william bickford - smith
learning more about william bickford smith is easier than you might think. ancestry can help get you started with free walkthrough videos .
william bickford smith, son of william nicholas smith (1833 -) and elizabeth bickford (1833? -), was born in 1868. he married jessie ellen burlace on 21 november 1893 in maker, cornwall when he was 25. he died in 1948 .
dates and places are just part of the picture. ancestry can provide insights into historical events and conditions william bickford smith may have experienced .
i believe william bickford smith married twice. he had three daughters by the first and a son and daughter by his second wife, anna. the son, george percy bickford smith b1873, died in south africa from wounds received at heilbron in the boer war .
william bickford smith (1901 - 1976). william was born in 1901 in kingsand. 3 he appeared in the census on 2 april 1911 in kingsand aged 10. 4 the address was: fore street. he died in 1976 .
ive always been impressed by bickford - smith’s work, so it’s interesting to hear from her about how she sets about her work and her influences. i look forward to future designs and covers to come out of penguin and bickford - smith .
the bickford - smith institute and clock tower was built in 1882 at a cost of £2000. the building was gifted to porthleven by william bickford - smith of sithney as a scientific and literary institute including a lending and reference library. the building now houses the porthleven town council and the office of the town clerk .
coralie bickford - smith was one of the first book designers i mentioned on the casual optimist and her distinctive cover designs have featured regularly ever since .
christopher w. popham built the walled garden and a gothic folly cottage, later utilized as a potting shed. he was also probably responsible for the planting out of the 50 yard long, yew tree tunnel. by 1871 he had died and the house was sold to william bickford smith of illogan in 1874 .
beautifully designed, hand printed screenprint by coralie bickford - smith & samantha johnson. this print combinines our passion for literature and pattern. design based on a single sycamore seed pod. quote by william blake. copper ink on somerset black paper, 250gsm. this paper is 100% cotton, acid free and archival .
mr. matthew bickford - smith is chairman at pmp ltd. he is on the board of directors at eastern australia agriculture pty ltd. mr. bickford - smith was previously employed as chief executive officer & managing director by ridley corp. ltd. and managing director - australian operations by man strategic holdings ltd. he also served on the board at lanyon asset management pty ltd. , reclaim industries ltd. , ridley, inc. and julian burton burns trust .
things were slow in developing and before he could see his idea put into practice he died. his only daughter eliza had married george smith in 1826 and it was left to this son in law to see the safety fuse go into into production at their factory in tuckingmill in 1836. the first and only son born to this couple in 1827 was christened william bickford smith. he was to be the beneficiary of his grandfathers invention and to purchase the property at trevarno .
this object is part of the project' a history of cornwall in 100 objects'. trevarno. william bickford was born at ashburton in devon and became a currier and leather merchant at illogan. upset by the amount of injuries caused by mining, he invented a safety fuse that saved many lives in cornwall and world wide. bickford' s first idea was to put the main explosive in a cartridge made of parchment and attach a small parchment tube containing powder as a fuse. later he came up with the ingenious idea of winding strands of rope around a central core of gunpowder. the rope was then varnished and when lit burned at a steady pace. bickford set up a factory at tuckingmill but died soon after. the fuse reached america soon after its invention and nobel' s ran the company from 1926 until it closed in 1962. millions of miles of safety fuse had been produced by then. bickford' s grandson william bickford - smith bought trevarno in 1874 from the proceeds of grandfather' s invention. photo: bernie pettersen
william' s grandfather was william bickford a leather merchant of illogan at the time the setting of a charge to blast away the rock in the tin mines was a hit and miss affair. goose quills or straw were filled with the powder and bundled together and ignited. there were many accidents. william was visiting a rope - works one day when he had the idea of enclosing the black powder inside the fibres of the rope as it was twinned. this would make for a safer, slower burning fuse .
this is the moving story of a fox, a star and an eternal friendship, written and beautifully illustrated by the award - winning coralie bickford - smith - chosen as waterstones book of the year and selected in time out' s 100 best children' s books .
booktopia - the life of william wordsworth - a critical biography, wiley blackwell critical biographies by john worthen, 9780470655443. buy this book online .
