Autumn 2018 Newsletter
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Incomplete Systems
Incomplete Systems 1st april - 30th October, 2011 Burghley Sculpture Garden is delighted to host Julian Wild’s solo exhibition tonnes. Notwithstanding its physical presence, this work exhibits a spatial lightness, Incomplete Systems: a show in which the artist premieres a series of sculptures that due in large part to its skeletal and transparent structure, that implies volume, rather reveal a shift in his practice from pre-determined to more indeterminate forms. than mass. The concluding activity deals with ‘complete’ forms that are more strictly ordered, such as the spherical System No.18 Spring Greens also uses modular, linear construction, but translates it into a zig-zag New Shoot. journey around an ellipsoid-like form. The lack of symmetry in the travelling lines is heightened by the dramatically leaning installation of the sculpture, meaning it In using systematic techniques to explore sculpture in the round, Wild follows a appears to be about to roll off down the slope on which it has been installed. mechanistic cannon that began in the early Twentieth Century with Constructivist The implication of movement around the form, and in relation to its surroundings, artists such as Naum Gabo and Alexander Rodchenko. This approach subsequently contribute to a perceived lack of stasis. Complementing this sense of energy, is its achieved its most formulaic manifestation through the career of Sol LeWitt, which bright green powder coated surface that vibrates in the lush gardens of Burghley. gained momentum in the 1960s. His sculptures, being invariably composed by grids of open cubes, rely on entirely orthogonal relationships. In contrast, Wild’s particular Incomplete System marks the boundary between Wild’s more precise method of use of methodical and repetitive fabrication processes confers more organic forms making sculpture and an approach in which the outcome is less tightly controlled. -
Windows & Doors
p1 cover_Layout 1 03/03/2016 16:26 Page 1 BRIEFING Windows & doors www.spab.org.uk Double Glazed Secondary Glazing Hand made by skilled Cabinet Makers, our double glazed secondary glazing is designed and produced to be attractive and sympathetic to your property and to improve the thermal efficiency of your old windows. A simple, but unique idea we are very proud to offer. Call now on: 01529 497854 Email: [email protected] p3 contents_Layout 1 03/03/2016 16:27 Page 3 Contents 5 Introduction Douglas Kent, SPAB technical and research director BRIEFING 6 A valuable asset The case for retaining old windows and doors 8 Repair not replace Working with windows and doors 12 Thermal understanding An insight into thermal performance research Windows 14 Transparent beauty Singing the praises of handmade glass 17 Fittings and furniture & doors Preventing unwanted intruders while retaining history 19 Where new is necessary New window and door options for old buildings 22 Performance improvements Improving thermal performance without loss of character 27 Iron and steel Caring for metal windows and doors 30 Finishing first The need to select the right finish For further information about the organisations, research and policy documents mentioned in this Briefing, please visit spab.org.uk/briefing SPAB BRIEFING: WINDOWS & DOORS ISSN 2054-7684 Editor: Roger Hunt Design: Made In Earnest Advertising: Hall-McCartney Ltd Printing: Pensord The Society for the Protection of Ancient Buildings 37 Spital Square, London E1 6DY 020 7377 1644 [email protected] twitter.com/@SPAB1877 Cover: A Victorian facebook.com/SPAB1877 window, the original linkedin.com/groups/SPAB-4571466 glass is a vital component that adds A charitable company limited by guarantee registered in England and Wales. -
Survival and Revival: the Country House in the 20Th Century
