DOCSLIB.ORG

Annual Report 1986

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Annual Report 1986 NOl HAD 1986 ANNUAL REPORT National Gallery of Art . All rights reserved. No part of this publication may be reproduced without the written permission of the National Gallery of Art, Washington, D C. 20565 Copyright © 1987. Board of Trustees, National Gallery of Art This publication was produced by the Editors Office, National Gallery of Art, Washington Edited by Jill B. Steinberg Printed by Schneidereith & Sons, Baltimore, Maryland The type is Bodoni Book, set by Graphic Composition, Inc., Athens, Georgia Designed by Susan Lehmann, Washington Photo credits: cover, pages 1-3, 16, 148, James Pipkin; pages 7 and 22, William Shaeffer; other photographs, National Gallery of Art Photographic Laboratory ISBN 0-89468-101-X Page 1: Doorway from Treasure Houses of Britain exhibition Pages 2 and 3: The Waterloo Gallery, from Treasure Houses Page 148: The Jacobean Long Gallery from Treasure Houses CONTENTS 8 PREFACE 10 ORGANIZATION 14 DIRECTOR'S REVIEW OF THE YEAR 30 DONORS AND ACQUISITIONS 54 LENDERS 60 LOANS TO EXHIBITIONS 69 EDUCATIONAL SERVICES 69 Department of Public Programs 75 Department of Extension Programs 78 CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS 87 OTHER DEPARTMENTAL REPORTS 87 Curatorial 92 Division of Records and Loans 94 Changes of Attribution 94 Library 98 Photographic Archives 99 Conservation Division 102 Editors Office 103 Exhibitions Office 104 Department of Installation and Design 110 Gallery Archives 1 11 Photographic Services 113 STAFF ACTIVITIES AND PUBLICATIONS 123 MUSIC AT THE GALLERY 125 PUBLICATIONS SERVICE 126 BUILDING MAINTENANCE, SECURITY, AND ATTENDANCE 127 OFFICE OF PLANNING AND CONSTRUCTION 128 FINANCIAL STATEMENTS 141 ROSTER OF EMPLOYEES AND DOCENTS SSSBBB PREFACE The National Gallery's fiscal year ending 30 September 1986 was one of historic achievements on several fronts. I am delighted to re- port that the first public funding campaign the Gallery has ever undertaken, to endow the Patrons1 Permanent Fund, was completed successfully in December 1985 with more than $55 million in gifts committed, thereby exceeding our initial campaign objective of $50 million. This fund is devoted to enhancing the Gallery's acquisitions capabilities, and the first use of income occurred in December 1985 with the purchase of Rembrandt Peale's 1801 masterpiece, Rubens Peale with a Geranium. Private sector support, the cornerstone of the Gallery's collec- tions, was also clearly evidenced during the year by important gifts of works of art, most particularly the gift of 186 objects by Mr. and Mrs. Paul Mellon. For their continuing and inspiring generosity to this nation we extend our heartfelt thanks. We have continued our efforts to broaden the base of support for the Gallery in order better to reflect its national role. Contributors to the Patrons' Permanent Fund came from all parts of the country. In order to help sustain the momentum and involvement created by the campaign, the Board of Trustees established the Resources Planning Committee in February 1986. The Resources Planning Committee has as its focus meeting the long-range and on-going needs of the Gallery, and its members will help to identify and generate new and increased support for Gallery programs. In addition to the Gallery's five private Trustees and the Director, we are privileged to have the help of the following Committee mem- bers: Charles F. Adams of Dover, Massachusetts, Robert M. Bass of Port Worth, Theodore F. Brophy of Greenwich, Connecticut, Lois de Menil of New York City, Edward E. Elson of Atlanta, Katharine Gra- ham of Washington, Louis J. Hector of Miami, R. L. Ireland III of New York City, George F. Jewett, Jr. of San Francisco, Alexander M. Laughlin of New York City, Frederick R. Mayer of Denver, James S. Smith of New York City, John C. Whitehead of Washington, and Eleanor Wood Prince of Chicago. 