Charles Pears

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Charles Pears, gebore in 1873, het 'n loopbaan as mariene skilder ontwikkel. Tydens die Eerste Wêreldoorlog is Pears gewerf deur Lord Beaverbrook, die Minister van Inligting as 'n oorlogskunstenaar. Die meeste van sy drie-en-negentig foto's bevat die Royal Navy. Pere sterf in 1958.

Geskiedenis van die peer

Daar is oortuigende argeologiese bewyse uit die opgrawing van die ou meerbewoners in Switserland dat die Europese peer, Pyrus communis L., deur die beskawing bekend was. Daar word geglo dat die peer deur die prehistoriese mens bekend was, maar daar is geen ooreenkoms of die appel eerste kom of die peer nie. Die antieke peerboom van Europa was fundamenteel anders as die Asiatiese peerboom, Prunus pyrifolia.

Engelse rekords toon dat in 1629 klippe pere deur die Massachusetts Company na koloniste in New England gestuur het om bome te plant en te groei in Plymouth, MA.

Op 30 Maart 1763 het die beroemde Amerikaner, George Mason, in sy uitgebreide boordjoernaal ingeskryf: 10 swart peer Worchester uit Collo gemaak, dit is 'n groot (grof) vrugte om te bak ” en ou Franse peer verskeidenheid.

Fort Frederica op Saint Simons Island, Georgia, is in 1733 deur die Engelse koloniste gestig, en terselfdertyd is die stad Savannah gevestig. Om die setlaars met selfonderhoudende voedselreserwes in staat te stel, is deur generaal Oglethorpe 'n plan ontwikkel om bome en plante vir die groei in gematigde en subtropiese klimate in te stel wat waardevol sou wees vir toekomstige plase en vrugte- en neutbome in Georgië. Volgens William Bartram is hierdie doelwitte gerapporteer in sy boek, Travels, wat in 1773 gepubliseer is, 40 jaar later. John Bartram, die vader en reisgenoot van William Bartram, het hul navorsingsreis na Oos -Florida, Carolina en Georgië onderneem om deels hulpbronne te ondersoek en voorraad te plant wat deur Spanjaarde aan die Engelse oorgelaat is as koloniale verkrygings.

Prince kwekery is gestig as die eerste Amerikaanse kwekery vir die versameling, verbouing en verkoop van plante en bome in Flushing, New York in 1737, Prins kwekery adverteer 󈬚 peerbome te koop in 1771. ”

John Bartram het in 1793 die saad van 'n peerboom geplant, en hierdie ou boom het tot in 1933 vrugte gelewer en vrugte opgelewer.

Die groot Amerikaanse botaniese hibridiseerder en skrywer van sy epiese en monumentale 12 -volume verslag van sy waarnemings oor plantontwikkeling oor baie jare deur Luther Burbank, het gesê dat daar basies twee genetiese peerlyne was wat hy en ander gebruik het om die kommersiële kwaliteit van peerbome en die vrugte daarvan. Die Europese peer, Pyrus communis L., die Asiatiese peer, Pyrus pyrifolia, ook genoem die Koreaanse peerboom, die Japannese peerboom, die Chinese peerboom en die Taiwanese peerboom. Dit is gekruis om 'n rekombinasie van gene te verkry om die komplekse karaktermengsels wat hopelik voortreflike vrugte sou oplewer, uit te sif. Bartram het in sy 'Fruit Improvement ’' geskryf oor 'n peer -kansbaster wat op 'n plaas naby Philadelphia, Pennsylvania, verskyn het, as gevolg van 'n Europese peer en die Chinese sandpeer wat op die plaas as siertuinbome geplant is. Hierdie baster het plaasgevind op die plaas van mnr. Peter Kieffer, en het dus sy naam gedra vir die eerste gehybridiseerde Oosterse peerboom. Die “Kieffer ” -peer het 'n aangename geur; dit is 'n pragtige en grasieuse boom met groot wit blomme, maar hierdie peer is die beste as dit in konfyt of pasteie gekook word vanweë die stewigheid. Die koue gehardheid en weerstand teen siektes maak van hierdie peer 'n waardevolle kultivar wat vandag nog steeds 'n peerboom verkoop word.

Ander Oosterse peerbome wat in die gewilde poskatalogusse vir kwekerye verskyn het, was Le Conte-, Garber- en Smith -peerbome. Hierdie peerbome het standaardkultivars geword vir tuinaanplantings in die Golfstaat, waar Europese peerbome nie goed groei nie.

Ander stamme van pere wat in Kalifornië ontwikkel is, word beskryf as groot, met delikate kleure, geur en uitstekende kwaliteit. Een van hierdie basterpere was nege sentimeter hoog en weeg vyf pond - 'n enkele vrug.

Burbank het daarop gewys dat die kommersiële verhandeling van pere na groot pere frons as gevolg van boks-, sorteer- en versendingsprobleme, en dat die gemiddelde koper van peervrugte nie dikwels by voorkeur pitte in groot maat koop nie. Die Noordwes -Verenigde State produseer die meeste kommersiële pere, meestal as gevolg van die uitsonderlike nageregkwaliteit van die vrugte. Die oudste sensasie in peermarkte is Bartlett (Williams), wat groei in 'n groep genaamd “Winterpere, en#8221, insluitend ander variëteite. Comice, D ’Anjou, Bosc, Red D ’Anjou, en Concorde pere. Hierdie kultivars, hierdie kultivars, het 'n baie beperkte gebied van suksesvolle groei as gevolg van hul brose Europese peer -afkoms, Pyrus communis, en word nie aanbeveel om in die meeste streke van die Verenigde State te verbou nie.

Die peerboom is uniek as 'n vrug wat nie krimp nie, wat maklik herkenbaar is aan sy normale beskrywing, met verwysing na die vorm van die vrugte, 'n peervormige, 'n spesifieke vorm wat almal verstaan. Kopers van peervrugte is baie bevooroordeeld om 'n peer te koop in die vorm waaraan hulle gewoond is, en hulle verwerp dikwels die Asiatiese peer, 'Pyrus pyrifolia, 'n ronde of appelvormige vrug. Die tekstuur van pere is uniek onder vrugte, saam met aroma, smaak en die idee dat pere (Europese klone) van die boom afgehaal moet word om later ryp te word, terwyl die Asiatiese pere beter op die bome gelaat word om ryp te word vir volle geurontwikkeling. Die vel van pere groei in 'n wye verskeidenheid kleure, groen, geel, oranje, rooi en gevlek, en dit vorm 'n uitstekende beskermende skild teen die oë van voëls en ander diere. Peerbome benodig langer rypheid om te begin vrug as die meeste ander vrugtebome, maar die boom sal vroeër dra as dit op 'n dwergende kweepeerstok geënt word, maar die meeste boomkopers bied halfdwergbome aan, en natuurlik begin groter bome vrugte neem vroeër as klein bome. Asiatiese peerbome produseer vroeër vrugte as die bome met Europese peer afkoms. Een faktor wat die verspreiding van peerbome sedert die oudheid vertraag het, is die feit dat die sade swak ontkiemingsukses toon, tensy dit klam is en die meeste reisigers op die ou handelsroetes die saad drooggemaak het vir verkoop of ruil.

