View allAll Photos Tagged anaglypta
A self-help group for all those poor souls who are obsessed with anaglypta wallpaper...
(Another shot from the Glasgow Leyland Motor Factory building in Laurieston, Glasgow.)
Yukata (unlined cotton summer kimono) hanging on wall papered with anaglypta (thick embossed wallpaper) painted red with superimposed image of small glazed earthenware pot containing Red-tailed Black Cockatoo feathers.
The pattern of the tiles is picked up in the anaglypta on the staircase. Wonderful attention to detail.
It's been a busy day today with our last leg of decorating well under way. We've been steaming and scraping anaglypta wallpaper off our hall way. Hard going even with the steamer!
So only time for a quick shot today of our home made curry tea before we ate the lot.
Thank you to everyone who pauses long enough to look at my photo. Any comments or Faves are very much appreciated.
altered book. anaglypta wallpaper used for cover and perfume bottle cap used for knob.
i blogged about this here: www.cafevisionquest.com/2010/10/mixed-media-wallpaper-art/
What I did: I had 10 heavyweight art mats that I have been hanging onto for about 5 years, waiting for the right project to come up. This was it! I covered the holes with cardboard and wrapped 5 of them with my anaglypta wallpaper (love that stuff!). I used scrapbooking paper to cover the backs of the first 5, and to completely cover the second 5. Had to patchwork it, 'cause the mats are about 14" tall.
Urbex Benelux -
Wallpaper is a material used in interior decoration to decorate the interior walls of domestic and public buildings. It is usually sold in rolls and is applied onto a wall using wallpaper paste. Wallpapers can come plain as "lining paper" (so that it can be painted or used to help cover uneven surfaces and minor wall defects thus giving a better surface), textured (such as Anaglypta), with a regular repeating pattern design, or, much less commonly today, with a single non-repeating large design carried over a set of sheets. The smallest rectangle that can be tiled to form the whole pattern is known as the pattern repeat.
View from my hotel room at The Imperial Hotel in Barnstaple.
Looking to the right down to Holy Trinity Church.
Near Brannam's Pottery Site and Penrose Almshouses.
Brannam's Pottery Site - about 12 Litchdon Street.
Grade II Listed Building
Litchdon Pottery Including Bottle Kilns and All Buildings on the Site
Description
BARNSTAPLE
SS5632 LITCHDON STREET
684-1/5/187 (North East side)
11/03/87 Nos.10 AND 11
Litchdon Pottery, including bottle
kilns and all buildings on the site
GV II
Showrooms and pottery. Showroom to left of Litchdon Street
frontage 1886-7. By WC Oliver of Barnstaple. Former showroom
to right may be slightly earlier. Pale cream brick with
horizontal bands and window arches of red brick; stone and
terracotta detailing. Slated roofs with crested red
ridge-tiles, except for the right-hand showroom, which is
covered with corrugated asbestos. Cream brick chimney on each
side wall, the left-hand chimney with ornamental pots.
Buildings consist of showrooms on Litchdon Street frontage,
the right-hand side converted to storeroom. In centre an
archway with building above, leading to warehouses, 2 bottle
kilns and other industrial buildings in 2 long wings at rear.
The site extends back to Trinity Street. Showrooms on frontage
are in 2 parts: 2-storeyed range to left, extending over
archway, 3-storeyed range to right.
The left-hand range, which is the better of the 2, is 4-window
range. To left, 2 large display windows, the glass in upper
part decorated with foliage and, in gilt lettering, the
inscriptions reading BY APPOINTMENT TO H.M. THE QUEEN and BY
APPOINTMENT TO H.R.H. PRINCESS CHRISTIAN. Doorway with pointed
arch on splayed corner to right. Above, across whole front, an
entablature with coved underside and frieze of terracotta
panels decorated with flowers and foliage. Upper storey has
mullioned-and-transomed window, also with coloured glass. The
terracotta frieze is continued below it, and at either side
are more terracotta panels decorated with birds and squirrels.
Above window on the roof, a goblet with imitation timber
framing.
Range to right is 2-window range in 2nd storey, the left-hand
window set in the splayed corner. Ground storey has been
altered, but on the splay is a blocked doorway with moulded
stone 2-centred arch enclosed by a rectangular carved stone
frame. 2nd-storey windows are of 2 lights to left and 3 lights
to right. These have chamfered mullions and moulded pointed
arches of stone, the latter with relieving arches of red
brick; in the heads of the arches are red and crack-glazed
tiles decorated with flowers and foliage. 3rd-storey has 3
windows, each of 2 lights with plain stone mullions; cill-band
of glazed blue tiles. Heavily moulded top cornice of stone and
brick with imitation mechicolations.
INTERIOR and rear buildings not inspected, but left-hand
showroom retains some of its original decoration. This may be
the showroom refurbished in 1903; ceiling of `Tynecastle' in
Louis XV style, anaglypta frieze by Owen Davies of London, who
designed pottery for Brannam's.
HISTORICAL NOTE: the pottery dated from at least 1830,
possibly from C17; it was acquired before 1840 by the Brannam
family who ran it until 1979. It is now owned by Candy & Co
Ltd of Newton Abbot.
(Barnstaple Castle Records, Committee Minute Book, 26.1.87;
Brannam P: A Family Business: 1982-; Devon County Sites and
Monuments Register, Exeter; North Devon Journal: 4.11.1886:
1886-; North Devon Journal: 18.2.1887: 1887-; North Devon
Journal: 18.6.1903: 1993-).
Listing NGR: SS5602532901
Penrose Almhouses.
Grade I Listed Building
Description
BARNSTAPLE
SS5632 LITCHDON STREET
684-1/5/199 (North East side)
19/01/51 Penrose Almshouses
GV I
Almshouses, originally 20 dwellings, each for 2 inmates of the
same sex. Completed 1627, 3 years after the death of the
founder, John Penrose. Later repair and refurbishment includes
C20 replanning with partial conversion into flats and some
features copying the original. Local ashlar masonry for
external walls, internal partitions of brick; granite
colonnade; natural slate roofs; brick stacks with old handmade
brick shafts with considerable repair in modern brick with
corbelled cornices (one original stack retains clustered
shafts with a corbelled cornice of moulded bricks; lead gutter
on colonnade is brattished and decorated with Tudor roses and
oak leaves.
PLAN: 4 ranges of almshouses arranged facing onto a large
courtyard, with a passageway through from the street and
another at the rear, leading to allotments.
