ArtAndDesign photos on Flickr

Damien Hirst Mandalas, White Cube Mason's Yard Autumn 2019 by neil mp

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www.theguardian.com/artanddesign/2019/sep/19/damien-hirst...

Stanford Psychedelics — 1967 by Steve Jurvetson

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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...

Eclipse - jpeg by Michael Howarth

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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.

Friends 1 by 7tenths

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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:

www.alienskin.com/exposure/index.aspx

www.guardian.co.uk/artanddesign/gallery/2009/dec/17/1

Swing Alma Hat in Red by E.V.E

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“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.

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...

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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

historicengland.org.uk/listing/the-list/list-entry/1084210

The Art Corridor by Brian Smith

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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.

Silver Lining (in dialogue with Julia Margaret Cameron) by Tony DeVarco

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Date: March 2025

Medium: Digital Photomontage

Location: Santa Cruz, CA

Dimensions: 15" x 20"

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.”

"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...

Thank you, for message! Please follow my work! by Sketchy.Chriss

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I hope this design do what it was meant to! Have a blessed day

No climbing danger of death by duncan cumming

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www.theguardian.com/artanddesign/architecture-design-blog...

Like my photos? Buy me a coffee!

Follow me on Instagram

IMG_0154 by Zefrog

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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.

Commemorative plates Sunderland Museum & Winter Gardens by North East Museums

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Transportation 026 - Queue Due To Train Strike - London - 1955 by Johnny El-Rady

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Bus queues in Farringdon, London owing to train strikes.

Illustration: Photograph: Edwin Sampson/Rex Features

www.theguardian.com/artanddesign/picture/2014/may/31/pict...

Anish Kapoor: by Hawknose Harlequin

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Modern Art Oxford: Painting Exhibition, October 2021

www.modernartoxford.org.uk/event/anish-kapoor-painting/

www.theguardian.com/artanddesign/2021/sep/30/anish-kapoor...

Καρυάτιδες by Tony Cole

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“If the doors of perception were cleansed every thing would appear to man as it is, Infinite. For man has closed himself up, till he sees all things thro' narrow chinks of his cavern.”

― William Blake, The Marriage of Heaven and Hell

Well, it’s been a good week so far. Came back from a brilliant week working in London with a memory card chock-full of images, went off to the Lake District and battled the elements to cleanse both mind and body (sort of), returned to find another positive review on the Guardian’s website www.theguardian.com/artanddesign/gallery/2013/sep/06/phot... and then found out that a little online interview all about me was up on the site www.interestingphotographers.com/main/en/?p=904 and to top it all I’ve sold another print and a copy of a photo book over at www.blurb.co.uk/user/store/yorktone

Birthday PMA(13) by Regan Vercruysse

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Week 5 Portraits of Painters (2) (1021 – 1025)10/27 – 10/31/2019 ID 1023

Dorothea Tanning American 1910-2012

Birthday, 1942

Oil on canvas.

Birthday is a self-portrait that shows the artist, Dorothea Tanning, standing in an ambiguous interior space wearing “some old Shakespearean costume,” as she described in an interview. A thicket of root-like tendrils, some of which look like female bodies, hand down as part of the costume’s skirt. Her hand rests on the doorknob of the first of a series of open doors.

A small furry creature with wings sits at her feet. Tanning rendered this perplexing scene with clarity and precision characteristic of Surrealists, who painted unexpected juxtapositions that blur the lines between dream, fantasy, and reality, with the goal of expressing the unconscious.

125th Anniversary Acquisition. Purchased with funds contributed by C.K. Williams, II, 1999-50-1

From the Placard: The Philadelphia Museum of Art, PA

www.philamuseum.org/

en.wikipedia.org/wiki/Dorothea_Tanning

www.theguardian.com/artanddesign/2019/feb/08/dangerous-ap...

youtu.be/92LvYigLMLc

The lifeboat men at work by North East Museums

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This is a boldly illustrated glass slide featuring three traditional lifeboat men at work.

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

Sinking ship by North East Museums

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This is a boldly illustrated glass slide featuring a traditional lifeboat and its crew braving the water and aiding the crew of a sinking ship to safety.

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

Johny Pitts - Sheffield Photographer by Tim Dennell

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One of a series of posters around town featuring images by Johny Pitts - a self-taught photographer, writer and broadcaster from Sheffield.

Pitts describes himself as a Northern Soul child, the product of an African American musician father and a white working class mother, who worked as a teacher, who first met at a Sheffield working men’s club. Pitts recently had a photo-book published and an exhibition at Sheffield’s Graves Art Gallery: Home Is Not a Place.

Illustrated article: www.theguardian.com/artanddesign/2022/sep/11/odyssey-of-t...

Everything is Sacred ~ it's all around us, always. Yet, this means many different things to different people, especially when we call it 'the Sacred', when we give a name, a title.. {{click ℹ️ below for more}} by Sacred Hearth Assembly

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Everything is Sacred ~ it's all around us, always. Yet, this means many different things to different people, especially when we call it 'the Sacred', when we give a name, a title. A central theme of my daily practice & moment-to-moment intentioning ~ *& the core of that which SACRED HEARTH ASSEMBLY embodies* ~ is the exploration of what 'the Sacred' means to me, & how it plays a guiding role in my creative expression & everyday life. ➰💭💫🔥👐🎨👢👒👜✂️

.

