East Rounton Grange Historic Report
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The Image of Chemistry Presented by the Science Museum, London in the Twentieth Century: an International Perspective
The Image of Chemistry Presented by the Science Museum, London in the Twentieth Century: An International Perspective Peter Morris Abstract: How has chemistry been presented at the Science Museum, London, during the 20 th century? After an overview of the history of the Science Muse- um and its chemistry galleries, four galleries are considered in depth (1906, 1926, 1977, and 1999). The importance of the curators’ external constituency of chemists and chemical educators is emphasized. The image of chemistry at the Science Museum has concentrated on the general utility of chemistry and chemistry as a skilful craft. The presentation has been low-key rather than boosterist. A comparison is made with the chemistry galleries at the Deutsches Museum. Chemistry in the Deutsches Museum has put more emphasis on hands-on exhibits and the chemical industry. Science and technology museums have promoted chemistry in a quiet but successful way for many years, but their influence may have waned along with chemistry kits. Keywords : presentation of chemistry in museums, chemistry collections, chemistry galleries, Science Museum, Deutsches Museum . 1. Introduction Before we examine the image of chemistry that has been presented by the Science Museum during the 20th century, it is worth asking if science and technology museums have any influence on the public’s perception of chem- istry. While the impact of museums is inevitably less than, say, the mass me- dia, they do attract large audiences: the Science Museum had 1.2 million visi- tors in the 1930s, a peak of 4.2 million visitors in 1980 and 2.6 million visitors in 2004. -
Textileartscouncil William Morrisbibliography V2
TAC Virtual Travels: The Arts and Crafts Heritage of William and May Morris, August 2020 Bibliography Compiled by Ellin Klor, Textile Arts Council Board. ([email protected]) William Morris and Morris & Co. 1. Sites A. Standen House East Grinstead, (National Trust) https://www.nationaltrust.org.uk/standen-house-and-garden/features/discover-the- house-and-collections-at-standen Arts and Crafts family home with Morris & Co. interiors, set in a beautiful hillside garden. Designed by Philip Webb, taking inspiration from the local Sussex vernacular, and furnished by Morris & Co., Standen was the Beales’ country retreat from 1894. 1. Heni Talks- “William Morris: Useful Beauty in the Home” https://henitalks.com/talks/william-morris-useful-beauty/ A combination exploration of William Morris and the origins of the Arts & Crafts movement and tour of Standen House as the focus by art historian Abigail Harrison Moore. a. Bio of Dr. Harrison Moore- https://theconversation.com/profiles/abigail- harrison-moore-121445 B. Kelmscott Manor, Lechlade - Managed by the London Society of Antiquaries. https://www.sal.org.uk/kelmscott-manor/ Closed through 2020 for restoration. C. Red House, Bexleyheath - (National Trust) https://www.nationaltrust.org.uk/red-house/history-at-red-house When Morris and Webb designed Red House and eschewed all unnecessary decoration, instead choosing to champion utility of design, they gave expression to what would become known as the Arts and Crafts Movement. Morris’ work as both a designer and a socialist were intrinsically linked, as the creation of the Arts and Crafts Movement attests. D. William Morris Gallery - Lloyd Park, Forest Road, Walthamstow, London, E17 https://www.wmgallery.org.uk/ From 1848 to 1856, the house was the family home of William Morris (1834-1896), the designer, craftsman, writer, conservationist and socialist. -
Heritage at Risk Register
