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The Oak Ridge Boys visited the publishing house. We just published a book Noah Didn't it Rain by William Lee Golden, and have a book G.I. Joe and Lillie by Joe Bonsall which has sold over 100,000 copies.
This photograph was published in the Illustrated Chronicle on the 13th of July 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
We hope you enjoy looking through our collection, you are welcome to download and share our images for your own personal use, as they are to our knowledge, in the public domain. If you would like to use the images for commercial purposes, please contact us and we can provide a High Quality Digital Image for a fee. If you are able to use the Low Resolution Image from the website please do, but we would appreciate a credit: Image from the Newcastle City Library Photographic Collection, Thank you.
Bunion cartoons created by George Martin were published in my local newspaper The Leicester Mercury.
The Postcard
A postally unused carte postale that was published by G. Lelong of 21, Rue St.-Martin, Amiens. The card, which has a divided back, was printed by Catala Frères of Paris.
By 1916 the Basilica had sustained immense structural damage, along with the loss of its entire roof.
To see the Basilica of Notre-Dame de Brebières before it was destroyed during the Great War, please search for the tag 56ALB66
Visé Paris No. 205
The card bears the imprimatur 'Visé Paris' followed by a unique reference number. This means that the image was inspected and deemed by the military authorities in the French capital not to be a security risk.
'Visé Paris' indicates that the card was published during or soon after the Great War.
Abba Eban
"History teaches us that men and
nations behave wisely when they
have exhausted all other alternatives".
This was said during a speech in London UK on 16th. December 1970 by Abba Eban (1915-2002), an Israeli diplomat and writer.
The Use of Artillery in the Great War
Artillery was very heavily used by both sides during the Great War. The British fired over 170 million artillery rounds of all types, weighing more than 5 million tons - that's an average of around 70 pounds (32 kilos) per shell.
With an average length of two feet, that number of shells if laid end to end would stretch for 64,394 miles (103,632 kilometres). That's over two and a half times round the Earth. If the artillery of the Central Powers of Germany and its allies is factored in, the figure can be doubled to 5 encirclements of the planet.
During the first two weeks of the Third Battle of Ypres, over 4 million rounds were fired at a cost of over £22,000,000 - a huge sum of money, especially over a century ago.
Artillery was the killer and maimer of the war of attrition.
According to Dennis Winter's book 'Death's Men' three quarters of battle casualties were caused by artillery rounds. According to John Keegan ('The Face of Battle') casualties were:
- Bayonets - less than 1%
- Bullets - 30%
- Artillery and Bombs - 70%
Keegan suggests however that the ratio changed during advances, when massed men walking line-abreast with little protection across no-man's land were no match for for rifles and fortified machine gun emplacements.
Many artillery shells fired during the Great War failed to explode. Drake Goodman provides the following information on Flickr:
"During World War I, an estimated one tonne of explosives was fired for every square metre of territory on the Western front. As many as one in every three shells fired did not detonate. In the Ypres Salient alone, an estimated 300 million projectiles that the British and the German forces fired at each other were "duds", and most of them have not been recovered."
To this day, large quantities of Great War matériel are discovered on a regular basis. Many shells from the Great War were left buried in the mud, and often come to the surface during ploughing and land development.
For example, on the Somme battlefields in 2009 there were 1,025 interventions, unearthing over 6,000 pieces of ammunition weighing 44 tons.
Artillery shells may or may not still be live with explosive or gas, so the bomb disposal squad, of the Civilian Security of the Somme, dispose of them.
A huge mine under the German lines did not explode during the battle of Messines in 1917. The mine, containing several tons of ammonal and gun cotton, was triggered by lightning in 1955, creating an enormous crater.
The precise location of a second mine which also did not explode is unknown. Searches for it are not planned, as they would be too expensive and dangerous. For more on this, please search for "Cotehele Chapel"
The Somme Times
From 'The Somme Times', Monday, 31 July, 1916:
'There was a young girl of the Somme,
Who sat on a number five bomb,
She thought 'twas a dud 'un,
But it went off sudden -
Her exit she made with aplomb!'
Thanks to Szmytke for permission to post this image he took.
An infrared tip of mine was published in a magazine article about digital infrared photography. Check out the "More tips" section in the middle-right of the page :-)
A few months back I was asked if one of my photos could be used for The Diplomat, an Australian news magazine calling themselves "the premier international politics and business magazine in the Asian region". They were running an article about chess in India and wanted to use my photo Your move.
I just got the magazine and I couldn't be more excited. Sure, it's a small little photo in the story but I got a byline! Regardless of how small, I think it's always a thrill to see your name in print.
www.mural.com/libre/offlines/trivia_postales/
Para ver más fotografias que fueron publicadas:
Sección Participantes
13 de Noviembre
This photograph was published in the Illustrated Chronicle 11 Aug 1916 p11.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
These are from behind the Orange Curtain in Orange County California!
Hope you enjoy!
Beach Cities for Obama Group
Our first Pacific Coast Highway "Honk for Obama event"
Our table at the San Pedro Young Democrats meeting
Obama Summer Event~ Tuesday Evenings at Starbucks all summer long!
Aileen presenting Barack with our change for change idea, and $100.00 of
change we collected at one of our group meetings
Beach Cities for Obama
www.barackobama.com
www.obamaoc.com
Me publicaron 5 fotos (elegidas por ellos) en una pagina de increibles artistas!!
Pueden dejar comentarios en el enlace si quieren ya que no necesitan crearse ningun usuario para poder dejar su opinión al respecto.
Enlace a las fotos publicadas en CGunit
Es importante porque me ayuda a seguir difundiendo mi trabajo, y esta pagina es visitada a diario por cientos de personas de todo el mundo!
**************************************
Published 5 photos (chosen by them) in a web of very good artists!
You can comment on the link if they want, because you don't need to create any user to leave your opinion on this.
Link to the photos published in CGunit
It is important because it helps me to continue to disseminate my work, and this page is visited daily by hundreds of people around the world!
© All rights reserved. Use without permission is illegal.
And while we're at it... FRESHLY published on BLURB.COM - "Stone Dead Forever". A book of 60 stone/poem/photos from the last two years.
Available to buy direct from Blurb.com - check it out HERE ->http://www.blurb.com/books/1602249
Stone Dead Forever | Book Preview
Marina And The Diamonds
Friday, June 5th, 2015
Bowery Presents
Webster Hall, NYC
© 2015 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
THE MORDEN TIMES July 6, 2007
Appreciation for educational and community support was reiterated when past graduate from the class of 1990 Major John Alexander of the Royal Canadian Air Force gave his speech. He returned from San Diego where he is serving a three-year posting as a liaison officer with the United States.
This photograph was published in the Illustrated Chronicle on the 4th of January, 1917.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
A cartoon published in the Evening Standard after the subway closed.
"Yes, been materialising at midnight since the last trams stopped. Should interest the psychic phenomena people don't you think?"
A scan from my collection.
This photograph was published in the Illustrated Chronicle on the 23rd of June 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
We hope you enjoy looking through our collection, you are welcome to download and share our images for your own personal use, as they are to our knowledge, in the public domain. If you would like to use the images for commercial purposes, please contact us and we can provide a High Quality Digital Image for a Fee. If you are able to use the Low Resolution Image from the website please do, but we would appreciate a credit: Image from the Newcastle City Library Photographic Collection, Thank you.
The Postcard
A postally unused postcard that was published by the Dulwich Picture Gallery.
In 1984, David Hockney traveled to Mexico City for the opening of his exhibition Hockney Paints the Stage at the Museo Rufino Tamayo.
