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The monthly series
According to the statements of the Venetian historian Carlo Ridolfi (1648), a series of paintings representing the twelve months was sent to Rudolf in Prague: It is very likely that the works exhibited here are just those which belonged to the Emperor. The paintings correspond to the refined taste of an aristocratic authority: The high decorative value, the grandiosity of the iconographic program and sizeable dimensions suggest that they were intended for a great room.
In the inventory of the Archduke Leopold Wilhelm are to be found the twelve paintings recorded as works of the young Bassano: almost all are signed and have been created by Leandro towards the end of the nineties of the 16th century. The series has been preserved almost completely, and so we can still enjoy the unity of style and content. September and October are located in Prague, December is not yet reappeared. The image representing July was cut into two parts, probably for decorative considerations, but both fragments are preserved in Vienna.
The lovely hills surrounding Bassano provides the ambience in which take place the field works characterizing the respective month. The winter months of January, February and March, however - they represent a break in the rural task list - show other subjects: the return from the hunt, the carnival and a market scene. Each month is also provided with the corresponding sign of the zodiac, which appears in the middle of the clouds. The composition, wrapped in a dusky light, develops as parallel image into the landscape: the horizon forms the bluish massive of the mountain - probably the Monte Grappa - where the eye can rest.
Leandro describes the activities of the figures with great precision and carefulness in the reproduction of the details, from the working tools, en passant, the objects up to the clothes, so that the paintings in addition also represent a considerable documentary value. The artist intends to entertain the viewer in a pleasant manner and to dispel. Probably recognized some people themselves in the episodes again: for instance, in the richly-dressed lady who had served herself crops, or in the landlord who controls with his steward the works and the harvest. The monthly cycle, which has its roots in the fertile iconographic tradition of the Middle Ages, acquires in the interpretation of Leandros the character of a lively illustrated calendar, which is aimed at an aristocratic clientele.
The family of painters Bassano
Bassano, a small city, situated on the slopes of Monte Grappa in the northern Veneto, gave the family of painters Da Ponte not only the nickname, but also the fundamental inspirations for the art of the head of family Jacopo and his sons.
Jacopo Bassano was primarily active in the province, far away from the urban artists' centers, and is now considered one of the great masters of Venetian painting of the Cinquecento to the side of Titian, Veronese and Tintoretto. His fame he owes, i.a., the invention of a subject type, linking the pastoral scenes with biblical or allegorical motifs: for this reason he realized completely new and original compositions, enjoying such great popularity that the heirs of Jacopo continued to produce such paintings until the middle of the Seicento and beyond. Leandro, after Francesco the most gifted of the sons, was an irreplaceable support for the father in the workshop operation. With its vibrant and brilliant colors, he continued the fame of the Bassano family into the new century and has been, as a consequence, very successful, especially in the field of portraiture.
Die Malerfamilie Bassano
Bassano, eine kleine, an den Hängen des Monte Grappa im nördlichen Veneto gelegene Stadt, gab der Malerfamilie Da Ponte nicht nur den Beinamen, sondern auch grundlegende Anregungen für die Kunst des Familienoberhauptes Jacopo und seiner Söhne.
Jacopo Bassano war vornehmlich in der Provinz aktiv, weit entfernt von den städtischen Künstlerzentren, und gilt heute als einer der großen Meister der venezianischen Malerei des Cinquecento an der Seite von Tizian, Veronese und Tintoretto. Seinen Ruhm verdankt er unter anderem der Erfindung eines Sujettypus, der die Pastoralszenen mit biblischen oder allegorischen Motiven verknüpfte: Er realisierte damit völlig neuartige und originelle Kompositionen, die so große Beliebtheit genossen, dass die Erben Jacopos derartige Gemälde bis über die Mitte des Seicento hinaus weiterproduzierten. Leandro, nach Francesco der begabteste der Söhne, war für den Vater im Werkstattbetrieb eine unersetzliche Stütze. Mit seiner lebendigen und brillanten Farbgebung setzte er den Ruhm der Familie Bassano bis ins neue Jahrhundert fort und war in der Folge vor allem auf dem Gebiet der Portraitmalerei sehr erfolgreich.