EXTERIOR: the street frontage has a 2-storey porch in the
centre, with open returns, flanked by lean-to roofs supported
on 9-bay colonnades on low walls and, to left and right,
projecting gabled wings containing a single storey boardroom
to the left and a chapel to the right. The parallel range at
the rear also has short projecting rear wings; former laundry
outside courtyard in rear right corner.
Almshouses single-storey and attic with gabled half dormers
and ovolo-moulded oak mullioned windows and 4-centred doorways
with oak door frames, the latter with scroll stops. Windows
glazed with diamond-leaded panes; plank and cover strip doors.
Continuous slate pentice at first-floor level. Each range has
a regular 4-window elevation facing the courtyard, the dormers
with coped gables and purple stone relieving arches. 4 doors
to each elevation, the 2 ranges parallel to the road with
additional wider passageways in the centre with oak frames,
the stops on the front-passage front frame carved with the
initials of John Penrose.
The Litchdon Street elevation has the 2-storey porch in the
centre with a coped gable and an ovolo-moulded arched granite
doorway inscribed 'John Penrose' and a C17-style timber gate.
Above the doorway a plaque records 'this howse was founded by
Mr John Penrose, marchant, sometime maior of this towne. Ano
Do 1627'. 4-light mullioned window above with relieving arch
and sundial in the gable. Tapering granite columns to left and
right. Passageway from Litchdon Street is lit by a probably
C18 sexagonal lamp, suspended from the pentice by an iron knee
bracket.
The gable ends of the left and right wings have 4-light Gothic
stone windows with a king mullion and Y-tracery. Chapel gable
to the right has a bellcote. Gabled attic half dormers have
ovolo-moulded timber mullioned windows. Under the colonnade
there are 2 doorways and 4 (2 to each side of the porch) C20
4-light mullioned windows matching the originals. Floor paved
with probably C19 tiles and C19 or early C20 timber seat in
C17 style attached to wall. Oak door frames and doors lead
into the chapel and boardroom, with a wicket door into the
chapel.
Flat-roofed C20 service extensions to rear of the almshouse
ranges on all but the street side, although the rear elevation
backing onto the allotment has original mullioned windows and
one half dormer partly rebuilt in brick.
INTERIOR: one almshouse inspected; thoroughly modernised,
although features of interest may survive behind modern
plaster. The chapel has a fine interior with a 3-light east
window and shallow, coved plaster ceiling with the remains of
a C17 scheme of decorated plasterwork with vine motif and a
central pendant for a chandelier. Fittings include C17
bookrests and benches with some C19 panelling and a C19
lectern. The boardroom has a C19 panelled dado with fitted
drawers and a somewhat altered fireplace.
HISTORICAL NOTE: according to a board fixed under the
colonnade John Penrose, 1575-1624, buried in Fremington, was a
dealer in slight woollen goods and mayor of Barnstaple.
The boardroom contains a portrait of John Penrose, aged 26,
signed Cornelius Jannsen and dated 1601, a portrait of Gilbert
Paige (Paige's Almshouses, Church Lane, Barnstaple (qv)) c1650
and some interesting photographs of c1910 showing the Penrose
Almshouses with residents in uniform including an interior
showing the double range which was used at that date in the
shared units. Also 1944 drawings by Allen T Hussell, 32 High
Street, Ilfracombe, showing the almshouses before addition of
the rear blocks, with privy blocks shown behind the ranges.
This is a remarkably attractive and ambitious early C17
complex, incorporating some interesting Gothic Survival
windows to chapel and boardroom and is the finest of a notable
group of almshouses in Barnstaple.
(Buildings of England: Pevsner N & Cherry B: Devon: London:
1989-: 159; Hussell A: Architect's Drawings: 1944-).
Listing NGR: SS5603732863
LomoChrome Purple in the East parlor of the Jones Mansion during Halloween. Interesting how the Anaglypta or Lincrusta wall covering reproduced. In real life it is gold wash. I can never remember if we have Anaglypta or Lincrusta I usually say both with talking about the house.
Film; LomoChrome Purple, 35mm. ISO 200, first delivery.
Processed and scanned by The Darkroom
Camera: Olympus XA4 with A11 flash
Image by: Leslie Lazenby
October 2013, Jones Mansion
This rare view of the interior of the Pratt-Campbell Mansion (designed & built by William Henry Sternberg, 1832-1906) faces northeast - towards the tower. Evident is the gracefullness of the curved balausters, hard-wood paneling and detailed carvings on the newel posts.
In 1872 Charles Eastlake’s book, “Hints on Household Taste” was printed in America. Eastlake loathed the ornate and polished furniture that was in use at the time. He urged his readers to purchase simple furniture without excessive ornamentation. In 1876 nearly 10 million Americans, about 25% of the population at the time, traveled to Philadelphia for the Centennial Exposition. There they saw all the newest and latest in technology, art and design. This event wrought great changes in the American home.
In 1879 Edison created a successful, practical lighting system. This too, greatly affected decorating choices made for the home. And by the 1880’s some American writers on interior decoration began dwelling on the idea of the bathroom being a pleasurable space and not just a necessity.
Charles Eastlake dismissed the previously popular wall treatments, favoring the idea of a 3 foot high wainscoting around the principle rooms. By using wainscoting, he introduced a new 3 part horizontal wall treatment which remained in style for 2 decades. This consisted of a dado or wainscoting on the bottom (similar as can be seen here), a frieze or cornice on the top and a section called the field in between. He was the one who popularized this treatment and its imitations in all rooms of the house. The top of the wainscoting was usually 36” to 42” above the floor.
There were many ways to achieve this new 3 part wall. The most expensive way was to use real wooden panels as wainscoting (seen here in the Pratt-Campbelle Mansion), but most households couldn’t afford this. Even then, this treatment usually only appeared in entry halls and dining rooms. By the 1880’s, though ready made wainscoting was being offered for sale. It was made of plain vertical boards ¼” to 7/8” thick, glued to a heavy cloth. One could also achieve the fashionable look with wallpaper that imitated the dado, field and frieze patterns.
Lincrusta was a paper that was used to this effect, and it became very popular in the 1880’s. It was invented by Fred Walton in 1877, who also created linoleum in 1863. Lincrusta was very durable and easy to shape into corners and curves. Lincrusta, then as it is today, was made of wood pulp and linseed oil pressed into decorative molds and cut into panels. It was paintable, versatile and decorative and these points made it very popular. Lincrusta simulated tooled leather, so it was a way to “upscale” a room without the expense of tooled leather.
