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1952 SCHWINN HORNET
THE POPULAR SCHWINN HORNET...
It's a Schwinn for me... I've compared them all and for my money, Schwinn's the best!"
America's Favorite Bicycle
What a combination! Trim dashing lines, superior Schwinn workmanship, and a complete line-up of equipment including streamlined tank with built-in horn, powerful Rocket-Ray headlight, sturdy luggage carrier, and truss rods. No wonder more kids choose the Schwinn Hornet than any other bicycle... and the low price will amaze you. Full guaranteed As-long-As-You-Own-It. Ask to see the "Hornet" at your Schwinn dealers. 26 inch model No. D-19.
Antique Center of Red Bank
226 West Front Street, Red Bank, NJ 07701
Phone: (732) 842-4336
We pride ourselves as a family of dealers dedicated to providing those hard to find treasures, collectibles, jewelry and furnishings. The Red Bank Antique Center has been the destination for designers, collectors, movie & stage designers and dealers for over 40 years. The center was started in 1964 by the Johnson family as a permanent antique show with 12 dealers. Today it has grown to over 100 dealers in two building in the heart of the Red Bank Historical District located 1/2 mile from the shoreline of the Navesink River. Operated by Guy Johnson, we have grown to be the largest antique district in New Jersey.
КАЗИМЕЖ МИКУЛЬСКИЙ - Окно в сумерках
☆
Private collection.
Agra-Art Warsaw, Aukcja Sztuki Współczesnej, June 2020.
Sources: sztuka.agraart.pl/licytacja/452/26107
pl.m.wikipedia.org/wiki/Kazimierz_Mikulski
culture.pl/pl/tworca/kazimierz-mikulski
Kazimierz Mikulski (Kraków 1918 - Kraków 1998) began painting studies before World War II at the Academy of Fine Arts in Krakow, he continued it in 1939-1940 under the supervision of prof. Friedrich Pautsch in the Kunstgewerbeschule, created during the occupation in place of the Academy. After the war, he completed two-year acting studies at the Dramatic Studio at the Old Theater in Krakow and until 1948 he worked as an actor. At the same time, in 1945 he graduated from the Youth Film Workshop. In 1948-1979 he was the artistic director and stage designer of the Groteska Theater in Krakow, for which he designed dolls, costumes, decorations, etc. At the same time, he was constantly painting and working in the circle of Tadeusz Kantor, at first as a member of the Young Artists Group, and from 1957 in the Krakow Group, of which he was a co-founder and president in the years 1965-1967. He was also a member of the Cricot 2 theater group in the performances The Water Hen, Nadobnisie and Talapoin, The Dead Class and in his own play Circus. In his paintings from the second half 1940s the artist presented light, linear forms floating in empty spaces. It was both surreal and abstract painting. But already around 1950 he began painting in a characteristic way - rejecting abstraction, he presented countless variants and arrangements of several favorite motifs (head or figure of a woman-doll, cats, butterflies)
David Hockney (Bradford, 9 juli 1937) is een Engels kunstenaar en een van de bekendste vertegenwoordigers van de popart. Zijn schilderij Portret van een kunstenaar (zwembad met twee figuren) uit 1972 werd in 2018 op een veiling verkocht voor 90 miljoen dollar (79 miljoen euro), op dat moment een recordbedrag voor een werk van een levende kunstenaar.
David Hockney (born 9 July 1937) is an English painter, draftsman, printmaker, stage designer, and photographer. As an important contributor to the pop art movement of the 1960s, he is considered one of the most influential British artists of the 20th century.
Hockney has owned residences and studios in Bridlington, and London, as well as two residences in California, where he has lived intermittently since 1964: one in the Hollywood Hills, one in Malibu, and an office and archives on Santa Monica Boulevard in West Hollywood, California.
On 15 November 2018, Hockney's 1972 work Portrait of an Artist (Pool with Two Figures) sold at Christie's auction house in New York City for $90 million (£70 million), becoming the most expensive artwork by a living artist sold at auction.This broke the previous record, set by the 2013 sale of Jeff Koons' Balloon Dog (Orange) for $58.4 million. Hockney held this record until 15 May 2019 when Koons reclaimed the honour selling his Rabbit for more than $91 million at Christie's in New York.
We recently spent a weekend in Greenwich to see the museums there. You'll get more of those later but we also went to see the display of poppies at the Tower of London. This was called 'Blood-Swept Lands and Seas of Red' from the will of a Derbyshire soldier killed in the conflict. This was so moving; more than 880,000 poppies are being placed, one representing a person killed during World War I.
Antique Center of Red Bank
226 West Front Street, Red Bank, NJ 07701
Phone: (732) 842-4336
We pride ourselves as a family of dealers dedicated to providing those hard to find treasures, collectibles, jewelry and furnishings. The Red Bank Antique Center has been the destination for designers, collectors, movie & stage designers and dealers for over 40 years. The center was started in 1964 by the Johnson family as a permanent antique show with 12 dealers. Today it has grown to over 100 dealers in two building in the heart of the Red Bank Historical District located 1/2 mile from the shoreline of the Navesink River. Operated by Guy Johnson, we have grown to be the largest antique district in New Jersey.
Closed theatres were covered in taped messages of support reading 'Missing Live Theatre' on July 3rd 2020. The project was led by stage designers group Scene Change.
www.bbc.co.uk/news/entertainment-arts-53276472
Lifeline (5th July) www.bbc.co.uk/news/entertainment-arts-53302415
This image was taken during the Covid-19 pandemic and phase two of moving out of lockdown in Scotland. Non-essential retail with doors to the street were allowed to open from 29th June.
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Tower of London Remembers.
To mark the centenary anniversary of the First World War the Tower of London is creating an evolving art installation "Blood Swept Lands and Seas of Red". Formed of 888,246 ceramic poppies by artist Paul Cummins, with setting by stage designer Tom Piper, each poppy represents a British military fatality during the war. The installation was officially unveiled on 5 August 2014, one hundred years since the first full day of Britain's involvement in the First World War and will be in place until 11 November 2014.
On 24 August I helped to build a just a little more of the installation by constructing and planting a batch of poppies. I believe it is now (as in these photos) about a quarter completed. Each poppy is a life lost - when it is completed maybe it will help to demonstrate the scale of those numbers which we really cannot imagine.