While traveling from Mexico City to Oaxaca, Hockney's car broke down, so he decided to stay at the then-little known Hotel Romano Angeles in the small town of Acatlán. The hotel was arranged around a beautiful central courtyard full of foliage, and it immediately inspired the artist.
The courtyard inspired a set of drawings, later a series of lithographs, and finally the 1985 painting, A Walk Around the Hotel Courtyard, Acatlán. The oil is a diptych on two canvases measuring 183×610 centimeters overall.
Hockney returned later that year with master printer Kenneth Tyler which led to the creation of the Moving Focus series. Tyler developed a new printing method for this series that allowed Hockney to draw the printing elements onto portable Mylar sheets while sitting in the courtyard, rather than in the printing workshop.
Hockney preferred to use one sheet per color, the transparency allowing him to visualize the layers of the final composition. The Mylar sheets were later transferred to aluminum plates for printing at the New York printshop.
Tyler claims the series set a record for the number of printing elements made (a total of 577), with some 500 colors printed, making the Moving Focus series the artist's largest and most ambitious series of color lithographs.
David Hockney
David Hockney, who was born on the 9th. July 1937, is an English painter, draughtsman, printmaker, stage designer, and photographer.
He is an important contributor to the pop art movement of the 1960's, and is considered to be one of the most influential British artists of the 20th. and 21st. centuries.
Hockney has owned residences and studios in Bridlington and London, as well as two residences in California, where he has lived intermittently since 1964: one in the Hollywood Hills, and one in Malibu.
He has an office and stores his archives on Santa Monica Boulevard in West Hollywood, California.
On the 15th. November 2018, Hockney's 1972 work Portrait of an Artist (Pool with Two Figures) sold at Christie's auction house in NYC for $90 million (£70 million), becoming the most expensive artwork by a living artist sold at auction.
It broke the previous record which was set by the 2013 sale of Jeff Koons' Balloon Dog (Orange) for $58.4 million. Hockney held the record until the 15th. May 2019 when Koons reclaimed the honour by selling his Rabbit for more than $91 million at Christie's in New York.
David Hockney - The Early Years
David Hockney was born in Bradford, West Riding of Yorkshire, the fourth of five children of Kenneth Hockney who was an accountant's clerk who later ran his own accountancy business, and who had been a conscientious objector in the Second World War.
David's mother Laura (née Thompson) was a devout Methodist and strict vegetarian.
He was educated at Wellington Primary School, Bradford Grammar School, Bradford College of Art, and the Royal College of Art in London, where he met R. B. Kitaj and Frank Bowling.
At the Royal College of Art, Hockney featured – alongside Peter Blake – in the exhibition New Contemporaries, which announced the arrival of British Pop art. He was associated with the movement, although his early works display expressionist elements which are similar to some of Francis Bacon's works.
When the RCA said it would not let him graduate if he did not complete an assignment of a life drawing of a live model in 1962, Hockney painted Life Painting for a Diploma in protest.
David refused to write an essay required for the final examination, and said that he should be assessed solely on his artworks. Recognising his talent and growing reputation, the RCA changed its regulations and awarded him a diploma.
David Hockney's Career
After leaving the RCA, David taught at Maidstone College of Art for a short time. He taught at the University of Iowa in 1964.
Later in 1964, Hockney moved to Los Angeles, where he was inspired to make a series of paintings of swimming pools in the comparatively new acrylic medium using vibrant colours.
He also taught at the University of Colorado, Boulder in 1965 before teaching at UCLA from 1966 to 1967, and then at UCB in 1967.
David lived at various times in Los Angeles, London, and Paris from the late 1960's to 1970's. In 1974 he began a decade-long personal relationship with Gregory Evans who moved with him to the US in 1976 and as of 2019 remains a business partner.
In 1978 David rented a home in the Hollywood Hills; he later bought and expanded the house to include his studio. He also owned a 1,643-square-foot beach house at 21039 on the PCH in Malibu, which he sold in 1999 for about $1.5 million.
In the 1990's, Hockney returned more often to Yorkshire, usually every three months, to visit his mother who died in 1999.
Until 1997, David rarely stayed for more than two weeks, when his friend Jonathan Silver who was terminally ill, encouraged him to capture the local surroundings. At first he did this with paintings based on memory, some from his boyhood.
In 1998, he completed his painting of the Yorkshire landmark, Garrowby Hill. Hockney returned to Yorkshire for increasingly longer stays, and by 2003 was painting the countryside en plein air in both oils and watercolour.
David set up residence and a studio in a converted bed and breakfast, in the seaside town of Bridlington, about 75 mi (121 km) from where he was born. The oil paintings he produced after 2005 were influenced by his intensive studies in watercolour, a series titled Midsummer: East Yorkshire (2003–2004).
He created paintings made of multiple smaller canvases — two to fifty — placed together. To help him visualise work at that scale, he used digital photographic reproductions to study the day's work.
In spring 2020 he stayed at La Grande Cour, a farmhouse and studio in Normandy, during the global COVID-19 pandemic. Since that date he has settled full-time in Normandy.
David Hockney's Work
Hockney has experimented with painting, drawing, printmaking, watercolours, photography, and many other media including a fax machine, paper pulp, computer applications and iPad drawing programs.
The subject matter of interest ranges from still lifes to landscapes, portraits of friends, his dogs, and stage designs for the Royal Court Theatre, Glyndebourne, and the Metropolitan Opera in NYC.
-- Portraits
Hockney repeatedly returned to painting portraits throughout his career. From 1968, and for the next few years, he painted portraits and double portraits of friends, lovers, and relatives just under life-size in a realistic style that adroitly captured the likenesses of his subjects.
Hockney has repeatedly been drawn to the same subjects – his family, employees, artists Mo McDermott and Maurice Payne, various writers he has known, fashion designers Celia Birtwell and Ossie Clark (Mr. and Mrs. Clark and Percy, 1970–71), curator Henry Geldzahler, art dealer Nicholas Wilder, George Lawson and his ballet dancer lover, Wayne Sleep, and also his romantic interests throughout the years, including Peter Schlesinger and Gregory Evans.
Perhaps more than all of these, Hockney has turned to his own figure year after year, creating over 300 self-portraits.
From 1999 to 2001 Hockney used a camera lucida for his research into art history as well as his own work in the studio. He created over 200 drawings of friends, family, and himself using this antique lens-based device.
In 2016, the Royal Academy exhibited Hockney's series entitled 82 Portraits and 1 Still-life which traveled to Ca' Pesaro in Venice and the Guggenheim Museum Bilbao in 2017, and to the LA County Museum of Art in 2018.
Hockney calls the paintings started in 2013 "twenty-hour exposures," because each sitting took six to seven hours on three consecutive days.
-- Printmaking
Hockney experimented with printmaking as early as a lithograph Self-Portrait in 1954 (see above), and worked in etchings during his time at RCA.
In 1965, the print workshop Gemini G.E.L. approached him to create a series of lithographs with a Los Angeles theme. Hockney responded by creating The Hollywood Collection, a series of lithographs recreating the art collection of a Hollywood star, each piece depicting an imagined work of art within a frame.
Hockney went on to produce many other portfolios with Gemini G.E.L. including Friends, The Weather Series, and Some New Prints.
During the 1960's David produced several series of prints that he thought of as 'graphic tales', including A Rake's Progress (1961–63) after Hogarth, Illustrations for Fourteen Poems from C. P. Cavafy (1966) and Illustrations for Six Fairy Tales from the Brothers Grimm (1969).
