Morven Knowles tells us about the Friends’ trip to the Cotswolds this summer.

‘Even for the Friends of Kettle’s Yard, that was exceptional’ – a comment from one of the group as we left Lypiatt Park and Dan Chadwick’s magical house on the second afternoon, but it could sum up the entire three-day Friends’ trip to the Cotswolds this June, exploring art from early twentieth-century Arts and Crafts to contemporary.

Our first stop, at the exhibition of the Japanese-American artist Ruth Asawa’s work at Modern Art Oxford (left), set the tone for the weekend. Her large, distinctive and intricate tied-wire sculptures are rarely seen outside the US and her work was unknown to many of us. Forced into a US internment camp during the war, deeply influenced by Anni and Josef Albers, dedicated to education and community engagement in San Francisco throughout her life, Ruth Asawa’s story was as remarkable as her work and this beautifully curated show made us all want to find out more.

Next to Rodmarton Manor, noted by C R Ashbee as ‘the English Arts and Crafts Movement at its best’. The house was built in the 1920s, entirely from local materials hand worked by local craftsmen. From an ebony inlay in a walnut bureau to tiny birds and animals engraved on the lead downpipes, beautiful small details abounded.

Next morning we visited Pangolin Editions, now the largest sculpture foundry in Europe and working with many of today’s foremost artists, including Damien Hirst.  This was one of the few times the foundry has allowed a group visit, and it was an incredible privilege to be shown around the works by co-founder Rungwe Kingdon and director Steve Maule.

The tour was eye-opening in every way, particularly on the multiple and complex processes involved. Rungwe and Steve spoke about ‘the craft serving the art’, and we saw the extraordinary skill and craftsmanship, from mould-making to the newest 3D printing technologies, that goes into realising the vision of the artists. We were taken through the process of bronze casting from beginning to end, learning about model-making, lost-wax technique and sand-casting, through to patination, where Pangolin is researching new techniques. The visit finished with an exhibition of Peter Randall-Page’s work.

Rungwe worked closely with the sculptor Lynn Chadwick for over 20 years, and it was particularly meaningful to go next to Lypiatt Park, Chadwick’s thirteenth-century former home, now owned by his son the artist Daniel Chadwick. In a stunning light-filled space complete with roaring wood burners and surrounded by examples of both artists’ creations, Dan talked to us about his father’s work, his own large but delicate mobiles, the history of the house and the connections with Pangolin. Out in the park we saw Lynn Chadwick’s figurative works in welded iron and bronze. This was an utterly extraordinary day, which will remain in all our memories for a long time.

The next morning was spent exploring the story of early twentieth-century furniture design at the delightful Gordon Russell Design Museum in Broadway, followed by a visit to Court Barn Museum in Chipping Camden, where Vicki Ambery-Smith’s Chipping Camden ring was on display

Our final stop was Hart Silversmiths, the last operating remnant of the Guild of Handicraft established by C R Ashbee. David Hart, third generation silversmith, showed how they craft items ranging from cutlery to huge salvers in a workshop barely changed in the last 100 years.

The whole weekend was a testament to the great generosity of artists and craftsmen who give their time to share their work and passion. Our huge thanks to the organisers Sally Knowles (no relation) and Deborah Owen, who made it all happen.

By Morven Knowles