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Forming Words, showcases a selection of contemporary craft objects, which have been inspired and informed by text. Each work in this exhibition was specially commissioned by Flow Gallery, London, and responds to a piece of writing of the artist's choice, from poetry to a letter to lyrics.
For more info visit: www.craftanddesign.com
"Imitation is the sincerest form of flattery that mediocrity can pay to greatness." (Oscar Wilde)
Lately I have been reading a lot about Daido Moriyama and some other photographers associated with him, and of course I've looked at many pictures. I have known Moriyama's work for a decade or two, but it seems only now these photos are starting to speak to me. Some things need time.
I find it fascinating how they work, and it’s interesting to read about the degree of awareness they had of what they were doing. They were really up to date theoretically and somehow worked with that. Well, possibly the 60s, 70s and still part of the 80s were a good time for this, when modernism turned to post-modernism and all kinds of stuff.
Maybe it’s anachronistic to mimic a style 60 years old. I mean, we all know that’s long gone for better or worse … but still, I tried.
Doing this has already taught me at least three things that are quite valuable:
1.
I consider myself an "advanced" photographer, after doing it for almost 40 years and basically doing nothing else for 25 years now. But in this field I am an absolute beginner. It’s humbling in a good way to see (and to feel) that I don’t know anything about this.
2.
It’s surprisingly hard to let go of the "conventional" photographic qualities most of us learned the hard way. Now it feels so strange to make blurry, underexposed, tilted photos. You really need to trick yourself to give up control.
3.
This kind of photography seems to be at least as much about "feeling the scene" as "seeing the scene". It’s hard to put in words that are not clichéd, but it’s more seeing with the imagination than with your eyes. It’s another way to approach previsualization, I guess – possibly quite useful for other genres, even if those pictures are not so great.
The sculpture "Changing Form" by Doris Chase with the Seattle Space Needle and Mt. Rainier in the background in Seattle, Washington.
Anish Kapoor in Pitzhanger Manor, optical tricks with mirrors and metal
Anish Kapoor
(March to August 2019)
Within the newly restored gallery, with its three circular skylights, Kapoor’s sculptures challenge our traditional notion of form and space by disorientating the viewer and transforming their surroundings.
These sculptures echo Soane’s complex use of mirrors and light and will enable visitors to Pitzhanger to see Soane’s architecture from a fresh perspective.
[Pitzhanger Manor & Gallery]
Pitzhanger Manor was bought by Sir John Soane (1753-1837) in 1800. He demolished most of George Dance's building but retained the southern extension, replacing the main block with one of his own design. In the same year Soane employed John Haverfield to produce new designs for the grounds which were delivered by September 1800 (guidebook). The new mansion was used to display Soane's art collection and for entertaining, his Lincoln's Inn house being retained as the family residence. By 1809 Soane was only occasionally at Pitzhanger and in June of that year he instructed James Christie to sell the house and the estate. Once again the property passed through a series of owners until, in 1843, it was sold to the politician Spencer Walpole and became the home of his four unmarried sisters-in-law, the daughters of the Rt Hon Spencer Perceval. Prior to the death aged ninety-five of the last-surviving Perceval sister, Frederika, in May 1900, her nephew, Sir Spencer Walpole, had begun negotiations with Ealing District Council for the sale of the house and the estate. The sale negotiations were completed early in January 1900 and, following Miss Perceval's death, alterations were carried out. The then Borough Surveyor, Charles Jones, was responsible for the designs for the alterations to the house and grounds and in April 1902 the building was opened as a public library. At the time of the sale, the property was variously referred to as Manor House Park (Middlesex County Times, 19 May 1900) and Perceval Park (Middlesex County Times, 28 July 1900). The name Walpole Park was adopted after communications between the last owner and Ealing Borough Council towards the end of 1900.
Further major alterations to the library building were completed by 1940 and then, in 1984, the Central Library was moved to new premises in Ealing. The following year a continuing programme of restoration and repair to both the mansion and the grounds began. The restored manor house was reopened as a museum and centre for cultural events in the late 1990s. The grounds continue (2000) in the ownership of the London Borough of Ealing.
