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Old Route 66 in Shirley, Illinois. Lisa married into the Funk family around 12 years ago and was managing the store the day we stopped. Historic Funk’s Grove Camp has been in the Funk family since 1891 and produces maple sirup from the thousands of maple trees growing in the grove. They produce around 3000 gallons of sirup each year and generally sell out by late Summer.
From a sign in the store:
“Historically, according to Webster’s Dictionary, "sirup” was the preferred spelling when referring to the product made by boiling sap. "Syrup” with a "y”, however, was defined as the end product of adding sugar to fruit juice. Though the "I” spelling is no longer commonly used, the United States Department of Agriculture and Canada also still use it when referring to pure maple sirup. Hazel Funk Holmes, whose trust continues to preserve and protect this timber for maple sirup production insisted on the "I” spelling during her lifetime. It’s another tradition that will continue at Funks Grove.”
Lisa provided us with a taste test which quickly convinced me to purchase a bottle.
St Martin, Acrise.
A friend managed to get inside a week or so ago, and I have been wanting to return some time, so I checked online and found that St Martin is now open 10 - 4 every day.
I rushed out, and found it was indeed unlocked.
Set down a track through a wood, past some old cricket nets, which was part of an old minor country house, and there is St Martin, sitting in its churchyard, bellcote at the west end, looking peaceful.
A warden was weeding the path, welcomed me to the church, and confirmed it is open every day thanks to someone living in one of the flats in the once grand house.
Always great views from the gallery where the organ now takes most of the space.
A fine church, with several monuments, although the electric lights were impossible to find, then I noticed candles everywhere.
Another step nearer normal.
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ACRISE.
LIES the next parish south-eastward from Eleham. It is written in the survey of Domesday, Acres, taking its name from its high situation, and the plenty of oak trees growing in it. It is vulgarly called by the common people in the neighbourhood, Awkeridge, by which name I have sometimes seen it written, both in wills and deeds. The north-east part of it, in which part of the manor of Brandred lies, is in the hundred of Folkestone, and the remainder of it within this hundred of Loningborough.
Acrise is an obscure parish, which, like all the others on these hills, is, though poor, exceedingly healthy. It is situated great part of it on high ground, in a wild, dreary and flinty country, among those hills which are here very frequent and steep. It is rather more than two miles long, and about one mile broad. In the south-west part of it, encircled by a large grove of trees, is Acrise-court, a respectable brick mansion, seemingly of the age of Henry VII. and almost close to it, on the north side of the church, about a mile from which stands the parsonage, and a small hamlet of houses round Acrise-green. At some distance further is Hode, the house of which is built of stone, with arched windows and doors of the gothic form, belonging to Mr. Nicholas Marsh, of Eleham; and at the northern boundary of the parish is the hamlet of Brandred, near which there is some coppice wood. The large heath, called Swinfield minnis, extends along the eastern side of this parish, part of which is within the bounds of it. The soil is mostly a red earth, mixed with quantities of flints, the rest of it is chalk, a barren unfertile soil.
There is a fair held here, on the Tuesday next after Oct, 10, yearly.
Acrise, at the time of taking the general survey of Domesday, was part of the possessions of the bishop of Baieux, under the general title of whose lands it is thus entered in it:
In Nuniberg hundred, Anschitil de Ros holds of the bishop, Acres, which two brothers held, and each had a balimote; now it is for one manor, and it was taxed for one suling. The arable land is two carucates. In demesne there is one carucate and an half, and five villeins, with five borderers having one carucate. Wood for the pannage of ten hogs, aud a church. In the time of king Edward the Confessor it was worth forty shillings, and afterwards thirty shillings, now sixty shillings.
Four years after the taking of the above survey, the bishop of Baieux was disgraced, and all his possessions were confiscated to the crown; upon which the seignory of this manor seems to have been immediately granted to the above-mentioned Anschitil de Ros, the mesne tenant of it, who thenceforward became lord paramount, holding it immediately of the crown in capite. Of his descendants this manor was again held by the family of Cosenton, or Cossington as they were sometimes spelt, who resided both here and at Cosenton, in Aylesford.
This manor of Acrise, alias Okeridge, was granted to them to hold of the barony of Ross, as of the manor of Horton Kirkby, which seems to have been the chief manor of that barony, and in imitation of whose arms, Or, three roses, gules, the Cosentons bore Azure, three roses, or. Sir Stephen de Cosenton possessed it in the 7th year of Edward III. and that year obtained a charter of free-warrenfor his lands in Acrise, Cossyngtone, and Suthbertone. (fn. 1) At length, after it had continued in his descendants till the reign of king Henry VIII. Thomas Cosenton, esq. dying in the beginning of it without male issue, his three daughters became his coheirs, and shared a large inheritance between them; upon the division of which, this manor was allotted to the youngest, Elizabeth, married to Alexander Hamon, esq. who bore for his arms, Azure, three demi lions, passant-guardant, or. He afterwards resided at Acrise-place, as did his grandson Alexander Hamon, esq. who died possessed of this manor in 1613, leaving two daughters his coheirs; Elizabeth married to Sir Edward Boys, of Fredville, and Catherine to Sir Robert Lewknor, to the latter of whom, by his will, he devised this manor and estate. He afterwards resided at Acrise-place, and bore for his arms, Argent, three chevronels, gules. His descendants continued possessed of it till Robert Lewknor his grandson, in 1666, alienated it, with other estates in this neighbourhood, to Thomas Papillon, esq. of Lubenham, in Leicestershire.
The family of Papillon, or Papillion, seems to have been of good account in this kingdom in very early times; for I find Toraldus de Papilion, one of the witnesses to a deed of confirmation of William the Conqueror, to the church of Durham. William Papilion was one of king Edward I.'s faithful servants, and recommended by him to the abbot and convent of Leicester, for a corodie from that house in the 31st year of his reign. (fn. 2) And from him it is very probable the Papillons, of Lubenham, in that county, derive their descent and first settlement in it. Thomas Papillon, of Lubenham, the purchaser of this manor, was an eminent merchant of London, for which he served in parliament, as he had before done for Dover, and bore for his arms, Azure, a chevron, or, between three butterflies, or papillons, argent. He was of the Mercers company, to which he gave 1000l. Philip Papillon, his son, served in parliament several times for Dover, and once for New Romney. His first wife was Anne, eldest daughter of William Jolliffe, esq. of Staffordshire, by her he had a son David. He married secondly Susan Henshaw, by whom he had a son Philip, who was of East Malling, and three daughters. David Papillon, the eldest son, was chosen to serve in parliament for New Romney, and for Dover likewise. He was one of the commissioners of excise, and resided both here and at Lee. He died in 1762, leaving by Mary, daughter of Timothy Keyser, esq. of London, a son David, and five daughters. David Papillon, esq. the son, resided at times both here and at Lee, and was one of the commissioners of excise. By his first wife Bridget, daughter of William Turner, of the White Friars, Canterbury, son of William, by Anna-Maria Papillon, he had surviving seven children, Thomas, born in 1757, now lieutenant-colonel in the East Kent battalion of militia, and by his father's gift the present possessor of this manor and seat; Philip, rector of Eythorne, and vicar of Kennington; William, in orders likewise, of Wymundham, in Norfolk, who married the daughter of the Rev. Richard Drake, of that parish; John-Rawsterne, vicar of Tunbridge, and George, Elizabeth and Sarah. He married secondly Hester, daughter of the Rev. Dr. Curteis, of Sevenoke, and prebendary of Canterbury; by his second wife, who died s. p. in 1782. Thomas Papillon, esq. the eldest son above-mentioned, the present possessor of this manor, married Anne, daughter of Henry Pelham, esq. and now resides at Acriseplace.
