Google Groups no longer supports new Usenet posts or subscriptions. Historical content remains viewable.
Dismiss

Commissioning

0 views
Skip to first unread message

Peter H.M. Brooks

unread,
Mar 15, 2003, 2:42:01 PM3/15/03
to
I have been accustomed to the idea that works were produced by artists and
those who commisioned them were the idle and, by some sort of implication,
inaesthetic rich.

I wonder now if that is a true perspective. I have wondered before,
considering, for example Picasso's pottery, now considered not the best
example of his work, but I think quite charming and interesting work,
showing how the artistic view melds with the artisan's.

I have been priviledged recently to commission two art projects, both now
complete and both deeply satisfying both to me, the commissioner and decider
of how the works should appear and, by their report, to the artisans
involved.

I have had made for me three carved wooden rocking horses. Now at home with
me, shortly to be advertised for sale - not actually the things themselves,
but offers to make more of them to order. The workmanship, both of the hand
carving and the finish is exquisite. They really are objects of great beauty
whose form transcends their lack of function - other than to be a delight to
children who would certainly be as happy with more mundane objects of play.
I'll post the URL of my website showing the horses when I have completed it.

I have also commissioned a logo for the 'Banbury Horses' ( of Cape Town) -
based on the 'Ride a Cock horse to Banbury Cross' poem rather than on the
delightful village next to the Cherwell, site of a bloody battle and, more
recently to folk festivals featuring the music of Fairport Convention. The
commission was to produce a logo based on the iconography of the horse brass
and I will be producing horse brasses, the physical embodiment of the logo,
to sell along with the rocking horses.

That is the background. The feeling of delight that I have had in directing
the artistic creation of these pieces has been a revelation to me. I think I
understand better how the aesthetic desire of the rich (of whose club I am
not a member, though, clearly, since poverty and wealth are relative once
out of the realm of abject poverty or disgusting wealth) has been channeled
into the production of objects of great beauty. I think that the role of the
patron, fashionably despised, had been seriously underestimated. I found the
artisan with whom I worked to produce these beautiful things were inspired
by the idea and very responsive to aesthetic direction. The carver, a man of
tremendous skill, said that it was the most difficult and the most deeply
satisfying work he had ever done. To be an enabler of such aesthetics has
been both a priviledge and a delight.

It will now be my simple and enjoyable work to advertise these things to the
world and I have taken the risk, tiny as it now appears seeing what beauty
has been created, that the world won't be interested. To credit me only with
provision of funds would be to diminish the shared progress we all made
together to achieve the result.

The future is bright too - should I sell the works ( and it is almost
inconcievable that they won't) not only will the carver be hiring unemployed
poor people to assist with the production, but he will be training them in
carving and finishing. Our collective desire is to enable a workshop of
local people to manufacture the horses, providing not only direct
employment, but also a spread of skills in the local community that can lead
to further projects. I see it as a potential seed of creative endeavour to
enrich the lives of the local people not only materially, but also in terms
of self-respect.

I never imagined that I would be in such a position to patronise, and I am
indeed fortunate so to be, but I feel that I must revise the views that I
have also been led to share, of the malign nature of patronage.


Peter H.M. Brooks

unread,
Mar 15, 2003, 3:36:02 PM3/15/03
to

Erik A. Mattila

unread,
Mar 15, 2003, 7:19:11 PM3/15/03
to
Peter H.M. Brooks wrote:
> I have been accustomed to the idea that works were produced by artists and
> those who commisioned them were the idle and, by some sort of implication,
> inaesthetic rich.

Sounds like a great project, Pete. I assume you've designed the horses,
yes? I wonder if you encountered changes in design through your
interaction with the craftsmen? My experience has been to leave an
open space in the work for this kind of contribution, and indeed listen
carefully to the "hands." (I've done quite a bit of architectural
design over the years, and I alway dimension building from a starting
point that you can hang a tape measure's hook on - I've got a lot of
positive feedback on that from carpenters on that!)

> I wonder now if that is a true perspective. I have wondered before,
> considering, for example Picasso's pottery, now considered not the best
> example of his work, but I think quite charming and interesting work,
> showing how the artistic view melds with the artisan's.