[Historic England]
O deputado Sargento Amauri Soares representou a Assembleia Legislativa na solenidade de formatura do Curso de Formação de Sargentos e do Curso de Formação de Soldados, no Centro de Ensino da Polícia Militar, Capital. Fotos: Saulo Almeida Batista
Skiers wait to make their way to the start of the run down the Vallee Blanche, from the Aiguille du Midi back to Chamonix.
Anish Kapoor in Pitzhanger Manor, optical tricks with mirrors and metal
Anish Kapoor
(March to August 2019)
Within the newly restored gallery, with its three circular skylights, Kapoor’s sculptures challenge our traditional notion of form and space by disorientating the viewer and transforming their surroundings.
These sculptures echo Soane’s complex use of mirrors and light and will enable visitors to Pitzhanger to see Soane’s architecture from a fresh perspective.
[Pitzhanger Manor & Gallery]
Pitzhanger Manor was bought by Sir John Soane (1753-1837) in 1800. He demolished most of George Dance's building but retained the southern extension, replacing the main block with one of his own design. In the same year Soane employed John Haverfield to produce new designs for the grounds which were delivered by September 1800 (guidebook). The new mansion was used to display Soane's art collection and for entertaining, his Lincoln's Inn house being retained as the family residence. By 1809 Soane was only occasionally at Pitzhanger and in June of that year he instructed James Christie to sell the house and the estate. Once again the property passed through a series of owners until, in 1843, it was sold to the politician Spencer Walpole and became the home of his four unmarried sisters-in-law, the daughters of the Rt Hon Spencer Perceval. Prior to the death aged ninety-five of the last-surviving Perceval sister, Frederika, in May 1900, her nephew, Sir Spencer Walpole, had begun negotiations with Ealing District Council for the sale of the house and the estate. The sale negotiations were completed early in January 1900 and, following Miss Perceval's death, alterations were carried out. The then Borough Surveyor, Charles Jones, was responsible for the designs for the alterations to the house and grounds and in April 1902 the building was opened as a public library. At the time of the sale, the property was variously referred to as Manor House Park (Middlesex County Times, 19 May 1900) and Perceval Park (Middlesex County Times, 28 July 1900). The name Walpole Park was adopted after communications between the last owner and Ealing Borough Council towards the end of 1900.
Further major alterations to the library building were completed by 1940 and then, in 1984, the Central Library was moved to new premises in Ealing. The following year a continuing programme of restoration and repair to both the mansion and the grounds began. The restored manor house was reopened as a museum and centre for cultural events in the late 1990s. The grounds continue (2000) in the ownership of the London Borough of Ealing.
[Historic England]
© 2007 Michael Ortega & Associates.
Korona field camera w 135mm Xenor? Came across this view with the guy napping below on the hot cement. Ouch!
The New Guard forming up at Wellington Barracks on 13 November 2006 prior to marching to Buckingham Palace and the Old Guard arriving back at Wellington Barracks after Changing of the Guard ceremony at Buckungham Palace.
The New Guard was formed by the Worcestershire and Sherwood Foresters Regiment (29th/45th Foot) which was an infantry regiment of the British Army, part of the Prince of Wales' Division. It was formed in 1970 through the amalgamation of two other regiments:
•The Worcestershire Regiment (29th Regiment of Foot / 36th Regiment of Foot)
•The Sherwood Foresters (Nottinghamshire and Derbyshire Regiment)
The regiment served as the county regiment of the following counties: Derbyshire, Nottinghamshire and Worcestershire.
In 2004, as part of the restructuring of the infantry, it was announced that the Worcestershire and Sherwood Foresters would be amalgamated with the 22nd (Cheshire) Regiment and the Staffordshire Regiment to form the new Mercian Regiment.
In July 2005, the 1st Battalion moved to Cavalry Barracks, Hounslow as a public duties battalion, where, amongst other duties, it provided the Queen's Guard. In August 2007, the regiment was renamed as the 2nd Battalion, Mercian Regiment (Worcesters and Foresters), before moving to Northern Ireland in a light infantry role in 2008.