CASTLE HOWARD MAUSOLEUM Castle Howard Estate, Ryedale, North Yorkshire The Mausoleum, by Hawksmoor, 1729-42, and modelled on the tomb of Metella, is a major feature of the Howardian Hills. Situated on a bluff east of Castle Howard. The columns were repaired with a grant in the 1980s. The entablature and bastions continue to decay. Much of the damage is due to rusting cramps. The staircase balustrade is collapsing. 304 HERITAGE AT RISK YORKSHIRE & THE HUMBER 305 Y&H HERITAGE AT RISK 2008 Of the 176 entries on the baseline 1999 Yorkshire and the Humber buildings at risk register, 91(52%) have now been removed. Although this is 6% higher than the regional average for 2008, our rate of progress is slowing. Of the five entries removed this year, only one was on the 1999 register. This is because the core of buildings remaining from the 1999 register are either scheduled monuments with no obvious use, or buildings with a problematic future that require a strategic re-think to provide a viable solution. Despite these problems, we are continuing to work with owners, local authorities, trusts and other funding bodies to try to secure the long-term future of these buildings and structures. Just over half (52%) of the regional grants budget (almost £500,000) was offered to eleven buildings at risk in the last financial year. There are four new entries this year: in North Yorkshire, St Leonard’s Church at Sand Hutton, and in West Yorkshire, Hopton Congregational Church in Mirfield,Westwood Mills at Linthwaite, and Stank Hall near Leeds.This gives a total of 122 Grade I and II* listed buildings and scheduled monuments at risk entries on the Yorkshire and the Humber register. -
Full Edition
THE UPPER WENSLEYDALE NEWSLETTER Issue 204 July 2014 Donation please: 30p suggested or more if you wish Published by Upper Wensleydale The Upper Wensleydale Newsletter Newsletter Editorial hear ‘Bainbrig’. Newcomers of course are Burnside Coach House, Two things might surprise you this month: amused that we go to Widdle on the B6255. Burtersett Road, Hawes DL8 3NT Issue 204 — July 2014 firstly, we are not writing about the Grand Now here’s the challenge; how about creat- Départ; we’ve enough bikey stuff! Our com- ing new names for people working in or Features mittee decided to do that after the event in things used in our local industries of cheese, Tel: 667785 August; secondly, since the last few editori- rope, tourism or local trades and retail? Or e-mail: [email protected] St Margaret’s Restoration 9 als have been a bit heavy, this is maybe a bit are there some already which we have missed. Some day in Hawes you might ____________________________ lighter. Have you noticed how a few words seem to bump into a ‘ropy’ in the station yard or a Printed by Wensleydale Press Blame it on Bartle 19 be everywhere? Take ‘devastated’ for exam- ‘curdy’ up Gayle Lane! Here comes the ________________ ____________ ple; so many situations seem to be plummy with a load of pipes! Look out for Committee: Alan S.Watkinson, W. Metcalfe & Sons 24 Barry Cruickshanks (web), Sue E .Duffield, ‘devastating’. As for ‘like’, some young peo- the Fall Guy to ask the way to Aysgarth ____________________________ Karen Jones, Alastair Macintosh, ple seem to manage to, like, get ‘like’ several Falls! Neil Piper, Karen Prudden, Competition 5 times in one breath! The internet generates Such words seem more friendly than the Janet W. -
The Vero Beach Museum of Art Presents
FOR IMMEDIATE RELEASE January 22, 2019 Contact: Sophie Bentham-Wood Director of Marketing and Communications (772) 231- 0707 ext. 121 [email protected] VERO BEACH MUSEUM OF ART PRESENTS VICTORIAN RADICALS: FROM THE PRE-RAPHAELITES TO THE ARTS & CRAFTS MOVEMENT On View February 9 - May 5, 2019 Vero Beach, FL (January 20, 2019) – The Vero Beach Museum of Art is pleased to present Victorian Radicals: From the Pre-Raphaelites to the Arts & Crafts Movement, an exhibition organized by the American Federation of Arts and Birmingham Museums Trust, on view February 9 – May 5, 2019. In the second half of the nineteenth-century, three generations of artists and designers revolutionized the visual arts in Britain by engaging with and challenging the new industrial world around them. The Pre-Raphaelite Brotherhood and the champions of the Arts & Crafts Movement offered a radical artistic and social vision that found inspiration in the pre-industrial past and came to deeply influence visual culture in Britain and beyond. Drawn from the outstanding collection of the city of Birmingham, United Kingdom, Victorian Radicals: From the Pre-Raphaelites to the Arts & Crafts Movement will bring together an extensive array of works—many of which have never been exhibited outside the UK—to illuminate this dynamic period of British art. Featuring 140 works by pioneering artists including Ford Madox Brown, Edward Burne-Jones, William Holman Hunt, John Everett Millais, William Morris, Dante Gabriel Rossetti, and Elizabeth Siddall, Victorian Radicals will represent the spectrum of avant-garde practices of the Victorian era, emphasizing the response of Britain’s first modern art movement to the unfettered industrialization of the period. -
