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This article written by Jackie Rickenberg was published in the Parish Magazine in April 2022 With the Village Hall Committee in the throes of a major fund-raising initiative to extend and improve the hall, we look back on the fundamentally pivotal role the hall has played in our village’s past history. The first excerpt is from a booklet called “Thursley Today” compiled by the Thursley Women’s Institute to commemorate their Jubilee year, 1965. “When the Surrey Education Committee finally decided to close down the Village School in 1957, despite opposition by the Parish Council and local inhabitants, the Parish Council at once began to consider the possibilities of converting the school buildings into a new Village Hall. When approached, the County Council informed the Parish Council that a decision had already been reached to convert the school into a Camp House for youth purposes. News of the impending relevant report by the Education Committee to the Council reached the village and, just in time, strong letters of protest were sent to the press, the press took up the fight and eventually, despite a lot of toing and froing, a public enquiry was held on 29th November 1960 in the old school building. It is doubtful whether so many people had ever before assembled in a building in Thursley. Mr Michael Jupe and Mr Duncan Scott represented the village. When they made points in the villages’ favour, there was great applause; when the County made points in the County’s favour, there were boos. The atmosphere was electric. Although the Council’s application for a Camp House was upheld, they were so impressed by the never-say-die spirit of the village that they reopened discussions with them in July 1961, with the result that, later that year, they agreed in principle to sell the school building to the village. The old Village Hall ( formally to the left of the pub) and the Village Institute (now Prospect Cottage) were sold and the first Village Hall Fund was set up. Detailed plans were then embarked upon and the work to the caretaker’s flat, billiard room, a new entrance and car park were formed and completed in 1964. Since then, the work has been slow but steady; the men’s and ladies’ lavatories have been more or less completed, a new floor laid to the hall, the hall redecorated, the building rewired, heating installed and a large amount of maintenance work undertaken. The Women’s Institute has played their part in selecting and making new curtains for the hall, billiard room and small committee room. There is still a fair amount of work to do, but at long last, the end appears in sight”. This account was attributed to Mr Duncan Scott of The Corner House. That’s how our Village Hall evolved, but what of its use and form since 1964? From a 1987 newsletter, Surrey Scene, published by Surrey Voluntary Service Council, the following is a summary of an article entitled “Sweat and Toil in Thursley”. “Tucked away, just out of earshot of the humming A3, on the way to Hindhead, is Thursley. A small village, with a population of 580, it represents one of Surrey’s many picturesque delights. It has a fine church, a pub, a large cricket pitch and recreation area, many delightful houses, a post office and in pride of place in the centre of it all, stands the Village Hall, which this year won the Best Kept Village Competition, Village Halls section. The hall blends in easily into the village scene, partly because age (circa 1850) has mellowed the grey stone of which it is built, and partly because it was until 1957, a Church of England primary school. So, the hall looks like a school and looks as if it belongs in the village. Pursuing the programme of works instigated by the Village Hall Committee two years ago, kitchen facilities have been upgraded, with the installation of new units. It has been possible to extend car parking facilities with the help of a generous donation from a villager and the lawn at the rear provides a pleasant as well as a useful amenity. In the Hall’s secretary’s own words “It has taken a great deal of sweat and toil to reach this stage – it hasn’t been easy! The village is fortunate to have a beautiful building, set in lovely grounds, at its disposal, but who is it that uses the hall? Well, it would seem, the world and his wife. When I dropped by recently, a pack of immaculately turned-out Brownies were camping in the Hall for a week. During term time a private nursery school operates in the Hall – it started three years ago and seems extremely popular. Then, of course, there are regular meetings and AGMs of the Horticultural Society, the Thursley Club (for over 60’s), the Fellowship (a social club for all age groups), the Parish Council, the Village Hall Committee and the Parochial Church Council. There are also such occasions as the Harvest Supper, the Christmas Fair and private parties. No one would suggest Thursley Village Hall is perfect – all halls are unique with many and varying problems but the care and good housekeeping shown by the Management Committee towards the hall has been exemplary in 1987 and well deserving, in the opinion of the judges, of this Village Halls prize”. As most of us have seen from the entrance hall today, this was not the only year that this great honour was bestowed upon the Hall. There have been many! And so, the baton has been passed down to this generation’s stewardship of our much-loved hall. This is why we all should get involved. Donations, time, fund raising - even if it’s just completing the questionnaire sent out recently – any help would be greatly appreciated and is essential to keep the Hall evolving in order to meet our needs. It is the heart of our village and has been for the past 172 years! For ways in which you can help, please go to www.thursleyvillagehall.co.uk email thursleyvillagehall@btconnect.com or speak to Clea Beechey, Village Hall Chairman, whose details are in the front of this magazine. The Trust Deed below is dated 1st August 1963

Art Editor of “Punch”. Born 15.4.1913 – Died 14.5.1979, by Peter Anderson See also entry for Cartoons of Russel Brockbank. *Former name of Thursley History Society Born in Canada and educated at Ridley College, Ontario, Russell came to England in 1929 and studied Art at Chelsea School of Art in London. A temporary diversion into industry occurred between 1932 and 1936 when he resumed his career as a freelance artist until the War. He married Eileen Hames in 1933. During the War he served as Lieut. RNVR, Northern Convoys, in the British Pacific Fleet and was demobilised in 1946. He then freelanced until 1949 when he became Art Editor of Punch. This appointment was intended to be one to five years but in fact it lasted until 1960. in Thursley. Russell had been secretly receiving agents' particulars of properties for sale in the area including one on “Badgers” in The Lane, or Back Lane as it was then called. By some strange quirk, or so it appeared to Eileen at the time, they arrived in the village following a brief inspection of the property, out of the blue Russell made an offer tp purchase which was accepted! Eileen was “rather surprised”. The year was 1951. Most of his work was carried out above the garage in the studio which Eileen called “The Haven”. He would draw seven days a week and as a result was not often in evidence when it came to various village activities with perhaps one exception – namely the annual New Year's Eve Party given by Val and Paddy at the Three Horse Shoes! Russell was a perfectionist as far as his drawing was concerned, When at work he would be surrounded by many photographs of the subject in order to build as much detail and accuracy into the drawings as possible and avoid too many critical letters from his readers. Publications have included:- 1948   Round The Bend 1953   Up The Straight 1955   Over The Line 1957   The Brockbank Omnibus 1958   Manifold Pressures 1963   Move Over and The Penguin Brockbank 1970   Motoring Through Punch 1900 – 1970 1973   Brockbank's Grand Prix 1975   The Best Of Brockbank   Apart from drawing his other passion was of, and in, cars. He started drawing them at the age of four  and it seems couldn't stop. He was a regular contributor to magazines including Speed and Motor in ten countries including Japan. He also drove fast cars, some say too fast, tried out exotic prototype models such as the Mini Cooper and D type Jaguar and was a motor racing aficionado. He visited all the Grand Prix. With Malcolm Muggeridge, Editor of Punch Russell became ill in the late 1970s and in 1978 they decided to move to Frome in Somerset to be nearer their daughter who was in the medical profession. He had once said to Eileen that he wanted to be buried in Thursley churchyard and wanted someone to draw an eye on his headstone so as to keep watch over Eileen. Sadly he died within two years of leaving the village and was cremated in Somerset. He left a widow and two children, Susan and Roger.