Survival and Revival: The Country House in the 20th Century Start date 24 June 2016 End date 26 June 2016 Venue Madingley Hall Madingley Cambridge Tutor Dr Kerry Bristol FSA Course code 1516NRX073 Director of Programmes Emma Jennings Public Programme Co-ordinator, Clare Kerr For further information on this course, please contact [email protected] or 01223 746237 To book See: www.ice.cam.ac.uk or telephone 01223 746262 Tutor biography Kerry Bristol is senior lecturer in history of architecture at the University of Leeds, where she has taught since 1999. Her research interests encompass the history, historiography and methodologies of British and Irish architecture and sculpture between c.1600 and c.1840. Her special interests are British and European Neo-Classicism, patronage and the rise of the architectural profession, women as patrons and consumers in the long eighteenth century, and country house culture between the Elizabethan era and the present day (including their role as museums in the twenty-first century). She is currently researching and writing a book on everyday life in the eighteenth century at Nostell Priory and researching a study of public sculpture in Leeds and the West Riding. University of Cambridge Institute of Continuing Education, Madingley Hall, Cambridge, CB23 8AQ www.ice.cam.ac.uk Course programme Friday Please plan to arrive between 16:30 and 18:30. You can meet other course members in the bar which opens at 18:15. Tea and coffee making facilities are available in the study bedrooms. 19:00 Dinner 20:30 – 22:00 Session 1: Introduction: The Country House and ‘Heritage’ Before and After World War I 22:00 Terrace bar open for informal discussion Saturday 07:30 Breakfast 09:00 – 10:30 Session 2: Between the Wars. -
The Garter Room at Stowe House’, the Georgian Group Journal, Vol
Michael Bevington, ‘The Garter Room at Stowe House’, The Georgian Group Journal, Vol. XV, 2006, pp. 140–158 TEXT © THE AUTHORS 2006 THE GARTER ROOM AT STOWE HOUSE MICHAEL BEVINGTON he Garter Room at Stowe House was described as the Ball Room and subsequently as the large Tby Michael Gibbon as ‘following, or rather Library, which led to a three-room apartment, which blazing, the Neo-classical trail’. This article will show Lady Newdigate noted as all ‘newly built’ in July that its shell was built by Lord Cobham, perhaps to . On the western side the answering gallery was the design of Capability Brown, before , and that known as the State Gallery and subsequently as the the plan itself was unique. It was completed for Earl State Dining Room. Next west was the State Temple, mainly in , to a design by John Hobcraft, Dressing Room, and the State Bedchamber was at perhaps advised by Giovanni-Battista Borra. Its the western end of the main enfilade. In Lady detailed decoration, however, was taken from newly Newdigate was told by ‘the person who shewd the documented Hellenistic buildings in the near east, house’ that this room was to be ‘a prodigious large especially the Temple of the Sun at Palmyra. Borra’s bedchamber … in which the bed is to be raised drawings of this building were published in the first upon steps’, intended ‘for any of the Royal Family, if of Robert Wood’s two famous books, The Ruins of ever they should do my Lord the honour of a visit.’ Palmyra otherwise Tedmor in the Desart , in . -
News Release
NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 EXHBITION FACT SHEET Title; THE TREASURE HOUSES OF BRITAIN: FIVE HUNDRED YEARS OF PRIVATE PATRONAGE AND ART COLLECTING Patrons: Their Royal Highnesses The Prince and Princess of Wales Dates; November 3, 1985 through March 16, 1986, exactly one week later than previously announced. (This exhibition will not travel. Loans from houses open to view are expected to remain in place until the late summer of 1985 and to be returned before many of the houses open for their visitors in the spring of 1986.) Credits; This exhibition is made possible by a generous grant from the Ford Motor Company. The exhibition was organized by the National Gallery of Art, Washington, in collaboration v\n.th the British Council and is supported by indemnities from Her Majesty's Treasury and the U.S. Federal Council on the Arts and Humanities. Further British assistance was supplied by the National Trust and the Historic Houses Association. History of the exhibition; The suggestion that the National Gallery of Art consider holding a major exhibition devoted to British art was made by the British Council in 1979. J. Carter Brown, Director of the National Gallery, responded with the idea of an exhibition on the British Country House as a "vessel of civilization," bringing together works of art illustrating the extraordinary achievement of collecting and patronage throughout Britain over the past five hundred years. As this concept carried with it the additional, contemporary advantage of stimulating greater interest in and support of those houses open to public viewing, it was enthusiastically endorsed by the late Lord Howard of Henderskelfe, then-Chairman of the Historic Houses Association, Julian Andrews, Director of the Fine Arts Department of the British Council, and Lord Gibson, Chairman of the National Trust. -
