The Bath Magazine June 2021 by MC Publishing Limited

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ISSUE 220 | JUNE 2021 | thebathmag.co.uk | £3.95 where sold

It’s only rock and roll ... but we like it Carinthia West captures the spirit of the 70s

FASHION DOYENNE

Alexandra Shulman talks clothes and things that matter

BACK TO NATURE

Why we love green spaces more than ever

THINKING BIG

Why art can make a signiﬁcant splash

PERFORMING MIRACLES The magic is back with Giﬀords Circus

T H E C I T Y ’ S B I G G E S T M O NTHLY GUIDE TO LIFE AND LIVING IN BATH

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Contents 5 THINGS

June 2021

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Essential happenings to look forward to this month

THE CITYIST

BOOKS

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This month the team at Topping and Co. Books have chosen four books for us – all from different genres

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RESIDENT ARTIST

We interview senior health care worker at the RUH, Alvina Ware

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Midge Naylor is a painter whose work sparkles with imagination

NOTES ON A SMALL CITY

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Is the city’s historic info-signage good enough? asks Richard Wyatt

FILMED IN BATH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44 The city made a magical location for the BBC’s The Pursuit of Love

ALEXANDRA SHULMAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 Melissa Blease chats to the former Editor in Chief of British Vogue, about her memories and her book on clothing and things that matter

CITY PAGES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

RONDO ROUND-UP

EDUCATION NEWS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

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It’s great to have our cultural venues back – here are some Rondo highlights

OPERA AT IFORD ARTS

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Head of The Paragon Rosie Allen talks about her first year at the school and we discover the benefits of learning drama at Wells Cathedral School

The summer arts season at Iford Arts has planned for a big return

WHAT’S ON

Our guide to the happenings and goings on across the city

THE BIG TOP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 Simon Horsford speaks to Lil Rice, one of the stars and now also producer at Giffords Circus

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A line-up of exhibitions and events from Bath’s public and independent art galleries

More content and updates discover: thebathmag.co.uk

BIG ART

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John Law of Woodhouse & Law guides us through the latest trends in statement art for interiors

HOMES AND GARDENS

Emma Clegg talks to model, actor, ’70s IT girl and photographer, Carinthia West – she had some super-cool friends to snap

ARTS & EXHIBITIONS

WALKING WITH ANDREW SWIFT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66 For June, it’s a fabulous circle walk starting in Swineford

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COVER STORY: SHOOTING STARS

News and updates, and we talk to Rotork CEO, Kevin Hostetler

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Ellie West talks water features, and there are some very impressive properties on sale with Bath estate agents

ON THE COVER

Carinthia West photographed the stars in the ’70s and her exhibition at The American Museum & Gardens captures the spirit of the times. Cover image courtesy of Steve Tanner.

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FROM THE EDITOR

See more online www.thebathmag.co.uk

lothes form a life-affirming vocabulary for each of us. But they also have individual significance and impact. Alexandra Shulman – at the helm of British Vogue for an impressive quarter of a century – enticingly captures this in her new book Clothes…and other things that matter. This month she chats to Melissa Blease, ahead of Alexandra’s forthcoming events at Topping & Co Books. She even explains why when on location in an exotic international hotel she often wished she was wearing a Sloppy Joe and drinking a lager and lime in a Hammersmith pub. Big empathy. See page 16. From clothes we transition naturally to modelling and rock and roll, with an interview with 70s IT girl Carinthia West on page 30, whose exhibition Shooting Stars at the American Museum & Gardens runs until 31 October. Carinthia always had her faithful Canon camera with a red strap at her side in the 1970s and ’80s, and she used it to take pictures of her friends. These friends just happened to be quite famous, including Mick Jagger, Ronnie Wood, Eric Idle, George Harrison, Anjelica Huston, David Bowie and Helen Mirren. Bianca Jagger (mentioned in passing on page 46 as we invite a selection of contributors to name a precious item of clothing) is a notable advocate for climate change. This is a superb link to David Goode’s Back to Nature feature on page 62. David is an urban ecologist, and he talks about how lockdown has connected us to nature in all sorts of unexpected ways, and how our greater appreciation of the birds singing in our garden and our green spaces generally has a big significance for our sustainable future. Art is close to our hearts this month, as our big galleries and museums open their doors, and John Law (of interior design partnership Woodhouse & Law) gives us an expert overview of how to use sizeable art in the interior on page 68. This means big paintings, yes, but also sculptures, statement furniture, oversized wallpaper and collages of pictures. I also chatted to local painter Midge Naylor on page 42 about her instinctive, internal style of painting, which – despite living in the south west for 30 years – is devotedly inspired by the landscapes in East Lothian that she grew up with. I also talked to Michael Volpe on page 22 – once the brains and energy behind Opera Holland Park, he has recently taken on the direction of Iford Arts. Their summer season in August and September promises engaging and inclusive pieces such as Peter and the Wolf, the classic double bill of MezzoCav and Pagliacci, as well as the pastoral serenata Acis and Galatea for Handel aficionados. It’s June and it’s time to fly to new cultural climes, because events, shows, cinema and theatres are buzzing once again. Holidays abroad are still under debate, but let’s unlock our lives by connecting with our brimming-back-to-life local resources. #LovingJune

Steve Miklos steve@thebathmagazine.co.uk

Editor Tel: Email:

Emma Clegg 01225 424592 emma@thebathmagazine.co.uk

Financial Director Email:

Jane Miklos jane@thebathmagazine.co.uk

Assistant Editor/Web Editor Millie Bruce-Watt Email: millie@thebathmagazine.co.uk Production Manager Email:

Jeff Osborne production@thebathmagazine.co.uk

Contact the Advertising Sales team tel: 01225 424499 Advertising Sales Email:

Liz Grey liz@thebathmagazine.co.uk

The Bath Magazine and The Bristol Magazine are published by MC Publishing Ltd. We are an independent of all other local publications

The Bath Magazine is delivered free, every month to more than 15,000 residential addresses as well as businesses throughout Bath and the surrounding area. We also have special distribution units in many of Bath’s supermarkets

2 Princes Buildings, George Street, Bath BA1 2ED Telephone: 01225 424499. Fax: 01225 426677 www.thebathmag.co.uk © MC Publishing Ltd 2021

Emma Clegg Editor

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Disclaimer: Whilst every reasonable care is taken with all material submitted to The Bath Magazine, the publisher cannot accept responsibility for loss or damage to such material. Opinions expressed in articles are strictly those of the authors. This publication is copyright and may not be reproduced in any form either in part or whole without written permission from the publishers.

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ZEITGEIST

things to do this

Orange Kelly 28 with Twilly Emma Stone as Cruella de Vil

Sound of Metal, Judas and the Black Messiah, Nomadland,

Lilac Blue is holding a pop-up event in Bath from 23 June – 2 July, timed to coincide with the reopening of society and intended to be a fun celebration of being able to go out and about to socialise more. The pop-up shop will showcase a variety of Hermes, Chanel, Louis Vuitton, Fendi and Prada bags. Whether you’re looking for a pre-loved addition to your wardrobe or for a valuation to sell a lockdown clear-out find, Antoinette and her colleagues are also hosting an evening at Portman, Milsom Street on 25 June. lilacblue.com

Artwork by Jessica Kerridge

Admire Milsom Place is hosting the works of artists in an innovative new project organised by Bath Spa University, in conjunction with B&NES Council. The project, entitled In the Meantime, aims to bring temporarily unoccupied spaces into productive use. The pandemic and subsequent economic crisis have seen a large number of shops in the city centre become empty; these vacated spaces are highly visible. In The Meantime, which runs until 27 June, seeks to support the council to reinvigorate these spaces during this interim period with works from current students and alumni from Bath School of Art and Bath School of Design, EMERGE residents and The Studio at Palace Yard Mews. milsomplace.co.uk

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Escape The Little Theatre Cinema has finally reopened its doors! As we all continue to crave a little light escapism – that doesn’t involve sitting on the sofa – why not head down to St Michaels Place and catch Disney’s Cruella with Emma Stone or other films including

Browse

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Ammonite and Babyteeth? After a hard year for cinemas, let’s show our love and support for our local arthouse, which dates back to 1935. picturehouses.com/cinema/little-theatre-cinema

Enjoy Live music has returned to Green Park Brasserie every Wednesday, Thursday, Friday and Saturday night. The music at the brasserie varies in style, from dynamic duos to modern trios to a hot club style quintet encompassing jazz, funk, soul and swing. The brasserie kitchen will be open from 12–10pm Wednesday to Saturday, serving up local produce including steak, fish, chicken, burgers and weekly specials. The brasserie’s sister business, Bath Pizza Co, has also reopened its doors seven days a week and is welcoming diners on the back terrace. Booking in advance is advised. greenparkbrasserie.com

Celebrate It’s Father’s Day on 20 June and if you’re looking to buy sustainably and spend locally, look no further than Ecomofo – a new west country start-up specialising in sustainable male grooming products. Ecomofo’s Laboratory Perfumes are incredible smelling fragrances made in the UK using socially conscious, environmentally friendly and cruelty-free ingredients. Each scent costs £70. ecomofo.com

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The city

ist

THE BUZZ

A SWIM IN TIME

My BATH

Alvina Ware has worked at the RUH for over seven years. She is now a Senior Healthcare Assistant and Inclusion Ambassador. Here, she tells us about her love for her job, the NHS, and what got her through the last 12 months The restoration of Cleveland Pools in Bath is now underway, following a 17year community campaign to save the Grade II listed site. Bristol-based Beard is leading the work on the restoration of the pools, the oldest surviving outdoor public swimming pool in the UK, which was built in 1815 and is now regarded as a nationally significant site. The £6.2m project has the support of hundreds of people in Bath, many of whom have recorded their happy memories of summers spent poolside. Among the work to be carried out is the restoration of the crescent-shaped main pool and the shallower pool. There will also be refurbishment of the largely unaltered Grade II listed buildings, the central cottage upgraded to be used as a main entrance and pay point. Work is due to be completed in time for swimmers to return next summer, for the first time since ‘84. clevelandpools.org.uk

COMEDY COMEBACK

Bath Comedy Club continues its triumphant return to the stage, with live comedy club nights, now running fortnightly on Fridays at Widcombe Social Club. This month’s dates are 11 and 25 June, featuring The Scottish Falsetto Sock Puppet Theatre and Raymond & Mr Timpkins Revue. With three top acts each night, the bar open from 5pm, free live music and a new pre-show bar food menu, what’s not to love? We can’t wait – what a laugh! And look out for Bath Comedy’s Permission To Laugh festival 16-31 July. For details of all Bath Comedy shows see: bathcomedy.com

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What are your connections to Bath? I grew up in Bath and I now live in Radstock. I love living there because it’s so beautiful and unique. On one side you have the beautiful Georgian town and just a short walk away you can be in the middle of the countryside watching the wildlife or taking a ride along the cycle tracks. I have lots of family in Bath, Bristol and the surrounding area. My family came here from Jamaica in the 50s during the ‘Windrush’ and settled here in Bath. Which one of the landmarks of Bath city are you most fond of? Pulteney Bridge and the Parade Gardens – so much so my husband and I had our wedding pictures taken there. I felt like a Georgian princess for the day. Where did you grow up and what treasured childhood memories do you have? I grew up in Bath with my grandmother, who was a strong Jamaican lady. She would take me to Royal Victoria Park with my cousin where we would see lots of our friends. I just remember having so much fun in the long hot summer holidays. I now love taking my own children to the park. What inspired you to go into medicine? I was always interested in learning about infectious diseases and biology. I remember reading a book about Mary Seacole and her work in the Crimean War and thinking I want to be just like her, I enjoy helping people so nursing seemed like a no-brainer. How directly has the Covid pandemic affected you and your work? It totally changed everything, I will never forget the call we all had last March telling us that our ward was being changed from SAU (Surgical Assessment Unit) to RAU (Respiratory Assessment Unit) and we had to choose if we wanted to stay or be redeployed. It was a difficult time for all of us, but we pulled together and made it work. I had to tell my family and close friends where I was working and not to worry, and that was hard on them.

What experiences have stood out for you over the past year? After working on RAU/SAU I decided to make a change and I moved to the cardiac ward and was promoted to a Senior Health Care Assistant. This was a big change for me but I soon adjusted and I’m learning so many new things. This also coincided with me becoming an Inclusion Ambassador, I couldn’t believe that I had been successful. Being an ambassador is an amazing opportunity to make positive change happen within the RUH and I’m so proud to be a part of it. What has sustained you and your colleagues through this difficult period? Cake and chocolate! But in all seriousness we were touched by the support and kindness shown by the public, we all formed a strong bond working under uncertain often scary circumstances and that’s part of what kept us going. Do you feel the public are more supportive of the work of the RUH and the NHS generally now? Yes, I feel that the public have really seen how hard the NHS work to keep everyone safe and it’s also highlighted to many the need for a well-funded NHS. How valuable is your work to you? It’s one of the most important things in my life. I like that I can help lots of different people in my roles. What do you like to do to relax when you are not working? Gardening is probably my most favourite hobby; my family now have the bug since the first lockdown so now I have plenty of help. I’m currently trying to grow different kinds of Chilli plants to make my own hot sauce. I also enjoy cycling using the cycle tracks in and around Bath. What would be your moral in life? Be kind, especially to yourself. ■ There are many opportunities to start a career at the RUH. Find out more at: nhs.uk/careers

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Handmade in the heart of Bath

So many beautiful things to discover at our shop

But if you can’t visit us, why not try our online store: jodycory.co.uk

ENGAGEMENT AND WEDDING RINGS HANDMADE BESPOKE JEWELLERY REPAIRS AND REMODELLING

9 Abbey Churchyard, Bath BA1 1LY jody@jodycory.co.uk

Shop online at: www.jodycory.co.uk Tel: 01225 460072

Visit our exclusive vintage pop-up shop

ayfair based Lilac Blue London, The UK’s leading seller of vintage and pre-loved Birkin, Kelly, Chanel and Louis Vuitton designer handbags is inviting you to their exclusive pop-up shop and exhibition in Bath from 23 June – 2 July 2021. Whether you’re looking for a pre-loved addition to your wardrobe or for a valuation to sell a lockdown clear-out find the Lilac Blue team is available for private appointments in Altitude and Attitude, Nelson Place East and is hosting an evening exhibition, sale and talk on the rising popularity of luxury handbags at Portman, Milsom Street on Friday 25 June. In 1954 Grace Kelly fell in love with the classic Hermes handbag, which later took her name. Since then, and the subsequent creation of the Birkin bag for Jane Birkin in the 1980s, these two handbags have become icons for tasteful luxury and glamour. But you can’t just walk into a Hermes boutique to buy one - you have to get to know the people in the shop and then go on a waiting list for several years. To answer this problem, Lilac Blue London has been the market leader since 2007 and carries a wide selection of bags in stock so you can find the colour and style you covet. The team is expert in authenticating bags and even trains auction houses to make valuations. Beautiful bags are increasingly being collected for their investment value as their worth increases with prices rising by around 17% year on year.

To arrange a private appointment to see the collection or to have your bags valued at Altitude and Attitude please email contact@lilacblue.com or call 0845 2248876. To reserve your place on the guest list at Portman on Friday 25 June please visit lilacblue.com/bath-portman/

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Criterion Auctioneers & Valuers

We have held weekly auctions of antiques, memorabilia and ﬁne art from our London saleroom since 1989. In early 2021 we expanded our business to hold monthly online auctions from our Head Quarters in Corsham, Jaggards House speciﬁcally aimed at the luxury and antiquities markets. Throughout 2021 we will be holding auctions of Luxury Handbags & Accessories in collaboration with Lilac Blue of Mayfair London; Asian & Islamic antiquities, Rugs & Carpets and contemporary Jewellery.

We’re open Monday – Friday, 10am – 4pm for valuations, deliveries, consignments and viewing days (when catalogues are online). Our Contact Details Jaggards House, Jaggards Lane, Corsham, Wiltshire SN13 9SF Email: bath@criterionauctioneers.com / valuations@criterionauctioneers.com Tel No: 0207 359 5707 (opt.4)

Auctions

Upcoming Auctions

Asian & Islamic

Carpets & Rugs Jewellery

Luxury Handbags & Accessories

Catalogue & Auction Dates On now until 9th June 10th June - 30th June 1st July - 21st July Coming soon!

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CITY | NOTEBOOK

Richard Wyatt: Notes on a small city Columnist Richard Wyatt ruminates on physical and digital signage, and whether more information signs to explain our city’s history would be useful

plaque screwed to the pole explaining how the ‘totem’ had been carved by wood sculptor Lee Dickenson, who is still active at his Apple Carving Studio in Dorset. Audrey thought if an A4 sized sign was placed where it could be seen from the footpaths it would attract greater interest, and maybe there are other botanic highlights that would benefit from improved signage.

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These days technology is increasingly taking over the job of providing information...

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ecause of the years I did walking the streets of Bath as a Mayor’s Guide, I happen to know that our beautiful Victoria Park was given the appendage ‘Royal’ because it was the first such public space to be opened in 1830 by Queen Victoria when she was just 11 years old. It’s local folklore that the princess heard someone criticise her ankles as she cut the ribbon, and rightly took offence, and that was the reason why, once crowned, she never came to Bath again. The opening ceremony is a fact, the body shaming is not, but should information like this be made available to our visitors who hopefully will be returning to stroll through our World Heritage City? Would it add to their appreciation to read a sign at one end of Great Pulteney Street explaining that it’s the city’s grandest avenue at 1000 feet long and 100 feet wide? And that the Titanic would sit in it with room to spare at either end? Or what about a sign beneath the ancient tree in Abbey Green acknowledging that this giant plane is one of the oldest architecturally planted trees in the world and took root as a tiny sapling back in 1793? Steam railway fans might enjoy reading an information plaque, if it was attached to the little rather rusty and battered iron bridge that crosses the London-bound rail line in Sydney Gardens. It would say that this is the last pedestrian bridge – designed by that little Victorian engineering giant Isambard Kingdom Brunel – that still spans his Great Western Railway between Bristol and London. The Grade 2* listed cast-iron footbridge was erected in 1840. But what brought on this train of thought? I had a coffee with my friend Audrey – she is a retired teacher, and when she was an active Mayor’s Guide she was the one who examined me on my test walk when I qualified to wear the badge. We keep in touch, and at our last meeting she was keen to talk about a ‘totem pole’ carved into what looks like a Green Man, which stands in the corner of the city’s Botanic Garden, itself a part of that 57-acre park originally opened 191 years ago by Princess Victoria. Audrey was walking round the carving looking for information as to what it represented and who had made it. Eventually she noticed a tiny

The work, entitled Man’s Hand in Nature, was sculpted from a Wellingtonia tree that had died naturally after 146 years. Lee explained that he used a chainsaw to create the piece, or rather a series of chainsaws giving different lengths of the cutting bar and power. He took my point about the signage, but said that a much larger one might detract from the work. These days technology is increasingly taking over the job of providing information. There are already many online image recognition apps offering instant information about the world around us. You can point your smart phone at a plant leaf and an app tells you what it is. Maybe soon we’ll be able to walk around Bath and do the same for every building and physical feature in our World Heritage City. Maybe we can already and I just don’t know? Many would say that we have enough street furniture getting in our way – from benches and bollards to traffic signage, lamps and litter bins – without more obstacles. Yet while technology may soon be telling us everything we need to know about our environments, it does leave behind those who aren’t so cyber savvy. Whether you are a young computer whiz-kid or a granny with a guide book, l would suggest that taking one of the walking tours around the city now getting underway again, is fascinating and great family info-tainment. But then I would say that – old Mayor’s Guide habits die hard! n Richard Wyatt runs the Bath Newseum: bathnewseum.com

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ARTS | BOOKS

Stories of style

Editor in Chief of British Vogue for a quarter of a century, Alexandra Shulman has a few stories to tell. Melissa Blease talks to her about her new book, a collection of cameos about aspects of clothing and their personal value

am wearing a loose-knit sweater in a disrupted rainbow of faded colours. The sleeves are over-long, reaching to my fingertips and the whole baggy jumper hangs to mid-hip...” Sound familiar? Probably; after all, the wearing of such comfortable, familiar jumpers is what got us through the everyday day when there’s nothing on the agenda and nobody around to care what we wear. It is not, however, the sort of item one would expect Alexandra Shulman – the woman who was for a quarter of a century the 10th and longest-serving Editor in Chief of iconic fashion magazine British Vogue to highlight in her 2020 book Clothes... and Other Things That Matter as an item that – well, matters. “Neither did I!”, says Alexandra, with a laugh. “But when I left Vogue in 2017 I had absolutely no idea what I was going to do, which is most unlike me – I’m not a reckless person or a chancer, but leaving was a flash decision to just jump. I knew that one way or another I’d survive, but it was quite a shock to the system and, as the weeks went by, became a bit nerve-wracking.” So how did the nerves unwrack? “I’d written books before including Inside Vogue, which was a diary of the magazine’s centenary year in 2016,” Alexandra explains. “And I’d been keeping track of the process of leaving my role and the aftermath – that was potentially the book I thought I was going to write, but for one reason or another it didn’t make sense to write a straightforward memoir. So I sort of fumbled my way towards Clothes...; it came about as I was writing it, really.”