Brandred is a manor, in the north-east part of this parish, having a hamlet of its own name within it, which, at the time of taking the general survey of Domesday, seems to have been part of the possessions of the canons of St. Martin's priory, in Dover, under the description of which it is entered thus: The land of Brandet pays twenty shillings and six-pence to St. Martin in alms. And a little below, under the same title of their possessions: Among the common land of St. Martin there are, among others, one hundred acres of land at Brand which acquit themselves, that is, are free from payment of custom and scot.
This manor continued part of the possessions of the church and priory of St. Martin above-mentioned, till its dissolution in the 27th year of the reign of king Henry VIII. when it was suppressed, as not having revenues to the amount of the clear yearly value of two hundred pounds, those of this priory not amounting to more than 170l. 14s. 11d. clear yearly income, and was surrendered that year, with all its lands and possessions, to the king's use. But they did not remain long in the hands of the crown, for the king, in his 29th year, granted the scite of the priory. with all lands and possessions belonging to it, except the patronage of certain churches mentioned in it, in exchange to archbishop Cranmer, (fn. 3) in whose successor, they have continued to the present time, his grace the archbishop being now entitled to the inheritance of it.
In the hamlet of Brandred, is an estate, the house of which, though now only a farm-house, was, as early as queen Elizabeth's reign, the property and residence of the Marsh's, descended from those of Marton, in East Langdon, and it continued so down to T.Marsh, of Brandred, who died in 1664, leaving by Anne, daughter of Thomas Nethersole, of Nethersole, in Wimlingswold, a son, John Marsh, who in 1665, removed thither, in whose descendants it has continued down to John Marsh, esq. of Salisbury, afterwards of Nethersole, who is the present possessor of this estate, but now resides at Chichester, in Sussex.
Charities.
A person unknown gave land in this parish, for the benefit of the poor, now of the annual value of 1l. occupied at present by John Sharp.
The poor constantly relieved are about eleven, casually nine.
Acrise is within the ecclesiastical jurisdiction of the diocese of Canterbury, and deanry of Eleham.
¶The church, which is dedicated to St. Martin, is but small, consisting of only one isle and one chancel, having a tower at the west end, with a low turret on it, flat at top, in which there is one bell. The church is kept very neat. In the chancel, on a stone, is a memorial and figure of a woman in brass, for Mary, wife of Peter Heyman, esq. daughter and coheir of William Tirrill, esq. of Essex, obt. 1601. On a stone, a memorial in brass, for Alexander Hamon, esq. obt. 1613. A monument for William Turner, esq. late of Grays-Inn, obt. 1729; married Anna-Maria, daughter of Thomas Papillon, esq. obt. 1738; arms, Turner, argent and ermine, three fer de molins, sable, a pale counterchanged in fess, on a chief, or, a lion rampant-guardant, between two roses, gules, impaling Papillon; and a monument for Anne, late wife of Mr. Philip Papillon, of London, merchant, eldest daughter of William Jolliffe, esq. obt. 1693. There are many hatchments of the Papillon family round the isle; between which and the chancel there is a large pointed arch, with zig-zag ornaments.
This church was given, about the reign of king Henry II. by William de Cosenton, lord of the manor of Acrise, to the priory of Leeds, to which the patronage of it afterwards belonged; but it never was appropriated, and archbishop Baldwin, who lived in that reign, granted out of it to the priory an annual pension of forty shillings. In which state the patronage of it continued till the dissolution of the priory, or abbey of Leeds as it was then called, in the 31st year of Henry VIII. when it came, with the rest of the possessions of it, into the hands of the crown, in which it has continued ever since, the king being the present patron of it.
The above-mentioned pension of forty shillings has not been paid since the dissolution of the priory.
This rectory is valued in the king's books at seven pounds, and the yearly tenths at fourteen shillings. In 1588 it was valued at eighty pounds, communicants sixty-eight. In 1640 the like number of communicants, and it was valued at one hundred pounds.
Managing Director of the IMF Kristalina Georgieva prepares for a live discussion with Canada's Deputy Prime Minister and Finance Minister Chrystia Freeland before an Exchange conversation from the International Monetary Fund.
IMF Photo/Joshua Roberts
27 April 2021
Washington, DC, United States
Photo ref: _JR12952.ARW
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
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links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
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وینسVenetsiya
art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
--------key words
headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography
#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2024 #artformat
you will sometimes see this listed as being bodied by Carmichael but it is not. Body by FSE
Fire Safety Equipment of Wilford Nottinghamshire.
Fire Cover magazine no 109 has a letter from the FSE managing director confirming they built it to a brigade spec after visiting various brigade in the Netherlands.
It is one of the first rescue tenders to have a 'continental look' for that reason.
FSE also built a factory appliance for Rolls Royce.
Images accepted by my representing agency Arcangel. www.arcangel.com Available for use through Rights Managed licenses. See more of my work at Arcangel:
A beautiful historic Scottish Fishing bay dating back to the 1700's, under duress due to problems between the "Owner" and local fishermen who have utilised this historic harbour as they and their fore fathers have done for hundreds of years .
I revisited today Tuesday 27th August 2019 , I was disappointed to see concrete barriers blocking access to cars and fishing boats , sad circumstances indeed , though I still managed to capture as much of the bays charm a I could , its ongoing battle and new concrete blocks preventing access made me feel unhappy and sad, any ways I have pasted some of my previous comments and news items reference this pathetic situation below for your perusal, I am on the side of the fishermen , its a sad tale indeed.
Check my previous posts in my Cove Bay folder for photos of the harbour in its glory days that I have taken over the years before this nonsense raised its ugly head.
Previous Posts
I love this bay, its a beautiful tranquil place, however after reading news reports on a court judgement 13/7/2018 forcing the fisher men to remove their boats within 28 days it saddened me, hence I made a trip today Friday 13th July 2018 to capture the views and scenery before this unpopular ruling is implemented, what a sad situation indeed, I have included the news report on the legal wrangle at the end of this description.
Cove is a 20 minute drive from my home in Aberdeen Scotland, it was a pleasure to visit today and capture the tranquility that it presented.
Scattered across the harbour are stones with various sealife characters carved into them.
Cove Bay is a suburb on the south-east edge of Aberdeen, Scotland.
Today Cove is home to over 7000 people. It is a popular residential location owing to its extremely village-like status.
It is a quiet suburb just at the edge of the City and in 2015 won the Silver award for Scotland in bloom. Nearby Altens and Tullos Industrial Estates, affording ample employment opportunities.
History
Cove Bay is situated to the east of the ancient Causey Mounth, which road was built on high ground to make passable this only available medieval route from coastal points south from Stonehaven to Aberdeen.
This ancient trackway specifically connected the River Dee crossing (where the Bridge of Dee is located) via Portlethen Moss, Muchalls Castle and Stonehaven to the south.
The route was that taken by William Keith, 7th Earl Marischal and the Marquess of Montrose, who led a Covenanter army of 9000 men in the battle of the Civil War in 1639.
Cove Bay was a village in the extreme north-east corner of Kincardine, governed from Stonehaven, until 1975, when it was added to the City of Aberdeen. Though simply referred to as Cove, in the 19th and early 20th centuries it was known as The Cove, becoming Cove Bay around 1912.