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"Blood Swept Lands and Seas of Red" by ceramic artist Paul Cummins, with setting by stage designer Tom Piper.
Poppies in the moat of the Tower of London.
WO2 (BSM) Brill stands ready to play The Last Post.
#Engagement #Event Ghazi Road #Marquee Direct Cell # +92-321-4268177 / 0331-4730273 PK Office PH # +92- 42 35817106 UK office Dir # +44- 203-371-0782 / 0208 -090 -4020 Uk Fax # +44- 207- 691- 7800 PK Office: -M-23 Siddiq Trade Center, Main Boulevard Gulberg II, Lahore, Pakistan Visit Our Pages: - www.a2zeventssolutions.com ,, www.a2zeventssolutionz.com , Facebook:- www.facebook.com/a2zevents #creativeweddingplanner #Walima #Barat #Mehndi #a2zeventssolutions #weddingdesigner #pakistaniweddingplanner #weddingstages #weddingdecoration #stagedecorideas #themedweddings #weddingsinpakistan #wedding #Baraat #WeddingCinematography #Weddings #WeddingVideography #HDWedding #Wedding #Planner #stage #decor #mehndi #baraat #reception #Bridal #Photography #Shoot #islamabad #marquee #marriage #hotel #decor
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From the 1937 Ballets de Monte Carlo special album created and issued by René Blum.
Costumes, decor and model for Don Juan by Mariano Andreu.
Mariano Andreu [1888-1976] was a Spanish painter, sculptor, and stage designer.
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Follow us on Instagram @DclassyClicks and @a2zevents We are now taking bookings for July-December 2017 Please Call us for details and bookings Direct Cell # +92-321-4268177 / 0331-4730273 PK Office PH # +92- 42 35817106 UK office Dir # +44- 203-371-0782 / 0208 -090 -4020 Uk Fax # +44- 207- 691- 7800 PK Office: -M-23 Siddiq Trade Center, Main Boulevard Gulberg II, Lahore, Pakistan Visit Our Pages: - www.a2zeventssolutions.com ,, www.a2zeventssolutionz.com , Facebook:- www.facebook.com/a2zevents #decorators #stage_design #vipstage #wedding_planner_in_lahore #wedding #wedding_planning #events_planner #events_organizer #events_designer #events_planner_in_pakistan #events_designer_in_pakistan #birthday_parties #corporate_events_stages_setup #mehndi_setup #walima_setup #mehndi_event_setup #walima_event_setup #wedding_events_planner #wedding_events_organizer #Photography #Videographer #best_weddings_planners_in_Lahore #Pakistan_Best_Weddings_Caterers #Pakistan_Best_Events_Planners_&_Weddings_Planners #Pakistan_Best_Weddings_Planners #Best_Weddings_Setups #Best_Mehndi_Setup #Designers #Best_Barat_&_Walima_Setup #Best_Functions_and_Parties_Decorators #Best_Events_Designers_and_Caterers_in_Lahore
Poppies in the moat at The Tower of London.
5 August – 11 November 2014
Blood Swept Lands and Seas of Red, marking the centenary of the outbreak of the First World War. Created by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, 888,246 ceramic poppies will progressively fill the Tower’s famous moat. The last will be planted at 11.00am on the 11th of November 2014 - Armistice Day.
There can be few, if any, national acts of remembrance that have taken hold of the people's hearts more than this one. Visitors have flocked literally in their millions (over 4 million to date) to pay their respects and to marvel at the achievement of the event organisers and volunteer 'poppy planters'.
The "Ode of Remembrance" is an ode taken from Laurence Binyon's poem, "For the Fallen", which was first published in The Times in September 1914.
"They went with songs to the battle, they were young.
Straight of limb, true of eye, steady and aglow.
They were staunch to the end against odds uncounted,
They fell with their faces to the foe.
They shall grow not old, as we that are left grow old:
Age shall not weary them, nor the years condemn.
At the going down of the sun and in the morning,
We will remember them.
They mingle not with their laughing comrades again;
They sit no more at familiar tables of home;
They have no lot in our labour of the day-time;
They sleep beyond England's foam"
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Studley Royal Park including the ruins of Fountains Abbey is a designated World Heritage Site in North Yorkshire, England. The site, which has an area of 800 acres (323 ha), features an 18th-century landscaped garden, some of the largest Cistercian abbey ruins in Europe, ruins of a Jacobean mansion and a Victorian church designed by William Burges.
Originally separate estates, after the Dissolution of the Monasteries, the Fountains estate was owned by the Gresham, Proctor, and Messenger families. At the same time, the Studley estate was separately held by the Mallorie (or Mallory) and then Aislabie families, after the marriage of Mary Mallory and George Aislabie. The estates were combined on 22 December 1767, when William Aislabie purchased the Fountains estate from John Messenger. In 1966, the property came into public ownership after its purchase by West Riding County Council. In 1983, it was acquired by the National Trust.
The gardens and park reflect every stage in the evolution of English garden fashion, from the late 17th century to the 1780s and beyond. Most unusually, both John and William embraced new garden fashions by extending their designed landscape rather than replacing and remaking outmoded parts. As a result, the cumulative whole is a catalogue of significant landscaping styles.
Studley Royal Park is an estate in North Yorkshire, England. The land broadly slopes and east-facing views are a feature of its landscape. The River Skell runs through the site, cutting through layers of Upper Carboniferous sandstone and Permian Magnesian limestone. The park was formed through the aggregation of the former land-holdings of Fountains Abbey, which were purchased by the Gresham family after the Dissolution, and the estate of Studley Royal.
Whilst the prehistoric origins of the land upon which Studley Royal Park now stands are under-researched, there is evidence for settlement in the area. An excavated flint assemblage from the park demonstrates the presence of people working flint on the site. There is evidence of farming activity dated to 4,500 years ago.
Material from the Iron Age is also associated with the site, including a lost gold torc. Iron Age enclosures at Mackershaw date from the sixth to fifth centuries BC. In the later phases of that enclosure, Romano-British material, including an Egyptian glass bangle, has also been discovered. The presence of Romano-British communities is also attested by the excavation of four skeletons by the vicar of Wath in 1881.
Documentary sources and place-name evidence, rather than archaeological excavation, provide insight into the early medieval period in the area. The Venerable Bede recorded that king Alhfrith of Deira granted land for a monastery near Ripon to Eata.