Plan De Fuga
Carroponte - Milano
26 Giugno 2013
© Mairo Cinquetti
© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com
Il gruppo si è formato nel 2005 a Brescia. Dopo anni di live in Italia e all’estero ed un primo demo con 6 pezzi, nel 2009 hanno firmato il loro primo contratto discografico con l’etichetta indipendente About:Blank seguito dalla pubblicazione dell’album d’esordio intitolato In a Minute. Il primo singolo estratto dall’album, “Twice”, riscuote consensi da pubblico e critica.
Nel marzo 2010 vengono inseriti nel cast dell’Heineken Jammin’ Festival, dove si esibiscono sul palco principale del parco San Giuliano a Venezia, assieme ad artisti di fama internazionale come Aerosmith, The Cranberries e Stereophonics.
Nel gennaio 2011 il gruppo viene eletto miglior band italiana del 2010 in un sondaggio on-line indetto dai DJ di Virgin Generation.
Nel 2011 alcuni brani estratti dall’album vengono trasmessi nel programma The Coalition Chart Show, condotto da Mike Joyce, storico batterista degli Smiths, sulla East Village Radio di New York.
Nel 2012 hanno pubblicato il loro secondo album LOVE°PDF per la Carosello Records, con in aggiunta un DVD con un cortometraggio, diretto da Davide Fois, che racconta le canzoni che compongono l’album. Nel mese di ottobre Touché, primo singolo estratto dall'album, raggiunge la posizione n.10 nella classifica Virgin Rock 20 di Virgin Radio Italia.
Il 6 novembre 2012 si esibiscono come opening act per l'unica data italiana della band statunitense The Gaslight Anthem all'Alcatraz di Milano.
Nel mese di febbraio 2013 Better4me, secondo singolo estratto, raggiunge la posizione n.8 nella classifica Virgin Rock 20 di Virgin Radio Italia.
Il 1 giugno 2013 si esibiscono al Camden Rocks Festival di Londra.
Learn more about Tuff Forms playground climbers! mrcrec.com/www/mrc-products/themed-playground-equipment/147
Spruce up your style with these beautiful Fold Formed Corrugated Copper Leaf Earrings. Simply stunning for everyday wear or a night out on the town, these copper earrings are sure to be a hit.
I see only forms that are lit up and forms that are not. There is only light and shadow. Francisco de Goya
Anish Kapoor in Pitzhanger Manor, optical tricks with mirrors and metal
Anish Kapoor
(March to August 2019)
Within the newly restored gallery, with its three circular skylights, Kapoor’s sculptures challenge our traditional notion of form and space by disorientating the viewer and transforming their surroundings.
These sculptures echo Soane’s complex use of mirrors and light and will enable visitors to Pitzhanger to see Soane’s architecture from a fresh perspective.
[Pitzhanger Manor & Gallery]
Pitzhanger Manor was bought by Sir John Soane (1753-1837) in 1800. He demolished most of George Dance's building but retained the southern extension, replacing the main block with one of his own design. In the same year Soane employed John Haverfield to produce new designs for the grounds which were delivered by September 1800 (guidebook). The new mansion was used to display Soane's art collection and for entertaining, his Lincoln's Inn house being retained as the family residence. By 1809 Soane was only occasionally at Pitzhanger and in June of that year he instructed James Christie to sell the house and the estate. Once again the property passed through a series of owners until, in 1843, it was sold to the politician Spencer Walpole and became the home of his four unmarried sisters-in-law, the daughters of the Rt Hon Spencer Perceval. Prior to the death aged ninety-five of the last-surviving Perceval sister, Frederika, in May 1900, her nephew, Sir Spencer Walpole, had begun negotiations with Ealing District Council for the sale of the house and the estate. The sale negotiations were completed early in January 1900 and, following Miss Perceval's death, alterations were carried out. The then Borough Surveyor, Charles Jones, was responsible for the designs for the alterations to the house and grounds and in April 1902 the building was opened as a public library. At the time of the sale, the property was variously referred to as Manor House Park (Middlesex County Times, 19 May 1900) and Perceval Park (Middlesex County Times, 28 July 1900). The name Walpole Park was adopted after communications between the last owner and Ealing Borough Council towards the end of 1900.