Brockbank lived in Badgers in The Lane from 1951 to 1978. See also the biography of Russell Partridge Brockbank by Peter Anderson Russell did these two for Reg Cottle, the owner of the Red Lion Garage:

Thursley History Society has a long tradition of publishing brief biographies of its villagers as you can discover at the end of this post. Thanks to Tricia Horwood, editor of the Thursley Parish Magazine, we are able to reproduce these lives from a series she is running in the magazine called "A Day in the Life of". We shall continue to update this post until the series is finished. So far we've had the lives: James Giles, Reserve Manager Simon Hall, Arborist & Children's Author Byrony Holloway, Show Jumper Gillian Duke, Fine Art Publisher Dr Peter Clarkson, Cardiologist David Young, Book Publisher Michelle de Vries, Film & TV Music Supervisor ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ A Day in the Life of a Reserve Manager (published September 2024) By James Giles Hello  everyone. My name is James Giles and I am the warden/ranger, but my official job title is Reserve Manager for Thursley National Nature Reserve (NNR).  I’m the chap who is responsible for the nature reserve right on your doorstep.   A  little about me then; I was born in November 1967 in Solihull, Warwickshire back then, now a part of the West Midlands. Who would have thought I would be responsible for one thousand acres of beautiful Surrey - I had not even heard of it, let alone knew where it was. Rolling forward a few years, I moved to Guildford way back in 1994 to attend Merrist Wood College where I studied for three years on a conservation management course. Full of excitement as I had never lived anywhere else before (apart from a brief stint on a college placement in 1995 in North Yorkshire with the National Trust). When my course ended in 1997, I was looking for gainful employment. This hunt led me to Thursley National Nature Reserve where I bumped into a chap (Mark was his name) who was sitting by a pond with a stick, and something dangling from that stick  on a  string (turned out to be a thermometer), looking rather like a gnome I thought. Intrigued I approached him to ask what he was up to (I have never been one to be shy) turned out he was the current warden at the reserve and was measuring water temperature as a part of the Dragonfly mentoring project). We got chatting and I took his details and contact number. (no emails or Facebook back then). On my return home, wowed by the beauty of Thursley NNR, I duly contacted him to see if they needed help and to offer my services and he said yes please, so we arranged to meet up again and I became their volunteer, back in September 1997, some 27 years ago now. After a while of volunteering and some short-term contracts elsewhere whilst building up my knowledge and skills I applied for a full-time job at Thursley in 2001 and was successful. That was over twenty-three years ago, and I am still here. My new life as a warden with English Nature had started — they subsequently became Natural England. So , what is my role, what does it entail? What does a normal day look like? Well, I will answer that when I have one! My responsibilities range from physical management, letting contacts, managing budgets, health, and safety, establishing and running the wonderful volunteers, physical management of the reserve, chatting to visitors about what wonderous species there are to be seen, and of course, where and how to see them, and how to PLEASE behave. I do occasional guided walks and talks,   I drive a tractor, I use chainsaws and brush cutters, I enjoy photography when time allows,  I drink tea and eat cake and I plan the work programme to ensure Thursley NNR is properly looked after. I’ve helped fight fires over the years (a huge one  back in 2005, and again back in 2020, and some smaller ones in between). I have been through two outbreaks of Foot and Mouth and of course most recently, the awful Covid pandemic. I have to say the most rewarding part of my week is the volunteering day on a Thursday. We started the volunteer group because of the devastating fire of 2006. It was very apparent we needed help post this whopper (over 200 hectars were affected) and there was no way it could be done without help, and a lot of it – so the Thursley NNR volunteer group was born. I remember the first task as clearly as yesterday. I had very few chairs, a very small camp table, only a couple of ordinary flasks, a few tools and no exact idea what to do or where to start. We started anyway, and the need to get the impetus flowing was clear, if only to demonstrate to everyone that we intended to do something, to start making a difference, we cared and wouldn’t let this beat us. A phoenix  rising from the  ashes was the much over-used quote at the time I recall. I remember writing for the very first time in the Thursley and Elstead Parish magazines seeking help. And you came, and many still come to this day. In fact, the last three years post Covid restrictions we’ve averaged around 730 volunteer days. There are conflicts between the different users that I deal with daily, but in such a popular place it is an inevitability of course. But what I do it is ultimately and primarily for the wildlife and the enjoyment it brings me and other visitors. But it is not all doom and gloom. There have been many wonderful days. Filming with non other that Sir David Attenborough, and more recently BBC Countryfile. Patrolling around the boardwalk in early summer looking at the wonderous display of Dragonflies and the abundance of the reserve’s flora. To walk the heathland and see a scuttling bright green Sand Lizard is a thrill. To watch the Hobbies speeding through the skies over the wetland in search of their prey, to hear the spring bird song of Woodlark, Dartford Warbler, Willow Warblers, Chiff Chaffs and Reed Buntings is all a treat. Then on a warm summer’s evening to hold and organise the annual Nightjar survey is truly magical. I am exceptionally lucky and privileged to call Thursley NNR my place of work, my office. To be able to work with so many great volunteers, the real stalwarts of the NNR and of so much that is good, to know so many people in a great community, in such a beautiful corner of Surrey. I am indeed a lucky man. To have such a depth and broad range of stunning wildlife to look after and be responsible for is an honour. My garden is truly great. And finally, for me, as mentioned earlier one of the greatest pleasures of looking after a nature reserve is that of running volunteer groups. The group meets on nearly every Thursday and once a month on a Sunday. If this appeals to you simply get in touch via an email to me, we provide tea/coffee/cake and a warm welcome, and during the autumn and winter months a warm fire. No experience necessary and all training and tools provided. Cheers all! ============================================================ A Day in the Life of an Arborist & Children’s Author (published November 2024) By Simon Hall   The working day usually starts with the alarm going off at 5 a.m. and a negotiation with our cat, Harry, who tries to trip me up going down the stairs to make a cup of tea! I wear many hats these days. I started my life in tree surgery in 1992, doing the ten-week intensive tree course at Merrist Wood College, followed by a one-year apprenticeship for local company Honey Brothers. Having qualified, I moved to Munich, learning how to work in cold winters with lots of snow. Later, I moved to Vancouver and discovered the huge sequoia redwoods. Moving on to Australia for two years, I worked in various remote outback communities – memorably near a courthouse made entirely of corrugated iron sheets – but also in Sydney and as far north as Darwin on mahogany and giant eucalyptus trees. Biting green and red ants, Huntsman spiders and green snakes were just some of the friendly wildlife you could find when climbing in Australian trees. In 1998 I moved to New Zealand and worked for a large company based in Christchurch on the South Island. Some work involved being taken up in a crane and lifted into the tree because it was too unstable to climb following a cyclone that had come through, causing immense devastation. In 2001 I returned home and took a long-distance learning course with the International Society of Arboriculture, gaining my certification as a qualified arborist. I started my own small business, Thursley Tree Services, in 2002, with my main client being Guildford Diocese but also working on trees all over Surrey. You might have seen me at the end of August perched on top of my Land Rover trimming the hedges around the village hall. I have been maintaining them since 2004. Back then, they had grown into holly trees, and it has taken to the present day to get them back under control. Returning to South House with my own family in 2013, we began renovating the house so that it could accommodate three generations of Halls under the same roof. Mum's wonderful last years were fulfilled by never having to leave the home she had lived in since arriving in the village in 1957! As my climbing days started to come to an end, I took further qualifications in consultancy and tree reports. I still keep my hand in alongside a younger climber, but I have learnt that it's just as hard physically working on the ground, and that you have the drawback of gravity: all that is easily dropped from a height has to be picked and moved! Last month, one of my climbers was working on an oak tree in Bowlhead Green, only to find that the hornets from a nest nearby were getting particularly interested in the sap from the tree. Luckily, he managed to finish his work and make a speedy descent without getting a nasty sting. So, even in this country there are critters to avoid in tree surgery! Despite living in a conservation area, many homeowners are not aware of the responsibilities they have to the trees in their garden. It's always worth considering having a tree report done if you have several