The history of the building which today houses Scarborough Art Gallery began in 1828, when local solicitor and Town Clerk, John Uppleby, in partnership with local builders John Barry and his brother William, bought the land on which The Crescent would be built from the wealthy local banker and shipowner, John Tindall. In 1830, the York architect Richard Hey Sharp and his brother Samuel were commissioned to draw up plans for the site.
Crescent Villa was the last of the villas to be built, erected in 1845 as a home for John Uppleby and his family. After John’s death in 1856, his wife and family continued to live in the house until her death in 1881, at which time it was bought by Edward Chivers Bower, father of the sculptor Lady Ethel Alice Chivers Harris and the great grandfather of Katharine, Duchess of Kent.
Bower renamed the house ‘Broxholme’ after his family seat near Doncaster.
Following Henry Donner’s death, the house was purchased by Scarborough Corporation in 1942 for £3000 and for five years was used as a welfare clinic and children’s nursery. The clinic moved out in February 1947 and the Corporation decided to turn the building into a public art gallery.
The permanent collection includes paintings donated by famous hotelier Tom Laughton, the brother of the film star and actor Charles Laughton.
Detail from a 1931 map of Scarborough by Edward Bawden – Scarborough Museums Trust collection
Both Eric Ravilious and Edward Bawden, who were close friends, became acquainted with Tom Laughton, who acted as a patron, particularly to Bawden and commissioned pieces from him to adorn his hotels.
I visit Scarborough at least once a year – travelling by train from my home in Stockport and one occasion cycling from Hull.
Whilst visiting, a visit to the gallery is almost de rigueur.
This year I had a particular interest in the gallery’s photographic exhibition Squaring The Circles
The works on show demonstrate radical and experimental investigations into the process of making photographs. From cyanotypes and daguerreotypes to pinhole and cameraless imagery, the exhibition blurs the boundaries between art and photography, resulting in an expressive, otherworldly, and inspiring display.
Exhibiting photographers include Takashi Arai, Angela Chalmers, David Chalmers, Susan Derges Hon FRPS, David George, Joy Gregory Hon FRPS, Tom Hunter Hon FRPS, Ian Phillips McLaren, Céline Bodin and Spencer Rowell.
Curated by Zelda Cheatle Hon FRPS.
I turned up paid my three pounds for an annual pass and looked around.
This is what I saw inside and out.
Angela Chalmers
Tom Hunter
Tom Hunter
Susan Derges
Céline Bodin
Tom Hunter
The show’s full title was Squaring the Circles of Confusion – here’s some information to dispel the confusion
Having taken a particular interest in this particular piece of public art for some time – I need to go and take a little look.
But what will we see along the way, as we hasten along Rochdale Road?
Which once looked like this, way back when in 1904.
Though some things inevitably come and go, as some things are prone to do.
The city is undergoing yet another reinvention as Manchester becomes – an attractive place to invest and do business.
See, I am doing a new thing!
Now it springs up; do you not perceive it?
I am making a way in the wilderness and streams in the wasteland.
Isaiah 43:19
Once there was a gas works here – adjoining Gould Street, seen here in 1958.
The Gould Street Gas Works was a gas manufacturing plant located in Manchester, England. Originally built in 1824, the plant was operated by the Manchester Corporation Gas Department and was in operation from 1833 to 1969. It was named after the street on which it was located, which was named after John Gould, who was a prominent Manchester businessman in the 19th century.
The Gasworks New Town neighbourhood is one of seven envisioned by the £4bn Victoria North masterplan. It will feature nine buildings ranging from 8 to 34 storeys. The 6.6-acre site has most recently been home to a car park but the green development will overwhelmingly prioritise walking and cycling over driving. It will result in tens of millions of pounds being pumped into the city’s economy over the lifetime of the development.
Plans for a trailblazing city centre regeneration scheme that will create more than 1200 homes has been approved by Manchester City Council.
A total of 85 of the 1200, will be affordable homes available through Shared Ownership.
Though as of March 31st 2023 ground is yet to be broken, no signs of the:
New centre of gravity for central Manchester that will create thousands of jobs and inject tens of millions of pounds into the city’s economy.
So you zig-zag wanderers, make the most of these wide open expanses of affordable car parking, while you can.
The future may yet be here today – or the next.
Let’s duck under the railway, through this sad damp pedestrian tunnel – the domain of the cash strapped daytime drinker, transient tagger and disaffected leaflet distributor.
Next thing you know you have emerged into the daylight on Dalton Street – we have been here before seeking the Collyhurst Cowboy.
Photograph: Dennis Hussey
Onwards to Eastford Square.
The shops and maisonettes are due to be demolished any day now – no longer to gaze open-eyed upon the former quarry of Sandhills.
Around the front the diggers have been a digging – digging up around the base of the totem.
The work is to be re-sited by the nearby tower blocks.
The end is nigh.
Heading now for Collyhurst Road and the Irk Valley – seen here in 1960.
