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Craft Feature #3: Angela

Angela Leathley, Harewood House Trust Visitor Experience Team Member

I have been makings things all my life. Sometimes out of necessity, sometimes for pleasure.

I have spent a large part of my working life working in IT. In 2009 I was made redundant from my role as IT Infrasture Manager, which had a dramatic impact on my life. At the time I was also a volunteer at Gayle Mill, in Wensleydale.

The Mill had a craft group which made items to sell to raise funds for the Mill. I now had plenty of time to craft things, which helped the Mill and also helped me.

We tried different crafts and I discovered hand made felting. This in turn led on to rug making. The material needs to have a high wool content to hold the tabs for the pile for the rug in place, hence the connection with felting.

Handmade Rag Rug by Angela Leathley

As a group, we were very successful, and had a few exhibitions at the Dales Countryside Museum in Hawes. Alongside crafting I undertook a business course for mature adults sponsored by the Prince’s Trust, and in due course, set up a business called ‘Made in the Dales’.

Things were starting to go well. I was demonstrating felt making to the public at Aysgarth Visitor Centre. The group had crafts for sale, all seemed well. Then out of the blue my dad was taken to hospital and died within the week. My priorities changed and my craft activities stopped.

The current exhibition at Harewood has inspired me to start again. There are many colourful and exciting displays, but it is also a very tactile exhibition, which I find very appealing, working with textiles.

My main material is second hand wool coats, mainly from charity shops. I love turning something practical and serviceable into a re-purposed item of beauty, which still has a practical purpose. I have been recycling all my life, starting with taking the pop bottles back to the shop for the deposit, to the current day.

Harewood Biennial 2024 Create Elevate, Jakup Ferri The Monumentality of the Everyday, Drew Forsyth

Recycled materials have been used in many of the works presented for Harewood Biennial 2024: Create/Elevate.

The Monumentality of the Everyday, on display in the Spanish Library, is a site-specific installation of embroideries, carpets and paintings. The textile works were co-created by Jakup Ferri in collaboration with women artisans from Albania, Kosovo, Burkina Faso and Suriname. Conceived as a space for learning, the installation supports carpet-making and embroidery as techniques of inclusion, coherence and community building.

Rebecca Chesney, Conditions at Present, is an installation of 25 windsocks made from reclaimed fabric from tents salvaged from music festivals which stands proudly below the Terrace on Sun Sides

Rebecca Chesney, Conditions at Present, Drew Forsyth

Whereas Lucia Pizzani has repurposed arboreal fragments fallen in the woods of Harewood to create Cultivo y Memoria, site-specific installation with live plants, ceramic sculptures.

Exploring ideas around spirituality in the vegetal world, the group of sculptures in the Walled Vegetable Garden are connected through the ancestral Mesoamerican way of planting known as ‘the three sisters’; where corn, beans and squash complement each other in a collaborative growth process.

Lucia Pizzani Cultivo y Memoria in the Walled Garden, Drew Forsyth

Entry to Harewood Biennial 2024: Create/Elevate is included with admission to Harewood.

Craft Feature #2: Margaret

Margaret Wilson, Visitor Experience Team Member, Harewood House Trust

I trained in Art & Design then specialised in Textiles about 40 plus years ago in Manchester. I worked for a number of years, did some freelance work then became interested in Art Therapy after seeing an exhibition of Art & Crafts made by prisoners and people with learning disabilities.

I retrained to become a teacher and started working with adults with learning disabilities and it just went on from there to working at an organisation called Converge based at York St. John University.

Converge offer creative courses to adults recovering from mental illness and is run in partnership with the Occupational Therapy course.

Creative courses include Art, Crafts, Creative Writing, Drama, Music, Gardening and Dance to name a few.

What role do you think art and crafts play in promoting mental well-being?

Creativity in any form helps promote mental well-being. It can alleviate depression, stress and anxiety. It can help take the focus away from negative thoughts and improves brain productivity.

At Converge people were able to develop new skills in a supportive educational environment. The freedom to be creative, challenge yourself and discover new abilities was highly encouraged. As many people were also isolated the social connection with other people on courses was highly important to their mental well-being.

Artwork courtesy Margaret Wilson

Can you tell me about one of your favourite projects and why it holds a special place for you?

