Arkivhistorik
Email, Greta Bertam, MERL to Ollie Douglas and Felicity McWilliams, MERL, 30 August 2013 - 'Marguerite Fazey came in this afternoon to offer us a painting - the photos are really large so I've saved them in [...] // The painting shows Duckett's Barn, University Farm, Shinfield Green and was painted by Harold Yates in 1938. This information is recorded on the back of the painting, and it is also signed/dated on the front. It is in its original frame, although the board is slightly loose in the frame. // Mrs Fazey moved to Reading in 1974, and worked in personnel/data entry at the Manor House at NIRD from the mid-1970s until she turned 60, when she went to work somewhere else at the University. The painting hung in Manor House. When NIRD closed, people who had worked there got to choose something to keep. // [...] // I explained that I couldn't make the decision, and that we can't always accept everything we're offered, but did say that this might be of interest because of its connections to the University.', 'National Institute for Research in Dairying (Journal of Dairy Research, 52)', Gordon C. Cheeseman, 1985, p.345 (doi:10.1017/S0022029900024237, Published online by Cambridge University Press 01 June 2009.) - 'Foreword: National Institute for Research in Dairying // Loss of a famous name // The National Institute for Research in Dairying closed on 31 March 1985, bringing to an end a research centre that was first established at University College, Reading, in 1912. The Institute moved to the Shinfield site in 1921 and developed into a major internationall research centre with a staff of some 450. NIRD was at the forefront of the technical innovation that has made the UK dairying industry one of the most efficient and effective industries in the world. The high standard of the research both in milk production and its utilization established the Institute's widespread international reputation. // While remaining part of the University of Reading the Institute was financed almost entirely by the Agricultural and Food Research Council. In common with many other public bodies the AFRC has been subjected to reduced funding and, in addition, has been reassessing the priorities of its research, including the need to increase support for the food element of its programme. To meet this situation the AFRC decided to separate research on milk utilization at NIRD from that on milk production and to amalgamate the production research with that of the Grassland Research Institute. A new Animal and Grassland Research Institute was established on 1 April 1985 centred at Hurley and incorporates facilities at Shinfield and at North Wyke, Devon. The Institute will undertake research on the production and utilization of grass and other forage crops, integrated with the nutrition, physiology and production of both ruminant and non-ruminant animals. // A new Institute, the Food Research Institute, Reading, was formed from the NIRD Food Science Division on 1 April 1985. This Institute will continue to undertake basic and applied research on milk and dairy products, but its remit is expanded to include oils, fats and confectionery, the nutritional quality of food and food process engineering. The new Institute will occupy the laboratory site at Shinfield previously occupied by NIRD and incorporates about 200 members of the NIRD for its initial staffing. // This new Institute is one of three major AFRC Food Institutes. The work of these three Institutes will be coordinated so that the AFRC can provide the best possible strategic and applied research base to support the scientific and technological requirements of the UK food industry. // The name of NIRD will not be lost completely. It is a pleasure to record that a Memorial Fund is being set up to commemorate the name 'National Institute for Research in Dairying' in an appropriate manner, such as a Prize or Fellowship, and the Royal Association of British Dairy Farmers has undertaken to administer the fund in recognition of its long association with the Institute. // GORDON C. CHEESEMAN // Gordon Cheeseman was a member of staff at NIRD for 31 years, and was Deputy Director and Head of the Food Science Division before becoming Head of the Food Research Division at AFRC in 1984. He is also a Visiting Professor in the Food Science Department of the University of Reading.', History of Winsor and Newton Ltd (taken from http://www.winsornewton.com/about-us/our-history/timeline/timeline/, accessed by MERL on 27/09/2013) - 'Winsor and Newton founded their business in 1832 at a time of extreme social and cultural change in Britain. The Industrial Revolution was fully fledged and was therefore generating an explosion of technology and trade from all over the world, enabling new materials to be brought into England. With their aim of providing the best choice of pigments with the highest permanence possible, Winsor and Newton were able to take full advantage of the opportunities that were opening up to them and within a couple of decades had introduced many new pigments and colour ranges. // 1832 // Winsor & Newton is founded at 38 Rathbone Place, London // William Winsor and Henry Newton established their partnership at 38 Rathbone Place, London. This was Henry's home, which was then part of an artists' quarter in which a number of eminent painters, including Constable, had studios, and where other colourmen were already established. // 1835 // The world's first moist water colours are launched // In 1835, Winsor and Newton developed the first moist water colours utilising the moisture-retaining properties of a recently discovered material, glycerine. // The new water colour pans were much simpler and more convenient to use than water colour cakes and quickly earned well-deserved popularity. Artists such as Turner were now able to paint outdoors prolifically in water colour. // [...] // 1841 // Royal Warrant issued by Queen Victoria & Prince Albert // Royal recognition came early for Winsor and Newton in the form of appointment as artists' colourmen to Queen Victoria in 1841 and the issuing of the Royal Warrant. // 1842 // The collapsible, screw cap tube mechanism is patented // William Winsor patented the first screw cap mechanism for a collapsible metal tube. Following this invention, tin tubes were very quickly accepted as containers for oil colours and a few years later Winsor and Newton were able to uniquely offer moist water colours in tubes. // [...] // High-quality products together with the prestige of royal appointments and awards at international exhibitions helped to stimulate trade for Winsor and Newton overseas. During the second half of the nineteenth century there was hardly any competition in the manufacture of artists' materials in non-European countries and this doubtless encouraged ever-increasing exports to the U.S.A. and also India and