Looking back on the Square and the Dalton Street flats – Humphries, Dalton, Roach, Vauxhall and Moss Brook Courts under construction.
Vauxhall Street now but a shadow of its former self – the last traces of industry long gone.
Reclaimed over time by trees and dense underbrush.
Crossing Collyhurst Road and up and over the railway via Barney’s Steps also known as the Lowry Steps.
LS Lowry
By the late 1950’s the whole of this area which we called Barney’s Tip became a refuse tip for Manchester City Council.
The area is in the process of being reconfigured as a delightful country park.
The investment will also help develop an initial phase of the planned City River Park incorporating St Catherine’s Wood as part of a network of public open space, including improvements along the River Irk and works to improve flood resilience, unlocking the potential of the Irk Valley that will characterise the wider Northern Gateway project.
The first phase of the City River Park will begin work to transform former railway architecture to develop the new Viaduct Linear Park north of Victoria Train Station, new stepped public realm space – Red Bank Terraces, along with new green space by the River Irk and the key improvements to St Catherine’s Wood.
Collingham Street is lined with trucks, trailers, stalls and mobile homes.
But there’s nothing temporary about this Cheetham Hill neighbourhood; most residents have lived here for years and many plan to spend the rest of their lives here.
Founded more than forty years ago, it was created by the Showman’s Guild of Great Britain – and it’s reserved exclusively for fairground workers both retired and current.
Built on Queens Road tip, a former rubbish dump, and rented out by Manchester Council, many of the 52 homes belong to older retired showmen or families for whom an itinerant lifestyle has become more challenging.
It’s a close-knit community with a unique shared history.
Though not without its own particular issues it would seem, according to the MEN.
The licensing out of hours team has received noise complaints relating to the premises which was found to be open beyond permitted hours when visited. Officers also identified breaches of the Health Act during inspections in which people were seen smoking shisha pipes in an enclosed extension at the back.
We will leave the Flamingo be and head back into town – but not without giving a nod to this confusing collision between this self-made scrapyard-man chic gate and the ever changing skyline of overheated urban regeneration.
The new creation has come: The old has gone, the new is here!
Prifysgol Aberystwyth University – Penglais CampusSY23 3AH
Led by London Welshman Hugh Owen, a small group of patriots sought from the 1850s onwards to raise enough money by public and private subscription to establish a college of university status in Wales. A project of enormous ambition, the University opened its doors in 1872 initially with a handful of teachers and just twenty five students in what was then a half-finished hotel building – the Old College on the seafront.
The first decade presented many challenges for the University’s survival. The generosity of a few individual benefactors and organised appeals for support from the ordinary people of Wales kept the University in being, and, perhaps more importantly, deeply rooted it in the minds and the affection of the Welsh people. A matter of considerable pride is that the University has made a significant contribution to the education of women, being one of the first institutions to admit female students.
Since those early days, Aberystwyth University has gone from strength to strength and now has more than 6,000 students and 2,000 staff. As the institution grew, its main campus moved from Old College on the seafront to Penglais Hill. This finely landscaped site enjoys spectacular views over the historic market town of Aberystwyth and the Cardigan Bay coastline. New buildings, including major arts and science developments, halls of residence, a magnificent Arts Centre and sports facilities are located here.
In 1935 Percy Thomas prepared a plan for the layout of a new campus, and was appointed as architect for the first three buildings to be constructed – Cledwyn, Pantycelyn and the swimming bath. This marked the beginning of the move away from the college by the sea to the college on the hill.
Built in a simple Georgian modern style, faced with Forest of Dean stonework, the building’s main entrance features a broad architrave adorned with low reliefs of agricultural scenes, and there are decorative circular stonework emblems in between the windows of the upper floor.
The carved stone work is by David Evans.
A Manchester-born sculptor who attended the Manchester School of Art, and won a scholarship to the Royal College of Art. After active service in the World War I, he resumed his studies at the Royal Academy, where he was instructed by Francis Derwent Wood. In 1922, he won the Landseer Prize and later went to work in the British School at Rome. He had been exhibiting at the Royal Academy since 1921. His works from the 1920’s are mainly highly stylised religious and mythological themes.
During his stay in the United States, he executed some significant work for public buildings in New York. The locations there included Rockefeller Center, Radio City, Brooklyn Post Office, a bank on Wall Street, St Thomas’s Church on Fifth Avenue.
Here are the four decorative panels placed higher on the building.
Immortalised in this elegant educational stamp set – designed by Mr Nicholas Jenkins of the Royal College of Art
To the right of the entrance this striking mosaic – action is ossified in the manner of a semi-permanent Pollock.
Aberystwyth Arts Centre is one of a number of campus buildings designed by Dale Owen of Percy Thomas Partnership, and completed in 1970-1972.
Built to a strongly horizontal design using grey granite aggregrate, the facade is essentially an overhanging rectangle framing of glass with an off-centre overhang. The position of the building providing unobstructed panoramic views over the main piazza style concourse and the sea beyond.
