View allAll Photos Tagged ArtAndDesign
Performers of all descriptions came to the Hoppings to entertain the people of Newcastle. 1940's
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:944/2447
(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.
Sahar and Kassandra looking chic as usual at the Vcad portfolio show
Source: instagram.com/hannah_tikkanen
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.
Fashion Design Program
VCAD's program gives structure to your creativity while providing hands-on training from industry professionals. Students gain an in-depth understanding about the tools and equipment used in the industry. Topics covered include garment, accessory and apparel design, fashion merchandising, fashion shows, and more.
Subscribe to VCAD:
www.youtube.com/subscription_center?add_user=VancouverVCAD
Visual College of Art & Design
500 - 626 West Pender Street
Vancouver, BC
V6B 1V9
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
From: www.theguardian.com/artanddesign/shortcuts/2012/oct/17/da...
On a windswept mid-October day the harbourside at Ilfracombe is usually the domain of just a few fishermen, dog-walkers and hardy fresh-air freaks.
On Wednesday, it was heaving with people who had come from near and far to gawp, wonder and talk about Damien Hirst's Verity, a 20m-high statue of a naked woman yielding a sword and staring out to sea.
"Impressive," said James Silvesto, who had picked up his nine-year-old son Charlie from the local primary school and whizzed him down to the harbour on his moped. "She's a magnet. She's got a personality that draws you in." Charlie was not so sure. "A bit rude, a bit weird," was his verdict.
There had been scepticism in some quarters ahead of the installation of the statue, with some thinking the exposed womb and other internal workings distasteful. A few of those milling around while workers put the finishing touches to it remained unconvinced.
Engineer Melvyn Robinson said he found it "grotesque". "It's not my cup of tea, I prefer my art a bit more conventional," he said. "It's typical Damien Hirst, a bit Hannibal Lecter-ish. He can't help himself, can he?"
Boatman Paul Barbeary was also unconvinced. "I just think she's in completely the wrong place. What has she got to do with Ilfracombe? A mermaid would be better."
Pensioner Eve Martinson, who was holidaying in Cornwall but had decided to take a spin to north Devon to have a look at Verity. "She's a bit, well, naked for me," said Martinson. "I don't like her nipples very much, a bit too pointy. And those bits and pieces of her inside. You have no choice but to look."
But shopkeepers were delighted at the attention the resort was getting because of Verity. The ice-cream parlours and fish and chips shops were doing good business. Hirst's own restaurant (he also has a home nearby) was, unsurprisingly, full.
"I think the statue is brilliant," said Felicity Cowley, a consultant at the Driftwood art gallery, which had a few Hirsts on the walls. "A midweek day in October is not usually very busy. We've had loads of people in. Whether you like it or not, it's a phenomenon, an attraction."
And most of those who made the pilgrimage to Verity on Wednesday were positive. Tim Brownings, a local tour guide, can see the statue from his front room. "I was a bit worried she'd wreck my view of the sea," he said. "I thinks she enhances it actually. But for me the best thing is that she is getting people talking about art."
People like harbour master Rob Lawson, who was happy to wax lyrical about the merits of Verity: "One half of her is calm, beautiful; the other half is provocative – the human as an animal."
He is delighted the statue, on loan to the town for 20 years, has created a buzz. And if nothing else she will make it easy for visiting yacht captains to find Ilfracombe. "Some people say they find it difficult to see the harbour entrance from out to sea. They won't be able to miss it now."
My friend Mike, who owned the boat 'Merlin' which we did an overnight trip a few weeks ago, has bought a new boat - Santa Clara.
We planned a 5 day trip, leaving Swansea on Monday 5th August 2013 and getting back on Friday 9th August. We only had a rought plan, as sailing depends on the wind and weather, but we ended up sailing from Swansea to Ilfracombe (spent the night in Ilfracombe) then Lundy Island (spent the night offLundy), followed by two nights off Worms Head with a day trip to Caldey Island in between.