What does 'the Sacred' mean to you? How does it morph & shift each moment, each day, & how do you cultivate, create, & curate it in your life? ✨💙🙏💙✨

👇Join us on Instagram!👇

@sacredhearthassembly

&..

@my_my_magic {personal account of Mai Mai, tender of Sacred Hearth Assembly}

(Conceptual Street Art) Mona Lisa (also known as La Gioconda or La Joconde) is a 16th-century portrait painted in oil on a poplar panel by Leonardo di ser Piero da Vinci. by Alberto Botella

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Street Performer. Taken in London South Bank.

Her secret could be no more...

i.dailymail.co.uk/i/pix/2010/12/13/article-1337976-0C75E5...

See: www.guardian.co.uk/artanddesign/2010/dec/12/mona-lisa-eye...

The First Supper — Tavares Strachan by Paul Downey

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www.theguardian.com/artanddesign/2023/dec/26/tavares-stra...

Preston Lopez I WAS ONLY 19 BUT I GUESS THATS NO EXCUSE. #photoshoot #artanddesign #modeling #prince #muscle #body #bodybuilding #abs #biceps #motivation #wellness #inspiration #fit #workout #fitness #lawofattraction #gimnasio #model #excersize #stayfit by Preston Lopez

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The Future by PNCA YOUTH PROGRAM

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P-00423-No-037_rt by Stee Vie L

From the Guardian Newspaper 12 June 2016:

"The pavilion itself, supported by Goldman Sachs, stands, as usual, next to the Serpentine Gallery’s building, a brief walk through Kensington Gardens from the summer houses. It is made of hollow rectangular tubes, open at the ends, made of thin fibreglass sheets, which are then stacked up into a twisting shape that is at different times tent-like, mountainous, anatomical and churchy. It revels in inversion and surprise: its components are brick-like but light; they are straight-lined and right-angled, but generate curves in their stacking. A one-dimensional vertical line at each end grows from a 2D plane into a 3D swelling. From some positions, you can look straight through the boxes to the greenery beyond, such that they almost disappear. From others, they present blank flanks and the building becomes solid. It is mechanical and organic, filtering and editing the surroundings as if through the leaves of a pixellated tree.

It is designed by BIG, or Bjarke Ingels Group, a name that cleverly combines the initials of its 41-year-old founder and leader with the alternative custom of choosing names that carry some sort of meaning (OMA, the late lamented FAT, muf, Assemble). The latter is supposed to deflect attention away from individuals towards something more general: “BIG” is universal and personal at once, none too subtle in its meaning and statement of ambition and has the added attraction that the original Danish practice can call its website big.dk.

The name encapsulates Ingels’s genius, which is to combine the avant-garde trappings of an OMA with a happy-to-be-trashy flagrancy, an embrace of the values of marketing, a celebration of ego. “What I like about architecture,” he says, “is that it is literally the science of turning your fantasy into reality.” His approach has earned BIG the mistrust, awe and envy of fellow professionals, the adulation of many students and a 300-strong practice with offices in Copenhagen, New York and, as revealed in an announcement coinciding with the Serpentine launch, London.

"The pavilion itself, supported by Goldman Sachs, stands, as usual, next to the Serpentine Gallery’s building, a brief walk through Kensington Gardens from the summer houses. It is made of hollow rectangular tubes, open at the ends, made of thin fibreglass sheets, which are then stacked up into a twisting shape that is at different times tent-like, mountainous, anatomical and churchy. It revels in inversion and surprise: its components are brick-like but light; they are straight-lined and right-angled, but generate curves in their stacking. A one-dimensional vertical line at each end grows from a 2D plane into a 3D swelling. From some positions, you can look straight through the boxes to the greenery beyond, such that they almost disappear. From others, they present blank flanks and the building becomes solid. It is mechanical and organic, filtering and editing the surroundings as if through the leaves of a pixellated tree."

Original article at: www.theguardian.com/artanddesign/2016/jun/12/serpentine-p...

Urban walk 20 May 2017: Lewisham to Mile End 75 by neil mp

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www.theguardian.com/artanddesign/architecture-design-blog...

Thames Horsemen by jim crossley

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The Four Horsemen of the Apocalypse, on the bank of the Thames near Vauxhall.

www.theguardian.com/artanddesign/2015/sep/02/underwater-s...

The Peanuts - a wonderful classic - just arrived in shop! #tuschundegon #boxpark #shoreditch #london #giftideas #giftshop #artanddesign #funkopopvinyl #thepeanuts by Tusch und Egon

via Instagram ift.tt/27KIgvx

Spomenik - Podgarić by Fabio Bruna

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Monument to the Revolution of the People of Moslavina (Spomenik Revolucije Naroda Moslavine).