Industry
Cove has been noted for industries such as granite, which was quarried in several locations to the south of the village. Owing to its close-grained texture, Cove granite was one of the hardest in north-east Scotland and proved highly resistant to frost, making it ideal for causeway stones used in the construction of roads. It was widely exported to cities in England, including Billingsgate Market in London.
Fishing
The village itself sprung up around the fishing industry, with the boats berthed on a shingle beach, a gap in the rocks that afforded a natural harbour. During this time, it is estimated that approximately 300 people lived in the area. In the mid 19th century the fishing was at its height, which, over years, has included cod, haddock, salmon, herring and shellfish. The piers and breakwater were constructed in 1878. At the end of World War I the fishing began to decline. At present only a couple of boats pursue shellfish on a part-time basis.
Between 1894 and 1937, Cove also housed a fishmeal factory, the Aberdeen Fish Meal Factory, which was located at the edge of the cliffs. It produced quality manure which was exported to both Europe and America. It became locally known as "the stinker" because of the processing odour, which was highlighted by the Aberdeen entertainer Harry Gordon in a parody entitled A Song of Cove.
Amenities
Retail
Cove has just had a brand new Co-operative built just off of Earnshugh Circle.
To the west of Loirston Road is the Cove Shopping Centre, which overlooks Loirston Primary School. This houses a pharmacist, the Wee China Chinese takeaway/Chip shop, Ruby Tuesdays beauty salon and the Harr Rock cafe (Cove's second).
Within the new development of cove a local Sainsbury's has opened. There is also the Harr Rock Cafe (the first one), a hairdressers and a gift shop within the new development.
There are also 2 RS McColl newsagents. One located at Bervie Brow in Altens, and a second located on the corner of Loirston Road and Cove Road which also houses a Post Office.
Hospitality
The Cove Bay hotel is located on Colsea Road. There is also The Aberdeen Altens Hotel in Altens, which has 216 bedrooms, making it the largest of the three Thistle Hotels in Aberdeen.
There is also a pub, the Langdykes which now has an Indian restaurant situated inside called The Curry lounge which you can sit in or take away.
Transport
Bus services to and from Cove and the wider area of Aberdeen are available. These are run by First Aberdeen with the numbers 3 (to Mastrick) and the 18 to Dyce, via Kincorth. Stagecoach also cover cove partially, with numbers 7A & 8 (Both to the City Centre).
Healthcare
Cove Bay has its own medical centre, the Cove Bay Medical Centre. It was originally located on Catto Walk, but moved to a new facility off Earns Hugh Road. Cove Dental Care has since moved into the old surgery building.
Sport
Cove is currently home to two football teams: Cove Rangers, who currently play in the Highland Football League, they temporarily play in Harlow Park, Inverurie, as their old home Allan park was demolished to make way for housing. Cove Thistle, who hold amateur status. Sunday amateur team Cove Revolution folded in 2010.
There are also many youth teams in the area that are run by Cove Youth FC. The Cove Youth FC area SFA credited community club, organizing players from 6 years old up to 19 years old. They also have a girls section. The Cove Community Football Trust is run by Cove Rangers FC, Cove Thistle FC and Cove Youth FC.
Other Amenities
A state-of-the-art library was recently built between Loirston Primary School and the Cove Shopping Centre. There are blueprints for a local sports centre to also be built in the near future.
Education
Cove has two primary schools, Charleston Primary School and Loirston Primary School. Most secondary pupils attend the nearby Kincorth Academy, but some choose to go to Portlethen Academy.
Future Developments
Aberdeen Gateway[edit]
Construction on a new Aberdeen Gateway industrial development began in 2008. It will see new offices and industrial units built to the south of the village. Current tenants at the site include National Oilwell Varco (NOV), Driving Standards Agency and Hydrasun. A Community football pitch is also inlcluded within the development.
Cove Academy
Plans for a secondary school in Cove have now been approved and will be situated alongside Wellington Road. It is thought that once this is built pupils from Cove, Torry as well as Kincorth will attend this school.
The Legal Wrangle - Landowner V Fishermen - Judgement 13/7/18
Fishermen told to move boats from Cove Bay after legal dispute
Fishermen have been told to move their boats from an Aberdeen bay after a long-running dispute.
Several fishermen were fighting an eviction order on behalf of landowner Pralhad Kolhe at Cove Bay, where they had been fishing for many years.
In a written judgement, a sheriff has given them 28 days to move their boats and equipment from Mr Kolhe's land.
However, Sheriff Andrew Miller also ordered the removal of obstructions to vehicular access onto the pier.
The case was heard at Aberdeen Sheriff Court earlier this year.
One of the fisherman, Jim Adam, told a court he was "stunned" to receive a legal letter telling him to remove his boat.
He had been fishing from Cove Bay since 1966.
'We were hopeful'
The first day of the hearing heard the letter said the landowner, who lives in a house overlooking the harbour, was unable to make use of his land for amenity purposes and that he did not wish Mr Adam's vessel, or any other vessel, on his land.
In the ruling, Sheriff Miller also gave Mr Kolhe 28 days to remove the obstructions to vehicle access to the pier.
Mr Adam told BBC Scotland: "We are disappointed, we were hopeful.
"The good news is at least for the recreational folks they have got vehicle access."
News Report From P&J Aberdeen
A campaign group could use new powers to try to buy the land at the centre of a long-running dispute over access to Cove Harbour.
Councillors in Aberdeen agreed yesterday to investigate using the purchase powers contained in the Community Empowerment Scotland Act 2015 to finally resolve the stand-off.
The proposal was backed after Jim Adam, chairman of the Cove Fishermen Association, delivered an emotional plea to Aberdeen City Council’s petitions committee yesterday.
He outlined the group’s ongoing disagreement with the landowner, Pralhad Kohle, over vehicle access to the harbour-side.
Mr Adam highlighted the historical use of the harbour since the 1700s for fishing boats and recreational users, showing members photographs as evidence.
He also said the denial of emergency access to the harbour would create safety issues, and spoke of a strong community spirit in the village.
Cove Councillor Neil Cooney stated: “Boats have been fishing out of Cove since mediaeval times; we need to retain that heritage.”
Committee convener Alan Donnelly said: “You would think, with 11,000 signatures, that the owner would take it seriously and come along.”
He added: “We are moving today that the council refers the petition to the landowner, with the hope that they can come to an amicable solution.
“And request a report to the communities, housing and infrastructure committee to investigate the viability of the community to use the new Community Empowerment Scotland Act 2015 to purchase the land.”
Speaking afterwards Mr Adam said: “We are very encouraged by the support from the council. It’s very positive and has opened up a number of avenues, but we would like there to be an amicable solution.
“The Community Empowerment Act is a very useful tool, but it would be a last resort.”
Mr Kohle, who was not in attendance, owns a house overlooking the bay and some of the land at the harbour below.
Scotland’s First Minister has pledged to investigate the “suffering” faced by the Cove Harbour fishing community as a result of a devastating fire and a dispute with the landlord.
The first minister promised action after being warned the Scottish Government risked ignoring a group whose livelihoods had been threatened by recent events.
Ms Sturgeon said the government wanted “to do everything we possibly can” to help communities faced with difficulties after the Cove Harbour situation was raised with her.
In January, thousands of pounds worth of damage was caused when a fire, thought to be deliberate, destroyed five vessels, boating equipment, a shed and fishing gear.
The community has also been involved in a long-running battle with landowner Pralhad Kolhe, a plastic surgeon who had sought to evict the fishermen’s fleet of traditional vessels from the part of the harbour he owns.