The weather was kind to us - except for light winds for a couple of days and then too much wind for one night!
An excellent trip.
This is a glass slide capturing the grand architecture of a building in Brussels. It is possibly called 'The Grand Place'.
The slide is from 1928. It was taken by South Shields Photographic Society's photographer Harrison Burgess during a trip to Switzerland and Belgium made by the society in 1928.
This image is part of the Tyne & Wear archives & museums set Harrison Burgess and the South Shields Photographic Society.
(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
I`m happy, hope you are happy and they are happy too.
Enjoy it upside down as otherwise the Buildings as well as Bulldogs do not smile.
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
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...
homedecormade.com/the-most-beautiful-garden-gates/
#HomeDecor #InteriorDesign #Home #Design #Bathroom #Architecture #Kitchen #Bedroom #RealEstate #Furniture #HomeDesign #Bathroom #Bedroom #Modern #House #Decoration #DIY #LivingRoom #BathroomDesign #Art #Crafts #Ideas #ArtAndDesign #InteriorDesign #Home #Design #Decor #Kitchen #Bedroom #Architecture #Furniture #RealEstate #Decorating #HomeDesign #Ideas #Decoration #Bathroom #Modern #StPatricksDay #Green #Room
ARLEN SCHUMER
May 9, 2012
Arlen Schumer
Once again, for all the comic book fans who still don't "get" Roy Lichtenstein--thanx as always to the Lord of Lichtenstein, David Barsalou: www.guardian.co.uk/artanddesign/jonathanjonesblog/2012/ma...
Henry Martinez Sorry Arlen, I don't get Lichtenstein, and the article didn't help. I will just attribute it to my not seeing his vision.
Mark Lerer Roy Lichtenstein Forever! Thanks for posting!
Arlen Schumer Delmo, that sounds totally contradictory to me; you say you "like" Roy, which i take to mean you "like" his work--then out of the other corner of your mouth you dismiss it completely, using the same tired, old canards that miss the entire point of his work, that I would've thought by now had been considered passe...
Delmo Walters Jr. I'm allowed to be contradictory. You're free to remove my comment if it displeases you.
Arlen Schumer geez, are you that sensitive? whatever happened to casual debate\, delmo? why do you think I posted this image & story in the first place? which, by the way, i doubt you've even read, did you? maybe if you read it, your opinion on RL might change...
Delmo Walters Jr. Probably not.
Arlen Schumer and also, delmo, am I not "allowed to be contradictory" when I post a response to a comment like yours? Geez, people on FB are so touchy the moment some "contradiction" rears its "ugly" head!
Delmo Walters Jr. Sure, you're allowed.
Arlen Schumer wouldn't it be nice if people actually debated their positions in a good-natured fashion? Or at least that's my goal...
Mike Hall Lichtenstein's work is derivative (in the legal sense of the word, not the critical), and that makes it original in its own right. Look at those two images: there are actually quite a few differences. Lichtenstein's doesn't serve the needs of a story; it stands alone as an image that is itself a narrative statement of the power of comic book imagery. I don't think I'd call myself a Lichtenstein fan (I'm familiar with only a few of his pieces), but I get what he was doing, and will continue to defend it as legitimate art.
Fred Schiller I wonder how folks would feel about his work if he worked in a bakery by day and painted at night for fun. Maybe he gave away his originals to friends who liked them and he did it for the joy and not the money.
Bhob Stewart With "Brushstroke" he out-popped everyone. www.lichtensteinfoundation.org/hirshorn07.htm
Rick Stromoski Lichtenstein was a plagiaristic twat
Matt Tauber I "get" that he had an interesting idea that he overused. I "get" that he couldn't draw sh*t on his own. I really don't get "Sleeping Girl," though, as Lichtenstein once said his goal was to capture a moment of emotional intensity as a static, technical drawing.
Mike Wedmer Roy would recreate the technical process of printing, more than he was ripping off a comic artist. His work looked like giant blown up versions of a panel. All the way down to the telltale dots of early coloring.