8 One of the first actions taken by the Resources Planning Commit- tee was to create a new annual support group, The Circle of the Na- tional Gallery of Art. This national membership group, co-chaired by Katharine Graham and Robert H. Smith, has in only a few months made important and far-reaching contributions to the Gal- lery. A listing of Circle members appears under Donors and Acquisi- tions. The high level of activity at the Gallery that I have described was more than matched by the schedule of special exhibitions. The Trea- sure Houses of Britain, the most ambitious exhibition in the Gallery's history, was a highlight in a year which, with the continuing attrac- tion of the permanent collections, brought a record 8.7 million visi- tors through the Gallery's doors. During that same period another milestone occurred as the Extension Program audience soared to an estimated 170 million, an increase of some 44 million over fiscal year 1985. With the abundant rewards of this exciting year in mind, the Gal- lery looks forward to continuing to meet its challenging role as a vital cultural resource with an ever-increasing national and international audience. JOHN R. STEVENSON, President Henri Matisse, Pianist and Checker Players, Collection of Mr. and Mrs. Paul Mellon, 1985.64.25 9 ORGANIZATION Franklin D. Murphy The Chief Justice The Secretary of State, The Secretary of the of the United States, George P. Shultz Treasury, William H. Rehnquist James A. Baker III The Secretary of the John R. Stevenson Carlisle H. Humelsine Robert H. Smith Ruth Carter Stevenson Smithsonian Institution, Robert McCormick Adams BOARD OF TRUSTEES (as of September 1986) Franklin D. Murphy, Chairman The Chief Justice of the United States, William H. Rehnquist The Secretary of State, George P. Shultz The Secretary of the Treasury, James A. Baker III The Secretary of the Smithsonian Institution, Robert McCormick Adams John R. Stevenson Carlisle H. Humelsine Robert H. Smith Paul Mellon Ruth Carter Stevenson Paul Mellon, Honorary Trustee 10 AUDIT COMMITTEE Franklin D. Murphy, Chairman Robert H. Smith The Secretary of the Treasury, John R. Stevenson James A. Baker III Ruth Carter Stevenson FINANCE COMMITTEE John R. Stevenson, Chairman Carlisle H. Humelsine The Secretary of the Treasury, Franklin D. Murphy James A. Baker III Robert H. Smith The Secretary of the Smithsonian Ruth Carter Stevenson Institution, Robert McCormick Adams ART & EDUCATION COMMITTEE John R. Stevenson, Chairman Franklin D. Murphy The Secretary of State, Robert H. Smith George R Shultz Ruth Carter Stevenson Carlisle H. Humelsine J. Carter Brown TRUSTEES' COUNCIL Alexander M. Laughlin, Chairman Gordon Hanes Lois de Menil, Vice Chairman Pamela Harriman John C. Whitehead, Vice Chairman Louis J. Hector Arthur G. Altschul Lore Heinemann Perry R. Bass Robert L. Ireland III Donald M. Blinken George F. Jewett, Jr. Sallie Brophy Stephen M. Kellen Edward W. Carter Leonard A. Lauder Carroll J. Cavanagh Ronald S. Lauder Robert F. Erburu Sydney Lewis Thomas M. Evans Richard Manoogian John C. Fontaine Frederick R. Mayer John R. Gaines Arthur M. Sackler Jo Ann Ganz Baron Thyssen-Bornemisza Ann Getty Ian Woodner Evelyn D. Haas EXECUTIVE OFFICERS (as of September 1986) John R. Stevenson, President Carlisle H. Humelsine, Vice President J. Carter Brown, Director John Wilmerding, Deputy Director Henry A. Millon, Dean, Center for Advanced Study in the Visual Arts Philip C. Jessup, Jr., Secretary-General Counsel Joseph G. English, Administrator Sydney J. Freedberg, Chief Curator Daniel Herrick, Treasurer Joseph J. Krakora, External Affairs Officer DIRECTOR EMERITUS John Walker 11 1 uhk Vi: DIRECTOR'S REVIEW OF THE YEAR Ansel Adams photographs exhibited The year began with the opening of Ansel Adams: Classic Images, the first full exhibition of the seventy-five photographs chosen by Adams before his death to represent best what his work was all about. This "museum set," as Adams christened it, was installed in the West Building where it offered a rewarding