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Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
My Flickr friend [https://www.flickr.com/photos/ajhaysom] inspired me to use the mirrors in the berdrooms, and I certainly had fun trying to capture Lily Sullivan in triplicate in this mirror.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
Now heres a story for you all! (obvioulsy it was my Dad who took this photo)
Yes it really is me...way back arounf 1972 ish....when I had worked my way up form junior, Top Stylist and manager of a Beauty Salon. I ma sure you are all aware from our photostream that my hairdressing days live on.....
This was taken at a beautiful Edwardian House called "Haytor" (sadly it has now been turned in to an exclusive set of apartments)
The gentleman who owned this beautiful building was the Best Man at Joan Crawford and Douglas Fairbanks JNR`s wedding! And the newly married couple stayed there, in that very room you see Mother and I in here. Mother became real friends with the family and was privately invited many times to some glorious and very elegant dinner parties there, in Stratford Upon Avon. And, sadly...they have all passed on now....
Fluffy scanned this photo for me this evening.
Born in 1919 by her mother Emma and father Frank, my mother became a model, concert pianist, BBC radio presenter and Dancer with (which I still possess) Bronze, Silver and Gold Dancing Certificates signed by Englands answer to Fred Astaire: Victor Sylvester. She had a private meeting with legendary Miss Marlene dietrich (which I only found out about when I found stuff under my mothers bed in a box after she had died...it must have been her most treasured secret that was so personal to herself) She had a best friend with Violet Carson , Violet was Ena sharples in the early years of British Soap `Coronation Street`.
Mother would never brag about her associations.
I hope and trust I have followed in her footsteps as wherever I am and what ever I do,,,she is and always will be my best friend. She guides me and always at this time of year, surprises me...especially with things that come through the post!
You have been with us today Mother...As I look at this photo...I see in my mind that very same smile when we had a lovely lunch today (and Earl Gray Tea!) in your honour at a place you loved to go to.
My Love for you will never die. You to me were the greatest mother (I know we can all think that), but you did everything you could to make me happy.
You know dears, she would have LOVED Fluffy and the life we have together. All she ever was concerned about that when she died that I wasnt lonely.
Mother dearest...I believe you have had a bif hand in putting Fluffy and I together to which I truly thank you.
Phyllis Margaret gave up her concert playing, modelling, dancing .......to become a housewife and a mother and she would always say "THATS all I ever really wanted..."
Now...I wonder who I take after?
Its not my dad.......But I loved him too.
Happy Birthday Mother and we all salute you and all our mothers that our flickr friends have lost across the world, we Honour You.
(Your Fame is about to start all over again Mother dear...you are now on Flickr!)
I love you and always will xxxxxx
Review of The Dolls House Mall 1/12 scale miniatures over at the blog - babiafi.blogspot.co.uk/2015/11/mini-mart-dolls-house-mall...
This is a public domain picture, so please feel free to use, modify, etc. If you would like to credit, please credit www.babiafi.co.uk
Processed with CameraBag 2
The newly refitted Oxfam shop in Hove, Sussex
Visit to shop, donate or volunteer - help alleviate world poverty with us.
Find out more here
Hove, Sussex, UK
Close-up van het tafelblad van kaptafel onder een stolp poppenhuizen miniaturen 1:12
I made everything from beads, jewellery findings, colored headpins and a piece of a wooden tooth pick colored red for the lipstick. The hat box is printed from the Internet.
My travels around the UK by car for three weeks with my son. June/July 2019 England.
Day twelve .. Having a look around Sizergh Castle and Garden.
Sizergh Castle and Garden is a stately home and garden at Helsington in the English county of Cumbria, about 4 miles (6 km) south of Kendal. The castle, a grade I listed building, is in the care of the National Trust along with its garden and estate. It is the home of the Hornyold-Strickland family.
There are oak-panelled interiors, including the Inlaid Chamber, where the panelling is inlaid with floral and geometric patterns in pale poplar and dark bog-oak. The contents of the Inlaid Chamber were sold to the Victoria and Albert Museum (V&A) in the 1890s and it was displayed as a reconstructed period room. The return of the panelling to its original location at Sizergh was advocated by among others Mark Girouard, an authority on England's country houses. The panelling returned in 1999 under a long-term loan. In 2017 it was reported that transfer of ownership to the National Trust had been made formal.
