View allAll Photos Tagged gatepost
This is the northern, south-facing side of the gatepost, where direct sunshine (well, on occasional sunny days!) presumably favours the green algae/lichen giving this carved Green Man an apt hue.
I wish I could claim to have intentionally centred the cobweb on his right eye, but it's a happy accident.
On Beacon Fell...I've been messing around with desaturation. I love the effect of slight desaturation of an image and in this one I've gone a little further and only
left (and in fact slightly increased the influence of) the greens.
Below stanage edge on a dull cloudy day.
This view of the same spot by Paul Newcombe shows the place off in sunshine and colour
www.flickr.com/photos/30071959@N07/6327106554/in/contacts/
....also there is a lens cap on the ground by the gate if anyone out there has lost one ;D .....72mm size I think
At about f4 maybe f2.8, it was pretty dark and I wanted to be at 1/250th at least for the lens length but the weight adds stability. Shot on the Nikon SP.
the boundary of the HSL - the HSE testing site at Harpur Hill near Buxton.
The HSL is a remarkble test facility because of the sheer scale and nature of its testing work that includes full-size tunnels where disasters such as the King’s Cross fire can be recreated, Europe’s largest impact test track for crash testing trains, and replicating some of the more bizarre accidents such as heating up shipping containers packed with fireworks until they explode. A section of the London Underground was built here, complete with 2 tube trains, to understand the effects of the 7/7 bombing...
The strangest thing is that there are numerous public footpaths which criss-cross the vast site. No one will stop you but there are hundreds of close circuit tv cameras that turn as you pass, monitoring your every move!
For all who would like to see the colour version, personally I prefer this to the monochrome. No comments necessary.
Today's 6D43, behind 37716 + 37610, T.S.(Ted) Cassady +3 FNAs heads through Rhosneigr on the way to the Valley Exchange sidings. The mystery guest makes his second appearance!
I just liked how this garden has stretched outside the gate and that the Nasturtiums are growing freely around the corner.
Much better viewed large.
Thank you for your favourites. :O)
Walking along the upper lawns of the Italian Gardens you will come across a shady little "secret" garden. It is flanked by two tall bluestone columns topped with finials which act as gateposts for a set of elegant Victorian wrought-iron gates. Elegantly carved with sweeping curls, they would not look out of place in a garden in England.
The Forest Glade Gardens are well established European inspired landscaped gardens of six hectares that are to be found on the Mount Macedon Road in the hill station town of Mount Macedon.
The Forest Glade Gardens are just shy of one hundred years old. The gardens were originally two adjoining properties that comprised orchards and lush grazing paddocks. In 1941 local family the Newtons purchased and extended the property and set about creating one of Mount Macedon's most stunning gardens.
In 1971 the Forest Glade Gardens were acquired by Melbourne property developer Mr. Cyril Stokes who together with his partner Trevor Neil Bell, developed the gardens even further. Cyril was a great collector of European antiques, and his love of European antiquity is reflected in the gardens, particularly in the many classical marble and bronze statues dotted about the grounds.
Unfortunately the Forest Glade Gardens were partly destroyed by the tragic Ash Wednesday bushfires of 1983. However, after many years of hard labour put in by Cyril and Trevor, The Forest Glade Gardens were reborn from the ashes. The gardens are built on a sloping block and consist of a range of terraces all of which offer wonderful vistas. A garden designed to give pleasure all year round, the Forest Glad Gardens contain several heritage listed trees and are made up of smaller themed gardens including; the Italian Garden, the Japanese Garden, the Daffodil Meadow, the Peony Walk, Hydrangea Hill, the Topiary Gardens, the Bluebell Meadow, the Fern Gully and the Laburnum Arch.
In 2011 the property was gifted to a registered charity - The Stokes Collection Limited - with the intention of keeping the Forest Glade Gardens maintained and open to the public.
I spent a delightful Saturday with the Famous Flickr Five+ Group in Mount Macedon, where I have never been before. Now I have, I would very much like to go back to such a picturesque place again.
The Mount Macedon township is located east of the Mount Macedon summit, which is approximately 60 km north-west of Melbourne.
The name of Mount Macedon is apparently derived from Philip II, who ruled Macedon between 359 and 336BC. The mountain was named by Thomas Mitchell, the New South Wales Surveyor General.