Fountains Abbey was founded in 1132 by Benedictine monks who left St Mary's Abbey, York to follow the Cistercian order. During the medieval period, monastic landholding steadily increased. For example, in the 1220s, Cassandra de Aleman donated land at Swanley to become part of the monastic grange.
After the dissolution of the monasteries in 1539 by Henry VIII, the Abbey buildings and over 40% of the former monastic estate was sold by the Crown to Sir Richard Gresham, a merchant. The Greshams, as new owners of a formerly monastic site had a responsibility to render it incapable of future religious use. This was done through a programme of demolition and sale of goods, which included the stripping of lead from the buildings, the removal of glass and Nidderdale 'marble' from the church.
The property was passed down through several generations of Sir Richard's family, then sold to Stephen Proctor in 1596. This included the precinct, Fountains Park and Swanley Grange. It was Proctor who built Fountains Hall probably between 1598 and 1604. The hall is a Jacobean mansion, built partly with stone from the Abbey ruins. Proctor was subsequently imprisoned and sold Fountains Park to pay his legal fees. In April 1622 the Fountains estate was re-combined by Timothy Whittingham, who re-mortgaged it the same year to Humphrey Wharton. Over the subsequent two years, parts of the estate were ceded to several creditors, but ultimately Wharton regained control. The 1627 estate sale includes details for a lead casting workshop in the Warming House; the estate was bought by Richard Ewens and his son-in-law John Messenger. During the English Civil War Messenger reputedly fought at the Battles of Marston Moor and at Naseby. In 1655 Ewens' grandson, William Messenger, inherited the estate.
The Messengers were never wealthy, and in 1676 William Messenger had to arrange mortgages on the estate in order to pay for his daughters marriages. Other financial troubles led William to leave his family, and he died in Paris in 1680, leaving his three-year-old son, John Messenger, to inherit. He married Margaret Scrope in 1698, a year after he came of age, and around this time he began re-building works on Fountain Hall. He rented out areas of the former abbey, including the mill; however these leases excluded mineral extraction, which were kept by Messenger. The family were also keenly interested in the ruins of the abbey itself, and allowed people to visit from as early as 1655.
In 1736, William's son Michael James married Elizabeth Sayer and took responsibility for the estate. He commissioned the first measured survey of the abbey in 1758. The family's financial position was declining and by 1765 Michael was selling oaks from the estate. Michael James died in 1766 and his son John Michael inherited. On 22 December 1767, John Michael sold the Fountains estate to William Aislabie for £18,000.
From 1452 onwards, Studley Royal was inhabited by the Mallory family, most notably by MPs John Mallory and William Mallory. A depiction of the enclosed park first appeared on Christopher Saxton's 1577 map of Yorkshire. In 1607 John Mallory commissioned the first surviving survey of the estate. This listed land-holdings and it demonstrated that the estate formerly extended beyond the park. During the English Civil War, William Mallory and his son John, were loyal to the Crown; John commanded a force that defended Skipton Castle. They only surrendered in December 1645. William died in 1646 and John was fined by Parliament for half the value of the estate. Paying off the fine was attempted by selling off his wife's family estate, as well as other property, including a mill at Galphay and a farm at Nunwick. However, despite this, when John died in January 1656, and his son William inherited, aged only eight years old, debts had mounted up to £10,000. During this time it was John's widow, Mary, who managed the estate and managed to bring it within its means once more. However, in 1667, William died aged nineteen and the estate passed to his sisters: the eldest Mary, who was married to George Aislabie, as well as Jane and Elizabeth.
Aislabie was the son of a farmer from Osgodby in North Yorkshire. He worked as a clerk for William Turbutt in the church courts at York. As part of Turbutt's household, Aislabie inherited £200 at his death in November 1648. After Turbutt's death Aislabie remained as part of the household, working for the widowed Elizabeth Turbutt. There is a suggestion made by John Richard Walbran that the pair may have had a romantic attachment, but this is unproven. Nevertheless he was the primary beneficiary of Turbutt's will when she died in 1662 – a result of which he purchased Treasurer's House in York. It was around this time that he married Mary Mallorie. George was killed in a duel in 1676. It was George who began plans for the re-establishment of an enlarged park with Studley Royal in its centre. Studley Great Gate, now more commonly known as East Gate, the largest probable remnant of his plans.
George Aislabie's wife, Mary, preserved the estate, but by the time of her death in 1683 was in debt. Trustees to the estate were appointed until the heir, Mallorie Aislabie, came of age: William Robinson, husband of the eldest daughter Mary and Arthur Ingram. Mallorie died in 1685 and was succeeded as heir by his brother George, who inherited but then died in 1693. The third brother, John Aislabie inherited the Studley estate. A survey in 1694 describes both an 'old park' and a 'new park' which invites consideration of expansion under his father.
By 1695 John Aislabie was the Tory Member of Parliament for Ripon, and in 1718 became Chancellor of the Exchequer. This enabled some of the family's perhaps long held plans, to landscape the park, to begin. This included the construction of a tower on How Hill, and the canal and cascade that became the foundation of the Water Garden. Aislabie was a principal sponsor of the South Sea Company scheme, the bill for which was promoted by him personally. In 1720 this vast financial operation collapsed, and in 1721 he was expelled from Parliament and disqualified for life from public office. Stocks from the South Sea Company were grafted to the East India Company, of which his brother William was a director.
Aislabie returned to Yorkshire and from 1723 devoted himself to the landscaping of the estate. This included the construction of a boundary wall along the western side of the valley between the Fountains Abbey and Studley Royal estates. This wall had at least one viewing platform and connected to the path known as High Walk. Boundaries including ha-has were also constructed at this time. It is possible the design was influenced by his kinsman William Benson's knowledge of neo-Palladian design. Other early features included The Upper Canal and Drum Falls. Flooding subsequently damaged these early developments, and by 1726 approximately 100 men were working to create water features, which included canals and ponds. The design of the cascade and the fishing lodges is attributed to Roger Morris, who worked with Colen Campbell. The cascade and the canal was described in 1729 by Stephen Switzer in his volume of engineering, Hydrostatics. Aislabie and Morris's works did not just extend to the water gardens, but also to other areas of the estate. By 1728 work was also underway on the High Stables, which can still be seen in the deer park.