Further major alterations to the library building were completed by 1940 and then, in 1984, the Central Library was moved to new premises in Ealing. The following year a continuing programme of restoration and repair to both the mansion and the grounds began. The restored manor house was reopened as a museum and centre for cultural events in the late 1990s. The grounds continue (2000) in the ownership of the London Borough of Ealing.
[Historic England]
The line forms outside the Apple Store for the release of Mac OS X - Leopard. The line grew as it got closer to 6pm - they had 500 shirts to give away, but they still had some left by the time I left after I made my purchase. There was still a good line outside for people waiting to get in. You can see the iPod Nano displays in the window with some big popcorn pieces hanging near them.
The East Westmeath AC 5KM Road Race, Fun Run, and Walk 2013 was held in Rathwire Village, Mullingar, Co. Westmeath, Ireland on Saturday 7th December 2013 at 11:00. The race was organised as part of an annual fund-raising event for the local national school (St. Joseph's National School) as a road race event for the promotion of the recently formed East Westmeath AC in the area. The race was a great success with runners, joggers, and walkers of all abilities taking part. The two loops on the course meant that there was a great atmosphere around the course. Overall this was a very well organised race - the race was accurately measured, well stewarded, and each KM was marked. Key road junctions were properly stewarded also.
This photograph is part of a larger set of photographs which was taken on the day. The link to the entire set of photographs on Flickr is www.flickr.com/photos/peterm7/sets/72157638438922444.
East Westmeath Athletics Club is a newly formed athletic club for the region of Westmeath east of Mullingar. This race is an annual fundraiser for the local national school. The club was founded in the village of Rathwire which is seamlessly connected to the neighbouring village of Killucan in the same parish. East Westmeath AC have a very large juvenille membership who also attend the local school so this event has great local significance and meaning. The catchment area for East Westmeath AC contains a large area of rural Westmeath taking in the villages of Killucan, Rathwire, and Raharney. The catchment area essentially stretches over to the town of Kinnegad and the county border between Co. Meath and Co. Westmeath.
Viewing this on a smartphone device?
If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Overall Race Summary and Logistics
Participants: There were about 150 competitors in today's event.
Weather: There was a few short but heavy misty rain showers which dampened the event a little. There was little or no wind or breeze but the misty rain combined with the low temperatures meant there was a chilly feel.
Race Course:
The race was a 2 loop course of 2.5KM. The race started just outside the National School and proceeded on anti-clockwise left-turn course into Killucan and back up around by the Church of Ireland up the hill turning into Rathwire and back past the Church to complete the loop. The race finished inside the grounds of the National School.
Refreshments: There was a plentiful supply of warm drinks and sandwiches/cakes inside in the school after the race for all participants.
Some useful Website Links and Internet Sites related to this race.
Race Headquarters and Refreshments at the Primary School: goo.gl/maps/I4AR7 (Google StreetView imagery)
Parking and the Start Area for the Race in 2013: goo.gl/maps/JL6JJ (Google StreetView imagery)
The East Westmeath AC 5KM Fun Run and Walk 2013 Event page on Facebook www.facebook.com/events/219375034901391/ (requires Facebook sign-in)
St. Joseph's National School Website: www.rathwirens.ie/pages/about-us.php
The Westmeath Examiner newspaper: www.westmeathexaminer.ie/ provided some photography and journalistic coverage of the event.
Read about Killucan and Rathwire on Wikipedia: en.wikipedia.org/wiki/Killucan_and_Rathwire
Our Flickr Set of Photographs from the 2013 race: www.flickr.com/photos/peterm7/sets/72157638416552894/
Can I use these photographs directly from Flickr on my social media account?
Yes - of course you can. Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile device will also offer you several different options for sharing this photo page on your social media outlets.
How can I get full resolution copies of these photographs?
