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Sometimes, when you’ve lived in a place for as long as I have, it’s easy to forget the rich history right beneath your feet. Masham, an ancient town with around a thousand residents, is brimming with historical significance. Walk through the streets, and you’ll quickly spot remnants of its past—like the Saxon Cross or the 12th c Market Cross. But what’s perhaps less obvious is the creative, artistic history that runs deep in this small corner of the world.
For a town of its size, Masham has attracted—and continues to inspire—a remarkable amount of creativity. From renowned artists to hidden artistic gems, Masham has been a muse for many. Taking a virtual stroll through the town we can uncover some of its artistic treasures.
For a town of its size, Masham has attracted—and continues to inspire—a remarkable amount of creativity. From renowned artists to hidden artistic gems, Masham has been a muse for many. Taking a virtual stroll through the town we can uncover some of its artistic treasures.
Nutwith Common, Masham - Reginald Brundritt - image - Tate images.
Reginald Grange Brundrit: A Royal Academy Artist
Start your journey behind The Café on the Square, where you'll find the gallery of Nolan Stacey. But just a little further hidden from view, is a very special artist’s former studio. This studio once belonged to Reginald Grange Brundrit (1883–1960), a distinguished member of the Royal Academy. Brundrit’s works are housed in prestigious collections like the Tate and the Imperial War Museum, yet his studio remains a quiet testament to his legacy in Masham.
Located in the garage of The Old Vicarage, right next to the church, Brundrit’s studio is bathed in light from a glass wall, allowing him to capture the light when painting. A memorial to Brundrit is placed inside St. Mary’s Church, right next to a stunning stained-glass window by Harry Stammers (1902–1969), a renowned artist from York. Today, Brundrit’s easel lives on, as Simon Palmer (1956–), another celebrated artist, now paints on it, inspired by the very landscape that once inspired Brundrit.
Palmer’s own works can be found in collections around the world, but if you’re in Masham, be sure to check out his Remembrance Piece displayed in the Town Hall entrance and a few at Bordar House Teas.
Start your journey behind The Café on the Square, where you'll find the gallery of Nolan Stacey. But just a little further hidden from view, is a very special artist’s former studio. This studio once belonged to Reginald Grange Brundrit (1883–1960), a distinguished member of the Royal Academy. Brundrit’s works are housed in prestigious collections like the Tate and the Imperial War Museum, yet his studio remains a quiet testament to his legacy in Masham.
Located in the garage of The Old Vicarage, right next to the church, Brundrit’s studio is bathed in light from a glass wall, allowing him to capture the light when painting. A memorial to Brundrit is placed inside St. Mary’s Church, right next to a stunning stained-glass window by Harry Stammers (1902–1969), a renowned artist from York. Today, Brundrit’s easel lives on, as Simon Palmer (1956–), another celebrated artist, now paints on it, inspired by the very landscape that once inspired Brundrit.
Palmer’s own works can be found in collections around the world, but if you’re in Masham, be sure to check out his Remembrance Piece displayed in the Town Hall entrance and a few at Bordar House Teas.
Simon Palmer - Photo credit Gary Keat.
George Cuitt - Hackfall. Grosvenor Museum
George Cuitt and the Follies of Masham
Just beyond the school at the top of Millgate, you’ll find the impressive Nutwith House, built by the accomplished artist George Cuitt the Younger (1779–1854). Cuitt was best known for his etchings, many of which depicted ruins and follies—a subject that was in vogue during his time. His fascination with ruins mirrors the work of contemporary figures like William Danby, who constructed the Druid's Temple just outside of Masham, and John Aislabie, responsible for the beautiful follies in Hackfall Woods.
The follies in the area became so famous that they even appeared on a green frog tea set commissioned for Catherine the Great of Russia in 1774. And, of course, it was William Danby who invited Julius Caesar Ibbetson (1759–1817) to Masham in 1804, commissioning him to paint parts of what is now the Swinton Estate. Be sure to visit the church to admire the striking stone monument Danby erected in his memory.
