I was lucky enough to go on a visit to the Charterhouse last week. It was our annual staff training day – we tend to go to interesting and/or historical lumps of architecture, and this was a wonderful place to explore.
The Charterhouse opened to the public in January 2017, but its history goes back to the 14th century. The story is diverse and fascinating, and the fabric of the buildings themselves is very special. It’s a cliche, but it walking around the place absolutely feels like stepping back in time. If you can visit, I highly recommend taking a tour as the guide we had was knowledgeable and very engaging. We had a wonderful day.
When I was starting to get deeper into my research of Charles Paget Wade for my book on his life at Hampstead Garden Suburb, I quickly realised one thing: Wade didn’t keep a diary. Not everyone does. But it’s always a disappointment – a tiny one, anyway – to find out that someone I’m researching didn’t keep a diary.
With a diary to use in collaboration with other forms of biographical research, so much more can be gleaned about a person. Without a diary, letters often fill in the gaps, and this is true for Wade, and it’s a big part of why I went to Gloucester Archives (although the majority of the holdings are letters to Wade, not from him).
Wade did write memoirs in later life, which have been hugely helpful in discovering more about the enigmatic man himself. But retrospective recollections can often be misleading, so first-hand documents are always helpful. With Wade, we have a number of these, including receipts for a great many of the shopping trips he went on, picking up antiques around the country. Using these, I’ve been able to piece together journeys and timelines.
But perhaps the most helpful of these records have been Wade’s own drawings, paintings and illustrations. As a draughtsman, Wade very diligently noted the date on his work, usually with the year, and quite often with the date or even the location. Naturally some were done on-site and others later, from memory. But these records go a long way to filling in other blanks in his movements.
Wade’s architectural work was often exquisitely detailed, while his illustrations – a number of which were used for a children’s novel – are more artful and fantastical. Alongside these he also did paintings – some of real locations, and others of imaginary worlds.
Thanks to the National Trust’s staggering Collections database I was thrilled to discover that Wade had painted several scenes at the south Buckinghamshire market town of Amersham – my home town.
Whilst living at Hampstead Garden Suburb (1907-1919), Wade went on a number of travels and tours around England, visiting quaint villages, churches and pubs, as much to trawl the antiques shops as to use the vernacular architecture as inspiration for his own works, both built and imagined.
At Amersham, Wade’s eye was clearly drawn to the 17th century town hall as well as the Crown hotel opposite, one of a number of historic coaching inns that line the high street.
Having discovered that Wade had painted some scenes centring on these buildings, I was pleased to have the opportunity this weekend to try and photograph them from roughly the same perspective. Thankfully, Amersham’s old town has changed very little since Wade visited in 1907-8 and, despite my rough positioning, it’s not hard to see the same scenes that Wade found compelling enough to paint.