All of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution. We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images without the watermark: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.
If you would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets
Anish Kapoor in Pitzhanger Manor, optical tricks with mirrors and metal
Anish Kapoor
(March to August 2019)
Within the newly restored gallery, with its three circular skylights, Kapoor’s sculptures challenge our traditional notion of form and space by disorientating the viewer and transforming their surroundings.
These sculptures echo Soane’s complex use of mirrors and light and will enable visitors to Pitzhanger to see Soane’s architecture from a fresh perspective.
[Pitzhanger Manor & Gallery]
Pitzhanger Manor was bought by Sir John Soane (1753-1837) in 1800. He demolished most of George Dance's building but retained the southern extension, replacing the main block with one of his own design. In the same year Soane employed John Haverfield to produce new designs for the grounds which were delivered by September 1800 (guidebook). The new mansion was used to display Soane's art collection and for entertaining, his Lincoln's Inn house being retained as the family residence. By 1809 Soane was only occasionally at Pitzhanger and in June of that year he instructed James Christie to sell the house and the estate. Once again the property passed through a series of owners until, in 1843, it was sold to the politician Spencer Walpole and became the home of his four unmarried sisters-in-law, the daughters of the Rt Hon Spencer Perceval. Prior to the death aged ninety-five of the last-surviving Perceval sister, Frederika, in May 1900, her nephew, Sir Spencer Walpole, had begun negotiations with Ealing District Council for the sale of the house and the estate. The sale negotiations were completed early in January 1900 and, following Miss Perceval's death, alterations were carried out. The then Borough Surveyor, Charles Jones, was responsible for the designs for the alterations to the house and grounds and in April 1902 the building was opened as a public library. At the time of the sale, the property was variously referred to as Manor House Park (Middlesex County Times, 19 May 1900) and Perceval Park (Middlesex County Times, 28 July 1900). The name Walpole Park was adopted after communications between the last owner and Ealing Borough Council towards the end of 1900.
Further major alterations to the library building were completed by 1940 and then, in 1984, the Central Library was moved to new premises in Ealing. The following year a continuing programme of restoration and repair to both the mansion and the grounds began. The restored manor house was reopened as a museum and centre for cultural events in the late 1990s. The grounds continue (2000) in the ownership of the London Borough of Ealing.
[Historic England]
Le terme de « boucquain », sans doute dérivé du flamand boeckijn (« petit livre »), fait son apparition en 1459 et est attesté sous la forme « bouquin » vers la fin du xvie siècle. Le terme « bouquiniste » apparaît dans le Dictionnaire de l'Académie française dans l'édition de 1762 avec la définition et la graphie suivante : « Celui qui vend ou achete de vieux Livres, des Bouquins ». L'étymologie de « bouquin » (au sens de « livre peu estimé », d'occasion) n'est toutefois pas claire, mais le mot dans cette occurrence est attesté dès 1694, toujours par l'Académie, et Littré renvoie bien au mot flamand boeckin.
La tradition des bouquinistes parisiens débute aux alentours du xvie siècle avec des petits marchands colporteurs. Sous la pression de la corporation des libraires, un règlement de 1649 interdit les boutiques portatives et l’étalage de livres sur le pont Neuf. Le pouvoir à l'époque était assez soucieux de limiter les marchés parallèles non soumis à la censure. Les libraires ambulants sont donc, selon la période, chassés puis réintégrés sous agréments.
L'emblème traditionnel des bouquinistes se blasonne ainsi : « d'azur party de gueules à la boîte à bouquins soutenue de pierres, au chef d'argent au lézard convoitant l'épée » (Jean Lébédeff). En effet, le lézard symbolise les bouquinistes toujours à la recherche du soleil pour vendre leurs livres, et l'épée représente leur aspiration à la noble profession de libraire auxquels on accordait le privilège de porter l'épée.
Pendant la Révolution, de 1789 à 1795, malgré une forte baisse de la production éditoriale, seuls étaient imprimés les journaux et brochures révolutionnaires, les bouquinistes prospèrent et s’enrichissent des réquisitions et pillages de bibliothèques de l'aristocratie et du clergé.
