View allAll Photos Tagged ArtAndDesign
A photographic project involving a gentleman with Parkinson's Disease who has been photographed over the last four years by 145 different photographers.
A real challenge as he has already had his portrait taken by some of the best known photographers in the uk.
Fourth plinth whipped cream, drone and fly sculpture unveiled
www.theguardian.com/artanddesign/2020/jul/30/fourth-plint...
Yep, I'm happy. Just back from a long weekend in London. Thanks for the info, David. I found the Ben Eine alphabet and managed to photograph all the letters accept the K which had a white van parked in front of it. All the letters will follow shortly.
Middlesex Street, London, England, UK
E.V.E's Dancing Collection of Animated Mesh Particle Lights inspired in the form and colors of the koi fish.
New release for Feb's We <3 RP.
Read more:
evestudio3d.wordpress.com/2016/02/09/koi-square-confetti-...
VCAD's graphic design program gives you the knowledge, skills and professional connections you'll need to launch your calling in graphic design.
Watch VCAD videos online:
www.youtube.com/subscription_center?add_user=VancouverVCAD
Visual College of Art and Design
500 - 626 West Pender St.
Vancouver, BC, V6B 1V9
Michael Hardy (Scientific name: Homo sapiens) poses for Ming the panda (Scientific name: Ailuropoda melanoleuca) at London Zoo, 1939.
‘There were no health and safety checks back then.’ Photograph: © Getty Images, courtesy of the Bert Hardy Estate
Via:
www.theguardian.com/artanddesign/2016/jun/03/peter-ming-p...
For more about the giant panda, please visit:
A tin of Double-N Wax Floor Polish, yellow, gold and black in colour.
Height: 3.1 cm
Diameter: 10.3 cm
Manufactured by Nicholson's Ltd in Newcastle upon Tyne, Tyne and Wear, England, UK, 1914 - 18.
Copyright Statement:
(Copyright) We're happy for you to share these digital images within the spirit of The Commons.
Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email sarah.younas@twmuseums.org.uk
Nottingham sat outside a pub in the market square
Guardian online:
www.guardian.co.uk/artanddesign/gallery/2011/nov/01/photo...
Jackson, MS (est. 1821, pop. 165,000)
• streamline moderne style theater built & managed by Jewish-American Mississippi native, Arthur Lehmann (1894-1958) • originally seated 750 • incorporated "an up-to-date drug store, an ice cream parlor, a restaurant and a [shoe] shop" —Clarion-Ledger (Jackson, Mississippi) 26 Jan 1949
• Jackson’s oldest & for many years only “Negro theater” • this was the Alamo's 3rd incarnation, each at different Jackson addresses: 134 N. Farish St. in 1915 & the "New Alamo" on Amite St. c. 1927 • in 1936 Lehman replaced the original Alamo with Booker T. Theatre
• the theater was usually listed as “Alamo (c)” to indicate "colored" • one of the country's last dual purpose theaters with movies, vaudeville acts, bands & local talent competitions —Movie Theaters in 20th c. Jackson, MS
• screened African American films supplemented by other popular genres • during the 1940s & ‘50s stars such as Nat “King” Cole, Elmore James, Louis Jordan, & Cab Calloway Alamo Theatre (1949), v02, 333 N Farish St, Jackson, MS, USAappeared live on the Alamo stage • also presented gospel groups and vocal ensembles
• closed 1984 • underwent extensive renovation of both exterior & Art Deco interior • marquee & vertical sign restored to original design, including neon • reopened under non-profit ownership, 1997 —Cinema Treasures
• Alamo Theatre Facebook
The Farish Street Historic District
“but out of the bitterness we wrought an ancient past here in this separate place and made our village here.” —African Village by Margaret Walker (1915-1998)
• during the Reconstruction era that followed the American Civil War, white Southerners struggled to reclaim their lives as millions of black Southerners sought new ones • with the stroke of a pen, the Emancipation Proclamation had transformed African slaves into African Americans & released them into a hostile, vengeful & well-armed white community amid the ruins of a once flourishing society
• the antebellum South had been home to over 262,000 rights-restricted "free blacks" • post-emancipation, its free black population soared to 4.1 million • given that the South had sacrificed 20% of it's white males to the war, blacks now comprised well over half the total population of many southern states • uneducated & penniless, most of the new black Americans depended on the Freedman's Bureau for food & clothing
• the social & political implications of the sudden shift in demographics fueled a violence-laced strain of conventional American racism • in this toxic environment, de facto racial segregation was a given, ordained as Mississippi law in 1890 • with Yankees (the U.S. Army) patrolling the city & Maine-born Republican Adelbert Ames installed in the Governor's Mansion, the Farish Street neighborhood was safe haven for freedmen
• as homeless African American refugees poured into Jackson from all reaches of the devastated state, a black economy flickered to life in the form of a few Farish Street mom-and-pops • unwelcome at white churches, the former slaves built their own, together with an entire neighborhood's worth of buildings, most erected between 1890 & 1930
• by 1908 1/3 of the district was black-owned, & half of the black families were homeowners • the 1913-1914 business directory listed 11 African American attorneys, 4 doctors, 3 dentists, 2 jewelers, 2 loan companies & a bank, all in the Farish St. neighborhood • the community also had 2 hospitals & numerous retail & service stores —City Data
