A Gypsy’s view of Life in the Forest

Article by Anthony Pasmore in ‘New Forest Notes’, New Milton Advertiser and Times, 05 April 2026

A Gypsy’s view of life in the Forest

Some time ago I received a request for permission to include, in a forthcoming publication, an extract from one of my late father’s books. The subject of the extract was the great freeze of 1962-3. I was happy to agree and thought no more about the matter.

Last month I received a copy of the new book – Living in a Kenner (house): My New Forest Romani Gypsy Family by Heather Cooper. If this was perhaps a book I would not have gone out of my way to buy, it was certainly a welcome change from the noxious stream of local authority reports and consultations from which I usually suffer. This was a book that I could actually read. It will be available from the New Forest Heritage Centre from 11th April.

I have to say straight away that I was brought up at a time when the Forest community lived in a state of constant cold war with the local Gypsy camps. Keepers, agisters and police were always trying to limit the activities of those who lived in the half dozen or so compounds. Landowners and residents nearby were in a perpetual state of fear of expected depredations on their property, real or imagined. Ms Cooper’s book therefore gives a rare opportunity to reflect on those days from the opposite side of the social fence which divided the Forest. Her story is derived largely from information supplied by her parents, who were raised in the Shave Green camp, although she herself was born after the compounds were closed down.

The book is a mixture of verse and stories covering life in the camps in the first half of the 20th century and then following her own family and others as they settled into, or struggled with, more conventional life after the 1960s. I am no judge of poetry, so I turned at once to the remaining text.

The Shave Green camp, as it was called, was in fact located in old sand pits on Brockishill, just west of the A337 half way between Lyndhurst to Cadnam. Why it should have been so named is unclear as Shave Green itself is actually nearly a mile further north.

Ms Cooper gives a vivid picture of life in the camp with all its difficulties and hardships, but also a great sense of community and mutual help amongst the residents. There was, for example, no water supply and water had to be collected from a tap a mile away. It follows, of course, that there was no modern sanitation. Accommodation was in flimsy huts made out of poles and fabric or, more luxuriously, in old vehicles. Cooking was in improvised stoves made out of old metal drums and the author tells us that remarkably good meals were produced.

The report of the New Forest Committee of 1947 describes the camps as then hardly reaching the standard of the Stone Age and that is not inconsistent with Ms Cooper’s account.

In those early post-war days, I lived very close to the Shave Green camp and, no doubt like most of the local children, I was warned to keep well away from Brockishill – especially when on my pony. I think this warning had more to do with the quantities of broken glass and sharp metal objects lying about than any direct threat to my safety. I followed the instruction to the letter and not until the camp had closed down did I see these dangers for myself.

Even as late as my early interest in Forest matters, complaints about Shave Green and the other camps came regularly before the Verderers. In 1951, Mr OT Price, a noted hunting gentleman, complained to the court of wire, six feet above the ground, strung between trees in the camp and potentially lethal to horsemen. Mr Terrance Despard of Bartley Manor was a regular complainant about alleged violations of his property by camp residents.

Ms Cooper sees these conflicts through entirely different eyes and that makes her writing unusual and historically valuable. Perhaps her view of Romani life is a little over-rosy in places, just as the recorded opinions of local people may be an exaggeration of the evils of the camp, but this was all a long time ago. Still, she does not shy away from noting some of the more bizarre aspects of camp and post-camp life. It was always alleged that when some residents of the Forest camps were re-housed in nearby villages, they used their new baths for storing coal. I thought this was probably a myth, and certainly the author does not mention it. She does, on the other hand, record the activities on one re-housed woman who was discovered using her WC for washing clothes in and extolling the virtues of this sanitary fitting as a valuable washing machine. Perhaps any of us might have done the same after half a lifetime trudging a mile each day for a meagre water supply.