The Cove Fisherman’s Association had a four-year legal battle with Mr Kolhe, and lost their fight to dock their small fleet of traditional vessels at a particular part of Cove Harbour last year.
Last August the remaining vessels at the site were finally moved from Mr Kolhe’s land to a small corner of the harbour. The judgement said access to the pier for walkers and vehicles should be maintained.
After January’s fire, North East MSP Liam Kerr wrote to Rural Economy Secretary Fergus Ewing asking for support for the fishermen.
Mr Ewing replied say he was “very saddened” by the disaster but financial support would be “limited”.
Yesterday Mr Kerr raised Cove Harbour with Ms Sturgeon in the Scottish Parliament.
Mr Kerr told the first minister the Cove Harbour fishing community was “suffering” and faced “significant” legal costs.
The Tory MSP said the fishermen had requested a meeting with Mr Ewing “but to no avail”.
And he asked Ms Sturgeon to persuade Mr Ewing to meet the community and “not risk ignoring a community facing the loss of their livelihoods”.
The First Minister said: “Of course we want to do everything we possibly can to help any community experiencing difficulties.
“I am not aware beyond what the member has just said of the content of the correspondence to Fergus Ewing.
“But I am happy to give an undertaking to look into that and if Fergus Ewing thinks there is help the Scottish Government can offer – certainly to meet with those affected.”
A group of Aberdeen fishermen who lost a court case last year have been hit with a legal fee bill of around £45,000 – just days after their cherished vessels were destroyed in a malicious fire.
The Cove Fishermen’s Association was forced to move its boats at Cove Harbour last year after a court ruled in favour of landowner Pralhad Kolhe – who owns sections of the historic bay.
Mr Kolhe has been seeking to remove the small fleet of boats from his land, but in the months since the court’s decision, the fishermen have continued their activities by keeping their remaining vessels in a much smaller pocket of the harbour not under the landowner’s control, further away from the shoreline
Kew Gardens is the world's largest collection of living plants. Founded in 1840 from the exotic garden at Kew Park in the London Borough of Richmond upon Thames, UK, its living collections include more than 30,000 different kinds of plants, while the herbarium, which is one of the largest in the world, has over seven million preserved plant specimens. The library contains more than 750,000 volumes, and the illustrations collection contains more than 175,000 prints and drawings of plants. It is one of London's top tourist attractions. In 2003, the gardens were put on the UNESCO list of World Heritage Sites.
Kew Gardens, together with the botanic gardens at Wakehurst Place in Sussex, are managed by the Royal Botanic Gardens, Kew (brand name Kew), an internationally important botanical research and education institution that employs 750 staff, and is a non-departmental public body sponsored by the Department for Environment, Food and Rural Affairs.
The Kew site, which has been dated as formally starting in 1759, though can be traced back to the exotic garden at Kew Park, formed by Lord Capel John of Tewkesbury, consists of 121 hectares (300 acres) of gardens and botanical glasshouses, four Grade I listed buildings and 36 Grade II listed structures, all set in an internationally significant landscape.
Kew Gardens has its own police force, Kew Constabulary, which has been in operation since 1847.
History
Kew, the area in which Kew Gardens are situated, consists mainly of the gardens themselves and a small surrounding community. Royal residences in the area which would later influence the layout and construction of the gardens began in 1299 when Edward I moved his court to a manor house in neighbouring Richmond (then called Sheen). That manor house was later abandoned; however, Henry V built Sheen Palace in 1501, which, under the name Richmond Palace, became a permanent royal residence for Henry VII. Around the start of the 16th century courtiers attending Richmond Palace settled in Kew and built large houses. Early royal residences at Kew included Mary Tudor's house, which was in existence by 1522 when a driveway was built to connect it to the palace at Richmond. Around 1600, the land that would become the gardens was known as Kew Field, a large field strip farmed by one of the new private estates.
The exotic garden at Kew Park, formed by Lord Capel John of Tewkesbury, was enlarged and extended by Augusta, Dowager Princess of Wales, the widow of Frederick, Prince of Wales. The origins of Kew Gardens can be traced to the merging of the royal estates of Richmond and Kew in 1772. William Chambers built several garden structures, including the lofty Chinese pagoda built in 1761 which still remains. George III enriched the gardens, aided by William Aiton and Sir Joseph Banks. The old Kew Park (by then renamed the White House), was demolished in 1802. The "Dutch House" adjoining was purchased by George III in 1781 as a nursery for the royal children. It is a plain brick structure now known as Kew Palace.
Some early plants came from the walled garden established by William Coys at Stubbers in North Ockendon. The collections grew somewhat haphazardly until the appointment of the first collector, Francis Masson, in 1771. Capability Brown, who became England's most renowned landscape architect, applied for the position of master gardener at Kew, and was rejected.
In 1840 the gardens were adopted as a national botanical garden, in large part due to the efforts of the Royal Horticultural Society and its president William Cavendish. Under Kew's director, William Hooker, the gardens were increased to 30 hectares (75 acres) and the pleasure grounds, or arboretum, extended to 109 hectares (270 acres), and later to its present size of 121 hectares (300 acres). The first curator was John Smith.
The Palm House was built by architect Decimus Burton and iron-maker Richard Turner between 1844 and 1848, and was the first large-scale structural use of wrought iron. It is considered " the world's most important surviving Victorian glass and iron structure." The structure's panes of glass are all hand-blown. The Temperate House, which is twice as large as the Palm House, followed later in the 19th century. It is now the largest Victorian glasshouse in existence. Kew was the location of the successful effort in the 19th century to propagate rubber trees for cultivation outside South America.
In February 1913, the Tea House was burned down by suffragettes Olive Wharry and Lilian Lenton during a series of arson attacks in London.[19] Kew Gardens lost hundreds of trees in the Great Storm of 1987. From 1959 to 2007 Kew Gardens had the tallest flagpole in Britain. Made from a single Douglas-fir from Canada, it was given to mark both the centenary of the Canadian Province of British Columbia and the bicentenary of Kew Gardens. The flagpole was removed after damage by weather and woodpeckers.
In July 2003, the gardens were put on the list of World Heritage Sites by UNESCO.
Features
Treetop walkway
A new treetop walkway opened in 2008. This walkway is 18 metres (59 ft) high and 200 metres (660 ft) long and takes visitors into the tree canopy of a woodland glade. Visitors can ascend and descend by stairs or by a lift. The floor of the walkway is made from perforated metal and flexes as it is walked upon. The entire structure sways in the wind.
Sackler Crossing
The Sackler Crossing bridge, made of granite and bronze, opened in May 2006. Designed by Buro Happold and John Pawson, it crosses the lake and is named in honour of philanthropists Dr Mortimer and Theresa Sackler.
The minimalist-styled bridge is designed as a sweeping double curve of black granite. The sides of the bridge are formed of bronze posts that give the impression, from certain angles, of forming a solid wall whereas from others, and to those on the bridge, they are clearly individual entities that allow a view of the water beyond.
The bridge forms part of a path designed to encourage visitors to visit more of the gardens than had hitherto been popular and connects the two art galleries, via the Temperate and Evolution Houses and the woodland glade, to the Minka House and the Bamboo Garden.
The crossing won a special award from the Royal Institute of British Architects in 2008.
Vehicular tour
Kew Explorer is a service that takes a circular route around the gardens, provided by two 72-seater road trains that are fuelled by Calor Gas to minimise pollution. A commentary is provided by the driver and there are several stops.