During the 1730s and 1740s, there were a number of head gardeners employed by Aislabie. William Fisher worked on the estate from at least 1717 to 1732, when he was paid off. He was followed by John Hossack (left 1738), Mathias Mitchell (dismissed 1742) and then James Lockey (died 1744). Another significant employee was Robert Doe, who was a builder, mason and later head gardener too. Doe later worked on building projects for Castle Howard and for Swinton Castle. This was also a period of expansion, during which Aislabie changed the lease on Mackershaw – making it permanent, rather than leased for agriculture. During this phase, the Grotto was constructed and changes were made to footpaths around its location; the Temple of Piety was also built.
In 1738 the first known plan of the gardens was made by Sir John Clerk of Penicuik, who was visiting them as part of a northern tour. At the same time the Octagon Tower was also constructed and it was glazed and decorated during 1735; subsequently stuccowork was added by Francesco Vassalli. Other buildings constructed at this time include the Bathing House and the Boathouse. The planting at this time was perhaps sparser than that of the estate in the early twenty-first century: eighteenth-century visitors reported seeing bare rock between the trees. The late 1730s also saw a revision of the statuary scheme in the gardens, which included the introduction of a statue of Neptune, centrally located in the Moon Pond.
After Aislabie's death on 18 June 1742, his son William inherited, and whilst little is known about William's life, it is known that he set out on a Grand Tour in 1720, which was thwarted by political turmoil in France. In 1724 he married Lady Elizabeth Cecil, with whom he had six children: two sons and four daughters. Elizabeth and two of their daughters died in a smallpox outbreak in 1733. William's first scheme for the gardens was the construction of a funerary pyramid, modelled on the one at Stowe Gardens. He also extended the designed landscape further down the Skell Valley and introduced in 1745 a 'Chinese house', inspired by fashion at the time.
In 1745 William re-married, to Elizabeth Vernon, who was the niece of his step-mother. Perhaps, as a result, Studley Hall was renovated, which included the decoration of two rooms in a chinoiserie style. In the 1750s a gardeners house was built near the Kitchen Garden and two ice houses were constructed. A private garden with aviary was also created next to Studley Hall during this period. William also added new architectural features to the park: an obelisk at the western end of the main avenue and the Belvedere, which was a Gothic garden room. In addition to new buildings, existing ones had a change of character: for example the Temple of Venus had family portraits installed in it and its name changes to that of 'Banqueting House'. In the 1750s the network of footpaths around the gardens were also much greater than the modern-day lay-out. Overall, William extended the landscaped area in the picturesque romantic style, contrasting with the formality of his father's work. Between them, the two created what is arguably England's most important 18th-century landscape gardens.
On 22 December 1767, William Aislabie purchased the Fountains estate from John Messenger, combining the Studley and Fountains estates.
In February 1768, the gardens were flooded, which resulted in repairs and renovations. Subsequently the reservoir was expanded from a two acre, to a three and a half acre capacity. This period also included the insertion of new garden buildings, such as the Green Arch and the White Seat. In addition, new water features were added to the south-east of the gardens. 1768 also saw Robert Doe, on the instruction of Aislabie, begin to clear and stabilise the abbey ruins; work which continued until at least 1773. Part of this scheme of work included the demolition of the Lay Brothers' Cloister. It also included construction: the Gazebo was built under the east Window, which provided visitors with an elevated view of the nave.
Anne Boleyn's Hill is first named as part of the gardens in 1771, where an antiquarian headless statue looked out on the valley. The statue moved and was restored to its location in 2004. The last mention of the Rotondo and the Coffin Lawn date to 1775, and it is likely the former was used to infill the latter. The canalisation of the Skell near the Abbey was undertaken in 1773, which used the river as a framing device for the view of the abbey from Anne Boleyn's Seat (constructed c.1789–91).
William also added ornamentation to parts of the ruins, adding detailing, but most significantly recreating the location of the high alter through the repositioning of medieval tiles found throughout the site. He also added planting to the cloister, in the form of shrubs and flowers. Greater security was also introduced to the abbey, with lockable doors and gates. However there was contemporary criticism of these changes, in particular from William Gilpin, who visited Studley on a tour of the north of England.
William died on 17 May 1781 in London. The estate passed to his elder daughter, Elizabeth Allanson, after his two sons predeceased him. Whilst she spent the majority of her time as owner at her home in Twickenham, Elizabeth did continue her family's civic work in Ripon – donating to the poor, funding streetlighting and building Ripon Town Hall. However, although she appointed Christopher Hall as agent, during her ownership, and her lack of presence at the estate, many areas of the designed landscape became neglected.
Elizabeth died on 8 March 1808 and was succeeded by her niece, Elizabeth Sophia Lawrence, who lived at Studley from 1808 until her death in 1845. An influential woman in the area, she used her position to influence (and punish) voters.[10] Under her ownership, she made further additions to the grounds, which included the stone Obelisk, as well as Robin Hood's Well, which enclosed a small spring. She also made repairs to the abbey, including to Huby's Tower. It was under her ownership that John Richard Walbran first undertook excavations in 1840. In her will she left bequests totalling £237,000, including £1000 to fund a dispensary in Ripon.
The estate then devolved to Thomas Philip, 2nd Earl de Grey, a distant relative. Under de Grey, Walbran undertook further excavation. These excavations in the 1850s also piqued public interest further in the site. This was furthered by the opening of curative springs nearby in Harrogate bringing a large tourism audience with it. Management of the huge increases in the numbers of tourists entailed the creation of new routes, including the De Grey Walk and the Well Walk. In 1847 a new one shilling entrance fee was introduced. The first record of a school trip to the site was from St Peter's School, Dallowgill, in September 1851. In 1858 the first museum for the site was opened in the Muniments Room, above the Warming House. The 1850s also saw major events held at the estate for the first time. These raised funds for a variety of causes, such as the Ripon Mechanics Institute, to celebrate peace in Crimea, and a 'Great Musical Celebration' in 1868. In 1869 the third-earliest bicycle race to be held in England ran through the estate.
On de Grey's death in 1859, the estate passed to his nephew, George Frederick Samuel Robinson, the Marquess of Ripon, and later the Viceroy of India. He redeveloped areas of Studley Hall, as well as renovating the gardens near the house. He also constructed the Pheasantry at the edge of the estate, as well as building a golf course, whose first professional was Harry Vardon. He also built St Mary's church in the park. During his ownership of the estate, three structures were added: Studley tea room, an oval island in the lake, and the High Seat in the west of the gardens. During this period, more exotic trees were introduced as part of the planting scheme – for example a Wellingtonia gigantea was planted by the Prince of Wales in 1863. In 1886 a pageant was held on the estate, celebrating Ripon's millennium; a similar event was repeated in 1896 for the Diamond Jubilee of Queen Victoria.