Maybe it has more to do with his work, which is comic oriented, being considered legitimate art, when other more skilled Comicers work, is not.
Bojan M. Đukić As expected, the imitated comic book art proves to be far superior in every instance compared to the 'artistic treatment' that remains inferior.
Arlen Schumer I have one word for all those who still don't get RL: "Context." If you don't know what that means in relation to RL, then you won't get RL. Period. The comments against RL on this thread prove it...sigh!
Rick Stromoski So either accept RL as an artistic genius or be a luddite.
Arlen Schumer Gee, rick, must you be that extreme? There's no middle ground with you?
Arlen Schumer And a "luddite" is anti-technology; what the heck does that have to do with art? Unless you mean a "philistine," which would be more apt.
Rick Stromoski I get it Arlen...i just don't happen to agree with your assessment of RL's contribution to art. He's an accidental success. He fell itno this success by accident after failing with conventional attempts. he did this as lark and it took off...to me he's as relevent as Julian Schnabel or Robbie Conal...meaning not very
Rick Stromoski meant to say phillistine but wrote luddite in haste...
Arlen Schumer Rick, what exactly do you "get"? You can't "get" RL and then totally dismiss his career--that NO art critic in the mid-'60s thought would last btw--with the, by now, tired ol' canards that attempt to pass off RL as some sort of mass-hypnosis that ivory tower "art critics" have successfully performed on all of us! The bottom line is, so many comic artists think all RL did was trace & copy, what you call "accidental," and are still stuck in 1965. GET OVER IT.
Bojan M. Đukić 'He's an accidental success'.
The Best description of Roy Lichtenstein & his 'art'. EVER. Thank you, Sir.
Arlen Schumer Misery loves company.
Hilary Barta I was just interviewed for an article on the Lichtenstein show going up at the Art Institute of Chicago. I assumed that the old bias of high and low art would be moot at this point. But the museum does not site the comic book sources, and their explanation is that his art is all about that "context", and they didn't want to distract the public from that at the show. No problem, right? Except that they DO cite his contemporaries in Abstract Impressionism when they believe the artist might be humorously referring to them. So, De Kooning is "worthy" of mention, Romita not so much. This is a bias, plain and simple, perhaps one that they are not even aware of. So it's not only the comics fans that still don't see the larger picture.
Rick Stromoski I don't think there's anything to get over Arlen...you can't force people into a false appreciation of something they consider drivel. I happen to like Laurie Anderson...my wife hates her...but at least she didn't make a career out of ripping people off.
Arlen Schumer hilary--i'm kinda surprised by what you say, because for the last dozen yrs or so, so many RL shows/books etc. have included his sources, in part, I can only assume, in order to diffuse the still-vehement attacks on the veracity of his work & career. Because once you see what RL worked from, you might understand more what he actually did, and achieved, in terms of art/context/appropriation/found-art/pop art theory and practice.
Arlen Schumer And rick, simply not liking one artist or another for personal taste reasons--but still respecting their art & craft--is very different from thinking their career is "accidental" or a "rip-off," or whatever you're complaining about RL, which, again, are the same insults that've been hurled at him since he began.
Mark Badger Love Licthenstein but some battles just ain't worth fighting
Hilary Barta Yeah, I was rather surprised myself.
Arlen Schumer hilary, i just saw a doc film 6 months ago made by 1 of his former assistants, and sanctioned by the RL estate, that went into some depth about his sources! so yeah, it doesn't make sense what you've told em...
Arlen Schumer oh, Robert, don't you know by now I purposely pose polarizing positions in my posts (alliteration!:) in order to foment a lively debate? :) why do you think I posted this RL story in the first place? geez, everyone seems to be so thin-skinned when their positions are challenged or contradicted. Lighten up, everyone!
Hilary Barta Who knows, Arlen? Like I say, they may be oblivious to what I describe as bias, or maybe they thought it was no longer necessary. And, to be fair, I previewed the as yet incomplete installation of the show. Anyway, I gotta roll.
