Preface to the book by Michael Harrison, Director, Kettle’s Yard
David Kindersley was, by general agreement, the outstanding stone letterer of his day. His work extended from a monogrammed paperweight, offered as a gift, to tombstones and commemorative plaques, and major commissions such as the American War Cemetery on the outskirts of Cambridge and the gateway for The British Library in Euston Road. Few jobs were too small or too large.
As the direct heir to Eric Gill, with whom he learnt his craft, he adopted a commitment to workshop practice with such conviction and success that the workshop he set up over fifty years ago still thrives today under the direction of his collaborator and widow, Lida Lopes Cardozo. In the following pages she and Fiona MacCarthy explore the importance of that living tradition.
Kindersley liked to think in threes - one letter finding its place between its two neighbours - and, not least, the relationship which exists between the artist, his material and his patron. Julian Spalding describes his experience of commissioning the superb entrance to the Ruskin Gallery in Sheffield.
David's craft was traditional but, within it, his inventiveness was unmatched, and, beyond it, he saw new opportunities. Alert to his time, he abhorred the fact that craftsmen were too often slaves to their machinery and the resulting disasters of manufacture.
One of the inscriptions which remain in the workshop is of a dictionary definition of manufacture.
But he was quick to recognise that new technologies, and especially computers, provided the chance of bringing design and production together in a way which had not existed since the middle ages. This theme is taken up by Eiichi Kono and myself.
- David Kindersley and the workshop ideal by Fiona MacCarthy
- Learning from David Kindersley by Lida Lopes Cardozo
- Commissioning from The David Kindersley Workshop by Julian Spalding
- Beyond the Workshop by Michael Harrison
- From Chip to Chip by Eiichi Kono
1st edition 2000, paperback, 48pp, full of illustrations, 21 x 28 cm