CHAPTER 1 Arrowheads
THE MILLENNIUM BOOK OF TOPCLIFFE John M. Graham The MILLENNIUM BOOK OF TOPCLIFFE John M. Graham This book was sponsored by Topcliffe Parish Council who provided the official village focus group around which the various contributors worked and from which an application was made for a lottery grant. It has been printed and collated with the assistance of a grant from the Millennium Festival Awards for All Committee to Topcliffe Parish Council from the Heritage Lottery Fund. First published 2000 Reprinted May 2000 Reprinted September 2000 Reprinted February 2001 Reprinted September 2001 Copyright John M. Graham 2000 Published by John M. Graham Poppleton House, Front Street Topcliffe, Thirsk, North Yorkshire YQ7 3NZ ISBN 0-9538045-0-X Printed by Kall Kwik, Kall Kwik Centre 1235 134 Marton Road Middlesbrough TS1 2ED Other Books by the same Author: Voice from Earth, Published by Robert Hale 1972 History of Thornton Le Moor, Self Published 1983 Inside the Cortex, Published by Minerva 1996 Introduction The inspiration for writing "The Millennium Book of Topcliffe" came out of many discussions, which I had with Malcolm Morley about Topcliffe's past. The original idea was to pull together lots of old photographs and postcards and publish a Topcliffe scrapbook. However, it seemed to me to be also an opportunity to have another look at the history of Topcliffe and try to dig a little further into the knowledge than had been written in other histories. This then is the latest in a line of Topcliffe's histories produced by such people as J. B. Jefferson in his history of Thirsk in 1821, Edmund Bogg in his various histories of the Vale of Mowbray and Mary Watson in her Topcliffe Book in the late 1970s. -
The Phosphorus Content of Fluvial Sediment in Rural and Industrialized River Basins
Water Research 36 (2002) 685–701 The phosphorus content of fluvial sediment in rural and industrialized river basins Philip N. Owens*, Desmond E. Walling Department of Geography, School of Geography & Archaeology, University of Exeter, Amory Building, Rennes Drive, Exeter, Devon EX4 4RJ, UK Received 3 August 2000; received in revised form18 April 2001; accepted 9 May 2001 Abstract The phosphorus content of fluvial sediment (suspended sediment and the o63 mmfraction of floodplain and channel bed sediment) has been examined in contrasting rural (moorland and agricultural) and industrialized catchments in Yorkshire, UK. The River Swale drains a rural catchment with no major urban and industrial areas, and the total phosphorus (TP) content of fluvial sediment is generally within the range 500–1500 mggÀ1. There is little evidence of any major downstream increase in TP content. In contrast, fluvial sediment from the industrialized catchments of the Rivers Aire and Calder exhibits both higher levels of TP content and marked downstream increases, with values of TP content ranging from o2000 mggÀ1 in headwater areas upstreamof the mainurban and industrial areas, to values >7000 mggÀ1 at downstreamsites. These elevated levels reflect P inputs frompoint sources, such as sewage treatment works (STWs) and combined sewer overflows. The influence of STWs is further demonstrated by the downstream increase in the inorganic P/organic P ratio from o2 in the headwaters to >4 in the lower reaches. Comparison of the P content of suspended sediment with that of the o63 mmfraction of potential source materialssuggests that topsoil from upland moorland/pasture and from cultivated areas, and channel bank material are likely to be the main sources of particulate P (PP) in the River Swale and in the headwaters of the Rivers Aire and Calder. -
William Morris and the Society for the Protection of Ancient Buildings: Nineteenth and Twentieth Century Historic Preservation in Europe