In 2016 the Sizergh estate was included in the newly extended Lake District National Park.
A collection of portraits of the Catholic Royal Stuart family reflects the Strickland family's links to the Jacobite court in exile at Saint-Germain-en-Laye. There are portraits by Alexis Simon Belle, painter in ordinary to James VII & II and the Old Pretender, of Queen Mary of Modena and her daughter Princess Louisa Maria.
The Deincourt family owned this land from the 1170s. On the marriage of Elizabeth Deincourt to Sir William de Stirkeland in 1239, the estate passed into the hands of what became the Strickland family, who owned it until it was gifted to the National Trust in 1950 by Gerald Strickland, 1st Baron Strickland's grandson Lt. Cdr. Thomas Hornyold-Strickland, 7th Count della Catena.
Catherine Parr, the sixth wife of Henry VIII and a relative of the Stricklands, is thought to have lived here after her first husband died in 1533. Catherine's second husband, Lord Latymer, was kin to the dowager Lady Strickland.
It was extended in Elizabethan times. Sir Thomas Strickland went into exile with James II.
The garden has a lake and a kitchen garden as well as an award-winning rock garden. The rock garden, which was constructed in the 1920s, is the largest limestone rock garden belonging to the National Trust.
Sizergh houses part of the National Collection of ferns which are to be seen in the rock garden, the stumpery and the orchard.
For More Info: en.wikipedia.org/wiki/Sizergh_Castle_and_Garden
Reminiscing at the end of 2009.
A few little treasures on my bedroom dresser - and a reflection of me today beside a photo of me as a baby along with other family photos from my childhood.
Happy NEW Year, y'all!
I hope everyone is having a wonderful beginning to the new year!
I'll be back later today to visit with everyone.
Don't forget to eat your black-eyed peas! ;-)
A shoot I did with Fiona last week, so much fun, lots of clothing and lighting changes! And that bone structure!
The image shows a vintage René Lalique Croix Saint Georges perfume bottle.
This bottle, designed by René Lalique, features a distinctive stopper with a stylized cross design, known as "Croix Saint Georges".
René Lalique was a renowned French glass designer who created numerous perfume bottles, and his work is highly collectible.
The bottle contains perfume, likely a vintage fragrance, and is housed in a cream-colored holder.
Similar vintage Lalique perfume bottles can be found at auctions or on platforms specializing in antiques and collectibles, such as eBay.
My very cute and beautiful wife a bit annoyed at me for the interruption in her rouging liturgy.
—
Leica DG Summilux 25mm f/1.4 ASPH + Lumix GM5.
Austin hosted its annual Museum Day on Sunday, September 18, 2016. Mike and I took advantage of the opportunity to enjoy free admission to several museums and historic homes. Our third stop was the Neill-Cochran House Museum (2310 San Gabriel St.).
In 1855, Washington and Mary Hill commissioned master builder Abner Cook to construct a Greek-Revival-style house northwest of downtown Austin. The Hills never lived in the house; its current name refers to two families who lived here after the Hills built it. Colonel Andrew and Jennie Chapman Neill purchased the house in 1876, and it was later sold to Judge Thomas and Bessie Rose Cochran in the 1890s. It was subsequently acquired by the National Society of Colonial Dames in the State of Texas in 1958 and converted into a museum.
Today, the first floor reflects the Neills' occupancy during the Victorian era, while the second floor reflects the Cochrans' residency. Here, you can see one of the home's bedrooms. An informational booklet and display card provided a few details on this room:
1855 Bedroom
Washington and Mary Hill never moved into the home they commissioned from Abner Cook in 1855. However, by the mid-1850s, several grand homes had been constructed in Austin, and fine furnishings could be found throughout Texas. This room reflects the styles of the era -- late Empire into Victorian.