A project I was involved with recently at Converge was about “Belonging.” It brought up a lot of thoughts and discussion about what this means to different people. We used art journaling as a way to express this individually and it is a particular favourite method of mine because it is quick and spontaneous.

I have experienced traumatic events in my own life and during those times found doing art journaling and crafts a way to deal with my emotions and relive the stress I was under.

In my craft work I enjoy using left over pieces of wrapping paper, magazines, wall paper, buttons, garden wire, wood pieces and wool. It’s a challenge to turn these items into something new!

Artwork courtesy Margaret Wilson

What is your favourite Harewood spot?

Whilst I really enjoy volunteering on the State Floor, my favourite room is the old kitchen with all the lovely old copper pans and moulds.

I love this room because this is where a lot of hard work took place. The deep marks on the central table are evidence of this.

My great grandmother was in service and worked as a kitchen maid so that’s why I can relate to it. I wonder if it’s ancestral voices!

Arabeschi Di Latte, Social Kitchen in the Old Kitchen, Drew Forsyth

The surface of the table in the centre of the Old Kitchen dates to when the House was first built.

It is made of beechwood and it is still possible to see the scars of over 250 years of use.

Today, it’s being used to showcase Arabeschi Di Latte, Social Kitchen for Create/Elevate.

A series of ceramic sharing dishes created in collaboration with ceramicist Jo Woffinden, the pieces are hand built using stoneware clay with a blue slip finish. The surface colour is reminiscent of sugar paper, a reference to the source of Harewood’s historic wealth from sugar plantations. 

Entry to Harewood Biennial 2024: Create/Elevate is included with admission to Harewood.

 

Harewood Biennial 2024: Craft Feature

Harewood Biennial 2024: Create/Elevate celebrates the power of craft to inspire and bring people together to imagine new worlds. It introduces the work of sixteen British and international artists, designers and collectives, including four new commissions, which are presented across Harewood House and its Gardens.

As part of Biennial season, we’d also like to share the hidden craft stories of Harewood and take a look into the vibrant world of art and craft through the eyes of our dedicated staff, volunteers and Members.

Each individual we feature is a testament to the transformative power of creativity and the positive impact it can have on our lives and communities.

Through their stories, we hope to inspire you to find your own creative spark.

Craft Feature #1: Julie Cross

Julie is an award-winning artist living in Yorkshire, and a member of our Visitor Experience team. She is a figurative, expressionist painter who focuses upon female figures and faces to highlight some of the essentials of human existence.

We are overwhelmed by her talent and wanted to share how her creative journey began – it’s a surprising story!

Craft Feature #2: Margaret Wilson

With over 40 years of experience in Art & Design, specialising in Textiles, Visitor Experience team member Margaret Wilson reflects on her career teaching adults with learning disabilities and the positive impact creativity can have on mental wellbeing.

Craft Feature #3: Angela Leathley

Whilst volunteering at Gayle Mill, in Wensleydale, Angela discovered hand made felting which in turn led to rug making.

Angela’s main material is second-hand wool coats, primarily sourced from charity shops. Taking great joy in transforming something practical and serviceable into a re-purposed item of beauty, Angela is sure to maintain its practical function.

Craft Feature #1: Julie Cross

Julie Cross, Visitor Experience Team Member, Harewood House Trust

Julie is a dynamic figurative, expressionist painter who brings the essence of human existence to life through her vivid depictions of female figures and faces.

Drawing inspiration from Joshua Reynolds’ iconic portrait of Lady Worsley, Julie has crafted a mesmerizing series of her own unique interpretations, reimagining Harewood’s legendary lady with her signature flair.

We’re overwhelmed by Julie’s talent and would like share how her creative journey began – it’s a surprising story!

Lady Worsley sketches by Julie Cross

How I got into painting . . . it’s not got any of that ‘romantic’ discovering a latent talent or anything like that, I’m afraid! As a kid, I was big into horses and reading, so not really arty at all, and nor were my family. As an adult, however, I was once asked at a dinner party what talent/ability I’d love to have, and I said it must be lovely to be able to paint and draw. My good old mum remembered me saying this and for my 40th birthday, she wanted to get something special. I got 10 presents, and I must admit, I was a bit nonplussed when I opened the first and it was just a simple pencil! It went on – a brush, then some watercolour paints etc –  until the 10th and final one which was a voucher for a watercolour workshop retreat! I had absolutely no intention of going, though I was deeply touched by the gesture. However, as a break from my arduous PhD studies whilst bringing up two kids, I ended up taking the course. But my mum had made a mistake and hadn’t got me a beginners’ course. It was straight out into the field with a load of experienced artists, painting from life! Talk about a baptism of fire! Anyway, I was absolutely hooked . . .