and informative proximity to kindred images: landscape paintings from the Gallery's collection of the nineteenth and early twentieth century. To this core, lent by Pa- cific Telesis, we added a few of Adams' large-scale monumental prints, generously lent by his family. During the course of the exhi- bition, Virginia Adams donated a museum set to the Gallery. Her generosity calls to mind the parallel gift of Georgia O'Keeffe, who gave Alfred Stieglitz's key set of photographs in 1949. Old Master drawings from Stockholm An important exhibition of 118 master drawings from the fifteenth through the nineteenth century opened on 27 October. Diirer to De- lacroix: Great Master Drawings from Stockholm comprised sheets from the Swedish Nationalmuseum, which ranks with the British Museum, the Louvre, and the Albertina as one of the world's great graphics collections. In addition to wonderful sheets by such masters as Raphael, Leonardo, Titian, Griinewald, Rubens, Rembrandt, Claude, Poussin, and Watteau, the exhibition included eighteenth- century drawings by four Swedish artists, among them Elias Martins' perceptive An Art Auction in London. The exhibition in Washington was supported by Volvo North America Corporation. Collectors Committee annual meeting At their October meeting the Collectors Committee acquired for the Gallery Sam Francis' White Line (1958—1959). A deliberately engi- neered contrast between the density of color and the emptiness of white characterizes this first Francis canvas to enter the Gallery's collection. Formerly in an important California collection, White Line is a major addition to our holdings in American art of the 1950s. This year's meeting marked the tenth anniversary of the Col- lectors Committee, ably and energetically chaired since its inception by Ruth Carter Stevenson. Its members have given seventeen works 14 Sam Francis, White Line, Gift of the Collectors Committee, 1985.56.1 of art to the Gallery, and it is difficult to imagine our twentieth-cen- tury collection without their generous donations. Treasure Houses of Britain After six years of planning, one of the largest projects ever under- taken by the National Gallery came to fruition when The Treasure Houses of Britain: 500 Years of Private Patronage and Art Collecting opened on 3 November.
Load more

Recommended publications
  • The 10Th April of Spencer Walpole: the Problem of Revolution In
    ROYDEN HARRISON THE ioth APRIL OF SPENCER WALPOLE: THE PROBLEM OF REVOLUTION IN RELATION TO REFORM, 1865-1867 1 The ioth April 1848 is one of the most famous days in the history of the nineteenth century. The Chartists of London had screwed them­ selves up for a decisive trial of strength with the ruling classes. They found themselves outnumbered by the combined resources of the civil and military powers. They shrank back before the prospect of a collision with the vast forces of law and order and property com­ manded by the Duke of Wellington and Richard Mayne. What was to have been a triumphant demonstration of the overwhelming power and determination of the people, ended in the anything but triumphal progress of a few hired hackney coaches carrying a dubious petition. "The ioth April, 1848 will long be remembered as a great field day of the British Constitution", announced the Times. "The signal of unconstitutional menace, of violence, of insurrection, of revolution, was yesterday given in our streets, and happily despised by a peaceful, prudent, and loyal metropolis. That is the triumph we claim This settles the question. In common fairness it ought to be regarded as a settled question for years to come. The Chartists and Confederates made the challenge, and chose the field and trial of strength. They must stand by their choice. They chose to disturb the metropolis for the chance of something coming of it. They fished for a revolution and have caught a snub. We congratulate them on their booty, which we hope they will divide with their partners in Dublin.