The Victorian-style half-tester bed has the earliest Texas provenance in the Neill-Cochran House Museum collection; its headboard features intricately carved flowers. Other furnishings in the room date to the Federal and Empire periods. A walnut dressing table with mirror features six small drawers and Tuscan-style columns for the front legs. Both the mahogany armoire and the walnut chest of drawers have deep pillar and scroll Empire-style features. The walnut drop-leaf bedside table also features scrolling, has two leaves and two drawers, and, like the bed, came to Texas in the 1840s. The round-top leather trunk has a dropped-forged metal trim. The large size reflects a reality of 19th-century travel -- guests visited for months at a time.
Following is more detailed information on a few of the key pieces shown here, as listed on a nearby display card:
Half-Tester Bed
American, circa 1846. Attributed to Prudent Mallard. Purchased in New Orleans in 1846 by Judge Ruben A. Reeves and his bride Sarah en route from Kentucky to Palestine, Texas, to make their new home. Reeves later became Chief Justice of the Texas Supreme Court and was appointed Justice of the Court of New Mexico Territory.
Gift of Mrs. R.W. McClendon (1969.03.01)
Eglomisé Mantel Clock
American, circa 1836. Classical/Empire mahogany clock, attributed to Eli Terry, Jr., son and partner of one of the most prominent producers of mantel clocks in the early 19th century. The clock features a simple dial and an eglomisé painting of a Greek Revival home in the bottom panel. The glass panel has an unpainted space through which the pendulum is visible, thus the name ''Looking-Glass Clock''. The front feet are carved acanthus leaf, while the back feet are simple turning.
Gift of Mrs. J.W. Beretta (1967.04.01)
The bunletts worked hard to clean up their room and it's all tidy now. Once again, the furniture (with maybe the exception of the dressing table) was made by my grandfather and the little quilts and pillows were made by my granmother. The toys are more recent acquisitions.
This wonderfully Art Deco streamlined six piece jade green Bakelite, chrome and glass travelling dressing table set, consisting of brush, comb, powder pots and a perfume bottle, was made in England by the Halex Company (1897 - 1971) of Highams Park (which is a district in the London). The set, which comes with its own travelling case of green dyed leather to match with a salmon coloured satin lining also has one original powder puff in apricot, one in pale pink and one in primrose yellow. There is also a nail file and set of tweezers in metal as well as a removable mirror.
When acquired from a local auctioneers, the set was also found to include a little red Bakelite pot with the letter L embossed on its lid. It is in fact a pot of "mandarin" Leichner Cosmetics (1878 - present) rouge, which still contains its original sponge, a mirror on the inside of the lid, and most of the contents, which are a wonderful shade of vermilion.
Private collection.
Persistent URL: digital.lib.muohio.edu/u?/tradecards,3938
Subject (TGM): Women; Dressing tables; Boudoirs; Mirrors; Patent medicines;
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
Sometimes there is just no side story to a new dress, your mind is blank or simply thinking about a new or exiting dress that’s at the back of your head slowly coming together in the mind’s eye. One thing is sure black and yellow go well together and as always at Cossette it is a pleasure and a dream come true being able to come up with these little Blythe collections. Thank you for playing with Cossette, kind regards and thanks for visiting and your nice words.
Sumire → The Violet
すみれ (2012) キャンバスに油彩、色鉛筆 230x230x30mm
Mayako Nakamura solo show
" The Neighborhood"
Gallery echo-ann
2012.04.21-28
中村眞弥子展 となりあわせの日常
ギャラリー枝香庵
2012.04.21-28
☆Sold☆
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
Rhoda's dressing table, Stu William's Yashica 835
Stu lent me his 635 for a while so i could try Medium Format out... the bastard, it's his fault i will now be spending Micah's college money on film.... oh and amongst others, it is Mike's fine photos that are to blame for me buying the dirty big smelly Kiev 88 that this was taken with.
Anyway, this is another shot from the first film out of the new Kiev, but my next few posts will probably be shots i took with the Yash featured here, hence the title.
Kiev 88, Arsat 80mm f2.8, Neopan 400
Persistent URL: digital.lib.muohio.edu/u?/tradecards,2300
Subject (TGM): Women; Hair; Hair preparations; Hairdressing; Hairstyles; Dressing tables; Boudoirs; Patent medicines; Pharmacists; Drugstores; Servants; Cosmetics & soap;