Tuesday, 19 June 2018

Vienna at the turn of the century




Vienna at the turn of the century at the Leopold, Vienna.

Another exhibition we saw in 2016 when we visited Vienna.





Anonymous, Byoubu, Japanese folding screen showing Grain Before the Harvest








Adolf Boehn, Poster for the 8th Exhibition at the Vienna Secession, 1900




Adolf Boehm, Poster for the 15th Exhibition at the Vienna Secession




Alfred Roller, Poster for the 16th Exhibition at the Vienna Secession, 1902





Gustav Klimt, Death and Life, 1910/11, reworked 1915




Gustav Klimt, A Morning by the Pond, 1899




Gustav Klimt, On Lake Attersee, 1900




Hans Schachinger, Country Child with Hat




Richard Gerstl, Half-Nude Self-Portrait, 1902-03, (oil on canvas)




Oskar Kokoschka, Tre Croci - Dolomite Landscape, 1913




Oskar Kokoschka, Poster for the Wedekind Week, 1912, 1912



Oskar Kokoschka, Pieta (Poster for the Summer Theatre in the 'International Kunstschau 1909)




Albin Egger-Lienz, Dance Macabre IV, 1915




Albin Egger-Lienz, Last Dance Macabre, 1809, 1921



Saturday, 16 June 2018

More ceramics at the Stratford Gallery




More ceramics at the Stratford Gallery.







Pierre Williams.   I have seen Williams' work before. I used to think they weren't my cup of tea, but I am not so sure now.




Pierre Williams. Seated male nude on 'I' plinth, (sculpted earthenware, gold lustre)










Seated Female Nude, (sculpted earthenware, gold lustre)




Seated Male Nude on Ninth (sculpted earthenware, gold lustre)




Two Pugilists Waiting for the Swifts, (sculpted earthenware, gold lustre)





Stephen Parry, large round pot, (wood fired, apple tree ash glaze)




Stephen Parry, large round jar, (wood fired stoneware, ash glaze)




James Hake





James Hake, facetted vase, (nuka glaze)




Peter Wills, tiny green porcelain bowls with impressed pattern








Emma Clegg, small celadon porcelain bowls with textured exterior













Mizuyo Yamashita, Mentori vase




Rhian Malin, large honeycomb fluted ginger jar, (porcelain)





Rhian Malin, small cobalt blue honeycomb facetted ginger jar




Emma Clegg, mantlepiece bud vase group with crackle glaze






Tuesday, 12 June 2018

Packwood House



On our way to Packwood, across the road from the house,




we came across this ancient meadow which was a delight.




We then continued on our way and entered the courtyard of the main house.




Through another gate and we were in the gardens.





We headed straight for the sunken garden which has a pond in the middle.







and lots of planting on the sides.




The water lilies in the pond were just about to flower




while the borders were a riot of colour










In one corner we spotted this oven which originally heated the wall to keep late frosts off the fruit trees trained on it.




We moved on to the back of the house




and the tail end of the orchard. Packwood grounds are an interesting combination of the wild and the cultivated - so much of it is left to grow naturally so that meadows happily co-exist with highly cultivated areas.





The lakeside walk was pleasant




with the lake on our left




but we soon took and diversion - we had seen a sign for an art installation and decided to go and explore



We soon reached the Prospect Room, designed by Catherine Aitken and David Murphy







We retraced our steps, walked around the lake




and soon entered the woods








and eventually reached the buttercup meadow




with the odd lily planted in its midst. This is a recent meadow, established in 2003 and is still developing.


 

We had a good view of the yew garden from here, which was our next destination




It is awesome and majestic





people dwarfed by the huge yews




This yew garden is considered one of Britain's major topiary gardens. It has evolved into its present appearance over the last 350 years. The area started life as an orchard, with the largest yews and undulating box hedging dating from the 1600s. The legend of Packwood's yews symbolising the Sermon on the Mount was first recorded in the Victorian period. The area took on its present character in the early 1900s when the last remnants of fruit trees growing amongst the yews were cleared away. 










We left the yew garden and moved on to the raised terrace





which afforded good views of the house.




The planting here is delightful




with iris predominating.




We entered one of the four late 17th century pavilions that guard the points of the compass in the Carolean Garden which were designed as prospect rooms, summer houses and banqueting houses. The banquet was the part of a formal dinner where, at the end of the meal, ladies and gentlemen would desert the dining table to enjoy sweet and alcoholic foods away from the dining room.




A last look at some more iris, and then it was time to go home.