Finished in a subtle grey geometric wallpaper, my home study is a calm, child-free environment in which I can focus on my various projects. It was created a couple of years ago from an unloved, seldom used dining room, and has proved to be an excellent investment of DIY graft. So proud was I, that a blog was even penned, concluding with a list of essential items that I felt would further enhance my Shangri-La. One featured ‘want’ was an original 1930’s Anglepoise lamp, the gorgeous semi-industrial design icon that revolutionised desk mounted work lighting. Having decided that one would no doubt surface at a flea fair sooner or later, I didn’t give it much more thought until recently.
Earlier in the summer I took a trip to Redditch to take some snaps for my Streamline Worcestershire book (now with its own dedicated website). It’s a fairly sizable, if somewhat unremarkable, settlement in the North of the county with a strong manufacturing history. On the itinerary was a visit to the former Danilo Cinema (now tastefully revamped as a Wetherspoons), and expeditions to a clutch of industrial buildings including a local landmark called Millsborough House.
The original Millsborough House, built in 1912, was a huge office and factory complex for the well established Redditch firm Herbert Terry & Sons. Initially specialising in the manufacture of needles and fishing tackle, Terry’s quickly diversified into all manner of metal tools, clips and hooks, ultimately becoming best known for their springs. As if all this wasn’t glamorous enough, in 1934 the firm would cement their legacy by entering into a licensing agreement with Bath based designer George Cawardine to manufacture and market his new invention; the Anglepoise Lamp. This revolutionary product, that enabled the user to tailor the position, and angle the beam of light to their needs without moving the base proved to be a huge success. Numerous variations on the theme were developed into a range of lamps of differing sizes and designs for different purposes, while licences were granted to a select few overseas manufacturers.
The late 1930’s was an exceptionally successful period for the firm, and in 1937 a vast new extension was added to Millsborough House. Large parts of the original factory were replaced (some had been lost during a fire in 1932) in addition to new buildings on a facing site. Apparently designed collaboratively by F.W.B. Yorke (responsible for many large scale constructions in the area) and his son F.R.S. Yorke (a prominent modernist author and architect, later behind the 1950’s expansion of Gatwick Airport), the extension bears no resemblance to the earlier Edwardian buildings whatsoever.
The immense, yet surprisingly slender modernist frontage stands on Millsborough Road. Two towers flank the central triple height section, fenestrated with banks of metal framed windows, each capped with a decorative geometric etched lintel. To the south, an adjoining manufacturing wing has a distinctly different appearance thanks to its glazing and pair of asymmetric pitched roofs. The Northern wing is the most rewarding, with three thin vertical insets, each topped with a small hexagonal window. It then drops down as it corners onto Ipsley Street following similar themes before rising back up to eventually meet the remaining original Edwardian building.
At the outbreak of war Terry’s famously marketed the lamp as a means to ‘Beat the Bogey of Blackout Lighting’, enabling the user to clearly see the task in hand without infringing on regulations after dark. As the war progressed production was altered to aid the war effort, this included the development of a smaller battery powered lamp for the RAF. These were used in a number of applications, most famously in bombers, illuminating the navigators charts and maps while on raids.
Post war production continued, but by the late 1970’s Millsborough House had become outdated and inefficient. The company relocated and areas of the building were demolished and altered to convert it into smaller units. Today it serves multiple businesses in different sectors, and has recently had planning permission granted to convert some of the vacant space into modern warehouse style apartments.
Having concluded it would be in extremely bad form to continue working on a book that featured the Anglepoise factory without the benefit of my own lamp, I hit eBay. The original production of iconic ‘1227’ lamps ran until 1969 (although it’s back in production again now) encompassing subtle alterations with each generation. Early models are the most sought after, and tend to command high prices. Dating the lamps is relatively easy with various online guides including one on Anglepoises‘ own site. I personally favour the comprehensive guide on 1227, a whole site dedicated to the lamp. Having scoured the listings for a few weeks, I concluded that I was probably going to have to opt for a later generation item rather than hold out for an elusive pre-war model, and ended up buying this sexy number. It’s from the 1948-1960 period, but doesn’t really vary greatly from the original (the larger lamp holder being the most obvious difference). Illuminating it gives my study the instant ‘I’m up to my eyeballs in it and working late to meet a deadline’ look that I was after! An interior design icon that was made locally, who’d have thought.