Die Monatsserie
Gemäß den Aussagen des venezianischen Historikers Carlo Ridolfi (1648) wurde eine die zwölf Monate darstellende Gemäldeserie an Rudolf II. nach Prag gesandt: Es ist sehr wahrscheinlich, dass die hier ausgestellten Werke eben jene sind, die dem Kaiser gehörten. Die Gemälde entsprechen dem raffinierten Geschmack eines aristokratischen Auftraggebers: Der hohe dekorative Wert, die Grandiosität des ikonographischen Programms und die ansehnlichen Dimensionen lassen vermuten, dass sie für einen großen Raum gedacht waren.
Im Inventar des Erzherzogs Leopold Wilhelm finden sich die zwölf Gemälde als Werke des jungen Bassano verzeichnet: Fast alle sind signiert und wurden von Leandro gegen Ende der neunziger Jahre des 16. Jahrhunderts geschaffen. Die Serie ist fast zur Gänze erhalten geblieben, und so können wir uns auch heute noch an der Einheit von Stil und Inhalt erfreuen. Der September und der Oktober befinden sich in Prag; der Dezember ist noch nicht wieder aufgetaucht. Das Bild, das den Juli darstellt, wurde in zwei Teile geschnitten, wohl aus dekorativen Überlegungen, aber beide Fragmente sind in Wien erhalten.
Die liebliche Hügellandschaft um Bassano liefert das Ambiente, in dem sich die den jeweiligen Monat charakterisierenden Landarbeiten abspielen. Die Wintermonate Januar, Februar und März hingegen - sie stellen eine Ruhepause in der ländlichen Arbeit dar - zeigen andere Sujets: die Rückkehr von der Jagd, den Karneval und eine Marktszene. Jeder Monat ist zudem mit dem entsprechenden Tierkreiszeichen versehen, das inmitten der Wolken erscheint. Die Komposition, in ein dämmriges Licht gehüllt, entwickelt sich bildparallel in die Landschaft hinein: Den Horizont bildet das bläuliche Massive des Gebirges - wahrscheinlich der Monte Grappa -, wo das Auge Ruhe findet.
Leandro beschreibt die Tätigkeiten der Figuren mit großer Präzision und Sorgfalt in der Wiedergabe der Details, von den Arbeitswerkzeugen über die Gegenstände bis hin zur Kleidung, sodaß die Gemälde zusätzlich auch einen beträchtlichen dokumentarischen Wert repräsentieren. Der Künstler beabsichtigt, den Betrachter in angenehmer Weise zu unterhalten und zu zerstreuen. Wahrscheinlich erkannte sich so mancher in den Episoden wieder: Etwa in der reich gekleideten Dame, die sich Feldfrüchte vorlegen läßt, oder im Grundherrn, der zusammen mit seinem Gutsverwalter die Arbeiten und die Ernte kontrolliert. Der Monatszyklus, der seine Wurzeln in der fruchtbaren ikonographischen Tradition des Mittelalters hat, nimmt in der Interpretation Leandros den Charakter eines lebendig illustrierten Kalenders an, der sich an ein aristokratisches Publikum richtet.
PP22 - Policy Statements
H.E. Dr Mr Chris Baryomunsi
Minister of ICT and National Guidance
Uganda Communications Commission
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
International Monetary Fund Managing Director Christine Lagarde delivers a statement on the conclusion of the IMF's Executive Board regular five-yearly review of the Special Drawing Rights (SDR) November 30, 2015 at the IMF Headquarters in Washington, DC. Lagarde stated “The Executive Board's decision to include the RMB in the SDR basket is an important milestone in the integration of the Chinese economy into the global financial system. It is also a recognition of the progress that the Chinese authorities have made in the past years in reforming China’s monetary and financial systems. The continuation and deepening of these efforts will bring about a more robust international monetary and financial system, which in turn will support the growth and stability of China and the global economy.” IMF Staff Photo/Stephen Jaffe
I hate sounding like a broken record but we all need to be listening.
We are seeing many infractions to what has been advised to us. Please, stay home. Don't go for walks, or rides. Only the grocery store, the pharmacist and to medical appointments.
Only we can flatten the curve.