Vrugtekopers van Amerika het die afgelope 25 jaar 'n dramatiese en toenemende belangstelling getoon in die aankoop van vars pere by die kruidenierswinkel. Volgens die USDA -bronne het die per capita verbruik van tafelgehalte, vars pere meer toegeneem as die meeste vrugte, terwyl die aankoop van vars perskes afgeneem het. Vars pere kan so lank as 5 maande by bykans vriespunte gehou word sodat verbruikers dit later kan koop. Vir tuiniers in die agterplaas kan peerbome 20-30 voet groei op semi-dwerg onderstokke en is goed aangepas vir die groei op die meeste gronde, selfs swak gedreineerde gronde, verkieslik op 'n pH-reeks van 6 tot 7. Peerbome groei en verdra temperature van negatief 20 grade Fahrenheit.

Burbank het baie vreemde kruise met peerbome uitgevoer. Hy het pere met appels en kweper gekruis, maar die basterbome het nie gegroei om aanvaarbare vrugte te lewer nie.

Peervrugte bevat antioksidante en geen vet nie, met gesondheidsvoordele van vitamien A, vitamien B1, vitamien B2, vitamien C, niasien, en die minerale kalsium, fosfor, yster en kalium.

Baie kultivars van pere word aanbeveel om te plant. Ayers Pear Tree, Baldwin Pear Tree, Columbus Red Pear Tree, Floridahome Pear Tree, Hood Pear Tree, Kieffer Pear Tree, Leconte Pear Tree, Moonglow Pear Tree, Orient Pear Tree, Pineapple Pear Tree, Sand Pear Tree and the Warren Pear Tree. Daar word ook vier variëteite Asiatiese pere geplant: die Koreaanse reuse -peerboom, Hosui -peerboom, Shinseiki -peerboom, peerboom uit die twintigste eeu.

Daar is ook vier variëteite bloeiende, nie-vrugbare pere. Die Bradford -blommende peerboom, die bloeiende peerboom van Cleveland, die bloeiende peerboom van Aristocrat en die blomme van die herfsblaas.

Ronde tafel

Hoe karikatuur van die magtiges tot politieke sensuur in Frankryk gelei het.

Les Poires (The Pears), deur Charles Philipon, 1831. Wikimedia Commons, Bibliothèque nationale de France.

Lank na die Franse Revolusie van 1789, toe herinneringe aan Napoleon Bonaparte se oorwinnings vervaag en die skaduwees van republikeinse ideale op die punt gestaan het om te herstel, het 'n nuwe, liberale rewolusie in Frankryk plaasgevind. Die Julie-rewolusie van 1830 het die liberale "Koning van die Franse volk", Louis-Philippe, aan bewind gebring, wat dan die persvryheid uitgeroep het. Kort daarna het die kunstenaar en joernalis Charles Philipon 'n span briljante kunstenaars bymekaargemaak en die satiriese weekblad gestig La Karikatuur in 1831. Hy neem onmiddellik ''n stap te ver' ''n tekening van die koning se kop, metamorfoseer in vier fases tot 'n verrotting poire (peer-kop), ook Franse slang vir 'dwaas' of 'simpleton'. Philipon is voor die hof gebring en, soos die legende beweer, die gevangenis vermy deur die ooreenkoms tussen koning en peer aan die jurie te demonstreer deur middel van sketse en (heel waarskynlik) verbale panache. Hy is vrygespreek van die aanklag van laster: 'n oorwinning vir die saak van satire wat die voortsetting van verdere bespotting sou veroorsaak.

Nadat hy sy reis na die hof oorleef het Les Poires, Charles Philipon het in 1832 'n meer woeste satiriese papier geloods met die titel Le Charivari. Honoré Daumier se lewendige mastkop vir Le Charivari bied portrette van 'n paar van die kunstenaars wat met Philipon se vroeë satiriese referate verband hou. Philipon self, die jong Honoré Daumier, is op 'n tamboeryn (vierde van regs) op die tamboeryn, of Charles-Joseph Traviès des Villers, een van die eerste gereelde karikaturiste. Le Charivari, is tweede van regs en Grandville, of Jean-Ignace-Isidore Gérard Grandville, wat mense dikwels as diere geparodieer het, is heel regs. Dieselfde jaar as Philipon se Les Poires-voorval, verskyn die tekening van jong Daumier van Louis-Philippe terwyl Gargantua op 'n woonstel sit, ook in La Karikatuur. Hy is nie net in hegtenis geneem nie, maar het ook 'n kort tronkstraf gekry.

Intussen het Les Poires 'n simbool geword van weerstand teen gesag en het dit steeds 'n naaldeffek gehad en verskyn dit in soveel as irriterende variasies in die krante van Philipon. Toe Louis-Philippe die getekende beeld verbied, verskyn dit in plaas daarvan in verdere variasies, gevorm uit 'n soort rangskikking ('n besondere prestasie, aangesien dit met die hand in metaal sou wees), en het sodoende die verbod of besluit omskryf. Die naaldwerk sou weereens te ver gaan. In September 1835 is die hele Franse vrye pers gesensor ten opsigte van politieke onderwerpe.

Ondanks sensuur het die Franse strokiesprente en hul karikaturiste steeds gedy. Hulle het die Franse (veral Paryse) samelewing nie gekritiseer of bespot op die regering of in die amp nie. Le Charivari was nog in werking in 1862, en ander papiere wat ingesluit is, is ingesluit Le Rire (The Laugh) in 1895 en Le Sourire (The Smile) in 1899. Hierdie voorblad van Le Rire toon die Duitse monarg Kaiser Wilhelm II (staande, met 'n ruiker), wat in 1896 die Boereleier Paul Kruger gelukgewens het met 'n Britse nederlaag, maar teen 1899 pro-Brits geword het. Hy verdwyn sy lojale lojaliteit in die dekmantel van familiale liefde vir koningin Victoria (wat eintlik sy ouma is).

Samuel Schwarz het die satiriese weekblad gestig L’Assiette au Beurre (The Butter Dish) in 1901, gepas vernoem na die geminagde lede van die regeringsburokratiese masjien wat gewillig was om gunste aan gewone burgers uit te deel vir 'n prys. (Die naam self is 'n bespotting oor rykdom, aangesien botter 'n gewaardeerde produk was.) Die missie van die satiriese koerant was om 'The Butter Dish' en die heersende klasse aan te val, sowel as die hiërargie en invloed van die Katolieke Kerk. Dit het dit met energie gedoen. Die sosiopolitieke inhoud was hoofsaaklik visueel, die teks was minimaal en die kwessies het dikwels aktuele gebeure of internasionale persoonlikhede ingesluit, en Brittanje was 'n gunsteling teiken. Hierdie bose voorblad-illustrasie toon nog 'n gunsteling teiken: let op die skuins oë van die Vatikaangebou, varkneus en groot gapende bek.