Tangible - Intangible Heritage(S): an Interplay of Design, Social and Cultural Critiques of the Built Environment
TANGIBLE - INTANGIBLE HERITAGE(S): AN INTERPLAY OF DESIGN, SOCIAL AND CULTURAL CRITIQUES OF THE BUILT ENVIRONMENT • Paper / Proposal Title: The Stately Home Industry: The English country house and heritage tourism 1950-1975. • Author(s) Name: Michael Hall • University or Company Affiliation: University of Kent • Presentation Method. I would like to: i. present in person (with a written paper) • Abstract (300 words): In post-war Britain, shifts in political, economic, and societal structures meant that long- accepted attitudes towards national identity were forever altered. At the crossroads of these concerns was the English country house, which during this period came to symbolise a national heritage. Just as the peerage was systematically stripped of official political powers, agricultural production became uncompetitive and stripped most aristocratic families of their fortunes. The English country house, once a symbol of power and wealth, became a liability. Post-World War II Britain saw another series of shifts in economics and society. As the Empire began to disintegrate, a rise in national nostalgia took hold. Popular culture, bolstered by the BBC on both television and radio, turned to representations of aristocracy, monarchy, and the country house. Seizing an opportunity, a small group of aristocrats repositioned the country house and its role in society as a heritage asset, making it once again culturally relevant and fiscally viable. By taking advantage of increases in leisure time and automobile ownership—and adding ‘attractions’ to engage visitors beyond art and architecture—the country house became a new type of tourist destination. The successes at houses such as Longleat, Woburn Abbey, and Beaulieu were replicated by other country houses using techniques that were disseminated both officially— through workshops, conferences, and publications—and unofficially through networks of privilege and soft power. -
Giles Worsley, 'The “Best Turned” House of the Duke of Bedford', the Georgian Group Jounal, Vol. VI, 1996, Pp. 63–73
Giles Worsley, ‘The “Best Turned” House of The Duke of Bedford’, The Georgian Group Jounal, Vol. VI, 1996, pp. 63–73 TEXT © THE AUTHORS 1996 THE ‘BEST TURNED’ HOUSE OF THE DUKE OF BEDFORD Giles Worsley outhampton or Bedford House, as it later came to be known, was one of London’s great aristocratic houses, but it has largely been ignored by architectural historians, perhaps because it was demolished as long ago as 1800. Few accounts of mid-17th-century British Sarchitecture refer to it more than tangentially, and those that do assume that it was built after the Restoration.1 Careful examination of the documentary sources, however, shows that Southampton House was begun between 1638 and 1640 and built, although probably not fitted out, before the Civil War. This makes it one of the most substantial new houses to be built in England during the reign of Charles I and raises intriguing questions of authorship, for the sophistication of the design compares well with the works of Inigo Jones and John Webb.2 The house stood on what was then the northern edge of London, in the parish of St Giles- in-the-Fields, to the north west of Lincoln’s Inn Fields. It was a detached hotel particulier with rustic, piano nobile and attic storeys, hipped roof and dormers. Sir Roger Pratt noted that the whole building was of brick.3 Its south front, facing a forecourt and (from the 1660s) Bloomsbury Fig. 1. John Dunstall, Southampton House from the south, before 1693. British Library. 63 Square beyond, was eleven bays wide, the central seven bays slightly projecting. -
Copyrighted Material