David began lecturing at Cardiff College of Art, later teaching and holding administrative posts at University College of Wales in Aberystwyth, retiring in 1988 as director of the department of visual art.
David Tinker was prominent in so many aspects of the visual arts in Wales throughout the second half of the 20th Century as a painter, sculptor, teacher, and stage designer.
Tinker is perhaps best known as one of three originators of the 56 Group with Eric Malthouse and Michael Edmonds, the new generation of young artists in Wales who were interested in modernism and keen to ally themselves to the international art world.
The 56 Group had no manifesto and for the most part they acted as an exhibiting co-operative; not all were abstract painters and their work was stylistically very different from one another, but all shared radical ideals. Their orderly revolt against the establishment was unique in the history of art in Wales.
They championed abstraction and allied themselves to European and American modernism, at a time when painters in Wales were being commended for recording the urban, rural and industrial face of Wales and its inhabitants.
As might be expected, the art establishment more readily accepted 56 Group avant garde works, and those artists who had been achieving some success as painters of the contemporary scene suddenly found themselves side-stepped, and labelled parochial.
The period 1966-1974 saw in his paintings a move toward hard-edged abstraction in which Tinker employed geometry-based structures, simple arithmetical problems, colour mixed from a restricted palette, and gentle tonal gradation.
Recently opened and on for a while, I was here first thing Saturday morning – here are the details of Colour is Mine.
Althea McNish was the first Caribbean designer to achieve international recognition and one of the most influential and innovative textile designers in the UK. Drawing on extensive new research, this exhibition explores McNish’s extraordinary career and her transformative impact on mid-century design, along with her enduring influence today. Highlights include items from McNish’s recently uncovered personal archive – much of which has never been seen before. Also on display will be examples of McNish’s original designs alongside her most celebrated textile and wallpapers.
Althea McNish: Colour is Mine is a touring exhibition from the William Morris Gallery, London, and has been curated by Rowan Bain, Principal Curator at the William Morris Gallery and Rose Sinclair, Lecturer in Design Education at Goldsmiths, University of London. Althea McNish: Colour Is Mine is part of a three-year research, exhibition and archiving project generously supported by the Society of Antiquaries through its Janet Arnold Award.
Her work collided with new technologies in printing and fabrics, along with developments in design which were very much of their time: a freer more expressive approach to drawing and colour – using observational drawing from natural forms and geometric pattern
Typically employing the techniques of wax resist and a wandering Indian ink line.
Her work for the leading manufacturing and retail companies extended across fabric and dress design, wallpaper and accessories.
I urge you to go and see it – several times, the show is so wide ranging and joyous, a fitting testament to a creative life well-lived.
On the day of HM Queen Elizabeth’s Diamond Jubilee I cycled around Ashton under Lyne.
Recording and commenting upon the material changes which had occurred, during her reign of some sixty years. In turn many of these things have in themselves disappeared from view.
Life is a series of natural and spontaneous changes.
Don’t resist them; that only creates sorrow.
Let reality be reality.
Let things flow naturally forward in whatever way they like.
Lao Tzu
Celebrating the gradual decline in spelling – Gill Scot Heron meets Tameside, everyone’s a winner.
Celebrating the proliferation of California Screen Blocks, hanging baskets and vertical blinds.
Celebrating the Pound Shop a profusion of road markings and pedestrian safety barriers.
Celebrating High Visibilty Workwear and the proliferation of the logotype
Celebrating advances in Information Technology and the decline of the retail sector.
Celebrating advances in fly-posting, street skating, youth culture and musical diversity.
Celebrating the re-use of redundant banks, sun beds, tattooing and t-shirts.
Celebrating advances in charity chop furniture pricing and the proliferation of leather sofas.
Celebrating the proliferation of the shuttered window, babies and home made retail signage.
Celebrating niche marketing in the child-based, haircare market and developments in digitally originated vinyl signage.
Celebrating street art and British popular music and modern cuisine.
Celebrating Punk Rock, wheel clamping and British can-do!
Celebrating the introduction of decimal coinage, raffle tickets, cheap biros, affordable imitation Tupperware, raffles and the Union Flag
Celebrating the huge importance of Association Football, hazard tape, shuttered doors and the ubiquity of the traffic cone.
Celebrating the ever growing popularity of Fancy Dress.
Celebrating pub tiles, the smoking ban, the use of plywood as an acceptable window replacement material and the current confusion regarding Britishness and Englishness.
Celebrating satellite telly, faux Victoriana and the development of the one way traffic system.
Celebrating plastics in the service of the modern citizen.
Celebrating laser-cut vinyl, adhesive lettering, regional cuisine and the imaginative minds of those who name our modern retail outlets.
Celebrating the welcome Americanisation of our youngster’s diet – Slush you couldn’t make it up!
Celebrating the welcome Americanisation of our youngster’s diet – Slush you couldn’t make it up!