Een van L’Assiette au BeurreSe bekendste karikature is in September 1901 vervaardig deur Jean Veber, wat gereeld 'n bydraer geword het. Getiteld L'Impudique Albion (Shameless Albion, of Shameless Britain), bevat dit 'n portret van koning Edward VII wat op die agterkant van 'n grappige Britannia aangebring is. Na jare van dekor en erns van koningin Victoria, wat in 1901 oorlede is, het haar erfgenaam Edward VII die reputasie gehad dat sy 'n bietjie speelbal was, geneig was tot dobbelary en minnaresse (wat dikwels in Frankryk geleë is), en dus 'n heel ander kant verteenwoordig. van Britse gedrag en monargie. Hierdie Franse satiriese tradisie, veral in sy vroeëre, skurwe jare, kan gesien word as geestelike afstammelinge in moderne Franse satiriese strokiesprente, soos Charlie Hebdo, gestig in 1969.

Aansoeke

Bartlett -pere is die beste geskik vir rou en gekookte toepassings, soos bak, kook en braai. Dit kan vars geëet word, byderhand, by slaaie gevoeg word vir 'n soet geur, in skywe gesny en op kaasborde bedien word, of in 'n granita-roomys gemeng word. Bartlettpere kan ook in toebroodjies soos geroosterde kaas, in 'n bolaag op pizza gesny word, of met ander vrugte gekap word en in poblano -chili gestop word in die Mexikaanse onafhanklikheidsgereg, bekend as chiles en noganda. Die pere kan ook oor 'n houtskoolrooster gerook word vir 'n ekstra geur of in skywe gesny word om 'n soet smaak aan cocktails met tequila en mezcal te gee. Bartlett -pere maak ook uitstekende konfyt, stroop en blatjang, kan gedroog word en kan uitstekende toevoegings tot koeke, muffins, chips en vinnige brood maak. Bartlett -pere komplimenteer gorgonzola -kaas, okkerneute, pampoenpitte, knoffel, uie, sjalot, poblano -chili, tamaties, komkommers, wortels, granaatpitte, aarbei, appel, spinasie, vark, hoender, lam, oesters, oregano, roosmaryn, pietersielie, kruisement , koriander, Thaise basiliekruid, sitroengras, matcha groen teepoeier, kaneel, allspice en heuning. Hulle hou tot drie weke wanneer dit in die yskas gebêre word en 'n bietjie meer as een jaar in die vrieskas.

Afskiet van 'n Britse konvooi deur die Duitsers van die Franse kus, 1940

Afskiet van 'n Britse konvooi deur die Duitsers aan die Franse kus, 1940, deur Charles Pears.

Onderleggerkonvooie het nog steeds deur die kanaal gegaan om die suidooste van steenkool te voorsien. Duitse kusbatterye naby Calais in Frankryk het hulle redelik konstant na Augustus 1940 afgeskiet, alhoewel met baie min sukses.

Na die bekendstelling van Convoy FS1 is op 7 September Atlantiese konvooie gelanseer vanaf beide die Teems, gekodeerde OA, en die River Mersey, OB.

Eens buite die U-boot-gevaargebied naby die Britse kus, het die konvooie versprei, aangesien die kleiner begeleiders weerloos was teen die Duitse oppervlakkers wat ver in die Atlantiese Oseaan opereer. Maar handelsskepe wat aan Brittanje gebind is, het oorlogsvoorrade gehad, maar was al die hele tyd konvooi-veral op die roete van Halifax in Kanada (gekodeer HX)-en is dikwels beskerm deur swaar oorlogskepe.

Na die val van Frankryk in Junie 1940, verhuis Duitse U-bote na nuwe Franse basisse, wat hul reikwydte vergroot. As gevolg hiervan is konvooie oor die Atlantiese Oseaan uitgebrei. Dit was die begin van 'n gevaarlike fase van die Tweede Wêreldoorlog, wat die Slag van die Atlantiese Oseaan deur Winston Churchill genoem is.

Namate die geveg vorder, het nuwe konvooie nodig geword, insluitend roetes na Malta en die Sowjetunie (die 'Arktiese konvooie'). In totaal is 450 konvooi -reekse gedurende die Tweede Wêreldoorlog uitgevoer.

Die geskiedenis van die peer

Engelse rekords toon dat in 1629 koloniste van "pere deur die Massachusetts Company na New England gestuur is" om kolonies te plant en te groei in Plymouth, MA.

Op 30 Maart 1763 het die beroemde Amerikaner, George Mason, in sy uitgebreide boordjoernaal ingeskryf: "geënt 10 swart peer van Worchester uit Collo.

Prince kwekery is gestig as die eerste Amerikaanse kwekery vir die versameling, kweek en verkoop van plante en bome in Flushing, New York in 1737, en Prince kwekery adverteer "42 peerbome te koop in 1771."

John Bartram het in 1793 die saad van 'n peerboom geplant, en hierdie ou boom het tot in 1933 vrugte gelewer en vrugte opgelewer.

Bartram het in sy 'Fruit Improvement' geskryf oor 'n peer -kansbaster wat op 'n plaas naby Philadelphia, Pennsylvania, verskyn het, as gevolg van 'n Europese peer en die Chinese sandpeer wat op die plaas as siertuinbome geplant is. Hierdie baster het plaasgevind op die plaas van mnr. Peter Kieffer, en het dus sy naam gedra vir die eerste gehybridiseerde Oosterse peerboom. Die "Kieffer" peer het 'n aangename geur; dit is 'n pragtige en grasieuse boom met groot wit blomme, maar hierdie peer is die beste as dit in konfyt of pasteie gekook word vanweë die stewigheid. Die koue gehardheid en weerstand teen siektes maak van hierdie peer 'n waardevolle kultivar wat vandag nog steeds 'n peerboom verkoop word.

Ander stamme van pere wat in Kalifornië ontwikkel is, word beskryf as groot, met delikate kleure, geur en uitstekende kwaliteit. Een van hierdie hibriede pere was nege sentimeter hoog en weeg vyf pond-'n enkele vrug.

Burbank het daarop gewys dat die kommersiële verhandeling van pere na groot pere frons as gevolg van boks-, sorteer- en versendingsprobleme, en dat die gemiddelde koper van peervrugte nie dikwels by voorkeur pitte in groot maat koop nie. Die Noordwes -Verenigde State produseer die meeste kommersiële pere, meestal as gevolg van die uitsonderlike nageregkwaliteit van die vrugte. Die oudste sensasie in die peermark is Bartlett (Williams), wat groei in 'n groep genaamd "Winterpere", insluitend ander variëteite. Comice, D'Anjou, Bosc, Red D'Anjou en Concorde pere. Hierdie kultivars, hierdie kultivars, het 'n baie beperkte gebied van suksesvolle groei vanweë hul brose Europese peer -afkoms, Pyrus communis, en word nie aanbeveel om in die meeste streke van die Verenigde State te verbou nie.

