23 December 2020
22 December 2020
Dame Fanny Waterman 1920–2020
Harewood is deeply saddened to hear of the news of the passing of Dame Fanny Waterman, who died peacefully in December having reached the age of 100. Dame Fanny leaves an incredible legacy, she was a true ‘force of nature’ in the world of classical music. Through the Leeds International Piano Competition, which she launched in 1961 with her husband Dr Geoffrey de Keyser and Marion Thorpe CBE (then Countess of Harewood), affectionately known worldwide as ‘The Leeds’, she helped launch the careers of many of the most talented pianists of our time.
David Lascelles, Earl of Harewood, remembers her fondly:
‘I’ve known Fanny Waterman, Dame Fanny, since I was a boy. She and my mother were close friends, they wrote highly successful piano tutor books together and Fanny was always very generous in acknowledging her central role in the early days of the Leeds International Piano Competition, ‘The Leeds’.
‘I was, briefly, Fanny’s pupil, one of the worst she ever had she confided later, which I suppose is some sort of a backhanded compliment.
‘Fanny was 100 when she died – of course she was, her determination and extraordinary fighting spirit could have no other outcome. She was an extraordinary woman, a true embodiment of that over-used expression ‘a force of nature’.
‘It has been a privilege to know her and Diane and I and the rest of my family join together to send our condolences and warmest wishes to her sons Robert and Paul and the rest of her family.’
21 December 2020
Our condolences go out to Dame Fanny’s family, and to all those whose lives she influenced with great positivity, affection and acclaim.
A full tribute can be read on The Leeds International Piano Competition website >>
Photo courtesy of the Leeds International Piano Competition, pictured: Dame Fanny Waterman, Benjamin Britten (composer and close friend of George Lascelles, 7th Earl of Harewood), and the then Countess of Harewood, musician Marion Thorpe.
Harewood’s Head Gardener Trevor Nicholson takes us through new processes and methods being implemented across the Gardens, as Harewood looks to the future and more sustainable ways of caring for its Gardens and Grounds.
As autumn gives way to winter, the Grounds and Gardens teams have been very busy, ably assisted by our loyal and enthusiastic band of volunteers. For the grounds team this means the removal of a huge quantity of fallen leaves from Harewood’s verdant lawns. The collected leaf litter is a valuable source of leaf mould for the gardens.
Having made the decision a few months earlier to change the way we grow our vegetables in the Walled Garden to something approaching the ‘no-dig’ system, every leaf – in fact, every scrap of green garden waste – has become significantly more precious to us as a renewable source of organic matter to be re-purposed as a growing medium.
Although we’ve been making compost for many years, the real difference is in the way we now apply it – and why. Call it what you will: ‘no dig’, ‘no till’, ‘reduced tillage’ etc, there are numerous labels; but they all mean pretty much the same thing: put away the spade and stop turning over and chopping up the garden soil year after year!
Regularly digging over and breaking up the soil impacts on the soil ecosystem by disturbing complex ‘food webs’ – interrelations between a multitude of soil organisms and mycorrhizal fungi, which live symbiotically with plants. Leaving the soil undisturbed and placing organic matter onto the surface not only prevents stored carbon from the soil being released into the atmosphere through digging, it also provides optimum conditions to enable the community of soil organisms to flourish.
The beneficial effect of these soil organisms includes increasing the fertility of the soil and improving its structure. One of the most important environmental benefits of adopting this method of surface ‘mulching’ is the retention of soil moisture, which not only saves water, but also reduces soil erosion and helps prevent the silting up of rivers and drainage systems.
Another added benefit to the gardener of applying organic matter to the soil as a surface ‘mulch’ is the control of weeds. This method need not be confined to the vegetable garden. We are experimenting in some areas of the Himalayan Garden with the use of waste cardboard re-purposed as a biodegradable ground cover, which is being placed between plants and topped off with sieved leaf mould.
The composting of our green garden waste and the recycling of biodegradable materials really underpins much of what we are doing in the gardens – now and in the future – as we set our focus on working in ever more sustainable ways and having environmentally considered methods at the forefront of our thinking.