Just beyond the school at the top of Millgate, you’ll find the impressive Nutwith House, built by the accomplished artist George Cuitt the Younger (1779–1854). Cuitt was best known for his etchings, many of which depicted ruins and follies—a subject that was in vogue during his time. His fascination with ruins mirrors the work of contemporary figures like William Danby, who constructed the Druid's Temple just outside of Masham, and John Aislabie, responsible for the beautiful follies in Hackfall Woods.
The follies in the area became so famous that they even appeared on a green frog tea set commissioned for Catherine the Great of Russia in 1774. And, of course, it was William Danby who invited Julius Caesar Ibbetson (1759–1817) to Masham in 1804, commissioning him to paint parts of what is now the Swinton Estate. Be sure to visit the church to admire the striking stone monument Danby erected in his memory.
The Painter's Family At Masham - Ibbetson
Julius Caesar Ibbetson: The Painter with a Complex Name
One of the most intriguing artists associated with Masham is Julius Caesar Ibbetson. While we know him today by his full name, it’s interesting to note that he despised his middle name and did everything he could to hide it during his lifetime. Born in December 1759 via Caesarean section after his mother slipped on ice, Ibbetson was a prominent figure in the art world and one of the many artists who found inspiration in Masham. His works are housed in prestigious collections, including the Tate.
Historians speculate that No. 9 Park Street—the cottage where Ibbetson may have lived—might even be the subject of his painting The Painter’s Family at Masham. He resided in Masham for the rest of his life (dying in 1817) and it’s said to be some of his happiest days.
One of the most intriguing artists associated with Masham is Julius Caesar Ibbetson. While we know him today by his full name, it’s interesting to note that he despised his middle name and did everything he could to hide it during his lifetime. Born in December 1759 via Caesarean section after his mother slipped on ice, Ibbetson was a prominent figure in the art world and one of the many artists who found inspiration in Masham. His works are housed in prestigious collections, including the Tate.
Historians speculate that No. 9 Park Street—the cottage where Ibbetson may have lived—might even be the subject of his painting The Painter’s Family at Masham. He resided in Masham for the rest of his life (dying in 1817) and it’s said to be some of his happiest days.
Joseph William Mallord Turner’s visit
We know that Turner visited the Yorkshire Dales over many years, he travelled around the dales on horseback and did over 1000 sketches in the area. His sketch of Masham is dated 1816 and is in the Tate collection. There’s an online booklet available on his grand tour of the dales here https://issuu.com/welcometoyorkshire/docs/turner_booklet
We know that Turner visited the Yorkshire Dales over many years, he travelled around the dales on horseback and did over 1000 sketches in the area. His sketch of Masham is dated 1816 and is in the Tate collection. There’s an online booklet available on his grand tour of the dales here https://issuu.com/welcometoyorkshire/docs/turner_booklet
2 of Priscilla Warner's illustrations from the early 1970's
Priscilla Warner: The Forgotten Illustrator
Just a short walk along Park Street brings you to Priscilla Warner’s (1905–1994) house. Warner, an accomplished author and illustrator, spent her later years here with her brother. She was also the head of the Art Department at Ripon College and was well known for her commercial illustration work. But what many don’t know is that Warner also created some beautiful, lesser-known paintings—many of which still adorn the walls of Masham today.
Just a short walk along Park Street brings you to Priscilla Warner’s (1905–1994) house. Warner, an accomplished author and illustrator, spent her later years here with her brother. She was also the head of the Art Department at Ripon College and was well known for her commercial illustration work. But what many don’t know is that Warner also created some beautiful, lesser-known paintings—many of which still adorn the walls of Masham today.
Discover Masham’s Artistic Legacy
If you're fascinated by Masham’s artistic heritage and want to dive deeper into its history, you’re in luck. Local artist and history enthusiast Ian Scott Massie offers private tours of the area, sharing his knowledge of Masham’s creative past.
Masham’s rich tapestry of art and creativity is woven through the lives and works of these remarkable individuals. From the Royal Academy to the etchings of the past, the town is a living museum of artistic achievement. So, next time you’re walking here, take a moment to stop and look around. You might just see the inspiration behind the works of some of the most talented artists in history, right here in Masham.