Die peerboom is uniek as 'n vrug wat nie krimp nie, wat maklik herkenbaar is aan die normale beskrywing wat verwys na die vorm van die vrug, "peervormig", 'n spesifieke vorm wat almal verstaan. Kopers van peervrugte is baie bevooroordeeld om 'n peer te koop in die vorm waaraan hulle gewoond is, en hulle verwerp dikwels die Asiatiese peer, 'Pyrus pyrifolia, 'n ronde of appelvormige vrug. Die tekstuur van pere is uniek onder vrugte, saam met geur, smaak en die idee dat pere (Europese klone) van die boom afgetrek moet word om later ryp te word, terwyl die Asiatiese pere beter op die bome gelaat word om ryp te word vir volle geurontwikkeling.

Die vel van pere groei in 'n wye verskeidenheid kleure, groen, geel, oranje, rooi en gevlek, en dit vorm 'n uitstekende beskermende skild teen die oë van voëls en ander diere. Peerbome benodig langer rypheid om te begin vrug as die meeste ander vrugtebome, maar die boom sal vroeër dra as dit op 'n dwergende kweepeerstok geënt word, maar die meeste boomkopers bied halfdwergbome aan, en natuurlik begin groter bome vrugte neem vroeër as klein bome. Asiatiese peerbome produseer vroeër vrugte as die bome met Europese peer afkoms. Een faktor wat die verspreiding van peerbome sedert die oudheid vertraag het, is die feit dat die sade swak ontkiemingsukses toon, tensy dit klam is en die meeste reisigers op die ou "Silk Road" handelsroetes die saad laat droogmaak het vir verkoop of ruil.

Burbank het baie vreemde kruise met peerbome uitgevoer. Hy het pere met appels en kweper gekruis, maar die basterbome het nie gegroei om aanvaarbare vrugte te lewer nie.

Peervrugte bevat antioksidante en geen vet nie, met gesondheidsvoordele van vitamien A, vitamien B1, vitamien B2, vitamien C, niasien, en die minerale kalsium, fosfor, yster en kalium.

Die Victoriaanse kunstenaar Charles Burton Barber vang die spesiale band tussen kinders en troeteldiere

Toe ek grootgeword het in die gewilde Victoriaanse familie -kusoord Great Yarmouth, Engeland, was dit miskien goeie kinderherinneringe wat Charles Burton Barber gehelp het om so 'n suksesvolle Victoriaanse kunstenaar van kinders en troeteldiere te word.

Dit was die hoë agting vir sy vaardigheid, dat Barber in 1883 tot lid van die Royal Institute of Oil Painters verkies is - die enigste kunsvereniging wat toegewy is aan die Victoriaanse kunstenaar wat spesialiseer in olies.

Groot-Yarmouth, Engeland, in die Victoriaanse era

Sy besondere talent was sentimentele portrette van honde, wat gehelp het om koninklike kommissies van die diereliefhebber, koningin Victoria, te wen.

Barber het sir Edwin Landseer opgevolg as die hofskilder van die koningin. Een van sy bekendste werke is van Marco - 'n pragtige Pommere wat sy gekoop het tydens 'n reis na Florence, Italië, in 1888.

Marco on the Queen ’s Breakfast Table deur Charles Burton Barber, 1893

Koningin Victoria en haar dienaar John Brown deur Charles Burton Barber

Die volgende twee skilderye, “In Disgrace ” en “A Special Pleader ”, is twee van die bekendste werke van die Victoriaanse kunstenaar Barber.

U sal miskien iets soortgelyks sien - dit is dieselfde dogtertjie wat haar trane afvee nadat sy in die hoek gestuur is vir stout gedrag.

In elke skildery vang Barber die spesiale verhouding tussen honde en mense vas. Die klein hondjie deel haar straf, terwyl die border collie by haar ouers smeek om haar te vergewe.

In skande deur Charles Burton Barber

Die vraag na kapperswerk word weerspieël in die veilingpryse. In Disgrace het in 2007 $ 639.964 by Christie ’s gehaal, en A Special Pleader is tien jaar tevore vir $ 442.500 verkoop.

A Special Pleader deur Charles Burton Barber, 1893 A Little Girl And Her Sheltie deur Charles Burton Barber

Die skildery van diere met menslike uitdrukkings was 'n gewilde styl vir die Victoriaanse kunstenaar.

Barber het geweet hoe om nie net uitdrukkings soos opwinding, verlange, hartseer en beskerming oor te dra nie, maar ook om dit op 'n meer natuurlike, dieragtige manier weer te gee.

The New Whip deur Charles Burton Barber

'N Monster deur Charles Burton Barber, 1866

The Rivals deur Charles Burton Barber

Not Much Wrong deur Charles Burton Barber

The Little Baker With Her Two Assistants deur Charles Burton Barber

'N Ondeunde hondjie deur Charles Burton Barber, 1886

The Hiding Place deur Charles Burton Barber, 1891

Op pad skool toe deur Charles Burton Barber, 1883

Die onderstaande skildery was in besit van die mededingende seepvervaardigers Pears en Lever Brothers. Dit beeld 'n pragtige jong meisie uit genade oor ontbyt met haar troeteldierkat en Jack Russell wat verlangend na die fees voor haar kyk.

Spanning deur Charles Burton Barber Blond and Brunette deur Charles Burton Barber, 1879

Coaxing Is Better deur Charles Burton Barber

Trust deur Charles Burton Barber, 1888

Geen rit vandag deur Charles Burton Barber

Meisie met honde deur Charles Burton Barber, 1893

The Two Invalids deur Charles Burton Barber

The Broken String deur Charles Burton Barber

Ek is hoër! deur Charles Burton Barber

The New Keeper deur Charles Burton Barber, 1888

'N Kraspakket deur Charles Burton Barber

Tyd om wakker te word deur Charles Burton Barber, 1883

Verlore kans deur Charles Burton Barber

Sweethearts deur Charles Burton Barber, 1890

Die begin van peer seep

In 1789 het Andrew Pears, 'n Cornish -kapper, 'n winkel in Soho, 'n welgestelde deel van Londen, geopen en room, poeiers en ander skoonheidsprodukte begin maak.

Binnekort het Pears opgemerk dat sy gesellige kliënte sy produkte gebruik om die skade en droogte te bedek deur arseenbelaaide skoonheidsmiddels wat hulle aangebring het om die mooi, albaster gelaat te kry wat destyds so modieus was.

