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High Street, Sutton, Ely, Cambridgeshire.
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98908 & 98958 spray their way through Sutton Coldfield working a West Midlands RHTT cirucit based on Kings Norton
Sutton Scarsdale Hall was built in the Baroque style on the site of an existing house between 1724 and 1729 for the 4th Earl of Scarsdale. The architect for the new hall was Francis Smith of Warwick, who skillfully incorporated the earlier building of about 1469 within his design.
Notable craftsmen were employed here. Edward Poynton of Nottingham carved the exterior stonework and the Italian master craftsmen Arturi and Vasalli carried out the fine stucco (plasterwork) detailing in the principal rooms, remnants of which can still be seen.
Grinling Gibbons is believed to have contributed some of the interior wood carvings. The cost of this splendid building left the Scarsdale heirs with depleted funds and they were eventually forced to sell the hall in the 19th century.
John Arkwright, a descendant of the industrialist Richard Arkwright, bought the hall, but in 1919 the family sold it to a company of asset strippers.
Many of its finely decorated rooms were sold off as architectural salvage and the house was reduced to a shell. Some rooms still exist: three interiors are displayed at the Museum of Art in Philadelphia.
A pine-panelled room is at the Huntington Library, California. It was offered to the Huntington by a Hollywood film producer who had used it as a set for a film, Kitty, in 1934. He had bought it from William Randolph Hearst, the newspaper magnate and well-known collector.
The ruins of the hall were saved from demolition by the writer Sir Osbert Sitwell, who bought it in 1946 after he had heard of the impending sale to dismantle the stonework. In 1970 descendants of the Sitwells persuaded the Department of the Environment to take the building into guardianship and preserve it for the nation.
A recent programme of works has been undertaken by English Heritage to preserve and protect the fragments of the original stucco interior.
The ruins of Sutton Scarsdale Hall, with tantalising remnants of a once majestic interior, offer the visitor an opportunity to view the ‘skeleton’ of the building – impossible in more complete country houses. The approach to the hall today is along a narrow driveway. Its spectacular location on a hillside is immediately apparent.
The roofless hall is built of mellow sandstone and stands to its original parapet height. Some areas of stonework have been lost at this level, giving an almost castellated appearance from a distance.
The hall was built with two impressive façades. The eastern front is the grandest, with exuberant Baroque detail typified by attached giant Corinthian columns topped with a central pediment. The central bays housed the formal drawing room. Elements of the 15th century structure such as blocked window openings in earlier brickwork can be seen in this room and in the one behind it.
The slightly plainer north elevation housed the entrance hall, which contains remnants of stucco work. The remains of the paired Ionic pilasters with wreathed swags are clearly visible, as are the remains of the chimney pieces incorporating carved figures.
www.english-heritage.org.uk/visit/places/sutton-scarsdale...
Ashley Sutton,Adrian Flux Subaru Racing through Hawthorns at Croft closely pursued by Colin Turkington,Team BMW and Mat Jackson,Team Shredded Wheat with Duo,during the first BTCC race of the day. He managed to ward off the close attention of Colin Turkington for the race win.
Sutton Scarsdale Hall was built in the Baroque style on the site of an existing house between 1724 and 1729 for the 4th Earl of Scarsdale. The architect for the new hall was Francis Smith of Warwick, who skillfully incorporated the earlier building of about 1469 within his design.
Notable craftsmen were employed here. Edward Poynton of Nottingham carved the exterior stonework and the Italian master craftsmen Arturi and Vasalli carried out the fine stucco (plasterwork) detailing in the principal rooms, remnants of which can still be seen.
Grinling Gibbons is believed to have contributed some of the interior wood carvings. The cost of this splendid building left the Scarsdale heirs with depleted funds and they were eventually forced to sell the hall in the 19th century.
John Arkwright, a descendant of the industrialist Richard Arkwright, bought the hall, but in 1919 the family sold it to a company of asset strippers.
Many of its finely decorated rooms were sold off as architectural salvage and the house was reduced to a shell. Some rooms still exist: three interiors are displayed at the Museum of Art in Philadelphia.