• by mid-20th c. Farish Street, the state's largest economically independent African American community, had become the cultural, political & business hub for central Mississippi's black citizens [photos] • on Saturdays, countryfolk would come to town on special busses to sell produce & enjoy BBQ while they listened to live street music • vendors sold catfish fried in large black kettles over open fires • hot tamales, a Mississippi staple, were also a popular street food —The Farish District, Its Architecture and Cultural Heritage
“I’ve seen pictures. You couldn’t even get up the street. It was a two-way street back then, and it was wall-to-wall folks. It was just jam-packed: people shopping, people going to clubs, people eating, people dancing.” — Geno Lee, owner of the Big Apple Inn
• as Jackson's black economy grew, Farish Street entertainment venues prospered, drawing crowds with live & juke blues music • the musicians found or first recorded in the Neighborhood include Robert Johnson, Sonny Boy Williamson II & Elmore James
• Farish Street was also home to talent scouts & record labels like H.C. Speir, & Trumpet Records, Ace Records • both Speir & Trumpet founder Lillian McMurry were white Farish St. business owners whose furniture stores also housed recording studios • both discovered & promoted local Blues musicians —The Mississippi Encyclopedia
• Richard Henry Beadle (1884-1971), a prominent Jackson photographer, had a studio at 199-1/2 N. Farish • he was the son of Samuel Alfred Beadle (1857-1932), African-American poet & attorney • born the son of a slave, he was the author of 3 published books of poetry & stories
• The Alamo Theatre was mainly a movie theater but periodically presented musical acts such as Nat King Cole, Elmore James & Otis Spann • Wednesday was talent show night • 12 year old Jackson native Dorothy Moore entered the contest, won & went on to a successful recording career, highlighted by her 1976 no. 1 R&B hit, "Misty Blue" [listen] (3:34)
• in their heyday, Farish Street venues featured African American star performers such as Bessie Smith & the Rabbit Foot Minstrels, Louis Armstrong, Count Basie, Duke Ellington & Dinah Washington played Farish Street venues —Farish Street Records
• on 28 May, 1963, John Salter, a mixed race (white/Am. Indian) professor at historically black Tougaloo College, staged a sit-in with 3 African American students at the "Whites Only" Woolworth's lunch counter in downtown Jackson • they were refused service • an estimated 300 white onlookers & reporters filled the store
• police officers arrived but did not intercede as, in the words of student Anne Moody, "all hell broke loose" while she and the other black students at the counter prayed • "A man rushed forward, threw [student] Memphis from his seat and slapped my face. Then another man who worked in the store threw me against an adjoining counter." • this act of civil disobedience is remembered as the the signature event of Jackson's protest movement —L.A. Times
"This was the most violently attacked sit-in during the 1960s and is the most publicized. A huge mob gathered, with open police support while the three of us sat there for three hours. I was attacked with fists, brass knuckles and the broken portions of glass sugar containers, and was burned with cigarettes. I'm covered with blood and we were all covered by salt, sugar, mustard, and various other things." —John Salter
• the Woolworth Sit-in was one of many non-violent protests by blacks against racial segregation in the South • in 1969 integration of Jackson's public schools began • this new era in Jackson history also marked the beginning of Farish Street's decline —The Farish Street Project
"Integration was a great thing for black people, but it was not a great thing for black business... Before integration, Farish Street was the black mecca of Mississippi.” — Geno Lee, Big Apple Inn
• for African Americans, integration offered the possibility to shop outside of the neighborhood at white owned stores • as increasing numbers of black shoppers did so, Farish Street traffic declined, businesses closed & the vacated buildings fell into disrepair
• in 1983, a Farish St. redevelopment plan was presented
• in 1995 the street was designated an endangered historic place by the National Trust for Historic Preservation
• in the 1990s, having redeveloped Memphis' Beale Street, Performa Entertainment Real Estate, was selected to redevelop Farish St
• in 2008, The Farish Street Group took over the project with plans for a B.B. King's Blues Club to anchor the entertainment district
• in 2012, having spent $21 million, the redevelopment — limited to repaving of the street, stabilizating some abandoned buildings & demolishing many of the rest — was stuck in limbo —Michael Minn
• 2017 update:
"Six mayors and 20 years after the City of Jackson became involved in efforts to develop the Farish Street Historic District, in hopes of bringing it back to the bustling state of its heyday, the project sits at a standstill. Recent Mayor Tony Yarber has referred to the district as “an albatross.” In September of 2014, the U.S. Department of Housing and Urban Development sanctioned the City of Jackson, the Jackson Redevelopment Authority, and developers for misspending federal funds directed toward the development of the Farish Street Historic District. Work is at a halt and "not scheduled to resume until December 2018, when the City of Jackson repays HUD $1.5 million." —Mississippi Dept. of Archives & History
• Farish Street Neighborhood Historic District, National Register # 80002245, 1980
Abandoned crofters cottage. Prior to the holiday, I had been inspired by the former Buzzcocks drummer, John Maher's work. Amazingly, I realise his second shot in had been taken at this very croft as I had also photographed the same door and light switches. Note the repositioned chair and table in his shot.
www.theguardian.com/artanddesign/gallery/2016/aug/17/nobo...
