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A 19th Century glasshouse at the Royal Botanic Gardens, Kew. Now mainly used as an exhibition space and hired out for weddings etc.
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We are very lucky to be living a few miles from the Glamorgan Heritage Coastline. A significantly eroding limestone coastline makes for interesting photographic opportunities. The current Broadchurch series is filmed in Somerset and Devon which shares similar coastline geology.
☞ This light burner was painted in about 45 minutes using a wide variety of torches. Shout out to MM © for inspiration. Any thoughts?
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© Trevor Owen photography 2014
Meet Nash. She is a really big puppy. Apparently part great pyrenees, St Bernard, with likely some border collie as well. She loves playing with Bruno, but Eva seems to intimidate the heck out of her. Nothing dominant or territorial from Eva, I think she just moves too fast for this gentle giant.
A sweet pup, currently the size of Bruno but destined to be the size of a small bus.
And no, she's not ours. She belongs to our friend and babysitter. Nash often comes to visit and play.
Alongside the Grinling Gibbons exhibition was one on John Nash: The Landscape of Love and Solace, featuring over 170 of his works. Also included were a number of works by John’s older brother Paul (1889-1946). I’m afraid I find it very easy to confuse the two, partly because both served in the Artists’ Rifles in World War I, both became official war artists and both also served as war artists in WWII. Not surprisingly, their work created in the trenches covered the same subject, and both suffered what would now be considered PTSD, but I also think their styles were also similar. Both were invited to illustrate the very popular Shell Guides to the English counties, Paul doing Dorset while John tackled Buckinghamshire. Although John had no formal artistic training, his love of plants and nature led him to produce landscapes and he held a joint exhibition with Paul at the Dorien Leigh Gallery, in London in 1913 which was very successful.
Initially, John Nash's health prevented him from enlisting at the outbreak of the First World War but from November 1916 to January 1918 he served in the Artists’ Rifles, the same unit that his brother had joined in 1914. He served as a sergeant at the Battle of Passchendaele and at the battle of Cambrai. Of the 80 men in his company who were at Cambrai that day, 68 were killed or wounded in the first few minutes. Nash was one of just 12 who survived. On the recommendation of his brother, Paul worked as an official war artist from 1918.
This watercolour, Farm on a Hillside, painted in 1914, shows a peaceful countryside scene just as it was about to be radically changed.
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Here is my first published work even though i did it as a freebie its great seeing your work on a web site !
www.thewhitehartvillageinn.com/index.html
Here is the flickr set
Following his experiences in World War I, John Nash suffered recurring bouts of depression and what was termed 'emotional shock'. He returned to painting nature and landscapes, and at the start of World War II he was appointed by the War Artists' Advisory Committee to a full-time salaried war artist post attached to the Royal Air Force and the Air Ministry. This was not a great success initially, partly because of the modernist nature of his work and partly because the RAF wanted war artists to concentrate on producing portraits of their pilots and aircrew. He had a greater love for the sea, and working in dockyards seemed to suit him rather better. This is 'Destroyer in Dry Dock'.
Nash Metropolitan, with the front clip and driver's door removed, stored behind the barn on the north side of the yard. Lime, red and warm-white light, via the the Protomachines flashlight.
Taken in 2009, at Nash Point in Wales. Weather and life in general has meant I have not got out with my camera, so decided to dig through the archives in hunt for something new.
Signing off now as feel like crap, I have got that cold that everyone seems to have at the moment. Catch up with you all soon :-)
Nash Point Lighthouse was designed and built by
Joseph Nelson being completed in 1832 to mark the
hazardous sandbanks off Nash Point, overlooking
the Bristol Channel. This followed the wrecking of
the passenger steamer Frolic on these sands in 1831,
with a heavy loss of life.
Two circular towers were built, each with massive walls and
a stone gallery. The eastern, or high lighthouse being 37
metres high and the western or low lighthouse 25 metres
high. Placed 302 metres apart they provided leading lights
to indicate safe passage past the sandbanks. The high
light was painted with black and white stripes and the low
light was white. In those days both towers showed a fixed
light which was either red or white depending on the
direction from which a vessel approached. The red sector
marked the Nash Sands.
The low light was abandoned circa 1925 and the high
light was modernised and painted white. In place of the
fixed light a new first order catadioptric lens was installed
which gave a white and red group flashing, this was
removed in the automation of the station and replaced
with a rotating optic. Nash Point Lighthouse was the last
manned lighthouse in Wales. It was automated in 1998
with the keepers leaving for the last time on the 5 August.
The lighthouse is now monitored and controlled from the
Planning Centre at Trinity House in Harwich, Essex.
© Trinity House is the General Lighthouse
Authority for England, Wales and the
Channel Islands.
Concours d'Elegance. Geneva, IL. Photo by John Lishamer Photography (www.johnlishamer.com) All Rights Reserved.
Jay Nash in the tour bus outside of Martyr's in Chicago before playing with The Gabe Dixon Band and Justin Nozuka.
Copyright Megan Baker
Check out Jay's music at www.myspace.com/jaynash
His new cd is in stores now!