Toen we in Zagreb waren moest ik naar dit beeld, al was het 120 kilometer omrijden. Het was elke kilometer waard. Het beeld staat in een landelijk gebied, het is bizar om te rijden tussen die boerderijtjes en heuvels en opeens deze ufo te zien. Er indrukwekkend.

Een beeld dat gebouwd is om de opstand van de bevolking in de regio Moslavina tegen het Ustaša-bewind tijdens de Tweede Wereldoorlog te herdenken.

Meer info;

www.spomenikdatabase.org/podgarica

www.theguardian.com/artanddesign/photography-blog/2013/ju...

Stukje; fabiobruna.nl/2024/08/26/spomenik-podgaric/

pls GO: https://www.theguardian.com/artanddesign/gallery/2022/aug/19/the-week-around-the-world-in-20-pictures#img-10 by Bagasbas

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www.theguardian.com/artanddesign/gallery/2022/aug/19/the-...

08-22-2022 Untitled

Spike and Ruby by fitzhughfella

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Inspired by the Rolleiflex photography of the Observer's Jane Bown, I splashed out on a second hand 3.5F from a wonderful second hand camera shop in Arundel, Sussex. This is from the first roll. Check Jane Bown out here

www.guardian.co.uk/artanddesign/interactive/2009/oct/22/j...

Simon by Dennis Teoh

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Keeping in line with the world of public transport theme following the Guardian Camera Club's review on my portfolio this week - www.theguardian.com/artanddesign/gallery/2013/aug/06/phot...

work by the VCAD graphic design program student Haiqi S by VCAD

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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

Girl with a Tricorne (Vénitiene) MAG(4).JPG by Regan Vercruysse

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Henri Matisse French 1869-1954

Girl with a Tricorne (Vénitiene) , 1922-1923

Oil on canvas

Matisse, an icon of early 20th century art, was the leader of a group known as the Fauves, or “wild beasts.” He believed artists should follow their own imaginations rather than copy the colors of nature. In “Notes of a Painter” Matisse wrote: Expression, for me, does not reside in passions glowing in a human face or manifested by violent movement. The entire arrangement of my picture is expressive: the place occupied by the figures, the empty spaces around them, the proportions, everything has a share..

Painted in the city of Nice, in southern France, the title Vénitiene ( Venetian Girl) is explained by the sitter’s 18th century style costume, traditionally worn for Carnival mascarades in Venice. Beyond a simply decorative painting, Girl with Tricorne reveals itself as an expression of balance and harmony.

Gift of Emily Sibley Watson 24.38

From the placard: Memorial Art Gallery

Id 719

.

mag.rochester.edu/

.

en.wikipedia.org/wiki/Henri_Matisse

www.henri-matisse.net/

If you missed the show: “ Henri Matisse : The Cut Outs” you can walk through it here:

www.nytimes.com/interactive/2015/02/06/arts/a-walk-throug...

.

www.lrb.co.uk/v36/n11/tj-clark/the-urge-to-strangle

www.vanityfair.com/culture/2003/02/picasso-matisse200302

www.nytimes.com/2014/10/10/arts/design/henri-matisse-the-...

www.fastcodesign.com/3041469/highlights-from-a-never-befo...

www.theguardian.com/artanddesign/2008/jan/19/art

www.metmuseum.org/toah/hd/mati/hd_mati.htm

Unknown Malicious Binary by Phil Stearns

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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-...

HARRY POTTER POP ART 2015 #usielillustra #Art #Artwork #Artist #Painting #Digital #illustration #Photoshop #Popart #ArtAndDesign #FineArt #Abstract #Original #Artists #WallArt #OilPainting #harry #ContemporaryArt #Contemporary #harrypotterworld #Artpri by usiel illustra

the art of spaghetti by the VCAD graphic design program student Leah G by VCAD

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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

San Fernando Mirror Test by North East Museums

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Reference: DS.GP.1919/3444

This photograph shows Mirror Tests using Grubb Parsons equipment for the San Fernando Observatory at some point in the early 20th Century.

This photograph is taken from the Grubb Parsons Ltd collection at Tyne & Wear Archives. The records of Grubb Parsons Ltd, Newcastle upon Tyne, England, consist of 65 linear metres (213 linear feet) of files, plans, photographs and glass plate negatives relating to this internationally renowned firm's manufacture of precision telescopic instruments.

The original Business was founded in the early nineteenth century by Thomas Grubb, in 1925 the company was acquired by Sir Charles Parsons and continued to manufacture Telescopic and Astronomical instruments until 1985.

This Glass Lantern Slide is taken from a large collection that documents the work of Grubb Parsons Ltd at their workshop in Walkergate, Newcastle upon Tyne. It was here that Grubb Parsons Ltd manufactured Telescopic and Astronomical equipment for companies and observatories world wide. Their equipment was designed and built for use and research across the Globe, to name only a few of these locations Grubb Parsons Ltd supplied to the UK, Switzerland, Denmark, Egypt, South Africa, Greece, Australia, Japan, India, Hawaii, Poland, Chile, Canada, France and Spain.

(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 archives@twmuseums.org.uk

Fantastic Mr Fox by the VCAD Graphic Design program student Rebecca A by VCAD

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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

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