Culture

Britain's most famous luxury car marque brings woodland magic to London Craft Week

At this year’s London Craft Week (12–18 May 2025), Rolls-Royce Motor Cars is bringing a captivating artistic display that reimagines the British countryside in exquisite detail and craftsmanship.

Created by artisans at the marque’s Goodwood headquarters, the triptych artwork draws on the flora and fauna of the British Isles, presenting a woodland scene across three evocative moments: day, evening, and night. The centrepiece is a kingfisher, depicted in each panel using a range of complex techniques, transforming leather, wood, metal and thread into an immersive natural tableau.

Chloe Dowsett, Bespoke Specialist at Rolls-Royce, explained the concept behind the triptych. “We wanted the three panels to talk to each other, to be connected,” Chloe explained. “The reeds at the bottom of the first panel, which are made of metal, in rusty red and mandarin orange, are matched in the second panel with grasses in leather dyed in similar hues.”

Paul Ferris, also a Bespoke Specialist at the marque, gave further details about the cohesive nature of the artwork. “For the first time we had the chance to create something that had nothing to do with…

Mesmerising mythology at a major new sculpture exhibition in Norfolk

Mythological beasts stalk the grounds of Houghton Hall – in a good way. The stately home in Norfolk is presenting Stephen Cox: Myth, an absorbing new exhibition of the work of the British sculptor. Arranged across the park gardens and interiors, this is the most comprehensive retrospective ever of the Royal Academician’s sculpture. Covering more […]

A landmark exhibition uncovering the artist’s overlooked prints

Everyone is familiar with JMW Turner’s matchless oils and watercolours. His 1839 masterpiece, the oil painting The Fighting Temeraire, is regularly voted the greatest British artwork of all time. To mark the 250th  anniversary of his birth, the Whitworth gallery in Manchester is mounting an enthralling new exhibition of his prints, equally magnetic, yet far […]

“Oh Lord, won’t you buy me a Mercedes Benz,” Janis Joplin

(Opening picture:Firebird I (XP-21) © General Motors Company.)

 

Sainsbury Gallery Victoria & Albert Museum. London.
Supported by Bosch Group
Until 19 April 2020

 

The V&A have surprised us once again with this incredible retrospective on the automobile, looking at the car as the driving force that accelerated the pace of the 20th century. Showcasing 15 cars and 250 objects across three main sections, the exhibition examines how the car changed our relationship to speed, how it changed the way we make and sell, and how it altered the landscape around us, from countryside to cityscape.

The show brings together a wide-ranging selection of cars that have never been on display in the UK, each telling a specific story about their impact on the world.

Advert in the Saturday’s Evening Post. © Courtesy of General Motors Company, LLC.

“Going Fast” opens the exhibition, exploring the role of the automobile in imagining a future world of liberated movement and technological progress. Bringing together a range of 20th century concept car designs, magazine illustrations, and film, the display references popular culture, science-fiction and novel technologies to show the central role of the automobile in imagining an accelerated future. This trip down memory lane brought back to my mind old comics and science-fiction magazines that my father collected, with their visions of the future and ideas of how mobility and transportation would shape human future.

From bright propagandist futures to the gritty and carbon burning reality that transpired, it feels as if all these years later, our visions of the future may still be very distorted. Fritz Lang’s Metropolis is still very relevant. You mustn’t miss Richard Arbib’s designs with his distinctive use of the “V”, immortalised in Hamilton watches. Arbib also did SciFi magazine covers, among them those in Astounding and Science Fiction Quarterly.

The section continues with the first-ever production car, the Benz Patent Motorwagen 3, introduced to the public in 1888. It debuted in the summer of 1886, with an engine that could barely muster 16km/h, the car proved its mettle in 1888 when Benz’s wife Bertha took the Motorwagen Nr. 3 for the first ever long-distance drive – covering almost 60 miles. Shortly thereafter racing over long distances became an increasingly popular sport, one that put a car’s reliability to the test, as much as its speed.

The Benz patent motor car, model no. 3.

The idea of speed quickly grabbed the fascination of the public, inspiring a worldwide racing culture, pushing the design and technology of cars to go ever faster. One such technology, streamlining, is explored through the Tatra T77 from the Czech Republic. Its sleek curves and style were designed to decrease drag, but would influence all areas of design, from cloche hats and radios to meat slicers. “Making More” explores the car as the archetype of modern manufacturing, the object that developed contemporary consumerism and turned production companies into global powerhouses.

A Ford Model-T from 1925 traces the origins of the assembly line, its widespread impact on other areas of production and its evolution into the high-tech automated factories of today. The introduction of the Ford assembly line transformed the automotive industry from carefully hand-crafted machines, available to a limited few, into a highly efficient operation that enabled the democratisation of the car. As a contrast to the Model T, a particular favourite of mine, Hispano-Suiza’s Type HB6 “Skiff Torpedo” 1922. French patron Suzanna Deutsch de la Meurthe bought this Hispano-Suiza HB6 chassis at the 1919 Paris Auto Salon. She then sent it to Henri Labourdette’s coachbuilding workshop to be custom built with a “skiff torpedo” wooden body inspired by the shape of boats. This commission would have been a hugely expensive and time-consuming undertaking – but it clearly signified, to her peers and to onlookers from the street, that the owner was a person of refined taste and deep pockets.