Australia. During 1890, William Killik, son in law to Mr. Thrupp, an original director with William and Henry, travelled to New York on the Majestic, the predecessor to the Titanic. Whilst on deck an American asked him his business and Killik replied "artists' materials". "Oh", he said "if you're going to sell artists' colours, you may as well take the next boat back because there is nothing sold in the United States but Winsor & Newton!" // 1851 // Crystal Palace Great Exhibition // Winsor and Newton exhibited at The Great Exhibition of 1851 in the Crystal Palace and were awarded the only prize medal open to competitors for artists' colours. This was the first of many successful exhibits in numerous International Exhibitions, including the Chicago World Exhibition in 1893, where Winsor and Newton were awarded the medallion for the development of permanent artists' colours. // [...] // 1881 // Winsor & Newton Limited Company is formed // A few months before the death of Henry Newton in 1882, Newton sold the business to the newly incorporated firm of Winsor & Newton Ltd which included members of both families amongst the shareholders, with Newtons employed until the late 1970's. // [...] // 1892 // The Composition & Permanence of Artists' Colours first published // Wholly dedicated to ensuring artists used the most stable and permanent pigments, Winsor & Newton were the first artists' colourmen to publish the composition and permanence of their colours. // Until the beginning of the twentieth century Winsor & Newton had concentrated entirely on products for painting and drawing. However, by the Edwardian period the painting market was very different due to the invention of the camera and artists were no longer in such great demand. // The company began to take up craft products, starting with pen painting materials in 1911, and the range was expanded over the following years. It was fortunate that home trade was broadened in such a way, for overseas trade suffered a series of setbacks during the first world war years and subsequent depression. However, during the second world war manufacture of artists' and draughtsmen's materials continued for the war effort despite limitations imposed by raw materials shortages. // [...] // 1937 // Winsor & Newton develop student quality products & launch Designers' Gouache // By the 1930's the conditions of economic depression had had a very serious effect on the volume of trade both at home and overseas, and directors of the firm decided to compensate for this by making and selling colours of students' quality. Innovation continued throughout the decade, however, and in 1937, Designers Gouache was introduced, a highly pigmented opaque water colour. It became the most popular medium used by graphic designers and also allowed fine artists to use body colour in water colour without having to add white to ordinary water colour. // 1937 // Colour Works open at present day Harrow Site // To increase efficiency and reduce costs, all Winsor & Newton activities were moved to Wealdstone, Harrow. Colour manufacture was transferred there from the North London Colour Works in 1938 and the administrative offices were moved from Rathbone Place the following year. This was good fortune indeed as it meant our archives and business were safe when Rathbone Place was destroyed in the London blitz just a year later. // [...] // 1946 // Brush making facility opens in Lowestoft // In the immediate post-war years after the activity of war, brush-makers tended not to return to a sedentary occupation. For this reason it was necessary to look for a new factory site in an area with a surplus of labour. The East Anglian fishing port of Lowestoft proved perfect, as the skills required for mending the fishing nets could be transferred to tying knots for brushes. A brush making department also continued at Harrow until 1982. // [...] // In spite of the austerity of the post war years, the social changes of the 70s and recession of the 80s, Winsor & Newton maintained a strong manufacturing base and were able to proudly develop two completely new types of colour. By the 1990's there were so many new organic pigments available that Winsor & Newton embarked on some far reaching reviews to ensure artists would be able to enjoy everything from entirely new colours to greater brilliance and permanence. Almost 200 new colours were introduced over the following 15 years and this process is still continuing today. // 175 years on, innovation and development is still at the heart of the company alongside our continued commitment to listening to and responding to the needs of all artists. // [...] // 1971 // Launch of Winsor & Newton Artists' Acrylic Range // In 1970, Winsor & Newton introduced their first range of Artists' Acrylics, a revolutionary water based paint, which has subsequently become as popular as oil colour. // 1976 // The world's first artists' alkyd range is launched // In 1976 the first alkyd colour for artists was introduced by the company. This fast drying oil colour range enabled outdoor artists and designers to complete oil paintings in a fraction of the time required with conventional oils. // [...] // 1996 // Artists' Water Colour re-launch // In 1996, Winsor & Newton embarked on the most significant change to the Artists' Water Colour range in 164 years. The availability of so many new pigments meant that 35 new colours were introduced into the range, offering artists the widest and most balanced spectrum with the greatest permanence. // [...] // 1998 // Winsor & Newton launch Artisan Water Mixable Oil Colour // Winsor & Newton revealed the results of a long research project to supply a range of both colours and mediums in oil which could be thinned and cleaned up with water. This range has allowed an enormous number of artists to enjoy oil colour without the use of hazardous solvents. // 2000 // Winsor & Newton run the world's largest painting competition to celebrate the Millennium // Winsor & Newton launched a worldwide painting competition, "Our World in the Year 2000", to celebrate the Millennium year. The largest art event of its kind ever held, the competition attracted entries from over 22,000 artists in 51 different countries, with judging chaired by H.R.H The Prince of Wales. // 2007 // Winsor & Newton celebrate 175th Anniversary and develop Smalt // In 2007 Winsor & Newton celebrate 175 years of colour making. To commemorate this milestone event, we have re-formulated Smalt, a beautiful blue pigment that was used in ancient times but subsequently became obsolete. // Today, in our 175th year, we are proud to have been able to re-formulate this colour to match our best quality sample from the nineteenth century, offering artists a beautiful, deep blue water colour that has a large particle structure, resulting in washes that really sparkle and suggest beautiful texture!'