Sebastian Horsley in profile. I took this surreptitiously 2 weeks ago at an artists' fair in East London. I wanted to engage him, maybe for my 100 Strangers project, but for some reason my courage wilted as I approached and I settled for this candid. Figured I'd see him again in my London wanderings and maybe approach him then. Guess I figured wrong. Just saw this morning in the news that he died yesterday... so I fished out this negative and scanned it in.
A standout eccentric in a city piled high with interesting characters. If you look up the word debauched, there ought to be photo of Mr. Horsley.
His obit: www.guardian.co.uk/artanddesign/2010/jun/18/sebastian-hor...
Yashica 635 TLR
Fuji Pro 400H
Designs from a new collection of textiles I'm producing for my Glitch Textiles project. Pre-Order Now on Kickstarter: www.kickstarter.com/projects/phillipstearns/the-honeypot-...
1st -2nd Century CE, Begram room 10, ivory.
The Begram ivories are a series of over a thousand decorative inlays, carved from ivory and bone and formerly attached to wooden furniture, excavated in the 1930s in Begram, Afghanistan. They are rare and important exemplars of Afghan and Indian art of the 1st or 2nd centuries AD, attesting to the cosmopolitan tastes and patronage of local dynasts, the sophistication of contemporary craftsmanship, and to the ancient trade in luxury goods.
en.wikipedia.org/wiki/Begram_ivories
www.theguardian.com/artanddesign/2011/feb/27/afghanistan-...
www.britishmuseum.org/about_us/news_and_press/press_relea...
Here two women are preparing Wright's Biscuits. Photograph taken by Turners Photographic of Newcastle.
Wright’s Biscuits was a well known company in South Shields, South Tyneside. Set up as a maker of biscuits, they started out by supplying their stock to ships in 1790, but after a fall in demand, Wright's turned to making more up-market biscuits. Wright's Biscuit factory closed in 1973.
Turner’s was established in Newcastle upon Tyne in the early 1900s. It was originally a chemists shop but in 1938 become a photographic dealer. Turners went on to become a prominent photographic and video production company in the North East of England. They had 3 shops in Newcastle city centre, in Pink Lane, Blackett Street and Eldon Square. Turner’s photographic business closed in the 1990s.
Ref: TWAS:DT.TUR/2/891/h
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.
To purchase a hi-res copy please email archives@twmuseums.org.uk quoting the title and reference number.
The Crystal Bar, upstairs in main suite on left handside on exit from inner lobby.
The Mayfair Ballroom and Concert Hall was one of the most popular venue's in Newcastle-Upon-Tyne, hosting a rock club, which became the largest and longest-running of its kind in Europe. Situated on the corner of Newgate Street and Low Friar Street, it closed in 1999 to make way for a leisure complex, now known as The Gate.
22 November 1961 photographed by Turner's.
Turner’s was established in Newcastle upon Tyne in the early 1900s. It was originally a chemists shop but in 1938 become a photographic dealer. Turners went on to become a prominent photographic and video production company in the North East of England. They had 3 shops in Newcastle city centre, in Pink Lane, Blackett Street and Eldon Square. Turner’s photographic business closed in the 1990s.
Ref: TWAS:DT.Tur/4/AG1859/b
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.
To purchase a hi-res copy please email archives@twmuseums.org.uk quoting the title and reference number.
Photograph, black and white, showing a soldier in WW1 uniform, taken in studio, sitting on a bench. Bandolier across chest, whip in hand. Hat with side brim upturned. Spurs on his boots indicating cavalry regiment
Regional Faces of the First World War.
The photograph is from an album relating to the men, women and children from Tyne and Wear who lived, worked or fought during the First World War.
Accompanying this photo is the biographical and supporting information that we have about them, but the full story is not always known. Our collections records are not very detailed in some cases. We need your help to fill in the blanks. Do you have any information to add to what is already here? A name? A location? What more can you find out and tell us about their life?
If you have some extra information about this photograph, please add your comments, information and any links, images or text.
Part of the ‘Wor Life’ project. To find out more please visit www.worlife.org.uk
Location: Tate Modern, Bankside, London SE1 9TG, England
Artist: Miroslaw Balka
Date: 2009
The iconic 'Eisbär' costume varied greatly from the end of WW1 to the 1960's in Germany. Many photos exist of the 'Eisbär' and random people posing in different settings such as the beach.
www.theguardian.com/artanddesign/shortcuts/2015/jul/19/th...
Good photographic material for historians.
Three bars of Eve Toilet Soap, covered by brown, green and cream packaging.
Length: 7.8 cm
Width: 5.5 cm
Depth: 2.3 cm
Manufactured by Joseph Watson & Sons Ltd, Leeds, West Yorkshire, England, UK, 1914 - 18.
Copyright Statement:
(Copyright) We're happy for you to share these digital images within the spirit of The Commons.
Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email sarah.younas@twmuseums.org.uk
This photograph is a view of the bottom of the metro shaft at Argyle St. in Gateshead.
It was taken at some time in 1975.
The photograph is taken from a collection of black and white contact prints documenting the development of the whole of the Metro System in Tyne and Wear.
The images are taken from the Mott, Hay and Anderson Collection, consulting civil engineers responsible for the Tyneside Metro light rail system and the Tyne pedestrian, cyclist and vehicular tunnels.
Most of the photographs were taken by Amber Film Associates and Lambton Visual Aids, 5 and 9 The Side, Newcastle.