Western Michigan University ScholarWorks at WMU Dissertations Graduate College 6-2005 William Morris and the Society for the Protection of Ancient Buildings: Nineteenth and Twentieth Century Historic Preservation in Europe Andrea Yount Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the European History Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Yount, Andrea, "William Morris and the Society for the Protection of Ancient Buildings: Nineteenth and Twentieth Century Historic Preservation in Europe" (2005). Dissertations. 1079. https://scholarworks.wmich.edu/dissertations/1079 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. WILLIAM MORRIS AND THE SOCIETY FOR THE PROTECTION OF ANCIENT BUILDINGS: NINETEENTH AND TWENTIETH CENTURY IDSTORIC PRESERVATION IN EUROPE by Andrea Yount A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of History Dale P6rter, Adviser Western Michigan University Kalamazoo, Michigan June 2005 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS This reproduction is the best copy available. ® UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3183594 Copyright 2005 by Yount, Andrea Elizabeth All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. -
Arts and Crafts Movement
Arts and Crafts movement "Artichoke" wallpaper, by John Henry Dearle for William Morris & Co., circa 1897 ((Victoria and Albert Museum).). The Arts and Crafts movement was a British and American aesthetic movement occurring in the last years of the 19th century and the early years of the 20th century.. Inspired by the writings of John Ruskin and a romantic idealization of the craftsman taking pride in his personal handiwork, it was at its height between approximately 1880 and 1910.. It was a reformist movement that influenced British and American architecture,, decorative arts,, cabinet making,, crafts, and even the "cottage" garden designs of of William Robinson or or Gertrude Jekyll. Its best-known practitioners were William Morris,, Charles Robert Ashbee,, T. J. Cobden Sanderson,, Walter Crane,, Nelson Dawson,, Phoebe Anna Traquair ,, Herbert Tudor Buckland,, Charles Rennie Mackintosh,, Christopher Dresser ,, Edwin Lutyens,, Ernest Gimson,, William Lethaby,, Edward Schroeder Prior ,, Frank Lloyd Wright,, Gustav Stickley,, Charles Voysey,, Christopher Whall and artists in the Pre-Raphaelite movement.. In the United States, the terms American Craftsman, or Craftsman style are often used to denote the style of architecture, interior design, and decorative arts that prevailed between the dominant eras of Art Nouveau and Art Deco, or roughly the period from 1910 to 1925. Contents [[hide]] •• 1 Origins and key principles •• 2 History of the movement •• 3 Influences on later art oo 3.1 Europe oo 3.2 United States •• 4 References •• 5 External links Origins and key principles The Oregon Public Library in Oregon, Illinois, U.S.A. is an example of Arts and Crafts in a Carnegie Library. -
! National Rivers Authority ! Information Centre '9Ad Office Jass N O
NATIONAL RIVERS AUTHORITY YORKSHIRE REGION RIVER FLOW & RAINFALL STATISTICS UPDATED TO 31ST DECEMBER 1992 National Rivers Authority Northumbria & Yorkshire Region Olympia House Gelderd Lane Gelderd Road Leeds LS12 6DD August 1993 ! National Rivers Authority ! Information Centre '9ad Office Jass N o ................. | accession No NATIONAL RIVERS AUTHORITY YORKSHIRE REGION RIVER FLOW AND RAINFALL STATISTICS UPDATED TO 31ST DECEMBER 1992 This publication combines the 1992 annual reports on River Flow Statistics and on Rainfall. It is in two sections:- (i) River Flow Statistics updated to 31st December 1992. (ii) Annual Rainfall Report 1992. IMPORTANT NOTICE The published d^ta are the best available in August 1993. Please consult the Resource Planning and Hydrometry Section about the accuracy of the data, and the possibility of revision, before using these records for detailed investigations. The Section would also be pleased to be notified of any errors which may be discovered. Telephone: Leeds 440191 NRA Northumbria & Yorkshire Region August 1993 RIVER FLOW STATISTICS UPDATED TO 31ST DECEMBER 1992 Introduction This publication contains summary data for 1992 and analyses of long period river flow records. The data should be used with some caution. All the published river flows are "net" or "as measured". No adjustments have been made in respect of abstractions.from, or discharges to, the river upstream of the flow measuring station, or for changes in storage of reservoirs etc. Records allowing for such adjustments are usually available from the appropriate Division of Yorkshire Water pic or from NRA Northumbria and Yorkshire Region Resource Planning and Hydrometry Section. Records have been included for some stations which were designed primarily to measure low flows. -