Compost heap
Kew has one of the largest compost heaps in Europe, made from green and woody waste from the gardens and the manure from the stables of the Household Cavalry. The compost is mainly used in the gardens, but on occasion has been auctioned as part of a fundraising event for the gardens.
The compost heap is in an area of the gardens not accessible to the public, but a viewing platform, made of wood which had been illegally traded but seized by Customs officers in HMRC, has been erected to allow visitors to observe the heap as it goes through its cycle.
Guided walks
Free tours of the gardens are conducted daily by trained volunteers.
Plant houses
Alpine House
A narrow semicircular building of glass and steel latticework stands at the right, set amid an area of worked rock with a line of deciduous trees in the rear left, under a blue sky filled with large puffy white clouds. In front of it, curving slightly away to the left, is a wooden platform with benches on it and a thin metal guardrail in front of a low wet area with bright red flowers
In March 2006, the Davies Alpine House opened, the third version of an alpine house since 1887. Although only 16 metres (52 ft) long the apex of the roof arch extends to a height of 10 metres (33 ft) in order to allow the natural airflow of a building of this shape to aid in the all-important ventilation required for the type of plants to be housed.
The new house features a set of automatically operated blinds that prevent it overheating when the sun is too hot for the plants together with a system that blows a continuous stream of cool air over the plants. The main design aim of the house is to allow maximum light transmission. To this end the glass is of a special low iron type that allows 90 per cent of the ultraviolet light in sunlight to pass. It is attached by high tension steel cables so that no light is obstructed by traditional glazing bars.
To conserve energy the cooling air is not refrigerated but is cooled by being passed through a labyrinth of pipes buried under the house at a depth where the temperature remains suitable all year round. The house is designed so that the maximum temperature should not exceed 20 °C (68 °F).
Kew's collection of Alpine plants (defined as those that grow above the tree-line in their locale – ground level at the poles rising to over 2,000 metres (6,562 feet)), extends to over 7000. As the Alpine House can only house around 200 at a time the ones on show are regularly rotated.
The Nash Conservatory
Originally designed for Buckingham Palace, this was moved to Kew in 1836 by King William IV. With an abundance of natural light, the building is used various exhibitions, weddings, and private events. It is also now used to exhibit the winners of the photography competition.
Kew Orangery
The Orangery was designed by Sir William Chambers, and was completed in 1761. It measures 28 by 10 metres (92 by 33 ft). It was found to be too dark for its intended purpose of growing citrus plants and they were moved out in 1841. After many changes of use, it is currently used as a restaurant.
The Palm House and Parterre
The Palm House (1844–1848) was the result of cooperation between architect Decimus Burton and iron founder Richard Turner,[28] and continues upon the glass house design principles developed by John Claudius Loudon[29][30] and Joseph Paxton. A space frame of wrought iron arches, held together by horizontal tubular structures containing long prestressed cables,[30][31] supports glass panes which were originally[28] tinted green with copper oxide to reduce the significant heating effect. The 19m high central nave is surrounded by a walkway at 9m height, allowing visitors a closer look upon the palm tree crowns. In front of the Palm House on the east side are the Queen's Beasts, ten statues of animals bearing shields. They are Portland stone replicas of originals done by James Woodford and were placed here in 1958.[32]
Princess of Wales Conservatory
Kew's third major conservatory, the Princess of Wales Conservatory, designed by architect Gordon Wilson, was opened in 1987 by Diana, Princess of Wales in commemoration of her predecessor Augusta's associations with Kew. In 1989 the conservatory received the Europa Nostra award for conservation.[34] The conservatory houses ten computer-controlled micro-climatic zones, with the bulk of the greenhouse volume composed of Dry Tropics and Wet Tropics plants. Significant numbers of orchids, water lilies, cacti, lithops, carnivorous plants and bromeliads are housed in the various zones. The cactus collection also extends outside the conservatory where some hardier species can be found.
The conservatory has an area of 4499 square metres. As it is designed to minimise the amount of energy taken to run it, the cooler zones are grouped around the outside and the more tropical zones are in the central area where heat is conserved. The glass roof extends down to the ground, giving the conservatory a distinctive appearance and helping to maximise the use of the sun's energy.
During the construction of the conservatory a time capsule was buried. It contains the seeds of basic crops and endangered plant species and key publications on conservation.
Rhizotron
The Rhizotron
A rhizotron opened at the same time as the "treetop walkway", giving visitors the opportunity to investigate what happens beneath the ground where trees grow. The rhizotron is essentially a single gallery containing a set of large bronze abstract castings which contain LCD screens that carry repeating loops of information about the life of trees.
Temperate House
Inside the Temperate House
The Temperate House, currently closed for restoration, is a greenhouse that has twice the floor area of the Palm House and is the world's largest surviving Victorian glass structure. When in use it contained plants and trees from all the temperate regions of the world. It was commissioned in 1859 and designed by architect Decimus Burton and ironfounder Richard Turner. Covering 4880 square metres, it rises to a height of 19 metres. Intended to accommodate Kew's expanding collection of hardy and temperate plants, it took 40 years to construct, during which time costs soared. The building was restored during 2014 - 15 by Donald Insall Associates, based on their conservation management plan.
There is a viewing gallery in the central section from which visitors were able to look down on that part of the collection.
Waterlily House
The Waterlily House is the hottest and most humid of the houses at Kew and contains a large pond with varieties of water lily, surrounded by a display of economically important heat-loving plants. It closes during the winter months.
It was built to house the Victoria amazonica, the largest of the Nymphaeaceae family of water lilies. This plant was originally transported to Kew in phials of clean water and arrived in February 1849, after several prior attempts to transport seeds and roots had failed. Although various other members of the Nymphaeaceae family grew well, the house did not suit the Victoria, purportedly because of a poor ventilation system, and this specimen was moved to another, smaller, house.
The ironwork for this project was provided by Richard Turner and the initial construction was completed in 1852. The heat for the house was initially obtained by running a flue from the nearby Palm House but it was later equipped with its own boiler.
Ornamental buildings
The Pagoda
In the south-east corner of Kew Gardens stands the Great Pagoda (by Sir William Chambers), erected in 1762, from a design in imitation of the Chinese Ta. The lowest of the ten octagonal storeys is 15 m (49 ft) in diameter. From the base to the highest point is 50 m (164 ft).
Each storey finishes with a projecting roof, after the Chinese manner, originally covered with ceramic tiles and adorned with large dragons; a story is still propagated that they were made of gold and were reputedly sold by George IV to settle his debts. In fact the dragons were made of wood painted gold, and simply rotted away with the ravages of time. The walls of the building are composed of brick. The staircase, 253 steps, is in the centre of the building. The Pagoda was closed to the public for many years, but was reopened for the summer months of 2006 and is now open permanently. During the Second World War holes were cut in each floor to allow for drop-testing of model bombs.
The Japanese Gateway (Chokushi-Mon)
Built for the Japan-British Exhibition (1910) and moved to Kew in 1911, the Chokushi-Mon ("Imperial Envoy's Gateway") is a four-fifths scale replica of the karamon (gateway) of the Nishi Hongan-ji temple in Kyoto. It lies about 140 m west of the Pagoda and is surrounded by a reconstruction of a traditional Japanese garden.
The Minka House
Following the Japan 2001 festival, Kew acquired a Japanese wooden house called a minka. It was originally erected in around 1900 in a suburb of Okazaki. Japanese craftsmen reassembled the framework and British builders who had worked on the Globe Theatre added the mud wall panels.