Reference no. DT.MHA/22/1/A32/8
This image inspired ‘Interchange’, an experimental film and album of music by Warm Digits. More information can be found here www.twmuseums.org.uk/halfmemory/warm-digits-
interchange
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk
Lee Bennett guessing people's ages at his 'I Guess Your Age' attraction at the Hoppings. 1952.
The Hoppings is a popular fair in the North East of England, held in the last full week of June every year on Newcastle's Town Moor, spanning around 40 acres of land.
The Hoppings started out as a Temperance Festival in 1882, when Newcastle Temperance organisations decided to revive the annual gatherings that they had previously held, but included different festivities to coincide, to counter-attract the 'Summer Race Meeting' at Gosforth Park, which was seen as a source of drunkenness.
It proved to be a great success and the fair is still being enjoyed to this very day.
Ref: TWAS:944/2440
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.
To purchase a hi-res copy please email archives@twmuseums.org.uk quoting the title and reference number.
- 'stunning' new Munch Museum, designed by estudio Herreros. Others have compared it unfavourable to a half-open pack of cigarettes. Meanwhile, we eagerly await delivery of the 15 tonnes bronze being sand-cast in Stoke-on-Trent, a much enlarged finger sculpture by Tracy Emin.
www.theguardian.com/artanddesign/2020/jan/02/tracey-emin-...
From the Stanford Psychedelic Science Symposium. Gianni Glick did a recap of the 1960’s. Before Nixon’s War on Drugs, there were 1,000 medical studies of psychedelics with 40,000 participants. Stanford researchers even studied how LSD increases creativity in healthy volunteers… and Doug Englebart was an active enthusiast... as were others...
A new Hitachi IEP Class 800 in Platform 1 overshadowing a forty-something-year-old Class 43 HST in Platform 2 at Paddington station.
JPEG 8 x 8 pixellated style after Thomas Ruff, "JPEG" series of photographs, see for example elephant.art/thomas-ruffs-jpeg/ or www.theguardian.com/artanddesign/2009/jun/11/my-best-shot....
The style illustrates the working at low resolution of the 8 x 8 discrete cosine transform algorithm used in JPEGs, and the way the algorithm emphasises the basic colour or strong lines within each block ...for those of you with a technical mind!!! As for the artistic effect - obscuring, impressionistic, veiling, and a reminder of the all-pervasive Internet that mediates and informs our contemporary world view, including your current view of this image.
B&W Conversion via Alien Skin 'Exposure 2' Film Filters Plugin for PS11. The plugin allows you to replicate old analogue film effects either with grain or without. Check 'em out they are pretty good:
“Hey! It don’t mean a thing if it ain’t got that swing. Do wah, do wah, do wah, do wah, do wah…”
(Swing Kits, 1993)
New releases for Art in Hats and We <3 RP inspired in those years between the World Wars of the 20th Century, when the free thinkers, artists, poets… all them were dancing to the swing…
The Art in Hats will have a black special version of 4 hats, a Hot Jazz one, called “The Black Widow”, made to help to collect funds in support of the American Diabetes Association.
Read more and taxis:
evestudio3d.wordpress.com/2015/11/04/swing-alma-hats-rele...
www.theguardian.com/artanddesign/2018/jan/20/andreas-gurs...
Five stars - I agree. In fact, I'd give this one six. I could have returned to the beginning and gone round again. And I'm sure I would have seen something new in each piece.
Designs from a new collection of textiles I'm producing for my Glitch Textiles project. Pre-Order Now on Kickstarter: www.kickstarter.com/projects/phillipstearns/the-honeypot-...
A Giant Rabbit painting by the artist ROA on the side of a shop in Hackney Road. It was painted in Mrach 2010.
ROA's graffiti rabbit faces removal by Hackney council, Guardian website, 25 Oct 2010.
"Protect ROA's Giant Rabbit" free online petition service, at: www.PetitionOnline.com/PremROA/
Update 12 Nov: The rabbit is saved.
From Hackney Gazette:
A council spokesman said that, after reviewing the case, it had decided not to take action because the rabbit had been in situ for some time and had not provoked complaints.
Further update;
In 2018, the house to the left was rebuilt and the wall was covered up by a new shop at the front.
Did this Clint Eastwood portrait for Drawing 1 class...#VCAD #Schoolgrind
Source: instagram.com/jncustoms
Tag #vcad or #vcadca in your Instagram posts and we will repost the best ones on the official Visual College of Art & Design blog and social media websites.
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The W Hotel is at the centre of the development. The hotel building has proved controversial for its ribbon design.
Shopping centre and hotel development which has replaced a 1960s shopping centre, hotel and government office complex. The former shopping centre closed in 2016 and the new one opened in June 2021.
The John Lewis store remained, traded throughout (when permitted) and was incorporated in to the overall design.
A W Hotel, Roomzzz Hotel and Everyman Cinema are due to open 2022.
Allan Murray Architects for Henderson Global Investors.
www.rias.org.uk/for-the-public/practices/allan-murray-arc...
www.edinburgharchitecture.co.uk/st-james-quarter
The development has attracted criticism; e.g. Oliver Wainwright in The Guardian: www.theguardian.com/artanddesign/2021/jul/08/a-great-city...