jessie ellen burlace, daughter of william stephens burlace (1831 - 1890) and eliza jane eddy (1833 - 1913), was born in 1868 in kingsand, cornwall. she was baptised on 6 december 1868 in rame, cornwall. she appeared in the census in 1881 in kingsand aged 13. the address was: market street. she appeared in the census on 2 april 1911 in kingsand aged 43. 1 the address was: fore street. she died in 1941 in kingsand aged 73. 2 she was buried on 4 june 1941 in maker. 2 the address was: maker church. she and william bickford smith had the following children :
coralie bickford - smith is a designer at penguin books. her book covers have been recognised by the aiga in the united states and d & ad in the uk, and have featured in numerous international magazines and newspapers including the new york times, vogue and the guardian. her work on the clothbound series with penguin classics attracted worldwide attention and harks back to the world of victorian book bindings. she has been asked to exhibit and speak about her work in the uk, sweden, germany, portugal and the us. the fox and the star is her first book, inspired by william blake' s eternity and the graphic work of william morris .
this series reprints books to cherish, collect, and pass on with striking new editions of literature' s most beloved books. designed by graphic design artist coralie bickford - smith, all of the books feature gorgeous patterns stamped on linen cases, colored endpapers, and ribbon markers. these rich and sumptuous volumes will likely be one of the most coveted sets of books ever produced .
alfred charles smith (1905 - 1975). alfred was born in 1905 in kingsand. 3 he appeared in the census on 2 april 1911 in kingsand aged 5. 4 the address was: fore street. he died in 1975 .
beatrice mabel smith (1909 - 1988). beatrice was born in 1909 in kingsand. 3 she appeared in the census on 2 april 1911 in kingsand aged 1. 4 the address was: fore street. she died in 1988 .
i am acrylic made a new range exclusively for the william morris gallery' s fox exhibition. the designs are based on the illustrations in my book the fox and the star. there are more fox goodies available from book marks to note books .
the exhibition will appeal to all ages, from serious book lovers to families who will be able take part in hands - on activities. william morris’s kelmscott press edition of reynard the fox, one of coralie’s key inspirations, will also be on display .
this exhibition will tell the fascinating story of how the fox and the star was conceived and produced, with original illustrations and rarely seen proofs. taking inspiration from william morris’s kelmscott press, every physical detail of this modern classic, from the cloth binding to the carefully chosen paper has a ‘definite claim to beauty’ .
dorothy jessie smith (1896 - 1961). dorothy was born in 1896 in kingsand. 3 she appeared in the census on 2 april 1911 in kingsand aged 14. 4 the address was: fore street. she married charles s ford q2 1923 in st. germans, cornwall. she died in 1961 .
william harris himself married phillippa noye of st. buryan. a member of this noye family was chancellor of the exchequer to charles i. his advice to the king to levy certain taxes, despite parliamentary opposition, was partly responsible for the kings unpopularity. the harris family originated at hayne in devon and a harris had married an heiress of the arundells, thereby acquiring kennegie .
bickford - smith uses conforming grid patterns for the cover designs, imposing a recognizable style that works across the entire series of books. the patterns on the grids convey something of the character of the individual titles. these patterns are signifiers for the book’s character and meaning, bringing contextual complexity to the design. each title’s design was worked on extensively using the book’s text, mood boards, picture research, and literal patterns to take a slightly new angle on a familiar work. examples of this can be seen with the peacock feather design on dorian gray, which plays on the book’s themes of vanity and the superficial; whereas the leaf motif on jane eyre refers directly to the lightning - blasted chestnut tree, a concrete element in the text that serves as a potent symbol of the book’s central relationship .
so, did the olivers bail out a fellow family member in trouble? . the only other recorded claim to fame of these olivers was a son, william, a doctor who moved to bath and invented the biscuit known as a bath oliver! john oliver senior corresponded with alexander pope, the poet, who john betjeman claimed visited trevarno. i wonder if he wrote
an ode
during one of those visits :
i suppose those elements are close to being obsessions of mine — i was heavily into william blake and william morris as a child. some projects have quite open briefs so i can pursue a particular vision — the first of my hardback classics grew out of a fascination with victorian book bindings, which inspired me to experiment with foil - stamped cloth bindings. other times there will be an element in the brief — illustration for the boys’ adventure series for example — that i latch on to and try to get the most out of, with lots of period research and careful commissioning. a lot of the hand - drawn type on my books is commissioned — stephen raw is great at period type — but i’d like to develop my own skills in that area as well. john gray is a constant source of inspiration, the energy in his hand - drawn type is incredible .