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We had pavilions showcasing collections from designers such as Chanel, Versace, Valentino, Burberry and Armani...

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The result is a highly captivating, intensely personal collection of cameos that focus on the items of clothing and accessories that bring meaning to our lives as we negotiate the world from childhood to romance, motherhood, career and beyond, taking in body image, social commentary and fashion history along the way. Our clothes, you see, tell many stories – and Alexandra has told many of those in her book. As we all know, even a straightforward wardrobe clear-out is often too big a task, both physically and emotionally, to undertake without bouts of procrastination; how on earth did Alexandra select which of her treasured sartorial memories would make the cut for the book? “I simply wrote about the pieces I felt I could write something about,” she says. “Red shoes, for example, which is the first chapter in the book. Like many women, I owned my first pair of red shoes in my childhood, so it was a good starting point. But that led on to the idea of red shoes, and how and why women who don’t want to be flamboyant in other areas will choose to wear them. From there, I found myself writing about connections to red shoes such as Dorothy and the Yellow Brick Road in the Wizard of Oz and what that meant, and that’s when I saw the shape of the book: personal, but relatable to all. There’s another chapter about Juicy Couture tracksuits, which is personal to me but also about a moment in time that we all shared: 9/11, a period where you would have thought everything would change, but people were still wearing Juicy Couture – it makes sense, in the book! But at the end of the day, anybody could have written this book, because everybody’s got their own stories about their own clothes.” 16 TheBATHMagazine

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The daughter of Canadian author and critic Milton Shulman and British etiquette doyenne Drusilla Beyfus began her career in fashion journalism after taking a job as a secretary at fashion and lifestyle magazine Over 21 in the early 1980s before going on to write for Tatler and becoming editor of British GQ in 1990. As well as publishing two novels, she’s written columns for national publications, and was awarded an OBE for Services to the Magazine Industry in 2005 and a CBE for Services to Fashion Journalism 12 years later. On taking to the helm of Vogue in 1992, Alexandra presided over a massive circulation increase and a much higher profile for the magazine. Remember the Vogue Millennium Issue, with an ingenious mirror-like finish that put the reader on the cover? That was Alexandra. What about the 1997 Diana, Princess of Wales Memoriam Issue featuring the princess as photographed by Patrick Demarchelier, or the Gold Issue in December 2000, featuring Kate Moss in stark, blacked-out silhouette? Alexandra again. But beyond those covers.... “One of the biggest high points of my Vogue tenure was getting the job in the first place!” Alexandra recalls. “That moment was a wonderful one indeed. On from that, a lot of the high points were around very special moments such as the It’s Fashion fundraising event for Macmillan Cancer Relief in 2001, held at the Rothschild’s Waddesdon Manor in Buckinghamshire. I had this idea to base it around the Field of The Cloth of Gold summit meeting between the Henry VIII and King Francis I of France in 1520, with pavilions showcasing collections from different designers such as Chanel, Versace, Valentino, Burberry and Armani all in their own little courts, as it were, followed by a gala dinner attended by Prince Charles, Madonna and Kylie Minogue, among others. Amazingly, it happened! And for me that was a huge achievement; a lot of hard work, but well worth it. And in the magazine’s centenary in 2016: to be Master of Ceremonies as we celebrated 100 years of British Vogue at the National Portrait Gallery exhibition and realising that I was the custodian of such an incredible legacy was beyond amazing. Those are my stand-out memories. There were obviously individual editorial moments that were absolutely thrilling too, but it’s difficult to pick just one out.” And the lows? “For every high there were many lows,” she says; “the trick is to remember the highs – that’s true of life in general.” There’s much more of that subtly optimistic philosophy woven into the fabric of of Alexandra’s book.... But on a less profound level: what are the worst fashion trends bugging her now? “In my opinion, those dreadful prairie-style, smock-like dresses with big collars, on a sort of puritan theme. There’s something about the idea of women dressing in this kind of Little House On The Prairie way that isn’t saying anything terribly good about women. When we look back on the prairie thing as a major fashion trend, I wonder if people will connect it with the time when time moved back a bit because of Covid; back to spending much more time in the kitchen, doing the ironing, doing the dusting... and women being dressed for the part? I believe that connection will be made.” So if that’s the bad news about right here, right now, what, for Alexandra, would her favourite fashion era be? “I think everybody loves the era when they were a teenager really, because that was the time you probably felt most passionately about the clothes you chose to wear,” she says. “For me, that would be the 1970s; I loved – and still love – the clothes from that time, and back then I felt so emotional about clothes in a way that I’ve never really felt since.” As Alexandra told comedian Viv Groskop in a 2012 Evening Standard interview, “my heroines were singers like Joni Mitchell, Patti Smith or Carly Simon; I didn’t think about whether they wore Chanel or not.” But as editor of Vogue, surely such considerations are crucial? “When I was at Vogue I largely dressed for an executive role. But now

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that I can just wear what I want to wear, I veer back dangerously to the 1970s on a daily basis!” The 1970s – or that beloved jumper that we 'met' back at the start of this interview. “When it came down to it, jammed into a plush booth late at night in a foreign city, I yearned to be back at home with a half of lager and lime in a Hammersmith pub wearing something utterly unglamorous and asexual like my Sloppy Joe.” Alexandra says. Now there speaks a woman who knows what matters the most. n

Alexandra Shulman will talk about her book virtually at Topping & Co Booksellers on 11 June, 7pm; and she will visit in person on 22 September, 7.30pm Topping & Co Booksellers, The Paragon; 01225 428111; toppingbooks.co.uk Clothes...and other things that matter by Alexandra Shulman (Cassell), £16.99 THEBATHMAG.CO.UK

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Respecting Strawberries

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CITY | THEATRE

The return of the Rondo

The theatre awaits! The new season at the Rondo launches in June, with a physical spectacle of theatre, comedy and music that can once again be enjoyed in person. The first production is Dirty Bath, a romp through the less salubrious aspects of the city’s history, which opened last year just before the first lockdown

he Rondo Theatre in Larkhall village is welcoming audiences back after being forced to close in March of last year due to the Coronavirus pandemic. The theatre, which can seat up to 129 people, will reopen on 2 June with a reduced capacity to enable social distancing. Their reopening season will kick off with the last show to be publicly performed in the theatre, Dirty Bath by the Natural Theatre Company, which sold out in March 2020. The news that theatres will be allowed to reopen from late May comes just in time for the Rondo, which relies on the income from bar and ticket sales to survive; many other small venues have closed permanently due to the pandemic, and the future looked uncertain for the Rondo at the start of the first lockdown last year. The Rondo’s artistic director Ian McGlynn gives his perspective: “We were incredibly lucky and grateful to receive a large grant from the Cultural Recovery Fund, and business relief grants from the council, not to mention donations from the community to our ‘Save the Rondo’ fund – without which we simply would not have been able to survive the lockdowns.” As one of Bath’s best-loved and most vibrant performing arts venues, the outpouring of community support for the Rondo comes as no surprise. Each year the theatre presents a diverse mixture of professional theatre, stand-up comedy, music and community theatre. It often attracts some of the biggest names in comedy (Nina Conti, James Acaster, and Milton Jones are among the most recent) who enjoy testing new material in an intimate space. The theatre also provides vital support and mentorship for new, up-and-coming theatre makers, and regularly hosts premieres of brand-new, original plays. “While the future is looking much brighter for the Rondo, we need the summer and autumn seasons to be a success. We’re taking every step to ensure the safety of our audiences, volunteers and artists, and we can’t wait to welcome them all back in June,” says McGlynn. The new season will launch in June with the Natural Theatre Company’s Dirty Bath, a comedy romp through the less virtuous aspects of the city’s history, and one that proved hugely popular with audiences last year. The season continues through to the end of July with theatre, comedy and music, including the singing comedy duo Stiff & Kitsch (one half of which, Rhiannon Neads, hails from Bath),

and Cut Bait, written by the Rondo’s own deputy director Pippa Thornton and starring Maia Tassalini. Also on offer is the Rondo’s Summer Theatre School for young people aged 8–15, which takes place for a week in July and August. n Rondo Theatre, St Saviour’s Road, Larkhall, Bath; 0333 666 3366; rondotheatre.co.uk/whats-on

ABOVE: Dirty Bath, presented by The Natural Theatre Company, comes back to the Rondo, from 2–5 and 9–12 June

Maia Tassalini stars in Cut Bait

FAR LEFT: Maia Tassalini stars in Cut Bait on 2 July, a comedy exploring the hilarious ups and downs of casual dating

Image: Joe Samuels

LEFT: Stiﬀ and Kitsch perform their hit show Bricking It on 3 July. It’s all about everything keeping them awake at night: tax, wooden cutlery and the consequences of last night’s eight double G&Ts

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16 Pierrepont St, Bath BA1 1LA | Tel: 01225 464433 www.kathrynanthony.co.uk

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ARTS | OPERA

“The Saddleback structure at Belcombe Court has a natural parabolic state so it just chucks sound out – it’s perfect for the times and quite spectacular”, says Michael

The opera’s back

“This is our contribution to the big return”, says Michael Volpe, the executive director at Iford Arts, referring to the forthcoming summer season at Belcombe Court. Emma Clegg finds out about the productions ahead and his plans for the future

he opera season at Iford Arts this year has been described by artistic director Oliver Gooch as a ‘shot in the arm’, a defiant, creative response to the challenges facing us all. Another shot in the arm has been the appointment in January this year of Michael Volpe, the former chief of Opera Holland Park (OHP), as interim executive director. The season will be played out in August and September, in the main part under Iford Arts’ new Saddlespan structure in Belcombe Court, courtesy of owners Paul and Caroline Weiland, allowing 200 seats with shelter and around another 200 open to the elements. What more thrilling location to listen to Prokovfiev’s Peter and the Wolf, one of the greatest musical works for children? And the famous double-bill of Mascagni’s Cavalleria Rusticana and Leoncavallo’s Pagliacci, sung in Italian, filled with violent jealousy, passionate love and everything in between? “The Mezzo Cavalleria and Pagliacci concert running from 28–30 August is always one of the great nights in the theatre,” says Michael. “It’s music that everybody knows and loves and if it’s a warm, sultry night, which we hope it will be in August, it gives an even greater atmosphere to what we’re doing. And hopefully people will see it as a great excuse to come along and experience two pieces of opera which are bite-sized punches of drama, as we call them in the business ‘stab and sob’. They are very visceral. And we have got an incredible cast of singers. This is a great experience waiting for people.” The concert evenings begin with a concert presentation of the most loved parts of Mascagni’s Cavallera Rusticana, called MezzoCav and finishes with Leoncavallo’s masterpiece Pagliacci, telling the fatal 22 TheBATHMagazine

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story of a troupe of actors. “Creating a visceral experience is at the heart and soul of the Pagliacci production,” says Michael. “The singers we have – Elin Pritchard and Peter Auty – are terrific. Elin is one of the most exciting sopranos around at the moment. And international British soprano Susan Bullock will blow everyone away in the MezzoCav concert half of the MezzoCav and Pag production. It’s a great night of gorgeous music and the verismo madness that we all love. It’s about as instinctive as we could make it.” The Pagliacci opera on the afternoon of 30 August is different in that it’s a staged performance rather than a concert, and it gives Iford Arts’ New Generation Artists – a bespoke training programme that gives invaluable opportunities to young directors, conductors, designers, singers, musicians, technical staff and stage managers – their very own cover of the stage opera Pagliacci, giving them the chance to work with prestigious director Christopher Luscombe. The ticket prices for this are refreshingly accessible, £29 for under the canopy and £18–22 for uncovered seating. There are also two performances of Prokofiev’s Peter and the Wolf on 22 August, to be narrated by an actor of note (to be announced), with £9 seats for 5–18 year olds, giving them a perfect introduction to the orchestra in an unforgettable setting. “Peter and the Wolf stands on its own two feet as a piece of music. People say ‘Oh I know this’, without realising that they know it, picking up on particular motifs. A narrator that really brings it to life adds immeasurably to that whole thing, especially for kids. And it’s a bit like a Pixar movie – for kids but it’s just as much for adults.” Michael’s connection with opera has its roots in his own

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ARTS | OPERA

Classico Latino, performing on 21 August, blend the techniques and sounds of classical music with Latin American rhythms and melodies

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The average person sees opera as a strange alien art form, and it’s the opposite, the most accessible and familiar of all staged art

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upbringing. “I grew up in an Italian household, so Italian music like tenor Mario Lanza or Caruso by Lucia Dalla and lots of Neapolitan folk music would be heard on the sideboard gramophone. Then I went to an unusual school, which took us inner city boys and gave us an Eton-style education. So I sang all through my career at school in the choir and the school did lots of operas over the years – Benjamin Britten even came to the school in the late 1950s to help rehearse A Midsummer Night’s Dream.” He explains that his mature love of opera came later, through the process of working on hundreds of shows: “You see its effect at work and you begin to believe in its impact and value. Your average person sees opera as a strange alien art form, and actually it’s the opposite, the most accessible and familiar of all staged art. It’s so direct and so raw, it is extremely rare that people who have never been before have not been completely transformed by experiencing it in the flesh.” A moving story that Michael relates showing the power of opera is of a group of inner city teenagers experiencing opera for the first time in a television production he presented called Hip Hop to Opera. “We sat them down in front of a singer and a pianist to give them their very first experience of the human operatic voice. There was a lovely clip of this kid hearing this guy sing for the first time and his reaction showed him completely overwhelmed by it. The clip was shared half a million times – it went viral. Because people saw the immediate impact of this on this 17/18 year old kid from Peckham who was interested in drill and grime and hip hop but not classical or opera, and it blew them away.” So how has Iford Arts gone about reviving its opera in a post Covid world? “This season is very much a return; the world needs what we do and everyone is making a contribution to that in the business. The new Iford Arts is about flexibility and about the industry adapting the way it operates. There’s a strong all-in-it-together feeling for many people. A lot of singers have been quite traumatised about what happened in the pandemic because they were just dropped. And many of them weren’t always supported. Many of them have had to do whatever jobs and work they can find over the last year and that is the dreadful reality. We’ve had to get back to it collectively with a sense of proportion and perspective. That part has been quite energising.”

Michael has taken on his Iford Arts role after more than 30 years at OHP, which he founded and developed, and he feels that the timing of this has brought new opportunities and a need for change. “In the year between me announcing I was leaving OHP and doing it, we had the pandemic. During this time the things that I had always been concerned about in the opera world were lifted up in a sharp relief. I felt that what was happening was a fantastic opportunity to tweak the way that we work as a business, as an industry as an economic model. “When the Iford Arts opportunity was presented to me I thought it was a good moment to do something very different and put into practice some of these ideas. We were having conversations in the office asking questions like, ‘What if we did it this way?’, ‘How might that work?’, and came up with this fairly radical (for now) approach. It was an opportunity to almost start again. Can we do something different? Can you open it up to new audiences using different points of view and different methods? It’s just the sort of thing that people like me like to do, because it means something.” “We are in a transition period now. This summer is the Iford Arts that everyone knows and loves, doing what it does. The idea of the new integration is to do fantastic and accessible opera, that’s the basic premise of everything. Peter and the Wolf and the Young Artist production of Pagliacci hint at the way we’re moving as a company. But mainly it’s ‘Hurrah we’re back’ this year. There is always an emotional connection with opera, maintains Michael: “That’s the wonderful thing about arts – people come to a show and each individual finds parallels within their own perceptions and their own lives. This is the beauty of opera – it’s really a very simple proposition. It’s about the human condition and we’ve all been there in one way or another.” n The Iford Arts season runs from 21 August – 18 September. See ifordarts.org.uk for the full programme. Iford Arts, Belcombe Court, Bradford on Avon BA15 ILZ; tel 01225 868124

The Early Opera Compamny presents Handel ‘s Acis and Galatea on 18 Septmeber

The Iford Arts New Generation Artists present a staged performance of Pagliacci on 29 August

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ENTERTAINMENT AND EVENTS

What’s on in June The Great Gatsby at the American Museum & Gardens

The Rondo Theatre is back in business

ARTISTS’ SHOWCASE Throughout June n Out of the Blue Gallery, 6 Upper Borough Walls A beautiful new gallery right in the heart of Bath is showcasing some of the best British artists and ceramicists. Set across two floors, the gallery is packed with great pieces. Look out for must-see exhibitions arriving at the gallery soon. outofthebluegallery.com DIRTY BATH 2–5 June, 9–12 June and 26 June, 8pm n Rondo Theatre, St Saviours Road The Natural Theatre Company’s joyous romp through unknown tales of the City of Bath is back by popular demand! Bath is famous for its healing waters, beautiful Georgian architecture and wholesome countryside surroundings. The Romans loved it, and modern-day pleasure seekers still flock to the city for hen-dos. Little do they know that Bath is hiding a past riddled with tales of debauchery, villainy and depravity. The Natural Theatre Company invite you to join them on a socially distanced voyage through Bath’s murkier waters as they throw a light on the less virtuous aspects of the city’s history. rondotheatre.co.uk DOES NATO STILL SERVE THE UK’S SECURITY AND DEFENCE INTERESTS? 3 June n On Zoom As the alliance defines its role for the next 20 years, Jamie Shea will pull back the curtain on some of the big debates currently 24 TheBATHMagazine