If you're fascinated by Masham’s artistic heritage and want to dive deeper into its history, you’re in luck. Local artist and history enthusiast Ian Scott Massie offers private tours of the area, sharing his knowledge of Masham’s creative past.
Masham’s rich tapestry of art and creativity is woven through the lives and works of these remarkable individuals. From the Royal Academy to the etchings of the past, the town is a living museum of artistic achievement. So, next time you’re walking here, take a moment to stop and look around. You might just see the inspiration behind the works of some of the most talented artists in history, right here in Masham.
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This is a very common question here!
There’s not one answer but here’s a short summary.
Masham Gallery is in a rural area of the Yorkshire Dales and much of the wall hung work we sell represents that in some way. It’s not always literal but we are interested in the atmosphere, the wild, light and landscape that surrounds us throughout the changing seasons. We are keenly interested in stories, all sorts of stories, and so many things are displayed with stories and much of the work has a narrative feel about it. It’s good to know how a work has come about, the inspiration and tale behind it. When an artists work has these connections we feel more drawn to it and know we can do it justice here.
Every year we choose a number of themes for exhibitions - in 2024 for example we have “The River Runs Through” and “The Midnight Garden” both referring to nature and the cycles of the weather and the year. The artists that show in both exhibitions won’t necessarily show work that is literal rivers or gardens but you will see their interpretation of the titles.
We like to have long term relationships with artists if possible, so we will often look at the artists we know first and invite them to participate in a show if it fits their work. We also come across artists all the time at open studios, fairs, instagram and by recommendation. Every year we approach a few of these too. We look for work that’s really well crafted, where the artist knows their style, has a consistent pricing, is presented beautifully and has something really special about it. We also like to work with really lovely humans and that’s a really big part of it too. We look for people who are mutually supportive - we want ideally to be able to share each others successes and stories. We get applications from artists to sell here all the time and very very occasionally one of those will be shown, but unfortunately many of the applications are sent without much reference to Masham Gallery.
There are a few areas which we know a lot about, and over the years we have come to specialise in a bit - one of these is printmaking. At the moment looking around the walls I can see seven different types of printmaking! As for subject matter we tend to avoid seascapes, we don’t sell many urban landscapes or much purely figurative art. We don’t tend to sell photography or digital art so much, and we’ve never found a textile artist that works really well here - but we never rule anything out.
So if you’re an artist here are a few top tips for applying to a gallery:
If you would like a more comprehensive friendly hand up or support in your creative business our Artist Mentorship programme might be right for you: https://www.happyhousemasham.com/artist-development-mentorship.html
There’s not one answer but here’s a short summary.
Masham Gallery is in a rural area of the Yorkshire Dales and much of the wall hung work we sell represents that in some way. It’s not always literal but we are interested in the atmosphere, the wild, light and landscape that surrounds us throughout the changing seasons. We are keenly interested in stories, all sorts of stories, and so many things are displayed with stories and much of the work has a narrative feel about it. It’s good to know how a work has come about, the inspiration and tale behind it. When an artists work has these connections we feel more drawn to it and know we can do it justice here.
Every year we choose a number of themes for exhibitions - in 2024 for example we have “The River Runs Through” and “The Midnight Garden” both referring to nature and the cycles of the weather and the year. The artists that show in both exhibitions won’t necessarily show work that is literal rivers or gardens but you will see their interpretation of the titles.
We like to have long term relationships with artists if possible, so we will often look at the artists we know first and invite them to participate in a show if it fits their work. We also come across artists all the time at open studios, fairs, instagram and by recommendation. Every year we approach a few of these too. We look for work that’s really well crafted, where the artist knows their style, has a consistent pricing, is presented beautifully and has something really special about it. We also like to work with really lovely humans and that’s a really big part of it too. We look for people who are mutually supportive - we want ideally to be able to share each others successes and stories. We get applications from artists to sell here all the time and very very occasionally one of those will be shown, but unfortunately many of the applications are sent without much reference to Masham Gallery.