28 October 2020
This chair, part of a set of 20, was made by Thomas Chippendale for the State Dining Room at Harewood House, delivered in around 1771. Its design represents the height of fashion in mid-late 18th century English dining furniture, with a neo-Classical frame decorated with carved ornament such as acanthus leaves, fluting and bell flowers. The seat is upholstered in leather, often utilised on dining furniture for its durability and practical qualities.
The frame of the chair is made of mahogany – a popular material used for furniture-making in England from the 1720s, highly prized for its naturally rich colouring, fine figuring (graining) and strength. Mahogany is particularly workable, allowing cabinet-makers to carve intricate designs into its surface, lending itself to the highly decorative cabinet-making tradition of the 18th century.
But the procurement of this versatile and beautiful material came at a human cost, and its history is intertwined with that of the transatlantic slave trade. Following the arrival of the first European colonists in the West Indies and Central Americas in the early 17th century, huge swathes of native timber was felled across the region. Initially this took place to clear land for sugar plantations, but the inevitable recognition of the remarkable qualities of mahogany generated an export market for the raw material itself.
The significant amount of labour needed to log mahogany trees came from enslaved Africans brought to the West Indies and Central America by European traders. It was dangerous and physically brutal work. Working in groups of between 10-50, enslaved woodcutters would embark upon forest expeditions to cut and log trees, clear roads and transport raw material back to coastal ports via rivers. A description of the logging process of Honduran mahogany written in 1873 by a British cabinet-maker paints a bleak picture of the working conditions for the individuals involved:
The labour of loading and driving, on account of the intense heat of the sun during the day, must be performed in the night-time, and by torch light…[T]he great number of oxen—the half naked drivers, each bearing a torch—the wildness of the forest scenery—the rattling of the chains, and cracking of the whips—and all of this at the hour of midnight, present…the sober industrial pursuit which has fallen to the lot of the wood-cutters of Honduras. (1)
There were also devastating ecological consequences to the extensive deforestation of the Caribbean region. As a direct result of large-scale sugar production and the systematic exploitation of slave labour, numerous West Indian islands experienced the swift extinction of mahogany and other native trees. Diverse forests were replaced by agricultural monocultures and microclimates that would go on to cause severe problems with drought and erosion.
When studying Harewood’s history and collection, it is important to consider and reflect upon the devastating socio-economic context that it was a product of. Despite their elegance, Harewood’s dining room chairs – as well as the many other pieces of mahogany furniture designed to sit alongside them – are inseparably linked to Britain’s merciless colonial past. To find out more about the building of Harewood House and its links to the slave trade, visit our Building Harewood digital guide.
(1) Thomson, The Cabinet-maker’s Assistant: A Series of Original Designs for Modern Furniture (London: Blackie and Son, 1873), 28-29.
28 August 2020
23 August marked the International Day for the Remembrance of the Slave Trade and its Abolition. Over the past week, we have shared a series of blogs written by local historians, researchers and artists to reflect on and explore what this means for Harewood and its wider communities.
Much of the historical research featured in these articles draws heavily upon the material contained within the Lascelles Slavery Archive held by the Borthwick Institute of Archives in York. This unique collection of documents provides the basis for much of our knowledge and understanding about Harewood’s links to the West Indies, documenting the Lascelles family’s involvement in the transatlantic slave trade during the 18th century.
The archive contains papers relating to the Lascelles family’s business transactions as sugar merchants and money lenders, such as accounts, administrative papers and correspondence with debtors. There are also many documents relating to the family’s plantations in Barbados, Jamaica, Tobago and Grenada, as well as the enslaved individuals in their possession. Due to the incredibly fragile and unstable condition of the documents, many of which had been exposed to poor historic storage conditions, a HLF funded conservation project took place in 2007 to ensure their long-term survival.
To facilitate the continuing research and analysis of this important chapter of Harewood’s history, a searchable catalogue of the Lascelles Slavery Archive has been made available online and all documents are available to view by appointment at the Borthwick Institute.
Click here to find out more about the Lascelles Slavery Archive. Please check the Borthwick Institute’s website for opening and access information.