This is a boldly illustrated glass slide featuring a traditional lifeboat and crew in dock.
The slide is from some time between the late 19th century and early 20th century. It would have been viewed using a magic lantern, an early type of image projector.
This image is part of the Tyne & Wear archives & museums set Our Life-Boat Men.
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email adam.bell@twmuseums.org.uk
Tracey Emin / Edvard Munch
The Loneliness of the Soul
www.royalacademy.org.uk/exhibition/tracey-emin-edvard-munch
Tracey Emin on her cancer: 'I will find love. I will have exhibitions. I will enjoy my life. I will'
www.theguardian.com/artanddesign/2020/nov/09/tracey-emin-...
Tracey Emin/Edvard Munch: The Loneliness of the Soul review – moments of horror
www.theguardian.com/artanddesign/2020/dec/03/tracey-emin-...
This image is from a 1791 scrapbook in Tyne & Wear Archives, the extract inspired a song on the album 'The Glass Trunk' by Richard Dawson.
Reference: DX-17-1
This is a collection sourced for the project Half Memory by musician Richard Dawson. Half Memory was devised by Tyne & Wear Archives & Museums in partnership with Tusk Music and Pixel Palace, resulting in a unique audio-visual performance inspired by museums and archive collections.
More images from ‘The Glass Trunk’ can be found here.
The contents of the collection resulted in his album ‘The Glass Trunk’ featuring songs inspired by items and images found in Tyne & Wear Archives by Richard Dawson.
These items and images ranged from songs and stories found in a 1791 scrap book, photography taken from collections documenting ships built in Tyne & Wear and photographic records of the regions social history.
More information on ‘The Glass Trunk’ can be found here.
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk
The Vines, 81 Lime Street, Liverpool, 1907.
By Walter William Thomas (1849-1912).
Walkers Ales of Warrington.
Grade ll* listed.
See also:-
pubheritage.camra.org.uk/pubs/112
breweryhistory.com/wiki/index.php?title=Vines,_Liverpool
www.govserv.org/GB/Liverpool/236929139665303/The-Vines-%2...
m.facebook.com/The-Vines-the-Big-House-236929139665303/
ymliverpool.com/historic-lime-street-pub-vines-plans-attr...
www.theguardian.com/artanddesign/2020/feb/07/liverpool-pu...
———————————————————————————————————
The Vines public house
Statutory Address: 79-87 Lime Street, Liverpool, L1 1JQ
Grade II* Listed
List Entry Number: 1084210
National Grid Reference: SJ3505890334
Summary
Public house, 1907, by Walter Thomas for Robert Cain & Sons. Neo-Baroque style.
Reasons for Designation
The Vines, constructed in 1907 to the designs of Walter W Thomas for Robert Cain & Sons, is listed at Grade II* for the following principal reasons:
Architectural interest:
* it has an impressive neo-Baroque design with flamboyant principal elevations that maximise its prominent corner location;
* its imposing composition and highly ornate interior reflect the status, wealth and ambition of Robert Cain who sought to create public houses of great beauty;
* the interior decoration is of a superior quality and includes plasterwork by the Bromsgrove Guild and H Gustave Hiller, carved mahogany woodwork throughout, repousse copper panels, and a stained-glass dome in the former billiards room;
* the interior retains high-quality original fixtures and fittings, including elaborate fireplaces, carved baffles with Art Nouveau stained glass, ornate wall panelling, arcaded screens, a striking wave-shaped beaten-copper bar counter in the lounge, and Art Nouveau fireplaces in the upper-floor accommodation.
Group value:
* it has strong group value with its sister building, the nearby Grade I-listed Philharmonic Dining Rooms, which was also designed by Walter W Thomas for Robert Cain & Sons, as well as other listed buildings on Lime Street and Ranelagh Place, including the Grade II-listed Crown Hotel, Adelphi Hotel and former Lewis's department store.
History
The Vines was constructed in 1907 to the designs of Walter W Thomas for the Liverpool brewery Robert Cain & Sons and replaced an early-C19 pub operated by Albert B Vines from 1867; hence the current pub's name. The interior decoration includes works by the Bromsgrove Guild and H Gustave Hiller.
Walter W Thomas (1849-1912) was a Liverpool architect who is best known for his public house designs, but who also produced designs for Owen Owen's department store known as Audley House, and houses around Sefton Park. As well as The Vines, Thomas also designed The Philharmonic Dining Rooms (1898-1900, Grade I) on Hope Street for Robert Cain & Sons, and rebuilt The Crown (1905, Grade II) for Walkers Brewery of Warrington, which is also on Lime Street.
Robert Cain (1826-1907) was born in Ireland but grew up in Liverpool. As a teenager he became an apprentice to a cooper on board a ship carrying palm oil from West Africa and after returning to Liverpool in 1844 he established himself first as a cooper, and then subsequently as a brewer in 1848. Cain began brewing at a pub on Limekiln Lane, but soon moved to larger premises on Wilton Street, and finally to the Mersey Brewery on Stanhope Street in 1858, which Cain extended in the late C19 and early C20. As well as brewing Cain also invested in property, built pubs, and ran a hotel adjacent to the Mersey Brewery. As his brewery business grew (known as Robert Cain & Sons from 1896) it bought out smaller brewers and took control of their pubs, evolving into a company that owned over 200 pubs in Liverpool by the late 1880s. In 1921 Robert Cain & Sons merged with Walkers Brewery to become Walker Cains and the Liverpool brewery at Stanhope Street was sold to Higsons in 1923. After a succession of owners from the 1980s onwards the brewery is being converted for mixed use.