There are a few areas which we know a lot about, and over the years we have come to specialise in a bit - one of these is printmaking. At the moment looking around the walls I can see seven different types of printmaking! As for subject matter we tend to avoid seascapes, we don’t sell many urban landscapes or much purely figurative art. We don’t tend to sell photography or digital art so much, and we’ve never found a textile artist that works really well here - but we never rule anything out.
So if you’re an artist here are a few top tips for applying to a gallery:
- Ask if and how the gallery likes to take submissions - everyone is different.
- Choose a gallery that shows work that you admire from artists that you like.
- Choose one that aligns with your values.
- Never cold call / doorstep with work.
- Have a number of good photos of your work.
- Make sure your website /social media is up to date and represents you well.
- Be sure of your style/s - don’t rely on a gallery to tell you what sells.
- Make sure you’re not already represented by a gallery, or you do events that are close by.
- Make sure you have a clear and well planned price structure that includes commission and is consistent everywhere you sell (whether that’s on your own website, at a fair or through a gallery).
- Check how the gallery represents the artists they show - do they use social media, have an online shop, do art fairs?
- Make sure you have really good records and delivery notes for your work
- Make sure your framing and presentation is showing your work to it’s very best.
If you would like a more comprehensive friendly hand up or support in your creative business our Artist Mentorship programme might be right for you: https://www.happyhousemasham.com/artist-development-mentorship.html
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Quaker advice and queries on business.
It was a big leap to go into business running a gallery at the age of 23. The concept in my mind of being in business in the early 1990’s was not one I was entirely comfortable with. I considered myself primarily an artist, and have never been motivated by the idea of making money for the sake of it, and artist and business seemed at that time to be almost polar opposites. Looking around me for inspiration - I couldn’t find much. The galleries seemed to be run by old people (oh the irony!) And those with a very privileged or monied background (I hadn’t even got a degree in art and had no savings).
Business itself seemed to be all men in shiny suits flashing money and material goods around like toys. The women didn’t give me much inspiration either. Shoulder pads, heavy makeup and pencil skirts didn’t appeal to the soul of the old hippy in me. Neither did the idea of being cut throat, cold or making decisions purely based on a financial outcome. Selling myself as a mumpreneur or joining a woman in business group produced the ick in me. How would I align business with me? How could I become proud to call myself a businessperson? One of the main inspirations came one day when visiting an ancient quaker meeting house. There I found a thin green book about quaker business ethics. And although I’m not a quaker either, there was something here that spoke deeply to me, joining up community, purpose and ethical business I was suddenly on my way to creating my own vision.
Our 1st premises - a derelict youth club. We were there for 6 years - it's now Johnny Bagdad's cafe before moving in above the shop at the other end of the square.
Me aged 23
30 years on in Masham Gallery
A recent exhibition photo
The green book emphasised the importance of honesty, integrity, simplicity and equality. It discussed things such as ethical trade and environmental responsibility. I hadn’t come across this anywhere in business before and it made me realise I could align my personal values with my business and use it as a guiding force. This is still the core of the way I operate today and it has led to a happy life and a good business. I can be true to myself. It has meant that sometimes I have swum against the tide - in the early years I got quite a lot of hassle from customers who wanted plastic bags not paper for example. I never accepted the idea that a gallery should be a white walled cube, I wanted people of all walks of life to feel comfortable and at home here. Today many people mention they feel they are coming into our home, and they are as we live above the gallery. Being consciously part of a community is key for me. That’s not just the community where I choose to live and set up business it’s the community of artists and makers, the community of visitors, the community of people who work with me in Masham Gallery. Of course ideals and principles are not enough for a successful business, and the way this is all put into practice is important. Like all humans I’ve made plenty of mistakes and continue to do so. I think it’s an advantage of community though that I have mostly been lucky enough to have been forgiven and supported through them.
I still try and balance my time between my artwork and running the gallery, and there’s still plenty to learn. Put it’s a privilege beyond words to still be doing what I love after 30 years and now I am proud to be both an artist and a businessperson.