Arlen Schumer hey Hilary, friend me! always been a fan of your work!
Arlen Schumer thanx for friending me, H--FB banned me for 30 days because I "over-friended" in a day!
James Romberger I wish I could care about the artists who make up the blue chip 1%er- favorite art of the second half of the last century and the beginning of the current one, but unfortunately, I just can't.
Arlen Schumer who does? I can't keep up with all the great artists in comics, much less the fine art world!
Michael Dooley For anyone interested in a view of Lichtenstein from someone who's actually read the Guardian piece, see the comments I just posted on Arlen's wall (above).
Delmo Walters Jr. www.forbes.com/sites/carolpinchefsky/2012/05/10/forget-li...
Arlen Schumer
March 8, 2012 ·
KIRBY COVER 1st POP ART USAGE: From David Barsalou's requisite DECONSTRUCTING ROY LICHTENSTEIN site on Flickr: "British artist Richard Hamilton, called by many as the 'Father of Pop Art.' Among Hamilton’s notable accomplishments was designing the cover for the Beatles White Album. Probably his earliest work to command attention was the 1956 collage 'Just What Is It that Makes Today’s Homes So Different, So Appealing?' The collage includes, as one of its elements, a framed 'Young Romance' cover. The cover is by Jack Kirby…."
Arlen Schumer
October 24, 2012 ·
These comparisons are absolutely ridiculous; SO WHAT if Roy Lichtenstein was inspired by these inconsequential pieces of commercial (found) art! RL recontextualized them into ART! When will all of you RL critics get your ostritch-like heads out of 1965 sand and wake up and smell the 21st century? Where you've all LOST your Lichtenstein-is-not-an-artist argument?!?!?
Finished #UP my action skeleton for Life Drawing 2 class tomorrow...Break before tackling sum Storyboarding thumbnails #Latenightzoning #Schoolgrind #Pencils #Rendering #Crossbone #Manifestation #Artwork #VCAD #HA!
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.
Subscribe to VCAD:
British architect Will Alsop dies aged 70 after short illness. He died on Saturday after a short illness, said Marcos Rosello, director of aLL Design, which Alsop set up in 2011.
The Guardian, Alexandra Topping, 13 May 2018: www.theguardian.com/artanddesign/2018/may/13/british-arch...
aLL Design: www.all-worldwide.com/
Will Alsop obituary. The Guardian, Oliver Wainwright, 14 May 2018: www.theguardian.com/artanddesign/2018/may/13/will-alsop-o...
Will Alsop: 'His joyously surreal creations broke the laws of physics'.
Shortly before he became ill, the famously wacky architect let us into his mind-boggling studio for a final interview. Our writer recalls that smoky, boozy, extraordinary afternoon – and assesses his legacy
Will Alsop obituary.
The Guardian, Oliver Wainwright, 14 May 2018: www.theguardian.com/artanddesign/2018/may/14/will-alsop-h...
In Memoriam Will Alsop (1947-2018): www.dearchitect.nl/architectuur/artikel/2018/05/m-will-al...
Architect Will Alsop (70) overleden, Ronnie Weessies: architectenweb.nl/nieuws/artikel.aspx?ID=43394
Risk-taking architect has to sell firm in fall from grace. One of Britain's most celebrated architects, Will Alsop, was forced to sell his business yesterday after being refused work in Britain because of what he claims is an increasing aversion to risk-taking. Six years ago Alsop won the building of the year award for his box-on-stilts Peckham library, in south-east London, but yesterday he complained of being blocked from designing schools and hospitals in Britain.
The Guardian, Robert Booth, 24 Mar 2006: www.theguardian.com/uk/2006/mar/24/communities.arts
Interview. Will Alsop returns to architecture.
Steve Rose.
Three months ago Will Alsop said he was giving up architecture for painting. Now he says that was all a ruse…..