Anaglypta was a thick embossed paper product similar to Lincrusta but not as durable. It was patented in England in 1887 by Thomas Palmer, manager of the Lincrusta-Walton company. It was suitable for walls, friezes and ceiling decoration and was painted or glazed to suit the homeowner. There were many other heavy embossed papers around at the time too.
Your thoughts, comments, ideas and/or additional information is certainly welcomed and appreciated!!
This photo is courtesy of the Wichita-Sedgwick County Historical Museum (www.WichitaHistory.org).
The Anchor Digbeth.
Early morning in Digbeth on a walk into town after getting off the bus early.
Blue sky on the start of another warm day.
Grade II Listed Building
Listing Text
BIRMINGHAM BRADFORD STREET
SF 08 NE
7/10004 The Anchor Public House
II
Public house. 1901 by James and Lister Lea for Holt Brewery Company.
Red bricked terracotta (terracotta probably from Hathern Station Brick
and Terracotta Company of Loughborough). Flat roof concealed behind
parapet. Brick end and axial stacks.
Plan: situated on corner site with entrance on corner to central
public bar which is partitioned on right with separate entrance;
doorways also to left and right to passage, outdoor and smoke room.
Louis XIV style influence.
Exterior: 2 storeys 1:2:2 bay Bradford Street front and 2:1:2:1 Rae
Street elevation to right with 1-bay rounded corner. The terracotta
ground floor has large bar windows with moulded elliptical arches with
raised voussoirs and keystone and leaded panes with stained glass. The
round arch doorways have similarly treated arches and fanlights.
Entablature above ground floor with moulded cornice and fascia. On
first floor the terracotta 2-window bays are pilastered and have
raised voussoirs to round arches and friezes above with arabesques and
cartouchs. The curved corner window is similarly treated but has flat
arch and 1-window bays are plain. Terracotta moulded cornice and
parapet. Plain brick lower 2-storey, 2 bay wing on left.
Interior: Public bar has entrance porch in corner, low panelled screen
with Art Nouveau stained glass panels, anaglypta ceiling, pilastered
and panelled bar-front and bar-back with engraved mirror glass,
pilasters and canopy with wavey fretwork and fluted pilaster drops
forming lyre shapes. Hallway has radiator and glazed hatch.
Source: A Crawford, M Dunn and R Thorne. Birmingham Pubs 1880-1939.
Listing NGR: SP0767386295
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Indirectly got that Black Sabbath street art mural in this photo as well. Although didn't mean to take it again.
Another shot from the LSMG lighting workshop.
Again this one uses the modeling light from the studio flash rather than the flash itself.
Interestingly (or maybe not) edited entirly in Adobe Camera Raw.
Myself, 9yrs of age, Christmas morning at my home in West Leicester.
I am surrounded by toys that would now make me a small fortune if only I still had them, amongst the collection are, Joe 90 doll, Action Men & accessories galore, Tommy Gunn, Vinyl glove puppets of The Hood from Thunderbirds,(you can just see the top of his bald head poking out of the back of the Action Man jeep) and Aqua Marina from Stingray.
Man From Uncle Special Agent kit, a Dinky Chitty Chitty Bang Bang, the western rifle escapes me but
it fired the ubiquitous paper “caps”
The background has the classic bad taste décor of the time including “Anaglypta” wallpaper shagpile rugs, leather “look” chairs, brass lamps and not forgetting our original pet budgie “Whiskey”
The television is a black and white “Ultra” make with push-button preset controls, and was on weekly hire from a shop called “Wigfalls”
I am in the height of pyjama fashion in the regulation stripey two piece with opening fly !!
I am holding a retractable knife(plastic)& Luger gun, from the Special Agent set.
This was a mega Christmas and I am glad I have this shot from a Kodak Instamatic camera, to scan.
I don’t know where Whiskey the budgie is, but possible pottering about as he was more out of the cage than in
slowly making progress in the living room: 1 1/2 walls wallpapered with anaglypta paper and painted, crown molding & picture rail up on 1 1/4 walls
The evening walk back from the Rock Park to The Imperial Hotel along Litchdon Street. The hotel has a rear door opposite the car park.
Brannam's Pottery Site - about 12 Litchdon Street.
Grade II Listed Building
Litchdon Pottery Including Bottle Kilns and All Buildings on the Site
Description
BARNSTAPLE
SS5632 LITCHDON STREET
684-1/5/187 (North East side)
11/03/87 Nos.10 AND 11
Litchdon Pottery, including bottle
kilns and all buildings on the site
GV II
Showrooms and pottery. Showroom to left of Litchdon Street
frontage 1886-7. By WC Oliver of Barnstaple. Former showroom
to right may be slightly earlier. Pale cream brick with
horizontal bands and window arches of red brick; stone and
terracotta detailing. Slated roofs with crested red
ridge-tiles, except for the right-hand showroom, which is
covered with corrugated asbestos. Cream brick chimney on each
side wall, the left-hand chimney with ornamental pots.
Buildings consist of showrooms on Litchdon Street frontage,
the right-hand side converted to storeroom. In centre an
archway with building above, leading to warehouses, 2 bottle
kilns and other industrial buildings in 2 long wings at rear.
The site extends back to Trinity Street. Showrooms on frontage
are in 2 parts: 2-storeyed range to left, extending over
archway, 3-storeyed range to right.
The left-hand range, which is the better of the 2, is 4-window
range. To left, 2 large display windows, the glass in upper
part decorated with foliage and, in gilt lettering, the
inscriptions reading BY APPOINTMENT TO H.M. THE QUEEN and BY
APPOINTMENT TO H.R.H. PRINCESS CHRISTIAN. Doorway with pointed
arch on splayed corner to right. Above, across whole front, an
entablature with coved underside and frieze of terracotta
panels decorated with flowers and foliage. Upper storey has
mullioned-and-transomed window, also with coloured glass. The
terracotta frieze is continued below it, and at either side
are more terracotta panels decorated with birds and squirrels.
Above window on the roof, a goblet with imitation timber
framing.
Range to right is 2-window range in 2nd storey, the left-hand
window set in the splayed corner. Ground storey has been
altered, but on the splay is a blocked doorway with moulded
stone 2-centred arch enclosed by a rectangular carved stone
frame. 2nd-storey windows are of 2 lights to left and 3 lights
to right. These have chamfered mullions and moulded pointed
arches of stone, the latter with relieving arches of red
brick; in the heads of the arches are red and crack-glazed
tiles decorated with flowers and foliage. 3rd-storey has 3
windows, each of 2 lights with plain stone mullions; cill-band
of glazed blue tiles. Heavily moulded top cornice of stone and
brick with imitation mechicolations.