    [Show full text]
  • Picturesque Architecture 2Nd Term 1956 (B3.6)
    Picturesque Architecture 2nd Term 1956 (B3.6) In a number of lectures given during the term Professor Burke has shown how during the 18th century, in both the decorative treatment of interiors and in landscape gardening, the principle of symmetry gradually gave way to asymmetry; and regularity to irregularity. This morning I want to show how architecture itself was affected by this new desire for irregularity. It is quite an important point. How important we can see by throwing our thoughts back briefly for a moment over the architectural past we have traced during the year. The Egyptian temple, the Mesopotamian temple, the Greek temple, the Byzantine church, the Gothic church, the Renaissance church, the Baroque church, the rococo country house and the neo- classical palace were all governed by the principle of symmetry. However irregular the Gothic itself became by virtue of its piecemeal building processes, or however wild the Baroque and the Rococo became in their architectural embellishments, they never failed to balance one side of the building with the other side, about a central axis. Let us turn for a moment to our time. Symmetry is certainly not, as we see in out next slide, an overriding rule of contemporary planning. If a symmetrical plan is chosen by an architect today, it is the result of a deliberate choice, chosen for being most suited for the circumstances, and not, as it was in the past, an accepted architectural presupposition dating back to the very beginnings of architecture itself. Today plans are far more often asymmetrical than symmetrical.
    [Show full text]
  • Deposition and Diagenesis of the Mississippian Lodgepole Formation, Central Montana
    RICE UNIVERSITY DEPOSITION AND DIAGENESIS OF THE MISSISSIPPIAN LODGEPOLE FORMATION, CENTRAL MONTANA by Susan E. jenks A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts Thesis Director's signature Houston, Texas May, 1972 3 1272 00197 2320 Deposition and Diagenesis of the Hississippian Lodgepole Formation, Central Montana Susan Jenks ABSTRACT The lower Mississippian Lodgepole Formation is exposed in central Montana in the anticlines which form the Big Snowy and Little Belt Mountains. Four sections averaging 130 feet in length were measured at the base of the Woodhurst Limestone, the uppermost member of the Lodge¬ pole. Three of the sections were located in the vestern end of the Big Snowy Mountains. These were composed of two major bioclastic and ooid grainstone units, and a succession of mudstones, wackestones, packstones and argillaceous dolomites and pellet grainstones and pelleted mudstones. Field, faunal, and petrographic evidence indicate these rocks were deposited in very shallow water, the grainstones in the form of carbonate sand shoals, the remaining rock types in a broad lagoon behind the shoals. One section was measured 70 miles to the west in the Little Belt moun¬ tains. Rocks here consist of crinoid grainstones and packstones, skeletal and ooid grainstones, mudstones, bryozoan packstones and wackestones, and calcareous shales. Evidence suggests these rocks formed down paleoslope from those in the Big Snowys, some of the sediments being deposited in deeper water in a normal marine shelf environment. A number of diagenetic processes affected the sediments after deposition. Morphology and distribution of cements and evidence of tim¬ ing relative to other diagenetic events indicate cementation of the carbonate sands took place in the intertidal or shallow subtidal environment soon after deposition.
