I never kept a proper written record of events, only sketchy
appointments in diaries. I am weaving
this story from a collection of ephemera which I troll through and then forget
which bit I wanted to include. I have
even mislaid one important folder which listed all our employees when we closed
the production side of the business and whom I wanted to name at appropriate
times. It will turn up again, no doubt,
but I have wasted a lot of time looking for it.
Perhaps it doesn’t matter if this story isn’t quite in the
correct order. The main thing is to try
and paint the picture of what it is like to run a small business. The advantage of writing a blog against
publishing a proper book is that I can always correct things later.
The spare bedroom in the flat is full of stuff, including
thousands of slides which must eventually be sorted, though dear Julie spent
ages some years ago digitising the early photos of the family, and she is
providing some of the illustrations which will appear in the blog. But I never did have a good memory and in
old age it is certainly deteriorating.
How we managed to hold a business together I don’t know – probably through
the tremendous support we received from our employees. The cost being that we spent rather too much
on wages, employing people to do the jobs we didn’t like doing!
While John was dyslexic – something which was not understood
when we were at Sidcot School during the war – I have “face blindness”. Its proper name is prosopagnosia, caused by
brain damage after birth. I cannot
bring John’s face up in my head and I find it difficult to remember people
unless I see them regularly; it can be
so severe that one doesn’t recognise one’s own children. This was a disadvantage in business of
course when people were the most important players in the story.
I am also red/green/brown colour blind, which is quite rare
in women. I can see colours, but
sometimes matching them can be difficult in artificial light – John always used
to check whether I had indavertently mixed green and brown clothing when we
were going out at night. Once, on
holiday in Ireland years ago, John said:
“What are those flowers in the hedge?”
I had to get out of the car and have a closer look. They were brilliant red fuschias in a
brilliant green hedge and the two colours had merged together when seen from a
distance. This of course made things
difficult if I was helping a customer to choose some picture framing when we
had the shop.
Stop making excuses I hear you say and get on with the
story.
In my box of ephemera for 1973 I have found a Berni Inn menu
which I must have smuggled out under my coat.
We were regular patrons, especially when taking Rob out on half term
visits to Leighton Park School, Reading – though this copy is from Nottingham
and presumably I filched it when we were attending the Nottingham Gift Fair
(which we only did on the one occasion).
Those lovely steaks. The most
expansive meal was fillet steak for £1.41, “served with French fried potatoes,
button mushrooms, a fresh lettuce and tomato salad, roll and butter.” But on one occasion at Blackpool Gift Fair,
when we were taking a couple of agents in a taxi out to supper and requested
that we should be taken to the local Berni Inn, the driver said “This one isn’t really your sort of pub – rather a
rough house,” and he took us somewhere else.
I look back now and wonder if he was paid to bring the other place some
business!
Linda Garland started work at 5A on 6 August. Her job was secretarial and to help with
sorting out the prints for the hand painters, based on current orders, ready
for the supervisor to visit every fortnight – we called this the “milk
round”. We had a duplicating machine
for producing our own forms and some circular letters. This entailed typing a stencil on the
typewriter, inking the drum of the machine, carefully stretching the stencil
round it and then feeding it with paper and turning the handle. Ink would get everywhere. No photo copiers in those days. Linda became an expert in this.
John was finding it difficult to supervise the workshop,
undertake the milk round and find time to produce new designs, so we were
taking on staff to do those jobs for us.
Other names mentioned in my diary are Joyce Walton, Jean Batten and Tony
Osmond, Vera’s husband, who left his job in Clark’s to join Gprints as our
Manager.
After Blackpool Gift Fair, we took on Bertram Ellis who
lived in Carlise and who covered Scotland with his son Peter. He achieved sales in March worth £176.86 and
I think we were paying 15% commission at that time; his file is full of letters discussing
customers, new prices, problems with damaged goods and late payment. My policy was to refuse any further orders
from a shop which kept us waiting for their cheque and once, at Torquay, I
actually turned away a lady looking at the new range with the words “Sorry, you
are a slow payer and I am afraid we won’t supply you any more”.
I see from a letter written to Bertram that in May, John and
I drive to Scotland in order to visit
castles, which John photographed in order to draw them later. Another letter on 3 July says “John is
really going to have a concentrated bash at the castles … we expect a
worthwhile range being on time for the new year.” On September 28 we write “We were thrilled
with your news about the reception of Inverary Castle.” We must have provided him with an advance
example of the picture. The reaction
from the Duke of Argyll was “Where is my standard?” John’s photo had been rather indistinct and
he hadn’t bothered to include it in his original drawing, but dutifully added
it to the final version. And later next
year, when Bertram took the castle series to the gift shop at Craigevar, the
manageress commented “Oh dear, we don’t want any more publicity.”
Craigevar is my favourite Scottish Castle; it reminds me of the story “Rapunzel,
Rapunzel, let down thy hair.” A
delicate, fairy tale building, one enters very gloomy, cramped rooms because of
the thick walls, but as one ascends to the upper floors the spaces become
larger and larger, until one reaches the huge room spanning the top of the
tower with magnificent views, where the residents would promenande when the
weather was unclement. As for Blair
Atholl Castle, we had visited that for the first time in the sixties. On one occasion there was a demonstration of
Scottish piping and I was a little disconcerted afterwards when I overheard
them talking with American accents.
This reminds me of the time when I took the children to an event at the
American Museum in Bath, when the Red Indians performing their war dances
turned out to be from Birmingham.