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taking place inside NATO HQ in Brussels. Check the website for times. u3ainbath.org.uk FOUR QUARTETS Until 5 June n Theatre Royal Bath, Saw Close Ralph Fiennes directs and stars in a world première adaptation of T.S. Eliot’s Four Quartets to welcome audiences back to live theatre. Compelling, moving and symphonic, Four Quartets offer four interwoven meditations on the nature of time, faith, and the quest for spiritual enlightenment. Mostly written during World War II when the closure of playhouses during the Blitz interrupted Eliot’s work in theatre, the four parts were the culminating achievement of Eliot’s Nobel Prize-winning literary career. theatreroyal.org.uk THE GREAT GATSBY OUTDOOR THEATRE 5 June, 7pm – 10pm n American Museum & Gardens, Claverton Down Join Heartbreak Productions and the Nick Carraway quartet for an evening of jazz, prohibition style. Nick is the band leader and a top-notch storyteller, and he can take you back to the summer of 1922 when he lived next door to none other than the infamous Jay Gatsby. So get your glad rags on, this outdoor adaptation of F Scott Fitzgerald’s The Great Gatsby is the perfect way to mark 100 years since prohibition. Dress for the weather, bring a chair or blanket to sit on. Age 9+; running time: 2 hours 20 mins. americanmuseum.org

THE BATH FESTIVAL AT HOME Until 11 June n Online For audiences unable to attend live events, there’s a digital alternative this year. The Bath Festival will be recording selected highlights, including the sublime Gesualdo Six singing at the Roman Baths and young members of the Kanneh-Mason family playing at Bath Forum. The Bath Festival At Home will also feature a specially commissioned film showing the city of Bath at its best to the rest of the world. bathfestivals.org.uk. BRLSI: THE EXTRAORDINARY LIFE OF HANNAH MORE 12 June, 7.30pm – 9pm n Online Hannah More lived a life as a teacher, playwright and poet, blue stocking and philanthropist. A close friend of Samuel Johnson and David Garrick, she founded schools in Somerset, and she was active in the Clapham Sect, who played a key role in the abolition of the slave trade. Jane Austen’s adult years spanned the years when Hannah was at the height of her fame. Though Jane’s references to Hannah in her letters are disparaging, they shared many values and ideals. This talk will give an overview of Hannah’s life, and focus particularly on such connections with Jane Austen. brlsi.org BATH FRINGE FESTIVAL Until 13 June, various times n At various venues around Bath Bath Fringe is set to be a celebration of the

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return and re-opening of live culture and the gradual relaxation of lockdowns. Running until 13 June, with extra events in June and July audiences can see a handful of indoor shows in classic Bath venues and even a pop-up or two showcasing theatre, live music, comedy and visual arts – all set up to function and be enjoyed under the distancing regime. Keep an eye on Bath Fringe’s website for more. bathfringe.co.uk UNDERGRADUATE DEGREE SHOW 21–24 June, 26–27 June and 28 June, various times n Bath Schools of Art and Design, Locksbrook Campus The undergraduate degree show is set to feature the work of final year Fine Art, Contemporary Arts Practice and Photography students. Booking required. Book your free ticket at: bathspa.ac.uk/degreeshow BATH DRAMA: TIME FLIES 23–26 June, 8pm n Rondo Theatre, St Saviours Road Join Bath Drama for their highly anticipated return to the Rondo Theatre with an evening of comedy, as they explore themes of life, love, and lust through a selection of short plays by David Ives – a playwright regarded as one of the USA’s finest comedy writers! Keeping to the ‘rule of six’ imposed during rehearsals, the talented company of four will play many roles throughout the show, keeping them and you on your toes! This year Bath Drama is proud to partner with Julian House, and a percentage of the profits from the show will be donated to the charity. rondotheatre.com WILLIAM BECKFORD: A LIFE IN BATH 24 June n On Zoom As Beckford’s Tower embarks on a major capital project to conserve, open up and interpret the landscape and architecture William Beckford created, this talk by Dr Amy Frost will draw upon new research to explore his life in Bath. Check website for times. u3ainbath.org.uk THE ART COHORT WORKSHOP 26 June, 12pm – 2pm n The Art Cohort, 13 Chelsea Road, Bath Draw and meet the artist behind The Art Cohort’s latest exhibition – Sarah Hawkins. Sarah will be at the gallery to chat and create continuous line drawings with you. Join each of your drawings to the next to celebrate communal creativity in person. Read more about The Art Cohort’s exhibition on page 36. theartcohort.co.uk n

Enjoy a workshop at The Art Cohort with artist Sarah Hawkins

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CIRCUS ARTS

THIS PAGE: Lil Rice in Xanadu © Gem Hall RIGHT: Nell and Red at Stonor Park © Mark Lord

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CIRCUS | ARTS

Super human

Who hasn’t dreamt of running away to the circus? The big top, the acrobats, high-wire acts and colourful caravans conjure up a nomadic life away from the rat race. For the spectator, it’s a reminder of a traditional art form, providing everything from laughter to wide-eyed amazement. Simon Horsford speaks to Lil Rice, one of the stars and now also producer of Giffords Circus, now back on the road for a new season after the pandemic-enforced break aerial show on the London Eye, bungee jumping off the Millennium Bridge and free diving in Trafalgar Square. “The scariest day of my life was when we climbed the London Eye at three in the morning to rehearse.” Does Rice, who exudes natural confidence, still get nervous? “Yes, I get quite bad fear. It’s part of the madness – terrified before I go on stage and then I love it when I am on. But if I lost those nerves, I would worry because that’s part of the energy. You need that frenetic quality. You also have to look like a human coming on stage and then do something superhuman.” Rice’s goal when she began her circus career was a singing aerial act, which then progressed into singing while performing in a cyr wheel, a large metal ring in which the performer rolls and spins gyroscopically. It seems ludicrously difficult – more so as Rice chooses to sing as well. For five years she performed with Alula Cyr, an all-female cyr troupe, and as a singer she is still one half of Lil & Ollie with guitarist Ollie Clark. Rice performed with a cyr wheel at 2019’s engagingly beautiful Giffords’ show Xanadu, set in the psychedelic 1970s.

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The scariest day of my life was when we climbed the London Eye at three in the morning

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il Rice was drawn to the big top via her aunt Nell Gifford, the founder and inspiration behind the circus, who died of cancer aged just 46 in December 2019. I caught up with Rice at the home of Giffords at Fennells Farm, near Stroud, Gloucestershire, as she was preparing for their latest show, The Hooley (originally scheduled for last year), and I asked about Nell’s influence on her. “She was the most amazing woman I have ever known,” says Rice, “the closest to a genius I have come into contact with, and she was part of my life, the generation between my mum (pottery designer Emma Bridgewater) and me, as she is my mum’s half-sister. When she went off to join the circus, my sister Kitty and I thought she was the coolest person ever.” It was while Rice was at the University of Glasgow studying philosophy and theology that she first thought the circus might be the life for her. “I did run away to the circus. I was at Glasgow and just hated it. I wanted somewhere where I didn’t know anyone and tried to reinvent myself. “I hung out with a lot of tough people and then I thought, what am I doing? I did some waitressing and other stuff and after a while I wrote to Nell and just said ‘please can I run away; I will do anything’. It is really full on, which is what I was looking for – a life where you don’t have a minute to be bored.” Until then, although Rice had been to Giffords since she was a child, the circus wasn’t on the agenda. In her teenage years, Rice (now 31) wanted to be a rock star, citing Janis Joplin as an inspiration. “I have always sung and performed. I was that precocious child who sang with my dad (illustrator and writer Matthew Rice) at the piano. I couldn’t work out why I felt so uncomfortable in my skin and think that although the music was brilliant, it wasn’t giving me enough. I like to finish the day so tired that I can’t lift my arms up. I was that child who people thought might have ADD and now they think, ‘She just needed an incredibly energetic outlet.’” With Nell’s influence and the support of Pat Bradford, a Belgian hand balancer at the circus who tap dances on his hands, Rice went to the National Centre for Circus Arts in London. “We did everything in the first term from juggling and floor acrobatics to aerial work, dance, theatre and clowning.” While there Rice performed in the Cultural Olympiad during the 2012 Games doing an

There is a buzz of activity around Giffords, from traditional sign writers working on the caravans to a dressmaker embellishing costumes, while Rice herself was about to do a series of stretching routines and work on a vaulting horse ahead of her session with a Percheron as this year she is performing on horseback. Giffords has a permanent team of around 10, increasing to between 60–80 during the season and the atmosphere, even now, is infectious and busy. Life in the circus appears markedly different from going on tour with a theatre production. “At the beginning of the season you think ‘I’m never going to remember everyone’s name’ and by the end you can recognise somebody in the dark by their

footsteps. It’s unbelievable,” says Rice. “And as a community, we don’t just do a show – we arrive somewhere and build a village. There is a lot of physical labour: people who set up the water, the electrics and then we put up the tent and we all eat together.” The community feeling is hugely apparent. “If you are on stage, you are often putting your life in somebody’s hands. If you are doing a horse act, you have to know all the people around you are keeping you safe – those on the ramps, the ring boys, the people doing the rigging. You trust them. And you spend every waking minute with them!” The blend of nationalities is an important feature. “Part of the attraction is you can hear six or seven different languages being spoken and they bring their own cultures. So round the back of one caravan, someone is making goulash and behind another someone is cooking a Cuban stew. The multicultural thing is amazing and makes it circus.” That community spirit came to the fore during last year’s various lockdowns and the postponement of The Hooley. “Initially during lockdown many of the artists were stranded at Giffords unable to get a flight home so they isolated together, using up all the food in the freezers meant for the tour and continuing their training as they had no idea how long the lockdown would last. We managed to get the Cuban troupe home, but an Italian and Russian family locked down with us here at Fennells Farm. “When it was announced [in summer last year] that restaurants could open ➲

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CIRCUS | ARTS

An unsuspecting volunteer gets sloshed at Giﬀords Circus

again, we created a socially distanced dinner show called The Feast with Tweedy the clown and the acts that were at the farm.” Giffords’ shows always have a carefully crafted theme. “What makes us different is the artistry in Nell’s ‘quintessential village green’ ethos,” says Rice. “Lots of circuses aren’t worried about there being a beautiful through line, but we create a storyline that carries through.” It may be why Giffords has been described as the “Glyndebourne of circuses”. As for The Hooley, which marks the 21st anniversary of the circus, Rice says it’s a “Celtic party, a good old knees-up and there will be faeries and maybe trolls.” She will be doing two horse acts this year, after only starting to rehearse in earnest two years ago. The circus will operate at 50 per cent capacity until official advice changes. The Hooley was devised by Nell Gifford and show director Cal McCrystal, a ‘comedy genius’, whose credits include working on the hit West End show One Man, Two Guvnors and Paddington 2. “Everything he does is exciting and uplifting,” says Rice. “The Hooley was conceived by Nell and Cal, I am just stepping in as producer.” Will there be a tribute to her in the show? “Yes something joyful.” As to future years, Rice says they will draw on Gifford’s ideas, after all, Nell’s philosophy was always “the show must go on.” The heyday of the circus may have passed but thanks to the likes of Cirque de Soleil and Giffords and the rise of physical theatre, this sometimes forgotten art is back, says Rice. What’s more she is passionate about encouraging this upswing. “A couple of years ago, I did an outreach thing with the School of Larks (a Gloucestershire based school of circus arts). I worked with them for six weeks, realising how such a physical environment can be the making of some people.” Rice points out that, “The circus was one of the first professions where a female performer was paid as much as a man. They had status; one of Napoleon’s mistresses was an acrobat. The women are doing the same job as the men. There are still strong men and sexy women – but backstage it’s unbelievable what the women do.” Rice’s goal is to help take Giffords forward another 20 years and to keep the family feel. “I love it; it’s a challenging life. Whenever I thought I couldn’t do something, Nell would tell me to get on with it, and that means I’m doing something I never had the self-confidence to do. She pushed me.” Does she have any advice for wannabe circus stars? “Learn an instrument, learn a language and do some form of dance training because you can be useful in so many ways.” Nell Gifford is buried just across the valley in Slad in the same church as the celebrated author Laurie Lee, who once said of his work that he “wanted to communicate what I had seen, so others could see it”. In her own way, Gifford has done that too – conjuring up a vision of what a circus should be like and spreading that magic around. n Giffords Circus season continues at various locations until September 26, finishing at Fennells Farm, near Stroud, Gloucestershire from 16–26 September 2021; giffordscircus.com 28 TheBATHMagazine

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bathartsales.com

The Woolverton Gallery Bath’s newest art gallery Opening on 1st June Featuring the work of 26 resident contemporary artists. Over 60 works of art on permanent view in our Summer Exhibition, making it one of the South West’s largest galleries

Book online for a free Champagne reception in June on the home page of www.bathartsales.com hosted by gallery owner Ray Jones.

Woolverton, Bath, BA2 7RH info@bathartsales.com

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CITY | EXHIBITIONS

Friends, not f-stops

Model, actress and IT girl of the 1970s, Carinthia West always had her camera with her. She also had some very cool and rather famous friends, including Mick Jagger, Ronnie Wood, Eric Idle, Helen Mirren and Anjelica Huston. A selection of her portraits are currently being shown at the Shooting Stars exhibition at the American Museum & Gardens, which runs until 31 October. By Emma Clegg

“

e weren’t doing something for Instagram. If we looked like s**t in the photograph, either you didn’t print it or if it was a Polaroid you tore it up. Nowadays it goes round the world in three seconds,” says Carinthia West. Yes, times have changed. As have the faces in the photographs. Carinthia is referring to the 1970s – the decade provided a real-life setting for many of us, but it has now fallen into a retro dream with a golden glow of bell-bottoms, hot pants and platforms, and has become a vintage source of fascination. Well you can chase this dream right now with a visit to the American Museum & Gardens and their new exhibition Shooting Stars: Carinthia West, Britain and America in the 1970s, a collection of 63 intimate natural portraits and lifestyle shots taken in America and the UK, running until 31 October. Carinthia West was rarely seen without her Canon camera in the 1970s and ’80s, and because of the company she kept – with close friends including Mick Jagger, Ronnie Wood, George Harrison, Eric Idle, Shelley Duvall, Helen Mirren and Anjelica Huston – her photographs are a constant source of fascination. But she wasn’t an ambitious tagger-on, a groupie or a career photographer seeking out the company of these stars – she just liked taking pictures of her friends. BELOW: Mick Jagger, Jesse Wood and Ronnie Wood, Malibu, California 1977. “This is one of several photographs I took of Ronnie and Mick clowning around with Ronnie’s newly born son, Jesse. Life with Mick and Ronnie was exactly this; full of jokes, snatches of song, and camaraderie. “

“We were very lucky because there wasn’t much self-consciousness around. With fashion, for example, at school we just pulled everything together out of our mothers’ and grandmothers’ cupboards and pulled our skirts up when we left the school gates. “And it was all style that was unpretentious fun and it didn’t have any strictures on it. For example I used to wear red fox as a hat with the eyes of the fox and a tail. My grandmother was horrified and told me that’s what tarts wore in the ’20s and ’30s. And now everybody would be horrified for a different reason, and quite rightly. My grandmother always used to say to me, ‘stop making such an exhibition of yourself’.” Everyone is now a photographer because it’s so shoot and aim, voilà. But in the ’70s a Canon needed a level of technical expertise, right? Carinthia’s style was not driven by technical advancements, however. “I started with a Box Brownie and then I had a Konika and then a Canon and I stuck with Canon because they are great cameras. I had a wonderful Canon that sadly got stolen with a lucky red strap, an EF (electro-focus) camera. “I always use natural light, I never had lights or a studio. I am a great admirer of photographers like Jacques Lartigue or more modern photographers like Bailey, but there was less contrivance in those days. “I had a boyfriend in the early 1970s, my first great love. He was a singer songwriter, an amazing guy called Gary Farr [a British folk/blues singer and founder and lead vocalist of the T-Bones].

➲

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ABOVE: Eric Idle and George Harrison, Chiswick, 1976. “This was taken at a New Year’s Eve party at musician Ray Cooper’s house, and shows Eric and George clowning around as they often did. They were such close friends.” RIGHT: Chris Jagger, Los Angeles 1976. “Chris and I were walking down Sunset Boulevard when we spotted this poster of Robert Palmer’s new album cover for Pressure Drop. I had modelled for the cover a few months before, but it was still a bit of a shock to see myself nude in such a public place! It became quite a cause célèbre, with everyone trying to guess who the model was. I kept quiet because I didn’t want to embarrass my parents. But when my father found out he showed it proudly to all his friends. Here, Chris is miming my parents’ embarrassment.” RIGHT: Anjelica Huston, Malibu Beach, 1983. “Anjelica and I have been friends since we met backstage at a Saturday Night Live performance in 1976. John Belushi had passed out on the floor and we had to step over him in order to talk. One of my pictures of Anjelica, taken on the beach, was published in Vogue as her favourite photograph of herself. We’d had lunch in somebody’s house, we’d had a walk on the beach and I just said ‘Anjelica look at me’, and she just looked so natural. Anjelica said to me then ‘Who wears pearls on the beach nowadays?’ ”

MEMORIES OF... David Bowie “I shared a flat with Coco [Schwab, David Bowie’s assistant] at one point in LA. And David would ring a lot. He saw my modelling pictures in about 1979, and he told me they were all rubbish and I could have much better ones and that ‘Coco and I will style you’. And he brought in this new young photographer, an ingénue, a Peruvian called Mario Testino, who I’d not heard of. And we did this amazing photoshoot, the photographs were just fantastic and we had so much fun. Then David went off on tour and I got a call from Mario saying ‘I don’t know how to say this, but the pictures have been lost at the lab.” Years later I saw him at a party and he said ‘I still can hardly bear to think of the photographs we lost.’ “David asked me on holiday on a boat – he owned a wonderful yacht – so I went with Coco and David and his girlfriend at the time, and we went all around the Amalfi coast, so I knew him pretty well. He was a gentleman and he was very thoughtful.”