I think we've discussed this before, but anyway, Picasso's idea was to
produce cheap art for the proletariat via the ceramic episode. But it
was a failed project, because he didn't calculate the size of the art
market correctly, and a bunch of $1500 tea cups appeared in galleries,
far out of reach of the working class.

Your work, on the other hand, is obviously targeted to pretty high
income clientele. I think the market is solid in this respect.
Statistics can be misleading - even though your looking at an upper 10%
income bracket, that's a lot of folks. And by your description, it seems
you're taking the opposite approach that Picasso took - he designed a
quick and dirty approach which was to promote the mythology of the
"artist's hand" (and i too like a lot of his paint strokes immortalized
in bone china).

> I never imagined that I would be in such a position to patronise, and I am
> indeed fortunate so to be, but I feel that I must revise the views that I
> have also been led to share, of the malign nature of patronage.

Yes, take a good look and review several examples in the history of art.
Carpenter guild members who actually carved the woodblocks of
Renaissance engravings, Holbien, Cranach and Rubens art factories, Greek
Vase factories, Jeff Poons ceramic extravaganzas, and so on. I saw a
great film once on Louise Nevelson working with her blacksmiths who
actually built her sculptures. These guys obviously had to have a lot
of patience - she was quite domineering in her interactions. No doubt
they were well paid.
http://www.artcyclopedia.com/artists/nevelson_louise.html

I worked briefly for the world-class designer Stacy Dukes, in the late
60s. http://www.stacydukesdesign.com/ It really amazed me, but Stacy
admitted that he had very poor 3d visualization powers, so I was hired
to build clay models of his design from his orthographic drawings. We
were working on fiberglass 'stacking chairs' that were manufactured in
Italy, and he would come into the studio and regard the model and tell
me "scoop some more out here, add some there" and so on. It was a great
experience.

Well, good luck with your endeavor. I personally think you've got a
solid market niche, although there's some stiff competition in the rich
kid toy arena.

Erik

>
>
>
>

Peter H.M. Brooks

unread,
Mar 15, 2003, 7:59:35 PM3/15/03
to

"Erik A. Mattila" <emat...@oco.net> wrote in message
news:3E73C2FF...@oco.net...

> Peter H.M. Brooks wrote:
> > I have been accustomed to the idea that works were produced by artists
and
> > those who commisioned them were the idle and, by some sort of
implication,
> > inaesthetic rich.
>
> Sounds like a great project, Pete. I assume you've designed the horses,
> yes? I wonder if you encountered changes in design through your
> interaction with the craftsmen? My experience has been to leave an
> open space in the work for this kind of contribution, and indeed listen
> carefully to the "hands." (I've done quite a bit of architectural
> design over the years, and I alway dimension building from a starting
> point that you can hang a tape measure's hook on - I've got a lot of
> positive feedback on that from carpenters on that!)
>
I was fortunate to get the initial design from the rocking horse company in
England. That first blueprint changed a lot as you suggest!

The interplay between my ideal and the carpenter/carvers was indeed a very
instructive one.


>
> > I wonder now if that is a true perspective. I have wondered before,
> > considering, for example Picasso's pottery, now considered not the best
> > example of his work, but I think quite charming and interesting work,
> > showing how the artistic view melds with the artisan's.
>
> I think we've discussed this before, but anyway, Picasso's idea was to
> produce cheap art for the proletariat via the ceramic episode. But it
> was a failed project, because he didn't calculate the size of the art
> market correctly, and a bunch of $1500 tea cups appeared in galleries,
> far out of reach of the working class.
>

True. His exercise though was, in my opinion, worth far more as an exercise
to him than as a commercial project successful or not - I fell much the same
way about the horses. Their existance is enought, already.


>
> Your work, on the other hand, is obviously targeted to pretty high
> income clientele. I think the market is solid in this respect.
> Statistics can be misleading - even though your looking at an upper 10%
> income bracket, that's a lot of folks. And by your description, it seems
> you're taking the opposite approach that Picasso took - he designed a
> quick and dirty approach which was to promote the mythology of the
> "artist's hand" (and i too like a lot of his paint strokes immortalized
> in bone china).