Josie Beszant February 2024
Josie Beszant February 2024
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In tribute to the excellent BBC4 programme What Do Artists Do All Day we have got an occasional feature on our blog looking at what the artists we know do with their days...it's often not quite what people expect.
Today we're starting with in-house artist Ian Scott Massie. Scott is particularly interested in portraying the personality of a landscape in paint or screen print He's influenced by artists such as Paul Nash, John Piper as well as poets and songwriters. He also collects stories and folklore about places as well as writing poetry. You'll find these writings and art juxtaposed in his books. As well as supplying work to a small number of galleries he tends to work on larger scale projects that often include writing and organising exhibition tours.
Today we're starting with in-house artist Ian Scott Massie. Scott is particularly interested in portraying the personality of a landscape in paint or screen print He's influenced by artists such as Paul Nash, John Piper as well as poets and songwriters. He also collects stories and folklore about places as well as writing poetry. You'll find these writings and art juxtaposed in his books. As well as supplying work to a small number of galleries he tends to work on larger scale projects that often include writing and organising exhibition tours.
MG: When does your working day start and end?
ISM: I often start the day very early - I’m a classic lark! I find I’m most inspired in the mornings. A couple of cups of Earl Grey and I’m ready to go, brain fizzing and fingers itching to get to work.
Sometimes I finish as early as 3.30- 4pm and go on and do other things
MG: When/how do you take breaks?
ISM: The day is punctuated by tea breaks, and when my batteries are running low, accessorised with cake. I like baking, and like eating the results!
Photo Steve Christian
ISM: I often start the day very early - I’m a classic lark! I find I’m most inspired in the mornings. A couple of cups of Earl Grey and I’m ready to go, brain fizzing and fingers itching to get to work.
Sometimes I finish as early as 3.30- 4pm and go on and do other things
MG: When/how do you take breaks?
ISM: The day is punctuated by tea breaks, and when my batteries are running low, accessorised with cake. I like baking, and like eating the results!
Photo Steve Christian
MG:What is your favourite kind of day as an artist?
ISM: My favourite days are when I’m beginning work on a new exhibition. But I don’t always leap in action, brush in hand. I’ll kick off the day with a session of yoga in the garden or, even better, a set of tennis with a friend.
If I’m travelling, which is one of the great pleasures of being a landscape artist, I like to get to locations early. If there’s nobody about, particularly if I’m visiting somewhere touristy, I have more freedom. I can find the best angle by climbing on a wall, standing under a bridge or, occasionally, blagging my way into somewhere private with a great view.
This kind of research is tiring but, fortunately, over the years I’ve developed a sixth sense for finding a decent cup of tea.
If I’m working in the studio I like to warm up by painting a few possible beginnings for pictures. They may evolve into something, but often they’re just a way of getting into gear. That done, I’ll draw for a while, getting to know the subject I’m thinking of painting and then I’ll tape some watercolour paper to a board, paint the sky and leave it to dry.
Music is very important to me (I trained as a musician) and it really affects how I work. A late Beethoven string quartet is a great accompaniment for a complex piece of architecture but, if its a lively, expressive landscape the Beatles, Stones or Bob Dylan usually seem to help the work along.
Sometime in the afternoon I’ll knock off and take a walk round the market place outside or further afield and then have a cuppa with Josie (my wife and owner of Masham Gallery).
The evening often involves some red wine and I’ll sometimes read about somewhere I’m researching, usually with a cat on my lap. I love to find legends about my subjects - it often adds another of meaning layer to the picture. Then its early to bed and up with the lark again!
ISM: My favourite days are when I’m beginning work on a new exhibition. But I don’t always leap in action, brush in hand. I’ll kick off the day with a session of yoga in the garden or, even better, a set of tennis with a friend.
If I’m travelling, which is one of the great pleasures of being a landscape artist, I like to get to locations early. If there’s nobody about, particularly if I’m visiting somewhere touristy, I have more freedom. I can find the best angle by climbing on a wall, standing under a bridge or, occasionally, blagging my way into somewhere private with a great view.
This kind of research is tiring but, fortunately, over the years I’ve developed a sixth sense for finding a decent cup of tea.