George Frederick Samuel Robinson, the Marquess of Ripon died in 1909 and his son Frederick Oliver inherited the estate. On the death of Frederick Robinson, 2nd Marquess of Ripon in 1923, the estate was acquired by his cousin Clare George Vyner. Visitor income became more significant for the Vyner family, than it had been for the Robinsons, yet the family had a strong sense of social responsibility and in the 1930s established the Fountains Abbey Settlers Society, which provided work and skills to unemployed families. This also included a work scheme that dredged the river. In addition to the scheme on the estate, Vyner also funded the construction of a model village in Swarland, Northumberland. The Settlers Society ended at the outbreak of the Second World War, but its accommodation was repurposed to house German and Polish refugees. During the war much of the estate's land was cultivated for the first time in 600 years, as part of the 'Dig For Victory' campaign. Studley Hall after doing war service as the home of Queen Ethelburga's School, was destroyed by fire in April 1946. After the war, the upkeep of the estate became too expensive for the Vyner family, who sold it to Broadlands Properties for £1,250,000. They subsequently also sold Fountains Hall to West Riding County Council in 1969.
In 1966 much of the estate was purchased by West Riding County Council from Broadlands Properties, and the property was reopened to the public in 1967. However resource pressures meant that the local authority was keen to find another owner for the estate. There had been previous appeals to the National Trust to undertake running the site, including in 1923. In 1983 the property was acquired by the National Trust.
English Heritage is responsible for conservation of the abbey under a guardianship agreement, but managed on a day to day basis by the National Trust. St Mary’s Church is owned by the State and managed by the National Trust under a local management agreement. In 1986 the entire estate was designated a World Heritage Site by UNESCO. It gained recognition as it fulfils the criteria of “being a masterpiece of human creative genius, and an outstanding example of a type of building or architectural or technological ensemble or landscape which illustrates significant stages in human history”. The initial proposal for World Heritage Status only extended to Fountains Abbey and St Mary's Church; it was on the recommendation of the International Council on Monuments and Sites (ICOMOS) that the listing extended to include Studley Royal. In 1992, a new visitor centre and car parks were designed by Ted Cullinan to accommodate growing visitor numbers. Lying north-west of the Abbey above the valley floor, the new visitor centre incorporated a shop, large restaurant, lecture theatre and exhibition space (currently office space) arranged around an open courtyard.
In 2015 stage designer Gary McCann was commissioned to produce work in response to the buildings on the property; the resulting exhibition, entitled Folly!, installed works in spaces such as the Banqueting House. In 2016, Mat Collishaw created Seria Ludo and The Pineal Eye in the Temple of Piety. In 2018, Charles Holland, Lucy Orta and Flea Folly Architects created artworks to reimagine lost follies in the landscape. In 2021, Steve Messam created three artworks in an exhibition entitled These Passing Things and in 2022 Joe Cornish created a photographic exhibition Still Time to Wonder in various buildings on the property.
Studley Royal, under National Trust ownership, is the preserved core of a once much more substantial Aislabie project, which incorporated the surrounding agrarian landscape that they owned, long distance views to Ripon and beyond, and rides extending to other designed landscapes including Laver Banks and Hackfall (seven miles from Studley), 177–184 The gardens and park reflect every stage in the evolution of English garden fashion, from the late seventeenth-century to the 1780s and beyond. Most unusually both John and William embraced new garden fashions by extending their designed landscape rather than replacing and remaking outmoded parts. As a result, the cumulative whole is a catalogue of significant landscaping styles. This includes John Aislabie's ground-breaking appreciation of natural topographical landforms, for him it was not necessary to level ground and create a garden, the garden could be made to accommodate and display the underlying landscape.
The park incorporates Fountains Abbey, Fountains Hall, and a number of other notable historic features.
The water garden at Studley Royal created by John Aislabie in 1718 is one of the best surviving examples of a Georgian water garden in England. It was expanded by his son, William who purchased the adjacent Fountains Estate. The garden's elegant ornamental lakes, canals, temples and cascades provide a succession of dramatic eye-catching vistas. It is also studded with a number of follies including a neo-Gothic tower and a palladian-style banqueting house.
St Mary's Church was built by the architect William Burges and commissioned by the family of the First Marquess of Ripon. It has been suggested that the construction of this place of worship was prompted by the death of Frederick Grantham Vyner, who was kidnapped and killed in Greece in 1870.
Burges' appointment as architect was most likely due to the connection between his greatest patron, John Crichton-Stuart, 3rd Marquess of Bute and Vyner, who had been friends at Oxford. St Mary's, on Lady Ripon's estate at Studley Royal, was commissioned in 1870 and work began in 1871. The church was consecrated in 1878. As at Skelton, Burges' design demonstrates a move from his favoured Early-French, to an English style. Pevsner writes of "a Victorian shrine, a dream of Early English glory." The interior is spectacular, exceeding Skelton in richness and majesty. The stained glass is of particularly high quality. St Mary's is Burges' "ecclesiastical masterpiece."
Both marquesses and their wives are buried there.
How Hill Tower
Prior to 1346, a chapel dedicated to St Michael the Archangel was built on How Hill. This became a minor medieval pilgrimage site. Visitors to the site could see both York Minster and Ripon Cathedral from its summit. The flooring was made of mosaic tiles, similar to those attributed to a painted pavement dating to between 1236 and 1247. The chapel was repaired by Marmaduke Huby between 1494 and 1526. Post-reformation the chapel continued to be used between 1551–54 for the churching of women, until falling into ruin.
A tower was constructed next to the ruins, and re-using some of their masonry by, John Aislabie. Likely designed by Sir John Vanburgh, the view from the tower extended across the Studley estates, and York could even be seen twenty-six miles away.
In 1810 an estate survey recorded a farmhouse on the site, but by 1822 the description had changed to 'How Hill House & Tower'. Presumably the site had lost its significance as a garden building in a designed landscape and was commissioned to a more functional use. Whilst its role as a home stopped in the 1930s, there was another use-change: during the Second World War the Home Guard used it as an observation post.
