall behind them.
• IM-1038 Lily Marsh and Steve standing side by side in the workshop, both turned to the camera and smiling, tools and shelving crowding the frame around them.
• IM-1039 Steve Roche cutting the long stone sign out in the yard, a respirator over his mouth and safety goggles up on his cap, holding the lettered slab close to his face to check a cut, the words ‘songs in to…’ running along its edge.
• IM-1040 The letters are drawn out in pencil first, then cut. Every serif is a decision made with a chisel.
• IM-1041 Steve Roche. Letter cutter and stonemason, and the warmest company you could hope to photograph.
• IM-1042 Steve Roche, Stone, Letter and Sculpture Studio, Stag Works.
• IM-1043 Steve Roche facing the camera in his workshop, flat cap and full beard, a grey llama-and-stag t-shirt, holding a small tin in both hands, framed certificates and a shelf of books behind him.
• IM-1044 The Stone, Letter and Sculpture Studio at Stag Works. Steve runs the room; Lily Marsh shares it.
• IM-1045 Three people standing inside the workshop around a tall block of white stone on a wheeled trolley - Lily Marsh at left in a work apron, Steve Roche at centre in a cap with a respirator round his neck, and a bearded visitor in a dark hooded top at right.
• IM-1046 Steve watching Lily at the stone. The two of them keep an eye on each other’s work all day.
• IM-1047 Lily Marsh bent over her sculpture with a chisel while Steve Roche works at the sink-side bench with his back to the camera, a small carved stone sheep sitting on a wooden pallet on the floor between them.
• IM-1048 Steve Roche seated in the works yard in a respirator and safety goggles, a lettering chisel and a round dummy mallet held ready in his hands, the carved ‘songs in to…’ sign on a trestle beside him.
• IM-1049 The same commission, sometimes - his lettering, her sculpture, a few feet apart.
• IM-1050 Retired archive entry retired
• IM-1051 Over Steve Roche’s shoulder as he cuts the words ‘ngues old an…’ into the long stone sign, a round mallet in his fist, his flat cap and the strap of his respirator in the foreground.
• IM-1052 Steve Roche standing in the middle of the shared studio, hands clasped in front of him, a slight smile, the cluttered workshop and a large eye-and-antlers artwork on the wall behind him.
• IM-1053 Steve and Lily. He had the room first, on the other side of Sheffield, then here; she came in when a job needed the space.
• IM-1054 Steve Roche laughing beside Lily Marsh, who leans against the bench with her arms crossed, a large dark artwork of an eye and antlers on the wall behind them.
• IM-1055 Steve Roche and Lily Marsh standing side by side in the workshop, both turned to the camera and smiling, tools and shelving crowding the frame around them.
• IM-1056 The finished line - ‘songs in tongues, old and new’ - cut and painted into the stone.