05_138199 ch01.qxp 8/28/07 10:54 AM Page 4 1 The Best of England Planning a trip to England presents a bewildering array of options. We’ve scoured the country in search of the best places and experiences; in this chapter, we share our very personal and opinionated selections to help you get started. 1 The Best Travel Experiences • A Night at the Theater: The torch peppered with ivy-covered inns and passed from Shakespeare still burns honey-colored stone cottages. brightly. London’s theater scene is • Punting on the Cam: This is acknowledged as the finest in the Cantabridgian English for gliding world, with two major subsidized along in a flat-bottom boat with a companies: the Royal Shakespeare long pole pushed into the River Company, performing at Stratford- Cam’s shallow bed. You bypass the upon-Avon and at the Barbican in weeping willows along the banks, London; and the National Theatre on watch the strolling students along the the South Bank in London. Fringe graveled walkways, and take in the theatre offers surprisingly good and picture-postcard vistas of green lawns often innovative productions staged along the water’s edge. See p. 540. in venues ranging from church cellars • Touring Stately Homes: England has to the upstairs rooms of pubs. hundreds of mansions open to visitors, • Pub Crawling: The pursuit of the some centuries old, and we tell you pint takes on cultural significance in about dozens of them. The homes are England. Ornate taps fill tankards often surrounded by beautiful gar- and mugs in pubs that serve as the dens; when the owners got fanciful, social heart of every village and town. -
Heart of England 2020 20/5/70 7:48 Am Page 58
Heart of England 2020 20/5/70 7:48 am Page 58 HEART OF ENGLAND 223 STRATFORD UPON AVON Bill ensures you the warmest of welcomes at MOSS COTTAGE, a charming detached home situated just one mile from Shakespeare’s birthplace and the world renowned RSC theatres. Anne Hathaway’s cottage and Stratford racecourse are an easy 10 minute walk. There is free on-site parking and WiFi. Guests have access at all times. In a quiet location, ideal for touring the Cotswolds, also just 9 miles from Warwick Castle and a 35 minute drive to the NEC and Birmingham airport. Singles welcome at £65.00. WiFi access. 3 double/twin ensuite CHILDREN 12+ William Bruce, Moss Cottage, 61 Evesham Road, Stratford upon Avon, CV37 9BA www.mosscottage.org [email protected] ☎ 01789 294770 or 07791 399891 £90.00 per room 224 STRATFORD UPON AVON 2m MONKS BARN FARM is situated 2 miles south of Stratford on A3400. Dating back to the 16th century, the farm lies along the banks of the River Stour. The farmhouse has been modernised whilst retaining the character and offers first class amenities. Pleasant riverside walks to the village of Clifford Chambers. Centrally situated for visiting Stratford, Warwick and the Cotswolds. Credit cards accepted. WiFi access. 3 double/twin/single, all ensuite or private facilities CHILDREN ALL Rita Meadows, Monks Barn Farm, Shipston Road, Stratford upon Avon, CV37 8NA www.monksbarnfarm.co.uk [email protected] ☎ 01789 293714 or 07801 460058 £65.00 to £70.00 per room 225 STRATFORD UPON AVON 7m CHURCH FARM is a mixed working farm on the edge of a pretty and very quiet village, yet within easy reach of Stratford, Warwick, the Cotswolds and the Vale of Evesham. -
GHS NEWS 84 Summer 2009 3 GHS Events 2009/10
T H E G A R DEN NEWS HISTO R Y SOCIETY SUMMER 2009 84 events conservation agenda forum contents news news 2 GHS events 2009/10 4 conservation notes: England 7 The GHS Annual Essay Prize 2009 conservation notes: Scotland 11 agenda Re� ections on ‘A Brazilian Odyssey’ 14 The Winner and two Highly Commended Circe in Sampierdarena 18 entrants of this year’s annual Essay Prize were able Bonnington House & Jupiter Artland 19 to join us at this year’s GHS Summer Garden Historic Horticulture Quali� cations 20 Party, at London’s Geff rye Museum. In the The New Centenary Garden, Bristol 21 re� ection of the soon to open Hoxton station The Mysterious Joseph Heely 21 (London Overground) which will make the Festival of Britain, South Bank 23 Museum even easier to get to, we were able to Ha-ha Invisible Once Again 25 enjoy the Prize’s administrator Katie Campbell’s Hortus Conclusus at Little Sparta 27 presentation in front of assembled members and other events 28 book notes guests, glasses in hand. Scotland for Gardeners 32 Judith Preston (last year’s runner up) submitted The Green Frog Service 33 A Polymath in Arcadia: Thomas Wright 1711–86. HGF Guidebook Prize 33 Wright, best known as an architect and astrologer, forum was also a landscape designer providing gardens Major Accessions to Repositories 34 for many of the buildings he designed, and had Pitzhanger Manor & Walpole Park 35 in hand a treatise on gardens, some hundred or Pulham’s Ornamental Pots 35 so pages of which survive, and were the basis of George Dillistone (1877–1957) 36 much of the original research in this essay as well Stanway’s ‘Spectacle Wall’ 36 Lottery Funding Update 37 as contemporary correspondence and publications, forum updates which set his life and work in the context of re: Jellicoe … under threat 38 his peers and analysed the many sites he was re: Folly Bridge, Bewdley 38 associated with. -