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MEMORIES OF... Helen Mirren Helen Mirren and I shared a flat in LA with Rory Flynn, Errol Flynn’s daughter, who was a model. Helen was making a big movie, White Knights, with Barishnikov. She was making lots of money and Rory and I were flat broke. “While she was in that house she won the best actress award for Cal at the Cannes Film Festival. They were ringing to tell her as she was driving up in her rented red Mustang and I was able to shout out to her ‘You’ve won, you’ve won, they are on the telephone!’. I photographed her reaction, and it’s a lovely photograph. It’s black and white but we couldn’t use it in the exhibition because technically it’s 1980. ‘She is such a lovely person and a good friend and she just hasn’t changed a bit – she is very down to earth and fun and incredibly hard-working.” Robin Williams “Robin was the most generous man. I went to Saturday Night Live a lot of times and he’d then take everyone out to dinner and pay for everybody. He was making a fortune by then with the Mork and Mindy series. If you were on the beach with Robin and you said to him, ‘Oh shut up I just want to read my book’, he’d go off and find a three year old to play with. He just needed an audience – he was so funny. I’ve never had the privilege of meeting anyone funnier than Robin and they weren’t scripted jokes, he was just natural and he’d use his body language – he’d become a tree or a dog and you were in stitches the whole time.” LEFT: Carinthia West (photograph by Caroline Forbes)

❝ There is a mystery about taking the right

photograph. A mystique – you know when you’re looking at something that really captures the atmosphere of the moment

❝

“He started picking up a camera and then he got into F-stops and buying technical magazines and boring me rigid with what aperture he was using and I stopped taking photographs and I felt daunted by my own pictures. It wasn’t until we split up a couple of years later that I picked up a camera again. Science can really ruin things if there’s too much data, too much technical stuff.” “There is a mystery about taking the right photograph. A mystique – you know when you’re looking at something that really captures the atmosphere of the moment, whatever it was. I’m reading David Bailey’s book at the moment and he was so dominant in his shoots (I modelled for him for a Woolworths ad), coaxing models with phrases like ‘Come on baby, pussycat, give me that look’, and only a man could be so ‘couldn’t give a damn’. He was just as rude about beautiful women and older women. We as women take photographs in a more subtle way.” Mick Jagger and Ronnie Wood are frequent subjects of Carinthia’s photographs in the early ’70s when Ronnie had rented a house on Malibu Colony with his first wife, Chrissie. Carinthia had a room at the house and she went in the ambulance with pregnant Chrissie when their son Jesse was born and that night there was a huge party at Ronnie’s house, Carinthia tells me. “In that period of time I’d been doing a lot of modelling and 32 TheBATHMagazine

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commercials and I wanted to get out of England, which was on a three-day week and was really depressing. I had friends in California and I went out there. “All the LA London people who were there stuck together – Rod Stewart had this football game every Saturday and I have photographs of that. And then Ronnie and Chrissie said ‘come and stay’ and Mick came over to stay and then the band would appear, or Bob Dylan, as Ronnie Wood was always having all-night jam sessions.” Other friends over this period, Carinthia told me, were people such as Rod Stewart, Ian La Frenais (the writer of Porridge) and IT Girl Sabrina Guinness. “The main thing about those times with Mick and Ronnie was how funny they were. It was just hilarious, all the time it was just jokes. Eric Idle was an important part of that time – he did a spin-off series of Monty Python and I became the girl in that. George Harrison worked with us on that too. Before you settle down and have kids, life is fun, and that’s what it was like.” Carinthia was clearly not star struck. So how did she keep up with all these big characters? “I don’t like saying this, but I was probably quite good fun to be around. I wasn’t a groupie and didn’t want to make capital out of them. I was brought up in diplomatic circles so I wasn’t going to talk about any of them. We all trusted each other. If I took a picture of somebody well-known now on an iPhone they might say, ‘Sorry, no’, but we were not like that then. I was very close to Ronnie and Mick at that time, and still am today. Mick always sends me the most wonderful bouquet for my birthday. “I took so many photographs of everyday life, of the market, street food, and other friends, but for the exhibitions I’ve been doing for the last 10 years people do want recognisable faces. And I’m always a bit nervous about people thinking, ‘Did she only hang out with stars?’. But I was very unlike that, and still am. Maybe that was why the stars were happy to have their pictures taken by me.” n Shooting Stars: Carinthia West, Britain and America in the 1970s is at The American Museum & Gardens until 31 October; americanmuseum.org

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❝ Helen Mirren and I shared a

flat in LA with Rory Flynn, Errol Flynn’s daughter. Helen was filming White Knights, the one with Barishnikov

❝

ABOVE: Helen Mirren and the Rollright Stones in Oxfordshire (not in the show). “I have taken so many photographs of Helen Mirren over an enduring friendship of 40 years. But then, Helen always was a ‘woman of infinite variety’ as one of her greatest roles, Cleopatra, so aptly portrayed. She is both a magnificent actress and a loyal and generous friend.”

RIGHT Actress Shelley Duvall in 1976. “Shelley Duvall became a close friend while I was living in Los Angeles in the early 1970s, and she came to stay with me in London in the early days of pre-production for The Shining. It was almost impossible to take a bad photo of Shelley as she had such a great bone structure.”

BELOW: Mick Jagger, Holland Park, London, 1976. “This portrait reminds me of a Dutch painting, where his faux fur coat seems to blend into the bark of the tree behind him. It was early evening in September 1976 and the light was that glorious golden glow which adds to the dreamy feel of the picture”

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ART | EXHIBITIONS

ARTS & EXHIBITIONS Shooting Stars: Carinthia West, Britain and America in the 1970s, American Museum & Gardens, until 31 October Carinthia West’s intimate photographs of rock and film stars of the 1970s in America – and in particular on the glorious beaches of Malibu in California – present an upbeat and buoyant view of the decade that should remind us of the outstanding music and the great design of this much-maligned period. The exhibition’s colour, fun, and vivid exuberance are just what we need as we emerge, bleary-eyed, from the era of Covid. The traditional picture painted of the 1970s is one of doom and gloom: the inevitable hangover after the party of the Swinging Sixties. However, as Carinthia West’s fascinating photographs demonstrate – alongside home interiors, fashion, posters, album covers, and the music of the Seventies – this is only part of the picture. The 1970s was a decade of bright colours, of fun, and of self-expression. americanmuseum.org

Image: Mick Jagger ‘Diamond Smile’ California 1976

June Fair, Bath Contemporary Artists’ Fair, 13 June

Kurt Jackson: Biodiversity, Victoria Art Gallery, until 30 June

Bath Contemporary Artists’ Fair is delighted to welcome everyone back to its June fair. The fair is committed to bringing the best of contemporary art from the city and beyond right to the heart of Bath. Following on from the successful and popular fairs last year, the next event is on 13 June, where visitors can browse the brilliant works of local artists and admire fine art, photography, sculpture and textiles, all under the vaulted glass roof of Green Park Station. For updates and exhibiting artists visit the website.

The gallery has opened with a major new exhibition by celebrated British painter Kurt Jackson, whose passion for nature and commitment to the environment are central to his work. This new exhibition, Biodiversity, displays works seen for the first time. With a series of paintings, sculptures and mixed media works this exhibition aims to show what an amazingly biodiverse world we still live in and how this is changing. All these life forms have the same entitlement to live as we do and they are all individually fascinating, extraordinary and beautiful organisms. By being aware of the life we share this planet with we can appreciate it and then conserve it.

bcaf.co.uk

Gallery and Online Exhibition: Safari Paintings from Wild Animal Kingdom of Africa, East Lambrook Manor Gardens, 5 June – 17 July East Lambrook Manor Gardens is hosting watercolour artist and traveller Moish Sokal for his 26th annual summer exhibition. Sokal realised a lifelong dream of visiting Africa and found it as exciting as he had expected. His safari trips covered the Kruger National Park (South Africa), Victoria Falls, (Zimbabwe), and Chobe Wildlife Park (Botswana).

Image: artwork by Noor Mansur

Africa’s wildlife inspired Sokal to make a stunning series of paintings which form the body of the exhibition. Sokal’s work was set to appear in an exhibition last year but the event was cancelled. Now, Sokal has added more to this body of African-inspired work, and has painted a series inspired by his lockdown walks from winter into spring around his lovely Somerset village. moishsokal.co.uk Image: Wrestling Practice by Moish Sokal

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victoriagal.org.uk Image: Kurt Jackson, Taxonomy of a Cornish foreshore, 2018

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The BLOOM Collection

Limited Edition Giclée Prints . Canvas Giclée Prints Art Cushions . Cards . Booklets £2.50 – £398 www.emmaroseartworks.com The Art Studio . Knight’s Barn . Wellow . Bath BA2 8QE

Ma San Auction

Original Paintings . Commissions

In Bath

SPECIALISTS IN ORIENTAL WORKS OF ART Highlights from our April 21st Sale A Chinese blue and white brush pot, 17th Century, Transitional period. SOLD £10,320

Pair of Chinese doucai ‘Chicken’ cups, Kangxi (1662-1722) SOLD £8,385 inclu. premium

Free ns atio valu epting Acc nments ig cons Future o f r les Sa

A Chinese Junyao purple splashed dish, 12-14th Century. SOLD £12,900 inclu. premium

A Chinese wucai ‘dragon & phoenix’ bowl, Jaiqing (1796-1820) SOLD £14,190 inclu. premium

Pair of Chinese doucai wine cups, Yongzheng (1722-35) SOLD £23,220 inclu. premium

Free valuations and home visits • Over 30 years experience • Competitive commission rates • Direct contacts in Hong Kong and China • Sales every month 2 Princes Buildings, George Street, Bath BA1 2ED Tel: 01225 318587

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ART | EXHIBITIONS

Summer Exhibition, Woolverton Gallery, Woolverton BA2 7RH, from 1 June The Woolverton Gallery’s first-ever exhibition features the work of well-known Bath artists such as David Wilkey, David Ringsell and Brian Elwell, as well as many other contributors from further afield. There will be exhibits from the majority of its resident artists, with over 60 paintings on view in its five display areas. The emphasis is on colourful, contemporary artwork in a variety of styles. Ray Jones, the owner of the gallery, will be present to show guests around and to answer questions about all the wonderful exhibits. Due to the current restrictions, the gallery is staggering its opening celebrations to a number of small Champagne receptions (each restricted to a maximum of eight guests) through most of June. bathartsales.com

Canaletto: Painting Venice, The Holburne Museum, Great Pulteney Street, until 5 September The Holburne Museum in Bath presents the most important set of paintings of Venice by Canaletto (1697–1768), which have left their home at Woburn Abbey – one of world’s most important private art collections – for the first time in more than 70 years. This once-in-a lifetime exhibition will enable art lovers to enjoy and study up-close twenty-three beautiful paintings, in a fascinating exhibition that also explores Canaletto’s life and work, alongside themes of 18th-century Venice and the Grand Tour. This is one of the rare occasions that any of the successive Dukes of Bedford and Trustees of the Bedford Estates have lent the set of paintings since they arrived in Britain from Canaletto in the 1730s. Created over a nine-year period, when the artist was at the pinnacle of his career, the Woburn Abbey paintings are the largest set of paintings that Canaletto ever produced, and the largest that has remained together.

Images: The Blue Boxes by David Ringsell and Getting on the Tram in Lisbon by Ray Jones

holburne.org

Let The Music Play Again, The Art Cohort, 13 Chelsea Road, Bath, 18 June – 3 July The Art Cohort is an award-winning Artspace championing emerging art and artists, showcases work from local artists and makers and runs art classes and workshops in its learning space. Let the Music Play Again is a new exhibition by illustrator and designer Sarah Hawkins. Following on from over a year of no live music, gigs or concerts, this art exhibition highlights musicians and the relaunch of communal creativity in person. The idea is to make a mark and reclaim what has been stolen from musicians this last year. Music sparks emotion, brings life,

Image: View on the Grand Canal looking towards the Palazzo Rezzonico

makes memories and provides connection. It is a universal language and an art form that has human interaction at its core. Sarah Hawkins specialises in continuous line drawings as well as exploring the use of ink and digital design within her work. Drawn from her love of music and people, Let the Music Play Again will showcase Sarah’s illustrations of musicians from the likes of Miles Davis and Bob Dylan to Lauryn Hill and Alicia Keys. Selected illustration prints from the exhibition will be available to purchase at The Art Cohort. theartcohort.co.uk Image: Miles Davis, ink illustration by Sarah Hawkins

Inch by IN:CH, The Garage at Bath Artists Studios, 29 May – 13 June The Inch by IN:CH travelling exhibition gets underway in Bath before spiralling across the south west, ending at the West Somerset Railway in Bishops Lydeyard in October. The 11 artists involved have each packed their artwork safely in a case from which the piece emerge to be displayed. Being an integral part, the cases contribute to how the work looks, and also the story behind: why it was chosen, for instance, and where it was sourced. The presentation of the opened cases may vary from place to place responding to the nature and function of the different settings. This is not just an exhibition of works; it is part of a project wanting to foster interaction and involvement with the audience. The exhibition runs from 29 May in Bath to 3 October in Bishop Lydeford. inchbyinch.uk

Images, left to right: Shirley Sharp, work in progress for Inch by IN:CH and Kelly M. O'Brien, work in progress for Inch by IN:CH 36 TheBATHMagazine

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ART | EXHIBITIONS Hilliard Society of Miniaturists’ Annual Exhibition, Wells Town Hall, 5–12 June Head down to Wells Town Hall between 5–12 June and enter into the tiny world of miniature paintings and sculpture. The Hilliard Society of Miniaturists’ annual exhibition includes work by some of the best miniature artists from the UK and around the world. Landscapes, animals, portraits, flowers, birds and the fantastical are all here in extraordinary, luminous detail. Enjoy looking at over 250 paintings just a couple of inches wide and talk to experts about how it is done. Entry is free and the paintings are for sale alongside cards and limited editions. hilliardsociety.org

Formations, Quercus Gallery, 15 Silver Street, Bradford-on-Avon, 12 June – 10 July

Dandelion by Clarissa Galliano Fertility Symbol by Zoe Arnold

This is a show of contemporary botanical drawings by Clarissa Galliano, with mixed media jewellery and sculptural pieces by Zoe Arnold and Suzanne Potter. Clarissa specialises in largescale charcoal botanical drawings. Her captivating observations of British flora celebrate the intricacies of natural structure and form. The single stems or flower groups have a commanding presence, yet they also preserve a certain surprise and intimacy, like a giant pressed stem revealed from between a press. The title ‘Formations’ refers to the artist’s interest in the structure of growth. Clarissa is drawn to the architectural aspects of flowers and plants so these drawings do not solely highlight the decorative. Each drawing becomes a journey of its own, slowly revealing interesting twists and turns of stems, leaves and petals through the artist’s distinctive construction of charcoal marks on paper. Unframed drawings will also be available to view by appointment. Other large botanical drawings will be on display at Quercus Gallery’s new studio space in Atworth, viewings by appointment. n quercusgallery.co.uk

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MARDAN, BATH’S BESPOKE REMOVALS AND STORAGE COMPANY, DEVELOPS NEW TALENT

Mardan have a wealth of experience within the removals and storage industry, spanning over 30 years, ensuring customers have a stress-free and seamless move. Mardan are family run and bespoke with the experience, knowledge, skills, equipment and capacity to complete removals of any size; locally, nationally for domestic or commercial customers.

Marcus, Mardan’s founder, has always held fast, with confidence, to his belief that he can deliver a high standard of removals, exceeding that of his competitors. Marcus knows to do this he must have trust and confidence in the skills of his staff, which he does. So when a new office position was required within Mardan instead of recruiting externally Marcus looked to develop a team member which he already had extreme confidence in and who he knew would develop into the role seamlessly, Nik. The role would include; liaising with customers, completing quotes, emailing quotes, planning the removals diary, logistics and managing the storage yard. Nik, had worked with Marcus within removals for over 10 years having a strong knowledge of all aspects of removals and with the skills necessary to lead a team from Mardan on removals. Nik has risen to the challenge and is thriving. Marcus and Nik work extremely well as a team thus ensuring all customers have a personalised service and a positive move experience. Both Marcus and Nik enjoy completing the physical removal and Marcus truly believes that to do the ‘office’ role well it’s important to continue to complete removals, thus maintaining the in depth knowledge developed throughout their earlier careers. Marcus and Nik are able to be flexible with their roles and keep their ‘hand in’ the hard physical work of removals. Mardan continue to grow their self-storage facility, offering safe, secure and reasonable storage to upward of 100 domestic and commercial customers. “We used Mardan following a recommendation from a friend. They moved us in and out of storage and then into our renovated house. I would highly recommend them. The service was super efficient and the guys were quick, polite and courteous. Nothing was too much trouble and all of our possessions arrived safe and sound” Emma Webster, Moon Client

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DOMESTIC & COMMERCIAL MOVERS • PACKERS • STORERS • SHIPPERS

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Silver or Plate? DUNCAN CAMPBELL HAS BEEN DEALING IN ANTIQUE SILVER SINCE 1986

It can be hard to tell

was recently scolded by an old lady at an antiques fair for not spending long enough looking at her mustard pot. “Why did you even pick that up just to put it straight down again?” “I thought it was silver” said I. “Any fool can see its silver” she barked, I didn’t argue further. The mustard pot was silverplate, I could tell instantly when I picked it up, it was both too hard and the wrong colour. I am certain I would not have been thanked for explaining my rational to the proud owner but, even in the absence of any marks, it is usually fairly easy to discern silver from plate. The weight of a piece is completely irrelevant. Silver isn’t heavy like gold so there is no way to judge it using gravity. One of the most reliable tests is flexibility. Is there any give when you gently squeeze the sides of a cup or jug, or the bowl of a spoon? Nickel, which is the base metal for electro-plate, is very hard and will not flex under gentle pressure. As mad as it might sound, the colour of silver is a great indicator of solidity. Electro-plate has a coating of fine silver, 99.99% pure and will reflect light like a mirror. Solid silver is only 92.5% silver, the balance usually being copper. The addition of the copper changes the reflective quality of the metal, it looks like silver, not a mirror. This can be hard to spot in isolation, but side by side and polished, EPNS and silver really are noticeably different shades. If there is still doubt, try taking a very close look at the places that would naturally take the most wear. The underside of a foot, the back of a spoon bowl or the ends of a fork prong or the high points of the decoration. Solid silver will be the same colour all over, even on the rubbed and very worn places. EPNS can look lighter in colour than dark tarnished silver though it is slightly yellow rather than white/silver when polished. Silver-plate is easily damaged when a well meaning person tries to shine up a spot of nickel and applies so much pressure that the thin coat of silver wears away making the small spot of nickel showing through into a large patch of yellow. If this all still sounds too confusing, bring your mystery item to the shop where we can use the tried and trusted old school acid test to remove all doubt - no charge.. n beaunashbath.com; 01225 334234

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BOOKS

From gardens to guinea pigs

The team at Topping & Co. has chosen four books from different genres to appeal to a range of tastes – with subjects from queer and Black erasure and survival to garden writing, and protagonists from Dürer to a guinea pig called Maud LOTE by Shola von Reinhold Review by Saskia Hayward There’s a scene in LOTE where the protagonist Mathilda attends an exhibition, admiring huge, intricate landscape paintings embedded with sapphires and coated in impasto swathes of translucent gel. Up-close the paintings “border on the holographic, and from the correct position, reveal a delicate portrait.” It’s a description that could easily refer to the book itself, to the seductive quality of Shola’s decadent, ornate prose, and to the infinite layers contained within. It is, on one level, a novel about aesthetics: about surfaces and ornate details, about Baroque figures who “shimmer pearlescent” in the sunlight. But, caught at a different angle, it’s a book about escape, about queer and Black erasure, and about survival. It opens in the National Portrait Gallery where Mathilda works as a volunteer, sifting through donations in search of photographs of her fixation, the ‘Bright Young Things’ of the 1920s. Here she first lights eyes upon Hermia Druitt, a black female poet and member of the so-called ‘Low Bloomsbury’ whose story only survives in fragments. Fraudulently gaining entry to an artists’ residence in the small European town of Dun where Hermia once lived, Mathilda finds herself absorbed into an ascetic cult of followers of the theorist Garreaux, and embarking on a journey to unearth a society of the Luxuries. Of all the words to describe LOTE, iridescent seems most apt. It’s many things at once: incandescent with feeling, wonderfully absurd, utterly sharp and self-aware. Easily one of the best books I’ve read for a long time. Jacaranda, £8.99 Albert and the Whale by Philip Hoare Review by Matthew Leigh For those who have read his previous, Leviathan, Philip Hoare’s latest book Albert and The Whale will seem like a natural escalation of the author’s unwillingness to conform to a category. A sumptuous blend of biography, criticism, memoir and travel writing, this is nonfiction of the broadest scope possible. Centering his gaze on the life and work of 16th-century artist Albrecht Dürer, we set off by following Dürer’s footsteps on a journey he made to Amsterdam in 1522 in the hope of seeing beached whales (for which he arrived just too late). What follows is a kaleidoscopic journey through the world, art and history, all rendered in 40 TheBATHMagazine