INTERIOR and rear buildings not inspected, but left-hand
showroom retains some of its original decoration. This may be
the showroom refurbished in 1903; ceiling of `Tynecastle' in
Louis XV style, anaglypta frieze by Owen Davies of London, who
designed pottery for Brannam's.
HISTORICAL NOTE: the pottery dated from at least 1830,
possibly from C17; it was acquired before 1840 by the Brannam
family who ran it until 1979. It is now owned by Candy & Co
Ltd of Newton Abbot.
(Barnstaple Castle Records, Committee Minute Book, 26.1.87;
Brannam P: A Family Business: 1982-; Devon County Sites and
Monuments Register, Exeter; North Devon Journal: 4.11.1886:
1886-; North Devon Journal: 18.2.1887: 1887-; North Devon
Journal: 18.6.1903: 1993-).
Listing NGR: SS5602532901
Berties of Litchdon Street Hairdressing
Chapel Street, Islington. The Classic Cafes website (www.classiccafes.co.uk) says: "Founded in 1959 this monument has held on to every ounce of its character. The interior is a wonderland of museum-quality tables and shiny, worn wooden booth seating. On top of this, the fluted beige wall panels, teak-veneer Formica, glossed-over 1950s anaglypta, red lino floor tiles, period wall heaters, glorious lamp fittings, coat-hangers and teak detailing make this a no holds barred Top Ten destination."
The evening walk back from the Rock Park to The Imperial Hotel along Litchdon Street. The hotel has a rear door opposite the car park.
Brannam's Pottery Site - about 12 Litchdon Street.
Grade II Listed Building
Litchdon Pottery Including Bottle Kilns and All Buildings on the Site
Description
BARNSTAPLE
SS5632 LITCHDON STREET
684-1/5/187 (North East side)
11/03/87 Nos.10 AND 11
Litchdon Pottery, including bottle
kilns and all buildings on the site
GV II
Showrooms and pottery. Showroom to left of Litchdon Street
frontage 1886-7. By WC Oliver of Barnstaple. Former showroom
to right may be slightly earlier. Pale cream brick with
horizontal bands and window arches of red brick; stone and
terracotta detailing. Slated roofs with crested red
ridge-tiles, except for the right-hand showroom, which is
covered with corrugated asbestos. Cream brick chimney on each
side wall, the left-hand chimney with ornamental pots.
Buildings consist of showrooms on Litchdon Street frontage,
the right-hand side converted to storeroom. In centre an
archway with building above, leading to warehouses, 2 bottle
kilns and other industrial buildings in 2 long wings at rear.
The site extends back to Trinity Street. Showrooms on frontage
are in 2 parts: 2-storeyed range to left, extending over
archway, 3-storeyed range to right.
The left-hand range, which is the better of the 2, is 4-window
range. To left, 2 large display windows, the glass in upper
part decorated with foliage and, in gilt lettering, the
inscriptions reading BY APPOINTMENT TO H.M. THE QUEEN and BY
APPOINTMENT TO H.R.H. PRINCESS CHRISTIAN. Doorway with pointed
arch on splayed corner to right. Above, across whole front, an
entablature with coved underside and frieze of terracotta
panels decorated with flowers and foliage. Upper storey has
mullioned-and-transomed window, also with coloured glass. The
terracotta frieze is continued below it, and at either side
are more terracotta panels decorated with birds and squirrels.
Above window on the roof, a goblet with imitation timber
framing.
Range to right is 2-window range in 2nd storey, the left-hand
window set in the splayed corner. Ground storey has been
altered, but on the splay is a blocked doorway with moulded
stone 2-centred arch enclosed by a rectangular carved stone
frame. 2nd-storey windows are of 2 lights to left and 3 lights
to right. These have chamfered mullions and moulded pointed
arches of stone, the latter with relieving arches of red
brick; in the heads of the arches are red and crack-glazed
tiles decorated with flowers and foliage. 3rd-storey has 3
windows, each of 2 lights with plain stone mullions; cill-band
of glazed blue tiles. Heavily moulded top cornice of stone and
brick with imitation mechicolations.
INTERIOR and rear buildings not inspected, but left-hand
showroom retains some of its original decoration. This may be
the showroom refurbished in 1903; ceiling of `Tynecastle' in
Louis XV style, anaglypta frieze by Owen Davies of London, who
designed pottery for Brannam's.
HISTORICAL NOTE: the pottery dated from at least 1830,
possibly from C17; it was acquired before 1840 by the Brannam
family who ran it until 1979. It is now owned by Candy & Co
Ltd of Newton Abbot.
(Barnstaple Castle Records, Committee Minute Book, 26.1.87;
Brannam P: A Family Business: 1982-; Devon County Sites and
Monuments Register, Exeter; North Devon Journal: 4.11.1886:
1886-; North Devon Journal: 18.2.1887: 1887-; North Devon
Journal: 18.6.1903: 1993-).
Listing NGR: SS5602532901
Devon Laser Clinic
Picture with title 'The Lounge in the Tudor Period'. "The ceiling is half-timbered, with Lincrusta-Walton wainscot oak borders, and the panels created thereby are filled with an appropriate high-reliel Agaglypta ornament. The walls a rich blue Lincrusta leather effect with studded borders to harmonise." From 'Wall Coverings: Their uses as an aid to furnishing. A few notes and comments by The Relief Branches of The W. P. M. Ltd. [The Wall Paper Manufacturers Ltd.]. London. n.d. [c. 1910] The illustration is signed Harold. W. Povey , as are all the others in this booklet.
Stripped some wallpaper to discover gloss-painted anaglypta on polystyrene on flock on (pink) paint on plaster. oh, the layers!
The Anchor Digbeth.
Early morning in Digbeth on a walk into town after getting off the bus early.
Blue sky on the start of another warm day.
Grade II Listed Building
Listing Text
BIRMINGHAM BRADFORD STREET
SF 08 NE
7/10004 The Anchor Public House
II
Public house. 1901 by James and Lister Lea for Holt Brewery Company.
Red bricked terracotta (terracotta probably from Hathern Station Brick
and Terracotta Company of Loughborough). Flat roof concealed behind
parapet. Brick end and axial stacks.
