All Episodes

Lochlainn aged 8 on found object 'St Edmund'

Ovidiu Maitec's Radar II sculpture

Bryan Pearce's paintings of Cambridge

Kelly aged 10 on William Congdon's Black City 1 painting

Gregorio Vardanega's Disc

Macy aged 9 on a drawing by Henri Gaudier-Brzeska

Tyler aged 8 on Henri Gaudier-Brzeska's self portraits

David Jones' painting Flora in Calix Light and Brancusi's Prometheus Sculpture

Nicole, aged 10 on William Congdon's 'Guatemala no.7' painting

Brooke, aged 8 on the objects on the table in Jim's room

Spiral of Pebbles

Seeing the cider press during visits as a child

18th Century Cider Press

Paulo, 8 on 'Fiddle Fish' by John Clegg

Still life with knife and lemon by Ben Nicholson

Angel, aged 8 on Winifred Nicholson's 'Roman Road' painting

Portrait of Gwen Raverat by Elisabeth Vellacott

Henri Gaudier-Brzeska's 'Mermaid' sculpture

Kimberly, aged 9 on Henri Gaudier-Brzeska's 'Cat' drawing

Dogfish skull on the bookcase

Jim Ede's bedroom and cleaning routine

Developing an exhibition across the house and the gallery in 2007

Difficulty claiming the space during the residency in 1998

Challenges for conserving the collection today

Taking the new post of Director in 1992

John Cage exhibited in 1984 and met with Jim in Edinburgh

Potential futures for Kettle's Yard in the mid 1980s

Jim's return visit to Kettle's Yard in 1977

Moving objects and subsequent letters from Jim

Role of the curator, 1977-1983

Placing objects and the impossibility of keeping Jim's version

Visiting with only one staff member and invigilating in the mid 1970s

Scope in the gallery for change and creative input, 1974-79

Transition from private home as first live-in curator, 1973

Jim's vision for the future of Kettle's Yard

Invigilating c.1980, responding to the whole visual environment

Enjoying reading in the house, surrounded by artworks, early 1980s

Shocked to discover other students criticised Kettle's Yard, mid 1970s

Jim's personalised tours of the house in the 1960s

Therapeutic quality of Kettle's Yard, links with Addenbrooke's Hospital

Viewing art from chairs and the long white sofa

Joan Miró's 'Tic Tic'

Placing an object as an act of control

Preference for the furniture and objects over the artworks

Engaging with artworks directly, without the use of labels

Plants were a valued part of Kettle's Yard for Jim

The aesthetic of Kettle's Yard leaves a lasting impression

Kettle's Yard as Jim's artwork

Kettle's Yard as a yardstick for middle class taste in the 1960s

Successful combination of the old architecture with the new

Architecture not dominating

Directing the fall of natural light in the extension

Developing the brief, transition from the cottages to the extension

Working as the architect for Jim Ede and the University'

Famous visitors to the Edes' London home in 1920s and 30s

The house less domestic than first appearances

Continuing Jim's routines after the Edes left in 1973

Jim rearranged his friends' homes

Jim's role in the local community

Jim's welcome to the house and afternoon tea ritual, 1960s

Moving to Cambridge and converting the cottages in 1957

Introduction to the house in 1973

Bill, 4, telling the story of his drawing made at Kettle's Yard

Kieran, 8, describing 'Windmill', 1913, by Henri Gaudier-Brzeska

Ellie, 8, describing the paperweight on the table by the library

Emma, 4, describing 'King's College Chapel', 1966, by Bryan Pearce

Texas, 9, and Ellie, 9, discussing the large Buddha in the house extension

Ryan, 9, describing 'Vexilla Regis', 1948, by David Jones

Tyler, 8, describing 'King's College Chapel', 1966, Bryan Pearce

Paolo, 8, describing the plants in the window

Daisy, 7, and Amie, 8, discussing the lemon on the pewter plate

Playing piano at Kettle's Yard as an undergraduate, c2000

The relationship between performing and the setting

Music at Kettle's Yard, 1983-89

Jim's musical tastes and recording concerts in 1973-74

Changes to concert programming after the Edes left in 1973

Helen hurrying Prince Charles along at the inaugural concert

Opening of the 1970 extension and the inaugural concert

Music at the Edes' London home in 1920s and 30s

Making artwork exploring Helen's role, part of residency in 1998

Helen standing up for herself

Helen - "I cannot put my knitting down anywhere"

Walking in Tangier, 1937/38, and Helen's love of literature

A daughter's description of Helen's qualities

Helen's love of nature

Helen and Jim's relationship

Jim writing Savage Messiah in 1931 and Helen's support

Helen grinding coffee on the stairs, London 1920s

How Helen and Jim met

Jim meeting artist Joan Miró

Jim's vanities were outweighed by his passion for his work

Jim's approach to money and fundraising for Kettle's Yard

Visiting Jim in Edinburgh in 1977, life after Helen's death

Learning respect for a house, Mary's childhood home in London

First visit to Kettle's Yard in 1960s and meeting Jim

The Edes' enjoyment of simple pleasures at Kettle's Yard during the 1960s

Jim's generosity to students in the 1960s

Jim's lack of extravagance and his love for the arts