john oliver of ludgvan bought the property either from the arundell family or the crown and he came to live here sometime c 1685. john' s wife was a mary harris and although her baptism around 1660 is unrecorded, she is connected to william harris of kennegie, gulval. whether this was the
wild harris
of the legends, recorded by bottrell, i could not say but otherwise it was a well connected family. a lydia harris married borlase of pendeen and another mary harris married into the fleming family of madron .
english: occupational name for a worker in metal, from middle english smith (old english smið, probably a derivative of smitan ‘to strike, hammer’). metal - working was one of the earliest occupations for which specialist skills were required, and its importance ensured that this term and its equivalents were perhaps the most widespread of all occupational surnames in europe. medieval smiths were important not only in making horseshoes, plowshares, and other domestic articles, but above all for their skill in forging swords, other weapons, and armor. this is the most frequent of all american surnames; it has also absorbed, by assimilation and translation, cognates and equivalents from many other languages (for forms, see hanks and hodges 1988) .
the estate of trevarno was in existence in 1296 when a randulphus arundell was mentioned as the lord of the manor. the arundell family held great power over much of south - west england, having close links to the earls of cornwall. the western tip of cornwall was almost their personal fiefdom. successive generations were to lease the property at trevarno to other well known cornish families, the killigrews, carminows and courtneys until the time of the civil war .
the arundells were staunch royalists and supported the king financially to the point of bankruptcy, the family lost much of their land to the supporters of oliver cromwell. at the' restoration' the monarchy was re - instated but those holding forfeited land were often allowed to keep possession. thus it was with the arundell family and the monarchy failed to reimburse them for their financial support. moreover, they were out of favour with those now in political power for refusing to renounce their roman catholic faith. condemned as recusants the family fortunes were such that they were forced to sell - off much of their remaining property. they were never to rise to such prominence again and trevarno passed from the arundells to the olivers .
it is interesting to note also that john oliver junior married a lydia harris daughter of christopher harris and his wife wilmot daniel of kennegie, gulval .
by 1839 the olivers were no more at trevarno and ownership had passed to christopher wallis popham. there appears to be no direct link to the previous owners except that, despite her marriage to joseph lamb popham at st martins in the fields in 1801 his mother, phillippa wallis, was from wendron parish and her father was a christopher wallis b 1744 madron. this wallis / walishe family originated in west penwith in 1645 so may have had family connections
there is a link to livermore in california where a road is named after the estate. see
the house remained in this families' ownership until 1994 when it was offered up in 33 lots to make it more manageable to sell. by this time it had dwindled down into a state of benign neglect and even the shadow of its former glory was hard to detect
luckily, the prospective purchasers of the house were sufficiently moved to contemplate saving the whole and as a result prevent the break - up of yet another ancient cornish estate into holiday lets, time - share or apartment conversions. i wonder if they had fully understood the mammoth task they set themselves whether they might not have attempted this. with over a 1000 acres the estate needing a great deal of investment in time and money for it to succeed as a self sufficient entity, sustainable from its own resources. we wish them well and thank them for letting us glimpse another beautiful and well kept cornish garden which together with the national museum of gardening make this one of the most interesting to visit and great value for money .
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here the latest porthleven town council newsletter produced in march 2007 which is printed on 2 pages. click either image below to enlarge the page to a readable size :
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a new, beautifully illustrated picture book from the bestselling author of the fox and the star, winner of waterstones book of the year 2015 .
deep below the earth, worm dreams of having more space. there' s not much room down there .
from the author of the fox and the star, this is a book about searching and hoping, and how the smallest moment can be beautiful .
