Launch of new book by Fathom Writers’ Press

By janetuplin |

What could be the final book in a fascinating series on the history of Barton upon Humber has just been launched.

The book, The Railway Comes to Barton on Humber: 1844 – 1914  has been written by railway enthusiast and historian Anthony Berridge and edited by fellow historian Geoff Bryant.

Speaking at the launch, held at The Ropery Coffee Shop, Mr Berridge reminisced that it was many years ago since he was first approached to write a book on the coming of the railway to Barton.

“At last it is published despite a loss of data and subsequent distress,” he went on.

“In writing this book it was difficult to know what to put in and difficult to know when to stop,” Mr Berridge revealed.  “But the book runs from five years before the beginning of the railway in 1849 and I stopped at the start of the Great War in 1914.

Mr Bryant recalled how Barton’s rich vein of books on its history came into being.

“It was in 1960 when the local WEA tutor Rex Russell published his first book “Schools and Education in Barton. He brought out books about every other year and at the end had published well over 100 books about Barton,” he said.

Between 1970 and 2008 Mr Bryant, Mr Russell, and local wildlife expert and artist Miles Hopper published more literature through the auspices of the WEA.

“Included in that was, in 1994,  “The Early History of Barton upon Humber” from the year dot to 1986 and at the time thought that would be that,” Mr Bryant recalled.  “Then I thought why finish in 1086?”

“Myself and a few others, historians and others interested in local history gathered in my house one night in 2001 and decided that we would carry on from 1086 – and we thought it would all go in one book but it soon became clear we needed more than one book and so nine titles were drawn up and eight of those nine titles are now in publication .  Medieval Barton is still outstanding.”

The WEA produced the first five books to be published in the series  and when it ceased to publish such publications in its name, Liz Bennet of The Ropewalk stepped in and further books were published under the auspices of Fathom Writers Press.

More publications followed in 2009, 2011, followed by Mr Berridge’s book.

“I think there is more history of Barton to be written although this book is the last one I shall edit.  We have hardly touched on industry or farming, “Mr Bryant continued.

The book is available to buy from The Ropewalk, Wilderspin National School and 8 Queen Street, all in Barton, and costs just £9.

 

 

Latest News

VIEW ALL NEWS

Studio Artists’ Show

The annual Ropewalk Studio Artists Exhibition features work from

David Alcock
Sally Beaumont
Emily Connor
Deborah Grice
Gill Hobson
Richard Hatfield
Judith Land
Tim Needham
Michael Scrimshaw
Reginald Swinney
Shirley Trumble
Keith Woodcock
85 Fathoms

By richardhatfield |

Fair Ground Fables – Michelle Forrest-Beckett

Michelle recalls a frightfully fascinating childhood memory of a former sideshow attraction in Whitby. Her recollection of witnessing a pickled dicephalic baby and the staked bones of Dracula began the blurring of the boundaries between reality and fantasy.

‘Fairground Fables’ was conjured to question the satirical and moral ambiguity of fringe entertainment presented behind the curtains of Vaudeville theatres and Victorian Side Shows. Michelle draws from idioms and fables that play with tales of tragedy and fortune as well as the traces of life that befall the discarded or well loved, by enlivening everyday objects with an air of uncertainty.  She assembles things left behind on dusty shelves, creating magnetic forms that encourage the viewer to take an encounter with the apprehension of things.  ‘Fairground Fables’ is bent with a nostalgic and melodramatic allure that bestows something provocative and enchanting.

 

On November 24 Michelle will be running a workshop teaching participants how to make their own Fairground Fable. Bookings can be made in the Craft Gallery.

By richardhatfield |

Richard Hatfield – Tim Needham

Richard Hatfield & Tim Needhams’ interest in painting stretches back through careers that began just one year apart. Working independently, both find common ground in their references to landscape, yet it is their divergent approaches which spark the dialogue in this show.

I paint out of doors and in the studio. Landscape embodies form, colour and light. Painting can reflect these primal elements and leave us with an object akin to poetry. I play with the picture plane and use paint on various surfaces, abstracted to convey feelings and form with a sense of the drama of the place.
Tim Needham

The subjects are the amalgamation of the remembered, the fleetingly observed and the repeated, emblematic motifs left, like an afterimage imprinted on the retina. I look for a sense of the unfamiliar in the ordinary – a gentle disquiet. Some pieces recall a particular moment or episode, often dramatic and transient such as the effects of light or weather, frequently in the extreme. It is at these times that nature can reassert itself into our consciousness and provide us with a taste of something that is awesome in the true sense of the word. Other paintings are less dramatic and conjure up emotions and associations of particular memories and universal fears from early childhood.
Richard Hatfield

By richardhatfield |

Retrospective: Max Marschner 1929-2017

Max Marschner was born in London in 1929. His early life was interrupted by World War II and evacuation, but in 1943 he enrolled in the Junior Department of Camberwell School of Art. He stayed there until the early 1950s with breaks for National Service and matriculation. He excelled in the design department. These were the wood engraving years.

Throughout his life Max delighted in the unexpected; scenes and buildings which had a tale to tell, or that presented a mood or sharpness which suited his work.

By the beginning of the 1960s he was experimenting with linocuts, monoprints and basic etchings, often using ideas from old postcards and encyclopaedias, which he hoped would depict a sense of surprise and strangeness.

A move to Lincoln at the beginning of the 1970s brought changes. Screenprints was possible: The same ideas, but larger and more colourful prints.

In 1973 Max bought his first ‘real’ camera, a Pentax Spotmatic. This he used for the rest of his life. He enjoyed experimenting with the old ways of photography, developing and printing in his darkroom. Eventually he taught himself Photo Etching. This involved infrared film, large negatives and acids, though changing over the years to safer methods of working.

By richardhatfield |

Almanac

ALMANAC – the seasons they rolled in and they tumbled

Ron Wilson and Jan Stead hail from the West Riding of Yorkshire. They met whilst studying art and design and teacher training at Bretton Hall over 40 years ago, they have kept in touch – sharing a passion for Yorkshire, art and design and in particular, printmaking.

ALMANAC

An Almanac can be described in general terms as an annual calander which contains a wealth of information such as important days, times of the sun rising and setting and changes in the moon and tides. In the past the Almanac was particularly important to farmers but perhaps their relevance is somewhat diminished. Ron and Jan have each produced a visual Almanac based on the four seasons and the wheel of the year where they have attempted, in their printed pieces, to re-establish the natural connections of the rolling seasons.

Ron: My Almanac wraps localities and phenomena in folklore and myth, elements within the work are symbolic and at times esoteric. The images in the Almanac are lifted from Anglo Saxon and Medieval almanacs and bending them to a response that will resonate with contemporary audiences. I invite the viewer to create their own narrative.

Jan: My Almanac is in Astronomical Seasons where the equinox and solstices mark the beginning and end of each season. It does, therefore, span two calendar years. Spring, Summer, Autumn and the first month of Winter – December are set in 2018. The remainder of winter – January and February, are in 2019. I am concerned with the equinox, solstice and moon shapes on key dates in each month. The images are a mix of Pagan, Christian and general traditions.

Ron Wilson and Jan Stead October 2018

By richardhatfield |

Back To School

The Box Gallery is housing everything you need to go back to school, college, university and work. From textiles kits to lino kits, book binding kits, notebooks, handmade pens, bags and accessories, there is something to make you stand out from the crowd.

By amyh |