He is now heading up RMJM's London office, which is to be known as "Will Alsop at RMJM"
The Guardian, 2 Nov 2009: www.theguardian.com/artanddesign/2009/nov/02/will-alsop-a...
Newcastle Town Moor 1952, people queuing for the rides at the Hoppings.
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:944/2432
(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.
Forthcoming exhibition Dürer's Journeys: Travels of a Renaissance Artist.
Beyond the window is The End, (fourth plinth sculpture in Trafalgar Square by Heather Phillipson), Nelson's Column and the London Eye.
The backside where the horses from the royal stable are trained: Ridebanen. _DSC2067 D5000 2010-11-16 14_03 And 2 more_tonemapped by photomatic
homedecormade.com/the-most-beautiful-garden-gates/
#HomeDecor #InteriorDesign #Home #Design #Bathroom #Architecture #Kitchen #Bedroom #RealEstate #Furniture #HomeDesign #Bathroom #Bedroom #Modern #House #Decoration #DIY #LivingRoom #BathroomDesign #Art #Crafts #Ideas #ArtAndDesign #InteriorDesign #Home #Design #Decor #Kitchen #Bedroom #Architecture #Furniture #RealEstate #Decorating #HomeDesign #Ideas #Decoration #Bathroom #Modern #StPatricksDay #Green #Room
MediaCityUK recently won the Carbuncle Cup, as reported in The Guardian and elsewhere.
The words of Ellis Woodman, editor of Building Design, resonated with me: "There is no urban idea to speak of whatsoever – no space that one might recognise as a street; no common architectural language; no difference between the fronts and backs of buildings. There is no distinction made between civic and private buildings either."
MediaCityUK is a "bad landscape" as far as city spaces are concerned, a "dystopia". This photo-shoot with SarahScarlett plays to that, taking some influence from films such as Alphaville, and directors like Jacques Tati.
Slight crop to straight-out-of-camera JPEG. Using the "Reala" Canon Picture Style. Single bare off-camera flash and natural lighting.
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
Attempting to create a Tim Burton Khaleesi for GDH . My colours are completely rigid & wrong due to cheap dollar store markers but this is just a rough first draft . General thoughts ?
#timburton #burtonesque #gameofthrones #daenerys #stormborn #housetargaryen #khaleesi #roughdraft #art #vcad #gdh #graphicdesignhistory #midterm #artschool #wcw #emiliaclarke #marpole #vancouver
Source: instagram.com/creative_obscurities
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.
Subscribe to VCAD:
www.youtube.com/subscription_center?add_user=VancouverVCAD
Visual College of Art & Design
500 - 626 West Pender Street
Vancouver, BC
V6B 1V9
I'm going to miss these fabulous girls at the school- but I'm so happy for them! Congrats!
Source: instagram.com/hannah_tikkanen
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.
Fashion Design Program
VCAD's program gives structure to your creativity while providing hands-on training from industry professionals. Students gain an in-depth understanding about the tools and equipment used in the industry. Topics covered include garment, accessory and apparel design, fashion merchandising, fashion shows, and more.
Subscribe to VCAD:
www.youtube.com/subscription_center?add_user=VancouverVCAD
Visual College of Art & Design
500 - 626 West Pender Street
Vancouver, BC
V6B 1V9
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...
Exhibition at the National Gallery (London)
Albero porta – cedro by Giuseppe Penone
Vogelpredigt by Andrea Büttner
My husband's newest book was reviewed in the Sunday New York Times yesterday!
It is in the Summer Reading Supplement.
It is the last work in a series of visual-design books reviewed by Steven Heller and recommended for summer reading. I'm so proud!
I borrowed this image from the stream of Steven Keylon . He is a collector of modern design decorative objects, furniture, and books, etc. He is also a new flickr friend. This is his copy of Chris's book displayed in his home.