trees. It can save you money in the long run! About eight years ago I started on a very different journey, writing short stories for my own children based on heritage railways around the country. Never could I have imagined then that this would result in five self-published books and a busy schedule of travelling around the country to promote them in wonderful places as far afield as Yorkshire and Cornwall. I have recently finished a book launch at the Cheddar Caves and Shepton Mallet Jail. This year has been the busiest for my writing so far. The books all have an educational element alongside their stories and a portion of the proceeds from each sale goes to the Railway Children charity, which supports vulnerable children on the streets and at transport hubs. www.thursleytreeservices.co.uk      www.troubleonthewatermeadowline.co.uk -------------------------------------------------------------------------------------------------------------------------- A Day in the Life of a Show Jumper By Byrony Holloway My name is Bryony Holloway and I live with my husband and team of horses at Haybarn. When Tricia asked me to share “a day in the life of a Show Jumper” for the Parish Magazine I felt both honoured and marginally alarmed! I have come from a totally non-equine background, but my love and fascination for horses has been my constant driving force for as long as I can remember. To follow your passion for your life is a privilege and I have done just that producing horses in and around Thursley (the best place in the world to do this, with it’s fabulous hills and sandy soil) for over 30 years now. Working with horses is not a job, more a way of life that is 24-7, with never-ending responsibility, people, travel, training, injuries, joy and set-backs.  Though we try to adhere to a strict format with the horses’ routine, no two days are ever the same with animals, so I thought perhaps I’d stretch to “Two days in the August life of” to give you a better insight of the highs and lows! SUN 18 AUG – The Highs 6am – alarm goes.  I get up feeling sick….pre competition nerves! I am in Chelsea with my fabulous show Team. We have Piers (AKA The Easter Bunny) and Gravin, my two older horses with us at The Global Champions Tour London Show. This is one of our favourites and the horses love it too. It is held annually at the Site of the Chelsea Flower Show and it always feels odd having the horses in central London. I dress in my show kit and scooter to the showground. Too nervous for breakfast! The horses stay in temporary stables on site for the week. Ash and Helen have been up since 5am feeding and mucking out; then hand walking before beautification starts… Gravin is white and often has to have a bath pre class!!  Then they are plaited and polished ready for the ring. This morning is our last day and so our Grand Prix. I have to walk the course; learning the route and stepping the distances between fences.  It is my responsibility to make their experience in the ring as enjoyable as possible so a plan is paramount. Space is a premium in Chelsea so, once mounted, there is one strip of concrete to walk up and down (I do this for 20 mins on each horse) then a tiny sand space to have a warm up. Jumping at the big shows involves just a couple of minutes in the ring jumping on each of three days … however, prep for this is literally years and years of early mornings, fitness regimes and training sessions! Both the horses jump lovely clear rounds and I have had a fabulous week at the show.  We now have to pack up camp to leave.  Getting the horses out of London is quite a big operation… once the kit is all cleaned and packed in trunks we have to wait until 8pm before I am allowed to bring the truck from Battersea Park, where it has been parked for the week, up to the showground for our 15 min slot to load stuff and horses and be out! Phew…We drive through the gates at home at 11pm ready to unload, settle horses, unpack and start the big clean ready for Hickstead next week. First load of washing on and to bed 1am!! WEDNESDAY 21st   The Lows! 7.00am — morning yard starts… my brilliant home team are in to start daily care. Ihave a few horses to ride today;  The London horses are still having a few quiet days hacking in the village. 9.30am -    I have a training session on Jabab who is set to go to Hickstead next week. Jabab, obviously furious at not being selected for London, decides to have a leap about and deposits me on the bank. 5 mins unconscious then the next thing I know I am surrounded by lots of really helpful people and an ambulance ride to the Royal Surrey. After an overnight stay I am released with massive nausea, a brain swell and a shattered Scapula. Two months downtime and a chance to reflect and make new plans! This has always been the sport.  One minute you’re at the best event of the year and then the following week a few days in Bramshott Ward at the Royal Surrey, but this has never put a dent in my dedication – I still love it to this day and feel very fortunate to have been able to follow my dreams. --------------------------------------------------------------------------------------------------------------------------- A Day in the Life of a Fine Art Publisher & Print Maker (published December 2024) By Gillian Duke   Tricia asked me to write about a day in my life. Well, I thought, no two days are ever the same and there’s always a surprise lurking. I enjoy variety in what I do and I’m very lucky to work with amazing, multi- talented people. I’ve been involved in arts and culture my entire life, since graduating in the 1980’s. As managing director of a fine art print publisher and printmaker, CCA Galleries, I’m thrown different challenges every day. With a gallery in Jersey and distribution networks reaching across the UK and worldwide, I’m immersed in the ever-evolving world of fine art. Alongside my team, I oversee fine art print projects at our busy working studios in West London or flying off to oversee contemporary art shows, exhibitions and installations at our gallery in Jersey. Here we are also currently renovating a listed Jersey property to create a boutique style Art Hotel offering art and culturally based experiences and tuition in an eclectic atmosphere. Once known as Christies Contemporary Art, the company was founded in 1972 by Christies International, the famous auction house and was established with a vision to support and promote contemporary artists, offering a platform to showcase their work through print publication. CCA Galleries London and CCA Galleries International has been privately owned for the last thirty-five years and the ethos remains the same. Some days, you'll find me heading up the A3 to our studio in West London, formerly Walton Hall Film Studios (incidentally where in 1953, the Oscar-winning film, The African Queen, was filmed and produced). There I will find myself collaborating with talented artists and our expert printmakers.  We're more than just a team. We're a close-knit family, each person bringing years of experience and passion for artistry. I’m able to bring my own skillset in printmaking, gained from my studies in all techniques and many years in this complex business to strive to produce the highest quality. We thrive on innovation and tradition, merging the old with new technology, whether we're discussing edition sizes, printmaking techniques or artistic intent. Every print we produce is an intricate balance of artistic vision and technical skills in print. In the main, it’s an ancient, handmade process, often underappreciated by those unfamiliar with the intricacies of this unique art form. In the studio, we're privileged to work with and print for some of the finest artists in the UK, such as Damien Hirst, Sir Peter Blake, Bruce Mclean, Frank Bowling, Rose Wylie, Marina Abramovic, Ai Weiwei, Gavin Turk, Nic Fiddian Green and the King. Past masters include Sir Terry Frost, Donald Hamilton Fraser, Sandra Blow (whom were all Royal Academicians) Storm Thorgerson and John Piper. Also, where music and art meet, we are joined by musicians who produce artwork such as Ronnie Wood, Bob Dylan, and Maxim of The Prodigy. These special people are multi-talented, and work is hands-on and collaborative, as we discuss techniques, test colours, and make adjustments on the spot. Each project brings its own challenges, whether it's the delicate layering required for lithography, or the precision needed for complex screen printing. The surprises when making prints still amaze me. The processes can be quite technical yet sometimes the results are unexpected. We often enhance the final image with collage, emboss, diamond dust, and layered glazes, each of which brings a new dimension to the one-dimensional image. We have pioneered many such techniques and have embraced 3D printing, adding the 3D elements to some artworks. When working in Surrey, each day involves a combination of administration, contract negotiations, strategic planning of art shows and exhibitions. We supply many galleries with our own publications and original works and assist them with their own show programs. It’s a dynamic environment where art meets commerce. One of the most exciting aspects of my role is working with diverse partners across many sectors. We've had the privilege of collaborating with musicians and artists, creating album covers, for bands such as The Who, Madness, Paul Weller, to name a few and working on licensing agreements with corporate brands including Apple Corp, Coca-Cola, and DC Thompson (The Beano). These partnerships have extended the reach of artists we work with and provide them with opportunities in unexpected spaces, from fashion to music. Our charitable work also plays a central role in our day-to-day operations. We're proud to support causes like Teenage Cancer Trust, The British Heart Foundation (where I was for many years on the committee for fund raising events), Care2Save (Bentley Motorcars), Grenfell Tower, Art for Grenfell and the NHS's 70th anniversary, Comic Relief, the Eve Trust (ovarian cancer).  