Deer park
The deer park, where the church stands, is home to deer, and a wealth of other flora and fauna. At Studley there are three types of deer: Red Deer, Fallow Deer and Sika Deer. John Clerk, visiting in 1738, described how the buck deer moved in a group, so that they "resemble a moving forrest [sic]".
Buildings and structures
Studley Royal House (or Hall) stood in the north-west corner of the park. Originally a medieval manor house, there is a record from the 1220s of an extensive garden created by Cassandra de Aleman. It consisted of a main block with forward projecting wings, it burned down in 1716 and was rebuilt by John Aislabie. He filled in the centre, to which his son William added a portico in 1762 to complete its Palladian appearance.
It was altered and developed by the First Marquess of Ripon, who created a new entrance hall, a royal suite, and the reorganisation of the domestic service areas. He also added a Catholic chapel at the western side of the house in 1878.
The house burnt down in 1946, and its remains were demolished by the Vyner family, who could not afford repairs to it. Instead the splendid Georgian stable block, built for John Aislabie’s racehorses between 1728 and 1732, was converted into an elegant Palladian country house set in 2½ acres of private formal gardens on high ground overlooking the deer park towards Ripon Cathedral in the distance.
Built of stone under a slate roof with distinctive pavilion towers in each of the four corners, the pristine, 11,708sq ft house surrounds a central square courtyard overlooked by all the main rooms and dominated by the working clock tower.
Studley Magna
The deserted medieval village of Studley Magna mainly lies within the boundaries of the park. Excavation demonstrated that the village was aligned with the important road to Aldfield. The earliest ceramics from the site date to c.1180–1220, whilst the latest finds date from c.1300. The site included a large two-storey miller's house with a stone fireplace that was rare for the period. The house was sold in 1362 by Widow Horner to Richard Tempest.
The Banqueting House
Documentary evidence suggests that the Banqueting House was being completed in 1731, and is described in the estate accounts as 'the new building'. The structure had several phases of alteration after construction, and other documents refer to it as 'the Greenhouse'. In front of the façade a deep coffin-shaped lawn was introduced, who sightlines connected the building and the Rotondo. Above the Banqueting House, amongst the trees, is an oval platform, which is likely to be the Dial Lawn, which is described in accounts in 1730s.
The Temple of Piety
The building was constructed based on a sketch by Palladio owned by Lord Burlington, and was initially known as the Temple of Hercules. Documentary evidence shows that it was constructed and named by April 1736.
Mackershaw Lodges
These buildings were constructed after 1731, with the change in terms of the loan (to acquisition) of the Mackershaw area. They compromise two small lodges with classical pediments either side of a central arch, constructed from rough, undressed stone, with Venetian windows.
Lost buildings
Wattle Hall
One of the buildings most frequently attested in the early eighteenth-century is the Wattle Hall. Surviving records suggest that it was made of bent branches rather than brick or stone, and it was repaired in 1732.
Rotondo
Close to Kendall's Walk and in the north-east corner of Coffin Lawn, evidence for the Rotondo first appears in a painting dating to 1734–41. It was demolished in the 1770s. A close comparison to this would have been the Temple of Venus in Stowe Gardens.
Pyramid
William's first building work for the gardens was ordering the construction of a funerary pyramid, modelled on the one at Stowe Gardens. Whilst designs for this building exist, its location is unknown. It is possible that the stone was cut, but it was never constructed.
Chinese house
The Chinese house was constructed in 1745 and a 1751 visitor described it as having blue columns, gilded decoration, a white ceiling, a variety of Chinese ornaments and stuccowork by Giuseppe Cortese. It also had a balustrade seat running inside the columns. There is a surviving sketch of the building, but only the plinth for its survives. It was located beyond the southern limit of National Trust estate. The area around the house was known as the Chinese Wood, to which two chinoiserie-style bridges provided access.
Tower of London, Blood Swept Lands and Seas of Red, marking the centenary of the outbreak of the First World War. Created by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, 888,246 ceramic poppies will progressively fill the Tower’s famous moat.
Blood Swept Lands and Seas of Red, marking the centenary of the outbreak of the First World War. Created by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, 888,246 ceramic poppies will progressively fill the Tower’s famous moat.
www.thewowfactory.net info@thewowfactrory.net 1.877.WOW.IN3D
The wall mural, Awning and Bubble Bottle Prop at South Cleveland Church of God's Children's Church Stage Set.
The Grand Foyer of the Granada, evoking a mediaeval great hall, with coffered ceiling and heraldic decoration. It was designed, along with the rest of the interior, by Russian émigré Theodore Komisarjevsky, a stage designer and theatre director.
"The Granada Cinema in Tooting, an area in the borough of Wandsworth, London was one of the great luxurious cinemas built in the 1930s. It is considered by many to be the most spectacular cinema in Britain.
"The cinema opened on 7 September 1931, as one of the Granada chain, with the film Monte Carlo and screened movies sometimes with stage shows or organ recitals until it closed as a cinema on 10 November 1973 (showing The Good, the Bad and the Ugly). The organ was a Wurlitzer theatre organ that had originally been used in Sacramento, California. It had a full size stage on which a number of theatrical productions were performed. The normal programme consisted of either two feature films, or one with a variety show.
"The building, which became the first cinema to be preserved and given a Grade I listing, was designed by Cecil Massey in the Art Deco style with four Corinthian style pillars over the entrance. It was the interior, however that was (and is still) spectacular. This was designed by Theodore Komisarjevsky, a set designer, making use of ornamental plasterwork by Clark and Fenn. It has marble foyers both at the main and balcony entrances, and a hall of mirrors and deep ceilings more suitable for a palace than a cinema.
"The seating capacity was over 3000, and was often completely sold-out. Stars such as [The Beatles], Frank Sinatra, Danny Kaye, The Andrews Sisters and Carmen Miranda gave concerts there. After closing as a cinema the building reopened as a bingo hall."
Source: Wikipedia
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Shot in Dungeness E Sussex, Derek Jarman's Cottage; Prospect
Derek Jarman was an English film director, stage designer, artist, and writer.
Jarman's work broke new ground in creating and expanding the fledgling form of 'the pop video' in England, and as a forthright and prominent gay rights activist. Several volumes of his diaries have been published.