Celebrating the return of the £1 pint, here at Oliver’s Bar, formerly The Cavern, a superbly appointed Bass Charrington owned, underground pub.
My thanks to Emma Noonan for kindly appearing in the doorway.
Celebrating our ever widening range of ethnic cuisine and the use of the ingenious A4 laser-written poster montage.
Celebrating the wide variety of vernacular tribute bands – Reet Hot Chilli Peppers?
Celebrating the ever popular art of colouring-in and the wide availability of the felt tip pen.
This is a town with a visual culture defined by carefully created picture postcards – conjuring images from land, sea, sand and sky.
New technology arrives, dragging Llandudno from the sepia soaked past into the CMYK age!
So it’s only right and proper that the town should have an art gallery.
Oriel Mostyn Gallery was commissioned by Lady Augusta Mostyn after the Gwynedd Ladies’ Art Society asked her for better premises than their existing home, in a former cockpit in Conwy. The ladies’ gender prevented them from joining the Royal Cambrian Academy, also based in Conwy.
Designed by architect GA Humphreys, the new gallery opened in 1901. From 1901 to 1903, the gallery housed works by members of the GLAS. As a patron of the arts and president of the society, Lady Augusta was aware that the ladies needed more space to display their work and gave them the opportunity to rent a room in the new building.
Lady Augusta was keen for the gallery to be used by local people, so the society was asked to leave and a School of Art, Science and Technical Classes was set up. Alongside the many classes, there were art exhibitions, lectures. social events, and even a gallery choir and shooting range!
The current shop area was the location for a ‘Donut Dugout’ – a rest and recreation area for the many American servicemen in the town. Coffee and doughnuts were served and the men could read magazines from home.
After the war, Wagstaff’s Piano and Music Galleries occupied the building. In 1976 the artist Kyffin Williams, and others, suggested the building should become the proposed new public art gallery for North Wales. Architects Colwyn Foulkes supervised its restoration and it reopened, as Oriel Mostyn, in 11 August 1979.
Once the Post Office had vacated the adjacent building, expansion and development took place – Ellis Williams Architects were responsible for the design.
Acknowledged to be ‘one of the most beautiful galleries in Britain’, Mostyn in North Wales was an existing listed Victorian museum with two lantern galleries tucked behind a listed facade. We were appointed by Mostyn after winning the Architectural competition with a design combining a gallery space refurbishment with a gallery expansion and a new dramatic infill section linking new and old. The project has won a number of awards and increased footfall by over 60%.
Why not let your feet fall there soon – Oriel Mostynis open.
The very first time I visited the town as a child back in the early 1960s, it rained almost every day.
Subsequent visits have almost always been bathed in warm sunshine.
The original master plan would have swept away the Victorian Technical Institute and Salford Art Gallery.
Across the road are the Maxwell Buildings.
They were built between 1959 and 1960 to a design by the architect C H Simmons of the Lancashire County Architects Department.
The interior decorative order of Sixties’ institutions was integral to the architectural design, sadly this is no longer so.
The hall has a great musical heritage.
Featuring the Fast Cars who we have previously encountered in Swinton at the Lancastrian Hall.
Which may be the subject of ambitious redevelopment.
Take a turn around the corner to the Cockcroft Building.
The east facing mural painted out and obscured by retrofitted infrastructure.
These incised stone panels obscured by plants.
To the left is the Clifford Whitworth Library – this is the original architectural impression – signed Peter Sainsbury.
The original fascia was tile clad.
Subsequently replaced by uPVC boards.
Yet again the original interior was integral too the architectural scheme and period.
Across the way the Chapman Building.
It was designed by WF Johnson and Partners of Leamington Spa, as a lecture theatre block and gallery. It sits with its long axis running parallel to the railway behind. The series of grey volumes, occasionally punctuated by colourful floods of red and green trailing ivy, hang together in a less than convincing composition. The orientation and access to the building seem confused and detached from any cohesive relationship to the rest of the campus, but there is something perversely attractive about the right essay in the wrong language. The reinforced concrete building contained five lecture theatres, communal spaces, an art gallery, AV support areas and basement plant rooms. Following a major refurbishment in 2012, several additions were made to the exterior and its total concrete presence somewhat diminished. It still houses lecture theatres and a number of other learning and social spaces.
To the rear of the building there are some of the original details, now painted a series of funny colours.
A ways down the road the former Salford Technical College.
Now the part of the University of Salford, this grouping is probably the most significant work by Halliday Meecham during this period. The blocks wrap to almost enclose a courtyard and they step up in height towards the rear of the site. To the front is a lecture theatre block in dark brick. The multi-storey elements are straightforward in their construction and appearance and have had their glazing replaced. Perhaps the richest elements here are the three totemic structures by artist William Mitchell, which were listed at Grade II in 2011. Mitchell was actively engaged with the experiments of the Cement and Concrete Associations during the 1960s and produced a wide variety of works for public and private clients; other works regionally include the majority of the external art and friezes at Liverpool Metropolitan Cathedral and the Humanities Building at Manchester University. These textured concrete monoliths appear to have an abstract representation of Mayan patterns and carry applied mosaic. They were made on site using polyurethane moulds. There is another Mitchell work hidden behind plasterboard in the inside of the building.