London Stands Together (The Felix Project) was an interesting challenge. Whilst isolating at home during the pandemic,  the Evening Standard contacted me out of the blue.  Peter Blake had made an artwork which was a pull-out in the paper for everyone to stick in their windows to bring hope and unity. They wanted to take this further and asked us to produce a limited-edition silkscreen signed by Peter to raise money to feed Londoners in need. At the time the studios had closed, we were in lockdown and staff were isolating at home. From the garden, where phone signals are sometimes non-existent and within a tight deadline, two staff members went back to the studio and produced a stunning silkscreen edition,  LONDON STANDS TOGETHER, which then sold out in hours and raised £100,000.  These and many other art projects have raised millions for worthy charities. Whether it is limited edition prints or exclusive collaborations, we've seen firsthand how art can raise awareness and funds for causes close to our hearts. This gives our work a greater sense of purpose, knowing that each piece sold contributes to life-saving initiatives, to assist people in need with long-standing conditions or to alleviate human suffering.  I’ve had the privilege of collaborating with non-profit organizations to support a variety of causes, from community outreach to international aid. It is incredibly fulfilling to be part of projects where the artwork isn't just admired, it helps make a tangible impact for the benefit of many others. In 2012, during the London Olympics, we had the amazing opportunity to contribute to the cultural landscape by being selected to install artwork at Gatwick Airport, created by Sir Peter Blake and produced at our West London studios. This was a high-profile project that showcased the power of art in public space, emphasizing our multicultural society. Our printmaking arrived to a global stage as the world and its athletes and supporters came to London. One of my roles for the past decade has been to source and produce the image to advertise the City of London Lord Mayor’s Show. We've created the CCA Art Bus for such events to promote art as a fun…inclusive experience for all ages, cultures, and beliefs. As is the power of art therapy to comfort and heal. I have the joy of working with an exceptional autistic artist whose work we publish and promote. Art is her window to the world and being a part of her journey inspires me every day. I feel incredibly fortunate I found my home Badgers.  What I never realized at the time was the magic of Thursley. I originally chose this location as the central point within my constantly moving triangle between London, Surrey and the Channel Islands. Little did I know I would embrace the amazing social life here, with many great friends. Many of whom have also shared this unique experience of Lord Mayor’s Show procession (see photo opposite), may that tradition continue for years to come. As they say, find a job you truly love, and you’ll never work another day in your life… well I can say, the artworld is truly ore inspiring, embracing and diverse, on so many levels. It fills my days, well most days…. aside from walking the dog, riding, various building and restoration projects and now, learning and turning a potter’s wheel. www.ccagalleries.com www.wortonhallstudios.com =============================================================   A Day in the Life of a Cardiologist (published January 2025) By Peter Clarkson   Peter was brought up in East Sussex and went to medical school at UCL and undertook the majority of his training, in London. His first cardiology registrar job was at Frimley Park Hospital in 1991 where he met his wife Pam, who was also working there (in between ski seasons!). He returned to Frimley Park Hospital as a Consultant Cardiologist in 2001 and was Clinical Lead for 23 years, developing the department from 2 to 10 consultants and establishing invasive and interventional (coronary stenting and pacing) services. On moving out of London, Peter and Pam first lived in Pirbright, later moving into Guildford to be closer to the schools attended by their three children-Abby, Will and Lydia.  As the kids moved on to university, they were keen to find a more rural property with some land for the animals and, by chance, were sent some details of a bungalow requiring some work on Highfield Lane (and we love it!).  Most working weeks combine outpatients (both NHS and Private), operating in the cardiac catheterisation laboratory (Cath Lab) and a variety of multidisciplinary team meetings (MDTs) where patient management is discussed and plans agreed.  Every 8 weeks I am Consultant of the week (COW) dedicated to caring for the inpatients, including those cardiology patients admitted through the emergency department. The variety provided by clinics, MDTs, COW and operating, makes the weeks to fly by.   Tuesday is a very varied day, starting with an Outpatient Clinic where I see patients with a wide variety of conditions including chest pain, breathlessness and palpitations. Unfortunately, following the COVID pandemic (where we undertook very little non-emergency work) and the junior doctor strikes (where consultants covered ED and the ward resulting in a cancellation of huge amounts of elective work), the wait to be seen in outpatients is more than 40 weeks. As a result, the patient's condition has often changed since the original referral (by the GP) and we find that the first few minutes of each consultation is taken up with apologies and explanation. Patients’ frustration is further exacerbated by the clinics being significantly overbooked, both to try and bring down the waiting times (also giving us the opportunity to see patients with urgent problems), but frequently leaving clinics running late.  Although there is a trend to offer telephone consultations, much is lost to the patient and doctor. Many of us believe that face-to-face consultations have a therapeutic benefit, up and beyond a diagnosis and management plan, and allow a nuance of interaction that is often much more satisfactory (and fun!).  I spend about half my week operating; performing procedures which include coronary angiography and stenting and pacemaker or ICD (defibrillator) implantation. Coronary angiography involves inserting a fine tube into the main artery of the wrist, allowing the injection dye into the heart arteries to identify narrowing and blockages. These x-ray images allow us to plan stent treatment—here a fine wire  through a tube is inserted down through the narrowed segment of the artery, and over this wire a balloon is passed which is inflated to stretch up the narrowing. A stent is then inserted, which is a tube of wire mesh which is pressed into the wall of the artery to hold it wide open. Sometimes a stent procedure is not suitable, and the patient will be referred on for coronary artery bypass grafting.   During each operating session I undertake a variety of procedures, some elective and some urgent inpatient procedures. On Tuesday afternoons I often insert cardiac pacemakers, which prevents the heart stopping or going too slowly (and sometimes gets the heart to contract more efficiently) and Implantable Cardioverter Defibrillator (ICD's), which can detect dangerous, and sometimes fatal, abnormal rhythms and automatically deliver an electric shock to terminate them and save the patient.  One of the nice aspects of the procedures we perform is that they are all conducted under local anaesthetic (with or without a little sedation). This allows me to talk to patients whilst performing the procedures, which often very proves very interesting (although not always!) and helps keep the patient calm.  Most Tuesday nights (and one is six weekends) since 2007 (when we opened our Cath Labs with money raised, from amongst other things, a charity fashion show in which I forced strut along a catwalk in Camberley M&S, I was advised to stick with the day job!), I have been on-call for heart attacks. If you live within a 25 mile radius of Frimley Park Hospital (this includes Thursley) and have an acute severe heart attack you will be ‘blue lighted’ to the hospital  where we will use the balloon treatment and stenting to unblock your heart artery, restoring blood flow and preventing heart muscle damage or death.   Patients suffering significant chest pain will (hopefully) call 999, and an ambulance will be dispatched. The paramedics will make an assessment and perform an ECG which is then transmitted to the coronary care unit (CCU) at Frimley Park Hospital. The CCU staff will call me and transmit the ECG and if the patient is having an acute severe heart attack  we will arrange an emergency transfer to the cardiac catheter laboratories and call in the‘ Primary Angioplasty’ on-call staff, which includes a cardiac nurse, physiologist and radiographer (a tight knit team due to the severity of the illness being treated; one in twenty patients do not survive).   Arriving in the hospital within 30 minutes, the stent treatment is rapidly performed, re-opening the blocked heart artery, relieving pain, reducing damage to the heart muscle and in some cases, saving the life of the patient. Although we are often called at night, the procedure is generally quick and tends to be very gratifying, rapidly improving patient's symptoms and allowing us to immediately reassure the patient's relatives and friends.  Although I consider it a privilege to have the skill and experience to be able to perform these procedures, like many doctors, the week in week out on-call commitment has significantly impacted on my family life. Missed Christmas parties, Pam sat alone in restaurants, abandoned supermarket shopping and children sat alone waiting in the Cath Lab coffee room (although this has resulted in some success with choosing medical based careers).  