    [Show full text]
  • The Industrial Revolution: 18-19Th C
    The Industrial Revolution: 18-19th c. Displaced from their farms by technological developments, the industrial laborers - many of them women and children – suffered miserable living and working conditions. Romanticism: late 18th c. - mid. 19th c. During the Industrial Revolution an intellectual and artistic hostility towards the new industrialization developed. This was known as the Romantic movement. The movement stressed the importance of nature in art and language, in contrast to machines and factories. • Interest in folk culture, national and ethnic cultural origins, and the medieval era; and a predilection for the exotic, the remote and the mysterious. CASPAR DAVID FRIEDRICH Abbey in the Oak Forest, 1810. The English Landscape Garden Henry Flitcroft and Henry Hoare. The Park at Stourhead. 1743-1765. Wiltshire, England William Kent. Chiswick House Garden. 1724-9 The architectural set- pieces, each in a Picturesque location, include a Temple of Apollo, a Temple of Flora, a Pantheon, and a Palladian bridge. André Le Nôtre. The gardens of Versailles. 1661-1785 Henry Flitcroft and Henry Hoare. The Park at Stourhead. 1743-1765. Wiltshire, England CASPAR DAVID FRIEDRICH, Abbey in the Oak Forest, 1810. Gothic Revival Architectural movement most commonly associated with Romanticism. It drew its inspiration from medieval architecture and competed with the Neoclassical revival TURNER, The Chancel and Crossing of Tintern Abbey. 1794. Horace Walpole by Joshua Reynolds, 1756 Horace Walpole (1717-97), English politician, writer, architectural innovator and collector. In 1747 he bought a small villa that he transformed into a pseudo-Gothic showplace called Strawberry Hill; it was the inspiration for the Gothic Revival in English domestic architecture.
    [Show full text]
  • Annual Report 2016
    Collecting Exhibiting Learning Connecting Building Supporting Volunteering & Publishing & Interpreting & Collaborating & Conserving & Staffing 2016 Annual Report 4 21 10 2 Message from the Chair 3 Message from the Director and the President 4 Collecting 10 Exhibiting & Publishing 14 Learning & Interpreting 18 Connecting & Collaborating 22 Building & Conserving 26 Supporting 30 Volunteering & Staffing 34 Financial Statements 18 22 36 The Year in Numbers Cover: Kettle (detail), 1978, by Philip Guston (Bequest of Daniel W. Dietrich II, 2016-3-17) © The Estate of Philip Guston, courtesy McKee Gallery, New York; this spread, clockwise from top left: Untitled, c. 1957, by Norman Lewis (Purchased with funds contributed by the Committee for Prints, Drawings, and Photographs, 2016-36-1); Keith and Kathy Sachs, 1988–91, by Howard Hodgkin (Promised gift of Keith L. and Katherine Sachs) © Howard Hodgkin; Colorscape (detail), 2016, designed by Kéré Architecture (Commissioned by the Philadelphia Museum of Art for The Architecture of Francis Kéré: Building for Community); rendering © Gehry Partners, LLP; Inside Out Photography by the Philadelphia Museum of Art Photography Studio A Message A Message from the from the Chair Director and the President The past year represented the continuing strength of the Museum’s leadership, The work that we undertook during the past year is unfolding with dramatic results. trustees, staff, volunteers, city officials, and our many valued partners. Together, we Tremendous energy has gone into preparations for the next phase of our facilities have worked towards the realization of our long-term vision for this institution and a master plan to renew, improve, and expand our main building, and we continue reimagining of what it can be for tomorrow’s visitors.
    [Show full text]
  • EDISON's Warriors
    EDISON’S WaRRIORS Christoph Cox Real security can only be attained in the long run through confusion. — Hilton Howell Railey, commander of the Army Experimental Station1 Simulantur quae non sunt. Quae sunt vero dissimulantur. — Motto of the 23rd Special Troops2 In “The Invisible Generation,” an experimental text from 1962, William S. Burroughs unveiled a proposal to unleash urban mayhem via the use of portable tape recorders. “Now consider the harm that can be done and has been done when recording and playback is expertly carried out in such a way that the people affected do not know what is happening,” he wrote. “Bands of irresponsible youths with tape recorders playing back traffic sounds that confuse motorists,” Burroughs gleefully imagined, could incite “riots and demonstrations to order.”3 Championing the productive (and destructive) powers of portable audio, “The Invisible Generation” is an emblematic text in the history of sound art and DJ culture. Yet, nearly 20 years earlier, Burroughs’s vision had already been conceived and deployed by none other than the United States Army, whose “ghost army,” the 23rd Special Troops, included several units dedicated to “sonic deception” and its results: enemy confusion and carnage.4 The first division in American Armed Forces history assigned exclusively to camouflage and deception, the 23rd was a military oddity. Despite the centrality of deception in the history of warfare from the Trojan Horse on, soldiers drilled in the West Point code of duty, honor, trust, and integrity were ill-suited to a life of simulation and dissimulation; and American officers tended to dismiss deceptive tactics as underhanded, a sign of weakness in every sense.5 It’s not surprising, then, that the 23rd consisted primarily of a population with an occupational predisposition to deception, invention, and fabrication: artists.