'>
We'll see.


>
> > I never imagined that I would be in such a position to patronise, and I
am
> > indeed fortunate so to be, but I feel that I must revise the views that
I
> > have also been led to share, of the malign nature of patronage.
>
> Yes, take a good look and review several examples in the history of art.
> Carpenter guild members who actually carved the woodblocks of
> Renaissance engravings, Holbien, Cranach and Rubens art factories, Greek
> Vase factories, Jeff Poons ceramic extravaganzas, and so on. I saw a
> great film once on Louise Nevelson working with her blacksmiths who
> actually built her sculptures. These guys obviously had to have a lot
> of patience - she was quite domineering in her interactions. No doubt
> they were well paid.
> http://www.artcyclopedia.com/artists/nevelson_louise.html
>

Yes, I knew that. It was the actual experience of it, the being part of it
that made it so exciting - and realising that the artistic/aesthetic
judgements were mine - a really exciting time!


>
> I worked briefly for the world-class designer Stacy Dukes, in the late
> 60s. http://www.stacydukesdesign.com/ It really amazed me, but Stacy
> admitted that he had very poor 3d visualization powers, so I was hired
> to build clay models of his design from his orthographic drawings. We
> were working on fiberglass 'stacking chairs' that were manufactured in
> Italy, and he would come into the studio and regard the model and tell
> me "scoop some more out here, add some there" and so on. It was a great
> experience.
>
> Well, good luck with your endeavor. I personally think you've got a
> solid market niche, although there's some stiff competition in the rich
> kid toy arena.
>

Thank you! It isn't an empty niche, many other people are doing the same -
but not that many!


--
Life is a tale told by an idiot - full of sound and fury, signifying
nothing - Jaques


Andrew Werby

unread,
Mar 16, 2003, 1:37:18 PM3/16/03
to
[Since you've obviously had time to ponder the matter, you must be the
person to ask. I've always wondered- what exactly is a "cock horse" ? A
stallion? ]

Enquiring minds want to know...

Andrew Werby
www.unitedartworks.com

"Peter H.M. Brooks" <pe...@new.co.za> wrote in message
news:b4vvn6$q5$1...@ctb-nnrp2.saix.net...

C. Enna

unread,
Mar 16, 2003, 6:16:41 PM3/16/03
to
In article <yv3da.130727$6b3.3...@rwcrnsc51.ops.asp.att.net>,
and...@computersculpture.com says...

>
>[Since you've obviously had time to ponder the matter, you must be the
>person to ask. I've always wondered- what exactly is a "cock horse" ? A
>stallion? ]

I always thought maybe the barnyard fowl and
the other critters were buggering one another,
as they say in Merry Ole. Now I've been
to Banbury Cross, and I have to wonder why
anyone would ride a "cock horse" there, then
or now? To market, to market, to buy a fat hen?


Philip Preston

unread,
Mar 16, 2003, 7:19:39 PM3/16/03
to
C. Enna wrote in message <3e75...@news.zianet.com>...

I wondered if it might have anything to do with the rather incongruous
combination of carved cocks and horses that traditionally make up the
seating arrangements on merry-go-rounds, but a quick search turned up the
following:

"The cock-horse was a child's hobby-horse. Originally carved from discarded
roof timbers, the hobby horse dates back at least 400 years. During medieval
times two people riding on one horse, a knight in front, his lady on a
pillion, was called riding a cock-horse. Another possible explanation
relates to a spare horse that was stationed at the bottom of steep hills to
assist in hauling coaches. In the 18th century, children assembled at the
foot of Stanmore Hill in Middlesex, to see the fifth horse attached to the
Banbury and Birmingham coach."

Good luck with your project, Peter.

Regards,
Philip.


kames.smiths

unread,
Mar 17, 2003, 4:02:31 AM3/17/03
to

"Philip Preston" <phi...@preston20.freeserve.co.uk> wrote in message
news:b538s3$54o$1...@newsg3.svr.pol.co.uk...

