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This couple walked past me about 20 times whilst i had coffee - everytime snipets of their conversation - how beautiful something/someone was, their friends. Holding each others hands almost like a knowing secret. this is what love should be about?
As you enter the Study Centre, double doors lead to the message center and fan off to the stairs, the garden, library and meeting room.
A late September 2018 visit to Packwood House, another National Trust property. Been meaning to visit this one myself for a while now!
A nice cool Sunday afternoon to visit Packwood.
Packwood House is a timber-framed Tudor manor house near Lapworth, Warwickshire. Owned by the National Trust since 1941, the house is a Grade I listed building. It has a wealth of tapestries and fine furniture, and is known for the garden of yews.
The house began as a modest timber-framed farmhouse constructed for John Fetherston between 1556 and 1560. The last member of the Fetherston family died in 1876. In 1904 the house was purchased by Birmingham industrialist Alfred Ash. It was inherited by Graham Baron Ash (Baron in this case being a name not a title) in 1925, who spent the following two decades creating a house of Tudor character. He purchased an extensive collection of 16th- and 17th-century furniture, some obtained from nearby Baddesley Clinton. The great barn of the farm was converted into a Tudor-style hall with sprung floor for dancing, and was connected to the main house by the addition of a Long Gallery in 1931.
In 1941, Ash donated the house and gardens to the National Trust in memory of his parents but continued to live in the house until 1947 when he moved to Wingfield Castle.
Grade I listed building.
Packwood House and Outbuildings to North East
Listing Text
LAPWORTH PACKWOOD LANE
SP17SE (West side)
Packwood
1/43 Packwood House and outbuildings
11/04/67 to NE
(Formerly listed as Packwood
House)
GV
Includes that part formerly separately listed as Outbuildings to north-east.
House and outbuildings. Late C16 house; mid C17 outbuilding range; early C20
alterations and additions, including Long Gallery and Great Hall (c.1931) for
Graham Baron Ash. House: render, probably on brick, to ground floor; render,
probably on timber framing to first floor; old plain-tile complex cross-gabled
roof; various brick stacks. 2 storeys and attic; 4-bay range. 2 storeys and
attic porch to left of centre with Tudor-arched outer doorway with hoodmould.
Plank door. C20 five-light wood mullion and transom window to ground floor left.
C20 seven-light wood mullion and transom window to ground floor right. C20
5-light wood mullion and transom hall window with 4 rows of lights to right of
centre. C20 four-light wood mullion and transom window to left. C20 five-light
wood mullion and transom window to right. C20 three-light wood mullion and
transom window to first floor of porch. C20 three-light mullion windows to attic
cross-gables. South front: 2 storeys and attic; 3-window range. 4-centre arched
doorway to centre with plank studded door. C20 five-light wood mullion and
transom windows to ground floor left and right. C20 three-light wood mullion and
transom window to first floor centre. C20 four-light wood mullion and transom
windows to first floorleft and right. C20 three-light wood mullion windows to
attic cross-gables. West front: 2-storey, 3-window range. 2-storey porch to
centre, having stone Tudor-arch outer doorway with hoodmould. Plank panelled and
studded door. C20 three-light wood mullion and transom windows to ground and
first floor left. C20 four-light wood mullion and transom windows to ground and
first floor right. C20 three-light wood mullion and transom window to first
floor of porch. Great Hall wing: red brick; old plain-tile roof; various brick
stacks. 2-storey, 5-bay hall range with single-storey, 3-bay link range. Regular
fenestration of early C20 stone mullion windows and stone mullion and transom
windows. Outbuilding range: red brick, with areas of red brick with flared
headers in Flemish bond, and with some diaper work, old plain-tile roof; various
brick stacks. South front: 2-storey, 3-window range to left; single storey and
attic. 4-bay range to right with gable end of cross-wing to right. 4-centre
arched doorway with plank door to centre of 2-storey range. having brick pediment
gable above. 4-light wood mullion and transom window to Tudor-arched opening to
left. 3-light casement to right. 2-light wood casement to Tudor-arched opening to
first floor left. Plank doors to right, and to right of centre of single storey
and attic range. Blocked door to left. 3-light casement to left of centre. Brick
pilaster strips divide bays. Oval brick recesses above doors to left, and to
right of centre. Cut brick cornice to eaves. Pediment-topped doors to left,
and to right of centre. Cutbrick cornice to eaves. Pediment-topped painted brick
sundial panel to left. End of cross-wing to right has irregular fenestration,
and clock face dated 1817. East front of cross-wing: red brick with flared
headers in Flemish bond; old plain tile roof; brick ridge stack to right of
centre. Single storey and attic; 9-bay range. Double plank doors to segmental
brick arched carriageway to left of centre. Bays divided by brick pilaster
strips. Transom windows to second and seventh bays having oval brick recesses
above. 2-light stone mullion windows to first and third bays. 4 gabled dormer.