In 1973 Hockney began a fruitful collaboration with Aldo Crommelynck, Picasso's preferred printer. In his atelier, he adopted Crommelynck's trademark sugar lift, as well as a system of the master's own devising of imposing a wooden frame onto the plate to ensure colour separation.
Their early work together included Artist and Model (1973–74) and Contrejour in the French Style (1974).
In 1976–77 Hockney created The Blue Guitar, a suite of 20 etchings, each utilising Crommelynck's techniques and filled with references to Picasso. The frontispiece to the suite mentions Hockney's dual inspiration:
"The Blue Guitar: Etchings By David Hockney
Who Was Inspired By Wallace Stevens Who
Was Inspired By Pablo Picasso".
The etchings refer to themes in a poem by Wallace Stevens, The Man with the Blue Guitar, which was published by Petersburg Press in October 1977. That year, Petersburg also published a book in which the images were accompanied by the poem's text.
In the summer of 1978, David Hockney stayed for six weeks with his friend the printer Ken Tyler at Tyler's studio in New York. Tyler invited Hockney to try a new technique with liquid paper. The process is painting with the paper itself, so the artist had to do it himself by hand.
Each image becomes a unique work between printmaking and painting. In six weeks, Hockney created a total of 29 artworks with a series of 17 sunflowers and swimming pools. Many of the works are very similar, differentiated by changes in colour choice and application of the colour. Some are solely coloured using paper pulp, while some use spray paint to achieve certain details.
Some of Hockney's other print portfolios include Home Made Prints (1986), Recent Etchings (1998) and Moving Focus (1984–1986), which contains lithographs related to A Walk Around the Hotel Courtyard, Acatlan.
A retrospective of David's prints, including 'computer drawings' printed on fax machines and inkjet printers, was exhibited at Dulwich Picture Gallery in London from February – May 2014 and Bowes Museum, County Durham from June – September 2014, with an accompanying publication, Hockney, Printmaker, by Richard Lloyd.
-- Photocollages
In the early 1980's, Hockney began to produce photo collages— which, in his early explorations within his personal photo albums, he referred to as "joiners" — first using Polaroid prints and subsequently 35mm, commercially processed colour prints.
Using Polaroid snaps or photolab-prints of a single subject, Hockney arranged a patchwork to make a composite image. Because the photographs are taken from different perspectives and at slightly different times, the result is work that has an affinity with Cubism, one of Hockney's major aims — discussing the way human vision works.
Some pieces are landscapes, such as Pearblossom Highway #2, others are portraits including Kasmin 1982; and My Mother, Bolton Abbey, 1982.
Creation of the "joiners" occurred accidentally. He noticed in the late 1960's that photographers were using cameras with wide-angle lenses. He did not like these photographs because they looked somewhat distorted.
While working on a painting of a living room and terrace in Los Angeles, he took Polaroid shots of the living room and glued them together, not intending for them to be a composition on their own. On looking at the final composition, he realised it created a narrative, as if the viewer moved through the room.
He began to work more with photography after this discovery, stopping painting for a while to pursue this new technique exclusively.
However over time, he discovered what he could not capture with a lens, saying:
"Photography seems to be rather good at
portraiture, or can be. But, it can't tell you
about space, which is the essence of
landscape. For me anyway.
Even Ansel Adams can't quite prepare you
for what Yosemite looks like when you go
through that tunnel and you come out the
other side."
(Ansel Adams was an American landscape photographer and environmentalist).
Frustrated with the limitations of photography and its 'one-eyed' approach, he returned to painting.
-- Other Technology
In December 1985 Hockney used the Quantel Paintbox, a computer program that allowed the artist to sketch directly onto the screen. The resulting work was featured in a BBC series that profiled several artists.
In 1999 – 2001, David's sister, Margaret, began experimenting with digital photography, scanning and computer printing, particularly making images of flowers scanning a small Japanese vase and fresh flowers.
In 2003, she was experimenting with Photoshop, scanning summer flowers and building up images in layers which Margaret printed out on an A3 printer. In 2004, David went to stay with Margaret, and she helped him scan his sketchbook of Yorkshire landscapes, and David soon began using a Wacom pad and pen directly into Photoshop.
Since 2009, Hockney has painted hundreds of portraits, still lifes and landscapes using the Brushes iPhone and iPad application, often sending them to his friends.
In 2010 and 2011, Hockney visited Yosemite National Park in order to draw its landscape on his iPad. David used an iPad in designing a stained glass window at Westminster Abbey which celebrated the reign of Queen Elizabeth II. Unveiled in September 2018, the Queen's Window is located in the north transept of the Abbey and features a hawthorn blossom scene which is set in Yorkshire.
From 2010 to 2014, Hockney created multi-camera movies using three to eighteen cameras to record a single scene. He filmed the landscape of Yorkshire in various seasons, jugglers and dancers, and his own exhibitions within the de Young Museum and the Royal Academy of Arts.
His earlier photo collages influenced his shift to another medium, digital photography. He combined hundreds of photographs to create multi-viewpoint "photographic drawings" of groups of his friends in 2014.
Hockney picked the process back up in 2017, this time using the more advanced Agisoft PhotoScan photogrammetric software which allowed him to stitch together and rearrange thousands of photos.
The resulting images were printed out as massive photomurals, and were exhibited at Pace Gallery and LACMA in 2018.
-- Plein Air Landscapes
In June 2007, Hockney's largest painting, Bigger Trees Near Warter or Peinture sur le Motif pour le Nouvel Age Post-Photographique, which measures 15 by 40 feet (4.6 by 12.2 m), was hung in the Royal Academy's largest gallery in its annual Summer Exhibition.
This work is a monumental-scale view of a coppice in Hockney's native Yorkshire, between Bridlington and York. It was painted on 50 individual canvases, mostly working in situ, over five weeks the previous winter.
In 2008, he donated it to Tate in London, saying:
"I thought if I'm going to give something to the
Tate I want to give them something really good.
It's going to be here for a while. I don't want to
give things I'm not too proud of... I thought this
was a good painting because it's of England...
it seems like a good thing to do."
The painting was the subject of a BBC1 Imagine film documentary by Bruno Wollheim called David Hockney: A Bigger Picture (2009) which followed Hockney as he worked outdoors over the preceding two years.
-- Theatre Works
Hockney's first stage designs were for Ubu Roi at London's Royal Court Theatre in 1966, Stravinsky's The Rake's Progress at the Glyndebourne Festival Opera in 1975, and The Magic Flute for Glyndebourne in 1978.
In 1980, he agreed to design sets and costumes for a 20th.-century French triple bill at the Metropolitan Opera House with the title Parade.
The works were Parade, a ballet with music by Erik Satie; Les Mamelles de Tirésias, an opera with libretto by Guillaume Apollinaire, and L'Enfant et les Sortilèges, an opera with libretto by Colette.
The re-imagined set of L'Enfant et les Sortilèges from the 1983 exhibition Hockney Paints the Stage is a permanent installation at the Spalding House branch of the Honolulu Museum of Art.
David designed sets for another triple bill of Stravinsky's Le Sacre du Printemps, Le Rossignol, and Oedipus Rex for the Metropolitan Opera in 1981, as well as Richard Wagner's Tristan und Isolde for the Los Angeles Music Center Opera in 1987.
David also created sets for Puccini's Turandot in 1991 at the Chicago Lyric Opera, and Richard Strauss's Die Frau ohne Schatten in 1992 at the Royal Opera House in London.
In 1994, he designed costumes and scenery for twelve opera arias for the TV broadcast of Plácido Domingo's Operalia in Mexico City.