I taught myself from books and videos mainly, as well as taking workshops, and before I knew it, I ended up running and chairing a national art society, the Association of Animal Artists! I couldn’t resist my love of painting people and figures, though, so now that’s what I paint, and I moved to the medium of oil paint (much easier to paint skin and make changes with oil paint!).  The human animal is endlessly fascinating to me!

As to what the creative process makes me feel . . . I think I’ve always had a good imagination and I love to try new things, so creativity has always been part of me, just not through the medium of paint. Now, I couldn’t imagine my life without art. I paint and draw every day, and although I do paint things for specific purposes, I love to express my own thoughts and paint for myself.  The feeling you get when ‘lost’ in painting, alone in your studio in that flow state, fully immersed, with a total lack of self consciousness, when the grasp of time just slips away . . . bliss. It’s not always relaxing, of course, which is a common thing people say to you, as the problems you have to solve in painting are many, but it takes you away from your ‘real’ life into a different realm. In that respect, it’s all about the process, not the end product.

Lady Worsley courtesy of Julie Cross

Creativity is boundless – you never ‘use it all up’. Creating one thing stimulates you and leads onto others. Yes, creative work necessarily builds on what has gone before, so in that way there is nothing new under the sun.  But what YOU bring to it makes it unique.  We all have our own individual memories, experiences, doubts, fears, skillsets, and that’s what makes our creations original. You just have to let go and be yourself.  You use your personal image bank and processes, together with your unique stylistic flourishes.

Everyone who works at Harewood could paint or draw, or even trace, Lady Worsley in that pose of Joshua Reynolds, and every single one would be different.  That’s what I love about art. Endless variety and the innate human desire to express oneself and make a mark.

Lady Worsley courtesy of Julie Cross

The original portrait of Lady Worsley, by Joshua Reynolds, can be found in the Cinnamon Drawing Room above Harewood Biennial artist Temitayo Ogunbiyi’s sculpture.

Temitayo Ogunbiyi’s You will find Lagos in the United Kingdom Living is a site-specific sculpture inspired by natural forms and the flight routes between the UK and Lagos in Nigeria, where she lives.

Alluding to stories of transnational relationships and generations of people journeying across lands and seas, the titles of Ogunbiyi’s works are conceived as declarative prayers, each beginning with ‘You will’.

Temitayo Ogunbiyi’s You will find Lagos in the United Kingdom Living, Drew Forsyth


View more of Julie’s work on her website – juliecross.me

Follow Julie on instagram – @juliecrossart

NFU Mutual Agents to support Harewood’s new safari experience

Claire Cox, Head of Development, and Rachel Crewes, CEO of Harewood House Trust, with Samantha Webster and Caroline Pullich, Partners at NFU Mutual.

NFU Mutual Agents and their staff at the Boston Spa & Harrogate agency recently nominated local charity Harewood House Trust, to receive a donation of £6,509 from NFU Mutual’s national £1.92million ‘Agency Giving Fund’.

The leading rural insurer launched this fund, now in its fifth year, to help local frontline charities across the country. The Agency Giving Fund forms part of NFU Mutual’s £3.25m funding pledge for both local and national charities in 2024, to assist with the ongoing recovery from the pandemic and to help tackle the impact of the rising cost of living.

To ensure these donations reach all corners of the UK and are directed to where they’re needed most, all NFU Mutual Agencies, with more than 280 offices nationwide, have been given the opportunity to nominate local charities to receive a share of the fund.

The UK charity sector has faced unprecedented challenges due to the combined impact of the COVID-19 pandemic and the ongoing cost of living crisis. Harewood House Trust is an independent educational charity as is amongst those that have been affected.

Thanks to the support of NFU Mutual and the Harewood Estate, Harewood House Trust will launch a new nature safari experience sharing fabulous views over the lake, woodlands and parkland.