Work on the house started on 7 May 2001 and, when the framework was completed on 21 May, a Japanese ceremony was held to mark what was considered an auspicious occasion. Work on the building of the house was completed in November 2001 but the internal artefacts were not all in place until 2006.
The Minka house is located within the bamboo collection in the west central part of the gardens.
Queen Charlotte's Cottage
Within the conservation area is a cottage that was given to Queen Charlotte as a wedding present on her marriage to George III. It has been restored by Historic Royal Palaces and is separately administered by them.
It is open to the public on weekends and bank holidays during the summer.
Kew Palace
Kew Palace is the smallest of the British royal palaces. It was built by Samuel Fortrey, a Dutch merchant in around 1631. It was later purchased by George III. The construction method is known as Flemish bond and involves laying the bricks with long and short sides alternating. This and the gabled front give the construction a Dutch appearance.
To the rear of the building is the "Queen's Garden" which includes a collection of plants believed to have medicinal qualities. Only plants that were extant in England by the 17th century are grown in the garden.
The building underwent significant restoration, with leading conservation architects Donald Insall Associates, before being reopened to the public in 2006.
It is administered separately from Kew Gardens, by Historic Royal Palaces.
In front of the palace is a sundial, which was given to Kew Gardens in 1959 to commemorate a royal visit. It was sculpted by Martin Holden and is based on an earlier sculpture by Thomas Tompion, a celebrated 17th century clockmaker.
Galleries and Museums
The Shirley Sherwood Gallery of Botanic Art
The Shirley Sherwood Gallery of Botanic Art opened in April 2008, and holds paintings from Kew's and Dr Shirley Sherwood's collections, many of which had never been displayed to the public before. It features paintings by artists such as Georg D. Ehret, the Bauer brothers, Pierre-Joseph Redouté and Walter Hood Fitch. The paintings and drawings are cycled on a six-monthly basis. The gallery is linked to the Marianne North Gallery (see above).
Near the Palm House is a building known as "Museum No. 1" (even though it is the only museum on the site), which was designed by Decimus Burton and opened in 1857. Housing Kew's economic botany collections including tools, ornaments, clothing, food and medicines, its aim was to illustrate human dependence on plants. The building was refurbished in 1998. The upper two floors are now an education centre and the ground floor houses the "Plants+People" exhibition which highlights the variety of plants and the ways that people use them.
Admission to the galleries and museum is free after paying admission to the gardens. The International Garden Photographer of the Year Exhibition is an annual event with an indoor display of entries during the summer months.
The Marianne North Gallery of Botanic Art
The Marianne North Gallery was built in the 1880s to house the paintings of Marianne North, an MP's daughter who travelled alone to North and South America, South Africa and many parts of Asia, at a time when women rarely did so, to paint plants. The gallery has 832 of her paintings. The paintings were left to Kew by the artist and a condition of the bequest is that the layout of the paintings in the gallery may not be altered.
The gallery had suffered considerable structural degradation since its creation and during a period from 2008 to 2009 major restoration and refurbishment took place, with works lead by with leading conservation architects Donald Insall Associates. During the time the gallery was closed the opportunity was also taken to restore the paintings to their original condition. The gallery reopened in October 2009.
The gallery originally opened in 1882 and is the only permanent exhibition in Great Britain dedicated to the work of one woman.
Plant collections
The plant collections include the Aquatic Garden, which is near the Jodrell laboratory. The Aquatic Garden, which celebrated its centenary in 2009, provides conditions for aquatic and marginal plants. The large central pool holds a selection of summer-flowering water lilies and the corner pools contain plants such as reed mace, bulrushes, phragmites and smaller floating aquatic species.
The Arboretum, which covers over half of the total area of the site, contains over 14,000 trees of many thousands of varieties. The Bonsai Collection is housed in a dedicated greenhouse near the Jodrell laboratory. The Cacti Collection is housed in and around the Princess of Wales Conservatory. The Carnivorous Plant collection is housed in the Princess of Wales Conservatory. The Grass Garden was created on its current site in the early 1980s to display ornamental and economic grasses; it was redesigned and replanted between 1994 and 1997. It is currently undergoing a further redesign and planting. Over 580 species of grasses are displayed.
The Herbaceous Grounds (Order Beds) were devised in the late 1860s by Sir Joseph Hooker, then director of the Royal Botanic Gardens, so that botany students could learn to recognise plants and experience at first hand the diversity of the plant kingdom. The collection is organised into family groups. Its name arose because plant families were known as natural orders in the 19th century. Over the main path is a rose pergola built in 1959 to mark the bicentennial of the Gardens. It supports climber and rambling roses selected for the length and profusion of flowering.
The Orchid Collection is housed in two climate zones within the Princess of Wales Conservatory. To maintain an interesting display the plants are changed regularly so that those on view are generally flowering. The Rock Garden, originally built of limestone in 1882, is now constructed of Sussex sandstone from West Hoathly, Sussex. The rock garden is divided into six geographic regions: Europe, Mediterranean and Africa, Australia and New Zealand, Asia, North America, and South America. There are currently 2,480 different "accessions" growing in the garden.
The Rose Garden, based upon original designs by William Nesfield, is behind the Palm House, and was replanted between 2009 and 2010 using the original design from 1848. It is intended as an ornamental display rather than a collection of a particularly large number of varieties. Other collections and specialist areas include the rhododendron dell, the azalea garden, the bamboo garden, the juniper collection, the berberis dell, the lilac garden, the magnolia collection, and the fern collection.
The Palm House and lake to Victoria Gate
The world's smallest water-lily, Nymphaea thermarum, was saved from extinction when it was grown from seed at Kew, in 2009.
Herbarium
The Kew herbarium is one of the largest in the world with approximately 7 million specimens used primarily for taxonomic study. The herbarium is rich in types for all regions of the world, especially the tropics.
Library and archives
The library and archives at Kew are one of the world's largest botanical collections, with over half a million items, including books, botanical illustrations, photographs, letters and manuscripts, periodicals, and maps. The Jodrell Library has been merged with the Economic Botany and Mycology Libraries and all are now housed in the Jodrell Laboratory.
Forensic horticulture
Kew provides advice and guidance to police forces around the world where plant material may provide important clues or evidence in cases. In one famous case the forensic science department at Kew were able to ascertain that the contents of the stomach of a headless corpse found in the river Thames contained a highly toxic African bean.
Economic Botany
The Sustainable Uses of Plants group (formerly the Centre for Economic Botany), focus on the uses of plants in the United Kingdom and the world's arid and semi-arid zones. The Centre is also responsible for curation of the Economic Botany Collection, which contains more than 90,000 botanical raw materials and ethnographic artefacts, some of which are on display in the Plants + People exhibit in Museum No. 1. The Centre is now located in the Jodrell Laboratory.
Jodrell Laboratory
The original Jodrell laboratory, named after Mr T. J. Phillips Jodrell who funded it, was established in 1877 and consisted of four research rooms and an office. Originally research was conducted into plant physiology but this was gradually superseded by botanical research. In 1934 an artists' studio and photographic darkroom were added, highlighting the importance of botanical illustration. In 1965, following increasing overcrowding, a new building was constructed and research expanded into seed collection for plant conservation. The biochemistry section also expanded to facilitate research into secondary compounds that could be derived from plants for medicinal purposes. In 1994 the centre was expanded again, tripling in size, and a decade later it was further expanded by the addition of the Wolfson Wing.