Technical advances allowed him to become increasingly complex in model-making. At his studio he had a proscenium opening 6 feet (1.8 m) by 4 feet (1.2 m) in which he built sets in 1:8 scale.
He also used a computerised setup that let him punch in and program lighting cues at will and synchronise them to a soundtrack of the music.
In 2017, Hockney was awarded the San Francisco Opera Medal on the occasion of the revival and restoration of his production for Turandot.
The majority of David's theatre works and stage design studies are found in the collection of The David Hockney Foundation.
Exhibitions of David Hockney's Work
David Hockney has been featured in over 400 solo exhibitions and over 500 group exhibitions.
He had his first one-man show at Kasmin Limited when he was 26 in 1963, and by 1970 the Whitechapel Gallery in London had organised the first of several major retrospectives, which subsequently travelled to three European institutions.
LACMA also hosted a retrospective exhibition in 1988 which travelled to the Met, New York, and the Tate, London. In 2004, he was included in the cross-generational Whitney Biennial, where his portraits appeared in a gallery with those of a younger artist he had inspired, Elizabeth Peyton.
In October 2006, the National Portrait Gallery in London organised one of the largest ever displays of Hockney's portraiture work, including 150 paintings, drawings, prints, sketchbooks, and photocollages from over five decades.
The collection ranged from his earliest self-portraits to work he completed in 2005. Hockney assisted in displaying the works and the exhibition, which ran until January 2007, was one of the gallery's most successful.
In 2009, "David Hockney: Just Nature" attracted some 100,000 visitors at the Kunsthalle Würth in Schwäbisch Hall, Germany.
From January to April 2012, the Royal Academy presented A Bigger Picture, which included more than 150 works, many of which took up entire walls in the gallery's brightly lit rooms.
The exhibition is dedicated to landscapes, especially trees and tree tunnels of his native Yorkshire. Works included oil paintings, watercolours, and drawings created on an iPad and printed on paper. Hockney said, in a 2012 interview:
"It's about big things. You can make
paintings bigger. We're also making
photographs bigger, videos bigger,
all to do with drawing."
The exhibition drew more than 600,000 visitors in under 3 months. The exhibition moved to the Guggenheim Museum in Bilbao, Spain from May to September, and from there to the Ludwig Museum in Cologne, Germany, between October 2012 and February 2013.
From October 2013 to January 2014, David Hockney: A Bigger Exhibition was presented at the de Young Museum in San Francisco.
The largest solo exhibition Hockney has had, with 397 works of art in more than 18,000 square feet, was curated by Gregory Evans, and included the only public showing of The Great Wall, developed during research for Secret Knowledge, and works from 1999 to 2013 in a variety of media from camera lucida drawings to watercolours, oil paintings, and digital works.
From February to May 2017 David Hockney was presented at the Tate Britain, becoming the most-visited exhibition in the gallery's history. The exhibition marked Hockney's 80th. year and gathered together an extensive selection of David Hockney's most famous works celebrating his achievements in painting, drawing, print, photography and video across six decades.
The show then travelled to Centre Georges Pompidou in Paris and The Metropolitan Museum of Art. The wildly popular retrospective landed among the top ten ticketed exhibitions in London and Paris for 2017, with over 4,000 visitors per day at the Tate, and over 5,000 visitors per day in Paris.
After the blockbuster exhibitions in 2017 of the works of decades past, Hockney went on to display his newest paintings on hexagonal canvases and mural-size 3D photographic drawings at Pace Gallery in 2018.
He revisited paintings of Garrowby Hill, the Grand Canyon, and Nichols Canyon Road, this time painting them on hexagonal canvases to enhance aspects of reverse perspective.
In 2019, his early work featured in his native Yorkshire at The Hepworth Wakefield.
In April–June 2022 an exhibition "Hockney's Eye: The Art and Technology of Depiction" was held at the Fitzwilliam Museum, Cambridge and at the city's Heong Gallery.
In 2023 the Honolulu Museum of Art (HoMA) presented "David Hockney: Perspective Should Be Reversed, Prints from the Collections of Jordan D. Schnitzer and His Family Foundation."
The exhibition is the largest retrospective print exhibition of Hockney's career, with more than 100 colourful prints, collages and photographic and iPad drawings, in a variety of media, spanning six decades of the artist's career.
David Hockney's Personal Life
Hockney came out as gay when he was 23, while studying at the Royal College of Art in London. Great Britain decriminalised homosexual acts seven years later in the Sexual Offences Act 1967.
Hockney has explored the nature of gay love in his work, such in as the painting We Two Boys Together Clinging (1961), named after a poem by Walt Whitman.
In 1963 he painted two men together in the painting Domestic Scene, Los Angeles, one showering while the other washes his back.
In the summer of 1966, while teaching at UCLA, he met Peter Schlesinger, an art student who posed for paintings and drawings, and with whom he became romantically involved.
Another of Hockney's romantic partners who was the subject of his work was Gregory Evans; the two met in 1971 and began a relationship in 1974. While no longer romantically involved, they still work together, with Evans managing the David Hockney Studio.
Hockney's current partner is longtime companion Jean-Pierre Gonçalves de Lima. Also known as JP, he also works with Hockney in his studio as his chief assistant.
In March 2013, Hockney's 23-year-old assistant, Dominic Elliott, died as a result of drinking drain cleaner at Hockney's Bridlington studio; he had earlier taken both drugs and alcohol.
Hockney's partner drove Elliott to Scarborough General Hospital where he later died. The inquest returned a verdict of death by misadventure. In November 2015 Hockney sold his house in Bridlington, thereby ending his connections with the town.
Next he moved to Normandy, and now lives near the village of Beuvron-en-Auge. He holds a California Medical Marijuana Verification Card, which enables him to buy cannabis for medical purposes.
David has used hearing aids since 1979, but realised he was going deaf long before then. As of 2018, he has been keeping fit by spending half an hour in the swimming pool every morning.
Hockney has synaesthetic associations between sound, colour and shape.
David Hockney Collections
Many of Hockney's works are housed in the 1853 Gallery at Salts Mill in Saltaire, near his hometown of Bradford. Another large group of works are held by The David Hockney Foundation. His work is in numerous public and private collections worldwide, including:
Honolulu Museum of Art
Museum of Fine Arts, Boston
National Gallery of Australia, Canberra
Art Institute of Chicago
Museum of Fine Arts, Houston
Louisiana Museum of Modern Art, Humlebæk, Denmark
National Portrait Gallery, London
Tate, U.K.
J. Paul Getty Museum, Los Angeles
Los Angeles County Museum of Art
Walker Art Center, Minneapolis
Metropolitan Museum of Art, New York
Museum of Modern Art, New York
Centre Georges Pompidou, Paris
Fine Arts Museums of San Francisco
Museum of Contemporary Art, Tokyo
Aboa Vetus & Ars Nova, Turku, Finland
Mumok, Ludwig Foundation, Vienna
Hirshhorn Museum and Sculpture Garden, Washington, D.C.
Smithsonian American Art Museum, Washington, D.C.
Muscarelle Museum of Art, Williamsburg, VA
Official Recognition for David Hockney
In 1967, Hockney's painting Peter Getting Out of Nick's Pool won the John Moores Painting Prize at the Walker Art Gallery in Liverpool.
In 1983, the Hamburg-based Alfred Toepfer Foundation awarded Hockney its annual Shakespeare Prize in recognition of his life's work.
David was offered a knighthood in 1990 but declined it, before later accepting an Order of Merit.