April 1965 saw the Salford City Reporter proudly boast in an article that
The Ellor Street dream begins to come true – complete with interviews with residents of the newly constructed Walter Greenwood, Eddie Colman and John Lester Courts all which towered some 120 feet above the Hanky Park skyline.
These particular blocks of flats were of special significance because their completion was the end of the first stage of the Ellor Street redevelopment scheme which was to provide 3,000 new homes, the £10 million pound Salford Shopping Precinct and a new civic centre – which never got built – making this A Salford of the Space Age.
The tower blocks are now clad and the site a construction base for cladders.
Full details of Salford’s complex and extensive redevelopment can be found here at Tower Block.
Walter Greenwood Court was demolished in 2000/2001, whilst Eddie Colman and John Lester Court are now student accomodation for the nearby Salford University.
The construction of the shopping centre and surrounding areas continued and on 21 May 1970 the new Salford Market officially opened. From 1971 onwards new shops inside the precinct itself began to open.
However, due to a lack of funds and a political scandal which saw chairman Albert Jones jailed for eight months construction of Salford Precinct was halted. The site had only 95 shop units compared to the proposed 260, the hotel and two storey car park were never built.
The architectural core of the site has been retained, including the 23 storey Briar Court residential tower.
Tucked in behind is Mother of God and St James RC Church.
Clearances took place from the middle of the twentieth century and new high-rise housing blocks were built, as well as a shopping centre.
There was a Catholic presence in the area from 1854, when schools were built. What was described in The Tablet as a beautiful church, an Early English Gothic design by M. Tijou – presumably Herbert Tijou, architect of the chapel to Loreto College, Manchester, was opened by Cardinal Manning, Archbishop of Westminster in 1875.
One hundred years later this church was demolished and replaced by the present building.
The architects were Desmond Williams & Associates, the design bearing some similarity to their St Sebastian, Salford. In 2010 the church of All Souls, Weaste, was closed, and the marble sanctuary furnishings brought to the church.
Description
All orientations given are liturgical. The church is steel framed with brick walls and a monopitch roof (originally covered with copper, now with felt). Bold brick forms create a presence, and the design is somewhat defensive, with few windows. The building is entered from a lower porch which forms a narthex. The slope of the roof and the stepped clerestory lighting create a striking impression inside, and full-height windows towards the east end incorporate stained glass figures said to have originated in the previous church. Marble sanctuary furnishings are presumably those from the church in Weaste and appear to be of later twentieth century date, while the font is of traditional type with a clustered stem and may have come from the earlier church.
Returning to The Crescent the High Street Estateis all but demolished, save for one resident and their row.
This is an area which has seen a succession of clearances, redevelopment and shifts in demographics during a relatively short and intense period of change.
That process of change continues to hastily unfold.
The longest day the least snaps – preoccupied with the avoidance of the main road over to Eastbourne, we took an arduous route over the South Downs Way.
Further preoccupied by and appointment with John Nash at the Towner at One PM.
Firstly however a leisurely ride along the Undercliff – designed by Borough Engineer David Edwards as a public amenity, was begun in 1928 and opened in July 1933.
Mr Tim Rushton apprehends the view.
Sustrans have the habit of heading away from the A roads and onto the backstreets of Britain.
To fill in the gaps on our snap-less journey, here’s my previous trip.
Leaving the coast for the soft rolling Sussex hills, where we encounter the Litlington White Horse.
The Litlington White Horse is a chalk hill figure depicting a horse, situated on Hindover Hill in the South Downs, looking over the River Cuckmere to the west of the village of Litlington and north of East Blatchington in East Sussex.
The current horse was cut in 1924 by John T, Ade, Mr Bovis and Eric Hobbis in a single night and stands at 93 feet long and 65 feet high. A previous horse was cut in either 1838 or 1860 on the same site. Since 1991, the horse has been owned by the National Trust, who regularly clean and maintain the horse along with local volunteers.
Local legend suggests that the horse was originally cut as a memorial to a local girl whose horse bolted when riding along the brow of Hindover Hill, throwing her down the hill which resulted in her death.
However, there is no evidence to suggest this to be true.
Viewing from the air – the lone pursuit of the paraglider.
Viewing from Terra Firma the lone pursuit of the camo-bucket hatted cyclist.
Who subsequently discovers the heady heights of the Downs.
Which seem to have more in the way of ups than downs.
Though when the gradient eases, graced with the sweetest sweeping green bowls.
The nave is 12th Century, with a later 13th Century chancel and north aisle.
Most windows are 14th or 15th Century.
A C11 carving shows Viking influence.
Having descended, we are now faced with another lengthy ascent and the prospect of our late arrival in Eastbourne.