GHS at 50 the GARDEN News HISTORY SOCIETY
GHS at 50 THE GARDEN news HISTORY SOCIETY 11th Annual Essay Prize, 2015 Congratulations contents summer 2015 The 2015 annual GHS essay prize has been won by news 2 Josepha Richard from Sheffield University, for her Interview with Dominic Cole, OBE 4 fascinating essay Uncovering the Garden of the Richest Timeline: 50 years of the GHS Man on Earth in Nineteenth-Century Guangzhou: 1965 9 Howqua’s Garden in Henan China. This essay is of 1970 12 particular interest as very little work has been done 1975 14 on early nineteenth century Chinese horticulture by 1980 16 either Western or Eastern garden historians. The 1985 17 merchant’s gardens of Canton (Guangzhou) were 1990 19 often the only Chinese gardens encountered by 1995 21 Europeans, as most foreigners at the time were 2000 23 forbidden to travel beyond the port city. While these 2005 24 gardens were described in visitors’ diaries, paintings 2010 27 and early photographs, Richard has examined 2015 31 Chinese as well as European sources, to provide a news (continued) 32 conjectural reconstruction of the grandest and most GHS Events Diary 32 famous of Canton’s merchant gardens. The judges were particularly impressed by Richard’s scholarly approach, the range of references she unearthed, and her thoughtful, and convincing, analyses of what is often mere scraps of information. Melanie Veasey of Buckingham University was also Highly Commended for her essay The Richest Form of Outdoor Furniture: The Open Air Exhibition of Sculpture at Battersea Park, 1948. This detailed exploration makes excellent use of primary sources, particularly the archives of the London County Council, to examine the legacy of this seminal outdoor sculpture exhibition which introduced the British public to contemporary art, created a fashion for open air sculpture and established the reputation copy deadlines of Henry Moore. -
News Release
NEWS RELEASE FOURTH STRFFT AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 Revised: July 1985 EXHIBITION FACT SHEET Title: THE TREASURE HOUSES OF BRITAIN: FIVE HUNDRED YEARS OF PRIVATE PATRONAGE AND ART COLLECTING Patrons; Their Royal Highnesses The Prince and Princess of Wales Dates: November 3, 1985 through March. 16, 1986. (This exhibition will not travel. Most loans from houses open to view are expected to remain in place until the late suitmer of 1985 and to be returned before many of the houses open for their visitors in the spring of 1986.) Credits: This exhibition is made possible by a generous grant from the Ford Motor Company. The exhibition was organized by the National Gallery of Art, Washington, in collaboration with the British Council and is supported by indemnities from Her Majesty's Treasury and the U.S. Federal Council on the Arts and the Humanities. Further British assistance was supplied by the National Trust and the Historic Houses Association. British Airways has been designated the official carrier of the exhibition. History of the exhibition; The idea that the National Gallery of Art consider holding a major exhibition devoted to British art evolved in discussions with the British Council in 1979. J. Carter Brown, Director of the National Gallery of Art, proposed an exhibition on the British country house as a "vessel of civilization," bringing together works of art illustrating the extraordinary achievement of collecting and patronage throughout Britain over the past five hundred years. As this concept carried with it the additional, contemporary advantage of stimulating greater interest in and support of those houses open to public viewing, it was enthusiastically endorsed by the late Lord Howard of Henderskelfe, then-Chairman of the Historic Houses Association, Julian Andrews, Director of the Fine Arts Department of the British Council, and Lord Gibson, Chairman of the National Trust.