View allAll Photos Tagged compton
This is a portrait of Frederick III (‘Frederick the Wise’), Elector of Saxony (1463-1525), painted in 1532. It's one of a series of no less than 60 pairs of portraits of Frederick the Wise and John the Steadfast, which were commissioned by John Frederick I when he became Elector in 1532. The verse below glorifies Frederick’s achievements, which included founding the University of Wittenberg.
With a definite predilection for fox scat, the Compton's Tortoiseshell was a frequent visitor at our cottage.
A revised version of the previously posted image, this time the result of scanning and processing almost entirely within Silverfast AI Studio 8, using the Negafix feature. Once in photoshop I spent several hours spotting, and only enhanced the colour a bit in the extreme highlights and the red channel and added a bit of a vignette in the extreme foreground.
8th June 2018, 8.43pm
Linhof Technikardan S45
Schneider Apo-Symmar MC 150mm f/5.6
Kodak Ektar 100 5x4
1" f/22⅔
2º front tilt, 20mm front rise
no filtration
Scanned with Epson V850 using Silverfast AI Studio 8 with Negafix. In negafix I locally enhanced colours in some areas (for instance, I quite like a bit of Velvia-style blue shadow detail with colour film, which Ektar doesn't naturally go in for). Result may still have a bit of a red cast, but not at all bad for the amount of time it saved over endless faffing in Photoshop.
More of that lovely low winter sunlight illuminating the cliffs at Compton Bay.
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©2013 Jason Swain, All Rights Reserved
This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
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Slowly getting back into photography having joined a new camera club.
Shot with a 500d and 8 stop ND filter that added a purple cast because it was cheap! 3 shots merged in Photomatix and processed in Ps.
This is the woodblock John Nash used to create the print in the next photo, Threshing. Rural scenes such as this, particularly with fairly new machinery to take over the process, were a frequent subject.
This painting, dated 1510-1540, which is an awfully long time to finish any painting, was originally thought to be by an imitator of Cranach. More recently, it's been decided that it is by him and may be Fredereick's wife Sybille of Cleves and one of their sons. I would have thought that with the gorgeous clothes and distinctive expression on the child, it has all the hallmarks of his work. Their clasped hands are a nice touch.
Three more from the Fabric: touch and identity exhibition. This large panel, Shells, is just a small portion of Susie MacMurray's original installation of more than 20,000 mussel shells, each one stuffed with red silk velvet. Shown at the Pallant House Gallery, it symbolises the sterile marriage of the house's original owners, each shell expressing desire trapped within.
Vintage photo card, ed. unknown. Probably 1930s.
Joyce Compton (1907-1997) was an American actress. At First National, she landed several leading female roles. In 1926, she was chosen as a potential star among the WAMPAS Baby Stars. With the advent of the talkies in the late 1920s, Compton specialised in supporting roles as dumb blondes with squeaky voices, often paired with her distinctive Southern accent. She maintained this role until the end of her career.
1012-656-22
The Compton's Gristmill was built in 1872 on the foundation of an older mill this gristmill still stands in great shape. The smaller building was added as a sawmill.
Bain News Service,, publisher.
Fay Compton
[between ca. 1920 and ca. 1925]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication. For more information, see George Grantham Bain Collection - Rights and Restrictions Information www.loc.gov/rr/print/res/274_bain.html
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Bain News Service photograph collection (DLC) 2005682517
General information about the George Grantham Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.32501
Call Number: LC-B2- 5480-1
Alongside the Grinling Gibbons exhibition was one on John Nash: The Landscape of Love and Solace, featuring over 170 of his works. Also included were a number of works by John’s older brother Paul (1889-1946). I’m afraid I find it very easy to confuse the two, partly because both served in the Artists’ Rifles in World War I, both became official war artists and both also served as war artists in WWII. Not surprisingly, their work created in the trenches covered the same subject, and both suffered what would now be considered PTSD, but I also think their styles were also similar. Both were invited to illustrate the very popular Shell Guides to the English counties, Paul doing Dorset while John tackled Buckinghamshire. Although John had no formal artistic training, his love of plants and nature led him to produce landscapes and he held a joint exhibition with Paul at the Dorien Leigh Gallery, in London in 1913 which was very successful.
Initially, John Nash's health prevented him from enlisting at the outbreak of the First World War but from November 1916 to January 1918 he served in the Artists’ Rifles, the same unit that his brother had joined in 1914. He served as a sergeant at the Battle of Passchendaele and at the battle of Cambrai. Of the 80 men in his company who were at Cambrai that day, 68 were killed or wounded in the first few minutes. Nash was one of just 12 who survived. On the recommendation of his brother, Paul worked as an official war artist from 1918.
This is another rural scene, this time a woodcut, but I didn't record its date.
I'm only including this for fun, as it's one of those unaccountable shots, admittedly in fading light, of the outdoor sculpture in the next photo.
Alongside the Grinling Gibbons exhibition was one on John Nash: The Landscape of Love and Solace, featuring over 170 of his works. Also included were a number of works by John’s older brother Paul (1889-1946). I’m afraid I find it very easy to confuse the two, partly because both served in the Artists’ Rifles in World War I, both became official war artists and both also served as war artists in WWII. Not surprisingly, their work created in the trenches covered the same subject, and both suffered what would now be considered PTSD, but I also think their styles were also similar. Both were invited to illustrate the very popular Shell Guides to the English counties, Paul doing Dorset while John tackled Buckinghamshire. Although John had no formal artistic training, his love of plants and nature led him to produce landscapes and he held a joint exhibition with Paul at the Dorien Leigh Gallery, in London in 1913 which was very successful.
Initially, John Nash's health prevented him from enlisting at the outbreak of the First World War but from November 1916 to January 1918 he served in the Artists’ Rifles, the same unit that his brother had joined in 1914. He served as a sergeant at the Battle of Passchendaele and at the battle of Cambrai. Of the 80 men in his company who were at Cambrai that day, 68 were killed or wounded in the first few minutes. Nash was one of just 12 who survived. On the recommendation of his brother, Paul worked as an official war artist from 1918.
This is another watercolour and ink painting created in 1914, The Threshing Machine, which was a subject he returned to several times.
Another day, another Venus and Cupid painting... This is Cupid Complaining to Venus, after he has stolen some honeycomb and been stung for his pains. His mother Venus seems pretty unsympathetic, but wearing such an absurd hat, particularly when she has no clothes on, she has problems of her own... I may be mistinterpreting the scene, but I suspect the choice of a tree with hanging fruit is meant to remind us of Eve, along with the serpentine branch between her legs, while the deer in the trees suggest Diana, another favourite subject for Cranach. It was painted around 1525, and the little boy looks to be the same as in the previous Venus painting, but maybe a year older, as I suppose he might have been...
Painted around 1525 (as most of the paintings in this exhibition seem to have been) this is a study of three heads, produced in oil on top of chalk on paper and then mounted on oak panel. It's thought it was produced as a model for Cranach himself or more likely, his workshop as he was assistaed by four journeyman painters.
This is Morag Myerscough's installation at Compton Verney, The Village. Situated in the meadow beside the parkland, it was the site of a medieval village that was cleared by 'Capability' Brown in the 1760s when the main house was built nearby. Generally used now as a green backdrop for art installations that are robust enough for children to climb over, this colourful interpretation of the village has been very popular. Since it was installed I've photographed it several times, and notice that its component 'houses' keep changing position. It also added a welcome splash of colour under this lowering sky.