If I’m working in the studio I like to warm up by painting a few possible beginnings for pictures. They may evolve into something, but often they’re just a way of getting into gear. That done, I’ll draw for a while, getting to know the subject I’m thinking of painting and then I’ll tape some watercolour paper to a board, paint the sky and leave it to dry.
Music is very important to me (I trained as a musician) and it really affects how I work. A late Beethoven string quartet is a great accompaniment for a complex piece of architecture but, if its a lively, expressive landscape the Beatles, Stones or Bob Dylan usually seem to help the work along.
Sometime in the afternoon I’ll knock off and take a walk round the market place outside or further afield and then have a cuppa with Josie (my wife and owner of Masham Gallery).
The evening often involves some red wine and I’ll sometimes read about somewhere I’m researching, usually with a cat on my lap. I love to find legends about my subjects - it often adds another of meaning layer to the picture. Then its early to bed and up with the lark again!
On location at Hackfall and the river Ure. Photos by Charlotte Cornish
MG: What marks a successful day?
ISM: A day when either a good painting gets painted to a day when a good story gets written. I can throw out up to 75% of my paintings (often you'll find originals painted on both sides). Making an exhibition is like creating a building. You work away shaping the individual components - the paintings, prints and book - and then finally see the whole thing. So that is also a moment of huge satisfaction.
MG: How does the place you work influence you if at all?
ISM: My studio is a haven of creation, sitting on top of an old house in Masham. The town itself is a constant source of inspiration - small, old and beautiful. If I need a break there's nothing quite like walking the fields around Masham, watching the light and the land to restore the spirit.
Photo Steve Christian
See Scott's work on his pages here.
ISM: A day when either a good painting gets painted to a day when a good story gets written. I can throw out up to 75% of my paintings (often you'll find originals painted on both sides). Making an exhibition is like creating a building. You work away shaping the individual components - the paintings, prints and book - and then finally see the whole thing. So that is also a moment of huge satisfaction.
MG: How does the place you work influence you if at all?
ISM: My studio is a haven of creation, sitting on top of an old house in Masham. The town itself is a constant source of inspiration - small, old and beautiful. If I need a break there's nothing quite like walking the fields around Masham, watching the light and the land to restore the spirit.
Photo Steve Christian
See Scott's work on his pages here.
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a shelf with the feeling of being in a park about it!
There are fewer and fewer galleries on the high street these days. So many I know have closed in recent years, and of course there is so much talk about the death of the High Street.
Before lockdown I was talking about this to our fantastic framer, Tim Tenant from The Art Shops, when he came to deliver. We were musing on how the High Street has looked like it’s dying -although in Masham right now (despite the virus) three* new and exciting shops are opening. Tim’s reaction when I voiced my worries was perfect - and that was reflecting on the fact that we’re not JUST shops, that art and craft is not JUST a product.
And he’s right - in fact I often feel I’m far from just a shop. People come in to chat, to find a calm space, to experience, to feel part of a creative community. Experience on all sorts of levels, some visitors come to experience an exhibition, with no intention of buying, but perhaps to understand the viewpoint of the artist who created a work, to experience the emotions that went into it, and to react emotionally themselves.
For some people, lots of people in fact, buying art is also buying an experience. It connects with an emotion, it represents something we sometimes can’t put into words and it goes home with them and they connect and feel that, through the art in their own homes. When you buy a piece of art, or craftwork, you buy a piece of an artists skills, the love that goes into making, their perspective on the world - and often at a crazily reasonable price. It’s often something that stays in your home forever and eventually gets handed on to children or friends.
I’m finishing this blog the day before we reopen after lockdown and I can’t tell you how much I am looking forward to being part of that experience. I know Masham Gallery is not another shop selling just another consumer product that can be disposed of on a whim or will go out of fashion, or even have some kind of built in obsolescence. It’s an experience, whether you choose to take that home with you or not.
* The Curious Merchant (right next door to us - looks very exciting), The Lunchbox - just 2 doors down and a refill shop just behind us on Park Street.