Jarman also directed the 1989 tour by the UK duo Pet Shop Boys. By pop concert standards this was a highly theatrical event with costume and specially shot films accompanying the individual songs. Jarman was the stage director of Sylvano Bussotti's opera L'Ispirazione, first staged in Florence in 1998.
He is also remembered for his famous shingle cottage-garden, created in the latter years of his life, in the shadow of the Dungeness power station. The house was built in tarred timber. Raised wooden text on the side of the cottage is the first stanza and the last five lines of the last stanza of John Donne's poem, The Sun Rising. The cottage's beach garden was made using local materials and has been the subject of several books. At this time, Jarman also began painting again (see the book: Evil Queen: The Last Paintings, 1994).
Jarman was the author of several books including his autobiography Dancing Ledge, a collection of poetry A Finger in the Fishes Mouth, two volumes of diaries Modern Nature and Smiling In Slow Motion and two treatises on his work in film and art The Last of England (also published as Kicking the Pricks) and Chroma. Other notable published works include film scripts (Up in the Air, Blue, War Requiem, Caravaggio, Queer Edward II and Wittgenstein: The Terry Eagleton Script/The Derek Jarman Film), a study of his garden at Dungeness Derek Jarman's Garden, and At Your Own Risk, a defiant celebration of gay sexuality.
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Tower of London (marking the centenary of the outbreak of the First World War. Created by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, 888,246 ceramic poppies progressively fill the Tower’s famous moat until 11 November 2014).
The Tower Of London remembers the First World War 1914-1918
The major art installation Blood Swept Lands and Seas of Red at the Tower of London, marked one hundred years since the first full day of Britain's involvement in the First World War. Created by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, 888,246 ceramic poppies progressively filled the Tower's famous moat between 17 July and 11 November 2014. Each poppy represented a British military fatality during the war.
The poppies encircled the iconic landmark, creating not only a spectacular display visible from all around the Tower but also a location for personal reflection. The scale of the installation was intended to reflect the magnitude of such an important centenary and create a powerful visual commemoration.
All of the poppies that made up the installation were sold, raising millions of pounds which were shared equally amongst six service charities.
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1952 SCHWINN HORNET
THE POPULAR SCHWINN HORNET...
It's a Schwinn for me... I've compared them all and for my money, Schwinn's the best!"
America's Favorite Bicycle
What a combination! Trim dashing lines, superior Schwinn workmanship, and a complete line-up of equipment including streamlined tank with built-in horn, powerful Rocket-Ray headlight, sturdy luggage carrier, and truss rods. No wonder more kids choose the Schwinn Hornet than any other bicycle... and the low price will amaze you. Full guaranteed As-long-As-You-Own-It. Ask to see the "Hornet" at your Schwinn dealers. 26 inch model No. D-19.
Antique Center of Red Bank
226 West Front Street, Red Bank, NJ 07701
Phone: (732) 842-4336
We pride ourselves as a family of dealers dedicated to providing those hard to find treasures, collectibles, jewelry and furnishings. The Red Bank Antique Center has been the destination for designers, collectors, movie & stage designers and dealers for over 40 years. The center was started in 1964 by the Johnson family as a permanent antique show with 12 dealers. Today it has grown to over 100 dealers in two building in the heart of the Red Bank Historical District located 1/2 mile from the shoreline of the Navesink River. Operated by Guy Johnson, we have grown to be the largest antique district in New Jersey.
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(further information and pictures you can see by clicking on the link at the end of page!)
Volkstheater - People's Theatre
The Volkstheater (2008)
The Volkstheater is one of the most important Schauspielbühnen (drama stages) of Vienna. It was founded in 1889 by the poet Ludwig Anzengruber and the industrialist Felix Fischer by the Association of the German folk theater (Volkstheater), to create an alternative to the Imperial Hofburg Theatre, the latter one the representation of everyday life, the folksy and comedic elements keeping away from its stage boards. The first president of the club was the famous stool manufacturer Franz Thonet. The founders intended in addition to folk plays mainly classical and modern dramas being performed and to provide a broad class of population access to the theater. Therefore the famous Theaterarchitektenduo (duo of theater architects) Ferdinand Fellner and Hermann Helmer the neo-Renaissance building with the representative column loggia have given a large auditorium with little boxes and many exits to the outside, by which this building in the style of historicism became a model for the entire monarchy. The auditorium with the ceiling painting by Eduard Veith, showing the coronation of the Austrian poets Ferdinand Raimund, Johann Nepomuk Nestroy and Ludwig Anzengruber, is one of the last in its original state preserved audiences in Vienna and was with 1900 seats formerly the largest in the entire German-speaking world. Today, the capacity of the theater is 970 places and it is the second largest theater stage in Vienna. According to safety regulations, which were adopted after the Ring Theatre fire in Vienna in 1881, the Volkstheater was the first exclusively electrically lit theater house.
History
On 14 September 1889 opened the theater its doors with Ludwig Anzengruber's drama "The stain on the honor". The bourgeoisie and the aristocracy of money (Geldadel) called the new theater "their house" and thus defied the exclusively reserved for the aristocracy Court Theatre, whose artistic director initially even harbored takeover plans. When the popular theater was run down and broke, he then wanted to buy it cheap. But the people theater celebrated one success after another. Just one year after the opening had to be enlarged the stage area. In 1907 were added a further extension with additional foyer and 1911 more stage side rooms.
In the 1920s, the Volkstheater experienced under the theater directors Alfred Bernau and Rudolf Beer artistic highlights. Spectacular repertoires, prominent actors, directors and stage designers of that time continued the success story of the theater. From 1938 to 1945, the theater became part of the Nazi leisure program "Strength through Joy" of the German Labor Front under Walter Bruno Iltz. In the years 1938/1939 was rebuilt the theater and removed the sculptural decoration on the facade. For a visit of Adolf Hitler even a reception and break room was extra set up, the so-called leaders room (Führerzimmer). In 1944 the dome and foyers were destroyed in an attack, a year later the building was restored but for the time being it was decided not to reconstruct the dome and the facade decoration. Only in the course of a general renovation in the early 1980s the dome was restored. On 10 May 1945, the theater was reopened. After the war, the director and actor Günther Haenel became director of the theater. His game plan focused mainly socio-critical issues.