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stunning liquid prose. Musing on Dürer sparks connections that span the creativity across the ages, to the likes of Thomas Mann and David Bowie. The author’s joy in reaction to Dürer’s work is irrepressible and infectious, and quickly the line between the biographer and his subject becomes blurred and ephemeral. So evocative are Hoare’s descriptions of Dürer’s artwork and so wholly is he consumed by his immersion in this historical life that scenes from his life become saturated with Dürer’s style, the artist’s vision now a window through which the author views everything he encounters. Sebaldian in nature, this is a very hard book to describe. It is, however, very easy to recommend, and recommend highly. Harper Collins, £16.99 Weirdo by Zadie Smith and Nick Laird Review by Benedetta Giordani Maud is a guinea pig, but she is not like any other guinea pig you may have seen. She is really into judo, which is why she always wears a judo suit. But when she is gifted to Kit for her birthday, Kit’s other pets don’t seem to understand her – to them she is, well, a weirdo. Maud tries to be like the other pets, but an unexpected encounter makes her realise that life is too short not to be who you really are and that maybe being a weirdo is not that bad after all. This charming picture book is by acclaimed authors Zadie Smith and Nick Laird. Their very first book written for children, it celebrates the joys of being different and the importance of staying true to oneself. Its tender story is accompanied by eye-catching illustrations from debut illustrator Magenta Fox. Truly a gem not to be missed! Penguin Random House, £12.99 Eat What You Grow by Alys Fowler Review by Kathleen Smith Horticulturist and Guardian columnist Alys Fowler is a familiar, sage voice in garden writing. Perfect for the keen but lazy gardener, I love her undemanding tone and the green light she gives you to let your garden grow wilder. In her gloriously refreshing new book, Eat What You Grow, she shows you how to create an edible, biodiverse garden that most importantly supports the pollinators – the bees and butterflies. It’s brimming with easy-to-grow vegetables and herbs that hold their own in both the garden and on the plate, and advice on how to feel your soil, take cuttings, and save your seeds. It was through Alys that I got my inspiration for the dead hedge in my garden that houses our garden cuttings and provides a small haven for wildlife. This is a gentle, effective guide to ensure your garden looks wild and wonderful, and brings you happiness – and food! The charming but nonetheless radical encouragement we need to embrace our lovely weeds! Octopus, £22 n toppingbooks.co.uk

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ER M ES M SS SU LA C

BUOYANT BIDS AND BRISK BUSINESS AS AUCTIONEERS BOUNCE BACK WITH £1.2M SPRING SALE…

Let there be light…

Lawrences in Crewkerne recently held their Spring Fine Art sale and the auctioneers were delighted to report great successes. With over 1800 lots on offer across three long days of auctioneering, they welcomed absentee bids, telephone bidding and live online bidding that allowed people from all over the world to join in. This resulted in an eager flurry of bids with some terrific results across all three days. The unsold rate was remarkably low: well over 90% of the lots on offer found buyers. Smaller novelty pieces or items of historic curiosity have special appeal for silver collectors. A parcelgilt hinged globular case just 2-inches long might have been mistaken for a vinaigrette but it was actually a rather more curious piece. It was made at about the time that King Charles II was on the throne (c.1670) and was designed to hold a ‘bezoar’ which is a hard indigestible mass found in the intestine. Unappealing as this sounds, bezoars were once believed to hold potent medicinal properties and were thought to be antidotes to any poisons or maladies. As such, they were much prized and were carried by their owners in small and elegant cases as a constant protection. This holder – its original cherished bezoar long since gone – made £3000. The jewellery sale resulted in some remarkable results across the board and one of the highlights was an Art Deco diamond necklace with detachable elements to allowing the pieces to be worn as a pendant, a brooch, two bracelets and a smaller necklace. This fine quality lot made £27500. The oldest pictures in Lawrences’ recent auction dated from the late 15th Century and the most recent were barely 10 years old. This great span was reflected in the range of styles and subjects on offer. Two very different oils by Italian ‘Primitives’ attracted many enquiries. A Sienese School tempera on panel of Mary Magdalene, probably a wing from a small domestic devotional triptych, was painted in the mid-late 15th Century and made £7500; and a Tuscan scene of a wedding feast, once a panel from a cassone or marriage chest, dated from c.1500 and made £32500. The sale drew to a close with a strong selection of clocks, works of art and furniture going under the hammer. One of the highlights was a 1714 sampler, worked by Grace Simpson and decorated with alphabets, flowers and birds was contested high above its estimate to be bought for a remarkable £12500, despite some evidence of 300 years of fading and a few repairs.

SUMMER WORKSHOPS Tailored Lampshades – Thursday 10th & Friday 11th June Gathered Lampshades – Thursday 17th & Friday 18th June Pleated Lampshades – Thursday 24th & Friday 25th June Tricky Tailored Shapes – Thursday 1st & Friday 2nd July Lampshade Summer School – Tuesday 10th to Friday 13th August Four days of glorious creativity

A Passage to India – Friday 10th & Saturday 11th September

Gathered lampshades using block printed fabric and saree trimmings

It is undoubtedly a great time for sellers. If you want to find out about the value of an item in your home, feel free to contact them and a specialist will guide you through their valuation process. T: 01460 73041 E: enquiries@lawrences.co.uk

Lawrences AUCTIONEERS

To book your place and for details, visit:

The Linen Yard, South Street, Crewkerne, Somerset TA18 8AB. T 01460 73041

www.lampshadeschool.co.uk

lawrences.co.uk

We are in Holt village, near Bradford on Avon

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ARTS

Painted imaginings

Midge Naylor is a painter whose work sparkles with energetic imagination. Eschewing any physical visual references, her inspiration is drawn from her memories of the Scottish landscapes of her childhood, says Emma Clegg just clicked with me, and something set me off. And I thought ‘Right I’m going to go back to work’, and I started working again part time. I’ve had a studio at BV Studios since it opened in 2010.” Midge remembers one of her art teachers at school telling her that she had an exceptional visual imagination. “I didn’t know what he was talking about then,” she explains. “Now I realise that I have. The way I paint now is driven by the materials I use, and it’s based on the East Lothian landscape that I grew up in. I start painting and I have no idea what’s going to happen and I work the paint in layers driven by the paint and by mark-making.” This creative instinct and almost mystical process can be seen clearly in Midge’s paintings, with their fluid marks and amorphous, textured brushwork and palette knife applications, where you see the energy of the broad landscape but also the gauzy, scratched impressions of trees, boats, structures, pieces of furniture. Sometimes they are buried in the landsape of the canvas; at other times they sit centre stage. “I begin with a relaxed application of paint using a palette knife and brushes then introduce improvised marks – scratched, scraped, rubbed and brushed and often smoothed with a gloved hand. Drawing into the wet paint with charcoal, graphite and oil bars sees the emergence of figurative motifs which are developed through an extended dialogue with the painting itself, which hovers between abstract and figuration a lot of the time,” she says.

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I have such strong memories of looking out to sea in my house in East Lothian... These are the landscapes of my imagination

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ainters who depict the landscape around them can spend a lifetime exploring their subjects. For Claude Monet it was plein air landscapes in his Giverny garden; for Paul Gaugin it was the rich and glowing hues of the islands of West Polynesia; for John Constable it was the glorification of nature in his Sussex home in Dedham Vale. Landscapes in contemporary painting – with its compulsion to find a new vocabulary – may feel less accessible because we don’t always recognise the story. But painter Midge Naylor’s artistic imagination has such a connection, indelibly linked to the fishing and mining community where she grew up and the landscape of her childhood, the Lammermuir Hills in East Lothian. “I have such strong memories of looking out to sea in my mum’s house in East Lothian. That is what haunts me. And these are the landscapes of my imagination,” she says. “Everything I do is a result of a visual experience that’s stored inside me. If I think of it now I can see the landscape quite clearly that I used to look out on when I was a child.” Midge wanted to go to art school when she was 18, but she was persuaded not to by her mother. “My mum was terrified that I would become unemployable, so I didn’t go.” So she worked for years as a commercial painter and decorator in film and television, including productions such as Casualty when it was filmed in Bristol, which she tells me firmly was not a creative role, it just paid the bills. So her art education started later, when she made her way to study Fine Art at UWE in Bristol in the early 1990s when she was living in Bath and her daughter first started school. “Art college is a wonderful thing, because it gives you an overview of what you are doing while you are doing it, but my work was completely different then because I was fascinated by figurative art.” The definitive spur for the creative journey she has been on since came during a visit to St Ives, Midge says. “Even as a mature student I was quite naïve and being at art school brought me up short. So I came out after four years and went straight back to work and nothing much happened for a few years. And then suddenly I had this revelation in St Ives when I saw this painting by Peter Lanyon, the Cornish artist, and it

“Markmaking is very important in the construction of an artwork. In my case the most important thing is layering and form and I will keep layering and changing until it feels as if it works. Colour and surface are important, too. And you get beautiful marks and effects by breaking through the surface by scraping. My canvases are psychological landscapes, painting using landscape as a kind of state of being.” Midge’s work has an established niche; she was elected into the Bath Society of Artists and has won ‘Best Regional Artist Award’ at the Royal West of England Academy where she became an Academician in 2012. During lockdown, Midge explains, Instagram has been the stand-out forum for artists to sell their work, but this hasn’t been a natural transition for her. “Generally selling art is all about baring your soul to the public, and a lot of people do that on Instagram. I’m just not keen on that. I put pictures up and I get lots of likes but I don’t expose myself that much. Sometimes it feels as if buyers want to own you a little bit, but that's natural if they like the work.” Perhaps this anti let’s-confess-all approach is needed to keep the sweeping mystique of this work intact. Bring back the subtlety, the unexplained, is the rally cry. In the words of Vanessa Lacey, the owner of the Irving Contemporary gallery in Oxford where Midge sells her work, “These paintings defy any sort of literal reading; even when there is a landscape within the picture, it does not abide by the rules of the real world, since here we are in a different landscape of the psyche.” n midgenaylor.co.uk; irvingcontemporary.com

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CITY | INTERIORS

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DRAMA | ON LOCATION

Top: Andrew Scott in the Gilt Leather Parlour at Dyrham Park (BBC Pictures) Middle left: Assaad Bouab as Fabrice de Sauveterre, the charismatic love interest of Lily James’s Linda Radlett at Green Park Station (BBC Pictures) Middle right: Lily James filming in the period railway station created at Green Park Station (BBC Pictures) Bottom: On set at The Bottle Yard Studios, Bristol (Open Book-Moonage Productions-BBC) 44 TheBATHMagazine

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DRAMA | ON LOCATION

A SENSE OF PLACE

BBC One’s latest Sunday night mini-series, The Pursuit of Love, has been nothing short of magical – and Bath made an ideal backdrop for this whirlwind drama. Millie Bruce-Watt chats to location manager, Mark Ellis, who let us in on life behind the scenes

hether you tuned in to watch the final episode of The Pursuit of Love on Sunday night (23 May) or were caught in its grips from the moment it hit our screens, binge-watching the three-part drama in a single session, you would have almost certainly clocked the breath-taking scenes that captured the west country in all its glory. For those who missed it, The Pursuit of Love was adapted and directed by award-winning actor Emily Mortimer for BBC One and followed the story of Nancy Mitford’s celebrated novel of the same name, originally published in 1945. The romantic comedy about love and friendship starred Lily James as Linda Radlett and Emily Beecham as her best friend and cousin Fanny Logan. The two are consumed by a desire for love and marriage, and on the hunt for an ideal husband – but their friendship is put to the test when they choose very different paths. While Fanny settles for a steady life, Linda decides to follow her heart, to increasingly wild and outrageous places.

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I kept going over to Green Park Station and one day I thought ‘I can’t not suggest this place’

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The Pursuit of Love was one of the first drama productions to resume shooting in the UK after the first lockdown. The crew filmed for three months during the summer in the Bath and Bristol area, at The Bottle Yard Studios and in London and Paris. The production team received a special mention in the 2020 Production Guild of Great Britain Awards for being one of the first high-end TV productions to get up and running with full Covid-safety protocols after the UK-wide hiatus. In an exclusive interview, we caught up with the production’s location manager, Mark Ellis, who gave us insight into life on set, sharing how they captured the “astonishing” scenes of Bath and beyond, and created a drama with mesmerising magnetism. Ellis’ portfolio is extensive in scope and scale, his CV includes critically acclaimed classics such as Downton Abbey and Belgravia as well as the more recently aired crime drama, Des. He is no stranger to the trials and tribulations of a production, but the pandemic understandably brought its own set of challenges, forcing the team to cancel shoots near Bristol’s M Shed and in Bath’s Assembly Rooms. “People were nervous at the beginning,” he says. “We didn’t know what Covid was, so turning up with masks on, standing two metres apart, trying to explain to people that there would potentially be 120 people in their house was difficult. We had to contain it, which was a shame because we probably had four different locations in Bristol – but I don’t think when you watch The Pursuit of Love you think ‘that’s a Covid show’. I think going forward you’ll realise that many of the shows coming out now were filmed during Covid. You won’t have scenes with hundreds of extras, you won’t have scenes with big wide shots, you might see a lot of interior shots with maybe two or three

actors in a room. When I was watching The Pursuit of Love, I didn’t get that – it’s just a really beautiful show and really well put together.” As a direct result of the restrictions, however, the team were forced to look further afield and were, in fact, able to take full advantage of the beautiful open spaces that surround the city. If you look closely, you’ll spot National Trust properties Dyrham Park, Dinton Park and Phillips House; Wiltshire’s Stourhead House and Lacock Abbey; and Avon Valley Railway in Bitton. “Stourhead has not been used for year, apparently, and to use the gardens there was just amazing. We were so lucky with the weather as well – just as the sun was going down, we shot the bridge from Pride and Prejudice – it just looked incredible, it really did. Badminton looked astonishing too. And Badminton is such a big house, you can use it for other elements. Shoot it from one angle you’ve got a house and shoot it from another you’ve got two houses, you’ve got a church there, you can really make the most of that location.” The team originally started prepping for the shoot before the first lockdown in March 2020, but once restrictions eased the production was able to go ahead. “We had a really good Covid team who kept an eye on things, regular testing, hygiene was high. It was a real feather in the cap to get through it and come out the other side.” With support from Bath Film Office, the production team created a stunning period railway station inside Green Park Station. They also managed to film exterior shots nearby in the Georgian terraced street of Green Park as well as outside No 1 Royal Crescent museum. “I was staying in the Apex Hotel, which was my second home for the whole time we were filming, and I kept going over to Green Park Station and one day I thought ‘I can’t not suggest this place’. The only thing was that we couldn’t shoot all of it, we had to be clever with our angles. As soon as Emily [Mortimer] saw it and the designer saw it, we thought ‘we’ve got to make this work’. It came off really well. It’s got an element of CGI – it has to have – but it was a great example of how we tend to work with locations. The exterior we used for Cheyney Walk is 50 yards from Green Park Station. When it came to scheduling, it was really easy, you’ve got Green Park Station, bang, you’ve got exterior Cheyney Walk, bang, and then you’ve got No 1 Royal Crescent just half a mile away. We were able to shoot with two units on the same day and you could really get the bang for your buck. I think that’s the really clever bit about filmmaking, they haven’t got bottomless pockets so you’ve got to try and make it work.” Ellis credits the success of the show to the cast, crew and brilliant direction from Emily Mortimer. “It’s one of those that I’m going to be really proud to have worked on. I’m glad we got through it, I’m glad we produced an amazing piece of TV – Emily Mortimer deserves everything she gets,” he says. “She’s an amazing actor, amazing writer, she just mucked in and did it – it was very much an ensemble piece and she trusted everyone’s judgement on things – that was the really good thing about it. I hope she gets loads of accolades for it.” As for the future, Ellis is currently busy working on the second Downton Abbey film but hopes to return to the west country one day. “Never say never,” he says. “It was a great job to do and if they do the other two Mitford stories it would be amazing, who knows.” n The Pursuit of Love is available to watch on BBC iPlayer. THEBATHMAG.CO.UK THEBATHMAG.CO.UK 2020 2010 THEBATHMAG.CO.UK | nOVeMber | january | june 2021

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CITY | FASHION

Clothes with heart

Alexandra Shulman’s new book, Clothes... and other things that matter sees her pinpointing certain items in her wardrobe memory that have special associations (see page 16). Here we ask four contributors for their own choices of clothing and design inspiration...

Tessa Brand My father died when I was 15 and because I was so young, nobody thought very much about giving me a keepsake, but one thing I did snaffle was a gorgeous cashmere camel coloured jumper of his. This jumper – oh my word – has been with me through thick and thin! Originally, I used to wear it to feel closer to him. I was wearing it when I was involved in a car crash at 18 (my mother darned, badly, the hole that was a casualty of the crash). I left it drying for too long over the Aga in my thirties and burned the neck. And yet all these years later, it still has a place in my wardrobe. It’s big on me, so it’s always a go-to on damp rainy days when I feel like snuggling up on the sofa. And apart from the hole and the burn it’s still in pretty good nick. I recently bought a woman’s version of a similar jumper which is great – but nothing can replace the original!

Carole Waller

Carinthia West

My collections of painted clothes always have a strong emotional theme, often inspired by travel. Last winter was different, as I stared out of our windows at the magnificent trees in the garden. The sky got bluer and the birds sang louder and the squirrels and I got to know each other. I fell in love with the huge box elder and the white poplar standing side by side in our hillside garden – they looked like massive drawings against the sky. And the ideas came flooding in! Then I realised that through every window of the house there was a different view of trees. The resulting fabric and garment designs saw trees appear simply rendered and framed, criss-crossing across the pieces, so that each garment become a ‘habitation’. The collection had found its inspiration on my doorstep for the very first time.