The NHS has provided with me with  a wonderful career and the opportunity to make a living doing something I love (although it not been without its sacrifices!). Over the past 35 years I've worked through many changes and reorganisations but, previously, there has always been ‘light at the of the tunnel’. Sadly, it is now the NHS that is in need of resuscitation, although given the resilience of the workforce there is always hope.  -------------------------------------------------------------------------------------------------------------------- A Day in the Life of a book publisher (published in February 2025) By David Young   Unlike others in the village contributing to this column, mine will be less in the present and more a retrospective – I am old, Father William, and my working life is largely behind me. Still, I am happy to write a little about a career I have so thoroughly enjoyed that I can scarcely remember a handful of bad days in more than half a century.   I had a notably underwhelming and undistinguished school career in the 1950s and 60s, but in a life I consider to have been full of good fortune, one of the very luckiest things was a family firm prepared to take me on if I proved I had something other than my name to offer.   The family firm was a Mind, Body and Spirit publishing company called Thorsons.  It had been started by my maternal grandfather in 1930.  He was evangelical about bringing alternative medicine to wider public attention after my grandmother, gravely ill with dry pleurisy, was restored to health by the Champneys cure, just down the road, using such therapies.   My father, quite rightly, wouldn’t let me join until and unless I had learnt a useful skill, and so, after a year at a newspaper where I learned the invaluable skill of touch typing, and turned 17,  I took a Diploma in Printing Management at Watford College of Technology, and subsequently joined Thorsons as Production Manager in 1970.   It was an exciting time to be publishing in our field:  we went into full colour covers, sold into mainstream shops as well as health food stores and via direct mail, and with books such as E for Additives  and Food Combining for Health (still one of the Top 100 nonfiction books published since records were kept), we caught a wave of public interest and rode it.  I worked with my father, my brother-in-law, and my best friend from college, along with a loyal and enthusiastic staff, and those years were such fun.   We sold Thorsons to HarperCollins Publishers in 1989, and so I have spent the last 35+ years working in general Trade publishing, at HC, Time Warner, and Hachette Books USA, where I was the CEO for eight extraordinary years living and working in New York City.  I was also Chairman of the Association of American Publishers for two years.   I am not, and never have been, on the editorial side – I don’t commission or buy books.  My interest has always been on the business side of the business, and in the people working within publishing.  It’s a wonderfully creative, collaborative process, full of imagination, courage, risk and reward.  I’ve always loved the fact that I have had a hand in producing a tangible object.  I am in the process of weeding my own enormous collection of books ahead of our downsize into the village this year, and each one holds a host of memories.  I’ve been lucky enough to work with authors such as Nelson Mandela – presenting him with the one millionth copy of The Long Walk to Freedom  in South Africa House, once a bastion of the apartheid movement.  That is probably still the most proud and humbling moment of my whole career.  Others include Stirling Moss, a personal hero; Carole King (an absolute delight); Edward Kennedy; the historian Antony Beevor, Keith Richards (the audiobook of his autobiography Life  won an Emmy) and the wonderful J K Rowling (we published her adult titles) and other novelists such as Michael Connelly, David Baldacci, James Patterson, Val McDermid and Sarah Dunant to name but a few.  I’ve been involved with publishing phenomenon, such as the Twilight  series in the USA in the early 00s, where we were selling so many copies our software wasn’t equipped to print royalty cheques with so many zeroes!   My American adventure was exactly that.  We had a warehouse in Indiana where staff were allowed to be armed at work (bear in mind that temperatures often exceeded 40C with high humidity, and tempers ran short), and there were very necessary tornado shelters.  I worked with TV evangelists through the company’s Nashville based Religious Division, and that was, shall we say, eye opening. I even had lunch with Donald Trump, who was suing my company for libel (we won!), to try to smooth the waters but failed.   I semi-retired in 2013, but as the cliché goes, when you love what you do, you never work a day in your life, and since then I have been on the boards of Scholastic books, the largest children’s educational publisher in the world, Canongate Books, a boutique literary house, the Raymond Chandler Literary Estate, Portland Literary, and, pro bono, Tate Enterprises, and the Book Trade Benevolent Society.  The common theme is always books and book people.  Approaching the age of 75, I will shortly give up almost all of the roles that keep my hand in with an industry I love.  I leave it in pretty good shape, I think – rumours circulating a couple of decades ago that the book was dead were very wrong.  But it has transformed across the 50+ years of my career.  The end of the Net Book Agreement, which had price-maintained books, was a huge challenge and change.  The move to digital, with Kindles and audio books, not to mention the vast new array of other entertainments available, have all caused sea changes within the industry.  Jeff Bezos started Amazon using books, because ISBNs, the numbers on the bar codes on every book, made books the only international product numbering system at the time, and also because he could ship them from his garage!  Bezos is a brilliant but very strange man, not at all warm unlike Steve Jobs who was such an enthusiast about his products.  We helped to open the iBook store which was an experience and one that also led to litigation, but that’s another whole story.   Publishing faces challenges, of course.  AI is both an extraordinary opportunity and an existential threat.  And I believe strongly that WFH is potentially incredibly detrimental to the creative process which makes the magic happen at a publishing house.  But those challenges are for younger men and women than I to rise to.  I shall read about them from my armchair.    ===========================================================   A Day in the Life of a Film & TV Music Supervisor By Michelle de Vries I’m definitely not a morning person, but today, I’m on set at 6 AM, working on a film  starring Katherine Waterston, Minnie Driver and Simon Pegg. I’m here as the film’s music supervisor, ensuring everything sounds and looks authentic.   Last week, I was in Lincolnshire pre-recording a girls’ choir that we chose to perform in the film. We selected a classical piece and had it newly arranged. Today, they’ll be miming to that track, and my job is to ensure their performance aligns perfectly with the pre-recording. One of the actors plays piano throughout the film, and while I arranged for her to take lessons, learning piano takes years. So, I’ve also hired a hand double for the close-up shots, and today, we’re filming those scenes.   I became a music supervisor after spending many years in A&R at a music publishing company, where I worked closely with songwriters and emerging bands. My understanding of the studio environment, along with strong connections with managers and recording artists worldwide, has been invaluable in my current role. While legal expertise isn’t required, having a solid grasp of copyright and contracts is essential. A deep knowledge of music of all genres is too . There is often a lot of research required which is the fun part of the job for me and has taken me to incredible places like Colombia and Texas. Shifting schedules are a constant in this industry, which means I’m juggling several projects at once. With my music industry background, I get hired for many music biopics—recently, I worked on the  Robbie Williams  Netflix series and a fun project about the history of Motown Records. That one made me the envy of all my music-loving friends—I was sent individual original stem recordings of every artist and instrument they ever recorded. A true highlight was hearing Marvin Gaye’s original solo takes of  I Heard It Through the Grapevine.  Right now, I’m involved in several biopics under NDA, but the process is always similar: securing rights, shaping the musical narrative, and licensing the music.   I also work extensively on sports documentaries. This evening, I’m collaborating with a young poet who I found to write the end credits for a series about  Liverpool FC . He’s incredibly talented but is new to film work and needs some guidance. I also have to watch the episode to flag incidental music—like crowd chants or ringtone sounds—which can be costly to license. My job is to assess which moments benefit from the music and which can do without. Coming from a musical household, I hate cutting songs—but sometimes, it’s necessary.   In other projects, my role involves placing songs in scenes, working with directors to find tracks that enhance the story. A well-placed song can elevate a moment; the wrong one can ruin it. Early in production, we establish a musical palette—a sonic blueprint for the film. For example, on  The Capture (BBC), we opted for a modern electronic score. I curated playlists to guide the composer I hired and supervised the orchestral recording in Budapest.   Other projects, like  Shaun the Sheep: Farmageddon , require original songs. For something like this, I organise songwriting camps, bringing together writers to generate ideas before matching them with artists. Other times, I approach artists directly with a brief. One particularly fun moment was arranging a duet between indie band  The Vaccines  and Kylie Minogue—We had so much fun recording it- both patties knew it was a crazy match and entered into the spirit of it.   