Plan: situated on corner site with entrance on corner to central
public bar which is partitioned on right with separate entrance;
doorways also to left and right to passage, outdoor and smoke room.
Louis XIV style influence.
Exterior: 2 storeys 1:2:2 bay Bradford Street front and 2:1:2:1 Rae
Street elevation to right with 1-bay rounded corner. The terracotta
ground floor has large bar windows with moulded elliptical arches with
raised voussoirs and keystone and leaded panes with stained glass. The
round arch doorways have similarly treated arches and fanlights.
Entablature above ground floor with moulded cornice and fascia. On
first floor the terracotta 2-window bays are pilastered and have
raised voussoirs to round arches and friezes above with arabesques and
cartouchs. The curved corner window is similarly treated but has flat
arch and 1-window bays are plain. Terracotta moulded cornice and
parapet. Plain brick lower 2-storey, 2 bay wing on left.
Interior: Public bar has entrance porch in corner, low panelled screen
with Art Nouveau stained glass panels, anaglypta ceiling, pilastered
and panelled bar-front and bar-back with engraved mirror glass,
pilasters and canopy with wavey fretwork and fluted pilaster drops
forming lyre shapes. Hallway has radiator and glazed hatch.
Source: A Crawford, M Dunn and R Thorne. Birmingham Pubs 1880-1939.
Listing NGR: SP0767386295
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Barrels and Octopus street art
Outwater offers Anaglypta® and Lincrusta®, two original English classic, high-relief embossed wall coverings and borders comprising the same materials, manufactured on the same brass rollers and by the same time honored methods and traditions as they have been for over 100 years. Outwater can be contacted at 1-800-631-8375 or viewed online at www.outwater.com
Urbex Benelux -
Wallpaper is a material used in interior decoration to decorate the interior walls of domestic and public buildings. It is usually sold in rolls and is applied onto a wall using wallpaper paste. Wallpapers can come plain as "lining paper" (so that it can be painted or used to help cover uneven surfaces and minor wall defects thus giving a better surface), textured (such as Anaglypta), with a regular repeating pattern design, or, much less commonly today, with a single non-repeating large design carried over a set of sheets. The smallest rectangle that can be tiled to form the whole pattern is known as the pattern repeat.
I've spent several evenings working at painting more of my anaglypta wall paper- This almost finishes up the north wall. Also, my reproduction highboy finally arrived today, hooray! This really helps develop the 1920s colonial revival interior that I am trying to make in this room.
When we stripped the terrifying anaglypta wallpaper off the dining room chimney breast, we discovered this, written in biro. It reads:
Papering ceiling, number of cigs 18/1/59
6.45am 1
8.00 1
9.30 1
11.30 1
12.30 1
2.00 1
Project to research visual images of birds and produce a series of paintings about cultural and emotional significance of birds to humans. Looked at flight depicted in ancient Egypt and China and by artists such as Braque. Used collage with anaglypta wallpaper, tracing paper, card, paint, shoe polish plus printing techniques. See sketchbook image for idea on modern still life with dead birds.
update photos of my living room project
One wall of the room is almost done now.
crown molding and picture molding are up.
Wainscoting up and primed (will be painted later this week) anaglypta paper up on walls and painted.
To do yet (on this wall):
Give trim final coat of paint.
Paint the kitchen door ( I can't decide if it should be white to match the trim or darker to stand out from the trim)
Strip and repaint the glass door for the built-in
Make new shelves for the built-in
Made for coffeelatte's Faux Tintype ATC swap at ATCs For All, Sept. 2009
Vintage photos printed on transparency and layered over metal foil tape, old book text, foil doilies and anaglypta (embossed wall paper)
Clockwise from top left:
Accoucheuse
Strange Life
Eyes So Madsome
Trusting & Dreamy
in removing the relatively ancient 'pebble dash' anaglypta ceiling paper as part of an insurance repair job fixing water damage to my living room, the decorators unmasked a rather beautiful patterned paper which had a wonderful iridescence and luster to it, which really shimmered when it caught any light. i would have liked to have seen it in times past when it would have proudly adorned the entirety of my ceiling.
the ceiling is just to be lined and painted at this time, but i've stolen away a few scraps of the various papers, should they come in useful at a future date, or i'm inclined to make an entirely bizarre 'coffee table' book.
update photos of my living room project
One wall of the room is almost done now.
crown molding and picture molding are up.
Wainscoting up and primed (will be painted later this week) anaglypta paper up on walls and painted.
To do yet (on this wall):
Give trim final coat of paint.
Paint the kitchen door ( I can't decide if it should be white to match the trim or darker to stand out from the trim)
Strip and repaint the glass door for the built-in
Make new shelved for the built-in
In order to paint old, lined skin like my Grandmother's, I experimented with ripped pieces of anaglypta paper and string to see which technique would look the most realistic and effective.
Black Sabbath on The Crown, Station Street.
With their concert coming up at Villa Park, the closed Grade II listed pub has been made to look nice opposite Birmingham New Street Station.
Grade II listed building
The Crown Hotel, Station Street, Birmingham
Summary
A late-C19 public house, probably by Thomson Plevins (1825-97).
Reasons for Designation
The Crown Hotel, Station Street, Birmingham, is listed at Grade II for the following principal reasons:
Architectural interest:
* it has a well-composed façade with good quality detailing, unusually curved to its corner plot, making it an attractive and prominent building;
* the separate external entrances are evidence of a time when drinking was segregated;
* overall, the building survives well, retainining internal architectural details including glass porches and the main bar, while upstairs are large public rooms.
Historic interest:
* for its importance in the 1960s folk music revival, and in the late 1960s as the venue where Black Sabbath created their sound which shaped a new internationally popular genre of music; heavy metal.
Group value:
* the Crown is a few doors away from the Grade II listed Old Repertory Theatre, with both buildings sharing patrons and jointly contributing to Birmingham’s cultural life.
History
The Crown Hotel, originally named the General Elliott, is thought to have opened in 1876. Kelly’s 1880 Directory of Birmingham lists the General Elliott as having a William Cutler as its publican, and the Crown was known locally as ‘Cutler’s’ at least into the 1960s. In the 1892 Kelly’s Directory the pub is still named the General Elliott with Cutler as landlord, but by the 1896 directory the name has changed to ‘The Crown’, with William Cutler now a William Butler. It is unclear if this is a misprint of Cutler, or is reference to the local brewer William Butler whose firm in 1898 went on to form Mitchells and Butlers, the brewery which owned the Crown throughout the C20. The pub appears as the General Elliott Hotel on the 1:500 Birmingham town plan of 1885-7, and the 1895 Goad fire plan identifies the attached southern building as a stable block.