My choice of clothing started life as a floral patterned chiffon dress, about knee length, and was bought for £5 from the Chelsea Antique Market on Kings Road. I snatched it from the hands of Jenny Kee (now a famous Australian designer) who ran the shop. She used to save items she thought I’d like before a famous star or model snapped them up (Brigitte Bardot, Pattie Boyd and Bianca Jagger all shopped there). I loved the transparency of the printed chiffon (who wore a slip in your twenties when you had a body to show off?) and the gentle pattern of what looked like spring flowers. It was so soft to the touch that I felt as if I was wearing nothing, a fact not invisible to boys who swirled around just as its hemline swirled around my knees. My mother thought it was ‘tarty’ but that only made it more attractive to me! It lived a jet set life, hanging out with The Rolling Stones in recording studios, on beaches in Barbados with Eric Idle and Penelope Tree, and was envied by Julie Christie in Malibu Colony, who told me “that dress really suits you”. Back in England it had now become tattered and holes began to appear under the arms and on the hemline. I took courage and cut it down to a blouse which looked great with a pair of jeans and red boots, so it gained a new lease of life. When I realised that it was reaching the end of its days it went to the back of my cupboard. There it has remained, although maybe one day I’ll frame it so my octogenarian self can reflect on the eclectic life the blouse and I have led! It proves Martha and the Vandellas line in Dancing in the Streets: “It doesn’t matter what you wear, just as long as you are there.”

Carole Waller: carolewaller.co.uk Photograph by Egle Vasi

Tessa runs The Dressing Room in Quiet Street: dressingroombath.com

See our interview with Carinthia on page 32

Those who know me these days might associate me with colourful shirts and long shorts – my uniform over the past decade – but I had a different image in my youth. While I was growing up, Jon Pertwee’s sartorial elegance as Doctor Who must have seeped into my consciousness, because by the time I went to university I was gadding about in frilly shirts, velvet jackets and a cape! Other favourite fabrics included woollen ponchos, and a McGregor tartan dressing gown, as any avid fans of The Hitchhikers Guide To the Galaxy will understand. As a student I would stride boldly into rough pubs in the West End of Newcastle, cape flying behind me… The Geordie mafia types must have thought “Divvent mess with that 46 TheBATHMagazine

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Nick Steel

lad, he must be hard as nails!” Above: Nick on stage during a gig at Nottingham University 1989–90. bathcomedy.com

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City News – june.qxp_Layout 1 21/05/2021 16:57 Page 1

CITY | NEWS

CITYNEWS A PASSION FOR FLAVOUR

LUXURY & ANTIQUITIES MARKET AUCTIONS

A:ROAM:A has received rave reviews and built up a loyal following since starting up at the beginning of February. Local chefs Jesse Davies and Ross Shaw have collaborated to showcase their passion for food, travel and flavour, channelling their expertise to create a weekly changing feast. Each week they cook delicious, healthy, balanced and exceptionally tasty dishes inspired by flavours, spices and ingredients from different countries around the world. They aim to use the freshest ingredients, working closely with the best local suppliers. Everything is made on the day including their freshly roasted, ground spice blends and pastes to ensure maximum taste. There’s always a choice between a meat and a vegan meal, all served in compostable containers which can be put straight in the oven or microwave. No fuss, no mess, and the only preparation is to pre-heat the oven and follow the simple instructions provided. There’s free delivery to the Bath city area, BA1 and BA2 postcodes and Box. Place your order on the website before 10pm the previous day and then the meals are delivered on Fridays and Saturdays, between 5–7pm. aroama.co.uk; hello@aroama.co.uk

Criterion Auctioneers have expanded their business to hold monthly online auctions from their headquarters in Corsham. The auctions, which are specifically aimed at the luxury and antiquities markets, have confirmed dates in June and July, with a luxury handbags and accessories auction soon to be announced. Asian and Islamic Auction: runs until 9 June. Carpets and Rugs auction: 10–30 June; Jewellery Auction: 1–21 July. Criterion Auctioneers, Jaggards house, Jaggards Lane, Corhsam SN13 9SF; 0207 359 5707; bath@criterionauctioneers.com

HOST FAMILIES NEEDED Pippa’s Guardians, who provide guardianship services to overseas pupils studying at boarding schools across the country, are asking families in Bath to welcome international students into their homes. When their school closes for half-term holidays and certain weekends, these students need a host family who will provide a home. Families who have participated say it has been a rewarding and enjoyable experience, as well as an opportunity to really make a difference to a student studying in the UK. Carolyn Cole Rodrigues de Souza has been hosting international students since 2019. “Being a host is like extending your family. We loved having our student, learning about her culture and sharing ours. My daughters loved having an ‘older sister’ around,” she says. Ben Hughes, managing director of Pippa’s Guardians, says: “The families we look for are welcoming and are interested in other cultures. Having children of similar ages helps but we also have many successful host families who have no children, younger children or indeed older children who have left home. “Internet access is important, and each student will need their own bedroom with a desk or somewhere quiet for homework. Being part of a family and experiencing day-to-day family life enhances students’ study and plays a part in improving their English language.” Anyone interested in hosting a student from a school in Bath should contact hostfamilies@pippasguardians.co.uk

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CLEVELAND BRIDGE DEBATE Following the piece in the May Bath Magazine on Cleveland Bridge and the strengthening works taking place, there has been much local debate. As a result, structural engineer Dave Andrews, the chair of Bath Trams Association, has come up with two new petitions. The first is to build a simple, lowcost, slow bypass (not the usual high speed and obtrusive multi-lane type) to connect trucks and cars from the M4 and Chippenham directly to the A36, rather than the present route through Bath, which creates massive pollution and is weakening the structure of Cleveland Bridge. The second is to bring back modern trams to Bath to cut congestion and regenerate the city. Find out more by reading the proposals – at you.38degrees.org.uk and search on ‘bring back modern trams’ and ‘removing trucks and cars from Cleveland Bridge’.

NEW SUMMER COLLECTION Carole Waller has launched her Summer collection of painted clothes and scarves. Called The View from Here, the collection is inspired by the views of trees and nature from her window looking on to her garden, with many of the pieces showing the delicate silhouettes of trees. Carole’s pieces are available to view by appointment at her studio at one two five Box Road, Bath. carolewaller.co.uk

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www.oclaccountancy.com

What will happen to my pension if I divorce?

Furnished holiday letting business impacted by COVID-19 pandemic – Have you claimed all available reliefs? As all readers of this article are aware the COVID-19 pandemic has had a devastating impact on those businesses that operate in the hospitality and leisure sector. Landlords offering furnished holiday lettings (FHL) accommodation have been hit particularly hard. Landlords were still legally obliged to ensure that properties met required health and safety standards even though they received virtually no income. The pandemic also meant that several businesses were unable to meet the occupancy condition. Broadly, in order for a property to qualify as a holiday let it must be available for letting on a commercial basis to the general public for at least 210 days in a tax year and actually let to the general public for 105 or more in a tax year. Letting periods of more than 31 days are not counted unless the let period has occurred as a result of unforeseen circumstances. Where the 105 day occupation condition has not been met in 2020/21 all is not lost. This is because FHL businesses can make use of two possible elections; a period of grace election or an averaging election. The first can be used where the landlord genuinely intended to meet the occupancy condition but was unable to do so; it offers landlords a potential lifeline. The availability condition must have been met in the year of claim and the FHL conditions must have been met fully in the previous income tax year. The election can also be reviewed for a second year. The averaging election can be used where a landlord has more than one holiday let and one or more of the properties doesn’t meet the letting condition. Here an election can be made to average the rate of occupancy across all FHLs. Time limit for making elections – these must be submitted to HMRC on or before the first anniversary of the normal selfassessment filing date for the year. i.e. an election for the 2020/21 tax year . must be made by the 31st January 2023.

For tax saving tips contact us – call Marie Sheldrake, Tom Hulett or Mike Wilcox on 01225 445507

Pensions are often the most valuable asset to be considered on divorce. Specialising in financial resolution for divorcing couples Rebecca Silcock, explores the pension options available to separating couples. If you have been married for a short period of time or are at the beginning of your career and have not accrued much of a pension, the court might decide to make no order in respect of your pensions. Where a pension order is needed there are three specific orders that the court may make. Pension sharing orders The most common type of order is a pension sharing order. This order allows a proportion of one spouse’s pension to be taken from their pension pot and invested into a separate pension pot in the name of the other spouse. Offsetting pension values It may be that the most appropriate arrangement is for one spouse to keep their entire pension and for the other to receive a lump sum or equity in the marital home in return. The option of offsetting should be approached with caution and proper advice taken to ensure you correctly calculate an offsetting figure. Pension attachment orders Pension attachment orders provide that once a pension goes into payment, a set amount will be paid directly to the other spouse. The drawback of this order is that the pension capital remains invested in your spouse’s pension, so you have no control over its investment or draw down and they end on re-marriage or death, so there is a risk you may never benefit from this order if your spouse remarries or passes away. How can we help? Before deciding on a pension order, it is common for the court to seek the advice of a pensions on divorce expert who can provide advice and carry out the calculations necessary to ensure equality of income in retirement if that is your goal. Our team of family law specialists work alongside Chartered Financial Planner Daniel Gornall, who specialises in providing Independent Financial Advice to those going through divorce or separation. Daniel regularly provides detailed reports to assist the court on how issues relating to pensions should be resolved in a sensible and fair manner. For more information on divorce and the affect it could have on your pension please get in touch with Rebecca Silcock today at Rebecca.silcock@mogersdrewett.com or call 01225 750000.

Call Marie Sheldrake, Tom Hulett or Mike Wilcox on 01225 445507 to arrange a no-obligation meeting

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CITY | BUSINESS

Rotork innovation

Bath’s biggest company is one you may not have heard of before. Founded over 60 years ago, Rotork is a global company listed on the FTSE-250, headquartered in Bath and actively supporting the local community. Emma Clegg talks to CEO Kevin Hostetler

ho knows a thing or two about valves? Let me introduce Kevin Hostetler. Before I do, don’t turn the page in search of something less valve-y, because we just couldn’t manage without valves and actuation (more of this later). These things make a big difference to our lives – controlling the flow of liquids and gases like water and oil – but we just take them for granted. That proves that somebody’s doing them really well then? Why yes, and that’s Rotork, a Bath-based company with the defined purpose of “keeping the world flowing for future generations”, who are part of the Bath Unlimited collective of world-class businesses right on our doorstep. You know when you are at a gathering and you meet someone and ask what they do? And they give you a job title that sets your head all in a spin? I suggested to Kevin Hostetler – who relocated to Bath from Chicago three years ago – that this might be a challenge for him, as the CEO of Rotork, the global provider of mission-critical flow control and instrumentation solutions for the industrial actuation and flow control markets. He shared his approach: “There are a lot of misconceptions and misunderstandings about what actuation actually does. The first thing I say is that I work for a world-class traditional engineering company. That’s a good starting point because they are well known. Then I explain that products help the control of fluids and gases. And I ask them to think of any fluid and gas. And to imagine that at some point gas moves through pipelines. And somewhere along those pipelines there are valves used to control the flows of those. And then I say that Rotork is all about the brains

and the muscle that sits on top of the valve. We are the ones that open, close and modulate those valves at any point in the process.” The valves and pipes that Rotork deal with range in size from very small to enormous. “We operate in many different industries and with so many pipes. If you think about those pipes, there are products that we are actuating that you could stack three men on top of vertically inside that water intake valve, in Shanghai, for example. Or we might be dealing with 1⁄4 inch diameter pipelines.” Having started this with valves, I should clarify that Rotork don’t make valves, they specialise in the actuators that control the valves. “The biggest misconception that people have is that Rotork is a valve company,” Kevin explains. “To differentiate we try to be clear that we don’t make valves. We are the world-leading provider of actuators that stand on top of valves and make them work. That’s a big distinction.” Rotork might have its HQ in Bath, but it’s an impressive multi-national company. “We have 3500 staff in total, 450 in Bath and around 850 in the UK. We are active in 173 countries and our brand is really widely recognised globally, particularly in the markets we participate in.” What are typical Rotork projects? “The majority of our sales are engineered solutions. So there is a high degree of innovation and customisation for our customers. If you were to sit in our Bath assembly lines, for example, you would see 200 of the same product going down the assembly line, five in one permutation, followed by seven in another, then one, and three, and so on, all highly

An example of the work of the Pump Aid charity supported by Rotork

This on site photo includes the GP, a pneumatic scotch yoke actuator and instrumentation products

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customised for the individual application.” Bespoke challenges are another area. “We have a separate research and innovation team who integrate emerging technology into our products to solve customers’ challenges. For example how to integrate solar power as the main power supply to power valves on a remote pipeline. So it’s taking other pieces of technology and integrating them into a product set to solve customer problems.” Another significant part of Rotork’s revenue is providing upgrades and retrofits. “Our customers are looking for a higher degree of efficiency to operate what were previously manual valves. Companies trying to automate and to control remotely with greater operating efficiency drive 70% of our revenues. We may work on a site with 300 valves for three years, gradually automating that site. Other sites might just have five valves that need upgrading and we will do that very quickly. It is no longer efficient to manually open a valve and then call back in and tell someone at a control centre it’s open or closed.” Another typical project is where a new facility is being built, such as a water treatment facility. “Here we will work with a valve company and we will fully engineer their solution and actuation of the entire site. There is one large refinery where work has been taking place over 15 years.” The company operates in 173 countries and Kevin explains why: “One of the strongest elements of our business is the service business. And we have technicians within three hours of any installation of a Rotork product. If you can’t control your process you are losing lots of money per hour so they need

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Photograph by Anna Cillan

When I’m asked what I do, the first thing I say is that I work for a world-class traditional engineering company. Then I explain that products help the control of fluids and gases, and I ask them to think of any liquid or gas. And to imagine that at some point gas moves through pipelines. And somewhere along those pipelines there are valves used to control the flows of those. And then I say that Rotork is all about the brains and the muscle that sit on top of the valve.

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to know that we can get there quickly. That’s why we operate in so many countries.” The changes in technology since Rotork set up in Bath in 1957 have been dramatic. “Rotork started over 60 years ago as a largely electric actuated company, which means you took a mechanical piece of equipment and you put an electric motor on it. What has changed over the years is that now you are talking about a very sophisticated piece of digital equipment; the mechanical parts of it probably haven’t changed a whole lot. But now you are talking about communications for power supplies, LCD displays and data recorders. You’d hire an automobile mechanic to do that kind of work 20–30 years ago. Today those technicians are electrical software engineers –

Rotork’s company values: • Stronger Together • Always Innovating • Trusted Partner

“These values underpin our culture. We also have a huge value in diversity and difference. We want to feel our people belong and can deliver and be part of .something special”

so that profile has dramatically changed.” “If you are in a water treatment facility the likelihood is that you are using our network and using all our actuators on the entire spike so that you can open and close all those valves from your control room. And you are doing it as you receive direct feedback of what is coming into the system. So you are proactively managing the process. “One of the most exciting changes in our products is all about preventative maintenance. So we’ve had digital recorders in our products since the mid-nineties and so every time that valve is open and closed, we’re recording all the data about how much force did it take, how much time did it take, all the time mapping that data. And now this can be done through the Cloud, uploading all their data, we can analyse it and predict exactly when a valve is about to fail. That is just a whole new generation of technology.” Environmental efficiency is another big factor: “What is increasingly important is our ability to help our customers increase their environmental efficiency in their use of oil, gas and water. So our solutions give our customers a more energy-efficient solution and one that reduces their emissions. Electrical actuation is one of those key technologies that really help them do that. The engineering experts at Rotork also have a mission to improve people’s lives all around the world, supporting global charities whose work aligns with their industry. “We love to have a tangible impact on the lives of people. Pump Aid is a great example – there are over 1,600 people now who didn’t have access to

clean and safe water and sanitation two years ago.” Pump Aid aims to achieve lasting positive change in poor and rural communities by improving the quality, availability and use of water, with simple but effective pumps providing access to safe water, child-friendly toilets and handwashing stations. Kevin is also proud of the company’s direct engagement with the community – over the last year they have been printing facemasks. “Every site of Rotork around the world was coming together and supporting the Covid effort with food and time. I’ve told our Board that I’m immensely proud to be Rotork’s CEO.” The company has introduced wellbeing initiatives such as desktop pilates, meditation and Zoomba as their staff worked from home, and it’s clear that their people matter. “These are all things to keep people better engaged through this pandemic and through our new virtual world,” says Kevin. Rotork offer an apprentice programme, and Kevin explains that one of the benefits of being around Bath in that there is a strong engineering pedigree in the local universities. Kevin says that Bath Unlimited has certainly showcased some of the better companies in the south west: “We’re proud to have been included. It does help put us back in the map in terms of business and potential employees.” Now that you are all experts in actuation, there is no need for me to point out that even though they are hidden, Rotork products are everywhere, wherever fluid or gases are being transported in your home. “We like that, we like being a critical element,” says Kevin. n rotork.com

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PROMOTED CONTENT

Truespeed rolls out Gigabit Broadband to Bath

ath-based Truespeed has officially started rolling out its ultrafast, gigabit-capable full fibre broadband network in Bath, propelling the World Heritage city into the gigabit era. The local, multi-award winning business is also expanding its footprint into neighbouring areas in Somerset, including Keynsham and Saltford in its bid to bring the South West into the digital fast lane. Truespeed are on a mission to bring left-behind towns, cities and rural communities across the South-West the benefits of affordable, full fibre broadband direct to their doors. Bath’s rich culture and historic significance means the city has been stymied with poor unreliable broadband for years. Subsequently leaving its businesses and residents in the digital slow lane. Undeterred by the momentous challenge, Truespeed are using an array of innovative deployment technicinwues in order to help people across the city. Ushering in a new era of connectivity, Bath will at long last have its digital playing field levelled once and for all. Wera Hobhouse, MP for Bath said, “Truespeed’s investment will benefit the city enormously as ultrafast broadband connectivity can’t come soon enough for Bath businesses and residents. It’s great that a

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Bath-based firm is at the forefront of supporting our communities and taking our beautiful city into the full fibre fast lane.” Bath is home to a multitude of progressive and world leading businesses. Providing an ultrafast platform that allows home workers and businesses to tap into some of the fastest broadband speeds in the world. By building a brand new infrastructure, Truespeed deliver 10 gigabit-capable full fibre broadband directly into premises. Guaranteeing lightning quick connectivity and cast-iron reliability, even at peak times. With truly flexible and productive working, Truespeed are helping propel Bath forward as a thriving business hub. Evan Wienburg, CEO of Truespeed, commented, “We’re excited to get going in Bath while stepping up the roll-out of our full fibre network in Wells and surrounding areas in Somerset. We’re lighting up our map of the South-West and bringing under-served households and businesses the future-proofed gigabit capable connectivity they deserve.” True to its community-first ethos, Truespeed also offers primary schools and community hubs passed by its network free ultrafast broadband for life. To date, over 100 schools and community hubs have signed up for free broadband. Visit truespeed.com to place your order.

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CITY | EDUCATION

A year of reflection

How do you look back on your first year at The Paragon? With so many different emotions and perspectives. It has been an extraordinary year of ups and downs globally, so picking one overriding sentiment to sum up my first year as Head is hard. However, my reflections do keep returning to the incredibly strong sense of community at The Paragon, and the way in which everyone has pulled together for the good of the school and its children. What have been the main challenges? Keeping a sense of momentum. Obviously Covid has presented more than its fair share of challenges to everyone in our community. However the main challenge, and one which we have met head on, is ensuring that we have done more than just navigate a pandemic this year. The school has also moved forward, and there are exciting plans for the future. It has been a challenge to remain focussed on continual improvement, but we have done so. There are exciting times ahead! How will Covid change the way schools approach children’s learning do you think? With a greater focus on learner behaviours than ever before. At The Paragon, we deliver our curriculum in a way which ensures the children develop habits of mind which will stay with them for life. Characteristics such as perseverance, resilience, independence and curiosity form our ‘Paragon Wheel’ and underpin everything that goes on in classrooms and around the school. The experiences of Covid have served to underline the importance of the way the children learn, furnishing them with these life skills.