Of course, the job isn’t all creative fun. It’s actually extremely stressful, full of long days, weekends working,  tight deadlines, legal paperwork, and endless rights clearance. Every song requires approval from multiple parties—songwriters, artists, labels, publishers, and unions. Some songs have up to 12 writers, and tracking them all down can take weeks. I’ve sent friends in the U.S. to knock on doors in Brooklyn, tracked a ‘70s songwriter through the California police department, and even contacted a spiritual leader in Manaus to clear a song. Once, I had to negotiate with a hip hop artist serving time in a Jamaican prison. Mistakes are costly and deadlines are fixed so there is no room for any errors.   Budgets are shrinking, and production timelines are getting tighter. Many companies fail to allocate enough resources for music, so part of my job is educating them. I worry that creativity is being sacrificed for speed, but there are still rewarding moments—like discovering a new band and giving them a break. On the football series,  Sunderland ‘Til I Die , I found a local singer for the opening credits; his song became the unofficial anthem of Sunderland FC, and now, his lyrics are written all over the stadium.   Sometimes, I have to convince legendary bands to license their songs at a lower rate for an indie film. The directors often have platinum desires and we often have copper budgets ! If they say no, I hunt for alternatives that capture the same sentiment but are more affordable. This is actually more fun in a way as you can be a lot more creative and have to think outside the box. Every project has that moment of panic when it feels impossible—but somehow, it always comes together, often at the last minute. (I say as I’m currently panicking over a project I’m on at the moment!) .   While premieres are a nice perk, I’m usually already deep into my next project by the time a film is released to go to them.  Every day is different—some are exhilarating, others are anxiety-inducing. It’s not a job for the faint of heart. Like any film I work on, there are highs, lows, and plenty of drama.  Managing expectations, solving problems, and finding creative solutions—I always say my job is all about fitting a square peg into a round hole.   -------------------------------------------------------------------------------------------------------------------------------

An article from The Surrey Advertiser, 4th August 2006, about this unique building that is in Thursley Churchyard. Thursley Dame School was replaced by the Thursley School in 1852. From a postcard published in the 1920's Large scale plans are in the archive From The Surrey Advertiser: A LANDMARK building in Thursley has been restored as part of a major project to improve the facilities at the parish church.  The village has one of the few surviving dame schools in the area. Dating from the turn of the 19th-century, it was built in the churchyard of St Michael & All Angels.   The small oak-framed building with a fireplace and leaded windows was in very dilapidated but has taken on a new lease of life, thanks to a £120,000 church improvement scheme.   “It was a ruin,” said villager John Walshe, who led the project. “The dame school was put up for the children of the Thursley. They paid a penny a week and an extra penny to be taught manners. “We had advice from Jo Thompson, an expert carpenter from the Weald and Downland Museum, and an expert surveyor, Bill Percy. The builders, Crozon, have also done us proud.” Original features, such as the windows, hearth and part of the lath and plaster have been preserved. Mr Walshe hopes to include an information board tracing the building’s history. “We’ve been able to put it to good use, and we will use it as a vital storeroom for the church,” he said. The Dame School today, 30th April 2024 FromWikepedia.org : A  Dame school  was a private  elementary school  in English-speaking countries. The children were usually taught by women. The schools were most common from the 17th century to the 19th century. Most of these schools were in  Britain , the  United States , and  Australia .  The  Statistical Society of London  found almost half of all children in Dame schools surveyed were only taught spelling. Few were taught mathematics and grammar. Dame schools became less common in Britain after the introduction of  compulsory education  in 1870.  The Dame School prior to restoration These photographs show the beautiful leaded light windows, some with stained glass. It was too expensive to restore them but they still remain behind the new oak cladding The Restoration Project: A Report on the Structural Timbers and Joinery of the Dame School at St Michael and All Angels Church, Thursley, Godalming, Surrey for Thursley Parochial Church Council by Joseph Thompson, Dip Surv , Sussex Oak and Iron, The Downland Gridshell, Weald and Downland Open Air museum, Singleton, West Sussex, PO18 0EU, February 2005

From John Betjeman's Guide to English Parish Churches: "Pre-Conquest windows were discovered during aggressive restoration by Ferry in 1860; a triangular recess in the chancel has been interpreted as a Saxon oven for baking wafers. The nave is dominated by the timber cage supporting an impressive 15th-century wooden bell-turret" THURSLEY CHURCH: A BRIEF GUIDE From a leaflet originally compiled by the Revd A W Mills, Vicar 1959 - 1968 and revised in 1980 The interior of the Church before the installation of the organ and still with oil lamps The front of the Church before it was extended. The interior photograph of the Church shows the Gallery The West side of the Church Thursley Church, 1938 The illustration of the Church above comes from pages of a book held by Surrey Archealogical Collections and reproduced in the pdf below 18th Century Table Tombs: This is a link to the Church's website: https://parishesofetsph.org.uk/about-us/st-michael-and-all-angels-church/

In 1974, Margie Crawfurd and Georgina Harvey held an art exhibition at Thursley Village Hall as charity benefit. It was so popular that they continued to hold it annually for up to two weeks at a time until 1984. The exhibition consisted of work by artists and craftsmen from all over England, the large majority of whom were professionals. Over the years they managed to attract many leading figures in the arts and crafts, and as a consequence visitors to the exhibition came from far afield. We asked Georgina Harvey for her recollections and in February 2025 she wrote: The Thursley Exhibition began in 1975 as a fund raiser for the Thursley Conservative Association.   The idea was to get anyone in the village who had ever made, knitted, spun, sewn, weaved, carved, forged, thrown, blown, drawn, painted or whatever to show off their goods and skills.   The designated team consisted of artist Ros Kentish, Margie Crawfurd, Marion O’Brien & myself with Robert Tann being in charge of all things financial.  The Village Hall would be rented for 10 days at the end of September and a raffle and wine bar would cover expenses.    All committee members donated prizes and also helped man the hall during opening times.    The exhibition was open to anyone willing to pay the 10p entrance fee on Thursday & Friday evening and all day on the Saturday.   Sunday was the day to collect belongings or purchases and clean up the Hall. The exhibition seemed to grow exponentially and by the fourth year the political association was becoming a problem for some of the Artist and Craftsmen who were no longer locals.   For the next six years we had a keen viewing & spending public and exhibitors, some of which were more used to showing in London Galleries, still eager to show their work in our rural countryside.   The numbers and values increased and The Thursley Village Hall became a veritable hub of excellence in the regional autumn arts calendar.   Our Competition Judges were distinguished members of the Arts Scene and gave us credentials beyond our expectations.    It was time for a change.     For ten years The Thursley Exhibition had been able to have exclusive use of the Village Hall (which by 1984 had increased from 5 to 45 days).   A Nursery School wanted a home and 41 years later there is still one there. Artists showing their art over the years included: Nicholas Dimbleby - sculptor Mary Fedden - painter Paul Gunn - painter Ken Howard - oils John Makepiece - furniture Susan May - Jeweller Lorne McKean - bronze sculptures Bernard Myers - printmaker Charles Normandale - iron gate William Pye - a sculptor known particularly for his water sculptures Guy Taplin - driftwood birds Carel Weight - oils Mary Wondrausch - pottery Along with: Thursley's very own residents Salli Tomlinson (artist) and Peter Hanauer (handblown glass) An example of Salli's work: a musical artwork that opens up and reveals boxes within which also open and play music: painted on boards and approximately 1M x 1M Examples of Pete Hanauer's glass blowing which are exhibited in the V & A Museum Robert Tann, Margie Crawfurd, Alice Harvey and Georgie Harvey Introductory page and frontispiece for the 1984 exhibition, the last to be held 1983 Unknown publication 1982 The Field Magazine, 1982 1981 1980 The Herald, Friday, October 3rd, 1980 1979