He was awarded The Royal Photographic Society's Progress medal in 1988, and the Special 150th. Anniversary Medal and an Honorary Fellowship in recognition of a sustained, significant contribution to the art of photography in 2003.
David was made a Member of the Order of the Companions of Honour in 1997, and awarded The Cultural Award from the German Society for Photography (DGPh). He is a Royal Academician.
In January 2012, David was appointed to the Order of Merit, an honour restricted to 24 members at any one time for their contributions to the arts and sciences.
He was a Distinguished Honoree of the National Arts Association, LA, in 1991, and received the First Annual Award of Achievement from the Archives of American Art, LA, in 1993.
In 2003, Hockney was awarded the Lorenzo de' Medici Lifetime Career Award of the Florence Biennale, Italy.
Commissioned by The Other Art Fair, a November 2011 poll of 1,000 British painters and sculptors declared him Britain's most influential artist of all time.
David is an honorary member of the Printmakers Council.
David Hockney and Sgt. Pepper
In 2012, Hockney was among the British cultural icons selected by the artist Sir Peter Blake to appear in a new version of his most famous artwork – the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover – to celebrate the British cultural figures of his life that he most admires.
To see the original album cover and to read about how it was developed, please search for the tag 56BLA53
David Hockney and the Art Market
On the 21st. June 2006, Hockney's painting The Splash sold for £2.6 million.
David's A Bigger Grand Canyon, a series of 60 canvases that combined to produce one enormous picture, was bought by the National Gallery of Australia for $4.6 million.
Beverly Hills Housewife (1966–67), a 12-foot-long acrylic that depicts the collector Betty Freeman standing by her pool in a long hot-pink dress, sold for $7.9 million at Christie's in New York in 2008, the top lot of the sale and a record price for a Hockney.
This was topped in 2016 when his Woldgate Woods landscape made £9.4 million at auction.
The record was broken again in 2018 with the sale of Piscine de Medianoche (Paper Pool 30) for $11.74 million
The Splash was offered for auction again on the 11th. February 2020, with an estimate of £20 – 30 million and sold, to an unknown buyer, for £23.1 million.
In 2018 Sotheby's sold Pacific Coast Highway and Santa Monica for $28.5 million.
On the 15th. November 2018, David Hockney's 1972 painting Portrait of an Artist (Pool with Two Figures) sold at Christie's for $90.3 million, surpassing the previous auction record for a living artist of $58.4 million, held by Jeff Koons for one of his Balloon Dog sculptures. David had originally sold the painting for $20,000 in 1972.
The Hockney–Falco Thesis
The Hockney–Falco thesis is a theory of art history, advanced by David Hockney and physicist Charles M. Falco.
They argue that advances in realism and accuracy in the history of Western art since the Renaissance were primarily the result of optical instruments such as the camera obscura, camera lucida, and curved mirrors, rather than solely due to the development of artistic technique and skill.
Nineteenth-century artists' use of photography has been well documented.
In a 2001 book, Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters, Hockney analyzed the work of the Old Masters, and argued that the level of accuracy represented in their work is impossible to create by "eyeballing it".
Since then, Hockney and Falco have produced a number of publications on positive evidence of the use of optical aids, and the historical plausibility of such methods.
In the 2001 television programme and book Secret Knowledge, which was revised in 2006, Hockney suggested that the Old Masters used lens techniques that projected the image of the subject onto the surface of the painting.
Hockney argued that this technique migrated gradually from Northern Europe to Italy, and is the reason for the photographic style of painting seen in the Renaissance and later periods of art.
The hypothesis has led to a variety of conferences and heated discussions.
David Hockney in Public Life
Like his father, Hockney was a conscientious objector, and worked as a medical orderly in hospitals during his National Service, 1957–1959.
David was a founder of the Museum of Contemporary Art, Los Angeles, in 1979.
He was on the advisory board of the political magazine Standpoint; he contributed original sketches for its launch edition in June 2008, as well as agreeing to allow Standpoint to publish his previous views and pictures over the years.
David is a staunch pro-tobacco campaigner. In 2005 he fought to stop the ban on smoking in pubs and restaurants.
At the Labour Party conference he held up a card saying:
"DEATH awaits you all
even if you do smoke".
He was invited to guest-edit BBC Radio's Today programme on the 29th. December 2009 in which he aired his views on the subject.
In October 2010, he and a hundred other artists signed an open letter to the Secretary of State for Culture, Media and Sport, Jeremy Hunt, protesting against cutbacks in the arts.
In 2013 David wrote a foreword and provided illustrations for a book by John Staddon, Unlucky Strike.
David Hockney In Popular Culture
In 1966, while working on a series of etchings based on love poems by the Greek poet Constantine P. Cavafy, Hockney starred in a documentary by filmmaker James Scott, entitled Love's Presentation.
He was the subject of Jack Hazan's 1974 biopic, A Bigger Splash, named after Hockney's 1967 pool painting of the same name.
Hockney was commissioned to design the cover and pages for the December 1985 issue of the French edition of Vogue. Consistent with his interest in cubism and admiration for Pablo Picasso, Hockney chose to paint Celia Birtwell (who appears in several of his works) from different views for the cover, as if the eye had scanned her face diagonally.
Hockney was inducted into Vanity Fair's International Best-Dressed Hall of Fame in 1986.
In 2005, Burberry creative director Christopher Bailey centred his entire spring/summer menswear collection around the artist.
Hockney was also the inspiration for artist Billy Pappas in the documentary film Waiting for Hockney (2008), which debuted at the Tribeca Film Festival.
In 2011, British GQ named him one of the 50 Most Stylish Men in Great Britain.
In 2012, fashion designer Vivienne Westwood, a close friend, named a checked jacket after Hockney.
David Hockney: A Rake's Progress (2012) is a biography of Hockney covering the years 1937–1975, by writer/photographer Christopher Simon Sykes.
In 2012, Hockney featured in BBC Radio 4's list of The New Elizabethans to mark the diamond Jubilee of Queen Elizabeth II. A panel of seven academics, journalists and historians named Hockney among the group of people in the UK:
"... whose actions during the reign of Elizabeth II
have had a significant impact on lives in these
islands and given the age its character".
In March 2013, David was listed as one of the Fifty Best-Dressed Over-50's by The Guardian.
The 2015 Luca Guadagnino's film A Bigger Splash was named after Hockney's painting.
In 2022, he was portrayed by Laurence Fuller in the 7th. episode of the 1st. season of Minx.
In BoJack Horseman, a caricature of Portrait of an Artist (Pool with Two Figures) hangs on the wall of the title character's home office. In this version, horses replace the two human figures of the original.
The David Hockney Foundation
The David Hockney Foundation — both the UK-registered charity and the US private operating foundation — was created by the artist in 2008.
In 2012, Hockney, worth an estimated $55.2 million (approx. £36.1 m), transferred paintings valued at $124.2 million (approx. £81.5 m) to the David Hockney Foundation, and gave an additional $1.2 million (approx. £0.79 m) in cash to help fund the foundation's operations.
The foundation's mission is to advance appreciation and understanding of visual art and culture through the exhibition, preservation, and publication of David Hockney's work.
Richard Benefield, who organised David Hockney: A Bigger Exhibition in 2013–2014 at the de Young Museum in San Francisco, became the first executive director in January 2017.
The foundation owns over 8,000 works – paintings, drawings, watercolours, complete editioned prints, stage design, multi-camera movies, and other media.
They also hold 203 sketchbooks and Hockney's personal photo albums from 1961 to 1990.