Kew Constabulary
Main article: Kew Constabulary
The gardens have their own police force, Kew Constabulary, which has been in operation since 1847. Formerly known as the Royal Botanic Gardens Constabulary, it is a small, specialised constabulary of two sergeants and 12 officers, who patrol the grounds in a green painted electric buggy. The Kew Constables are attested under section 3 of the Parks Regulation Act 1872, which gives them the same powers as the Metropolitan Police within the land belonging to the gardens.
Media
A number of films, documentaries and short videos have been made about Kew Gardens.
They include:
a short colour film World Garden by cinematographer Geoffrey Unsworth in 1942
three series of A Year at Kew (2007), filmed for BBC television and released on DVD
Cruickshank on Kew: The Garden That Changed the World, a 2009 BBC documentary, presented by Dan Cruickshank, exploring the history of the relationship between Kew Gardens and the British Empire
David Attenborough's 2012 Kingdom of Plants 3D
a 2003 episode of the Channel 4 TV series Time Team, presented by Tony Robinson, that searched for the remains of George III's palace
a 2004 episode of the BBC Four series Art of the Garden which looked at the building of the Great Palm House in the 1840s.
"Kew on a Plate", a TV programme showing the kinds of produce grown at Kew Gardens and how they can be prepared in a kitchen.
In 1921 Virginia Woolf published her short story "Kew Gardens", which gives brief descriptions of four groups of people as they pass by a flowerbed.
Access and transport
Elizabeth Gate
Kew Gardens is accessible by a number of gates. Currently, there are four gates into Kew Gardens that are open to the public: the Elizabeth Gate, which is situated at the west end of Kew Green, and was originally called the Main Gate before being renamed in 2012 to commemorate the Diamond Jubilee of Elizabeth II; the Brentford Gate, which faces the River Thames; the Victoria Gate (named after Queen Victoria), situated in Kew Road, which is also the location of the Visitors' Centre; and the Lion Gate, also situated in Kew Road.
Other gates that are not open to the public include Unicorn Gate, Cumberland Gate and Jodrell Gate (all in Kew Road) and Isleworth Gate (facing the Thames).
Victoria Gate
Kew Gardens station, a London Underground and National Rail station opened in 1869 and served by both the District line and the London Overground services on the North London Line, is the nearest train station to the gardens – only 400 metres (1,300 ft) along Lichfield Road from the Victoria Gate entrance. Built by the London and South Western Railway, the Historic England listed building is one of the few remaining original 19th-century stations on the North London Line, and the only station on the London Underground with a pub on the platform (though the platform entrance is now closed off). Kew Bridge station, on the other side of the Thames, 800 metres from the Elizabeth Gate entrance via Kew Bridge, is served by South West Trains from Clapham Junction and Waterloo.
London Buses route 65, between Ealing Broadway and Kingston, stops near the Lion Gate and Victoria Gate entrances; route 391, between Fulham and Richmond, stops near Kew Gardens station; while routes 237 and 267 stop at Kew Bridge station.
London River Services operate from Westminster during the summer, stopping at Kew Pier, 500 metres (1,600 ft) from Elizabeth Gate. Cycle racks are located just inside the Victoria Gate, Elizabeth Gate and Brentford Gate entrances. There is a 300-space car park outside Brentford Gate, reached via Ferry Lane, as well as some free, though restricted, on-street parking on Kew Road.
en.wikipedia.org/wiki/Kew_Gardens
International Monetary Fund Managing Director Christine Lagarde answers questions at the American Enterprise Institute by resident fellow Desmond Lachman (not seen) at their headquarters June 5, 2019 in Washington, DC. Lagarde discussed the upcoming G-20 meeting. IMF Photo/Stephen Jaffe
Managed to catch this majestic swan just after it had been dipping it's head underwater to feed.
Exposure 0.002 sec (1/500)
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Focal Length 250 mm
ISO Speed 200
Exposure Bias 0 EV
Managed to get out on the bike this afternoon and clocked a gentle 21 miles, and this bridge formed part of my route taking me from Lyneside to sandysike on the route of the old waverley railway line. Along this route you can still see old railway history - rails, Tin sheds, markers, sleepers etc.
It really does make a good cycle path nice and straight and fairly flat, this one is on the National Route 7 (NCN7) the part I am on is the Carlisle-Glasgow section.
Managed to get the children to bed, leave my mum babysitting and sneak off for an hour or so. It was dull so I wasn't expecting a decent sunset but magically the clouds seem to lift a little revealing this fabulous redness!
Managed a sneaky rotation shot whilst the elders discussed the increasing popularity of the outdoor spaces they used to enjoy in solitude. Phill and I also remembered those times but accept that we can all share these special places and if we communicate or even reply 'good evening' we will have a little more understanding. From the inner chamber at West Kennet Long Barrow.
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Zambia Minister of Finance Situmbeko Musokotwane and Head of IMF’s African Department Abebe Aemro Selassie participate in a Governor Talk during the 2022 Spring Meetings at the International Monetary Fund.
IMF Photo/Allison Shelley
19 April 2022
Washington, DC, United States
Photo ref: 651A8107.cr3
Explore Apr 21, 2011 #226
Once a year, I manage to catch a Common Skipper that's not skipping. Yes, they're beautiful but quite fast-moving so getting a good shot is a challenge... worth pursuing! I love the big black eyes and long supportive rear legs!
Despite its appearance and what most books say, it seems a Skipper is actually a butterfly, not a moth. Common Skippers (Hesperiidae) are distinguished from the higher butterflies by their large moth-like bodies, small wings and hooked antennae. Skippers have amazingly large, focused eyes and their bodies look like they're covered with a fine dust. Pruinescence, or pruinosity, is a "bloom" caused by pigment on top of an insect's cuticle that covers up the underlying coloration, giving a dusty or frosted appearance. The pruinescence is commonly white to pale blue in color, but can also be gray, pink, purple, or red; these colors may be produced by Tyndall (en.wikipedia.org/wiki/Tyndall_effect) scattering of light. When pale in color, pruinescence often strongly reflects ultraviolet.
Costus Ginger gives a delicate spicy flower to salads and adds color too. Pleasant for Skippers and for a gourmet too! Costus is a genus of perennial tropical herbaceous plants from the costus family (Costaceae). They are often characterized and distinguished from relatives such as Zingiber (true ginger) by their spiraling stems. The genus as a whole is thus often called spiral gingers, but this can also refer to C. barbatus specifically.
Costus spectabilis is the floral emblem of Nigeria; its flowers are represented (erroneously in red instead of yellow color) on its coat of arms. It is important not to confuse "Costus speciousus, C. spectabilis etc. with the herb known by the common name 'costus'. Some species are of importance to herbivores, such as caterpillars of the Restricted Demon (Notocrypta curvifascia) which feed on Crape Ginger (C. speciosus). The Crape Ginger is also a source of diosgenin, a compound used for the commercial production of various steroids, such as progesterone. On Trinidad and Tobago, a mix of Costus scaber juice and crushed Renealmia alpinia berries is used to treat dogs bitten by snakes.
Costus root has been used as an incense and perfume ingredient for thousands of years and is mentioned in Rabbinical writings as קשט koshet, reflecting its arrow head shape. It was used in Ketoret which is used when referring to the consecrated incense described in the Hebrew Bible and Talmud. It is also referred to as the HaKetoret (the incense). It was offered on the specialized incense altar in the time when the Tabernacle was located in the First and Second Jerusalem Temples. The ketoret was an important component of the Temple service in Jerusalem.