PP-22 - Policy Statements
Mr Dan Sjöblom
Director-General
Swedish Post and Telecom Authority
Bucharest, Romania
28th September 2022
©ITU/Rowan Farrell
Taken by pro photographer Mr. Paul Duane, at the "Burning Man" festival. Tickets for the 2014 festival sold out in 44 minutes.
PP22 - Policy Statements
H.E. Mr Darsanand Balgobin
Minister of Information Technology, Communication and Innovation
Ministry of Information Technology, Communication and Innovation
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
PP22 - Policy Statements
H.E. Mr Claudio Araya
Undersecretary of Telecommunications
Undersecretariat of Telecommunications
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
PP22 - Policy Statements
H.E. Mr Timothy Masiu
Minister of Communication and Information Technology
National Information & Communications Technology Authority (NICTA)
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
PP-22 - Policy Statements
H.E. Mr Zenebe Kebede Korcho
Ambassador Extraordinary & Plenipotentiary
Permanent Representative of Ethiopia to the UN Office at Geneva & Other International Organisations in Switzerland & Vienna
Bucharest, Romania
30th September 2022
©ITU/Rowan Farrell
PP-22 - Policy Statements
H.E. Mr Gospel KAZAKO
Minister
Ministry of Information and Digitalization
Bucharest, Romania
30th September 2022
©ITU/Rowan Farrell
PP22 - Policy Statements
H.E. Mr Nizar Ben Néji
Minister
Ministry of Information and Communication Technologies
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
PP22 - Policy Statements
H.E. Ms Bolor-Erdene Battsengel
Deputy Minister of Digital Development and Communications
Ministry of Digital Development and Communications
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
Star trek III, The Search for Spock
There is a wisdom as old as time that says "There is no such thing as a good odd-numbered Star Trek movie." While we could get bogged down in arguing minutiae, I would rectify that statement and say that there is no great odd-numbered Trek film, but there are at least two good ones, and the best of the odd-numbered Treks is arguably Star Trek III: The Search for Spock.
Forming the middle portion of a trilogy with Wrath of Khan and The Voyage Home, Search for Spock picks up immediately after the events of Khan, with the Enterprise crew still mourning the loss of their former Captain Spock (Leonard Nimoy). Upon returning to space dock, the crew is given a commendation and extended shore leave (except poor Scotty, who has to report to the new Excelsior engine room to help with their transwarp drive). The crew is resigned to the fact that the Enterprise, being over twenty years old, is going to be decommissioned, but a visit from Spock's father Sarek (Mark Lenard) leads Kirk (William Shatner) to believe that while Spock's body may be dead, his consciousness is alive in someone else... Dr. McCoy (DeForest Kelley).
Kirk and a skeleton crew (Scotty, Sulu, Chekov & Bones) set out in the Enterprise to return to the Genesis planet and retrieve Spock's body, in hopes of returning it to Vulcan. What they have yet to find out, however, is that Lt. Saavik (Robin Curtis) & Kirk's son David Marcus (the unfortunately named Merritt Butrick) have discovered, on Genesis, that Spock has been reborn as a child. Further complications arise when a Klingon ship, commanded by Kruge (Christopher Lloyd) gets wind of the failed Genesis project and travels there in hopes of stealing the technology for the Klingons.
Okay, we need to get this out of the way immediately; The Search for Spock is not a very good film, even by Star Trek standards. It suffers from horrendous budget restrictions which first time director Nimoy couldn't shoot around as well as his predecessor, Nicholas Meyer. A lot of the recycled sets & costumes look terrible, and really distract on the 2009 blu-ray high def transfer. It's likewise hindered by being sandwiched between arguably the two best Star Trek films ever made, and can't help but feel like a trifle compared to the other two. It's got more substance than I remember it having, but the stakes are relatively low from beginning to end, and the sense of danger imposed by Khan in the previous film is just not met by the Klingons in this film.
All that being said, the film is actually much better than I remember it being, if for no other reason than the script is actually surprisingly well written. The dialogue and interplay, particularly between the Enterprise crew is as good as it's been in any of the films, and the humor throughout (much of it by, or at the expense of, Bones) is pretty reliably funny. The two truly emotional moments in the film (Kirk learning of the death of David & Spock's recognition of Kirk at the end) still land incredibly well and make up for some of the more ridiculous acting choices made by the other actors throughout the entire film.