The Old Parsonage is a Grade II listed building, dating back to the early 15th century. It is a hall house with a timber frame, under-built in brick, with red brick infill above, and weatherboard cladding to the first floor left and red and grey tiles. The building was designated Grade II on March 9, 1960. This comprehensive report was commissioned by the current owners to provide dendrochronological evidence to date the primary construction phase of this building. History changes: the coloured print was sold as an original woodcut c1901 and the black and white as an original print c1950! This photograph, almost certainly taken during WW2, shows the garden turned over to growing vegetables for the 'Dig for Victory' campaign This is the opening paragraph of an undated description of the house: In 1952 the Cosford Estate was broken up and Old Parsonage Cottages were Lots 16 and 17. The annotation on the relevant pages of the sale catalogue notes that they were 'Sold to tenant' and the tenants were listed as Mr C Hoare and Mr V C Rapley respectively: The house has attracted painters for decades past Note the huge Chestnut tree that was in the Churchyard and now no longer with us Mike and Amanda Roberts and family, 1997 A History of the Old Parsonage by Philip and Sally Gorton This history was commissioned by the present owners, Mike and Amanda Roberts and the brief extracts shown below, along with a pdf of a scanned version of the book, are reproduced by the kind permission of the owners and authors A 600 year-old house In 2011, to celebrate the house's 600th year, Mike and Amanda hosted a birthday party and a quiz - most questions are still relevant, how many can you answer? Edmund de Haviland won the Limerick competition!

1902 January 1902 1907 1909 1908 1916

As part of the History of Thursley Society's Wedding Belles exhibition held in 2007, this list of marriages that took place in St Michael's and All Angels was compiled. For ease of research a complete file of the marriages from 1613 to date can be found at the end of this post. Overall, the most popular month to be married is October and March the least: Thanks to the Wedding Belles committee of 2007-8, we have been able to add this pdf which contains photographs of the Register of Marriages from 1910 - 2007: 1900 February 5th Thomas Wisdom & Flora Rathbone April 14th Percy Denyer & Annie Snelling April 16th Henry Miles & Alice Edwards June 4th Leon Philemon & Louise Bywill Miller November 17th Henry William Hardy & Annie Chitty December 8th Henry James Keen & Eliza Ellen Paris   1901 April 27th Alfred Vowels & Annie Elizabeth West May 25th Edward Hardy & Ellen Underwood November 9th George Court & Lucy Hayden November 30th John Sheet & Ellen Grevitt   1902 April 26th Charles Lillywhite & Elizabeth Mansell May 20th Arthur Ford & Sophia Annie Barnard July 26th Walter Wilfred Hardy & Jane Timms September 18th Alan Edward Karn & Mary Ann Barnard November 6th Henry Young & Rosie Jane Penfold November 18th Anthony Astley & Margaret Lily Gooch December 29th William Henry Males & Emily Court   1903 January 20th Henry Young & Ann Boxall January 24th Wilfred Lillywhite & May Amelia Winter   1904 April 18th Arthur Hill & Kate Harris April 30th John Forey Karn & Mary Ann Keen December 24th Raymond Snelling & Mary Cousall   1905 April 24th William Bowbrick & Emily Baker June 15th Edward Baker & Maria Levy October 19th Frank Gulliver & Annie Watkins October 23rd William George Pink & Elizabeth Baker   1906 February 6th Henry Boxall & Emily Mary Clarke June 6th Albert Edward Harbut & Mabel Sarah Brown   1907 March 30th George Clarke & Harriet  Cunningham May 15th Alfred Court & Ellen Young June 20th Albert Elliott & Maria Baker August 4th Harry Egbert Spokes & Edith Emma Winter September 14th Percy Frost & Olive Kate Fosberry October 7th William Toone & Laura Mabel Goodall   1908 April 18th Harry Mylward & Ellen Elizabeth Boxall August 3rd William Israel Pichard & Flora Poland September 16th Herbert Glendinning & Ada Brown October 31st George Potter & Ethel Jane Carter   1909 June 5th George Warner & Edith Keen July 8th Frank Brown & Ada Jones August 2nd  Charles Ward & Annie Beatrice Rowe  August 9th Conrad James Reed & Alice Mary Fosberry September 22nd Walter Woodin & Lucy Baker   1910 February 19th Albert Mansbridge & Emma Ward April 12th Arthur John Levy & Sarah Baker June 1st Charles Price & Rose Nash June 29th Frederick Harold Nash & Ellen Adams August 31st Charles Barnard & Margaret Bowden   1911 April 14th Herbert Henry Cripps & Edith Pullen April 14th Robert Keen & Daisy Pullen October 2nd Frank Hunter & Alice Abigail Smithers October 26th  Arthur Boxall & Margaret Edwards   1912 March 7th Sydney Doy & Alice Keen   1913 June 25th Arthur Shadrach Spooner & Clara Pullen July 16th William Coombes & Adelina Chalcraft July 23rd Ralph Marshall & Louisa Chalcraft July 29th Ernest Churchill & Mary West December 31st Maurice Wisdom & Florence Catchpole   1914 April 23rd Edward Mansey & Florence Lawes September 23rd Dennis Mann & Louisa Alice Nash   1915 August 7th George Robert Manning & Martha West August 9th James Fisher & Ellen Karn Matthews September 2nd Archibald Pitchers & Mary Tozer September 4th Frederick Budd & Daisy Hole September 25th Walter Wright & Edith Johnstone   1916 June 17th William McLeod & Lilian Phillips June 17th Henry Court & May Randall December 25th Thomas Collins & Eliza Keen   1917 April 15th William Lailey & Harriett Wheeler   1918 February 4th Angelo Astri & Agnes Pullen June 4th Ernest Wilkinson & Emma Goodchild September 16th Wesley Abe Bolton & Harriet Milton   1919 February 6th James Barrett & Alice Sharland February 19th John Keen & Lilian Fosberry March 27th Oliver Hewton & Alice Karn Matthews April 23rd Walter Cullen & Alice Howard May 31st John Forey Karn & Barbara Williams August 2nd Edwin Burmingham & Emily Hayden December 22nd Leonard Felix Rapley & Florence Nash   1920 February 28th Stephen Norman & Lily Nash April 3rd William Goodeve & Esther West May 5th William Ferrer & Aileen Chalcraft November 10th Gerard Staveley Gordon & Marjorie Worsley Smith December 4th Alfred Chuter & Ellen Hayden December 16th Charles Vesey & Mary Dorothea Loring   1921 June 13th Ernest Croft & Gladys Powell June 15th John Lamboll & Edith Jacobsen June 18th Charles Crane & Ethel Milton October 10th Frederick Fosberry & Mabel Warn October 15th Mark Ellis & Ethel Little November 19th Thomas Karn & Florence West   1922 February 22nd George Fry & Angelina Ware April 15th Walter Norman & Caroline Nash July 18th Henry Sharland & Charlotte Lillywhite November 4th Thomas Upfold & Mary Raggett   1923 September 20th Vernon Rapley & Margaret Walters October 3rd Alfred Hayden & Annie Baker December 8th Maurice White & Ada Rice   1924 January 12th Alfred Court & Harriet Snelling June 9th William Pullen & Eva Chalcraft June 15th Leonard Fisher & Ada Dora Simmons September 23RD Tom Bishop & Edith Mary Sharland   1925 January 31st Arthur Charles Winter & Maude James May18th Benjamin Wonham & Eva Brockhurst September 26th Sidney Osman & Mona King   1926 February 1st Charles Boxall & Florence Colvill May 1st William  Norell & Ivy Grace Beaven September 29th William Snelling & Gertrude Harrod October 23rd Richard Gillard & Louisa Mary Wisdom November 27th Harry Court & Ada Maud Rose   1927 April 30th Alfred Pullen & Emily Kate Ridout October 15th Frank Walters & Doris Minnie Hamm December 26th William Boxall & Elsie May Roberts   1928 June 16th John Baker & Matilda Alice Price auust 11th Ernest Ware & Dorothy Alice Christian August 25th Frederick Monk & Minnie Worsfold December 8th Frederick Miles & Dorothy Karn Matthews   1929 April 13th Ernest Greenagh & Ruth Leah Gregory June 17th Harold Lewis Barrington & Gertrude Richardson June 21st Richard Henry Anstruther Morris-Marsham & Iris Rose Sophia Locking December 28th William Gilbert Messenger & Maggie Booty   1930 June 7th Charles Sole & Annie Boxall June 10th Alan Wilkinson & Evelyn  Birch Reynardson July 19th Eric Wynn & Emily Wade   1931 April 18th Robert Collard & Hilda Grace Snelling June 1st Ernest Watts & Annie Wonham October 10th Arthur Herbert Williams & Ellen Keen October 13th Henry Hounsley & Frances Richardson December 26th Leonard Harris & Emily Lucy Court   1932 April 26th Arthur Cecil Stuart & Dorothy Bateson June 11th Edward Winchester & Agnes Poultney   1933 January 7th Albert Hammond & Bertha West September 30th Harold Hibbin & Beatrice Nelly Court October 28th Henry John Nash & Gladys Amelia Wood November 4th Walter Thompson & Anita Carton de Wiart Major-General Carton de Wiart, VC   1934 March 7th Stanley Horne Gale & Ethel Mary Boxall March 24th Harold Parsons & Frances Kate West March 31st Alfred Cottrell & Emily Evelyn West   1935 March 30th Walter Hobbs & Margaret Boxall August 5th Bertram Holden & Violet Grace Smith September 12th William Penfold Grey & Alice West September 21st Frederick Howard & Miriam Leggett December 21st William Good & Lucy Winifred Karn   1936 January 25th Royston Bartlett & Kathleen Rose West August 31st Reginald Messenger & Dorothy Warner 1937 July 17th Digby Dent & Barbara Henty July 24th Horace Fullbrook & Emily Rose Boxall September 11th Ernest Holmes & Mary Chapman October 2nd Reginald Cyril Parr & Jessie Wilson December 23rd Henry Baden Keen & Phyllis Joan Trott December 27th Eric George Adams & May Giles   1938 June 2nd Herbert Smyth & Peggy Warren Meade   1939 September 9th Edwin Hall & Norah Kathleen Robinson September 19th Harry Howard & Minnie Madge West October 27th Julius Norman Gems & Olive  Dewhurst December 9th John Edgerley & Anne Parker   1940 March 11th Owen John Reddick & Doris Keen March 16th Frederick Albert Miller & Pansy Taylor March 23rd Leonard Raggett & Elizabeth Keen July 18th John Constable Jackson & Irene Stainer July 27th Ronald Francis & Florence Lavender August 16th Clifford Gibbs & Gwendoline Burrows August 17th Alan Priestman & Marjorie Kennersley September 5th Charles Jones & Patience George September 6th Frederick Sugden & Lillian Clode September 21st Harold Swatton & Doreen Hughes October 17th Maurice Clifford & Dorothy Blythe October 22nd Walter Martin & Zillah Alice Cole October 26th Alan Paice & Joan Curtis November 12th Basil Millar & Lorna Nichols December 7th Cuthbert Norris & Cicely Hurcomb December 26th Ray Hall & Marjorie Warner   1941 January 4th  John Wonham & Gwendolen Nicholls April 2nd Albert Ayres & Unis Symes April 19th Charles Weeden & Elizabeth Maria Baker August 16th Thomas Brown & Alice Rose Miller September 30th George Hasler & June Russell October 1st Lawrence Pink & Evelyn Hayter   1942 January 4th  William Zuschlag & Lilian Marshall April 25th Sidney Budd & Hilda Mary West May 2nd Leonard Cousens & Gladys Page August 15th Harold Whittle & Anna Gaeser