Against all odds we are almost on time and permitted entry to the John Nash Exhibition.
The Landscape of Love and Solace.
Harvesting printed at The Baynard Press for School Prints Ltd.
Ascending with ease in the capacious elevator.
A wonderful show – so much to see, prints and watercolours in superabundance.
Followed by tea and a bun in the smart café.
We hastened to Hastings, pausing briefly to say hello to Pauline, then onward to Rye.
Once again walking the climbs, before dropping down to Winchelsea, where we were met by a relentless easterly headwind.
Our weary legs propelling us ever so slowly through an area of marsh and shingle, softly edged by the sea.
On 15th November 1928 at 6.45am the ‘Mary Stanford’ lifeboat with her crew of 17 was launched to save a stricken vessel. A south-westerly gale with winds in excess of 80 miles per hour was raging in the English Channel. Not one of these brave Rye Harbour men ever returned.
The impact of the disaster on the Rye Harbour community was devastating and deeply affected all who lived there. The disaster was also felt worldwide, and was front page news over the days that followed. The funeral was attended by hundreds including the Latvian Minister. An annual memorial service is held at Rye Harbour church to this day.
The Lifeboat House still stands, butwas never used again.
Mimmo RotellaBest known for his works of décollage and psychogeographics, made from torn advertising posters. He was associated to the Ultra-Lettrists an offshoot of Lettrism and later was a member of the Nouveau Réalisme, founded in 1960 by the art critic Pierre Restany.
Inspiration to all lovers of the torn poster, The Society of the Spectacle reduced to the exasperating Esperanto of the inexplicable.
Working towards the demise of the – autocratic reign of the market economy.
I wish to blur the firm boundaries which we self-certain people tend to delineate around all we can achieve.
My name is Kurt Schwitters – I am an artist and I nail my pictures together.
New things had to be made out of fragments.
Together they begin to define the realm of cut and paste collage technology, the chance encounter, the hastily arranged marriage and the jarring clash of culture and counter-culture.
They are my guiding lights – by which to live, look and learn, to loop the Möbius loop into an expanding geometry of new meanings.
The lines curve toward each other and intersect.
JCDecaux was founded in 1964 in Lyonby Jean-Claude Decaux. Over the years it has expanded aggressively, partly through acquisitions of smaller advertising companies in several countries. They currently employ more than 13,030 people worldwide and maintain a presence in over 75 countries.
Outdoor advertising, reaches more than 410 million people on the planet every day.
Another day another breakfast – reduced rations and rashers, the now inevitable hash brown and a far too common failure to recognise my preference for tinned tomatoes.
Soldier on.
Friday 31st July 2015 leaving town beneath the bright morning sun.
Following a shady lane.
Crossing a drain.
Noting one curious prefabricated concrete lean to too.
A beautiful coastal town with a regency feel which is ideal for visitors of all ages. Sat in the middle of spectacular countryside Sidmouth is home to beautiful beaches, stylish eating places and great shopping, with everything from unusual gifts, designer clothing and lifestyle goods available.
The day of my visit the Folk Festival was in full swing – I encountered hardened drunken cider drinkers, drunk in the park and more tie-dyed clothing, than you would consider it humanly possible to produce.
With a hey nonny no I left town – up a very steep hill.
At the top of the hill, I unexpectedly came upon an observatory.
It is both a historical observatory and home to an active amateur astronomical society. It is a centre for amateur astronomy, meteorology, radio astronomy, and the promotion of science education.
The observatory is regularly open to the public, staffed entirely by volunteers, and each summer hosts the South West Astronomy Fair.
Norman Lockyer was a Victorian amateur astronomer, who discovered the element Helium in the Sun’s corona in 1868 and was one of the founders of the science journal Nature in 1869. He became the director of the Solar Physics Observatory at South Kensington and the first professor of astronomical physics in the Normal School of Science – now the Royal College of Science, in 1887, he was knighted in 1897.
Using one’s own skill and ingenuity it is entirely possible to deduce that one arrived at such an august hill top observatory – at exactly X o’clock!
We’re now on the road to Beer, more of which in a moment first we’re on the way to Branscombe.
Characteristic Saxon chiselling on stones hidden in the turret staircase suggest the probability of an earlier, 10th century, Church on the site. Saint Winifred’s is among the oldest and most architecturally significant parish churches of Devon. The 12th century square central tower is one of only four completely Norman towers in Devon.
The church contains a rare surviving example of wall painting, dated about 1450 and discovered in 1911, the couple in this fragment illustrate Lust.
Sadly much of our ecclesiastical art was removed, destroyed or over painted during the Reformation, exacerbated by Cromwell and a general disdain for pictures and such.
Lust was also to be removed, destroyed or over painted.
The reverence for royal succession was and is actively encouraged.
The beautiful picturesque village of Beer is located on the UNESCO World Heritage Jurassic Coast in Devon. Surrounded by white chalk cliffs, the shingle beach is lined with fishing boats still bringing in their daily catches and is famous for its mackerel.