The Bromsgrove Guild of Fine Arts was established in 1898 by Walter Gilbert as a means of promoting high-qualify craftsmanship in metal casting, woodcarving and embroidery in the style of a medieval guild, and included the creation of apprenticeships. The Guild subsequently expanded into other areas of art and design, including jewellery, enamelling, and decorative plasterwork, and recruited the best craftsmen. In 1900 the Guild was showcased at the British Pavilion at the Exposition Universelle in Paris and in 1908 it received a royal warrant. Famous works included the gates at Buckingham Palace, interior decoration on RMS Lusitania and RMS Queen Mary, and the Liver bird statues on the Royal Liver Building in Liverpool. Although the Guild survived the loss of key craftsmen and the Great Depression of the late 1920s it was finally wound up in the 1960s.
Henry Gustave Hiller (1864-1946) was a Liverpool-based designer and manufacturer of stained glass who trained at the Manchester School of Art under Walter Crane. He established a studio in Liverpool in around 1904 and retired in 1940. Although primarily known for his stained glass he worked in a wide variety of mediums, including plasterwork.
Details
Public house, 1907, by Walter W Thomas for Robert Cain & Sons. Neo-Baroque style.
MATERIALS: sandstone ashlar with a pink-granite ground floor, slate roof coverings.
PLAN: The Vines has a V-shaped plan with a north corner in-filled at ground-floor level by a former billiards room. It occupies a corner plot at the junction of Copperas Hill and Lime Street with principal elevations onto both streets. It is bounded by Copperas Hill to the south-east, Lime Street to the south-west, and adjoining buildings to the north-east and north-west.
EXTERIOR: The Vines is of three-storeys plus attic and basement with a nine-bay elevation onto Lime Street, a canted south corner bay, and a six-bay return on Copperas Hill, and entrances on each elevation. The pub has a steep slate roof set behind ornate Dutch gables and a balustraded parapet, and the ground floor has banded rustication to the pink-granite facings. The ground floor is lit by large bow windows containing original patterned brilliant-cut glass and replaced etched glass, whilst the upper-floors have casement windows set within carved surrounds. A cornice projects out from the main face of the building above the ground floor and stood atop it to both the Lime Street and Copperas Hill elevations are later gold letters that read 'WALKERS WARRINGTON ALES', with additional letters to Lime Street that read 'THE VINES'. Above the first floor is a stringcourse interrupted by segmental floating cornices over some of the windows, and in between the windows are floriated drops attached to corbelled pedestals that support Ionic engaged columns between the second-floor windows. The Lime Street elevation has two large Dutch gables with scroll detailing, elaborate finials, paired casement windows with elaborate surrounds, and oculi to the gable apexes, whilst the Copperas Hill elevation has a single gable in the same style. Projecting out from the right gable on Lime Street is a large bracketed clock.
SOUTH CORNER The south corner has a tall doorway to the ground floor accessing the public bar with a decorative wrought-iron and gilded-copper gate with a vestibule behind containing a patterned mosaic floor incorporating the lettering 'RCS' (Robert Cain & Sons) and two partly-glazed and panelled doors; that to the right is no longer in use. The entrance doorway itself is flanked by engaged Ionic columns with copper capitals and drops, and above are large triple keystones and a segmental open pediment, all exaggerated in size. Inscribed to the central keystone is 'The Vines' in gilded lettering. To the south corner's first floor is a glazed oculi with a festoon above incorporating a figurative head keystone, whilst the second-floor window mirrors that of the other elevations. Rising from the top of the corner bay behind the parapet and sandwiched by the Dutch gables on Lime Street and Copperas Hill is a tall round tower topped by a dome with a squat obelisk finial.
LIME STREET The Lime Street elevation incorporates a further entrance to the centre of the ground floor, which is identically styled to that to the south corner, but the lower section of the original gate has been removed and replaced by late-C20 concertina gates. The vestibule behind is lined with pink granite and has a decorative plasterwork ceiling and a small bow-shaped window (possibly an off-sales opening originally and in 2019 now covered with an advertising sign) directly opposite the doorway with a multipaned segmental overlight above. Partly-glazed panelled doors to each side lead into the lounge and public bar to the left and right respectively; both doors are multipaned to their upper halves with panes of brilliant-cut glass. To the left of the main building on Lime Street is an additional lower, rendered single-bay that comprises 79 Lime Street; part of an earlier (now demolished) building that was partly raised, altered and re-used in the early C20 to house The Vines' main accommodation stair. It has a tall doorway to the ground floor flanked by Corinthian columns with two panelled doors with overlights; that to the left previously served a now-demolished part of the building to the left whilst that to the right accesses the stair for The Vines. Single plate-glass sash windows exist to the right on two floors above; that to the second floor has been altered and made smaller, presumably when the stair was inserted internally. Corresponding windows to the left have been blocked up, but are partly visible internally.