The foundation manages various loans to museums and exhibitions around the world.
These include Happy Birthday, Mr. Hockney! at the Getty celebrating his 80th. birthday, and the retrospective exhibitions of 2017–2018 at the Metropolitan Museum, Centre Georges Pompidou, and Tate Britain.
Books by David Hockney
David Hockney's publications include:
— (1971). 72 Drawings. London: Jonathan Cape.
— (1976). David Hockney. London: Thames & Hudson.
— (1977). Blue Guitar: Etchings by David Hockney Who Was Inspired by Wallace Stevens Who Was Inspired by Pablo Picasso. New York: Petersburg Press.
— (1978). Travels with Pen, Pencil and Ink. New York: Petersburg Press.
— (1979). Stangos, Nikos (ed.). Pictures by David Hockney. London: Thames & Hudson.
— (1980). Travels with Pen, Pencil and Ink. London: Tate Gallery.
— (1981). Looking at Pictures in a Book at the National Gallery (The artist's eye). London: National Gallery.
— (1982). Photographs. New York: Petersburg Press.
— (1983). Hockney's Photographs. London: Arts Council of Great Britain.
— Stangos, Nikos (1985). Martha's Vineyard and other places: My Third Sketchbook from the Summer of 1982. London: Thames and Hudson.
— (1987). David Hockney: Faces 1966–1984. London: Thames & Hudson.
— Stangos, Nikos (1989). That's the Way I See It. London: Thames and Hudson.
— Spender, Stephen (1991). Hockney's Alphabet. London: Random House.
— (1993). David Hockney: Some Very New Paintings. William Hardie (Introduction). Glasgow: William Hardie Gallery.
— (1994). Off the Wall: A Collection of David Hockney's Posters 1987–94. Brian Baggott. Pavilion Books.
— (1995). David Hockney: Poster Art. Chronicle Books.
— (1999). Picasso. Galerie Lelong.
— (1999). Une éducation artistique. Galerie Lelong.
— (2001). Hockney's Pictures. London: Thames & Hudson.
— (2006). Secret Knowledge: Rediscovering the lost techniques of the Old Masters (Expanded ed.). Thames & Hudson; Viking Studio.
— (2008). Hockney on Art: Conversations with Paul Joyce. Paul Joyce. New York: Little, Brown and Company.
— (2011). David Hockney's Dog Days. London: Thames & Hudson.
— (2011). A Yorkshire Sketchbook. London: Royal Academy of Arts.
— (2012). David Hockney: A Bigger Picture. London: Thames & Hudson.
— (2013). David Hockney: A Bigger Exhibition. Fine Arts Museums of San Francisco and Del Monico with Prestel.
— (2016). A History of Pictures. Martin Gayford. London: Thames & Hudson.
— (2021). Spring Cannot be Cancelled: David Hockney in Normandy. Martin Gayford. London: Thames & Hudson.
— (2022). David Hockney: Moving Focus. Texts by Wayne Sleep et al. Lucerne, London: Kunstmuseum Luzern, Tate Publishing.
-- A Bigger Book
In October 2016 Taschen published David Hockney: A Bigger Book, costing £1,750 (£3,500 with an added loose print).
David curated the selection of more than 60 years of his work reproduced within 498 pages. The book, weighing 78 lbs, had gone through 19 proof stages.
The book came with an (optional) substantial wooden lectern. He unveiled the book at the Frankfurt Book Fair where he was the keynote speaker at the opening press conference.
The very nice people at the Midland Railway Society have used one of my photos of Wingfield Station on the front cover of their Winter 2010 Journal and have also said some very nice things about it. Thanks.
I think the idea is that it shows the dereliction and depressing state of the buildings off very well. Not one of my prettiest photos I would agree.
Visit them at www.midlandrailway.org.uk/journal/2010
The Postcard
A postally unused carte postale published by Marcel Raitre of Rouen.
Rouen
Rouen is a city on the River Seine in northern France, and is relatively close to the English Channel. Formerly one of the largest and most prosperous cities of medieval Europe, the population of the metropolitan area is 702,945 (2018). People from Rouen are known as Rouennais.
“Upon approaching Rouen one is sure to be struck
by the insolent daring of its situation. Lying on a
sloping plain beside the river, it seems to disdain the
well-nigh impregnable site afforded by the steep cliffs
which rise just to the northeast.
The history of the city bears out the audacity of its
location. Through all the centuries, its inhabitants
concerned themselves so continuously in conquering
other peoples that little time was left in which to
consider the security of their own homes.”
-- Charles Hitchcock Sherrill, Stained Glass Tours in France (1908).
Rouen was the seat of the Exchequer of Normandy during the Middle Ages. It was one of the capitals of the Anglo-Norman dynasties, which ruled both England and large parts of modern France from the 11th. to the 15th. centuries.
From the 13th. century onwards, the city experienced a remarkable economic boom, thanks in particular to the development of textile factories and river trade. Claimed by both the French and the English during the Hundred Years' War, it was in Rouen that Joan of Arc was tried and burned alive.
Severely damaged by a wave of bombing in 1944, Rouen nevertheless regained its economic dynamism in the post-war period thanks to its industrial sites and busy seaport, which is the fifth largest in France.
Endowed with a prestige established during the medieval era, and with a long architectural heritage in its historical monuments, Rouen is an important cultural capital. Several renowned establishments are located here, such as the Museum of Fine Arts, the Secq des Tournelles Museum, and Rouen Cathedral.
“Perhaps the most characteristic feature of Rouen
when viewed from a distance is the great number
of its spires that shoot up above the housetops,
earning for it the sobriquet of the City of Churches.”
-- Charles Hitchcock Sherrill, Stained Glass Tours in France (1908).
Sadly not all of those churches are still there because of the ravages of war.
Seat of an archdiocese, Rouen also hosts a court of appeal and a university. Every four to six years, Rouen becomes the showcase for a large gathering of sailing ships called "L'Armada"; this event makes the city an occasional capital of the maritime world.
Rouen Cathedral
Rouen Cathedral was commenced in the 12th. Century on the site of an earlier structure. It has a Roman crypt.
The Butter Tower dates from the 16th. century. The name of the Tour de Beurre comes from the fact that butter was banned during Lent, and those who wished to carry on eating it had to donate 6 Deniers Tournois towards the building of the tower. Practically everyone in Rouen must have carried on eating butter in order to fund a tower like that!
The Victorian cast-iron Lantern Tower in the centre of the building made the cathedral the tallest building in the world from 1876 until 1880, when it was overtaken by Cologne Cathedral.
The Lantern Tower was designed by the architect Jean-Antoine Alavoine who proposed the use of cast iron, a modern material for the time, because it was less combustible than wood, and lighter than stone. The Lantern Tower took 50 years to construct. The 151 metre height of the spire still makes Rouen Cathedral the tallest cathedral in France.
The presence of a lantern tower at the crossing of the transept is a frequent feature in churches in Normandy (St. Ouen in Rouen, and Bayeux) and in England (Gloucester, Salisbury, and Winchester).
The lantern is in a bulge in the ironwork near the top of the spire, which is surmounted by a weathercock.
The Cathedral holds the heart of Richard the Lionheart. His bowels were buried within the church of the Château de Châlus-Chabrol in the Limousin. The cathedral seems to have got the better end of that particular deal!
Claude Monet painted a series of studies of the cathedral's façade 1894. Roy Lichtenstein also made a series of pictures of the front of the building.
The Cathedral has had to put up with a lot of wilful destruction during its lifetime:
- The Calvinists damaged much of what they could easily reach during the religious wars of the 16th. Century - the furniture, tombs, stained glass and statuary.