Sous Napoléon Ier, les quais sont embellis et les bouquinistes se répandent du quai Voltaire au pont Saint-Michel. Ils sont alors enfin reconnus par les pouvoirs publics et ils obtiennent le même statut que les commerçants publics de la ville de Paris. Vers 1840, Charles Nodier, qui s'inquiétait déjà de la disparition de ce petit commerce, rappelait que « le nom du bouquiniste est un de ces substantifs à sens double qui abondent malheureusement dans toutes les langues. On appelle également bouquiniste l’amateur qui cherche des bouquins, et le pauvre libraire en plein air qui en vend. Autrefois, le métier de celui-ci n’était pas sans considération et sans avenir. On a vu le marchand de bouquins s’élever du modeste étalage de la rue, ou de la frileuse exposition d’une échoppe nomade, jusqu’aux honneurs d’une petit boutique de six pieds carrés » et de rappeler au souvenir d'un certain Passard, « qui avait colporté, sous le bras, sa boutique ambulante, du passage des Capucines au Louvre, et du Louvre à l’Institut, avait tout vu, tout connu, tout dédaigné du haut de son orgueil de bouquiniste », puis de conclure que « ce qu’il y a d’incontestable pour les bouquinistes amateurs qui l’ont visité si souvent, c’est que sa conversation était beaucoup plus curieuse que ses bouquins ».
En 1859, des concessions sont mises en place par la ville de Paris et les bouquinistes peuvent s'établir à des points fixes. Chacun a alors droit à 10 mètres de parapet pour un droit annuel de tolérance de 26,35 francs et 25 francs de patente. Les ouvertures se font du lever au coucher du soleil. Enfin, c'est en 1930 que les dimensions des « boîtes » sont fixées.
Notre-Dame vue du quai Saint-Michel, tableau d'Eugène Galien-Laloue.
Installés sur plus de trois kilomètres le long de la Seine, ils exploitent environ 900 « boîtes vertes » — d'une couleur réglementée appelée « vert wagon » en référence à la signalétique du premier métropolitain et qui est aussi celui des fontaines Wallace ou des colonnes Morris — où sont exposés, selon diverses estimations, environ 300 000 livres d'occasion et un très grand nombre de revues, timbres et cartes de collection. Toutefois, si la vente de livres reste la raison sociale officielle, ces boîtes ont toujours par tradition proposé d'autres articles : estampes, timbres, monnaies et petites brocantes, voire souvenirs, comme en attestent les nombreuses représentations (par exemple, le tableau d'Eugène Galien-Laloue intitulé Notre-Dame vue du quai Saint-Michel, v. 1940). Le règlement actuel a définitivement tranché : une seule boite peut contenir des souvenirs de Paris.
Les exploitants n'ont plus à acquitter un droit de concession, ils ne payent pas de loyer et l'autorisation de stationnement peut être enlevée à tout moment par la Mairie de Paris. Comme tout commerçant, ils doivent être inscrits au registre du commerce et des sociétés, en donner le justificatif tous les ans. La plupart sont inscrits en auto-entrepreneurs. Ils occupent 8 mètres de parapet chacun, permettant de placer jusqu'à quatre boîtes. Les emplacements doivent obligatoirement être exploités au moins quatre jours par semaine, sauf intempéries.
En 2009, la mairie de Paris a commencé à donner des avertissements aux bouquinistes qui vendaient majoritairement plus d'articles – souvenirs, bibelots, gadgets – autres que le livre et la gravure, alors que le règlement n'autorise seulement qu'une boîte sur quatre. Avec l'essor du tourisme dans la capitale, ce phénomène est sensible aux abords des monuments touristiques et des zones les plus fréquentées notamment. La baisse des ventes de livres d'occasion ne fait qu'amplifier ce phénomène poussant même dans certaines zones – comme celle dite du « Purgatoire » près de l'Hôtel de ville de Paris – à la fermeture massive des boites.