    [Show full text]
  • The London Gazette, Apkil 23, 1880. 2657
    THE LONDON GAZETTE, APKIL 23, 1880. 2657 Windsor Castle, April 20, 1880. Downing Street, Aj>ril21, 1880. THE Queen was this day pleased to confer the THE Queen has been pleased to appoint honour of Knighthood on Captain Thomas Cup- Colonel Sir George Pomeroy Colley, K.C.S.I., page Bruce, R.N., Superintendent of Packets, C.B., C.M.G., to be Governor and Commander- Dover. in-Chief of the Colony of Natal, and High Com- missioner for South Eastern Africa. Windsor Castle, April 20, i860. THE Queen was this day pleased to confer the Whitehall, April 21, 1880. honour of Knighthood on Algernon Borthwick, Esq. THE Queen has been pleased to constitute and appoint Colin James Mackenzie, of Portmore, Esq., to be Lieutenant of the Shire of Peebles, iu War Office, April 20, 1880. the room of Francis, Earl of Wemyss and March, resigned. THE Queen has been graciously pleased to Whitehall, April 21, ISStf. give orders for the following promotions in, and THE Queen has been pleased to give and grant appointments to, the Most Honourable Order of unto Joseph Shaw, Esq., who is actually and the Bath. entirely employed iu the Service of His Imperial To be Ordinary Members of the Civil Division Majesty the Emperor of Russia beyond the of the First Class, or Knights Grand Cross of the Queen's Dominions, Her Majesty's Royal licence said Most Honourable Order, viz. :— and authority that he may accept and \vearthe The Right Honourable Richard Assheton Cross. Insignia of the Third Class of the Order of St.
    [Show full text]
  • Final Weeks of Popular Jean Renoir Retrospective at the Museum of Modern Art
    The Museum of Modern Art For Immediate Release November 1994 FINAL WEEKS OF POPULAR JEAN RENOIR RETROSPECTIVE AT THE MUSEUM OF MODERN ART The Museum of Modern Art's popular retrospective of the complete extant work of director Jean Renoir (1894-1979), one of cinema's great masters, continues through November 27, 1994. Presented in commemoration of the centenary of the director's birth, the exhibition comprises thirty-seven works, including thirty-three films by Renoir and a 1993 BBC documentary about the filmmaker by David Thompson. Twenty-three of the works by Renoir have been drawn from the Museum's film archives. Many of the remaining titles are also from the Cinematheque frangaise, Paris, and Interama, New York. The son of the Impressionist painter Pierre-Auguste Renoir, Jean Renoir produced a rich and complex oeuvre that mined the spectacle of life, in all its fascinating inconstancy. In 1967 he said, "I'm trying to discover human beings, and sometimes I do." Although critics and scholars disagree on how to categorize Renoir's films -- some believe that his work can be divided into periods, while others argue that his films should be viewed as an indivisible whole -- there is no dissent about their integrity. His works are unfailingly humane, psychologically acute, and bursting with visual and aural moments that propel the narratives. - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 Highlights of the second half of the program include a new 35mm print of La Bete humaine (The Beast in Man, 1938), a powerful adaptation of a novel by Emile Zola, previously available in the United States only in 16mm.