' a star book for all ages... the sort you want to keep for ever' kate kellaway, observer
' my picture book of the year... outstanding' amanda craig, new statesman' once there was a fox who lived in a deep, dense forest. for as long as fox could remember, his only friend had been star, who lit the forest paths each night. but then one night star wasn' t there, and fox had to face the forest all alone...'
while coralie’s work for penguin clearly draws inspiration from the arts & crafts movement and british inter - war illustration and design, it never seems trite or conventional. there is always an asymmetry, angle, pattern, or colour combination that gives it an unexpected twist that lifts it out of the ordinary. her covers for penguin’s ‘ gothic reds ’, for example, are amongst the most brilliantly stark, original, off - kilter and unsettling covers of recent memory .
it almost goes without saying that i am thrilled that coralie agreed to an interview, and i’m using it as a shameless excuse to post a lot of images of her work .
when did you decide to become a designer? i don’t remember when i heard the term designer for what i wanted to do and it all became clear, but i spent my childhood collecting stamps, letraset, calligraphy nibs, books and making my own edition of the dictionary. all that made a lot of sense once i started studying design at university .
what is your role at penguin, and where did you work previously? i’m a senior cover designer for penguin press, which publishes penguin’s classic fiction list as well as non - fiction titles in science, philosophy, history, etc. before i started at penguin i worked in various jobs designing whole books, magazines and instore promotions for supermarkets. it was not until a started at penguin that i settled down and really started to feel creatively fulfilled .
do you work on particular imprints? at penguin press we have a number of imprints: allen lane, particular books, penguin classics, modern classics, red classics and penguin paperbacks. our art department shares the titles around so we get to work on different projects and designers are not tied to one imprint .
penguin is synonymous with british book design. is there a sense of that legacy within penguin itself? absolutely, it’s great to work for a publisher with such a rich design heritage. the responsibility to live up to that can be quite daunting at times, but you just have to get on with what you do and enjoy it, otherwise it would get paralysing. the reputation means that design is valued within the company, which gives the designers a stronger voice. not that we get carte blanche — sales and marketing obviously have their say — but there isn’t always the decision to play it safe, we’re given a bit more rope to take some risks and hopefully push things further. so we get to have a lot of fun with design and feel listened to and respected .
the first stage of every new cover is nerves and self - doubt: can i do something interesting, visually smart and get across the fundamental nature of the book and help it sell? nightmare. so i get reading and then try to throw away all my concerns and fears and start getting stuff down on the page, sketching on paper and working things out on the computer. usually that means trying out a lot of rubbish and having to trust that eventually something will emerge from the process that works. when that happens i can breathe a short sigh of relief and then get on with developing and refining until the cover is finished .
your work often incorporates traditional arts and craft elements like ornamentation, illustration, and hand - drawn type. is this something you strive for or is it dictated by the nature of the projects ?
i would say the cloth classics right now. i really enjoy the process of getting the best colour combinations and the feel of the end result in my hands. representing classic literature through patterns is fun there is so much to go on within the text. life only doing these would be dull though, so i like that i get to work on a variety of titles. i like that there’s always another area in which to push myself as a designer. i think its coming up with concepts i like best. the rush of the moment where you show it to someone and they get it. when you feel that you know you have got it right .
they’re all challenging at the start, when i think i might make a hash of this one. conceptual covers for non - fiction can be quite a challenge — especially when there’s a late change to the title or subtitle that makes a great design suddenly redundant. it can be hard scrapping a cover i’ve become attached to and has been approved. i just have take a deep breath and remind myself that the cover is there to serve the book and not the other way around…
as you would expect, it’s a more intense process. i always have to have rules that will work across the series, from colour usage to typography. there are often period - specific elements that have to researched and backed up. it there’s a grid it has to work across the whole series and not get tired and boring. it’s a longer process, and the energy and attention to detail has to be maintained to the end. with individual covers its a bit more organic as you won’t have to pay down the line for decisions that might create difficulties if spun out into a series. if it works it works and once you’ve got it you move on .
again it has to be the cloth classics as they sit so satisfyingly on the shelf as a set. i tend to pick my work apart after each series is finished and make notes about what i would do next time and how i can improve on the way i approach the typography and the images, well all of it really. i think designers are harsh critics of their own work; there’s a dissatisfaction that motivates us to keep producing new stuff, new approaches .