William Shatner, the actor, was never better than he was in these three films. His moment I mentioned a moment ago, learning of the death of his only son, is very powerful and as good as he's ever been on screen. He also appears to be having a good deal of fun in this film, which is odd considering he was unhappy at having to be directed by his co-star (all of which led to Shatner taking the helm of arguably the worst Star Trek film not directed by JJ Abrams, Star Trek V: The Final Frontier). The rest of the crew is good as well, of course all resigned to one or two bits (one of the few lessons Abrams & his writers wrongly incorporated from the original films).
Lloyd is also nowhere near as bad as I remember him to be. His casting is ridiculous, to be sure, but he's not quite as bad in actuality as I seemed to have thought he was. Curtis, taking over the role of Saavik from Kirstie Alley, though, doesn't fare as well. Granted she's not given much to do, but her line readings are spotty at best and she's not terribly convincing as a Vulcan. Beyond some ridiculous stunt work in the final fight between Kruge & Kirk on the dying Genesis planet, there's really not much else bad I can say about the film.
Star Trek III is a fairly lightweight effort in the Trek canon, but it still manages to have far more good moments than bad, and is ultimately a genuinely enjoyable entry in the series. It has its flaws, to be sure, and they are numerous, but it still manages to be solidly entertaining and never insulting in the way some of the other odd numbered Trek films were. It can't help but pale in comparison to the two films bookending it, but I wholeheartedly recommend checking it out, particularly if it's been a while since you've seen it. It holds up much better than you might remember.
Invitation to join our new group “Star Trek Forever” No Limits on uploads!
PP-22 - Policy Statements
H.E. Mr Michel Chebat
Minister
Ministry of Public Utilities, Energy, Logistics & E-Governance
Bucharest, Romania
30th September 2022
©ITU/Rowan Farrell
Policy Statement PP-18
H.E. Mr Rudiantara Rudiantara, Minister of Communication and Information Technology, Indonesia
©ITU/P.Barrera
The closing statements in the case The Prosecutor v. Dominic Ongwen were scheduled for 10-12 March 2020 before Trial Chamber IX of the International Criminal Court ("ICC" or "Court") in The Hague, The Netherlands. The Prosecution, the Legal Representatives of Victims and the Defence will present their final arguments. Trial Chamber IX is composed of Judge Bertram Schmitt, Presiding judge, Judge Péter Kovács and Judge Raul Cano Pangalangan.
IAEA Director General Yukiya Amano delivers his statement at the opening session of the International Conference on Global Emergency Preparedness and Response. IAEA Vienna, Austria, 19 October 2015.
Photo Credit: Dean Calma / IAEA
PP-22 - Policy Statements
Mr Konris Maynard
Minister of Information and Communication Technologies
Bucharest, Romania
30th September 2022
©ITU/Rowan Farrell
Did you plant your IDEA in the Debate Tree Gallery at African Studie Centre and NABC’s Africa Works conference the 16th or 17th of October? Check here your and the other participant's Statement Selfies (Stelfies). Why were they pro or con the statement Africa Works? The fruit of your thoughts will be used as starting point for IDEA’s 'grow in debate workshop' at Africa Day (Afrikadag) the 1st of November. IDEA’s young African participants from the
African Inclusion project made a live stream report, which can be viewed at the Africa Works website.
Don’t forget to share your Debate Tree IDEA: @idebateNL @AfricaWorks2014 #Debatetree
The heads of the international delegations made statements about the responsible use of Artificial Intelligence. This was done in a round table setting.
Watch the entire high level plenary session: youtu.be/J8APAkq4LlY
Read the speech by Dutch Minister of Foreign Affairs Wopke Hoekstra at the round table: www.government.nl/ministries/ministry-of-foreign-affairs/...
Watch the REAIM 2023 aftermovie: youtu.be/dSZ48joIXJ0
Photo: Ministry of Foreign Affairs / Martijn Beekman
The heads of the international delegations made statements about the responsible use of Artificial Intelligence. This was done in a round table setting.