Toe hy 'n gaping in die mark sien, besluit hy om iets te skep wat sagter vir die vel is. Na baie eksperimente is Pears Soap gebore.

Die seep, gemaak van gliserien en natuurlike olies, ruik soos 'n Engelse tuin en het 'n deursigtige voorkoms wat dit van sy mededingers onderskei het.

Pere was meer geïnteresseerd in die kwaliteit, en daarom verkoop hy sy seep slegs aan 'n eksklusiewe kliëntebasis. Sy keuse het vrugte afgewerp. Sy besigheid het so floreer dat hy sy winkel na Oxford verhuis het. In 1851 verower hy ook die prysmedalje vir seep op die Groot Uitstalling in 1851.

A & amp P Pears Geskiedenis

Die benydenswaardige internasionale reputasie en kommersiële sukses wat die Londense firma A. & F. Pears vir byna tweehonderd jaar geniet het, is grootliks toe te skryf aan die pogings van twee mans: Andrew Pears, 'n boer se seun uit Cornwall, en Thomas J Barratt, 'n man wat dikwels die vader van moderne reklame genoem word. Alhoewel 'n generasie hul individuele betrokkenheid by die onderneming moes skei, het hulle 'n klassieke drievoudige formule vir sukses ontwikkel: 'n gaping op die mark raakgesien, 'n produk van hoë gehalte ontwikkel om dit te vul en soveel mense as moontlik te oortuig om te koop daardie produk deur uitgebreide promosies en advertensies te gebruik.

Andrew Pears arriveer in 1789 in Londen vanuit sy geboortedorp Mevagissey, Cornish, waar hy as kapper opgelei het. Hy het 'n perseel in Gerrardstraat, Soho geopen, toe 'n modieuse woonbuurt, en hy het spoedig beskerming geniet van welgestelde gesinne, waaraan Pears in hul eie huise voorsien het. Die winkel in Gerrardstraat is gebruik vir die vervaardiging en verkoop van rouges, poeiers, ys, tandheelkundige produkte en ander skoonheidsmiddels wat die rykes gereeld gebruik het om die skade te bedek deur die harde seep wat toe in Brittanje gebruik is.

Die skerpsinnige Cornishman herken die potensiaal van 'n suiwerder, sagter seep wat die delikate albast -gelaatstrekke vriendeliker sou behandel as wat die guns betref (die hoër klasse het sonbruin gesigte ongunstig geassosieer met dié van die laer orde wat verplig was om buite te werk vir 'n bestaan ). Hy het begin met die vervolmaak van 'n vervaardigingsproses vir so 'n produk, en na baie beproewing het 'n metode begin wat selfs vandag nog baie soortgelyk is- met die verwydering van onsuiwerhede en die verfyn van die basieseep voordat hy die delikate parfuum van Engelse tuinblomme byvoeg. Hierdie produk was nie net van hoë gehalte nie, maar het ook die groot nuwigheidswaarde van deursigtigheid. En dit was hierdie laaste aspek wat Pears Soap net die beeld gegee het wat nodig was om duidelik deur die publiek geïdentifiseer te word.
Alhoewel ander produkte vir baie jare saam met die deursigtige seep vervaardig is (voorbeelde kan op die volgende bladsye gevind word), was dit byna van die begin af duidelik dat die fortuin van Andrew Pears in sy sjielings en halfkroonvierkante sou wees amber seep. In 1835 neem hy 'n vennoot aan, sy kleinseun Francis Pears, en hulle verhuis na 'n nuwe perseel in Wellsstraat 55, net langs die besige winkelstraat van Oxfordstraat. Die onderneming het in so 'n mate gekonsolideer dat drie jaar later ou Andrew kon uittree, wat Francis in die enigste aangesig laat.

Die nalatenskap van Andrew Pears ’ was 'n soliede, indien nie besonder omvangryke nie, of handel dryf. Soos baie Victoriaanse klein besighede, het dit 'n spesifieke klas klante behartig wat hy gerespekteer en wou behaag. Andrew Pears was 'n versigtige man, en hy het meer omgegee met die kwaliteit van die produkte wat sy naam gedra het as die aantal mense wat dit gekoop het. Deur minderwaardige nabootsings het hy in 'n stadium selfs so ver gegaan om elke pakkie wat hy verkoop, persoonlik te onderteken. Because of the high price of his products, the market for them was necessarily an exclusive one, and there was little need or point in extensive advertising to try and widen this. Expenditure on sales promotion in the early Victorian period rarely exceeded ,80 per annum.

Sensing the impending stagnation of the firm, and recognizing the increasing buying power of the middle classes, Francis Pears realized that unless he developed and expanded the family firm he would soon be pushed to one side by more competitive rivals. New offices were opened in Great Russell Street, Bloomsbury, and in 1862 he bought a house and land at Isleworth in Middlesex, where he built a factory which he placed under the dominion of his young son Andrew. Widespread changes soon took place in the sedate and gentlemanly atmosphere of the West End offices, and into the firm came a new partner, Thomas J. Barratt, who had married Francis Pears’ eldest daughter Mary. Barratt was far sighted, aggressive, willing to take risks and infinitely resourceful. Within months he had completely revolutionized Pears’ distribution system and was turning his hand towards improving the firm’s sales performance by means of expensive and highly original publicity schemes. All this was too much even for Francis Pears, who, fearing imminent bankruptcy, withdrew from the firm, taking most of the money and leaving only 4000 pounds as a loan to be discharged equally by his son and Barratt, who were to remain in sole charge of the business.

Barratt has many modern counter parts in the advertising agencies of Madison Avenue, and his methods were to become widely followed. He imported a quarter of a million French ten centime pieces (accepted in lieu of a penny in Britain), had the name ‘Pears’ stamped on every one of them and put the coins into circulation. Since there was no law forbidding the defacing of foreign currency, his scheme earned Pears much valuable publicity until an Act of Parliament could be hastily introduced to declare all foreign coinage illegal tender. The offending coins were withdrawn from circulation and melted down. He persuaded prominent skin specialists, doctors and chemists to give glowing testimonials to Pears Soap among these were Sir Erasmus Wilson, President of the Royal College of Surgeons, and Doctor Redwood, Professor of Chemistry and Pharmacy to the Pharmaceutical Society of Great Britain, who personally guaranteed that Pears Soap possessed ‘the properties of an edicient yet mild detergent without any of the objection able properties of ordinary soaps’. Such endorsements were boldly displayed in magazine and newspaper advertise meets, as handbills and on posters. Lillie Langtry, a highly popular actress of the day, cheerfully gave Barratt a commendation for Pears Soap (for which, as with the other illustrious patrons, no fee was asked) and he broke into the American market by persuading the enormously influential religious leader Henry Ward Beecher to equate cleanliness, and Pears Soap in particular, with Godliness – Barratt promptly buying up the whole of the front page of the New York Herald on which to display this glowing testimonial. It seemed no stone was left unturned in Barratt’s endless search for good publicity. Infants whose arrival in the world was commemorated in the columns of The Times received a complimentary cake of soap and pictorial advertising leaflets by courtesy of Barratt. His most audacious publicity scheme, which in the end failed to get off the ground, was the offer of ,100,000 to the British Government to buy the back page of a contemporary national census form for Pears’ use. Had he succeeded, Barratt would have put his firm’s name before 35,000,000 people’s eyes.