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • The 2005 Parish Plan for Bramham in Times Future
    The 2005 Parish Plan for Bramham in Times Future FOREWORD Welcome to this first edition of the Bramham Parish Plan, the publication of which is the culmination of a programme of work started in February 2003, and in which every household in the village has had the opportunity to contribute.The plan set out before you represents the views of residents as to how we would like to see our village “in times future”. The plan reflects what the majority of Bramham people think is of the most importance, what things need to be preserved and what facilities need to be provided. Most importantly it provides an Action Plan setting out what the village has decided is needed, how it will be tackled, who will be responsible, when it is required by and how it will be funded. As such the publication of the Bramham Parish Plan marks not the end of a process, rather the beginning of an era of continuous enhanced community involvement. This in turn provides the Parish Council with a secure mandate to represent the village’s ideals when dealing with external bodies such as Leeds City Council and West Yorkshire Police. I would like to thank all those involved with the production of the Plan and the process which led up to it – the questionnaires, the Steering Committee, the Working Parties – there is a list of Acknowledgments at the end of the Plan. But most of all I would like to acknowledge the residents of Bramham who have embraced the concept of the Parish Plan with such enthusiasm, and who, in adopting the Plan, will enhance the community for the benefit of us all.
    [Show full text]
  • Hazelwood Park
    YORKSHIRE GARDENS TRUST Selby District Historic Designed Landscapes Project Hazelwood Park Report by Susan Kellerman and Dick Knight [June 2018] 1. CORE DATA 1.1 Name of site Hazelwood Park NB. The house known today as Hazlewood Castle, together with its historic park and estate, have undergone a number of variations in name and spelling over the last eight centuries. For the purposes of this report on the designed landscape, Hazelwood Park has been adopted, in line with the Historic Environment Record. Direct contemporary references will remain as in the original. 1.2 Grid reference SE4488339770 1.3 Administrative area Selby District of North Yorkshire (current), West Riding of Yorkshire (historic) Parish: Stutton with Hazlewood; Leeds 1.4 Current site designation Not on the Historic England Register of Historic Parks and Gardens of Special Historic Interest in England 2. SUMMARY OF HISTORIC INTEREST Hazelwood was the seat of the Vavasour family for over 800 years, from the time of Domesday until the estate was put up for sale in 1907 (Figures 1, 2). At that time, the estate of 3806 acres (1540.234 hectares) comprised Hazelwood Castle, St Leonard’s Chapel, gardens, parkland, woodland, farms, farmland (arable and livestock), cottages, etc. In addition to Hazelwood, the Vavasours owned manors and land across Yorkshire and in Staffordshire. Failing to find a buyer in 1907, the Castle and the reduced estate of 1065 acres was again offered for sale in 1908. Subsequent changes of ownership led to further break-up of the estate, and culminated in the Castle itself becoming a hotel in 1997.
    [Show full text]
  • Complainte De La Butte Cover
    Complainte De La Butte Cover Is Waiter down or equatorial after presumptive Gustavus trouncing so harrowingly? Abdel fadges her worrying parlous, she wilily.grabbling it intermittingly. Tomkin outdo his haphazard gaged asunder, but untrampled Salmon never hysterectomizes so Use of montmartre, la butte sheet music is almost conversational, i liked the best in windows and instantly Rufus wainwright complainte de la complainte de la butte from moulin rouge comments on our use the music on one user is your contributions to desktop. Did you interest this one helpful? Paste a Spotify track URI or URL here below instead. La complainte de la butte. This business just a preview! La complainte de la butte digital Noten von Rufus Wainwright drücken. La complainte de la butte Tab Guitar Tabsvn. All the time. La complainte de la butte Lyrics En haut de la rue St-Vincent Un pote et une inconnue S'aimrent l'espace d'un instant Mais il ne l'a jamais revue Cette. It features on it features and interactive, i thought everything was so much more worth it is fun to all uses other than is your language vimeo. Ballade en vidéo sur une large sélection de la complainte de la butte as made famous by continuing to your account to credit all units. We do not have any tags for La Complainte de la Butte lyrics. No video available for rock song. La complainte de la butte; Titel oder Interpret suchen. We hope for the best in this case xhr. Rufus Wainwright La complainte de la butte Melodica Cover.
    [Show full text]