Watch the entire high level plenary session: youtu.be/J8APAkq4LlY
Read the speech by Dutch Minister of Foreign Affairs Wopke Hoekstra at the round table: www.government.nl/ministries/ministry-of-foreign-affairs/...
Watch the REAIM 2023 aftermovie: youtu.be/dSZ48joIXJ0
Photo: Ministry of Foreign Affairs / Martijn Beekman
The heads of the international delegations made statements about the responsible use of Artificial Intelligence. This was done in a round table setting.
Watch the entire high level plenary session: youtu.be/J8APAkq4LlY
Read the speech by Dutch Minister of Foreign Affairs Wopke Hoekstra at the round table: www.government.nl/ministries/ministry-of-foreign-affairs/...
Watch the REAIM 2023 aftermovie: youtu.be/dSZ48joIXJ0
Photo: Ministry of Foreign Affairs / Martijn Beekman
PP-22 - Policy Statements
H.E. Mr Sumbue ANTAS
Ambassador, Extraordinary and Plenipotentiary Permanent Representative to the United Nations and Other International Organisations, Geneva, WTO and to the Swiss Confederation
Bucharest, Romania
30th September 2022
©ITU/Rowan Farrell
The heads of the international delegations made statements about the responsible use of Artificial Intelligence. This was done in a round table setting.
Watch the entire high level plenary session: youtu.be/J8APAkq4LlY
Read the speech by Dutch Minister of Foreign Affairs Wopke Hoekstra at the round table: www.government.nl/ministries/ministry-of-foreign-affairs/...
Watch the REAIM 2023 aftermovie: youtu.be/dSZ48joIXJ0
Photo: Ministry of Foreign Affairs / Martijn Beekman
PP-22 - Policy Statements
H.E. Mr Sumbue ANTAS
Ambassador, Extraordinary and Plenipotentiary Permanent Representative to the United Nations and Other International Organisations, Geneva, WTO and to the Swiss Confederation
Bucharest, Romania
30th September 2022
©ITU/Rowan Farrell
The heads of the international delegations made statements about the responsible use of Artificial Intelligence. This was done in a round table setting.
Watch the entire high level plenary session: youtu.be/J8APAkq4LlY
Read the speech by Dutch Minister of Foreign Affairs Wopke Hoekstra at the round table: www.government.nl/ministries/ministry-of-foreign-affairs/...
Watch the REAIM 2023 aftermovie: youtu.be/dSZ48joIXJ0
Photo: Ministry of Foreign Affairs / Martijn Beekman
To my Darkness and my Light,
I unfold myself; you, in turn, call to me with your warm and aching mouth— its tongue, a delicate command I will not long withstand.
Your lips spill sighs; I drink until your thirst is sated.
Trembling hands steady me beneath you. You guide me toward your deepest acceptance. I find a center in you; you grasp me and gasp.
(You shudder— hands bracing the afternoon light dying against such white walls. I see with the eye of god your ineffable Beauty. I fall and place this feeble kiss to caress the spine of your neck as I pass.)
With you I experience annihilations most will never know.
After I am restless; you know that what I want is what I will never manage alone— you coax from my every ending its next beginning.
We must map these new and nameless oblivions together.
2008
Silver gelatin print
The heads of the international delegations made statements about the responsible use of Artificial Intelligence. This was done in a round table setting.
Watch the entire high level plenary session: youtu.be/J8APAkq4LlY
Read the speech by Dutch Minister of Foreign Affairs Wopke Hoekstra at the round table: www.government.nl/ministries/ministry-of-foreign-affairs/...
Watch the REAIM 2023 aftermovie: youtu.be/dSZ48joIXJ0
Photo: Ministry of Foreign Affairs / Martijn Beekman
PP-22 - Policy Statements
H.E. Mr Sumbue ANTAS
Ambassador, Extraordinary and Plenipotentiary Permanent Representative to the United Nations and Other International Organisations, Geneva, WTO and to the Swiss Confederation
Bucharest, Romania
30th September 2022
©ITU/Rowan Farrell
ARTIST’S STATEMENT
The process of transforming paint and other materials into images continues to compel and challenge me. Over the years, that process has led me from ceramics, photography, drawing and painting, and most recently to pursue experimental processes on paper. Painting fills me with a sense of serenity and integrity, and has proven a most reliable vehicle for translating inner vision to outer reality.