To buy the book click on the book cover

Revealing Alf Witcher’s Chindit war story

Page from the Summer 2026 Chindit Society newsletter:

New Chindit-Related Books

In June 2025, an enquiry on the WW2Talk forum asked for information about Gunner 11273725 Alfred Witcher who had served with 69 Light Anti-Aircraft Regiment in India. Amongst those who replied was the Society’s own historian, Steve Fogden, who was able, alongside other forum members to work out Alfred’s wartime and indeed Chindit service.

Alfred had been posted to 69 LAA in November 1943 after his arrival in India and was then assigned on the 10th February 1944 to X Troop, with the task of manning a battery of the 40mm BOFOR Anti-Aircraft guns situated at each of the four Chindit strongholds during Operation Thursday.

As are the vagaries of war, Alfred was suddenly re-posted to Z Troop and was due to fly into Burma (Aberdeen stronghold) aboard Dakota FL-540 on the 11th April, but in the end did not take this flight.

Fate had certainly intervened that day, as Dakota FL-540 crashed into the hills surrounding the Aberdeen stronghold, killing all but six of the 26 passengers and RAF crew aboard. This tragic story can be read in full within the Autumn 2025 edition of the Chindit Column.

After his great fortune on 11th April, Alfred Witcher (photographed below) continued his active service in India and Burma with 69 LAA until June 1945, when he was posted to the 85th Medium Regiment Royal Artillery, with whom he served up until his repatriation to the United Kingdom in May 1946.

The original search for information about Alfred’s WW2 pathway was instigated by book publisher, Jenny Knowles and wartime researcher, Shane McCormack on behalf of Alfred’s daughter, Heather Cooper, who was in the process of writing a book entitled Living in a Kenner, about her father’s and the Romani Gypsy community’s longtime association with the New Forest.

The book was launched at an event held at the New Forest Heritage Centre in Lyndhurst on the 11th April this year, exactly 82 years after Alfred’s fateful escape from boarding Dakota FL-540.

Author, Heather Cooper recalled:

‘My Dad grew up on Shave Green [compound] in the New Forest and went to war for over three years, serving in India and Burma.

After the war, Dad returned to Shave Green and built a new life together with my Mum, Harriet.

A few years later, the authorities started to move everyone out of the compounds. Mum and Dad, along with my older brothers and sister, were moved to a Nissen hut on Setley Plain, and then later to a house (a kenner) where I was born.

I’ve lived in caravans, a mobile home and a house with my husband, Burt.

We like to keep the traditional Romani ways alive and share them with others. This book is one way of doing that and I hope people will enjoy reading it and learning about our history.

To buy the book click on: Living in a Kenner: My New Forest Romani Gypsy Family

Equestrian Artist’s Inspiration

 

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An inspiring visit

to the

Russell-Cotes

Art Gallery & Museum

Bournemouth

 

 

 

Alan Langford contemplates ‘The Gypsy Horse Drovers’ by Lucy Kemp-Welch

It is a rare treat to visit the work that has inspired a painter, and in the company of that painter.

Alan Langford, equestrian artist and highly skilled graphic artist, invited a group of friends and fellow artists to visit the Russell-Cotes Art Gallery with him to see the large oil, ‘The Gypsy Horse Drovers’ by Lucy Kemp-Welch, painted in 1894 when Lucy was a student under Herbert Von Herkomer RA.

 

 

Lucy Kemp-Welch sketching The Gypsy Drovers on her paint box lid – Illustration by Alan Langford in his book ‘WELGORA

In his book WELGORA Alan wrote about the day when Lucy was inspired to do this painting:

‘The idea for this painting occurred to her when she saw the approach of a number of heavy-hoofed cobs, driven by tough-looking Romany riders along a muddy country lane, under a grey wintry sky. Rushing from her lodgings with palette and brushes in hand, and the lid of her paint box to serve as a paint board, she executed a swift and skillful composition as this irregular, rampant procession proceeded before her.’