Young girl and adult looking at the wildlife below the bridge in the Himalayan Garden

Young girl and adult looking at the wildlife below the bridge in the Himalayan Garden, Tom Arber

The funding will go towards providing transport and opening up access to hard-to-reach areas, giving visitors a chance to spot some of the incredible array of wildlife. Harewood is home to amphibians, butterflies, and insects, not to mention the large population of red kites and deer who call Harewood their home. This initiative will ensure that more people can experience the natural beauty and diverse species that thrive in these areas.

Caroline Pullich, Managing Partner at NFU Mutual Boston Spa Agency covering Yorkshire, said: “We’re extremely proud to have nominated Harewood House Trust for this donation and are delighted to be able to support the vital contribution they make to our community. NFU Mutual’s Agency Giving Fund was first created in 2020 in response to the pandemic, and this ongoing support is helping to change lives, providing both emergency support and building long-term resilience.”

Claire Cox, Head of Development at Harewood House Trust, added: “We are so grateful to the Boston Spa & Harrogate Agency of NFU Mutual, for nominating us for a donation from the NFU Mutual Agency Giving Fund. Thanks to this support, we can provide safari transport that will enable visitors and school groups to easily explore more of the landscape. This will also benefit those audiences in receipt of Universal or Pension Credit and other benefits who are using our new £2 day ticket. The safari will be an opportunity for everyone to learn about the incredible natural environment at Harewood and what we are doing to protect it for future generations.”

“The core of the rebellion”: Harewood and the Barbadian Revolt of 1816

Sketch of a flag said to have been used by enslaved rebels during Bussa’s Revolt. It demands freedom but also expresses loyalty to the British Crown, 1816. National Archives MFQ 1/112 (2).

On the evening of the 14 April 1816 – 208 years ago to this day – fires were lit in the sugar cane fields of the Bayleys plantation in the parish of Saint Philip on the island of Barbados. These fires signaled the start of a coordinated uprising by the island’s enslaved population, becoming the largest such event in its history. Over the course of the next three days, battles were fought between the freedom-fighters and the British militia affecting over 70 plantations and spanning more than half the island. 

In her latest blog, Researcher Olivia Wyatt discusses Harewood’s links to this major event in Barbadian history, as well as its connection to the Black British actor David Harewood, the sitter of the newest portrait in our collection, now on permanent display in the Cinnamon Drawing Room. 

In the decades that followed the abolition of the British trans-Atlantic slave trade in 1807, many enslaved Barbadians felt disappointment and frustration at the continued delay of emancipation. On Easter Sunday, 14 April 1816, they decided to take matters into their own hands. An African-born enslaved ranger named Bussa orchestrated a revolt that spanned across half of Barbados and commanded approximately four hundred rebels in battle. According to Colonel Codd, commander of the British troops garrisoned on the island, the rebels felt that “the island belonged to them and not to white men, whom they proposed to destroy.” 

Survey of Barbados, 1827, showing the proximity of Thicket and Bayleys plantation in the parish of St Phillip. Image courtesy of the John Carter Brown Library.

One of the plantations that played an instrumental role in the uprising was the Thicket plantation owned by the Lascelles family and located only 2km North West of Bayleys plantation, where Bussa was based and the rebellion began. While the enslaved individuals based at Thicket were not the instigators of the revolt (as had been the case in the foiled conspiracy on one of the Lascelles family’s plantations in Tobago in 1805) leading Caribbean historian Hilary Beckles has described activity on the plantation as “the core of the rebellion.” 

Thicket’s enslaved Barbadians posed such a threat that Colonel Codd diverted his men to “where a body of the rebels were said to have made a stand” on the estate. A witness later testified that prior to the rebellion, one of Bussa’s co-conspirators, Jackey, “sent to a free man in the Thicket (who could read and write), to let the negroes at The Thicket know, that they might give their assistance.” The rebels at the Thicket adhered to Jackey’s instructions and engaged in fierce battle. Like many of the other plantations involved in the revolt, Thicket sustained significant damage – the rebels destroying profitable sugar crops and key productive buildings such as boiling and distilling houses, and British troops destroying the living quarters of enslaved Barbadians.  At Thicket, damage amounted to £3989, though another of the Lascelles family’s plantations that also participated in the uprising, the Mount, sustained some of the costliest damage on the island, at £5150.  

