Built in the 1920s by the artist and embroiderer Ann Macbeth, High Bield is a remarkable house which was completely refurbished a few years ago. It was built high on the fell and takes in views of Brotherswater and Ullswater and offers walking from the door to High St, Helvellyn, St Sunday Crag, Fairfield and many other popular spots.
Almost every room has a spectacular view, especially the twin room which was originally Ann Macbeth's studio. The house oozes charm and is very comfortable and warm, with a woodburner in the sitting room, and retains many of the original fireplace tiles from when it was first built. |
After completing her studies at the Glasgow School of Art in 1901 Macbeth became assistant to Jessie Newbery and her striking embroidery work was given regular coverage in The Studio. In 1906 she started teaching metalwork at the Glasgow School of Art. There she taught bookbinding from 1907 to 1911, and ceramic decoration from 1912 onwards. In 1908 she succeeded Jessie Newbery as Head of the Needlework and Embroidery section at the Glasgow School of Art, and in 1912 she became the Director of Studies in the Needlework-Decorative Arts Studio. In 1911 she took part in the planning for the Scottish Exhibition of National History, Art and Industry, sitting on the committee of the Decorative and Fine Arts Section.
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Together with the educational psychologist Margaret Swanson Macbeth published the textbook Educational Needlecraft in 1911. The textbook won international acclaim and widely influenced the teaching of needlecraft. It remained on the Scottish school syllabus until the 1950s. The embroidery classes at the Glasgow School of Art were open to the community as a whole. Saturday classes for schoolteachers led to a certificate by the Scottish Education Department. In her teaching and publications Macbeth spread the radical approach to design of the Glasgow Movement and put into practice the ideas of the Arts and Crafts movement. She elevated the status of home dressmaking and encouraged women to create their own individualistic clothing. She brought designed dresses within reach of women with modest means by advocating the use of “humble materials” such as cotton, linen and crash. In her publications Macbeth encouraged a new generation of designer-craftswomen, discouraging copying of patterns.
From 1920 onwards Macbeth also taught handicrafts at the Women's Institute and participated in programmes to alleviate local economic hardship. In her book Embroidered and Laced Leatherwork Macbeth lamented that women produced crafts in their spare time and devalued their work by undercharging for it so that barely the cost of the materials was covered. Through her teaching work at the Women's Institute Macbeth aimed to generate a means of livelihood for craft-workers by creating regional styles of work.
From 1920 onwards Macbeth also taught handicrafts at the Women's Institute and participated in programmes to alleviate local economic hardship. In her book Embroidered and Laced Leatherwork Macbeth lamented that women produced crafts in their spare time and devalued their work by undercharging for it so that barely the cost of the materials was covered. Through her teaching work at the Women's Institute Macbeth aimed to generate a means of livelihood for craft-workers by creating regional styles of work.