Online publications

Upper Extension with Gaudier-Brzeska in the foreground and Hepworth slate in the middle ground. Photograph Paul Allitt, 2011. © Courtesy Kettle's Yard. Asked in 1968 for a donation to the collection, Hepworth was understandably upset. Reminding Ede how greatly she had valued his and Helen's generosity ever since visiting Elm Row in the 1930s, she wrote, in my heart I longed to have a work of mine in your house & in the lovely company of ptgs by BN Winifred Kit Wallis & so on. I longed to give you something; but to do so without seeing your face light up, as it did with Ben's, seemed like buying myself a place. 63 Ede apologised, not entirely convincingly ('Perhaps I was specially unconscious about sculpture & gazed at it perplexed – while a painting struck home at once'), 64 but the rift was mended and Ede purchased Hepworth's slate Three Personages (1965). Last of all, he succeeded in purchasing Brâncuși's, polished concrete Prometheus (1912) from Vera Moore, placing it on Helen's piano. To design Kettle's Yard's extension, Ede approached Leslie Martin, first Professor of Architecture at Cambridge University, who had already created a library and music room for Helen Sutherland at Cockley Moor. The project was overseen by David Owers, a young partner at Martin's practice, who mediated between Ede and the University. Owers recalled Ede's initial attempt at moving items back into the new spaces: some areas were cluttered, others bare. 'Second time around it was almost … picture perfect.' 65 The extension was opened on 5 May 1970 by HRH the Prince of Wales, then in his final year at Trinity College, Cambridge. In the 63 Barbara Hepworth, letter to Ede, Easter Sunday 1968, Kettle's Yard Archive, KY/EDE/1/7 H.35.89. 64 Ede, letter to Barbara Hepworth, 16 April 1968, Tate Archive, TGA 20132/1/48/14, quoted in Freeman, p.264. 65 David Owers, interview with Robert Wilkinson, 8 May 2008, MYKY 11, quoted in Freeman, p.269 21

• Cover