In Tibet it was and is used extensively as incense and medicine, and as an aromatic stomatic in Chinese herbal medicine under the name "Mu Xiang" meaning 'wood aroma'.
Costus sp. ‘French Kiss’, Common Skipper, Monk Skipper
Biscayne Park, FL
Managing Director Kristalina Georgieva Meets with Green Entrepreneurs in Norrsken House, Kigali, Rwanda.
IMF Photo/Kim Haughton
26 January 2023
Kigali, Rwanda
Photo ref: KEH00192.ARW
Managing Director Kristalina Georgieva Meets with Green Entrepreneurs in Norrsken House, Kigali, Rwanda.
IMF Photo/Kim Haughton
26 January 2023
Kigali, Rwanda
Managed to get out today and decided to take a trip to Pershore Abbey. Got there at 3.15pm and it closed at 3.30pm so had very little time to set up the tripod, change lenses and then take a series of bracketed images!
Good in Lightbox.
Another lacklustre day.
Managed an hour and a half or so clearing the brambles from the stream bank.
This is a sleeper bridge between our garden and the field where I kept my horse when he was alive. Sorely neglected, I don't think I'd risk taking 1/2 ton of horse over there now!
We will try and repair a smaller version of this one day...
Treasure Hunt 17: Bridge over (troubled) Water, or Troubled Bridge over Water as I call it!
I may replace this if I get to see a more exciting bridge...
The BLM-managed National Petroleum Reserve-Alaska is unlike anything else in the world. Rich in resources, it is an incredible place of shallow wetlands, deep lakes, beaded streams, deep open lakes and tundra. The BLM is developing a Regional Mitigation Strategy to effectively mitigate impacts from energy development within the NPR-A. What resources will benefit? Brown and polar bears, walrus, small game and birds just to name a few.
About 90 bird species, primarily migratory, are found annually in the NPR-A. The yellow billed loon winters in the Yellow Sea region and nests here; it’s very rare and being considered for listing under the Endangered Species Act. A few species - including rock and willow ptarmigan, common raven, gyrfalcon, and snowy owl - live in the NPR-A year round.
There are also impressive herds of caribou in the NPR-A. The Teshekpuk Caribou Herd is an important subsistence resource to the residents of Atqasuk, Barrow, Nuiqsut and Wainwright in the NPR-A. The primary range of the Teshekpuk Caribou Herd is the North Slope west of the Colville River. And the Western Arctic Caribou Herd contributes to the subsistence needs of about 40 villages in northwestern Alaska.
Photo: Bob Wick, BLM
Managing Director Kristalina Georgieva meets with President of Colombia Iván Duque Márquez at the International Monetary Fund.
IMF Photo/Cory Hancock
11 October 2021
Washington, DC, United States
Photo ref: CH211011024.arw
Jeremy Jurgens, Managing Director, World Economic Forum
Speaking during the Press Conference: Speeding up on the road to net-zero With the current global energy crisis and a fast closing window to reduce GHG emissions to limit global warming to 1.5 degrees, countries and companies must urgently act to get on track for net-zero emissions while also solving energy security needs. Join leaders from the public and private sectors as they share perspectives and actions to address the energy and climate crisis. At the Annual Meeting 2022 of the World Economic Forum in Davos, 24 May, Copyright by World Economic Forum / Walter Duerst
Managed a couple of hours climbing last evening with Edgar my nephew.. Got him to do his first ever outside climbing and his first outdoor lead.. The boy did good!
The route he did was Snail Crack a 18mt high climb graded at VDiff.
Climbing at Lawrencefield Quarry a very cool place to climb!
In order to effectively manage customer insights, organizations need to focus on ways to improve enterprise-wide collaboration and align their business goals with the needs of the marketplace.
My parents' cat, Kenobi, enjoys shredding toilet paper whenever he gets the chance. And then he has the nerve to give me that innocent look.
Obi has his own catster page now: www.catster.com/cats/569556
Managing Director Kristalina Georgieva participates in a roundtable discussion on the subject of “Building a Resilient and Inclusive Future; Supporting Africa’s Climate Agenda” in the Convention Centre, Kigali.
IMF Photo/Kim Haughton
25 January 2023
Kigali, Rwanda
31st May 2016 -
Discussion Cafe: Uneven Careers
Facilitator:
- Stéphanie Nervegna, Director Organisation & HR Consulting, Ylios Transeetive
- Annick de Vanssay, Managing Director, JUMP
Speakers
- Janet Awad, Region Chair of Latin America & Country President, Sodexo Chile
- Jaap Buis, Public Affairs Manager, Randstad
- Yoon-Sun Cho, former Minister of Gender Equality and Family, Korea; former Senior Secretary for Political Affairs,
Office of the President, Korea
- Paolo Falco, Labour Market Economist, Employment, Labour and Social Affairs, OECD
- Ronnie L. Goldberg, Executive Vice President and Senior Policy Officer, United States Council for International
Business (USCIB)
- Linda Lanzillotta, Vice President, Italian Senate; Ambassador, Women in Parliaments
- Shiv Malik, Journalist & Author, The Guardian
- Farah Mohamed, Founder & CEO, G(irls)20
- Allan Päll, Secretary General, European Youth Forum
- Theresa Rah, Co-CEO, Oratio
- Alejandra Sepúlveda, Executive Director, Comunidad Mujer, Chile
- Laura Schweiger, Recipient, OECD Challenge
- Sigita Strumskyte, Coordinator, OECD Women's Network
- Diana Ürge-Vorsatz, Director, Center for Climate Change and Sustainable Energy Policy (3CSEP), Central
European University, Hungary
OECD, Paris, France.
Photo: OECD/Michael Dean
International Monetary Fund Managing Director Christine Lagarde is joined by the Interim World Bank President Kristalina Georgieva during a Women's Day event at the IMF Headquarters March 8, 2019. IMF Staff Photo/Stephen Jaffe
Managing Director Kristalina Georgieva and Magdalena Andersson, Chairman for the International Monetary Fund and Financial Committee, participate in the IMFC Press Conference during the 2021 Spring Meetings at the International Monetary Fund.
Pictured is Managing Director preparing for the Press Conference.
IMF Photo/Eman Mohammed
8 April 2021
Washington, DC, United States
Photo ref: IMF-EMGDC-27
Morrisons have finally managed to break away from their three year old stock of mainline Majorette singles and join 2016 with a new updated range which is even better than before! Since discovering them just yesterday I've managed to visit a few of their local stores and all bar one which is usually hopeless anyway for diecasts have good stocks of them on clip strips distributed throughout the aisles. I managed to grab a few of these Opel Adam models as I have hankered after it for a while now but have always resisted pain internet prices for them! Well the patience has paid off as this fresh and current little casting can be yours for just one pound and its worth every penny! A bright yellow and black colour combo finishes it off nicely and it goes without saying that detailing is top notch for a diecast which here in the U.K. retails at LESS than the average price of an inferior Mainline HW and MBX. Mint and boxed.
Managed to get out this morning for a while before anyone else up and got some decent light for the first time in ages.
This one's a phone snap, but notable for managing to get one without any onlookers in the shot!
4-6-2 Merchant Navy Class 35018 "British India Line" stands on the block at Scarborough station having brought in the Scarborough Spa Express from York. The service (1Z25) ran from Carnforth to Scarborough, with a West Coast Railways Class 47 hauling to Holgate Sidings just south of York station and then 35018 ran from the NRM to take over the working of the train to Scarborough and back.