COPPERAS HILL The ground floor of the pub's Copperas Hill elevation also has a number of entrances, including one with a doorway incorporating a scrolled floating cornice and prominent keystone that leads into the public bar and originally also a former snug (now altered into a kitchenette). A plainer doorway to the right leads to a stair accessing the upper floors at this end of the building. A single-storey flat-roofed section to the far right of the elevation with a plain recessed doorway is a later addition and provides external access to the former billiards room.
REAR ELEVATIONS The rear (north-east and north-west) elevations are plainer and of brick with large casement windows, some of which incorporate Art Nouveau stained glass. The entire rear yard area is occupied by a flat-roofed billiards room with a large lantern roof over a stained-glass dome visible internally. A cast-iron fire escape provides access down onto the roof of the billiards room.
INTERIOR: internally the pub has a linear sequence of rooms from south-east to north-west formed by a public bar, lounge and smoke room, with a large former billiards room at the rear. There are high ceilings and carved mahogany woodwork throughout the ground floor, and plasterwork by the Bromsgrove Guild and H Gustave Hiller.
PUBLIC BAR The south corner entrance leads into a large public bar with a richly moulded plasterwork ceiling and a panelled mahogany bar counter to the north corner that originally ran down the north-east side of the room, but was shortened in 1989. Rising from the bar counter are short mirror-panelled piers supporting a pot shelf surmounted by three twin-armed brass lamps, and in front of the counter is a brass foot rail. The bar-back behind forms part of a carved, arcaded and panelled screen that runs down the north-east side of the public bar and incorporates stained, leaded, and cut glass, and two openings; the opening to the right has lost its original panelled infill, which would have been in similar style to the bar-back, whilst that to the left is an original open doorway with a broken segmental pediment above containing a clock face that gives the appearance of an outsized grandfather clock with the doorway through the pendulum case. The screen separates the public bar from a rear corridor cum drinking lobby that accesses toilets and leads through to the lounge and smoke room at the opposite end of the pub. Bench seating and a mahogany and tiled fireplace with a carved overmantel exist to the public bar's south-west wall, and a small late-C20 stage has been inserted at the south-east end of the room. At the north-west end of the room adjacent to the Lime Street entrance is a panelled and stained-glass arcaded screen with an integral drinking shelf that conceals the bar service area, possible off-sales and basement access from view. In the eastern corner of the bar adjacent to a lobby off the Copperas Hill entrance is an altered glazed screen covered with modern signage chalkboards that probably originally led through to another small room/snug, which is now a kitchenette.
Behind the public bar the corridor/drinking lobby's north-east wall is panelled and incorporates a wide arched opening to the centre with early-C20 signage plaques with incised and gilded lettering and arrows pointing towards the ladies and gents lavatories, which are accessed through an inner screen with Art Nouveau stained glass and a vestibule with panelled doors. Off to the right is a doorway through to the altered snug and access to a stair leading up to the first floor.
LOUNGE The lounge is accessed from the Lime Street entrance and shares a bar servery with the public bar, although the bar counter in the lounge is set within a wide arched opening and is more elaborate and wave-shaped with a decorative beaten-copper front. Above the counter are brass lighting rails with paired globe lights. Ornate carved and fluted Corinthian columns stood atop panelled pedestals support the room's ceiling, which continues the same richly decorated plasterwork as the public bar. Similarly detailed pilasters also exist to the walls, which are panelled. To the room's north-west wall is a tall mahogany and marble fireplace with a decorative beaten-copper panel depicting torches and swags, and a beaten-copper Art Nouveau fire hood, and large caryatids to each side supporting an entablature and segmental pediment above. Two doorways either side of the fireplace with their doors removed (one of the doors with an etched-glass upper panel that reads 'SMOKE ROOM' survives on the second floor in the Lime Street range) lead through into the smoke room, which has a back-to-back fireplace with the lounge.
SMOKE ROOM The smoke room has booth seating set around three walls separated by baffles with Art Nouveau stained-glass panels and fluted octagonal uprights surmounted by paired lamps. The walls above the seating have highly decorative mahogany panelling with fluted pilasters, carved mouldings, marquetry detailing and built-in bell pushes set within decorative plates. To the top of the walls, and set below a coffered ceiling that incorporates a large plasterwork oval to the centre depicting the signs of the zodiac, is a deep plasterwork frieze depicting putti in various Arcadian scenes. The room's elaborate fireplace is also of mahogany, marble and beaten copper, with a semi-circular panel depicting Viking ships in relief and flanking fluted octagonal columns with Art Nouveau floriate capitals supporting an entablature.
FORMER BILLIARDS ROOM At the rear (north-east side) of the ground floor, and accessed from the lounge and rear corridor, is a vast room (probably a billiards room originally and now known as the Heritage Suite) with an exposed floorboard floor, wall panelling incorporating doorcases with shaped heads, giant Corinthian pilasters, carved festoons and cartouches, and a coffered ceiling with a massive, oval, stained-glass domed skylight to the centre with a plasterwork frieze at its base depicting apples, foliage and lion's heads. To the south-west wall is an elaborate carved mahogany and marble fireplace with a large mirror built into the panelling above and surviving to the south-east wall is original built-in bench seating. At the north-west end of the room is a later panelled bar counter with a substantial bar-back behind incorporating Roman Doric columns supporting a deep entablature and flanked by later shelving. A doorway in the east corner leads through to an altered entrance foyer off Copperas Hill.