In the following two decades (1950s and 1960s) dominated on the initiative Leon Epps' contemporary plays and bold interpretations of classics the theater program and the popular theater became famous with Raimund and Nestroy interpretations under the direction of Gustav Manker. Manker became at the beginnings of the 1970s director of the theater and celebrated breakthroughs with the discovery of modern Austrian dramatic literature.
In 1954, the play series "People's Theatre in the districts" was launched. Individual productions of popular theater are presented in external venues in the districts of Vienna. Among these secondary venues since 2005 the "Hundsturm (dogs tower)" as a smaller stage is included in which experimental theater works are staged. But also in the main building of the popular theater are additional venues located, like the "Red Bar" (in the buffet room on the first floor), the "Black Salon", the "White Salon" and the "Reception Room" (formerly "Führerzimmer"). Since 2009/10 in Bellaria Cinema at Museum Street behind the People's Theatre the production "Go West ? - Young authors write for the popular theater" has its home.
The auditorium (2009)
On both sides of the main house in the Neustiftgasse watch "the good spirits of the Viennese popular theater". In the nearby small Weghuberpark sits theater buffoonery poet Ferdinand Raimund suspended in reverie on a marble bench, surrounded by the feminine genius of fantasy. This sculpture was created by the Austrian sculptor Franz Vogl 1898. At the corner of Burggasse/Museum Street a bust of the famous Austrian actress Johanna "Hansi" Niese (by Josef Müllner, 1952) reminds of the triumph of comedic presentation at the beginning of the century.
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www.thewowfactory.net info@thewowfactrory.net 1.877.WOW.IN3D
Here is a giant bubble bottle. But that's not all it is! It's also a puppet stage!
CALL: CCAT - Art course in Tbilisi (cca.ge )
Center of Contemporary Art Tbilisi – CCAT
Short term course on 'Modernism in Georgia' in English.
Course info
Literary salons, dada poetry, silent films, innovative stage design, futurist books and bohemian life were blooming in Georgia in the period 1918-1921, a time of political and creative freedom. This came to and end with the arrival of the communist revolution. The Soviet regime restricted free artistic expression and banned all expression of modernist art. Artists as well as their work suffered greatly from this censorship.
The course is an introduction to modern art that originated in the early 1920's in Georgia. Along with works of modernist artists that revolutionized the conventions of representation, photographs that captured modern life and modernist buildings in the streets of old Tbilisi will also be discussed. Anyone who has an interest in art and would like to increase his understanding of Georgian Art is invited to join.
The course covers artists who were recently rediscovered and re-estimated by art historians: painter David Kakabadze, poet and artist Iliazd, painter Kirill Zdanevichakli, stage designers Petre Otskheli and Irakli Gamrekeli, painter and photographer Dimitri Shevardnadze and film makers Mikheil Kalatozishvili and Konstantine Mikaberidze.
The lectures, discussions and presentations will take place at the CCAT building in the Marjanishvili district, starting January 2011. The course includes 12 lectures of two hours as well as a visit to the Museum of Fine Arts and a city tour in the old part of Tbilisi. The course fee is 180 EUR.
The course tutor is Lali Pertenava, an art historian specialized in modern, soviet and post-soviet art in Georgia. She graduated in art history at Tbilisi state University; she also studied modern and contemporary art at George Washington University.
For more information on the course (timetable) or CCAT: www.cca.ge
Wato Tsereteli: +995 77 468446; wato@cca.ge
Upcoming course
The next course will cover 'Culture and society of 60s Georgia'. It focuses on the avantgarde art movement in the 60s that led to the deconstruction of socialist realism and caused a cultural upheaval in Georgian theatre, film and literature.
About CCAT
The Center of Contemporary Art Tbilisi (CCAT) was founded by Georgian artists and researchers in order to provide artists with exhibition space, resources and professional support. With the donation of a building from TBC Bank, financial support by the Swiss Development and Cooperation Agency (SDC) and material support by Ertoba and Caparol the Center officially opened its doors on October 1, 2010.
CCAT offers the following: a 9-month post-graduate art programa, an exhibition space and promotion of contemporary Georgian artists. The Center is also involved in research. A group of CCAT art historians are researching Georgian art history from modernism till now with the aim of bringing to light a part of Georgian art history that has largely been forgotten due to Soviet censorship.
Blood Swept Lands and Seas of Red
The evolving installation by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, will be unveiled on 5 August 2014; one hundred years since the first full day of Britain’s involvement in the First World War.
Entitled ‘Blood Swept Lands and Seas of Red’, the installation is being created in the Tower’s famous dry moat. It will continue to grow throughout the summer until the moat is filled with 888,246 ceramic poppies, each poppy representing a British or Colonial military fatality during the war.
- See more at: www.hrp.org.uk/TowerOfLondon/stories/firstworldwar/TheTow...
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Follow us on Instagram @a2zevents and @DclassyClicks
Call us for details and bookings +92-321-4268177 +92-324-4921459 +92-333-4645869
#Brands #Iftikhar_Thakur #zafri_Khan #Corporate_Events #Media_Wall #Best_Corporate_Event_Planner #Designer #Event_Designing #3D_Maping #Ghoost_Projection #Papia #Molfix #Ayeza_Khan #Kashif #Comedian #Company_CEO #Singer_Sanam_Marvi #Multimedia #Projector #Trussing_system #Ghoost_maping #best_event_planners_in_Lahore #event_organizer_in_Lahore #event_planners_in_Pakistan #Photography #Videographer #Interior_designer #Exterior_designer #Decor #Catering #Multimedia #Weddings #Social_Events #flowers_decor #dance_floor #Party_Planner #dance_party_Organizer #Wedding_Coordinator #Stages_Designer #House_Lighting #Fresh_flowers #Artificial_Flowers #Marquees #marriage_hall #hall_decor #area_decor #groom #bride #Mehndi #Car_hire #Sofa_Decoration #Hire_Venue #Honeymoon #Asian_wedding_Designers #Simple_Stage #gazebo #stage_decoration #events_management #baarat #barat #walima #valima #reception #mehndi #mayon #dance_floor #walkway_decor #pathway_decor #wooden_walkway #truss #disco_lights #dj #mehndi_dance #photographers #catering_services #food_services #wedding_food #wedding_jewelry #wedding_cake #wedding_designers #wedding_decoration #wedding_services #flowers_decor #masehri_decor #Caterers_in_Lahore #events_specialists #Quality_Food_Suppliers