> "The cock-horse was a child's hobby-horse. Originally carved from
discarded
> roof timbers, the hobby horse dates back at least 400 years. During
medieval
> times two people riding on one horse, a knight in front, his lady on
a
> pillion, was called riding a cock-horse. Another possible
explanation
> relates to a spare horse that was stationed at the bottom of steep
hills to
> assist in hauling coaches. In the 18th century, children assembled
at the
> foot of Stanmore Hill in Middlesex, to see the fifth horse attached
to the
> Banbury and Birmingham coach."

Also, 'cock' can mean spirited, as in 'cocky'.

Dave Smith

Peter H.M. Brooks

unread,
Mar 22, 2003, 7:53:50 AM3/22/03
to
 
"Philip Preston" <phi...@preston20.freeserve.co.uk> wrote in message
> "The cock-horse was a child's hobby-horse. Originally carved from discarded
> roof timbers, the hobby horse dates back at least 400 years. During medieval
> times two people riding on one horse, a knight in front, his lady on a
> pillion, was called riding a cock-horse. Another possible explanation
> relates to a spare horse that was stationed at the bottom of  steep hills to
> assist in hauling coaches. In the 18th century, children assembled at the
> foot of Stanmore Hill in Middlesex, to see the fifth horse attached to the
> Banbury and Birmingham coach."
>
> Good luck with your project, Peter.
>
Thank you! Now I have my digital camera back I can really get started on putting the web-site together.
 
The OED on 'cock horse' gives:
 

cock-horse, n. and adv.

("kQk"hO;s)  [It is not clear whether ‘cock-horse’ was originally the name of a plaything, as it appears to have been by 1577, or whether the phrase ‘on (a-)cock-horse’ merely meant in a position (as e.g. on the knee) which was likened to that of being on horseback. The transferred sense evidently referred to the elation of a child in such a position.] 

   A. n.

 

   1. orig. Apparently a nursery term, applied to anything a child rides astride upon, as a stick with a horse's head, a hobby-horse, any one's leg or knee. Hence ride on a (or a-) cockhorse.

   1540–1 Elyot Image Gov. 96 The dotyng pleasure to see my littell soonne ride on a cokhorse.  1577 Harrison England iii. ix. (1878) ii. 64 We oft exchange our finest cloth, corne, tin, and woolles, for halfe penie cockhorsses for children.  1621 Burton Anat. Mel. ii. ii. vi. iv, Sometimes he would ride a cockhorse with his children+though Alcibiades scoffed at him for it.  a1654 Selden Table-t. (Arb.) 96 When you would have a Child go to such a place, and you find him unwilling, you tell him he shall ride a Cock-horse.  1675 Cotton Poet. Wks. (1765) 218, I, astride a Cock~horse.  1861 Sala Dutch Pict. ix. 135 That large man+whose knees comprise such an inexhaustible supply of cock-horses.  1863 Ld. Lytton Ring Amasis I. i. ii. i. 83 When I was only able—equitare in arundine longa—to ride a-cockhorse on a stick.  Nursery Rime, ‘Ride a cock-horse To Banbury Cross.’  

 

 

 

 

 

 

1675

 

 

 

 

 

 

 

 

 

1577

a1654

 

1863

 

 

 

 

 

 

 

1540–1

1621

 

1861

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

   2. transf.  a. a-cock-horse, on (a) cock-horse; mounted (as on a horse); astride.

   1564–78 W. Bullein Dial. agst. Pest. (1888) 66 The Drake with all the water foules did stoupe lowe and receiue their carriage, and when they were all a cockehorse together they wente into the water.  1584 R. Scot Discov. Witchcr. iii. xvi. 51 They+passe so farre in so little a space on cock-horsse [on broomsticks].  1622 R. Hawkins Voy. S. Sea 76 The whale+swimmeth presently ashore, and the Indian a cock-horse upon him.  1660 Charac. Italy 7 His Petrified Sanctity riding a Cock-horse on mens shoulders.  1664 Butler Hud. ii. iii. 41 And Ralpho got a cock-horse too Upon his Beast with much ado.  1821 Combe (Dr. Syntax) Wife iii. (Chandos) 329 Riding a cock-horse on a star.  