En 2014, les bouquinistes lancent leur premier festival. Cinquante bouquinistes s'étaient alors réunis pour présenter leurs meilleurs choix de livres anciens et d'occasion.
Le 6 février 2019, sous l'impulsion de la Mairie de Paris, le Ministère de la Culture décide que les bouquinistes de Paris entrent au Patrimoine culturel immatériel de l'inventaire français, condition préalable à une possible candidature au patrimoine mondial de l'Unesco envisagée depuis quelques années notamment à l'initiative de l'Association culturelle des bouquinistes de Paris, unique association qui regroupe près de 80 % des bouquinistes, et des maires du 5e et 6e arrondissement de Paris. Les rives de la Seine à Paris, sur lesquelles sont installés les bouquinistes, sont déjà inscrites au patrimoine mondial depuis 1991.
Les bouquinistes de Paris ont inspiré d'autres capitales, comme Ottawa, Pékin ou Tokyo.
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
The Barbara Hepworth bronze sculpture Two Forms in Dulwich Park South London.
Home made plastic pinhole camera (Nano Traveller), 24x24mm negative.
UPDATE: This sculpture was stolen from the park on Sunday 18 December 2011.
Betwixt Festival attends to this form of art, a form that becomes art in the presence of the human element through interaction, thereby humanising digital technology. It aims to demystify the art form and strengthen the community of digital, interactive art makers through its three-day exhibition, an academic symposium, lectures and masterclasses, performances and screenings.
While in the building this time, we found a good number of forms on the floor of a room that was full to bursting with huge empty bookcases. These are shipping manifests and similar papers.
I can't figure out how they got there. Someone must have found a bunch of them, hidden somewhere out of the elements, and left them all over the floor.
Rather than see them get ruined sitting out in the open in a room with no windows where water clearly collects in rain, I straightened them up into a stack and took them with me. I have them saved in a folder.
Anish Kapoor in Pitzhanger Manor, optical tricks with mirrors and metal
Anish Kapoor
(March to August 2019)
Within the newly restored gallery, with its three circular skylights, Kapoor’s sculptures challenge our traditional notion of form and space by disorientating the viewer and transforming their surroundings.
These sculptures echo Soane’s complex use of mirrors and light and will enable visitors to Pitzhanger to see Soane’s architecture from a fresh perspective.
[Pitzhanger Manor & Gallery]
Pitzhanger Manor was bought by Sir John Soane (1753-1837) in 1800. He demolished most of George Dance's building but retained the southern extension, replacing the main block with one of his own design. In the same year Soane employed John Haverfield to produce new designs for the grounds which were delivered by September 1800 (guidebook). The new mansion was used to display Soane's art collection and for entertaining, his Lincoln's Inn house being retained as the family residence. By 1809 Soane was only occasionally at Pitzhanger and in June of that year he instructed James Christie to sell the house and the estate. Once again the property passed through a series of owners until, in 1843, it was sold to the politician Spencer Walpole and became the home of his four unmarried sisters-in-law, the daughters of the Rt Hon Spencer Perceval. Prior to the death aged ninety-five of the last-surviving Perceval sister, Frederika, in May 1900, her nephew, Sir Spencer Walpole, had begun negotiations with Ealing District Council for the sale of the house and the estate. The sale negotiations were completed early in January 1900 and, following Miss Perceval's death, alterations were carried out. The then Borough Surveyor, Charles Jones, was responsible for the designs for the alterations to the house and grounds and in April 1902 the building was opened as a public library. At the time of the sale, the property was variously referred to as Manor House Park (Middlesex County Times, 19 May 1900) and Perceval Park (Middlesex County Times, 28 July 1900). The name Walpole Park was adopted after communications between the last owner and Ealing Borough Council towards the end of 1900.
Further major alterations to the library building were completed by 1940 and then, in 1984, the Central Library was moved to new premises in Ealing. The following year a continuing programme of restoration and repair to both the mansion and the grounds began. The restored manor house was reopened as a museum and centre for cultural events in the late 1990s. The grounds continue (2000) in the ownership of the London Borough of Ealing.
[Historic England]