Converted from C:\PCSPDF\PCS65849.TXT
M197-6 PARISH COUNCIL ELECTION PARISH OF AINDERBY MIRES WITH HOLTBY __________________________________________ __________________________________________RESULT OF UN-CONTESTED ELECTION Date of Election : 1st May 2003 I, Peter Simpson, the Returning Officer at the above election do hereby certify that the name of the person(s) elected as Councillors for the said Parish without contest are as follows :- Name Address Description (if any) ANDERSON Ainderby Myers, Bedale, North Yorkshire, DL8 1PF CHRISTINE MARY WEBSTER Roundhill Farm, Hackforth, Bedale, DL8 1PB MARTIN HUGH Dated : 16th August 2011 PETER SIMPSON Returning Officer Printed and Published by the Returning Officer. L - NUC M197-6 PARISH COUNCIL ELECTION PARISH OF AISKEW AISKEW WARD __________________________________________ __________________________________________RESULT OF UN-CONTESTED ELECTION Date of Election : 1st May 2003 I, Peter Simpson, the Returning Officer at the above election do hereby certify that the name of the person(s) elected as Councillors for the said Parish Ward without contest are as follows :- Name Address Description (if any) LES Motel Leeming, Bedale, North Yorkshire, DL8 1DT CARL ANTHONY POCKLINGTON Windyridge, Aiskew, Bedale, North Yorks, DL8 1BA Sports Goods Retailer ROBERT Dated : 16th August 2011 Peter Simpson Returning Officer Printed and Published by the Returning Officer. L - NUC M197-6 PARISH COUNCIL ELECTION PARISH OF AISKEW LEEMING BAR WARD __________________________________________ __________________________________________RESULT OF UN-CONTESTED ELECTION Date of Election : 1st May 2003 I, Peter Simpson, the Returning Officer at the above election do hereby certify that the name of the person(s) elected as Councillors for the said Parish Ward without contest are as follows :- Name Address Description (if any) Dated : 16th August 2011 Peter Simpson Returning Officer Printed and Published by the Returning Officer. -
'Perhaps the Greatest Artist of the Lot'
INTRODUCTION ‘PERHAPS THE GREATEST ARTIST OF THE LOT’ By all accounts Henry Wilson was a quiet man, modest to a fault. At first sight, apart from his distinctive aquiline profile, his appearance was unremarkable. He was not widely known to the general public, and even amongst friends it was hard to get him to talk much about his own works, which were mostly unsigned. When he died in Menton, France in 1934, he was buried in a leased plot, long since obliterated. Such unassuming worldly credentials belie the powerful originality of his work and his prodigious skills as a craftsman. In dramatic architectural schemes, and in the expressiveness of his executed buildings and sculptures; in his richly evocative jewellery and fine metalwork, in inspirational lectures and writings; in all these, he displays an exceptional intensity of invention and insight. The works summon up deep-seated meanings which often surpass their material reality. They, and the thinking that underlies them, most thoroughly represent Henry Wilson. And it is through the diverse, yet linked, aspects of his creativity that his character and impact is most properly revealed. As he himself wrote in 1902 ‘design is the expression of your personality in terms of the material in which you work’.1 Janet, the astute and observant wife of Wilson’s fellow designer and ideologist C.R. Ashbee, testified to the admiration felt for Wilson in arts and crafts circles when she described a group of Art Workers’ Guild members gathering for a rehearsal of their masque Beauty’s Awakening in May 1899. Gradually they assemble: Selwyn Image, Walter Crane, Louis Davis ..