But the best-remembered piece of publicity which Barratt devised was the use of Sir John Everett Millais’ painting ‘Bubbles’ as an advertisement for Pears. The model for ‘Bubbles’ was the artist’s grandson, Willie (later Admiral Sir William)James, and the curlyheaded little boy made his first appearance at the Grosvenor Gallery in London in 1886 the picture was originally titled ‘A Child’s World’. The picture was bought by Sir William Ingram of the Illustrated London News for reproduction as a presentation plate in that magazine, and after use it was sold to Barratt for 2200 pounds. Though this gave Pears exclusive copyright on the picture, Millais’ permission had still to be obtained before it could be modified (by the addition of a bar of transparent soap) for use as an advertisement. At first Millais, then unquestionably the richest and most popular painter in Britain, was apprehensive about such pointedly commercial exploitation of his work, but mollified by the high quality of the proofs which Barratt brought to his studio, he gradually warmed to the idea. Once the advertisement appeared he was obliged to defend himself vigorously against a hostile art world, and even as late as 1899, three years after his death, the affair was still a matter for debate in letters to The Times.

Barratt claimed to have spent 30,000 on the ‘Bubbles” campaign, and the number of individual reproductions of the painting ran into millions. By any standards, it was an unqualified success, whatever the critics had to say. Even today, ‘Bubbles’ remains one of the most instantly recognizable advertising symbols ever devised, and many of the prints, which Pears later made available to the public, were framed and hung in living rooms around the world. Barratt evidently had a ready eye for the commercial potential of art, for another of his acquisitions, Landseer’s ‘Monarch of the Glen’, though never used by Pears themselves beyond appearing as a color plate in the 1916 Pears Annual, duly became the distinctive trademark of the distilling firm of John Dewar & Sons, with whom A. & F. Pears had links.

Barratt thus held two trump cards. In one hand was an immediately recognizable product, Pears Transparent Soap. In the other was the association (in the popular mind at least) between that product and culture, represented by ‘Bubbles’. It was a combination which was to represent Pears’ public image for many years to come, and continues today with the tradition of each young Miss Pears (the winner of an annual competition) having her portrait painted by a recognized artist. Barratt time and again capitalized on this association. He brought art to the public eye through Pears Annual, first published in 1891 and surviving until 1920. The Annual was a large-format, limp cover publication containing, in addition to advertising for Pears’ and other firms’ products, quality fiction (Dickens’s Christmas Books were reprinted in early editions), illustrations (as the years went by there was an increase in the use of color plates and second-color tints) and at least two large, separately packaged prints for framing. All this, at least until 1915, for sixpence!

Barratt evidently had philanthropic as well as commercial motives in bringing art to the public eye: the 1897 edition claimed that:

‘It is beyond controversy that, before the popular advent of Pears Annual, pictures of the refined quality of our Presentation Plates (which surpass any works of even this high” class order ever previously attempted) were unattainable by picture-lovers at anything less than a guinea a-piece.

Our ambition has been to offer an appreciative and increasing public, which has grown to expect these advantages at our hands, presentation pictures of superior quality and of artistic values, to ensure our extended popularity, and to constitute Pears Annual the foremost achievement of this kind. . . ”

The bonne bouche of Pears Annual 1897 will be readily recognized in the two large Presentation Plates, after the late and ever-to-be-lamented President of the Royal Academy, Sir John Everett Millais, whose two chefs-d’oeuqJre, the well known pictures, ‘Cherry Ripe’ and ‘Bubbles’, are now placed within the means of the million for the first time, so beautifully reproduced as scarcely to be distinguishable from the original pictures themselves . . . which now have a value of more than 10,000 pounds for the pair. And whilst so long as Pears Annual is produced it will ever be our aim, so far as it is in our power, to maintain its excellence, we do not expect again to have the opportunity of furnishing you with such a pair of pictures as these -worthy, as they are, of being framed and hung in the first and most artistic houses in the land.’

Two points in this lurching piece of Victorian prose are worth picking up on. Firstly, the chromolithographic plates were undoubtedly ‘beautifully reproduced’, since they were printed from no less than 24 separate color blocks this book, as with almost all modern book production, uses a mere four impositions. Secondly, they were ‘scarcely to be distinguishable from the original pictures’ through a painstaking process (made defunct by the advent of photolithography) in which the original painting was copied and etched out by craftsmen on to each of the 24 stone blocks in turn. The original artists for these presentation plates included Frank Dadd, J. C. Dollman, Hugh Thompson, Will Owen (of ‘Bisto Kids’ fame), Maurice Greiffenhagen, Gordon Browne and Tom Browne. They were printed in huge quantities records survive showing that Pears spent 17,500 on producing the ‘Bubbles” print alone and almost all were still available to order by the time the last issue of Pears Annual appeared in 1920. Colored frontispieces, which generally repeated material used in the Annual or as ad advertisements, were also used in the famous Pears Cyclopaedia, first published in 1897 and still issued today.

Barratt died on 28 April 1914, aged 72. He was widely mourned, particularly among the press and advertising fraternities. To the latter especially he had opened up new horizons he joined Pears at a time when advertising was limited by and large to small newspaper advertisements and crudely executed handbills and posters, and lived to see it-brought, to a great extent through his own example, to undreamed of sophistication. He forced the manufacturing world to see the ad-vantages of paying good money for good advertising in the 1880s Pears were spending between 30,000 and ,40,000 pounds a year on advertising and by 1907 the figure had risen to 126,000. He pioneered the technique, so familiar today, of saturation advertising W. E. Gladstone, searching for a metaphor to convey a sense of vast quantity during a debate on a topic now forgotten in the House of Commons, suggested the articles in question were as numerous as the advertisements of Pears Soap, or as autumn leaves in Vallombrosa’. On hoardings and on railway stations, in the press and on buses, the name of Pears Soap was everywhere in Victorian and Edwardian times.

And what of the material which Barratt put before the public and which is reproduced in this book? Much of it strikes the modern eye as unashamedly sentimental, but this was to the taste of the day – a taste which Pears were quick to recognize and cater for. Children (whether angelic or recalcitrant), animals, flowers and beautiful women are common denominators in the market appeal of advertising, especially when aimed, as Pears Soap mostly was, at female buyers. Pears’ slogans -‘Matchless for the complexion’, ‘Good morning! Have you used Pears Soap?’ were simple and unchanging, reflecting an era of guilelessness and security in which the good things in life might reasonably be taken for granted – at least by the more fortunate. Only the pictures themselves changed from time to time, and it is interesting to look at a 1907 newspaper interview with Barratt in which he says:

‘Tastes change, fashions change, and the advertiser has to change with them. An idea that was effective a generation ago would fall flat, stale, and unprofitable if presented to the public today. Not that the idea of today is always better than the older idea, but it is different – it hits the present taste.’