How have pupils coped with the different way of learning over the past year? Utterly brilliantly. Their resilience and, quite frankly, joy through the various ebbs and flows of the pandemic has been nothing short of breathtaking. They have found the fun in everything and worked their socks off under such difficult circumstances. Not only that, but our recent assessments have shown that great progress has been made in their learning. In spite of everything, it has been a successful year for each of them and we are all incredibly proud of their resilience and determination. Are you looking forward to a time when you can focus more emphatically on the school rather than on protective measures? To answer yes would be a huge understatement! But the pandemic has also been an opportunity for me to get to know the school very quickly, and so I have been able to progress some plans for the future already. What are your main plans looking ahead? To ensure that every child who comes through our school experiences their own journey of limitless discovery, and to further embed our core values in everything we do. The Paragon is an amazing school with many strengths, and our new vision and values will build on these to provide all our pupils with the very best experience of preparatory education. We have plans to significantly extend our outdoor learning programme, to further develop our cocurricular programme so that it provides each child with expansive opportunities, and to build on our already strong community to instil in the children a real sense of global awareness as they grow into adulthood. We will continue to deliver a wonderfully broad and enriched curriculum in the classroom, with an emphasis on keeping alive in every child their natural thirst for learning. I have always said that academic success comes as a bi-product of happy, engaged children and The Paragon has that magical quality which will make this a reality. What makes The Paragon a special school? A prospective parent who visited the school recently described it as being like ‘childhood bottled.’ I think this sums it up. Anyone who has visited The Paragon, or indeed knows it by reputation, will understand it when I say there is a magic to the school.

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Photographs by Jane Wiltshire

How have your children managed at school over the past year of disruption? We ask Rosie Allen, who is approaching the end of her first year as Head of The Paragon School, what are her lasting memories of a year like no other...

It’s not just the setting. It runs deeply through the ways and traditions of the school, in the relationships between pupils, staff and parents and in the wonderful environment which has been created for the children. I very much see my role as stewarding this magic, and ensuring that we keep it alive and thriving. What is appreciated the most by parents and children? That our pupils are allowed to be children. There is so much joy, adventure and purpose for them on their educational journey with us, and their time at The Paragon gives them a fully immersive educational experience. They have time and space to develop their skills and talents, to find out who they really are and what they have to offer the world. Ultimately, each child leaves our school as an even better version of themselves, and I think children and parents alike appreciate the natural and individual growth that The Paragon allows. Can you explain your motto, A Journey of Limitless Discovery? It’s a journey because our approach embraces an understanding that each lesson, day, week and so on is part of a life experience for each child which begins before they join us and continues long after they have left us. Limitless because the way we teach, learn and interact as a community places no limits on what each of the children has the potential to achieve. And discovery because the children foster curiosity, creativity and a sense of adventure in all they do. Put together, it places a Paragon education at the heart of childhood, creating happy and kind children who have self-belief and an aspiration to play their part in the world. n The Paragon School is an independent, co-educational prep school in Bath, for children aged 3–11; paragonschool.co.uk

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Wells Cathedral School’s production of Les Misérables was staged at Strode Theatre

Teaching empathy

In a world that holds unprecedented uncertainty and change, how best do we equip our learners of today to adapt and thrive in an unknowable tomorrow? What is the priority for them, artificial or human intelligence? Damian Todres, Director of Drama at Wells Cathedral School, argues that drama may hold the key...

Damian Todres

onsider the experience of being a child in the 21st century: tentatively exploring ‘who I am’ through the glaring lens of relentless social media feeds, with the emotional burdens of ‘always on' connectivity, commentary and unprecedented self-comparison. Add to this the worries of climate change, perpetual political upheaval and the arrival of a game-changing global pandemic. Such psychological pressures are compounded by the rapid pace of technological change, whereby more than half of children entering primary school today will ultimately end up working in completely new jobs that don’t yet exist. How can our young people be better prepared to cope in such a world? An indication of this direction of travel can be seen in the World Economic Forum’s recent Future of Jobs’ report, where we see employers prioritising ‘creativity’ and ‘emotional intelligence’ as capabilities they wish to see in their recruits; these more ‘human’ skills balancing what the current digital trends of Artificial Intelligence and machine learning are unable to bear. So as a result of the cultural and employment challenges facing our young learners today it seems that we may need to re-evaluate the kinds of knowledge and capacities that empower them to thrive 60 TheBATHMagazine

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in an unknowable future. And here we come to an old idea: Aristotle’s concept of ‘phronesis’, or ‘practical wisdom’, is an intelligence gathered from practical action and creativity that ultimately informs a person how to ‘be’ in the world. Concerned with not only the ‘head’ (what to know), but crucially, how to integrate this with the ‘hand’ (how to act) as well as the ‘heart’ (how to feel), Aristotle here emphasises the significance of not necessarily ‘what’ to know, but ‘how’ to know. So how do we provide opportunities to facilitate practical wisdom and emotional intelligence in our schools? I believe that teaching and learning drama is a compelling answer. Through embodying characters from other times and places, drama utilises the universality of human experience to imaginatively uncover shared emotional and personal connections. It is able to further develop perspectives between ‘self’ and ‘other’ due to its inherently social and collaborative modes of working, thus encouraging empathic thinking and behaviour through a consideration of multiple perspectives. During this iterative process, creativity and imagination help to establish a transformative space of possibility that supports farreaching benefits such as kindness, healing and understanding – qualities that are transferable to the wider life of the child.

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The facility to empathise holds profound value in developing a citizen of the 21st century and arguably enables the skills of collaboration, people management and negotiation...

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Not only do all of these traits explain how drama is able to foster practical wisdom, the discipline explicitly teaches what many consider to be one of the most urgent capacities in education: empathy. Originating from the German philosophical term Einfühlung (‘feeling into’) and the Greek root ‘pathos’, which translates as emotion, suffering and pity; it is now understood to mean the ability to move beyond ourselves in order to meaningfully understand the feelings and experiences of others. This facility to empathise holds profound value in developing a citizen of the 21st century and arguably enables the skills of collaboration, people management and negotiation necessary to be a success in modern life. Furthermore, the late and much-lamented educationalist Ken Robinson made an urgent call for empathy as the next educational disruptor, as he believed that many of the problems our children face are rooted in failures of empathy. In this way, the ability to ‘feel into’ is able to facilitate the

Wells Cathedral School's Brass musicians at The Two Moors Festival

development of a young person experiencing challenges into an agile, resourceful and resilient adult. As a drama teacher, this concern with practical wisdom and empathy has led me to pursue my own research which focuses on dramaturgical strategies that enable pupils to develop and deepen their foundational human capacity to imagine the world of another; a competency that may help them to adapt and thrive together in the modern world of an unknowable future. n

Damian Todres is Director of Drama and Head of the Creative Arts Faculty at Wells Cathedral School, winner of Independent School of the Year 2020 in the Performing Arts category. The above is drawn from his final MSc dissertation entitled ‘Imagining the Other’ at the University of Oxford, which investigated how educators can facilitate and explicitly teach empathy.

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GUEST | COLUMNIST

Back to nature

Urban ecologist Professor David Goode looks back at our modern-day connection with the environment, assesses how nature in recent years has become more centre stage, and explains why this is meaningful for the future

Bug hunt on Troopers Hill in Bristol, 2009

hardly entered the public arena, climate scientists and ecologists were already clear that the earth’s atmosphere was getting warmer as a result of the increased concentration of CO2 due to burning of coal and oil. I predicted in 1982 that there would be severe environmental consequences within the next 50 years. The wider public woke up to the problem in the 1980s and decisions were taken at the United Nations Earth Summit in Rio in 1992 for countries to limit emission of greenhouse gases. Sadly, emissions have continued to rise over the past 30 years and are still rising. Without immediate action to reduce emissions it will become impossible to prevent an increase in temperature exceeding 1.5°C, a goal that would prevent the most damaging effects of warming.

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One of the most profound effects of lockdown has been the realisation by many people that nature is all around us

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hroughout my working life as an ecologist I have been acutely aware of two critical impacts on the global environment. One is the enormous scale and rate of species extinction, the second is climate change. Both have intensified with each passing decade. Both result directly from human activities. From a global perspective it is clear that human actions continue to have a disastrous effect on natural ecosystems. So it will be no surprise to hear that I can become despondent. But I am recently becoming more optimistic. For several years in the UK we have seen growing concern about environmental matters, with increased recognition of the value of nature to humanity. Creating greater connection between people and nature has become a major feature of the environmental agenda, spawning a wealth of new initiatives from local residents’ groups and primary school activities right through to local and national government. How has this come about? Television documentaries, notably Sir David Attenborough’s series Planet Earth, no doubt played a part in raising public consciousness of environmental problems. Blue Planet II was the most-watched television show in the UK in 2017, with more than 14 million viewers. Any bookseller will tell you there has also been a huge surge in ‘nature writing’, with a large number of new and distinguished authors involved. They include academics, naturalists, farmers and journalists who have promoted a climate of enthusiasm for nature that is beginning to permeate society across many different fields. The quality of the literature in this genre is a major driving force. There are spellbinding tales for younger readers too, such as local writer David Almond’s Bone Music which explores long-established deep connections between ourselves and nature. The value of nature in promoting health and well-being, including mental health, is also well-established. The NHS has links with environmental centres to which patients are referred by their GPs to take part in activities that allow them to ‘regain their own health’. The Eden Project in Cornwall is one such centre. Others are specifically designed for people to connect with nature in towns and cities. At a local level there are numerous opportunities for people to connect with nature, such as by joining natural history society field meetings, or joining a group to listen to the dawn chorus. They can even participate in citizen science projects monitoring changes in the distribution of species. Apps can now be used to explore local wildlife sites and grants are available to improve access to nature and encourage people to get involved. Here in Bath we have benefited from grants from the Heritage Lottery Fund for the Bathscape Project, a major project relating to the landscape of woods and meadows that form part of the UNESCO World Heritage Site, also for Sydney Gardens and Smallcombe Cemetery. The second issue is climate change. I first read about it in the 1960s when it was referred to as the greenhouse effect. Although the issue had

However, I am heartened by the new awareness that has spread across the world since 2018. Greta Thunberg has had an astonishing impact since she embarked on her school strike for climate outside the Stockholm Parliament in August that year. She mobilised millions of young people to take action to persuade governments to take climate change seriously as a global crisis. In a series of speeches to world leaders she made it clear through plain speaking that they have failed to address the simple truth that use of fossil fuel has to stop. That means now. “If the emissions have to stop, then we must stop the emissions. To me that is black or white. There are no grey areas when it comes to survival. Either we go on as a civilization or we don’t” (Thunberg, 2019). Our local Council, B&NES, declared a Climate Crisis in March 2019. This year the new US President Joe Biden has put climate change at the top of his agenda and is already pressing world leaders to take real action. This year is crucial. The UK will chair the UN Climate Summit in November. We have been waiting too long for positive action. This time it has to happen. Coronavirus struck in January 2020. Can we ever forget the extraordinary effect of the first lockdown in March? My first impression was that air pollution in Bath had suddenly abated, the sky was clear and unusually blue, and at night it was filled with stars. The Milky Way was magnificent. But for me it was the silence that was most profound when we first experienced the lack of background noise. It was eerily quiet with hardly any road traffic, trains or other sounds of the city. The only sounds were the birds. Their songs seemed to be enhanced by the stillness. Many people commented that they had never noticed them before. Others asked why the birds were singing so loudly. Most striking, of course, was the absence of people. The centre of Bath was suddenly deserted and even on our local walks in Widcombe we hardly saw a soul. Everyone was indoors. It seemed at times as if we were living through a science fiction drama. Animals reacted in different ways. Even in the first days of lockdown there were reports of wildlife taking advantage of the absence of people to invade towns and cities. A herd of feral Kashmiri goats hit the headlines browsing in gardens along streets in the centre of Llandudno, and there were reports of wild boar running amok in several Italian

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This meadow near Macaulay Buildings is covered in a swathe of cowslips in spring. Alongside is one of the oldest woodlands in Bath, Smallcombe Wood

cities having invaded from surrounding forests. In contrast, the gulls that nest on rooftops in our city centre seemed nonplussed by the absence of people. Small groups flew around in disarray, frantically searching for scraps of food, all to no avail. Very few pairs raised young in 2020, partly because of lockdown but probably also as a result of the extremely hot weather in spring and early summer. During lockdown I made a recording of the dawn chorus in Bath. The performance was unusually long, well over an hour instead of the usual 20–30 minutes. I recorded 24 different species that morning. Sometimes it was a cacophony of blackbirds, robins and wrens; at other times songthrushes and blackcaps dominated the chorus. Intermittently I heard the fluty notes of a nuthatch, and at times the deep croak of a raven from its nest nearby. There were even the soft tinkling voices of goldcrests, our smallest British bird. The recording was broadcast on our local Bath radio Imperial Voice which prompted many people to get in touch asking for a commentary to identify the species, which I was happy to provide. You can hear it on the Bath Natural History Society website. One of the most profound effects of lockdown has been the realisation by many people that nature is all around us. Certainly people have appreciated all the parks and green spaces available in Bath, from the formality of Parade Gardens, or the green expanses of Victoria Park and Bathwick Meadows, to the wildness of the Skyline walk. We are not alone. The Office for National Statistics reports a huge increase in use of greenspace during the pandemic. Nearly 40% of people said nature was more important than ever to their wellbeing. National media have also recognised that links with nature have been crucial for both physical and mental health. For some, lockdown meant getting to know your local patch, gaining an intimate knowledge of all that nature offers. The spring of 2020 was exceptional. In The Consolation of Nature: Spring in the Time of Coronavirus (Hodder Studio) one of the authors claims that it was the loveliest spring in living memory. This book brings together the experiences of three well-known nature writers as they explored their particular local patches in southern England. It is a glorious account of spring, in which exhilaration abounds. Another book that captures the spirit of our time is A Song of Gladness (Two Hoots) by Michael Morpurgo and Emily Gravett. Subtitled ‘A story of hope for us and our planet’ this is a children’s story that shows us the beauty of nature and what is at stake.

Special facilities are provided for minibeasts at the Lyncombe Hill Meadows

In Bath some local communities have been going further to encourage nature and make it more accessible. A local group has leased Lyncombe Hill Fields from the city council to do precisely that. Paths have been laid, trees planted, benches constructed, bird boxes erected and this nature area is taking on a new life. Local communities can make changes happen. If you are stimulated to learn more about nature in Bath I would encourage you to join the Bath Natural History Society. We should be delighted to welcome new members. n David Goode is president of Bath Natural History Society, past president of the Institute of Ecology, and before coming to live in Bath was head of environment for the Greater London Authority. He is the author of the highly acclaimed Nature in Towns and Cities (Harper Collins). • Bath Natural History Society: bathnats.org.uk • Listen to the dawn chorus: bathnats.org.uk/international-dawnchorus-day-3-may-2020

A nuthatch bringing food to its nest

❝ I heard the fluty notes of a nuthatch,

and at times the deep croak of a raven from its nest nearby

❝

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My health journey has taken me from crutches to running a Triathlon. Studying at CNM helped me do it. Angela MacRitchie, CNM Graduate in Naturopathic Nutrition, Herbal Medicine, and Naturopathy

was a county gymnast at the age of 19 when my knee swelled up and I could only walk with crutches. Over the next 20 years I had six operations, took heavy painkillers and was often bedridden with pain. After the sixth operation my consultant said “No more operations, I’m referring you to the Rheumatology clinic”. Prescribed a cocktail of powerful antiinflammatories, which, despite making me feel very unwell, brought down the swelling dramatically, meant that I could dispense

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with crutches, though I was still in pain. I was told I’d be taking anti-inflammatory drugs for life, so I began to investigate natural alternatives. When I explained to the rheumatologist the natural changes I was making, he was unimpressed. I told him I had challenged myself to do a triathlon in two years’ time, to which he replied, “No chance”. But my body increasingly began to wake up again and respond. Two years later, at the age of 46 I successfully completed my first triathlon. I’m now 48. It’s been four years since I’ve taken any medication. My knee is fine, I’m pain-free and enjoy more mobility than since I was a teenager. The only reason I haven’t done more triathlons is because I’ve been studying for three Diplomas at CNM: Nutrition, Naturopathy and Herbal Medicine. I learnt amazing facts at CNM which really helped my health. It turned out my blood had no Rheumatoid factor markers, so Rheumatoid Arthritis was never the problem. It was tough studying for three Diplomas and working full time, but everyone at CNM helped me. I now have three clinics offering my clients complete wellbeing packages. As a Naturopath I know the importance of giving the body what it needs for healing and

returning to balance and inspiring people to make positive change in their lives. I don’t have the words to express how much studying at CNM has changed my life.