A pine-panelled room is at the Huntington Library, California. It was offered to the Huntington by a Hollywood film producer who had used it as a set for a film, Kitty, in 1934. He had bought it from William Randolph Hearst, the newspaper magnate and well-known collector.
The ruins of the hall were saved from demolition by the writer Sir Osbert Sitwell, who bought it in 1946 after he had heard of the impending sale to dismantle the stonework. In 1970 descendants of the Sitwells persuaded the Department of the Environment to take the building into guardianship and preserve it for the nation.
A recent programme of works has been undertaken by English Heritage to preserve and protect the fragments of the original stucco interior.
The ruins of Sutton Scarsdale Hall, with tantalising remnants of a once majestic interior, offer the visitor an opportunity to view the ‘skeleton’ of the building – impossible in more complete country houses. The approach to the hall today is along a narrow driveway. Its spectacular location on a hillside is immediately apparent.
The roofless hall is built of mellow sandstone and stands to its original parapet height. Some areas of stonework have been lost at this level, giving an almost castellated appearance from a distance.
The hall was built with two impressive façades. The eastern front is the grandest, with exuberant Baroque detail typified by attached giant Corinthian columns topped with a central pediment. The central bays housed the formal drawing room. Elements of the 15th century structure such as blocked window openings in earlier brickwork can be seen in this room and in the one behind it.
The slightly plainer north elevation housed the entrance hall, which contains remnants of stucco work. The remains of the paired Ionic pilasters with wreathed swags are clearly visible, as are the remains of the chimney pieces incorporating carved figures.
www.english-heritage.org.uk/visit/places/sutton-scarsdale...
Recorded looped at Sutton Bridge Junction near Shrewsbury, Class 37/0 37275 had charge a mixed consist of steel coil carriers forming the 6M44 MX 01:45 Cardiff Tidal Sidings to Dee Marsh Junction.
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All saints, Sutton, Suffolk
It is unusual for a village to have a building of greater antiquity than its parish church, but the age of the largely Victorian-rebuilt All Saints at Sutton pales into insignificance in comparison with the barrows at Sutton Hoo, to the north of the village. Here, during the 1940s, Basil Brown of Ipswich Museum excavated a huge Anglo-Saxon ship burial, probably the final resting place of Redwald, King of East Anglia. The treasures are now in the British Museum, the burial helmet most familiar among them. It is easy to imagine Redwald's final journey across the heathland from Rendlesham, to this wild bluff overlooking the Deben. And it is possible to visit the Sutton Hoo site, where there is a fascinating museum and excavations are still in progress.
But All Saints is also worthy of investigation. So often, you see a fine medieval church, and go in to the crushing disappointment of a complete Victorianisation. All Saints at Sutton is quite the opposite. This mainly Victorian church conceals one of the finest and most interesting fonts in the county. There is nothing quite like it in all East Anglia. It has the eight orders of the pre-Reformation church around the base, figures representing deacons, priests, bishops and the like. The supporting angels corbelling the bowl have, between them, the instruments of the Mass; paten, chalice, missal, and so on.The figures on the bowl are the four evangelists, interspersed with Gabriel and Mary at the Annunciation, Mary Magdalene, and a very rare God the Father, the old man himself, seated on his throne.
The rest of the church is neat and pleasant enough, a typical work by Richard Phipson, one of his earliest in the county. And even if he hadn't refurbished it, there wouldn't be much that was medieval left here, because the whole thing burned down early in the 17th century. One survival of the fire is the brass inscription to William Burwell, who died in 1596 at the age of eighty. He would have been witness to the whole turbulent process of the Reformation, and the forging of early modern England. The brass is now mounted on the west wall, which makes it easy to view, but also means that it would not survive a fire today.
There is decent glass from the Clayton & Bell workshop in the nave and chancel, but the east window design by William Warrington is the star of the show. He signed it in strapwork along the bottom, telling us that he both designed and painted it. The rood loft stair opens quite high in the north wall, and must have been an impressive sight in this narrow, aisleless interior. The chancel roof beams are picked out nicely between white plaster, which becomes a ceilure in the nave with just the main beams showing, which is very effective. The difference creates the effect of a wide and spacious chancel.