My abstract paintings explore the wonders of nature and beauty in our world. Personal symbols that have emerged through this process include; the Turtle (wisdom/grace), the Dragonfly (metamorphosis/change) and the Tree (steadfastness/beauty).
I use a variety of different paints/media (oil pastel, ink, acrylic, latex, gouache, and wood) and yet I am always drawn back to water colors for their unpredictable nature and their transparency.
I paint from the inside out. Focusing on the sensation and context of my experience. I work deliberately, employing both traditional and innovative techniques, while letting the uncertain nature of painting free my hand. My paintings are finished when they are able to convey a moment or sensation, as well as what I am feeling.
I am avaiable to do commisions and private art lessons also.
GALLERY SHOWINGS/ART SHOWS
2002 Mixed Media Exhibit Thornes Market Place (Northampton, MA)
2003 Water Color Exhibit Café Amanouz (Northampton, MA)
2005 Mixed Media Exhibit Cummington Community Center (Cummington, MA)
2009 Water Color Exhibit Sati Wellness Center (Aspinwall Center) Lenox, MA
2009 Mixed Media Exhibit Berkshires Green Grocer Lee, MA
2009 Pittsfield Art Show (Juried Exhibition) Pittsfield, MA
2009 Think Pink Exhibit (Breast Cancer Benefit show) Pittsfield, MA
2009 JWS Art Supplies Watercolor/Mixed Media Exhibit Great Barrington, MA
PUBLISHED ARTICLES/COVERS
1) The Yoga Of Art (Interview), The Artful Mind, April 2009
2) Finding Peaceful Art: The Advocate, April 2009
3) Featured Artist of Month (Title: Into The Mystery): Preview Magazine, May 2009
4) The Art of Slowing Down: Berkshires Best Buys, Business and Beyond, November,2009
5) Cover Art (Winter Bloom): Wisdom Magazine-New England Edition
6) Cover Art (The Winds Of Change): Our Berkshire Green, June-August 2010
7) The Yoga of Art(part 2), Berkshires Best Buys, Business and Beyond, March 2011
8) The Business of Art, The Artful Mind, March 2011
COURSEWORK
1993 University Of Wisconsin-Eau ClaireIntroduction to Art Studio
1999 Camp Nebagamon, Wisconsin: Ted Semling Private Art Instruction
2001 Crow Hill Gallery, Vermont: Jeanne Carbonetti Private Art Instruction
2006 NX Level Training Network: Business Planning for Artists. Denise Mason
2009-2011 Kripalu Center for Yoga and Health Stockbridge, MA Painting the Light Within. (Watercolor Training) Jeanne Carbonetti (Vermont)
2010 is183 Art School Stockbridge, MA Breathing in Color (Watercolor Training) Senta Reis
2011 is183 Art School Stockbridge, MA Painting Studio. Yura Adams
2010-PresentMassachusetts Small Business Development Center, Pittsfield, MA
Art Business Coaching/Training. Keith Girouard
VOLUNTEER WORK: 2010/2011 is183 Art School Stockbridge, MA
BS Degree in Biology
Masters Degree in Education
Peace Corps Service 1994-96 (Samoa)
Liscensed Massage Therapist
Outdoor Fitness Intstructor
If you are interested to learn more about this artwork feel free to contact me at scottharringt10@hotmail.com
You can also follow me on the following sites:
LinkedIn: www.linkedin.com/pub/scott-harrington/11/189/a39
Facebook (personal page): www.facebook.com/scott.harrington1
Facebook (fine art group): www.facebook.com/group.php?gid=252127618069&v=wall
YouTube: www.youtube.com/user/scottharrington111
My studio/gallery is in Lenox, MA. Tours are avaiable by request.
I have prints (framed/unframed) at discounted prices to fit your budget also.