The Crown has been attributed to the architect Thomson Plevins (1825-97), best known for the Grade II* Grand Hotel in Birmingham (National Heritage List for England: 1391246). Plevins worked extensively in this part of Birmingham in the late-C19 and was responsible for the two other pubs on Station Street; the Market Hotel and the Victoria. These three pubs share similarly detailed carving in their column capitals and on external panels.
The Crown’s location a few doors along from Birmingham’s Old Repertory Theatre (NHLE: 1034393, Grade II) and directly opposite an entrance to New Street Railway station meant that it was popular with those who worked on the railways and in the theatre. Boxing matches were held upstairs, though the pub is most famous for the musicians who performed there.
In the early 1960s Ian Campbell (1933-2012) ran the Jug of Punch club at the Crown; this was one of the leading clubs of the folk revival of the time. It is here in 1962 that the Ian Campbell Folk Group, which featured famous fiddler Dave Swarbrick (1941-2016), recorded ‘Ceilidh at the Crown’, thought to be the earliest vinyl release of a live recording from a folk club. In 1968 local musician Jim Simpson set up a blues club, ‘Henry’s Blueshouse’ at the Crown to provide exposure for a band he was managing; Bakerloo Blues Line. The club hosted performances by many American blues musicians, as well as British and Irish bands including famous names such as: Christine McVie, Jethro Tull, Judas Priest, John Bonham, Robert Plant, Rory Gallagher, Status Quo and Thin Lizzy.
It was in September 1968 that ‘Earth’, a Birmingham band featuring the four founding members of Black Sabbath (Terence ‘Geezer’ Butler, Tony Iommi, John ‘Ozzy’ Osbourne and Bill Ward) first played at the Henry’s Blueshouse club night at the Crown. Earth became regular performers at the club and Simpson was impressed enough by them to become their manager, a role which he continued through their 1969 name change to Black Sabbath and the release of their first two albums. Earth played on more occasions at the Crown than they did at any other venue, and were playing Black Sabbath material during this period; the song ‘Black Sabbath’ was first played on 1 August 1969 at the Pokey Hole Blues Club at the Robin Hood, Lichfield (demolished in 2000). The Crown was where in late 1969 and early 1970 Earth played some of their very first gigs as Black Sabbath, and where under Jim Simpson’s management, they refined and developed their sound and repertoire. The music that resulted went on to have worldwide cultural influence through shaping the nascent genre of heavy metal.
The Crown continued to host live music throughout the 1970s and 1980s, with UB40 (whose Campbell brothers are the sons of Ian), The Beat and punk band GBH amongst the notable names who played there. The Crown retains examples of graffiti dating from the late 1970s made by the punk clientele of that time.
New first-floor toilets were added in a small extension over the rear yard in the early-C20. A small courtyard between stable block and main building which is shown as open on historic mapping up until the Goad Fire plan surveyed in January 1966 is now roofed over. The venue ceased trading as a public house in 2014, and it has been vacant since then.
Details
A late-C19 public house, probably by Thomson Plevins (1825-97).
MATERIALS: brick walls behind render, slate roofs.
PLAN: The building is irregular in plan, sited in the corner plot between Station Street to the north and Hill Street to the west. The front elevation runs along Station Street from the adjoining number 63 in the north-east, then curves to the south-west around the corner to Hill Street where it ends in a south-east facing gable which is extended under a catslide to the north-east. A rectangular-plan former stable block with gable ends to north-east and south-west adjoins the rear of the Station Street section. The stable block’s south-western gable meets the catslide gable of the main building at right angles.
EXTERIOR: the main building is three stories under a pitched roof. It is served by six brick chimney stacks, with end stacks through the ridge against the gable wall of the adjoining number 63 Station Street and within the south-east gable to Hill Street. The catslide section to the rear has two stacks at its north-west and south-east ends. The stable block is two stories and an attic with a single external chimney to its south-west gable, south of the ridge.
The ground floor of the curving front elevation consists of a series of pilasters with Corinthian capitals which support a frieze with a dentilled cornice. Above the capitals of the two end pilasters are console brackets embellished with carved fruit and foliage, and above these a capping piece with further carving. Between the pilasters and beneath the cornice are mullioned windows with rectangular leaded-lights under an opening toplight. Beneath the windows is a stallriser, then a plinth of varying height in accordance with the ground level which lowers toward the apex of the curve, then rises again once past it. There are four doors: two to Station Street, one at the apex of the curve, and one on Hill Street. The doors are panelled, with a leaded-light transom window, then a larger leaded-light window above that to meet the frieze. A C20 lantern on a scrolled iron bracket is over the south-western Station Street door.
The first and second floors are lit by alternating triple and single windows, with the openings of both upper floors in alignment. The openings in the ground floor don’t align with those above with the exception of the doorway in the curve which is centred on the middle of the triple window groupings of the upper floors. The first-floor windows are C20 replacements, the second-floor windows are one-over-one or two-over-two sashes and are lower in height than windows to the first floor. To both upper floors the triple windows are arranged so that a wider central window is divided from two narrower flanking windows by vertical panels carved with flowers within a lattice. On the first floor, each three-window group has a continuous lintel over it which rises to a round arch over the centre to give the impression of a Venetian window. The first-floor single windows have a triangular pediment over them. At second-floor level the extents of the windows are picked out by console brackets enclosing embossed concentric circles on a frieze board under the eaves.
The rear, south-east facing elevation has the gable end of the pitched roof from the main block to the west end, then the rear of the stable block to the east.
INTERIOR: generally, joinery such as dado and picture rails, skirting and door frames survive, as do some three and four-panelled doors. The public bar rooms have coving to the ceilings. Embossed Lincrusta or Anaglypta style wall and ceiling coverings are visible in some areas. The pub retains some original fireplaces, though others have been removed. Below ground the pub has extensive cellars and storage spaces. A stair with barrel skids leads up to a beer drop in the rear yard to the south-east.
The main entrance is at the corner of Station Street and Hill Street, and opens into a hall-corridor with the main bar to the left, and to the right, two smaller rooms (kitchen and office) with a Victorian open string staircase with slim iron balusters running up between them. The main bar is the principal space on this floor, retaining its Victorian bar and bar back. Rectangular columns support a long beam running the length of the ceiling, and windows look out to Station Street. On the Station Street side of the room is a hexagonal glazed internal porch to an external door. There are various toilets in the former stable block.