the internet is a huge and readily accessible resource. i can spend ages going from site to site just soaking up inspiration. i like to collect objects that i see in junk shops / ebay / charity shops. bookshops too of course – i really enjoy the oxfam book shops, so many gems to be found. as for design heroes, there are many. the williams i mentioned earlier — blake and morris. then there’s so much inspiration in the penguin back catalogue, form people like romek marber and alan aldridge. in current book design, john gray and david pearson often come up with things that make me think wow, look what you’ve done, that’s amazing. there are also many outside of the book world i admire, such as orla kiely. i love her use of colours, and also the 70’s vibe. i have a thing for 70’s orange plastic, and her stuff reminds me of that, its really comforting .
covers are still a lot of the time the only piece of marketing material to attract the customer so i don’t think that is going anywhere fast. we might go through a wave of utter tripe as everyone gets all excited about 3d or animated covers, and the novelty of technology takes precedence over good design. electronic books are inevitably going to impact physical publishing, but the printed book is a very successful technology in its own right and i don’t think it will be entirely displaced. for all the advantages of ebooks — portability, interactivity, production and distribution savings — there’s something potent about the physical object that will always have a strong appeal. i like to think that as the volume of physical books declines, the average quality of the design will increase, because books will have to work harder to justify their physical presence .
rt @ stigabell: as it’s # fourthofjuly, here is the @ thetls cover this week. urltoken
rt @ canongatebooks: book design jobs! we are currently recruiting a senior designer and a junior designer. if you’ve got an amazing portfo…
rt @ danwagstaff: apparently @ casualoptimist readers are not the only people to have noticed this trend... urltoken
“one had no time to think. there was so much going on... ” it can happen here urltoken
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by examining the family and financial circumstances of wordsworth & rsquo; s early years, this illuminating biography reshapes our understanding of the great romantic poet & rsquo; s most creative period of life and writing .
? john worthen? s engaging new biography of wordsworth begins by quoting the poet? s recollection of himself at around the age of 10, surveying tall trees, black chasms, and dizzy crags: ? i loved to stand and & read j their looks forbidding? , he says, ? read & disobey? (p. 3)... worthen? s book is a revealing account of the consequences of that daring. ? (the review of english studies, 15 october 2014 )
this is an original and richly informed life of the great poet, both sympathetic and sceptical. john worthen has brought a fresh pair of eyes to many aspects of wordsworth' s biography, and the result is a vivid and persuasive account of a remarkable personality .
medea and other plays medea / alcestis / the children of heracles / hipp ...
there' s more to life than books... a self portrait book cover for a feature in uppercase magazine .
i was so excited to be asked to contribute a pastry box design for a project called ensaimadart. there were over 100 designers involved and the end result was an exhibition of all the work in majorca .
amadip. esment foundation is a majorca - based organisation that has been creating opportunities for mentally handicapped people for over fifty years. by providing training, assessment and career advice, long - term jobs, accommodation, leisure and sports activities, as well as psychological and social counselling, amadip. esment foundation works to make the principle of equal legal and human rights a reality. the organisation helps to improve the quality of life of people with intellectual disabilities and their families, offering them the same opportunities for personal and social development as other citizens .
monday - saturday 10: 00am to dusk, sundays 11: 00am to dusk, weather permitting .
mr. alistair w. clarkson is secretary & general counsel at pmp ltd. , an associate at institute of chartered secretaries & administrators (au) and a member at the law society of new south wales .
bridget riley dazzles, turner is a winter wonder and damien goes dotty... again – the week in art
pilgrimages were once common in the uk. now, a new trust aims to revive the tradition, in secular form. alan franks joins a walk from london to west sussex to celebrate the song jerusalem’s centenary
the excitement and frustrations of city life have inspired poets from 18th - century grub street to the 50s beats and modern - day rappers. but can poetry actually help us make cities better ?
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william bickford-smith ( 1827 – 24 february 1899 ) was an english fuse manufacturer and a liberal and liberal unionist politician who sat in the house of commons from 1885 to 1892 . 
william bickford-smith (1827 – 24 february 1899) was an english fuse manufacturer and a liberal and liberal unionist politician who sat in the house of commons from 1885 to 1892.
william bickford-smith (1827 – 24 february 1899) was an english fuse manufacturer and a liberal and liberal unionist politician who sat in the house of commons from 1885 to 1892.