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Part of Compton Verney’s permanent collection, this is Venus and her son Cupid, painted around 1525. Her pale figure really stands out from the black background, and apparently she was originally painted wearing a red hat, which was painted over in the nineteenth century - an extraordinary act of vandalism, however silly it might have looked. Venus was clearly one of his favourite subjects, and had the great advantage of not needing intricately detailed clothing, unlike his portraits. Another small painting, one can imagine that rather than being on open display in a household, it might have been shown only to honoured (and male) visitors.
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.
Built in 1924, Compton Acres, situated Nr. Sandbanks in Dorset. The garden is a fine example of a historic Victorian Mixed Style design garden and consists of seven distinct gardens. Including both Italian and Japanese, a lovely garden to visit.
Compton, CA
Going through some old pictures and uploading whatever I can find that seems worth while to upload.
Very colorful cart yard!
The Adam Hall, built in 1762–1768 by Robert Adam as part of his redesign for the whole house. It’s all dazzling white plaster including a wonderfully ornate ceiling and this frieze showing hunting scenes. In this section, the women seem to be pulling on something - a rope, presumably.
Short south aisle part of the rebuilding in 13c style in 1863/4 under Rev W H Marsh by E.G. Bruton, which sadly almost obliterated many of the original features. Some windows on the south side were re-used from the earlier church.
The small chapel altar was installed in the 1930s by Mrs Laverton Harris who lived in the manor.
- Church of St Denys, Little Compton, Warwickshire
Well placed at the entrance to the wonderful collection of ancient Chinese art is a pair of gilt-bronze guardians or heavenly kings. They date from the Ming dynasty (AD1368-1644) and in addition to the elaborate armour, this one also has a fierce head glowering from his belly.
Compton Verney house was designed by Robert Adam in the 1760s and is beautifully proportioned. Actually, this is not the house itself but another set separately nearby. I have a vague feeling it was once the stables, but may have got that wrong. It's now a private house.
The extensive grounds at Compton Verney provide a good setting for artistic works old and new. This is the Green Dwelling installation by Krijn de Koning, which echoes the site of the medieval village that was swept away in Capability Brown’s recreation of the landscape in the 18th century. These two photos were taken about a year apart, and show that obviously the pieces can be moved around.
This bronze plaque is not by Cranach but is probably his inspiration for the following photograph, of his painting of Hercules and Antaeus. The plaque was made around 1500 by Galeazzo Mondella in Italy, so although it's unlikely that Cranach ever visited Italy, he might well have seen a plaque like this. It shows Hercules crushing the braggart Antaeus, who challenged any and all to a fight to the death, as he was protected by the gods as long as he remained in contact with the earth. Knowing this, Hercules lifted him up and was able to vanquish him.
Four from the Ancient China gallery, which has one of the best collections in the country. This gilt-bronze figure (about three feet high) is one of a pair of guardians or heavenly kings. It dates from the Ming dynasty (AD1368-1644).
Italian postcard. Cinema-Illustrazione, series I, no. 34. Photo: Fox Film.
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.
Olivia Joyce Compton was born in 1907 in Lexington, Kentucky. Compton began her acting career at the age of 18 in the silent film The Golden Bed. Before that, her parents had moved with her from Oklahoma to Hollywood, hoping for a successful acting career for their good-looking daughter. Indeed, after difficult beginnings, success came, and Compton was given a studio contract at First National, where 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 one role subject, which she maintained until the end of her career: Supporting roles as dumb blondes with squeaky voices, often paired with her distinctive Southern accent.
In the early 1930s, she appeared in several short films for comedy producer Mack Sennett, and in other comedies she acted as a partner for comedians such as Bobby Clark, Paul McCullough, Charley Chase and Walter Catlett. Perhaps the best-known role of her career was as a simple-minded nightclub singer in the 1937 screwball comedy The Awful Truth, in which she competed with Irene Dunne for the love of Cary Grant. In the 1940s, she appeared, among other roles, as a love-struck nurse in the comedy Christmas in Connecticut (1945) alongside Barbara Stanwyck. Later, the offers dwindled as she was by now too old for the role type of the dumb blonde. Instead, she worked occasionally as a private nurse and spent her free time on hobbies such as painting and dress design. Her last role was in the television series Pete and Gladys in 1961. Joyce Compton had a brief relationship with Joel McCrea in the late 1920s. Otherwise, the actress lived most of her life with her parents; a 1955 marriage to William Kaliher failed after only a few months. Towards the end of her life, she wrote her autobiography 'The Real Joyce Compton: Behind the dumb blonde movie image', which was published posthumously in 2009. Joyce Compton died in Los Angeles in 1997 at the age of 90. She was buried in the Forest Lawn Memorial Park celebrity cemetery in the Hollywood Hills.
Sources: Wikipedia (German and English) and IMDb.
At long last, a few weeks ago we were able to visit Compton Verney and feast our eyes on a wonderful exhibition of Cranach's work, and this one on Fabric: touch and identity. This is the secret image on the inside of the kimono, where a beautiful young girl is surprised while bathing. It's a wonder that women didn't give up bathing...
Another three from the Fabric: touch and identity exhibition. This piece, by Raisa Kabir in 2010, produced some smiles. Called Feminist Fabric: a Fat Corset, it is exactly what it says - rather than constricting one's shape, it adds a plump layer of bulging fat. It's made from cotton and silk muslin over a metal spoon busk. Not sure it will catch on as a fashion item, sadly...although in the days of the Victorian bustle, that was on very similar lines.
This is Compton's Mill in Elk Lick Township, Somerset County, Pennsylvania. The mill was built in 1872 and operated by Samuel Compton. The headrace for the mill comes from the Tub Mill Run. It ran as an active flour mill until 1941.
Nikon D850 with a Nikkor 35mm F2.8 PC Shift Lens @ F11, ISO 64, 1/400th shutter speed. Oben tripod with Benro 3-way geared head.
Compton Bay, Isle of Wight, doing its best Californian impersonation with small clean waves and a bit of evening sunshine.
More waves at soul-surfing website
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©2009 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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Another three from the Fabric: touch and identity exhibition. This one is Laurent, by Nina Saunders (2015), who fashions discarded armchairs into anthropomorphic forms. Beautifully upholstered, it's definitely a decorative piece.