UPPER FLOORS A steep, narrow stair off Copperas Hill leads up to the first floor and rooms in the south corner and south-east end of the building. The stair has modern tread coverings and has lost its balusters, but an original newel post and handrail survive. The main accommodation stair serving the upper floors in the Lime Street range is contained within the neighbouring single-bay property of 79 Lime Street and rises from a ground-floor foyer with later inserted partitioning. The stair is a wide dog-leg stair with substantial carved newel posts and balusters, pendant drops, a closed string, and a glazed-tiled dado.
The upper floor rooms at the south-east end of the building have been modernised to accommodate en-suite bathrooms and toilets, but the floor plan largely survives with only minor alteration, including boxing-in on the second-floor landing. The rooms and landings retain plain moulded cornicing and door architraves, and a mixture of original four-panel and modern doors. Chimneybreasts also survive, and most rooms retain Art Nouveau cast-iron and tiled fireplaces. A stair flight up to the second floor survives with closed strings and turned balusters and newel posts. On each of the first and second floor landings is a doorway through to the upper-floor rooms facing onto Lime Street, which are no longer in use. These spaces, except for the main stair at the north-west end, have been altered and modernised, along with the attic rooms.
The attic at the south-east end of the building and the basement were not inspected.
Legacy
The contents of this record have been generated from a legacy data system.
Legacy System number: 359023
Legacy System: LBS
Sources
Books and journals
Brandwood, G, Davison, A, Slaughter, M, Licensed to Sell. The HIstory and Heritage of the Public House, (2004), 77, 78, 115, 147, 150
Brandwood, G, Britain's Best Real Heritage Pubs. Pub Interiors of Outstanding Historic Interest, (2013), 118
Pye, K, Liverpool Pubs, (2015), 68-72
Sharples, J, Pevsner Architectural Guides: Liverpool, (2004), 184
Websites
The Bromsgrove Guild, accessed 7 November 2019 from www.architectural-heritage.co.uk/garden-ornament-history
One of the joys of working in this environment is the constantly changing displays of artwork being produced by the creative industries department. Always worth stopping and being inspired by the talents on show. Except when it's the end of the day and the train is due. Then it's full speed ahead and head for the exit.
Date: March 2025
Medium: Digital Photomontage
Location: Santa Cruz, CA
Dimensions: 15" x 20"
© 2025 Tony DeVarco
Credit: Julia Margaret Cameron (British, born India, 1815 - 1879), photographer [Julia Jackson], 1867 Albumen silver print 27.8 × 22.1 cm (10 15/16 × 8 11/16 in.) The J. Paul Getty Museum, Los Angeles, 84.XM.1414.4. Downloaded from the Getty Open Content portal: www.getty.edu/art/collection/object/104G4D
“Mrs. Herbert Duckworth (née Julia Jackson, 1846-1895) was widely regarded as the most attractive of all the daughters born to the Pattle sisters. She was the child of Mia, Julia Margaret Cameron’s youngest sister, and her husband John Jackson, a physician who practiced for twenty-five years in Calcutta. Her beauty prompted several proposals of marriage, most notably from William Holman Hunt and the sculptor Thomas Woolner. She was continually sought after as a model by leading artists of the day: George Frederick Watts drew her often during childhood and painted her portrait in oil in 1874; Edward Burne-Jones used her as the model for the Virgin in his Annunciation (1879), one of the great works of Pre-Raphaelite painting. Cameron photographed her treasured namesake, niece, and godchild repeatedly over the years, creating a corpus of works that are among the finest examples of her work.
In 1867, at the age of twenty-one, Jackson accepted the marriage proposal of Herbert Duckworth (1833-1870), a barrister. Two striking portraits, probably made just prior to her wedding, project an image of heroic womanhood and celebrate her cool, Puritan beauty. Duckworth was widowed in 1870 after only three years of marriage. Mourning the loss of her husband she took up studies on agnosticism and also began to nurse the ill and dying. In this period she came to know Leslie Stephen (1832-1904), an author on the subject of agnosticism and the brother-in-law of her friend Anne Thackeray. After his wife Minnie died in 1875, Stephen and Duckworth grew even closer eventually marrying in 1878.
They went on to have four children including the artist Vanessa Bell and the author Virginia Woolf. Woolf described her mother in the character of Mrs. Ramsay in "To the Lighthouse" (1927): “The Graces assembling seemed to have joined hands in meadows of asphodel to compose that face.” Cameron’s 1872 portrait of Duckworth seems to echo this description with its subtitle, “A Beautiful Vision.”
Adapted from Julian Cox. Julia Margaret Cameron, In Focus: From the J. Paul Getty Museum (Los Angeles: J. Paul Getty Museum, 1996), ©1996 The J. Paul Getty Museum.
"Julia Margaret Cameron: soft-focus photographer with an iron will" by Charlotte Higgins for The Guardian: www.theguardian.com/artanddesign/2015/sep/22/julia-margar...
Les mystères de l'horizon
This image was reviewed by the Guardian's Camera Club: "The elegantly mysterious 'IMG_0154' is perfectly composed and causes the viewer to speculate, excellent!"
For me this image speaks the subject's troubled inner life and his mental health but also possibly, more generally, about masculinity and the malaise experienced by some men with more fluid gender roles. I like the pallette and how the shapes in the image echo each other.