A generation! Modern advertising thinks in terms of weeks, its campaigns changing direction like yachts in a strong breeze.

Pears advertising, to suit its brand image, was tasteful and restrained, needing no recourse to the hyperbolics often encountered elsewhere in the period we are considering. The message was simple: that Pears Soap was safe and healthy and that it made its users beautiful. It savors of prestige advertising, embodying an unquestioned market supremacy probably there is a good hint of snobbery here as well, for while the middle classes are invariably seen as healthy and self assured, the social inferiors like servants, ragged urchins and in particular black people are frequently seen as figures of fun. In design terms, many of the advertisements illustrated here could be stripped of their typography and considered purely as genre paintings – as some of them indeed originally were. Though the product name and captions are generally in harmony with the pictures, they are typical of this transitional period of advertising design in that lettering and illustration are not considered as a single unified and integrated entity. But their appeal is simple and immediate, requiring no sophisticated interpretation: they provoke an emotional rather than intellectual response. Barratt aimed, he said, to make his advertisements ‘telling, artistic, picturesque, attractive, pretty, amusing’ – and of course commercially successful. If for nothing more than that they took art out of the galleries and into homes and streets, thus brightening the humdrum lives of ordinary people, they are worthy of remembrance.

Charles Pears - History

Eden Valley Orchard Pears look to the Future with Pear Cider Production

Eden Valley Orchards was established March 17, 1885
by Joseph H. Stewart - Father of the Commercial Pear Industry

In February of 2017, EdenVale Winery located in the heart of the orchard property, released their first production of it's estate-grown pear cider. The 2016 vintage cider is crisp, dry and 100% organic. Fresh-pressed pears straight from our historic orchards, planted in 1885, were used to make this very unique and refreshing cider. No additional fruit juices or concentrates are used-- only the original estate fruit.

Eden Valley Orchards, born from an Oregon donation land claim in 1851, is now a destination facility rich in history and grace. This orchard, founded and planted by Joseph H. Stewart in March of 1885, is the birthplace of the United States commercial pear industry and a historical leader of innovative agriculture. The gracious mansion (now known as Voorhies Mansion) and picturesque property in the heart of pear country, is the "place and story" that anchors the Rogue Valley's agricultural history. Lying not far from railroad tracks and fruit packing plants that are emblematic of the shared bounty of the Rogue River Valley's pear industry, In many ways the surrounding scenery has not changed much since the first shipment of pears was sent East from this property in south Medford in the late 1800's.

Deeply imprinted on the area is the legacy of Joseph H. Stewart, Eden Valley s founder who became the patriarch of Southern Oregon s fruit industry. A prominent contemporary of Stewart s remarked, Every fruit tree in the Rogue River Valley will be a monument to his memory. Indeed, two dozen of the pioneer s original trees are still growing at Eden Valley Orchards, in its heritage orchard, and bud wood from his original orchard started trees on large orchards throughout the Valley.

The cider is available for purchase in 750 mL or 375 mL bottles. ORDER HERE

Gold - 2021 Oregon Wine Awards 2019 Pear Cider
Double Gold -2019 Seattle Cider Awards
Gold Medal 2019 SIP NW Best of Cider

2019 Grand Rapids International Cider and Perry Competition (GLINTCAP)
Gold Medal + Best in Class -2017 Pear Cider

2017 Grand Rapids International Cider and Perry Competition (GLINTCAP)
Silver Medal: � Pear Cider

2017 Oregon Wine Awards
Silver Medal: � Pear Cider

Part I: History of Pears

NW Pear Bureau USA:
Pears are one of the world's oldest cultivated and beloved fruits. In 5,000 B.C., Feng Li, a Chinese diplomat, abandoned his responsibilities when he became consumed by grafting peaches, almonds, persimmons, pears and apples as a commercial venture. In The Odyssey, the Greek poet laureate Homer lauds pears as a "gift of the gods." Pomona, goddess of fruit, was a cherished member of the Roman Pantheon and Roman farmers documented extensive pear growing and grafting techniques. Thanks to their versatility and long storage life, pears were a valuable and much-desired commodity among the trading routes of the ancient world. Evident in the works of Renaissance Masters, pears have long been an elegant still-life muse for artists. In the 17th century a great flourishing of modern pear variety cultivation began taking place in Europe. And in popular culture, the pear tree was immortalized alongside a partridge in the 18th-century Christmas carol, The Twelve Days of Christmas.
Early colonists brought the first pear trees to America's eastern settlements where they thrived until crop blights proved too severe to sustain widespread cultivation. Fortunately, the pear trees brought west to Oregon and Washington by pioneers in the 1800's thrived in the unique agricultural conditions found in the Pacific Northwest. Today's Northwest pear varieties are the same or similar to those first cultivated in France and Belgium where they were prized for their delicate flavor, buttery texture, and long storage life.
As more sophisticated irrigation and growing techniques developed during the past century, pear orchards flourished dramatically in the Northwest's river valley regions located in a serpentine sprawl from Northern Central Washington to Central Southern Oregon.
Today, pear orchards in Oregon and Washington are as specialized as the regions that support them. Organic, commercial and multi-generation family orchards all contribute high-quality fruit to the Northwest's fresh pear industry. Consumer interest and enjoyment of Northwest pears grows each year. Thanks to advancements in Controlled Atmosphere (CA) storage technology, fresh USA Pears are available to consumers nearly year-round.
The first arrival of pear trees to Oregon and Washington came with the pioneers. These trees found their way to the region by way of the Lewis and Clark Trail.
Pioneers that settled along the Columbia River in Oregon s Hood River Valley, found ideal growing conditions for their pear trees. Vast orchards grow there today, in the shadow of majestic Mt. Hood. Volcanic soil, abundant water, warm days and cool nights combine to create the perfect conditions for growing the varieties found in Oregon.
The other principal growing area in Oregon is the Rogue River valley, around Medford in the Southeastern part of the state. Medford, near the end of the Cascade Mountain Range, also enjoys the rich volcanic soil and European-like weather that nurture the world s most beautiful, sweet, and juicy pears.
The Cascade Range is part of the Ring of Fire, the mountains that ring the Pacific Rim. Many of the Northwest s snow-capped peaks are dormant or still active volcanoes. The principal growing areas in the region are literally in the shadow of these mountains, which can rise over 11,000 feet above sea level.
Settlers in the shadows of Washington s Cascade Range enjoyed similar success. With orchards dating back to the 1850 s, the Wenatchee Valley is an abundant producer of all USA Pear varieties. The rugged north central Washington region is exceptionally proud of its consistency of producing high-quality pears known the world over.
In central Washington s Yakima Valley, the light, fertile soil of the agricultural-rich region supports thousands of acres of Northwest pear trees. The growing regions in Washington share their volcanic influences from Mt. Baker, Mt. Rainier, Mt. Adams and Mt. St. Helens.
With these abundant crops, fresh pears naturally became a major part of Northwest cooking, which takes the finest local ingredients and combines them in delicious complimentary style. The versatile and delicate flavor of pears enhances the area s bountiful fresh seafood and regional wines. Chefs in the Pacific Northwest and around the world use pears for all parts of the menu, from appetizers to entrees to desserts.
Due to this rich history and its positive impact on the state s economy, the State of Oregon named the pear Oregon s Official State Fruit. In addition, the USDA annually recognizes the pear by declaring the month of December as National Pear Month. The pear is indeed a Northwest treasure!