The staircase on the right-hand side of the entrance hall rises to a first-floor landing, straight across which is the large front room above the main bar. This front room has windows to Station Street, and large metal ducts raised over the floor. It is one of the two upstairs in which bands played and formerly had a stage to its east end. A hatch in the south wall allows a view into the void which was originally a small open courtyard to the stable block but was roofed over in the late-C20. West of the main room within the curve to the front of the building is a snug bar which has a plaster covered ceiling beam decorated with linear mouldings. Across the landing from the snug is a room used as a dressing room by performers. The rear part of the first floor is the former stable block, which is one open room, and was the other performance space used for live music. A small living room retaining a Victorian fireplace is to the right of the stairs. Behind the stairs are toilets, an early-C20 addition which retains its original tiling. The stairs turn 180 degrees in a ‘U’ shape and continue up to second floor where there is further accommodation, originally bedrooms for the hotel.
Anaglypta (textured, embossed) wallpaper glued to a piece of foam. Painted screen printing ink on it and stamped on fabric.
New Susan Collis exhibition at Rochdale Touchstone's Gallery. We were fortunate to have present at the opening and being interviewed the next day about her work. Fascinating stuff!
Finished just in time for this exhibition, the artist wanted something to show the scale of this work. I was happy to oblige!
The work is graphite rubbed textures from an old house - the textures being Anaglypta, brick, plaster and tiles.
In a moment of insanity I decided to hand-paint the pattern on the anaglypta wallpaper in the dining/living room. It looks great but takes an incredibly long time to paint.
A quick selfie, in the days when a tripod was required, before setting out to meet Liz and spend Christmas Eve at the Mainline nightclub. Interesting attire for the night out; Jet black, back combed hair, a Virgin Prunes T-shirt, baggy trousers & Pixie boots, accessorised with my trustee red Mickey Mouse wrist watch and a couple of studded bracelets, fortunately the Mainline wasn't a suit & tie nightclub and the music was Bowie & Bauhaus and not Michael Jackson & Men at Work.
The parents house looks very dated here with that strange moulded glass in the door and the hideous Anaglypta wallpaper.
Black Sabbath on The Crown, Station Street.
With their concert coming up at Villa Park, the closed Grade II listed pub has been made to look nice opposite Birmingham New Street Station.
Grade II listed building
The Crown Hotel, Station Street, Birmingham
Summary
A late-C19 public house, probably by Thomson Plevins (1825-97).
Reasons for Designation
The Crown Hotel, Station Street, Birmingham, is listed at Grade II for the following principal reasons:
Architectural interest:
* it has a well-composed façade with good quality detailing, unusually curved to its corner plot, making it an attractive and prominent building;
* the separate external entrances are evidence of a time when drinking was segregated;
* overall, the building survives well, retainining internal architectural details including glass porches and the main bar, while upstairs are large public rooms.
Historic interest:
* for its importance in the 1960s folk music revival, and in the late 1960s as the venue where Black Sabbath created their sound which shaped a new internationally popular genre of music; heavy metal.
Group value:
* the Crown is a few doors away from the Grade II listed Old Repertory Theatre, with both buildings sharing patrons and jointly contributing to Birmingham’s cultural life.
History
The Crown Hotel, originally named the General Elliott, is thought to have opened in 1876. Kelly’s 1880 Directory of Birmingham lists the General Elliott as having a William Cutler as its publican, and the Crown was known locally as ‘Cutler’s’ at least into the 1960s. In the 1892 Kelly’s Directory the pub is still named the General Elliott with Cutler as landlord, but by the 1896 directory the name has changed to ‘The Crown’, with William Cutler now a William Butler. It is unclear if this is a misprint of Cutler, or is reference to the local brewer William Butler whose firm in 1898 went on to form Mitchells and Butlers, the brewery which owned the Crown throughout the C20. The pub appears as the General Elliott Hotel on the 1:500 Birmingham town plan of 1885-7, and the 1895 Goad fire plan identifies the attached southern building as a stable block.
The Crown has been attributed to the architect Thomson Plevins (1825-97), best known for the Grade II* Grand Hotel in Birmingham (National Heritage List for England: 1391246). Plevins worked extensively in this part of Birmingham in the late-C19 and was responsible for the two other pubs on Station Street; the Market Hotel and the Victoria. These three pubs share similarly detailed carving in their column capitals and on external panels.
The Crown’s location a few doors along from Birmingham’s Old Repertory Theatre (NHLE: 1034393, Grade II) and directly opposite an entrance to New Street Railway station meant that it was popular with those who worked on the railways and in the theatre. Boxing matches were held upstairs, though the pub is most famous for the musicians who performed there.
In the early 1960s Ian Campbell (1933-2012) ran the Jug of Punch club at the Crown; this was one of the leading clubs of the folk revival of the time. It is here in 1962 that the Ian Campbell Folk Group, which featured famous fiddler Dave Swarbrick (1941-2016), recorded ‘Ceilidh at the Crown’, thought to be the earliest vinyl release of a live recording from a folk club. In 1968 local musician Jim Simpson set up a blues club, ‘Henry’s Blueshouse’ at the Crown to provide exposure for a band he was managing; Bakerloo Blues Line. The club hosted performances by many American blues musicians, as well as British and Irish bands including famous names such as: Christine McVie, Jethro Tull, Judas Priest, John Bonham, Robert Plant, Rory Gallagher, Status Quo and Thin Lizzy.
It was in September 1968 that ‘Earth’, a Birmingham band featuring the four founding members of Black Sabbath (Terence ‘Geezer’ Butler, Tony Iommi, John ‘Ozzy’ Osbourne and Bill Ward) first played at the Henry’s Blueshouse club night at the Crown. Earth became regular performers at the club and Simpson was impressed enough by them to become their manager, a role which he continued through their 1969 name change to Black Sabbath and the release of their first two albums. Earth played on more occasions at the Crown than they did at any other venue, and were playing Black Sabbath material during this period; the song ‘Black Sabbath’ was first played on 1 August 1969 at the Pokey Hole Blues Club at the Robin Hood, Lichfield (demolished in 2000). The Crown was where in late 1969 and early 1970 Earth played some of their very first gigs as Black Sabbath, and where under Jim Simpson’s management, they refined and developed their sound and repertoire. The music that resulted went on to have worldwide cultural influence through shaping the nascent genre of heavy metal.