August 15th Frank Dovey & Gladys Ida West   1943 August 17th Charles Campbell Graham & Helen Elizabeth Keen October 9th John Grant & Hazel Avril Jones   1944 February 26th Deryck MacDonald & Brenda Pitts March 25th Ernest Yates & Olive Winter March 28th William Wesbowsky & Florence Rapp April 27th William Brown & Lily May Price June 30th John Ellison & Rosemary Tephi Pitts July 2nd William Finer & Cecily Ida Warner August 19th Frank Day & Sylvia Mary Brown December 14th David Bridger Austin & Diana Bush   1945 April 17th Peckles Crawford Greer & Caroline Talbot September 15th George Kenefick Rae & Mary Pitts December 8th Peter Barrington & Joan Warren Meade   1946 June 8th Robert Morgan & Edna Hall December 26th James Kelly & Phyllis New   1947 April 5th Albert Jack Merrifield & Barbara Joan Hall   1948 April 10th Norman Graffham & Betty Lee June 19th Leonard Linegar & Annie Simmonds July 24th Wladyslaw Wozniak & Jane Mary Davidson   1949 November 26th Mieczskaw Kalinowski & Mary Fosberry   1950 April 27th Reginald Crook & Nan Tavender Wilton June 17th John Olive & Betty Mary Keen August 5th Robert Seville & Elizabeth Gibb September 16th Richard Partington & Peggy Sayers   1951 July 7th Patrick McEvoy & Peggy Kimbrey   1952 July 10th Ramon John Beesley & Anne Collins October 11th Clifford Fausset & Barbara Wilton   1953 March 21st John Graham Stewart & Pearl Annette Gems October 15th James Gray & Patricia Holford   1954 March 20th Keith Garland & Jeanne Hawkes April 3rd Derek Sharland & Marjorie Baker April 24th Cecil Arthur Rapley & Mary Williams October 2nd Derek Rosser & Nina Hoare   1955 February 19th John Welland & Olive Morland February 26th John Wheeler & Kathleen Clay November 19th Martin Fausset & Eva May Smith   1956 March 10th EdwardJohn Baker & Maureen Meanwell June 2nd Robert Cowan & Sheila Ann Watts September 1st Bertram Webb & Joan Good   1957 April 20th Lindsay Pibworth & Patricia Reed July 13th Frank Miller & Dorothy Grove   1958 August 30th Roland Moss & Elsie Allwright September 20th Roland Palmer & Joan Sharland   1959 April 4th John Heard & Mary Middleton June 27th Eric Walters & Sheila Ware September 12th Douglas Sheehan & Ann Sharland   1960 January 23rd Jim Ellis & Christine Wordsworth April 2nd Robert Watt & Rosemary Rapley July 16th Ralph Cusack & Barbara Jobson September 10th Victor Moseley & Monica Reed September 17th Patrick Harvey & Tamzin James   1961 April 3rd David Williams & Pamela Ware August 16th Stephen Waters & Maureen Cottle September 30th Robert Latter & Susan Scott   1962 July 21st Richard Kent & Hazel Keen   1963 August 31st Peter Darlow & Paula Brooker   1964 March 28th Michael Reffold & Linda May July 18th Martin Auger & Elizabeth Holt August 22nd Malcolm Gee & Ruth Loarridge October 10th Patrick Gray & Jane Mary Barrow   1965 July 3rd Peter Mead & Susan Villiers September 4th Christopher Ellis & Susan Brockbank   1966 March 26th Rowland Bloomfield & Wendy Darlow March 26th Keith Tipping & Marilyn Joan Cooper April 23rd Richard Timberlake & Patricia Jobson September 3rd William Good & Penelope Darlow December 24th Anthony Walker & Hazel Deverall   1967 June 3rd Robert Banks & Diana Payne Crawfurd September 2nd Martin Pritchard & Caroline Lawson   1968 September 21st David Hepburn & Jane Slater September 21st Sydney James & Stephanie Morrison September 28th Brian Taylor-Jones & Rosemary-Anne Barnard September 28th Malcolm Reece & Brenda Francis   1969 July 19th R   R   & Fiona Payne Crawfurd September 13th Robert Ranson & Susan Thomas September 20th John Beamont & Sandra Hallam   1970 April 11th Bryan Shelley & Shirley May Drake July 11th John Lodder & Barbara Ann Good August 25th Graham Ramsey & Rosemary Holt   1971 August 14th Nigel Miller & Janet Holt August 28th Gerald Fox & Norma Ruth Gems September 3rd Robert Morris & Dianne King September 11th Geoffrey Redwood & Judith Goddard   1972 January 29th Anthony Langdale & Susanna Man May 18th Rolf Unwin & Amy Rowe July 22nd Kenneth Lawson & June Lawson September 25th Alan Wisely & Anita Aveline   1973 April 28th Stuart Aldridge & Carol Ann Hard September 26th John Gunner & Kay Sonia Cottle   1974 July 6th Andrew Constable & Mary Lintott August 24th Duncan Beal & Margaret Ranson   1975 July 26th Stephen Loveday Jupe & Jane Petherbridge August 30th David Hoare & Janet Shorter September 20th Michael Stead & Josephine Karn   1976 April 14th John Brown & Victoria Seymour-Sloan May 29th Robert McNeilly & Philippa Jane Watson September 18th Kenneth Smith & Brenda Rees September 25th David Corbett & Peggy James   1978 April 29th Malcolm Graham & Diane Louise Smith   1979 April 7th Anthony Hawkes & Jennifer Anne Collins May 5th Stuart Millichamp & Wendy Effer   1980 May 3rd Graham Keen & Jacqueline Hill July 12th Geoffrey Smith & Christine Butt   1981 October 17th Peter John Goble & Teresa Ellen Boxall   1982 June 5th Peter Davis & Rebecca McCreath June 5th Eric Warren & Sandra Valerie Platfoot June 12th Vladimir Bojoric & Annabel Clery November 20th Paul Davis & Sharon Piggott   1983 July 30th Keith Conrad Moseley & Anne Palmer August 20th David Grimes & Petronella Matthews October 8th David Brazier & Judith Keen   1984 May 19th Grantley Pearson-Wright & Caroline Wilson August 4th Robert Brown & Emma Frances Bevan   1985 August 24th Michael Walker & Nicola Jane Watt September 21st Nigel Lelend & Elizabeth Norman   1986 February 15th Martin Simpson & Maureen Andrew March 15th John Giddens & Marie-Louise Clayton   1987 May 2nd Michael Huntley & Alison Jane Phipps May 16th Michael Stuart Arnold & Sandra Macleod June 27th Russell Segalov & Melissa Bristow July 25th David Redwood & Penelope Briscoe September 26th Harry Sutherland-Hawes & Catriona McLean   1988 January 6th Carlos Manuel Garcia Hiraldo & Lynn Ann Pearson-Wright June 4th Richard Foster & Shan Suzanne Davies July 23rd Stephen Riedlinger & Sula McKinnon September 3rd Andrew Keen & Sharon Selmes October 1st Christopher Wallis & Amanda Drayson   1989 May 20th Kim Clive Platfoot & Anne Bulley July 29th Emile Pinco & Nicola Susan Mann September 23rd Hugh Latimer & Tracey Hammond   1990 June 2nd Stuart Chapman & Bryndis Forberg September 28th Paul Redden & Charlotte Cordy-Simpson   1991 April 20th Louis Cotterell & Yanine Hughes June 1st Christopher Holuj & Kirsten Hamilton June 29th Piers Germain Van-Mol & Helen Price June 29th Neil Randolph & Robyn Morley August 3rd Spencer Hutchings & Caroline Clark   1992 March 14th David Gregory & Gillian Briscoe May 30th  Nigel Jones & Katy Jane Middleton June 6th Robert Ellerby & Rachel Royall July 17th Gary Fannin & Zena Khan August 8th Timothy Metherell & Philippa Sprinks   1993 22nd Michael Spencer & Debbie Myerscough July 31st David Andrew Storey & Jillian Bird September 11th Philip Traill & Angela Bury   1994 January 9th Charles Malcolm Coles & Sarah Dwyer May 14th Paul Howling & Joanna French September 3rd James Thoden van Velzen & Amanda Gadd   1995 May 13th Julian Watt & Kirten Cawsey September 9th Christopher Leyshon & Sally-Ann James   1996 June 29th Edward Lear & Annabel Palmes September 14th Stuart Wilkinson & Catriona Wilson   1997 August 23rd Anthony Wybrott & Wendy Faulkener September 20th Christopher Simson & Rosalind Taylor   1998 February 7th Steven Moffat & Susan Vertue March 21st William Westbroek & Carolyn Venner

More information required on 1 & 2 Church Cottages: Property details for 1, Church Cottages c2010: In 1996, Drusilla Pye wrote, "I came to live here (2 Church Cottages) in December 1956 when it was the tied cottage for the District Nurse. I was able to buy it from the Diocese in 1984. I retired in 1986. My work covered the Hindhead (Grayshott) Practice and I have covered most of the surrounding villages as a relief nurse/midwife on occasions."

Work in progress... The view taken near the corner of Sailors Lane from where The Pines now stands Pitch Place, Long Acres (on Sailors Lane), built by Mr and Mrs Henry can be seen on the hill. The field that can be seen is known as Wonham's Field as Ben Wonham's father, George, farmed as a tenant of the Dye House Estate when the Gooch family owned it. The house in the picture was lived in by the Voller family. Houndown John and Annete Graham-Stewart, 1977 The Pines Tim, Margaret and Stephen Walsh, The Pines, Sailors Lane, June 1996 Mulberry Mulberry was developed from a former farming/industrial site in 2013. This photograph is c2022. Kettlebury Cottage is on the right side of the photograph. Pitch Place Farm House Entry from Historic England : Pitch Place Farm House is a Grade II listed building (9th March 1960), built in the late 16th Century. Timber framed on rendered rubblestone plinth with whitewashed rubble and brick infilling, under plain tiled roof, hipped to right and with tile hung ends. Two storeys. Multiple ridge stack to left of centre. Four framed bays with chimney bay. Three C19 arched head casements to first floor under steep gabled dormers with scalloped bargeboards. Two plain casement windows to first floor. Two decorative C19 and two leaded casements to ground floor. Plank door to right end. Wing at right angles to rear and pentice to rear right. All probably pre-WW2, note the entrance porch which does not feature on later photographs Charles Barrington visited Pitch Place Farm when his grandfather lived there in the 1950s. Here he is with his grandfather. He has also written a book which includes his recollections of staying there. https://www.westernfrontassociation.com/world-war-i-book-reviews/what-did-you-do-in-the-great-war-grandfather-the-life-and-times-of-an-edwardian-horse-artillery-officer/ : This aerial view taken in the late 1970s, shows Pichino and its garden at the bottom left before it became a separate property, Kettlebury Cottage on the far left, together with the agricultural barns that are now the garden of Mulberry Pichino These photographs were provided by Salli Tomlinson and date from the 1990s Wulmer Cottage Wulmer Cottage has the date of 1861 detailed in the original brickwork Illustrations taken from Estate Agent's brochure in 2024