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Andrew Swift June.qxp_Layout 1 19/05/2021 16:13 Page 1

THE | WALK

View from Lansdown

Swineford circle walk

Andrew Swift guides us through some fine scenery following quiet byways, green lanes and holloways in South Gloucestershire

his eight-mile walk takes in some of the finest scenery that South Gloucestershire has to offer. Starting at Swineford in the Avon valley, it heads north through Upton Cheyney and along the Boyd Valley to Wick before climbing to the heights of Lansdown and walking south along the escarpment. From there, it drops down to the village of North Stoke and along a Roman road to return to the starting point, where a pub with a large garden awaits. Much of the route lies along quiet byways, green lanes and holloways. Although there are some field paths, little livestock is likely to be encountered, although, as this is equestrian country, you may encounter horses. The walk starts at Swineford Picnic Area, off the A431, 50m west of the Swan Inn (BS30 6LN; ST691692). If you want to take the bus, the No 19 runs hourly to Swineford from Bath bus station. The picnic site stands on the site of Swineford Color Works, established by the West of England Ochre & Oxide Company around 1899. In the 1930s it was converted to an iron foundry which closed in 1957, although the fast-flowing leat which powered it still flows through the site. Just beyond the car park, go through a kissing gate (KG) on the left and turn right alongside the hedge. At the end of the field, go through a KG, cross a footbridge and carry on up a path which leads through a broken KG. Continue uphill and, 100m further on, turn left through a KG. Cross a lane at the end and go through a KG by a bench. Turn right, go through a six-bar gate, carry on alongside the hedge, and at the end of the field, when you come to two KGs, go through the metal one on the left. Continue through two more KGs, turn left along a path, and, after going down steps at the end, turn right then left along a lane past 17th-century Upton Farm (ST691700). After 800m, when you come to a T junction, turn right (along the only busy stretch of road on the walk), and after 170m, turn left along New Pit Lane, its name recalling a colliery that stood hereabouts. The lane leads across the River Boyd, which rises near Dodington and flows into the Avon at Bitton, and, despite being only seven miles long, powered numerous mills, several of which were major industrial undertakings. After 300m, opposite Chilcott House, turn right through two KGs 66 THeBATHMagazine

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following a sign for the Monarch’s Way (ST686709). Head diagonally across the field, go through a KG in the fence and continue across a double stile, passing the former Golden Valley Mill, which produced paper until 1825, when it was converted to an ochre works. Carry on alongside the hedge and across a stile to follow a path which leads down steps to a lane. Turn right and after crossing the river go through a KG on the left to follow a track beside the river (ST690713). At the end of the field, carry on across a footbridge, through another field, across another footbridge and past a sewage works, before crossing a slab stile and following a stony track. Away to your right you can see the Lansdown escarpment, which you will soon be climbing, and, in the distance, the caterpillar of trees on Freezing Hill. Go through a KG and follow a faint track indicated by a waymark across a field. Cross a stile, carry straight on and after going through a KG turn right along a lane (ST696724). Carry on past two turnings on the left, but after 950m, just past a turning on the right for Oldbury Lane, carry straight on along Coldharbour Farm Lane (ST704720). After the lane swings left past Coldharbour Farm, the caterpillar of trees lies straight ahead. If you look to your left when you come to a gate, you should be able to make out, in front of a row of poplars, two standing stones which formed part of the burial chamber of a ruined long barrow. They are known as Grandmother’s Rocks, although the legend that gave rise to this name is long forgotten. Carry on as the lane grows increasingly rough and continues to climb before dropping down to ford a tributary of the River Boyd. After another 350m, tarmac returns. When you come to another lane, carry on in the same direction, and when you come to a T junction, look to the left for a footpath sign and follow it straight on up a rough and rocky track (ST709705). This is Slaughter Lane, its name a chilling reminder of the desperate battle that took place on these treacherous slopes on 5 July 1643, when Royalist troops stormed – and took – the seemingly impregnable position held by the Parliamentarians on top of the hill. When you come to a gate, go through it and bear right uphill alongside the fence. A little further on, a gap in the trees reveals the

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THE | WALK

Carrying on along the track, you come to a metal gate, where a bench commands a superb view westward. Continue downhill, ignoring a Cotswold Way sign pointing left, and, after going through a seven-bar gate, follow the track as it bears left past Church Farm, with St Martin’s Church up to your left. Bear right through North Stoke village and after 150m, by a wall letter box, turn right down a stony lane (ST701691). Follow it as it bears left, 150m further on, along the course of the Roman road from Bath to Sea Mills, which soon dwindles to a muddy track. After 300m, follow it as it bears right (ignoring a KG on the left) to run down a steep and narrow holloway. Go through a KG at the end, with a view over the Avon valley, and head across a field and two KGs to return to the starting point.

Fact file

The Grim Reaper

view westward, before a waymark directs you away from the fence and the climb grows even steeper. Once through another KG, however, the views are unimpeded. Carry on with a drystone wall (currently under restoration) on your right for 350m. Go through a broken KG, and, a few metres further on, after going through a wooden KG, bear left, keeping a sharp lookout for golf balls. After 125m, when you come to a way into the woods, go through it and carry on with the wall on your right. Carry on across a tarmac drive and at the end bear right to follow a gravel track across the golf course (ST719694). After passing Pipley Barn, with its sculptures of the grim reaper and his friends by David Michael Morse, you come to the entrance to Pipley Wood. As there is a way out of the wood further along, a detour is possible here – but be warned that the wood, although fascinating, is very steep and very muddy.

THE

KI TC HEN PAR TNER S DESIGN STUDIO

n Distance: 8 miles n Time: 4 hours n Level of challenge: Largely straightforward, although with steep and rocky paths and several stiles n Map: OS Explorer 155

More on the details of this and many more walks can be found in Andrew Swift’s Country Walks from Bath, published by Akeman Press; akemanpress.com.

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CITY | INTERIORS

Tom Faulkner’s Capricorn Plinth is a piece of sculpture in its own right, as well as oﬀering an elegant plinth for sculptural pieces

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CITY | INTERIORS

Big visions

What’s the largest art statement in your home? John Law, creative director of Woodhouse & Law gives his expert advice on featuring art in the interior that has a sizeable impact – paintings, sculpture, large-scale wallpaper, statement furniture and lighting and collages of framed pictures all offer stand-out possibilities

rt and sculpture are both such important elements of interior design schemes, yet can so often get overlooked in those key early stages when pulling a room together. And more’s the pity; these are often the very pieces that can really help personalise a space, giving it not only depth but also a sense of individuality. Sometimes however, and excuse the pun, it’s easy to get hung up on how and where to introduce these elements to a scheme. Particularly with larger pieces, and in smaller homes. At times, though, a larger piece can really give that much-needed scale to a room, while ensuring the space stays restful. For example, a large-scale landscape in a relatively muted palate can add depth and texture to a room without feeling overbearing. Often the key to ensuring a space can pull this off is to dodge convention. Try to avoid viewing each elevation of a room in isolation and defaulting to the placement of a painting centrally on a wall. Think instead about the room as a canvas overall, of how one wall interacts with another. For example, look at placing artwork over doorways, above larger pieces of furniture or by a fireplace. Consideration should be given to what lies beyond those four walls; of how the views beyond, to the garden or to the next room, might best be complemented.

❝

We each have an innate, emotional connection with the pieces of art that are dear to us; they tell a story, our story

JOHN LAW

❝

Large scale art needn’t be exclusively in the form of large canvas; it can be equally impressive to group together smaller pieces of art. In a recent project, we displayed ornamental objects alongside piece of art within a glass-fronted armoire to create a larger installation. This playful way of adding interest and depth to the dining room scheme allowed for these pieces to be changed over time, as and when new pieces are collected and new tablescapes created. A collection of maps, smaller paintings, or photographs, or indeed a combination of each of these can be equally impactful. What’s important however is that visually they sit well together. This might be through cohesive, complementary framing, or how they are displayed relative to the context of the room. The collection might subtly relate for example to the colour, form and texture of items on, say, a console table below. Many large-scale wallpaper designs can also create the same impact and drama as a large piece of original art. When arranging art on bold patterns, take care to avoid accidental clashes; this can be done through introducing wider mounts and clever framing to give each piece space. Equally, if a painting or print references a colour or pattern in the wallpaper behind, it can sit more comfortably.

ABOVE RIGHT: Pegasus by Pedro Ramalho – Pedro exhibits at Bath Contemporary Artists Fair RIGHT: Painting by Richard Young – Richard exhibits at Bath Contemporary Artists Fair

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CITY | INTERIORS

❝ Large paintings can transform a space: they

Tables by Porta Romana

add energy, they can set the mood and add atmosphere. Because of its size and impact, a large canvas should be considered as an integral part of the room

MALACHI BOGDANOV

❝

Spring is Coming by Emma Rose

Moonlight Murmuration by Credit Ochre Lighting

❝

Size really does matter. Experience has taught me that the larger the painting, the bigger your room becomes. I often paint to commission and always err on the side of greatness, with showstopping results

❝

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EMMA ROSE

Sculpture can also be equally daunting. The first obstacle to overcome is the assumption that that sculpture must take the form of a dedicated piece. Many pieces of furniture and lighting have sculptural elements in their own right. For example, Tom Faulkner’s Ava dining table, or Porta Romana’s Rhomboid console table. Lighting can also be a great way to add a sculptural element to your scheme. Take the Gaia pendant and Murmuration installation, both by Ochre Lighting; these pieces are not only organic by nature but also introduce a powerful, moving design element to any scheme. We’ve found such organic pieces to work particularly well within Georgian homes. They offer a contrast to the strong, clean lines often found in the architectural detailing of these properties; in panelling, architraves, and shutters, for example. For those stand-alone pieces of sculpture, however, plinths are a great way to ensure they are displayed to their best. Our go-to is Tom Faulkner’s Capricorn Plinth; a piece of sculpture in its own right, its curved lines helping to draw the eye to the item on display without competing with it. Its concave form also helps introduce pieces to the corners of rooms and help to add interest to those with high ceilings. Whether a piece of art or sculpture, always take time to consider the subject of the piece. For example, in a recent scheme, we incorporated a portrait by emerging artist Hatty Butler, where the subject is looking up and out of the painting. We deliberately placed this piece on a double-height landing with a high window. Each day the portrait is bathed in sunlight, just as if the subject is seeking it out. We each have an innate, emotional connection with the pieces of art that are dear to us; they tell a story, our story, and without words, give a narrative to space in which they sit. And sometimes rules need to be broken to ensure that narrative is truly seen and heard. n

Woodhouse & Law: woodhouseandlaw.co.uk Emma Rose: emmaroseartworks.com Bath Contemporary Artists Fair: bcaf.co.uk

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Image shows Ulster Carpets The Mix Strata Stone

Gardening - June.qxp_Layout 1 21/05/2021 16:07 Page 1

GARDENING

Ways with water

As summer approaches, Elly West explains why adding an easy-to-maintain blue spaces can transform our gardens into outdoor havens, for wildlife and for human enjoyment

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and watch for dragonflies and other wildlife, so an area that gets sun for at least part of the day may be important – and is vital if you are building a pond, which will need sunlight for pond plants to thrive. It’s also best to avoid siting a pond too closely to trees and shrubs as it will drop leaves into the water and cause it to go stagnant. Small water features with built-in pumps will also run more smoothly if they don’t get clogged up with leaves and other plant debris. A pond for wildlife needs to be at least 60cm deep in the deepest part, so that it will stay cool in summer and avoid freezing solid in winter. It also needs at least one side to be shallow enough for frogs and other creatures to climb in and out. A sloping pebble ‘beach’ is ideal, and when you build your pond, include shallow shelves at the edges for plants. It’s a good idea to include lots of plants in a wildlife pond, to

❝

I would always recommend including some seating near to your water feature so that you can fully enjoy its relaxing and hypnotic qualities

❝

everal years ago, not too long after I moved into my current house, some friends bought me a self-contained water feature for the garden. Towards the end of last year I noticed it had stopped working, but on a sunny day in spring I decided to try taking it apart and poking some wire in a tube to unblock it and get it going again. Happily it worked, so I’m now enjoying my garden even more with the relaxing sound of running water. Water is a calming element to include in any garden, and it doesn’t have to be a lake set in rolling acres or even a large pond. A simple bubbling fountain water feature, or a pond in a half-barrel or glazed pot is fun to create and will add that little bit of extra interest without costing a fortune or involving too much groundwork or digging. Deciding on the type of water feature that you want to include is like any other design consideration. Do you want it to be formal or informal, traditional or contemporary? Is there a particular material that you love or hate? What will fit in well with the rest of your garden and the existing materials? Will you want to keep ornamental fish, or will the emphasis be on wildlife, or on the sight and sound of the water itself? You may also need to consider safety if there are young children using the garden. The next thing to think about is location, location, location. I would always recommend including some seating near to your water feature so that you can fully enjoy its relaxing and hypnotic qualities. It’s likely to become your favourite spot, where you can sit

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GARDENING create a mini ecosystem that will (hopefully!) take care of itself and keep the water clear. A combination of deep-water plants such as lilies, combined with marginals such as rushes and water irises, will help to keep the water healthy and provide hiding places for wildlife, and sitting places for lily-pad-loving frogs! If you don’t have the room, or inclination, for a pond then a bubbling pebble pool or stand-alone feature is a nice alternative that is decorative and provides a relaxing sound. You’ll need an electricity supply nearby, but most are very simple with a small pump that circulates water from a reservoir. This might already be built into the feature, and if not is easy to construct by digging a hole for a sump that will hold water along with your pump, then covering it with a grid with stones or pebbles on top. The water is then pumped up through a tube and out through a small spout, where it runs over your feature and back down into the reservoir. Keep your water feature topped up in summer so the pump doesn’t run dry – and keep it clean so that debris doesn’t cause it to clog. Even simpler – and with no need for digging or electricity – is a pond in a container. Just about anything that holds a decent amount of water will do – it doesn’t have to rival Bristol Aquarium – and you’ll attract thirsty birds and perhaps even frogs and tadpoles if they can get in and out. Make sure your container is water tight. A half-barrel, a large glazed pot or a zinc trough make great mini-ponds; add a few plants, then sit back and wait for nature to move in. For inspiration, visit Westbury Court Garden in Westbury-onSevern, a Dutch water garden dating back to the seventeenth century. At the time of writing, the gardens were open Wednesday to Sunday, with booking essential. Visit nationaltrust.org.uk/westbury-court-garden to find out more. ■

Plant of the month: Roses I used to be ambivalent about roses, I’m not sure why. Maybe it was the thorns, or perhaps because I thought they were difficult, or because I couldn’t quite shake off that old-fashioned image of shrub hybrid teas, planted in a row. Now, however, I can appreciate their many qualities. Today’s roses are both tough and stylish, and mix well with both contemporary and cottage-planting schemes, alongside perennials, ornamental grasses, or trained over a pergola or arch. There’s a reason why they regularly top the list of our favourite garden plants. Many will flower right through the summer, offering both colour and fragrance, followed by attractive hips that attract wildlife to your garden. Roses need lots of nutrients, so do well on our Bristol clay soils. They will still benefit from digging in some well-rotted manure or compost when you’re planting a new rose, or around the base of the plant in spring or summer to give it a boost. I also dump the wood ash from my log burner around the base of my roses, as it gives them a feed of potassium. The David Austin website (davidaustinroses.co.uk) is a great place to start if you’re not sure which one to buy. You can search by colour, type or situation, and it also lists thornless varieties.

• ellyswellies.co.uk; Instagram: @ellyswellies1

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the directory Electricians

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Cobb Farr PIF.qxp_PIF Full Page 20/05/2021 10:06 Page 1

PROPERTY | HOMEPAGE

charming Grade ll listed detached period property set within approximately 4½ acres of gardens and paddock, in a stunning location in St Catherine’s Valley surrounded by wonderful countryside with excellent views. Orchard Farm is believed to have been originally built-in 16th century within the Tudor period, but has since been extended in the Georgian period and has evolved into a most attractive detached country property. The present owners have resided in the house for approximately 37 years and at the time of purchasing it, fully refurbished the property throughout. It provides well proportioned rooms with a light and airy feel to it, but throughout there are some wonderful period features including 2 superb Inglenook fireplaces, exposed oak beams, wonder oak flooring and doors throughout. The property does have potential to be extended further and around 2003, plans were drawn up for an extension to one side of the property which were never carried out. It should also be noted that immediately adjacent to the property is a stone built stable which may also provide potential as an annex. The property is set in wonderful, landscaped gardens which have been lovingly laid out and cared for by the existing owners and gardener which includes many specimen trees including Indian bean, flowering cherry, liquid amber and silver birch. In addition, there is a paddock which is currently divided into 2 which is planted with fruit trees and has been used to graze sheep. This is a very special property and to fully appreciate it a viewing is recommended by the sole agents Cobb Farr.

ST CATHERINE’S VALLEY • Grade II listed detached property • Period features • Stunning location • 2 Inglenook fireplaces • Landscaped gardens • Potential to expand • 4½ acres of gardens and paddocks

OIEO £1,400,000

Cobb Farr, 35 Brock Street, The Circus, Bath. Tel: 01225 333332

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Highcroft, Colerne

£800,000

A charming grade II listed detached family home of much character beautifully positioned in a sought after address in the heart of a picturesque village on Bath’s eastern fringes.

• Detached period family home of much charm and character

• 4 bedrooms, 3 reception rooms

• Level secluded gardens and sun terraces

• Off street parking

• Sought after village location

01225 333332 | 01225 866111

Cobb Farr June.qxp_Layout 1 19/05/2021 14:58 Page 2

Batheaston, Nr. Bath

£395,000

A deceptively spacious and beautifully presented interior designed 2 bedroom period property with a pretty divorced 2 tier garden, 2 private parking spaces and a single garage, located on Bath’s sought after eastern fringes, close to excellent local amenities • 2 double bedrooms • 2 tier garden

• 2 private parking spaces

• Single garage

01225 333332 | 01225 866111

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Matthew Leonard

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Bailbrook Lane, Bath A stunning development of two individual, contemporary, luxury homes in a secluded setting with magnificent views.

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Successfully selling in Bath SSTC - SIMILAR REQUIRED

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SSTC - SIMILAR REQUIRED

Widcombe Hill, Bath | OIEO £750,000 ‘We were looking for an independent Bath agent and a friend suggested Wentworth. We have found the team at Wentworth to be friendly, personable and efficient throughout the transaction and we would highly recommend their services’.

T: 01225 904 904 for a free valuation www.wentworthea.com 25 Monmouth St, Bath BA1 2AP

Central

Andrewsonline.co.uk

Hantone Hill, Bathampton BA2 £675,000

01225 809 571

A three bedroom detached home with far reaching views in a quiet, sought after residential area. Spacious dual aspect living room, dining room and study. Galleried landing, utility room, garage and parking with a rear garden backing onto fields. Energy Efficiency Rating: TBC

central@andrewsonline.co.uk

To view more properties and other services available visit Andrewsonline.co.uk

Camden

Andrewsonline.co.uk

Upper East Hayes, Bath, BA1 £460,000

This modern family home is ideally located just a mile to the centre. Featuring a spacious entrance hall, shower / WC, an open plan living/dining room that flows nicely to the extended kitchen that opens out to a safe, fullyenclosed garden. Upstairs there are three bedrooms. Two double bedrooms and a single, and a family bathroom. Energy Efficiency Rating: D

01225 809 868 camden@andrewsonline.co.uk

To view more properties and other services available visit Andrewsonline.co.uk

Newbridge Andrewsonline.co.uk

Crescent Gardens, A fantastic opportunity to purchase a beautifully presented Edwardian property close to the city centre and Royal Victoria Park. Featuring three bedrooms, two bathrooms, a well-proportioned sitting room, spacious kitchen/ Bath BA1 breakfast room, separate dining room, sun room as well as a utility room/workshop and lovely cottage style garden £725,000 and four off-street parking spaces, this is the perfect family home. Energy Efficiency Rating: TBC

01225 809 685 newbridge@andrewsonline.co.uk

To view more properties and other services available visit Andrewsonline.co.uk

Bear Flat

Andrewsonline.co.uk SOLD STC

Park Avenue, Bath This end of terrace Victorian property offers well-presented accommodation conveniently located near widcombe, Bear Flat and the city centre. Briefly consisting of: two bedrooms, a luxury bathroom, bayed living BA2 room, dining room with access to rear garden with patio area and fitted kitchen. Energy Efficiency Rating: TBC £450,000

01225 805 680 bearflat@andrewsonline.co.uk

To view more properties and other services available visit Andrewsonline.co.uk

Mallory fp.qxp_Layout 1 19/05/2021 10:39 Page 1

The Bath Magazine June 2021

Articles inside

BIG ART

HOMES AND GARDENS

WALKING WITH ANDREW SWIFT

EDUCATION NEWS

FILMED IN BATH

CITY PAGES

RESIDENT ARTIST

NOTES ON A SMALL CITY

COVER STORY: SHOOTING STARS

WHAT’S ON

OPERA AT IFORD ARTS

THE BIG TOP

RONDO ROUND-UP

THINGS

ALEXANDRA SHULMAN