Before lockdown I was talking about this to our fantastic framer, Tim Tenant from The Art Shops, when he came to deliver. We were musing on how the High Street has looked like it’s dying -although in Masham right now (despite the virus) three* new and exciting shops are opening. Tim’s reaction when I voiced my worries was perfect - and that was reflecting on the fact that we’re not JUST shops, that art and craft is not JUST a product.
And he’s right - in fact I often feel I’m far from just a shop. People come in to chat, to find a calm space, to experience, to feel part of a creative community. Experience on all sorts of levels, some visitors come to experience an exhibition, with no intention of buying, but perhaps to understand the viewpoint of the artist who created a work, to experience the emotions that went into it, and to react emotionally themselves.
For some people, lots of people in fact, buying art is also buying an experience. It connects with an emotion, it represents something we sometimes can’t put into words and it goes home with them and they connect and feel that, through the art in their own homes. When you buy a piece of art, or craftwork, you buy a piece of an artists skills, the love that goes into making, their perspective on the world - and often at a crazily reasonable price. It’s often something that stays in your home forever and eventually gets handed on to children or friends.
I’m finishing this blog the day before we reopen after lockdown and I can’t tell you how much I am looking forward to being part of that experience. I know Masham Gallery is not another shop selling just another consumer product that can be disposed of on a whim or will go out of fashion, or even have some kind of built in obsolescence. It’s an experience, whether you choose to take that home with you or not.
* The Curious Merchant (right next door to us - looks very exciting), The Lunchbox - just 2 doors down and a refill shop just behind us on Park Street.
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I’m small in all sorts of ways - in stature as well as business! But over the years I’ve grown to appreciate and even love it. Often when you’re in business there’s a feeling of an unrelenting pressure from all sorts of places that growth is part of what you sign up to as soon as you have keys for a business door.
It takes a bit of bull-headed independence and spirit to make your own goals and image of how you want your business to look and feel. Being small doesn’t mean not being the best you can be, or ‘settling’ for something. Not for me anyway. I didn’t settle for a small space in a small town, I actively chose it. I chose to be a sole trader too.
At Masham Gallery it means I choose to have a conscious relationship with the artists we show, with the suppliers who work with us. It means that I choose not to manage a gallery from afar, that I’m hands-on in all aspects, not every day, but part of every week. Being small for me means that I can develop, as a business, and as a human, relationships with customers, sometimes their children and even grandchildren who have been visiting us for years.
Being small means we can have symbiotic relationships with other local business. And crucially when times are difficult I have far fewer hoops to jump through to change quickly accordingly.
All these things to me have been, and remain, more important than reaching a VAT threshold, or increasing profit year on year. I keep a close eye on all finances of course, being small doesn’t always leave a lot of wriggle room. Of course we all need money for our basic needs, and I’m certainly not denying the importance of it, but it’s not the main motivator. And somehow without money and growth as a primary motivation business is much more fulfilling, fun and creative.
So I really am happy being small, I really like it - in fact more than that I love it.
It takes a bit of bull-headed independence and spirit to make your own goals and image of how you want your business to look and feel. Being small doesn’t mean not being the best you can be, or ‘settling’ for something. Not for me anyway. I didn’t settle for a small space in a small town, I actively chose it. I chose to be a sole trader too.
At Masham Gallery it means I choose to have a conscious relationship with the artists we show, with the suppliers who work with us. It means that I choose not to manage a gallery from afar, that I’m hands-on in all aspects, not every day, but part of every week. Being small for me means that I can develop, as a business, and as a human, relationships with customers, sometimes their children and even grandchildren who have been visiting us for years.
Being small means we can have symbiotic relationships with other local business. And crucially when times are difficult I have far fewer hoops to jump through to change quickly accordingly.
All these things to me have been, and remain, more important than reaching a VAT threshold, or increasing profit year on year. I keep a close eye on all finances of course, being small doesn’t always leave a lot of wriggle room. Of course we all need money for our basic needs, and I’m certainly not denying the importance of it, but it’s not the main motivator. And somehow without money and growth as a primary motivation business is much more fulfilling, fun and creative.
So I really am happy being small, I really like it - in fact more than that I love it.