The Crown continued to host live music throughout the 1970s and 1980s, with UB40 (whose Campbell brothers are the sons of Ian), The Beat and punk band GBH amongst the notable names who played there. The Crown retains examples of graffiti dating from the late 1970s made by the punk clientele of that time.
New first-floor toilets were added in a small extension over the rear yard in the early-C20. A small courtyard between stable block and main building which is shown as open on historic mapping up until the Goad Fire plan surveyed in January 1966 is now roofed over. The venue ceased trading as a public house in 2014, and it has been vacant since then.
Details
A late-C19 public house, probably by Thomson Plevins (1825-97).
MATERIALS: brick walls behind render, slate roofs.
PLAN: The building is irregular in plan, sited in the corner plot between Station Street to the north and Hill Street to the west. The front elevation runs along Station Street from the adjoining number 63 in the north-east, then curves to the south-west around the corner to Hill Street where it ends in a south-east facing gable which is extended under a catslide to the north-east. A rectangular-plan former stable block with gable ends to north-east and south-west adjoins the rear of the Station Street section. The stable block’s south-western gable meets the catslide gable of the main building at right angles.
EXTERIOR: the main building is three stories under a pitched roof. It is served by six brick chimney stacks, with end stacks through the ridge against the gable wall of the adjoining number 63 Station Street and within the south-east gable to Hill Street. The catslide section to the rear has two stacks at its north-west and south-east ends. The stable block is two stories and an attic with a single external chimney to its south-west gable, south of the ridge.
The ground floor of the curving front elevation consists of a series of pilasters with Corinthian capitals which support a frieze with a dentilled cornice. Above the capitals of the two end pilasters are console brackets embellished with carved fruit and foliage, and above these a capping piece with further carving. Between the pilasters and beneath the cornice are mullioned windows with rectangular leaded-lights under an opening toplight. Beneath the windows is a stallriser, then a plinth of varying height in accordance with the ground level which lowers toward the apex of the curve, then rises again once past it. There are four doors: two to Station Street, one at the apex of the curve, and one on Hill Street. The doors are panelled, with a leaded-light transom window, then a larger leaded-light window above that to meet the frieze. A C20 lantern on a scrolled iron bracket is over the south-western Station Street door.
The first and second floors are lit by alternating triple and single windows, with the openings of both upper floors in alignment. The openings in the ground floor don’t align with those above with the exception of the doorway in the curve which is centred on the middle of the triple window groupings of the upper floors. The first-floor windows are C20 replacements, the second-floor windows are one-over-one or two-over-two sashes and are lower in height than windows to the first floor. To both upper floors the triple windows are arranged so that a wider central window is divided from two narrower flanking windows by vertical panels carved with flowers within a lattice. On the first floor, each three-window group has a continuous lintel over it which rises to a round arch over the centre to give the impression of a Venetian window. The first-floor single windows have a triangular pediment over them. At second-floor level the extents of the windows are picked out by console brackets enclosing embossed concentric circles on a frieze board under the eaves.
The rear, south-east facing elevation has the gable end of the pitched roof from the main block to the west end, then the rear of the stable block to the east.
INTERIOR: generally, joinery such as dado and picture rails, skirting and door frames survive, as do some three and four-panelled doors. The public bar rooms have coving to the ceilings. Embossed Lincrusta or Anaglypta style wall and ceiling coverings are visible in some areas. The pub retains some original fireplaces, though others have been removed. Below ground the pub has extensive cellars and storage spaces. A stair with barrel skids leads up to a beer drop in the rear yard to the south-east.
The main entrance is at the corner of Station Street and Hill Street, and opens into a hall-corridor with the main bar to the left, and to the right, two smaller rooms (kitchen and office) with a Victorian open string staircase with slim iron balusters running up between them. The main bar is the principal space on this floor, retaining its Victorian bar and bar back. Rectangular columns support a long beam running the length of the ceiling, and windows look out to Station Street. On the Station Street side of the room is a hexagonal glazed internal porch to an external door. There are various toilets in the former stable block.
The staircase on the right-hand side of the entrance hall rises to a first-floor landing, straight across which is the large front room above the main bar. This front room has windows to Station Street, and large metal ducts raised over the floor. It is one of the two upstairs in which bands played and formerly had a stage to its east end. A hatch in the south wall allows a view into the void which was originally a small open courtyard to the stable block but was roofed over in the late-C20. West of the main room within the curve to the front of the building is a snug bar which has a plaster covered ceiling beam decorated with linear mouldings. Across the landing from the snug is a room used as a dressing room by performers. The rear part of the first floor is the former stable block, which is one open room, and was the other performance space used for live music. A small living room retaining a Victorian fireplace is to the right of the stairs. Behind the stairs are toilets, an early-C20 addition which retains its original tiling. The stairs turn 180 degrees in a ‘U’ shape and continue up to second floor where there is further accommodation, originally bedrooms for the hotel.
This photo shows the glazing of the room next to the Little Parlour - the Beauty Room or Yellow Bedchamber. In the restoration the Trust has set it up as a palimpsest - displaying fragments of many decor schemes from the panelling of the original house to 1970s anaglypta (on the ceiling).
The room had an earth closet opening out of it and was never intended to be a grand room in the tour circuit. It must have been well used, however, because it was frequently redecorated even in Walpole's time. The yellow and black fireplace was designed by Richard Bentley - and had five trompe l''oeil pinacles.
In 1753 it was hung with yellow patterned paper and prints, framed in the manner pioneered by Lord Cardigan of printed borders. In his print room Walpole displayed prints of his family's paintings or which had some family connection. He also used the tecnique in other rooms. The room was later redecorated in grey spotted paper, hung with portraits of aristocratic Stuart beauties and renamed the Beauty Room. Over the fireplace was a Van Dyke painting of the children of Charles I (Prince Charles, James and Princess Mary with their favourite dog).
I haven't been able to find out much about the stained glass shown here - a large Flemish scene with golden stain, two armorials and a shield. The pair of monochrome ladies each sitting against a tree are allegorical depictions of the senses - sight and smell.
The lowest tier of panels all seem to be 17thC and depicts:
- a heavily restored central panel of a couple courting, flanked by portraits of a woman and a peasant with a glass, both dancing
- a scene of rural life with two women, dogs and a bowl; flanked by portraits of a rustic with a long pipe and a man playing a hurdy-gurdy.