- The French State nationalised the building in the 18th. Century, and sold some of its furniture and statues to make money. The chapel fences were melted down to make guns.
- In WW2 the Cathedral was first bombed in 1944, taking 7 bombs. The bombs narrowly missed destroying a key pillar of the Lantern Tower, but damaged most of the south aisle, and destroyed two medieval rose windows. One of the bombs was fortunately a dud and failed to explode.
- As a consequence of a subsequent WW II bombing, the north tower, on the left of the façade, was entirely burned. During the fire the stonework calcified and the bells melted, leaving molten metal on the floor. The cathedral is still being restored after the extensive damage incurred during World War II.
Also, during the violent storm of December 1999, a copper-clad wooden turret weighing 26 tons fell into the Cathedral and damaged the choir and the stalls. The three other turrets were removed for maintenance and safety purposes before being replaced in 2012.
The Execution of Jeanne d'Arc
Jeanne d'Arc was executed not far from the Cathedral in the Vieux-Marché on Wednesday the 30th. May 1431.
The famous depiction of 19 year old Joan of Arc's execution showing her on top of a pile of wood and straw is wrong.
The site for her execution comprised a stake at the centre of a large ring of wood, with a gap left for Joan to be led to the stake. Once she was tied to the stake and the gap closed, she was hidden from sight.
One authority has suggested that her body would have burnt in the following sequence: calves, thighs and hands, torso and forearms, breasts, upper chest and face.
However in all likelihood she would have died from heatstroke, loss of blood plasma and carbon dioxide poisoning before the fire attacked the upper parts of her body.
After Jeanne had expired, the English exposed her charred body so that no-one could claim that she had escaped alive, then burned her body twice more to reduce it to ashes in order to prevent the collection of relics.
They then cast her remains into the Seine.
A modern church now stands on the site of her execution.
The Postcard
A postcard that was printed and published by J. Salmon of Sevenoaks. The image is from an original 1909 painting by A. Harding Northwood.
The card was posted in Sevenoaks using a halfpenny stamp on Monday the 30th. August 1909. It was sent to:
Mrs. Newington,
Melson Cottage,
Wadhurst,
Sussex.
The message on the divided back was as follows:
"Dear A,
Arrived quite safe.
Dad says he is not
drunk yet.
We are just going
for a walk.
Love to both and a
kiss for Maggie.
From Mum & Dad."
The Witch's Oak
The huge oak, known for centuries as "The Old Oak,' but popularly called "The Witch's Oak", is one of Knole Park's great "lost" trees. The legend tells of a young tousle-haired local lass who fell in love with Richard Sackville, Third Earl of Dorset. Sadly for her he married the far more noble Lady Anne Clifford in 1609.
However the scorned girl had supernatural powers, and she placed a curse on Knole. Never again, she swore, would Knole have an immediate heir to the title. In fact the three sons of her object of desire, Richard Sackville, died in infancy, and he himself left this world in 1624 aged only 34, after “a surfeit of potatoes” (amongst other excesses).
Further misfortunes followed, including the death in 1815 of George, Fourth Duke of Dorset, who had his spine crushed by a falling horse in a hunting accident. Since the witch's curse, the issue of inheritance at Knole has been a constant source of contention, "moving crab-like from generation to generation".
The witch vowed never to leave the park, so where is she now?
Gnarled and sinister-looking, its huge hollow frame supported by wooden staves and bound in an iron girdle, The Old Oak was fancifully described in early postcards as "The oldest oak in England". Ancient it certainly was: even 360 years ago it was known as "The Old Oak".
It stood not far from the house, to the north of Echo Mount, together with King John's Oak and King Beech. They were important enough to show on the Ordnance Survey map of 1869.
Nan Horns and All: "The Old Woman Who Lived in the Tree." Nan Horns and All (so called because she was never seen without her hair in stiff curl papers) lived for many years in The Old Oak's hollow bole in the early 19th. century. She worked as a "potman", serving at the old Wheatsheaf Inn which stood in London Road.
Woe betide any passing kids who called her by her nick-name. They were soon seen off with a barrage of stones.
The tree was vandalised in 1954.
Knole
Henry VIII acquired Knole from Archbishop Thomas Cranmer in 1538 for hunting purposes, and he then set about enlarging and improving the house and grounds. Earlier, the estate had been bought and the first house built by Archbishop Thomas Bourchier between 1456 and his death in 1486.
Though Elizabeth I subsequently presented it to her cousin Thomas Sackville, later 1st. Earl of Dorset, in 1566 he was not able to occupy it until he bought back the lease in 1603. Over the next two years the house underwent a transformation into a great Renaissance palace, and it largely remains unaltered from that time.
Throughout part of the seventeenth century, occupation by the Sackville family was intermittent, possibly due to lack of money, and it was sometimes leased.
It was not until the beginning of the eighteenth century that the 6th. Earl and later his son, the 7th. Earl, used the house as their principal residence, renovating, improving and embellishing what the 1st. Earl had initiated.
The family have lived at Knole ever since, but owing to the burden of upkeep and protecting the valuable collections within the house, they presented it (with the walled garden) to the National Trust in 1946, in exchange for a generous lease of 200 years.
-- More on Knole House
The excellent shelleyshouse.blogspot.com provides some fascinating information about Knole. Here are some of the highlights:
Virginia Woolf, describing Knole in her novel Orlando, 1928 wrote:
"The great house lay more like a town
than a house...with all its chimneys
smoking busily as if inspired with a life
of their own."
Underneath the Knole rooftops lies a labyrinth of apartments, each containing several rooms. These apartments once housed hundreds of people including high status staff, visitors and family members. The Sackville-West family still live in apartments here, over 400 years since the first family member lived in Knole.
Knole house stands on five acres of ground, around the size of three and a half football pitches.
There are over 300 rooms.
Knole has 51 chimneys.
The problem for me about Knole was that at the beginning of the tour most things were covered with dust sheets, in glass cases. I found it hilarious that there were signs on a lot of pieces (like enormous vases, or ornate chairs) printed with the word 'salvage'. I had to ask what this was about as I wondered if these items had been picked up from a salvage yard, though it seemed unlikely.
Turns out there is a very particular protocol in the event of a fire or other disaster about what will be saved first, and these labels referred to the priority of the items in that protocol.
Knole Park is the home of a wild deer herd. They are the descendants of those first introduced here over 500 years ago. It is Kent's last remaining medieval deer park.
Henry VIII stated in 1532:
"And as for Knole it standeth on a sound perfect,
wholesome ground. And if I should make mine
abode here, as I do surely mind to do now and
then, I myself will lie at Knole."
Archbishop Thomas Cranmer surrendered Knole to Henry VIII. The king purchased more land, and by 1556 Knole Park covered 446 acres. Today Knole Park covers 1,000 acres. It is 7.5 times bigger than St James' Park in London.
There are over 350 wild deer in Knole Park.
I remember an old bed (you know, the kind with curtains) still in pieces, being cleaned by a young man. He was using just water, and just rubbing the black pieces of wood; I think he said it was walnut, but I'm not sure. He told us that the Knole attics were so vast they still hadn't been fully explored and all the findings catalogued, even though the National Trust acquired the place in 1946 (over 70 years ago!).
In another room there was a bed covered and curtained with some sort of holey green fabric. The guide there explained that some inexperienced restorers from some workers' cooperative had used modern glue to stick the fabric back onto the wood, rather than the old fashioned fish glue.