At some point in the early years of Gprints (as we used to
call it), John and I went on a 6 weeks evening course at Bridgwater Technical
College, conducted by Mr Mayman of Bristol University, on “How to Read a
Balance Sheet”. I am still none the
wiser, and John wasn’t much better – after all, at Morlands he had been supported
by departments whose job it was to manage such affairs as finances and
publicity – he was the creative one.
But I do remember one piece of good advice which we should have acted
upon years later. “Whatever your
advisors such as bank manager, accountant or business consultant may suggest,
only you know your business best.”
The bank of course has the greatest power of withdrawing its
services; our bank manager was too eager
in the late 1990’s to lend us more money and no doubt this was the same problem
with Morlands and the other companies who came unstuck in the slump. We ended up paying 17% interest on our huge
loan – how can a small business make a profit with that hanging round its
neck? Our mortgate with CoSIRA (Council
for Small Industries in Rural Areas) on Number 10 High Street, taken out in
1975, was 14% but the mortgage on Schehallion was only 4 ½% and fortunately, by
the time the crunch came, our insurance policy had paid back the loan.
So when exactly did we take on two more rooms at 5A High
Street? And then there was the
expansion in January 1975 into making our own frames in Garvin’s Old
Ciderhouse, Back Lane off Benedict Street – demolished when Garvin’s Way and
Carmen Close were built – at least our landlord’s name lives on. Was it Dudley Tremaine of Cooper and Tanner
or Cyril Driver of IMCO Plastics who tipped us off about this property becoming
vacant?
Before that we had made arrangements with Roly Bisgrove, who
had done a lot of building work on our home over the years and who was a good
friend from Cradlebridge Gun Club days, for us to use his premises at
Baltonsborough for our expanding production.
We even got as far as installing a huge old guillotine for cutting mount
board. Alas, I am sure it was our
arbitrary decision to pull out of this arrangement and I have always felt very
guilty about letting Roly down, as he had given up his other work and must have
lost money, taking time to get back into his former self employed lifestyle.
We learned the rudiments of picture framing from Bill
Williams (then acting as agent for Whitehouse, Willetts & Bennion and for Artistic Framing) and from Douglas
Lee of W.W. & B. who couldn’t have been kinder to us, so that when
eventually we no longer needed to buy finished goods from them, we really
missed those trips to Worcester. But a
fortnight after beginning to make our own frames etc. the compressor on the
pinning machine broke down and we had to ring Douglas and plead for emergency
supplies of frames to tide us over. The
silence at the other end of the phone was most worrying – he turned out to be
in fits of laughter at our predicament and we were afraid he would do himself
an injury.
John has always been a stickler for quality and his high
standards at all stages of production have often driven us to moments of
despair. But coming from a craft
industry he knew only too well the pitfalls which can await any manufacturer
when complaints come in, resulting in damage to works morale besides losing
customers. All the artists’
watercolours used in the hand colouring were light tested (in the roof of our
greenhouse at home), together with samples of mounting board (which eliminated
most of them). John wrote a letter to
the Fine Art Trade Journal (November 1977) complaining about lack of colour
fastness in the trade, even with limited edition colour prints which were
inclined to fade.
It is January 1974 and we are getting ready for the Torquay
Gift Fair, to be held as before in the Rosetor Hotel under the aegis of
Sherriff & Williams. And we have
booked the International Gift Fair, Blackpool – in the Talbot Hall again,
staying in the Elgin Hotel, Queens Promenade.
John and I once made nine trips each from the top to the bottom of the
building, carrying our the contents of our stand down unlighted steps for the car
(while others waited for hours to get porters) and then, exhausted and filthy
dirty, we went round the corner and had the best fish and chips we’d ever
tasted.
We must have carried it all up there in the first place too.
Julie’s Idle Fancies are included in the new range for the spring. It seems we only took about £2,000 worth of orders at Blackpool that year, but we also had export enquiries from Amsterdam, Basel, Canada and Macy’s of New York - I don’t think the latter ever ordered from us though.
Julie’s Idle Fancies are included in the new range for the spring. It seems we only took about £2,000 worth of orders at Blackpool that year, but we also had export enquiries from Amsterdam, Basel, Canada and Macy’s of New York - I don’t think the latter ever ordered from us though.
Photos by Brian Walker for the International Gift Fair News, Feb 3rd 1974
Julie and I enjoyed an adventure in the autumn of 1974; somewhere I had read about the Americans
celebrating the 200th anniversary of American Independence with
subsidised trips to the States under the banner “Meet the Americans”. We flew out to San Francisco on October 11
with 248 other people for a 10 day visit to California and stayed with a family
in San Diego. I did offer to return
their hospitality but sadly they didn’t want to visit the UK. They took us on a trip across to Tihuana in
Mexico on one occasion and I bought a very heavy glass lampshade for ten
dollars and a kiss. It was packed up
carefully in a huge cardboard box and fortunately there was a spare seat on the
plane home.
An American couple once bought an enormous framed picture from Glastonbury Galleries – about which we were most doubtful. However, they returned the next year and told us that it had been safely stowed away behind the pilot’s seat when they flew back.
Wrapping the Lampshade |
An American couple once bought an enormous framed picture from Glastonbury Galleries – about which we were most doubtful. However, they returned the next year and told us that it had been safely stowed away behind the pilot’s seat when they flew back.
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