Archival history
Citation in publication [Oliver, Tina, 'Smocks: A Guide to the Collections' (Reading: The University of Reading, 2000)] – ‘63/280–286 // The smocks in this group originate from The Bere Regis Arts and Crafts Association, Bere Regis, Dorset. The association was formed in 1905 by the Vicar’s wife, the members of the association produced smocks and raffia baskets from 1905 until 1919. The son of the founder donated the smocks to the Museum in 1963. In a letter written in 1963 the donor says ‘Mrs. Bere’s interests were artistic rather than historical; and she believed that the old English smock, with the traditional form of design based entirely on squares and oblongs, had great intrinsic artistic merit. She also admired greatly the traditional patterns and showed splendid scorn for those who described the gathering across the chest as ‘smocking’. p.18, ‘Smocks: A guide to the Collection (Rural History Centre)’, Tina Oliver, 2000, p.18 – ‘This reversible linen smock was considered to be the original smock from which the Association made copies. The smock has a feature uncharacteristic of original smocks of small triangular faced inset section at the neck edge but this is not included in any of the following smocks. The smocking and embroidery are simple; a single stylised branch and leaf motif decorates each side panel, with featherstitch lines on the yoke, collar and cuffs. The overall condition of the garment is good.’, Photocopy of printed report – 'COUNTRY LIFE - AUGUST 11, 1966 // OLD ENGLISH SMOCKING PATTERNS // By RENNIE BERE // For many centuries, throughout a large part of England, the smock was the garment commonly worn by agricultural labourers and rural tradesmen. It almost certainly dates from before the Norman Conquest, as the word "smock" derives from the Anglo-Saxon smog-en, meaning "crept into" - apparently this refers to the fact that these garments were always pulled on over the wearer's head. [...]', MERL ‘Temporary Catalogue’ form – ‘Sheet 1 of 2 // Material(s): white linen and white thread, bone buttons // Condition: neck button broken [...] with slight signs of wear // Dimensions: total length; 103cm // collar depth; 20cm // cuffs depth; 6cm // place, origin; Dorset // Description: handsewn; style: round frock but skirt part has extra seam to the side of the centre panel back and front, bone button at neck on collar back and front, triangular gussets on shoulders; collar: two straight pieces; cuffs: straight bands, one bone button on each; [page break] // tubing: outline and cable, // back and front – 21 rows, // sleeves, top – 7 rows, above cuff – 10 rows; // embroidery: featherstitch, // boxes – cross with ‘leaf’ motifs – one at top, one at ends of side ‘arms’ and pairs – one towards top, one on each arm, edged, side of tubing and bottom; collar – edged, zigzag line with loops, cuffs – zigzag line and loops, shoulders – two sides edged, central wavy line. // Sheet 2 of 2 // tubing back and front; 20 x 24cm // tubing sleeves, top; 9 x 7cm // tubing sleeves, above cuff; 11 x 12cm // hem circumference; 202cm’, MERL 'Handwritten catalogue' form – 'SMOCK // Rennie M. Bere [...] Cornwall. // For buttons from same donor see 63/199. // This smock is an original; the six that follow in Accession Number under 63/281-286 are copies made by the Bere Regis Industry under Mrs Bere. See classified correspondence, contact cards and photographic library for further details.', Rennie M. Bere, October 1963 – ‘The Bere Regis Arts and Crafts Association – This association formed in 1905 or 1906 in the village of Bere Regis, Dorset with the object of interesting local workers in the making of raffia baskets and smocks of traditional old English pattern. The founder and organiser was Sarah Lucy Bere, wife of Rev. Montague Acland Bere, vicar of Bere Regis from 1905 to 1919. The association had its heyday in the years before World War I and, in effect, must have ceased as a corporate enterprise when both vicar and founder left for war service early in 1916. In 1919 they returned but for a few months only and, thereafter, though a few individual workers continued to take orders, either direct or through Mrs. Bere, the association ceased as such. // The association used to meet on regular days each week in a special room in the vicarage and it seems that there were about fifteen or twenty regular workers, all women of the village. The baskets were made of raffia without cane and appear remarkably similar to the well known Nubi-type baskets commonly made in various parts of Africa. By far and away the most important part of the work was the smocking, however. And, amongst other patrons, Queen Alexandra showed interest in the work and accepted a smock from Mrs. Bere at about the time of the Coronation of 1910. // Mrs. Bere’s interests were artistic rather than historical; and she believed that the old English smock, with the traditional form of design based entirely on squares and oblongs, had great intrinsic artistic merit. She also admired greatly the traditional patterns and showed splendid scorn for those who described the gathering across the chest as ‘smocking’. It is probably that her interest was aroused first by old smocks in the Dorchester museum which her uncle, Capt. J.E.A.Acland was at one time curator. She collected patterns from various sources and localities; many of these being included in her sampler. Mrs. Bere’s view seems to have been that the smocking patterns were not simply representative of the county or region in which they were worn as was generally supposed but, subject to some local variation and the local prevalence of certain trades, represented the trade of the wearer. So a farmer wishing to engage a ploughman or a carter, a shepherd or a gardener had only to look at the smocking patterns of the men who went to the local markets looking for jobs. The writer of this note offers no opinion as to the correctness of this view.’