On the edge of the South West Coast Path, Beer has some of the most stunning coastal walks in the county, one of the best being from Seaton to Beer with dramatic views across the Jurassic Coastline. Beer was also named recently by Countryfile as the Top Picnic spot in the UK from Jubilee Gardens at the top of the headland, chose for its stunning view of the beach and village from the hillside.
A narrow lane leads to the bay, clogged with oversized Toytown motor cars, full of folk in search of something which they’re doing their level best to remove, destroy or over paint.
Toytown is home to Larry the Lamb,and his clever sidekick, Dennis the Dachshund. Each day a misunderstanding, often arising from a device created by the inventor, Mr. Inventor, occurs which involves Ernest the Policeman, the disgruntled Mr Growser the Grocer and the Mayor.
Delightful home compromised by the curse of the ubiquitous uPVC.
Whether you are looking for interesting attractions, wanting to explore stunning natural landscapes, experience thrilling outdoor activities, or just wanting somewhere to stay, eat or shop, you’ll find it all in Seaton.
I found a pie shop and a pastie.
I found an ironmongers with a Stymie Bold Italic/Profil fascia.
Frequented by men who tend to adopt a combative stance when confronted with displays of ironmongery.
I found the road to Lyme Regis and the Regent Cinema.
1985
The Regent Cinema opened on 11th October 1937 with Hugh Wakefield in The Limping Man. It was built for and was operated by an independent exhibitor.
Bristol based architect William Henry Watkins designed a splendid Art Deco style inside the cinema which has seating on a stadium plan, originally the seating capacity was for 560. It has a raised section at the rear, rather than an overhanging balcony. Lighting in the auditorium is of a ‘Holophane’ type, which changes colours on the ceiling. The proscenium opening is 35 feet wide. There was a cafe located on the first floor level.
In recent Years it has been operated by the independent Scott Cinemas chain. The Regent Cinema has been recently restored. From October 2000, English Heritage gave it a Grade II Listed building status.
2016 – Following the devastating fire at the Regent Cinema on Tuesday 22nd March, we can now confirm that the auditorium block of the Regent has been damaged beyond repair, and will have to be rebuilt. Damage to front of house areas is largely cosmetic, and will be attended to as part of the wider build scheme. We have every intention to rebuild the cinema to its former glory.
2019 – The WTW-Scott Cinema group is still actively engaged in a potential rebuild scheme for the Lyme Regis cinema. We’re currently working on our fourth set of design proposals, from which we need to reach the point where the rebuild scheme is both financially and architecturally viable. At present, we have not consulted with local authorities as there is little point in wasting everybody’s time presenting a scheme design that isn’t viable. New build cinemas are architecturally very complicated, and the Lyme Regis venue being a listed building presents challenges to overcome, all of which add significantly to any build schedule. Once we have a viable, workable scheme, we look forward to working with the local authority and Historic England to progress this.
The remainder of my time in Lyme was spent desperately seeking a bed for the night, to no avail. Following multiple enquiries and dead end directions to no-go destinations, I headed out of town.
Bridport bound – where I chanced upon a Pub/B&B the magnificent Lord Nelson where the owners allowed me to store my bike in the ninepin bowling alley.
I sat in the beer garden at the Lord Nelson and boozed – chatting to a local lad that worked in the local brewery, brewing the local beer, that was served in this very same local pub.
Palmers Ales are brewed in one of Britain’s oldest and prettiest breweries and have been since 1794. The only thatched brewery in the UK, Palmers sits adjacent to the river Brit just a mile from Dorset’s Jurassic Coast. All our fine ales are brewed using water from our own naturally rising spring.
Our Head Brewer uses only the finest Maris Otter malt and carefully selected whole leaf hops to produce ales in a way they have been made for generations. Palmers historic brewhouse has a traditional Mash Tun, an open top Copper, along with top fermentation, this is the way ale should be brewed.
I finished up somewhere else, sat outside chatting to someone else, about something else.
An alternate art trip devised by local art trippers Red Fodder.
We set forth from Huddersfield Station on Monday 13th January 2020 at the prearranged time of 14.00 hours. The weather was resolutely overcast and increasingly cold, with an ever present threat of rain.
Never to be knowingly deterred we made good progress around the town – we were hungry for art, the more contemporary the better.
Almost every avenue, alley and byway explored these are the snaps I snapped during our crazy Kirklees caper.
Along the way I added my own small contribution to the town’s contemporary art stock.
A veil was finally drawn over the afternoon’s cultural caprice with fine glasses of foaming ale in The Grove, where I finally came face to face with the Red Fodder folk for the very first time.
A church of the early 1960s, built before the Second Vatican Council on a traditional basilican plan. The design is striking and unusual, with an interesting combination of Gothic, classical and modern architectural motifs. The architect, Tadeusz Lesisz of Greenhalgh & Williams, is a little known figure but a designer of some interest. The church exhibits a scheme of sculpture, stained glass and mosaic on Marian themes, mainly by local designers, and retains almost all of the original furnishings and fittings in little altered state. It also retains furnishings from the late-nineteenth-century predecessor church.