This modern glue had eaten the fabric, and they were painstakingly trying to restore the old cloth. I had two thoughts at the time. One was how quickly they were ready to name and blame outsiders; the other was the enormous expense of restoring such a large amount of fabric. I would just frame a square or two and put up modern fabric, a copy of the original. Probably best that I don't work in restoration, eh?
Knole House is called a Calendar House, that is a house that has architectural features in quantities that mirror the numbers in a year. Knole reportedly has 365 rooms, 52 stair cases, 12 entrances and 7 courtyards (give or take).
One more thing that has come back to me is one of the guides telling me about a Knole couch. If you ever watched/drooled over Downton Abbey you know exactly what one looks like (the big red one to the left of the fireplace in the library).
Visitors from the local area and further afield have enjoyed access to Knole Park since the 17th. century. A dispute over public right of way led to Mortimer, 1st Lord Sackville, closing the park in June 1884. Local people were furious, and on the night of the 18th. June 1884, over a thousand people stormed the park. They broke down barricades before marching to the front of the house. The town's people smashed windows and hurled abuse.
-- Knole and The Beatles
Knole was the setting for the filming in January 1967 of the Beatles' videos that accompanied the release of "Penny Lane" and "Strawberry Fields Forever".
The stone archway through which the four Beatles rode on horses can still be seen on the southeastern side of the Bird House, which itself is on the southeastern side of Knole House.
The same visit to Knole Park inspired another Beatles song, "Being for the Benefit of Mr. Kite!," which John Lennon wrote after buying an 1843 poster in a nearby antiques shop that advertised Pablo Fanque's Circus Royal.
A Gusher in Russia
So what else happened on the day that the card was posted?
Well, on the 30th. August 1909, a gusher at the Maikop oil field in Russia rose to a height of 65 metres (213 ft), but most of the well's contents were lost because the operators had not made preparations to store it.
A New Battleship
Also on that day, the German battleship Helgoland was launched at Kiel, the first of a new class of ships with larger guns and improved propulsion.
Cruel and Unusual Punishment
Also on the 30th. August 1909, in Fez, Morocco, the consuls of France, Great Britain and Spain presented a letter of protest to the Sultan.
They demanded the abolition of the practice of mutilation and slow death as punishment.
The initiative took place twenty days after more than 30 convicted criminals had hands or feet amputated before being left to die.
A Gift of Cherry Trees
Also on that day, the city of Tokyo announced a gift of cherry trees to be planted at the Tidal Basin in Washington, D.C.
The gift was paid for, anonymously, by Jokichi Takamini, the millionaire chemist who invented synthetic epinephrine.
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È in arrivo il festival rock-metal più atteso e importante dell'estate 2012! Quattro giorni, quattro headliner e tantissimi special guests: la Fiera Milano Live diventerà il posto più divertente in cui trascorrere un bel weekend di musica e divertimento!
I Mötley Crüe sono un gruppo heavy metal statunitense, formatosi a Los Angeles nel 1981. Oltre che per lo stile musicale, sono molto noti anche per la loro vita piena di eccessi e trasgressioni. Problemi con la legge, violente risse, accuse di messaggi diseducativi ed abuso di alcol e droghe sono fattori che, nel bene o nel male, fanno anch'essi parte della loro trentennale carriera. Hanno venduto più di 80 milioni di dischi, di cui 24 milioni nei soli Stati Uniti.
Vince Neil - voce (1981-1992, 1996-oggi)
Mick Mars - chitarra (1981-oggi)
Nikki Sixx - basso (1981-oggi)
Tommy Lee - batteria/tastiere (1981-1999, 2004-oggi)
Gulf News, one of the UAE's largest daily newspapers, published a story on Shanghai Tower and interviewed its Chief Architect Marshall Strabala. The topic is of special interest in the UAE, especially with the Burj Khalifa, the world's tallest building, being located in Dubai. Strabala also led the design work for the Burj Khalifa. The story starts here: www.flickr.com/photos/architectural-design/18882279679/in...
Read on the Gulf News website at gulfnews.com/news/offbeat/shanghai-tower-a-building-with-...
Published in Jan 2012 issue of 180 Mag (180mag.ca/)
Clothing and accessories by YaaSerwaah Akuoku and Gilding Primal Instinct
Makeup by Danielle Nicole Hills
Ilford Delta 3200
Canon EOS 1N
50mm f/1.2
www.thisisfly.com (page 71). A photography article I collaborated on with Jason Morrison, published in the July edition of This is Fly.
Patti Smith
Webster Hall, NYC
Dec. 30th, 2014
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Nino D’Angelo festeggia i suoi 60 anni (compiuti il 21 giugno) con uno show-evento “Il Concerto 6.0” il 24 giugno allo Stadio San Paolo di Napoli.
“Avrei dovuto fare un live in ogni vicolo di Napoli, o nel quartiere dove sono nato e cresciuto, per ringraziare il pubblico che mi segue da sempre”
Uno spettacolo in cui Nino D’Angelo ripercorrerà una straordinaria carriera tra musica, cinema e teatro, che ha fatto di Nino uno degli artisti più amati e di riferimento per le generazioni successive d’interpreti. “Mi piacerebbe che fosse una grande festa popolare, verace, dove divertirci tutti insieme, con un concerto ricco di canzoni che mi hanno visto crescere, a cominciare da quelle degli anni Ottanta”.
Il palco sarà allestito in quella Curva B tanto cara a Nino, protagonista in uno dei suoi film più amati. “Ho scelto lo stadio San Paolo perché per questo compleanno ho sentito l’esigenza di avere uno spazio grande, comunque un simbolo della città. Avrei dovuto fare un live in ogni vicolo di Napoli, o nel quartiere dove sono nato e cresciuto, per ringraziare il pubblico che mi segue da tanti anni ormai. Da qui la scelta dello stadio, senza dimenticare che io sono sempre “quel ragazzo della Curva B””.
Un concerto, questo, dove Nino D’Angelo proporrà, accompagnato dal suo gruppo musicale, i successi di una carriera lunga più di 40 anni e che da “San Pietro a Patierno” lo ha portato a essere uno degli artisti più apprezzati da pubblico e critica. Uno show dove le hit degli anni ’80 (“Nu jeans e na maglietta”, “Maledetto treno”, “Sotto ‘e stelle”) e degli anni ’90 (“Mentecuore”, “Nun te pozzo perdere”, “Carezza luntana”) si sposeranno con le canzoni degli anni successivi che hanno visto Nino maturare artisticamente, fino alla “svolta” sociale, etnica, cosi definita dalla critica (“Senza giacca e cravatta”, “Jammo ja’”, “Jesce sole”).
Sul palco si avvicenderanno tanti amici e colleghi che, in molti casi, duetteranno con Nino. Tra i primi nomi annunciati, Clementino, Gigi Finizio, Enzo Gragnaniello, Rocco Hunt, Maria Nazionale, Raiz, Sal Da Vinci, James Senese, Fortunato Cellino, Brunella Selo, Franco Ricciardi, Daniele Sanzone, Luchè e tanti altri ospiti...
“Il Concerto 6.0” è l’avvio di un progetto che proseguirà per tutto il 2017, culminando presto in un triplo cd che conterrà il dvd dello show al San Paolo; un disco di inediti; e uno con i maggiori “insuccessi di Nino D’Angelo” (come ama definirli l'artista). L’opera si chiamerà “Nino D’Angelo 6.0” e uscirà tra settembre e ottobre.
I wrote an article on carp flies for the Fall 2010 issue of Hatches Magazine. This is the first two pages- all photos taken by me.