Settled in the 1850s by gold miners and timber cutters, the railway arrived at the Mount Macedon township in 1861, providing a vital connection to Melbourne, and sealing the town's future as a 'hill station' resort for wealthy Melburnians escaping the summer heat in the 1870s. With the land deforested, large blocks were sold and beautiful and extensive gardens were planted around the newly built homes. The rich soil and good rainfall also made the area suitable for large orchards and plant nurseries who could send fruit and flowers back to Melbourne. Newspaper owner, David Syme, built a house, "Rosenheim" in 1869. It was acquired in 1886 for Victorian Governors to use as a country retreat, making Mount Macedon an attractive destination for the well heeled of Melbourne society. A primary school was built in Mount Macedon in 1874, and as the decades progressed, hotels, guest houses, shops, a Presbyterian Church and Church of England were built. In 1983, Mount Macedon was devastated by the Ash Wednesday Bush Fires. A large portion of the town was raised, and a number of lives were lost. However, like a phoenix from the ashes, Mount Macedon has risen and rebuilt. Today it is still a popular holiday destination, particularly during spring time when the well established gardens flourish with flowers and in autumn when the exotic trees explode in a riot of reds and yellows.
'Be Creative' Club in house competition entry. I think I messed up on this theme and went off at a tangent?
A snail shell lodged in the top of a weathered gatepost. Got a few funny looks from the farmer taking this one!
Image copyright © Michéla Griffith www.longnorlandscapes.co.uk. All rights reserved. Please contact me if you would like to use this image.
Perched on top of someone's grand gateway. He was looking ferociously at another gargoyle on the other gatepost.
Atop the gatepost at the Ancient Playground in Central Park, New York.
Sculpture by Paul Manship, 1957.
Here's what we should know about the sculptor (spoiler: he created the state of Prometheus at Rockefeller Center):
Paul Howard Manship (December 24, 1885 – January 28, 1966) was an American sculptor. He consistently created mythological pieces in a classical style, and was a major force in the Art Deco movement. He is well known for his large public commissions, including the iconic Prometheus in Rockefeller Center. He is also credited for designing the modern rendition of New York City's official seal.
Manship gained notice early in his career for rejecting the Beaux Arts movement and preferring linear compositions with a flowing simplicity. Additionally, he shared a summer home in Plainfield, New Hampshire, part of the Cornish Art Colony, with William Zorach for a number of years. Other members of the highly social colony were also contemporary artists.
Manship created his own artist retreat on Cape Ann, developing a 15-acre site in Gloucester, MA that had been two former granite quarries. A local nonprofit, the Manship Artists Residence and Studios has been formed to preserve this estate and establish an artist residency program at the site.
Early Life, Education
Paul Howard Manship was born in St. Paul, Minnesota, on December 24, 1885, the son of Charles H. and Mary Etta (Friend) Manship. His father, born in Mississippi, was a clerk for the St. Paul gas company, and with his wife, who was born in Pennsylvania, were parents of seven children.
Charles and Mary were married in St. Paul, on July 14, 1870, and raised their family in a home they owned at 304 Nelson (later Marshall) Avenue.
Paul H. Manship began his art studies at the St. Paul School of Art in Minnesota. From there he moved to Philadelphia and continued his education at the Pennsylvania Academy of Fine Arts. Following that he migrated to New York City where he enrolled in the Art Students League of New York, studying anatomy with George Bridgman and modeling under Hermon Atkins MacNeil. From 1905 to 1907 he served as an assistant to sculptor Solon Borglum and spent the two years after that studying with Charles Grafly and assisting Isidore Konti.
In 1909, at Konti's urging, he entered the competition for, and won, the Rome Prize and shortly thereafter decamped for Rome where he attended the American Academy from 1909 until 1912.
While in Europe he became increasingly interested in Archaic art, his own work began to take on some archaic features, and he became more and more attracted to classical subjects. He also developed an interest in classical sculpture of India, and traces of that influence can be observed in his work (see "Dancer and Gazelles" in Gallery). Manship was one of the first artists to become aware of the vast scope of art history being newly excavated at the time and became intensely interested in Egyptian, Assyrian and pre-classical Greek sculpture.