The west front is very striking, the broad entrance arch enclosing a suspended aluminium figure of the Virgin by E.J. Blackwell of Manchester, who also executed the moulded artificial stone friezes.
The stained glass is by Charles Lightfoot, much of it to the designs of the architect, some incorporating glass from the previous church.
I’ve been to the Barbican before, wandering the walkways without purpose.
This is a whole new box of tiles, the search for a re-sited mural, a first time meeting with what would seem at once like an old and well-loved friend.
Dorothy Annan20 January 1900 – 28 June 1983
Was an English painter, potter and muralist, married to the painter and sculptor Trevor Tennant. She was born in Brazil to British parents and was educated in France and Germany.
Christmas 1944 – Manchester Art Gallery
Annan’s paintings are in many national collections, she is also known for her tile murals, many of which have been destroyed in recent decades. Only three of her major public murals are believed to survive, the largest single example, the Expanding Universe at the Bank of England, was destroyed in 1997.
Gouache Sketch
I was looking for her mural which illustrates the telecommunications industry – formerly of the Fleet Building Telephone Exchange Farringdon Road.
Michael Bojkowski
The murals were commissioned at a cost of £300 per panel in 1960. Annan visited the Hathernware Pottery in Loughborough and hand-scored her designs onto each wet clay tile, her brush marks can also be seen in the fired panels.
Charles Trusler
The building was owned by Goldman Sachs, who wished to redevelop the site and opposed the listing of the murals.
In January 2013, the City of London Corporation agreed to take ownership of the murals, and in September 2013 these were moved to a permanent location in publicly accessible part of the Barbican Estate. They are displayed in their original sequence within an enclosed section of the Barbican High Walk between Speed House and the Barbican Centre.
Commemorative Bowl
So following a discursive and somewhat undirected circumnavigation of the Center we were finally united – it only seemed polite to linger a while and take some snaps – here they are.
All towns have ghosts, none more so than Scarborough.
High atop a castle topped, wind whipped promontory, lies Anne Bronte, overlooking the harbour below, wayward Whitby whalers wail, lost fisher folk seek solace.
Its walls ache with traders past, scissors that no longer snip, click-less shutters, unlettered rock and loaves that no longer rise.
Layers of sun baked, peeling paint on brick, rendered almost illegible.
Adolfine Ryland worked as a printmaker, sculptor, painter and designer. Her practice across these different media was united by her keen-edged, modern style and inventive graphics. She had studied at Heatherley’s and at the Grosvenor School of Modern Art under printmaker Claude Flight.
Ryland’s main exhibiting venue was the Women’s International Art Club, where she showed from 1927 onwards, becoming a member from 1936 to 1954. She also undertook public commissions, and worked for London County Council designing low reliefs for a number of buildings, among them the School of Butchers and St Martin’s School of Art. Her reliefs for the art school, which still decorate the entrance, show students at work. But Ryland’s work is not always easy to identify as she sometimes signed herself ‘Koncelik’, her mother’s maiden name.
In 1987 the Michael Parkin Gallery in London held an exhibition Printmakers of the 20s and 30s and Adolfine Ryland. On show were Ryland’s paintings, drawings, prints, sculptures and designs for book jackets and posters. Amongst them were two designs advertising London Underground, which speak of an optimistic age of efficient, modern public transport to the new suburbs.
I was sauntering down Charing Cross Road on Saturday last, minding my own and everyone else’s business, then perchance I chanced upon a series of low reliefs, tucked neatly away in a nearby portal.
The London County College for the Distributive Trades – rightfully adorned with appropriate public art depicting the lasses and lads, going about their very practical business.
These are the work of Adolfine Ryland.
The building is currently in use as Foyles Bookshop.
Returning home, I did a little online research, turning these examples of her work. As is often the case with those figures considered to be on the margins of the big bad Art World, time and the subsequent neglect, conspire to leave little by way of evidence of their invaluable efforts.
For more years than I care to remember I have had an interest in Found Art.
The naturally occurring collision of printed material, the unseen hand and weather.
Our streets are literally littered with the stuff.
Conscious of the work of Kurt Schwitters, Hannah Hoch, Jasper Johns and Robert Rauschenberg, I’m conscientiously out and about in search of the unconscious.
Every town worth its salt should have a decent second hand book shop.
Stockport does.
Room at the Top – on the ever so elegant Market Square, centre of the Old Town and part of the ever enlarging nexus of vintage shopping.
Jane, John and Lynn offer a wide selection of books, records, art, ephemera, glass, toys, ceramics and almost all sorts, in their first floor eyrie of happiness.
Always at the most reasonable of prices – you can get a brew too!
So take an hour out to browse, pursue and lollygag in convivial surroundings.