Photographs of the Mount plantation taken by Florence, 5th Countess of Harewood, 1906.

The rebellion was quashed by British troops after three days of fighting. Many died during battle, including Bussa himself, and even more rebels were executed or exiled as punishment. In the aftermath of the uprising, a committee was established to conduct investigations into the origins and causes of the rebellion. The committee included Richard Cobham, a resident enslaver and attorney to the Earl of Harewood who oversaw the management of his plantations in Barbados. Find out more about how the Lascelles family managed their plantations here

Joseph Connel, manager of the Thicket, was asked by the committee to shed light on the temperament of the enslaved before the uprising. He argued that they were “perfectly contented,” but “when correction was necessary (which was seldom), they were flogged with rods; and if crime was of any magnitude, they were confined in a solitary room, until they were made sensible of their error.” Nevertheless, several months following the rebellion, Cobham wrote to Harewood’s partner, John Wood Nelson, to express his belief that the rebels required a different type of punishment:

In answering your inquiry relative to the negroes Houses at the Mount, which were all totally burnt by the military, and nearly all at the Thicket Estate also, I must let you know that they are not yet restored, as it was the general opinion here that the negroes should not immediately enjoy their accustomed comforts, after their atrocious misdeeds against their owners: they have been, however, sheltered in the buildings they thought proper to spare. As soon as the boiling and distil houses at the Mount are completed I will have the negroes houses rebuilt. They remain tranquil. Seven of the prisoners belonging to his Lordship have been released and six remain to be tried. 

By controlling their standards of living, Cobham sought to remind the African-Barbadians of the power of enslavers; that the island belonged to the White man, contrary to the (supposed) beliefs of the rebels. Cobham’s use of “remain tranquil” suggests that there was great anxiety about retaliation. However, not all enslaved Barbadians participated in the rebellion because they often feared repercussions, or sought the benefits of demonstrating loyalty to the upper classes. The Royal Gazette of Jamaica reported that four individuals, “among whom was one belonging to Lord Harewood”, were manumitted (freed) in January 1817, and received “the annual sum of Ten Pounds […] for their good conduct during the late rebellion.” 

Bussa’s Rebellion failed to bring about emancipation, though it represented an important statement of resistance by enslaved Barbadians, demonstrating to British parliament their intent to demand freedom by force if it was not offered to them through reform. Nevertheless, it should be noted that despite these intentions, British parliament and local colonial governments attempted to minimise the implications of the rebellion, choosing to conclude that the enslaved had rebelled due to the ‘meddling’ of William Wilberforce and his (and his supporters’) apparent false promises of immediate emancipation. Bussa’s Rebellion was a shock to the British government and terrified it more than it was willing to admit, choosing to blame misinterpretation and manipulative tactics, rather than concede the widespread desire for freedom. 

Missing Portrait No. 2, David Harewood by Ashley Karrell, 2023. Copyright Ashley Karrell.

The role of the enslaved individuals based at Thicket plantation during Bussa’s Rebellion is particularly significant in light of a new portrait that has recently entered the Harewood collection by the Leeds-based photographer Ashley Karrell. The sitter is the Black British actor and writer, David Harewood, whose great-great-great-grandparents, Richard and Betty Rose, were born enslaved on the Thicket plantation in 1817 and 1820. Richard and Betty Rose’s parents and possibly even grandparents were likely involved in the resistance. 

Richard and Betty Rose were emancipated in 1833 and their son, Benjamin William, was born as a free man in 1840. While their ancestors may not have lived to witness the freedom they fought for, their victory manifests within the achievements of their descendants: those, like David Harewood, who commit their lives to tackling ongoing issues of racism, exclusion, and underrepresentation.

By Olivia Wyatt

Sources and further reading: 

The Report from a Select Committee of the House of Assembly, appointed to inquire into the origins, causes and progress of the late insurrection. Published by T. Cadell & W. Davies, 1818. 

Hillary McD. Beckles, ‘The Slave-Drivers’ War: Bussa and the 1816 Barbados Slave Rebellion’, Boletín de Estudios Latinoamericanos y Del Caribe, no. 39, 1985, pp. 85–110. JSTOR

S. D. Smith, Slavery and Gentry Capitalism in the British Atlantic: The World of the Lascelles, 1648-1834. Cambridge University Press. 2006.