Career
Prometheus at Rockefeller Center
When he returned to America from his European sojourn, Manship found that his style was attractive to both modernists and conservatives. His simplification of line and detail appealed to those who wished to move beyond the Beaux-Arts classical realism prevalent in the day. Also, his view of and use of a more traditional "beauty" as well as an avoidance of the more radical and abstract trends in art made his works attractive to more conservative art collectors. Manship's work is often considered to be a major precursor to Art Deco.
Manship produced over 700 works and always employed assistants of the highest quality. At least two of them, Gaston Lachaise and Leo Friedlander, went on to create significant places for themselves in the history of American sculpture.
Although not known as a portraitist, he did produce statues and busts of Theodore Roosevelt, Samuel Osgood, John D. Rockefeller, Robert Frost, Gifford Beal and Henry L. Stimson.
Manship was very adept at low relief and used these skills to produce a large number of coins and medals. Among his more prominent are the Dionysus medal, the second issue of the long running Society of Medalists; the first term inaugural medal for Franklin D. Roosevelt; and the John F. Kennedy inaugural medal. Additionally, during WW II he designed the U. S. Merchant Marine's Distinguished Service Medal, Meritorious Service Medal and Mariner's Medal.
Manship was chosen by the American Battle Monuments Commission to create monuments following both the First and Second World Wars. They are located respectively in the American Cemetery at Thiaucourt, France in 1926, and in the military cemetery at Anzio, Italy.
Affiliations and Awards
For a number of summers early in his career, Manship found social and artistic companionship in Plainfield, New Hampshire, then part of the Cornish Art Colony, which attracted sculptors such as Augustus Saint-Gaudens, Herbert Adams, Daniel Chester French, and William Zorach. He visited first in 1916, returned the next three years, and then returned again a decade later. This period in his life has been recognized as significant, and Harry Rand observed that "Manship recognized 1916 as the year of his artistic maturity...[he] seemed to express modern ideas in terms of the primitive.
Manship served on the board of the Smithsonian American Art Museum and chaired the board. Manship was affiliated with the National Academy of Design, the National Sculpture Society, and the American Academy of Arts and Letters. He served on the U.S. Commission of Fine Arts from 1937 to 1941. His many honors include a Pierpont Morgan fellowship, a Widener Gold Medal from the Pennsylvania Academy of Fine Arts, and the award of Chevalier from the French Legion of Honor. Manship's extensive papers, maquettes and sculptures are housed in the Smithsonian's Archives of American Art. In 2004 the Smithsonian mounted a retrospective of Manship's career which resulted in a reappraisal of the sculptor's work.
There is a gallery dedicated to the display of Manship's work at the Smithsonian American Art Museum.
Manship was father of the artist John Paul Manship (1927–2000).
Much of the geologic interest of cemeteries lies, not surprisingly, in their gravesites—their headstones, markers, monuments, and mausolea. But many burial grounds also feature equally interesting geo-materials in their walls, gateposts, office buildings, and chapels.
Chicago's Graceland is world-famous as the final resting place of some of America's greatest architects (John Wellborn Root, Louis Sullivan, Daniel Burnham, Ludwig Mies van der Rohe, et al.), other Windy City notables (politicians, robber barons, and baseball stars) and Sullivan's exquisite Ryerson and Getty tombs. But the site's Earth-science interest starts right at the front gate, with pylons and other entrance structures designed by Holabird & Roche. This prestigious firm chose to use the same rare igneous selection for all of them.
I confess that that selection, the Mesoproterozoic-era Waupaca Granite, is one of my top three or four architectural-stone favorites. Quarried for a relatively short time about 4 mi (6.4 km) north-northeast of the eponymous community in central Wisconsin, the Waupaca is a rapakivi granite, with hefty alkali-feldspar phenocrysts ringed with lighter-toned plagioclase feldspar. This unusual crystalline composition produces a stunning visual effect, especially when the rock is dressed-faced and polished.
In succeeding photos in this set I'll have much to say about the Waupaca. Here, suffice it to say that in this pylon it's in a rock-faced form that dulls its color but also gives it a rugged, naturalistic appearance.
To learn much more about this site and 200 others in the Windy City, make it your top personal priority to get a copy of my book Chicago in Stone and Clay, described at www.cornellpress.cornell.edu/book/9781501765063/chicago-i...
And to peruse the other photos and descriptions in this series, pay a visit to my Graveyard Geology of Chicago album.