 

One of the group inspecting the small head of a horse by Lucy Kemp-Welch. (On the other side of this picture is mounted Lucy’s paint box lid with the sketch for ‘The Gypsy Horse Drovers’)

The curator of the Russell-Cotes Art Gallery showed us the actual sketch on the paint box lid.

This stunning little oil sketch is a very special art work in itself, portraying movement and detail in a few quick strokes of the brush, with the texture of the rough wood adding a further dimension.

The paint box lid with Lucy’s quick painted sketch of the Gypsy Horse Drovers mentioned is displayed on the reverse of the picture of a horse’s head shown in this photo, also by Lucy Kemp-Welch.

I wasn’t quick enough to get a photo of the box lid, but … what better excuse to go to the art gallery and see it for yourself?

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Part of the scene depicted in ‘The Gypsy Horse Drovers’ by Lucy Kemp-Welch

Lucy went on to paint ‘The Gypsy Horse Drovers’ on an 8 foot long canvas – an enormous project for a diminutive young woman (she was in her early twenties) and in that Victorian time.

Alan explains in his book WELGORA how with trepidation Lucy presented the unfinished painting to be viewed by Herkomer, a man not averse to putting a huge black cross of paint across a student’s work if it was not to his approval!

But as Alan writes: ‘Herkomer was so impressed by ‘The Gypsy Horse Drovers’ that he recommended that Lucy submit it for the next Royal Academy Exhibition.

This she did, and it was hung in a good position just above the line and was quickly purchased by Sir Frederic Harris for £60.00.

At that time £60.00 represented a significant sum; Lucy would have been overjoyed.’

Barry Miles and Peter Frost discuss ‘Gypsy Horses’ by Lucy Kemp-Welch

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This was just the beginning of Lucy’s career, which included illustrating the children’s book, Black Beauty.

(There are links below to buy a beautiful edition of the book Black Beauty illustrated by Lucy Kemp-Welch and prints of the illustrations.)

Her large oil ‘Gypsy Horses’, also in the Russell-Cotes Gallery, is shown in this photo being admired by Barry Miles, author and watercolour artist, and Peter Frost, painter, professional printer and retired New Forest Verderer.

 

There is something different to see at every turn in the Russell-Cotes Gallery – paintings, marble busts, Japanese incense burners, memorabilia, painted ceilings, stained glass, mosaic work and bronzes, all collected by the Russell-Cotes over the years from 1880 to 1901. Once after a trip to Japan, they travelled back with over 100 packing cases full of art and collectables!

The museum and gallery building, East Cliff Hall, was gloriously designed to the directions of Merton Russell-Cotes, as a gift to his wife. Its late Victorian style mixes Moorish, Japanese and French influences, making for exotic and indulgent surroundings.

It’s easy to find a piece to sit in front of and savour, and it’s also easy to miss a dozen others, but this makes it worth visiting again and again.

 

Near life size boy in Parian ware

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Apart from the paintings, the artwork that particularly took my eye on this visit was a glazed Parian ware figure of a boy, dressed in lederhosen and Tyrolean hat.
I used to make ceramic models of people and the largest I made was quite a challenge at about 12 inches tall.
This nearly life size figure was used for advertising in a dairy shop in Austria.
How did the artist make such a perfectly detailed piece of such size and how was it transported from pottery to shop, and then from country to country to arrive at the Russell-Cotes Art Gallery?

 

A part of the painting ‘The Little Beggar’ by Laura Knight

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I was also intrigued by the story of Laura Knight, who in the early 1930s used to drive out to gypsy encampments and set up her ‘studio’ in the back of her Rolls-Royce.
Here you can see only a part of her large canvas ‘The Little Beggar’.
Laura Knight’s most notable work is ‘The Nuremberg Trial‘. This thought-provoking painting is at The Imperial War Museum, London.
This only touches on the artwork at the gallery and museum.
Next time you’re in Bournemouth, why not get away from the beach and walk up East Cliff to the art gallery and museum. It will be well worth it!