The Millennium project here was a little wooden belfry that stands to the south of the chancel. It replaced a previous smaller turret, and is rather more ambitious than the one at nearby Alderton, but it seems a shame that you can't see the bell inside. But all in all, what a super little church this is. Today, it is little-known, I suppose, but any ghosts here might well have American accents: we are only a mile or so here from the northern edge of the former USAAF Woodbridge base, with Bentwaters beyond that, and during the Cold War these lonely lanes reverberated to the sounds of Air Force activity. It seems strange to think of it now.
sutton lawn reserve..... The park is mainly comprised of grassed areas with areas of woodland and avenues of trees. The lake is located in the south east of the park, and is well used by anglers and walkers. Rumbles café is located to the west of the site and is located close to the play areas, a skate park, ball court and outdoor gym. The site also has bowling and tennis clubs.
The Lawn Pleasure Grounds encompass the grounds of the former Sutton Hall, built as the residence of Samuel Unwin, a merchant hosier, and the land associated with his nearby Cotton Spinning Mill and Mill Lake. Sutton Hall and most of the Mill complex no longer exist, but the Mill ruins and adjacent lake form the focal feature of the park today.
With the surrounding fields in flood from the over flowing river Cherwell. On loan Direct Rail Service's Class 68/0 No.68009 Titan is seen passing through a very wet Kings Sutton on the 06-04-2018 with the 17:21 1U50 London Marylebone - Banbury, Chilton Railways passenger service.
A cow strolls between rows of parkland trees by gates onto Main Street, opposite The Hall.
Nottinghamshire SK52
London General PVL287 on route 154 towards West Croydon is seen in Bushey road Sutton Green after leaving Sutton garage (A) 02/09/14.
Chancel east stained glass window showing Christ as the Good Shepherd between BVM holding a lily & St James patron saint of the church. - Church of St James, Sutton Cheney Leicestershire
Old cemetery in Sutton Forest.
Nikon F4. AF Nikkor 24mm F2.8D lens. AGFA Rollei Infrared 400S 35mm B&W film. Hoya IR R72 filter.
Black Five No. 44871 hurries through Sutton Coldfield, hauling the return working of the Stratford Flyer.
Glass manufacture in St Helens commenced around 1826 and, with the coming of the railway, the Pilkington Brothers Ltd works rapidly expanded until at its peak of manufacture in the 1950s Pilkingtons, with its dominant market share in glass manufacture, was handling in the region of 1,800 railway wagons per week at St Helens. The company also owned St Helens colliery until vesting day, providing cheap coal right on the doorstep for the manufacturing processes. Products handled at the Ravenhead, Gerard's Bridge and Crown Sheet Works were inbound coal and sand (and later oil replacing coal in the late-20th century) and outbound finished product in bespoke wagons for safely conveying large sheets of manufactured glass. Pilkingtons was a loyal user of the locally-built Edward Borrows ‘Cross’-design 0-4-0 well tanks from the local Providence Works and drew, at various times, from a fleet of 19 such locos built between 1875 and 1910, although locos from other manufacturers were also used. Similar Borrows locos also worked at the Brunner Mond Winnington and Lostock works at Northwich in Cheshire and at the United Alkali Burn Naze works at Fleetwood in Lancs. Borrows 0-4-0 well tank Sutton (W/No.49 built in 1905) photographed at St Helens Sheet Works (formerly Crown plate glass works) in the mid-1950s. It was withdrawn from service in April 1959 and scrapped during 1960.
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Burial items from the grave mound at Sutton Hoo, which many historians believe may have belonged to King Rædwald (599-324).
The British Museum is a museum in London dedicated to human history and culture. Its permanent collection, numbering some eight million works, is among the largest and most comprehensive in existence and originates from all continents, illustrating and documenting the story of human culture from its beginnings to the present.
The British Museum was established in 1753, largely based on the collections of the physician and scientist Sir Hans Sloane. The museum first opened to the public on 15 January 1759 in Montagu House in Bloomsbury, on the site of the current museum building.