 

 

 

 

 

 

1664

 

 

 

 

 

 

 

 

 

1584

1660

 

 

 

 

 

 

 

 

 

1564–78

1622

 

1821

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

   †b. Mounted aloft, perched up.

   1704 Gentleman Instr. (1732) 167 (D.) The ladies sit on cockhorse upon scaffolds in open view.  

 

 

 

 

 

 

 

1704

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

   †3. fig. An exalted position, a place of triumph or ascendancy. Usually with on, a-. Obs.

   1581 Mulcaster Positions xxxvi. (1887) 138 He that beareth a tankarde by meanesse of degree, and was borne for a cokhorse by sharpenes of witte.  1599 Marston Sco. Villanie i. Sat. iii. 185 Hath got the farme of some gelt Vicary, And now on cock-horse gallops iollily.  1611 Cotgr., Il est à cheval, hee is set on cocke-horse; hee is all a hoight, hee now begins to flaunt it.  1658 T. Wall God's Rev. Enemies Ch. 41 There is no tyrannie like to that of a slave, whom vilany hath set a cock-horse.  1683 E. Hooker Pref. Pordage's Myst. Div. 22 Welth that rideth up a-Cock-hors (pass by the term) while Worth holdeth but the stirrup.  1829 Gen. P. Thompson Exerc. (1842) I. 10 The outbreak of an oppressed party, and setting it a-cock-horse on the oppressing one.  

 

 

 

 

 

 

1683

 

 

 

 

 

 

 

 

 

1599

1658

 

 

 

 

 

 

 

 

 

1581

1611

 

1829

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

   4. fig. A high horse; a proud, high-spirited horse; a stallion.

   1599 Marston Sco. Villanie i. Sat. iii. 185 Cock-horse, fat-pauncht Milo.  1858 R. S. Surtees Ask Mamma xxxviii. 160 He now goes drooping and slouching away, very unlike the cock-horse he came out.  

 

 

 

 

 

1599

 

 

1858

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

   †5. to play at cock-horse: see quot. Obs.

   1648 Hexham Dutch Dict. (1660), Paerdeken op spelen, to Play at Cock-horse, or leape ouer one an others backes.  

 

 

 

 

 

 

1648

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

   6. An additional horse for helping a coach uphill.

   1891 Field 25 July 134/1 With no further use for the cock horse, we cast him off at the top of the hill.  1909 Daily Chron. 7 June 6/3 The Venture Challenge Cup attracted eleven road teams.+ One, with an attendant cock horse, [etc.].  1928 Times 3 Sept. 16 The Old Berkeley passing the Five Alls on Dashwood Hill, with a pair of cock-horses to help the team over the Chilterns.  1963 Bloodgood & Santini Horseman's Dict. 50 Cock-horse, extra horse attached in the lead of a four-in-hand when going up hill.  

 

 

 

 

 

 

 

 

 

1963

 

 

 

 

 

 

 

 

 

 

1928

 

 

 

 

 

 

 

 

 

1891

1909

 

 

 

 

 

 

 

 

 

 

 

 

 

 

   B. adv. In same sense as the phrases on a cock-horse, a-cock-horse, in A. 1, 2.

   1566 Drant Horace Sat. iii. Gv, To playe at even and odde to ryde cockhorse in chyldyshe guyse.  c1720 Prior Alma i. 30 Alma, they strenuously maintain, Sits cock~horse on her throne, the brain.  a1764 Lloyd Fam. Ep. Poet. Wks. 1774 II. 60 As boys ride cock-horse on a broom.  1878 Gen. R. Taylor in N. Amer. Rev. CXXVI. 259 A huge fellow+was riding ‘cock-horse’ on a gun.  

 

 

 

 

 

 

 

a1764

 

 

 

 

 

 

 

 

1566

 

c1720

1878

 

 

 

 

 

 

 

 

 

 

 

 

 

 



0 new messages