Brick gable above carriageway having painted sundial and 2-light wood casement
above. Louvred bell turrets to ridge at left of centre and left, that to left
having windvane. Interior: early C20 staircase from ground to first floors. Much
of the panelling in the house was brought in by Graham Baron Ash. The Great Hall
has a 5-bay upper-cruck roof. The stone fireplace and plaster overmantel in the
Great Hall were brought in from a wine shop in Stratford-upon-Avon. Stained glass
medallions to many windows are C17 Flemish and came from Culham House in
Oxfordshire. The house contains a good collection of furniture, including
various pieces from Baddesley Clinton (q.v.).
(Buildings of England: Warwickshire: 1966. pp370-3701; Packwood House: National
Trust guide book, 1987)
[ 18]
Listing NGR: SP1735272239
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Also known as Mr Ash's House.
Study
Art Institute of Chicago, Grant Park, Chicago, IL
Grant Wood (1891–1942)
American Gothic, 1930
Oil on beaverboard
"In August 1930, Grant Wood visited Eldon, Iowa, where he saw a modest residence built in the 1880s in a style known as Carpenter Gothic. The house inspired the painter to imagine its residents: an insular Victorian pair cloning to old values, or 'American Gothic people,' as he described them. Wood asked his dentist, Dr. B. H. McKeeby, and his sister, Nan Wood, to serve as the models for the farmer and his unmarried daughter. He constructed the painting to convey the couple's gendered roles, pairing the man with a pitchfork to suggest his labor, and placing houseplants behind the woman as a symbol of her domesticity. When it was exhibited at the Art Institute on December 1930, American Gothic was an immediate popular sensation, in time becoming one of the most iconic—and most parodied—paintings of the 20th century." (exhibit text)
Study for Beina is the pencil work produced in advance of “Beina” which won the Kyffin Williams Drawing Prize
at Gallery Yns Mon 2012. Kyffin Williams is widely regarded as the defining artist of Wales during the 20th century. Banal symbols of every day life in this still life in the studio. The simplistic shape of the basket, the life force of the coconut pods, their femininity and their primitive history combined with rawness, powerful masculine surface making ground and connect us.
63 x 83 cm framed. Mixed media on paper.
Find this work at Chris Holmes Decorative Interiors
Study Tip: Look for better solutions to problems
For example, if you don't understand the course material, don't just re-read it.
Try something else! Consult with the professor, a tutor, an academic advisor, a classmate, a study group, or your school's study skills center. #study #studytip
Tova in AMH Field Study. I made a size medium based on my measurements, but then ended up taking in the sleeves and side seams by 1.5 inches. I used a 4 inch hem on the dress length to make it more of a tunic. I liked being able to wear it with my skinny cords. This was quick and fun to make!
This little butte is near Terlingua, Texas outside the little town of Study Butte. GREAT little general store, with some of the nicest folks I've met on the road.
Please credit by linking to thoroughlyreviewed.com, NOT the flickr image.
"https://thoroughlyreviewed.com"
The city's Youth Study Center, currently located at 20th Street and the Benjamin Franklin Parkway, served to temporarily hold young people awaiting a court hearing or transfer a more permanent facility.
Global Student Outreach is committed to improving the lives of children and families of rural Cambodia by providing care for orphaned and abandoned children, supporting education, providing vocational skills and supporting Cambodian families. To donate please go to www.globalstudentoutreach.org/donate.php
Reportedly Herkimer's study, complete with Brown Bess and French-style colonial muskets in the back left corner. Pipes and pipe stems appear in this room and throughout the house, reflecting Herkimer's smoking habit.*
*Tour of the site
a scale study i did for my next design: a scaled european dragon. the scales are threedimensional what gives a very nice effect together with the right light.
whereas the general used scales(for example Kamiyas Ryu Zin or Langs Koi) decrease the area by a factor of 1/9 this one decreases the paper size by 1/4 what makes it better useable in complex models, although it may need an extra row of transition-units because the pleats are half of the general size when the scales have the same size.