USA Pear Crop Statistics

There are currently more than 1,600 pear growers in Oregon and Washington
Pears are Oregon's number one tree fruit crop, its #9 agricultural commodity, and Oregon s Official State Fruit
Oregon's total pear production ranks 3rd overall in the United States and 2nd in terms of fresh pear production
Washington's fresh pear production is the largest in the United States
In Washington State, pears are the third most valuable tree fruit crop behind apples and sweet cherries, and the tenth most valuable agricultural commodity overall
Combined annual fresh pear (not canned) harvest for Washington and Oregon currently averages over 582,000 tons
Washington and Oregon export about 35% of their fresh pear crop to more than 50 countries around the world.
About a quarter of the overall pear crop is canned (not represented by USA Pears/Pear Bureau Northwest). Most canning pears are Bartletts, with 63% of this variety being used for canning and processing into juices, etc.

In The Great Book of Pears, Barbara Jeanne Flores opens her pear history, saying, Native to temperate Europe and Western Asia, pears (Pyrus communis) are one of the two dozen plants know to have been cultivated for over 4,000 years. Pears probably originated in the South Caucasus, North Persia, or the Middle East.
Janet Hazen in Pears: A Country Garden Cookbook suggests that pears were migrated into Europe and northern India by Aryan tribes from the Caucasus regions.
Dried pears have been found in Ice Age cave dwellings excavated in Switzerland.
Sumerians were the first to write about pears in 2750 B.C., describing a thick paste they made from it with thyme, figs, oil, and ale to be used as a poultice applied to the body.
The pear was a part of Greek life, appearing in Greek mythology as being sacred to Hera and Aphrodite. Greek poet Homer called pears the fruit of the gods in when he lived around 850 B.C. In the 4 th Century, Aristotle s student Theophrastus wrote a detailed report on how to propagate pears.
The Romans had six varieties of pears being cultivated in 100 BC. Roman Historian Pliny wrote about 40 varieties in 200 AD, cautioning that pears are harmful to eat raw, but good boiled with honey. Maybe pears were too hard to eat raw? Anyway, Ben Watson adds that Pliny also stated that Falernian pears were the best for making pear wine, and Palladius in the fourth century A.D described how to ferment pear juice, which was then called Castomoniale and apparently was esteemed more highly than apple wine by the Romans. agrees with the historian Tacitus that the Romans appear to have spread the cultivation of pears into Gaul (France) and probably Britain however, there is no definitive written record of pears in England until after the Norman Conquest of 1066.
During the Middle Ages, pears grew well in the warm climates of France and Italy and were considered a luxury as they were primarily grown in castle and monastery gardens.
Britain established native pears, which was hard and bitter but made excellent perry, unlike the French dessert pears. These pears were sometimes referred to as the Choke Pears.
Monks planted pear seeds to develop new pear breeds. During the Renaissance, Medici Grand Duke Cosimo II had 209 pear species.
More pears varieties from France were imported to England by Henry VIII s fruiter Richard Harris.
In 1559, the first pear tree, a White Doyenn , was imported to the New World. While it was useful, pears were passed over for the more popular apple, partly because of their propagation by Johnny Appleseed Chapman. This is because most pear seeds are sterile, making them more difficult to propagate from seed as Chapman did. Also pears prefer milder climates and do not grow well on America s East Coast.
King Louis XIV of France loved Rousselet de Reims pears. The Versailles garden creator La Quintinye also loved pears, and wrote about growing them, having about 100 different varieties, one of which was the ancestor of today s Comice. Pears at this time were not for the common folk.
The Belgians began developing pears in the 18 th century, developing 400 varieties including the Beurr d Anjou and the Beurr Bosc we have in supermarkets today.
Thomas Jefferson planted 1,000 pear, apple, cherry, plum apricot, and quince trees on his Monticello Estate between 1769 and 1814. Jefferson had lived in Paris as a diplomat, where he grew to love pears and brought them back to his estate, though he found them difficult to grow in Virginia s climate, and found them inferior to Europe s pears with the exception of the Seckel. Today, Monticello offers tours of the orchards mid-April through October, with fruit tastings scheduled in August.
Flores tells this interesting story about developing a pear variety, In [1770], a British schoolmaster named Stair discovered [a] seedling in Berkshire, England. It was popularized by a nurseryman named Williams [and it was named after him] In 1797, it was imported by James Carter to be planted on an estate in Massachusetts for Thomas Brewer. After Enoch Bartlett purchased the estate in 1817, he distributed the pear under his own name, Bartlett. Today, Bartlett is the most widely grown pear in the world and accounts for 70 percent of all United State commercial plantings.
Pears on the West Coast of North America took a different route. They were imported by the Spanish into Mexico, and brought north into California, Oregon, and Washington. In 1792, English explorer George Vancouver visited the Mission San Buenaventura garden in California and wrote, Apples, pears, plums, figs, oranges, peaches and pomegranates all these were flourishing in the greatest health and perfection though separated from the seaside by only two or three fields of corn (page 12, Flores).
After the California Gold Rush, farmers started planting European pears to feed the growing population, creating a boom in the 1800s. The oldest producing pear tree today was planted in 1810 at Mission San Juan Bautista. Markets remained full of local pears until World War II.
In the mid-nineteenth century, North American East Coast pear orchards were devastated by the introduction of fireblight, probably introduced from Asian ornamentals.
Flores talks about today s pears in the United States, saying, After [World War II], the small easily bruised heritage varieties [of California] were gradually eliminated in favor of a large pear that could be shipped, handled, and had a long shelf life: namely the Bartlett. The inland coastal valley of California, Oregon, and Washington became the largest pear growing area in the United States, growing 90 percent of the pear crop, mostly Bartletts. In the 1950s, the pear pack was destined for fruit cocktail and other syrupy can fillers, but today s processed pears are more likely to end up as the base for a health juice, a flavored wine, or baby food.
Hazen claims that there are over 5,000 domestic pear varieties today grown in the world.