(Photo taken in Plazo De Mayo in Buenos Aires, Argentina Spring 2008)
915 West Hastings, Vancouver, BC.
Statement of Significance
Description of Historic Place:
The Vancouver Club is a sophisticated five-storey building, notable for its symmetrical five-bay, brick and terra cotta front facade, with central entrance and projecting balcony. Displaying Classical Revival ornamentation, it is an imposing presence mid-block on the north side of West Hastings Street, between Burrard and Hornby Streets. The rear of the club faces north to the harbour.
Heritage Value:
The heritage value of the Vancouver Club lies in its historical, associative, and architectural significance.
The Vancouver Club is valuable for its unique role in the history of the city as one of the primary social organizations for many of the city's and the province’s most prominent citizens, including leaders in business and political affairs. This building recalls this unique social activity from 1914, when the club moved to this building from its previous clubhouse, located on the lot immediately to the east. The Vancouver Club survives as one of the few private clubs left in Vancouver.
The current Vancouver Club, opened on January 1, 1914, is one of the city's most sophisticated examples of Edwardian era architecture, displaying a high quality of workmanship and a significant degree of architectural integrity. Referencing its role as a home away from home for members, the club was built to resemble a substantial British townhouse. The club was inspired by seventeenth and eighteenth century English classicism - architecture influenced by the practices of the Italian Renaissance - and displays Palladian style ornamental motifs. Many of the famous gentlemen's clubs in London were similarly styled, and the style and appearance of the Vancouver Club reflects the British origins of most of its early members. When completed, the club was described as an example of ‘modern Renaissance’ design, due to its symmetrical appearance, harmonious proportions, Palladian-style attic type windows and ornamentation in the classical manner. The interior of the club displays handsome and dignified design. Rooms throughout feature elements such as vaulted ceilings, elaborate plasterwork, beautiful panelling and other fine materials such as terrazzo and marble. Principal rooms such as the Grand Ballroom (former Dining Room) are substantial in size, highly finished, and represent some of Vancouver’s greatest surviving early interior spaces.
This successful architectural achievement was the work of the firm of Sharp and Thompson, one of Vancouver’s most prolific and accomplished architectural partnerships. Shortly after winning the commission for the Vancouver Club, the firm won their most famous commission, the competition for the new University of British Columbia. One of the key talents of Sharp and Thompson was their ability to design in traditional styles but still remain in the forefront of advanced technology. Such was the case with the Vancouver Club, featuring a historical facade on an early example of a modern, reinforced concrete superstructure. Belying its traditional appearance, the club was provided with up-to-date ventilation, heating and electrical systems and engineered with all modern conveniences in the way of kitchens, refrigeration, central vacuum, electric lifts and dumbwaiters.
Source: City of Vancouver Heritage Conservation Program
Character-Defining Elements:
Key elements that define the heritage character of the Vancouver Club include its:
- continuous use as a private club
- institutional form, scale and massing as expressed in its five storey height, flat roof and regular, rectangular plan
- masonry construction, such as its brown coloured Hebron pressed brick facade; tan terra cotta detailing and granite-clad foundation
- elements of the exterior relevant to Sharp and Thompson's original design, including a symmetrical five-bay front facade; T-shaped plan; flat roof and stepped parapet with terra cotta cartouche and hanging torus mouldings; central entrance flanked by two service entrances; oak and glazed double doors with transoms, continuous balcony across the second storey with torus moulding; and simple continuous entablatures with dentils
- deeply inset, regular fenestration with multi-pane, steel-sash casement windows; double-hung multi-paned wooden sash windows; and small square attic windows
Key elements that define the heritage character of the Vancouver Club’s interior include its:
- interior spatial configurations relevant to Sharp and Thompson's original design
- interior detailing, materials and finishes, such as its dark honey-coloured oak window and door casings with square corner blocks
- mixed flooring materials, including white marble with grey veining, terrazzo with black and white marble inlay, black marble baseboards, unglazed white porcelain tile flooring with green border in lavatories
- ashlar terra cotta and black and white mosaic tiles in the main entrance
- double stair in main hall; vaulted, barrel-vaulted and flat ceilings
- Adams and Georgian style detailing
- and original fireplaces and radiators throughout
Key elements that define the Vancouver Club’s location include:
- prominent mid-block location on West Hastings Street, amongst numerous other prominent heritage properties
- contiguous and spatial relationship to the harbour