«Milagro»: when I saw this heart in my coffee crema, I thought immediately of the sacred flaming-heart you may have seen before (sometimes with wings, a crown, or flowers, sometimes without), one of the magical Mexican 'milagros', literally 'miracles' in Spanish. Milagros are symbols of archetypal wisdom, often embodied in little talismans or in visual art, given as offerings to deities on altars/shrines, or carried or referenced/evoked for protection, healing, & good energy. Milagros are directly linked to Mexican/Latin-American-specific cultural narrative, though the threads of Earth-based spirituality (& religious storyline) from all over the globe are evident in their representations. These totems have been part of my life since I began, & I seem to see their embodiments everywhere.. As I re-remember & re-cultivate my Sacred Hearth Assembly wisdom, my ability through practice to curate energy & space, & then birth & share creativity & totable talismans from it, these totemic guides are re-appearing to me more than ever before. If you haven't seen/experienced them, go look them up! Xox💋♨️💖
Words / design & design-concept / image ©Sacred Hearth Assembly. All rights reserved. ✨
👇Join us on Instagram!👇
&..
@my_my_magic {personal account of Mai Mai, tender of Sacred Hearth Assembly}
One thing that did annoy me about this small exhibition of Harry Goodwin loaned by the V and A to the Wales Millennium Centre was the lack of labelling.
I though I was pretty good at naming bands but there were a few here I couldn't.
Including the photographs in this photograph.
Feel free to put notes round the ones I haven't.
oh and PS
Did anyone see my little portfolio review in The Guardian ??
www.guardian.co.uk/artanddesign/gallery/2010/nov/10/photo...
Museum of Art, Architecture and Technology which 'opened' in October 2016, but was having substantial construction work done in March 2017. This is an extension to the former electricity museum next to the River Tagus near Belem station.
Architect Amanda Levete for the EDP Foundation.
MAAT www.maat.pt/en
EDP Foundation www.edp.pt/en/sustentabilidade/fundacoes/fundacaoedp/Page...
"The tiles were still being frantically screwed into place on the opening day this week..." The Guardian Oct 6 2016
www.theguardian.com/artanddesign/2016/oct/06/maat-lisbon-...
Congrats to Jen for winning best fashion design display at the Vcad portfolio show!
Source: instagram.com/hannah_tikkanen
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.
Fashion Design Program
VCAD's program gives structure to your creativity while providing hands-on training from industry professionals. Students gain an in-depth understanding about the tools and equipment used in the industry. Topics covered include garment, accessory and apparel design, fashion merchandising, fashion shows, and more.
Subscribe to VCAD:
www.youtube.com/subscription_center?add_user=VancouverVCAD
Visual College of Art & Design
500 - 626 West Pender Street
Vancouver, BC
V6B 1V9
One of the artworks for the packaging on Wright's Biscuits from South Shields. Photographed by Turner's.
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/2/855/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
homedecormade.com/bathroom-decoration/
#HomeDecor #InteriorDesign #Home #Design #Bathroom #Architecture #Kitchen #Bedroom #RealEstate #Furniture #HomeDesign #Bathroom #Bedroom #Modern #House #Decoration #DIY #LivingRoom #BathroomDesign #Art #Crafts #Ideas #ArtAndDesign #InteriorDesign #Home #Design #Decor #Kitchen #Bedroom #Architecture #Furniture #RealEstate #Decorating #HomeDesign #Ideas #Decoration #Bathroom #Modern #StPatricksDay #Green #Room
With the Tyne bridges bottom centre, this shot looks over Gateshead to the south east. Gateshead International Stadium can be seen top centre. The stadium was originally opened in August 1955 and was then known as the Gateshead Youth Stadium. You can pick out the A184 Felling by-pass running into the distance.
Reference: TWAS: DT.TUR.2.67679d
(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
follow me @sunnygran on instagram; www.instagram.com/sunnygran/
Excellent review of new building by Ollie Wainwright
www.theguardian.com/artanddesign/2016/may/23/first-look-i...
Apologies to Ralph Steadman and Berkeley Breathed
blackstock-artanddesign.medium.com/why-is-religion-an-abu...