Hispano-Suiza Type HB6 ‘Skiff Torpedo’ 1922. Photo by Michael Furman © the Mullin Automotive Museum.

Another jewel in this exhibition is the 1953 Firebird 1 Concept Car Harley Earl/ General Motors. In the 1950s, General Motors designed a series of four concept cars under the label “Firebird”. They are directly inspired by aircraft fighters of the period, incorporating fluid silhouettes, cockpit seats, and jet engine technology into their designs. Subsequent iterations of the Firebird also imagined a future of autonomous driving, long before the technology was available.

The final section, “Shaping Space”, explores the vast impact of the car on the world’s landscape, nations, and cities. It looks at how the petrol engine beat early electric and steam-powered competitors by promising the ability to travel the world, transforming drivers into individual explorers. On display, global surveys of road conditions published by Michelin and a look at the special off-road cars called Auto-Chenille by Citroen to undertake a publicised treks across Africa and Asia, demonstrate this new market for cross-country adventure.

Richard’s Arbib design with his distinctive use of the “V” shape, which was replicated in Hamilton watch designs.

The exhibition also looks at the geography of petrol extraction, how it was celebrated early on as a miracle resource through products like Tupperware and nylon, and how the 1970s oil crisis inspired a new environmental movement. Early cars from the 1950s that attempted to address fuel scarcity such as the Messerschmitt KR200 bubble car, and the Ford Nucleon, a nuclear powered concept car are on display. A new film shines a light on the landscapes of extraction, from ageing American oil fields, to the booming lithium fields in Chile, promising to fuel a new electric future.

Vision of the future of urban transportation. © Italdesign

Returning full circle to the fantasy images of a future world, the exhibition ends with the Pop.Up Next autonomous flying car co-designed by Italdesign, Airbus and Audi. On display for the first time in the UK, the car combines the four major innovations transforming the future of driving: electric power, autonomous driving, service-oriented, and flying.

vam.ac.uk/cars

Anders Modig

Gods – La Tragedia Umana is a sold-out play in Stockholm about one of the most controversial figures of our time: the white heterosexual middle-class man. Anders Modig finds that it gives hope for a new, better and less toxic masculinity.

“What the fuck did we just see? This play just makes me hate men even more than before.” This 30-something woman, a complete stranger to me, just cannot stop herself from aggressively initiating a discussion. I do not agree with her – nor does the absolute majority of the audience flocking to see the critically acclaimed, sold-out play The Gods – La Tragedia Umana at Teater Reflex in southern Stockholm.

Written and directed by Emanuelle Davin and using Dante Alighieri’s Divina Commedia from 1320 as a framework, it takes a long, close look at one of our time’s most controversial figures: the white, heterosexual middle-class man. The question she pondered throughout the process was “What happens to somebody constantly pointed out as a perpetrator?”  Dante, brilliantly played by Teodor Olsson, is guided by Vergilius – portrayed by Daniel Ohlsson as incalculably as the Joker himself – through the nine circles of hell. In Davin’s 2019 Swedish version, deadly sins are married with pop-cultural phenomena such as game shows, the quest for an abdominal six-pack, and braggadociously expensive wristwatches.

Photo: © Anders Modig.

The initial tragicomic relief depicting burnout, soul-killing jobs and delusional intoxication quickly turns to violent bullying, brutal changing-room jargon and hyper-sexualisation. In a rape interrogation the accused claims to have no idea what went wrong – he just did what she asked him to. The intensely paced first act features a lot of collectively spoken, screamed and sung chorus by an extremely tightly woven ensemble. It’s no mean feat, given the fact that the 11 actors and 9 choir members – all men – are often spread out all over and around the stage. A collective clad in a blue, grey and pink fashionista camouflage, completed by black paint smeared on their faces – reminiscent of warpaint (or smeared mascara) – they run, they fight, they swear, they sweat, they scream. And they suffer.

As the second act slows down it enters the darker corners of toxic masculinity. Here Dante meets mentally abusive relationships, aggressively bitter and self-righteous incels, Molotov-hurling fascists dreaming of a nostalgic past that never existed and contented school shooters. One of the most memorable scenes deals with the cyclic repetition of a complete communication breakdown between father and son. I look around and realise that I am not the only one in the audience with tears in my eyes.

Towards the end Dante has, in his utter loneliness, confusion and inability to find a relevant masculinity, eventually lost it. His predestined heroic path has not become what it was supposed to be. Instead of carrying out Herculean deeds along a shining boulevard of victories, he has devolved into a mere patient in a psychiatric ward. Here he is hushed and lulled by a generous medication prescribed by Vergilius, while the latter has transformed into an intellectual psychiatrist: despite soft mannerisms equally as heartless and omnipotent as Nurse Ratched.

Photo: © Anders Modig.

So what do I make of this two-hour well-choreographed sweaty, violent, dirty, running, screaming, thumping, fucking, fighting, testosterone-fuelled display? Apart from the fact that theatre can be relevant and discuss the big issues without being placatory, it reminds me of the importance of a multichannel discourse. Yes, toxic masculinity is fucked up. Yes, men often lack communication skills, especially when in a group. But at the same time we must dare to see, think and say that men are also victims of existing patriarchal structures – just take a look at male over-representation in, for instance, suicide, violence and antisocial personality disorders.

If we want to move forward I believe that we must drop the male-hating attitude because even if it is understandable, it is anything but constructive. (And just imagine the contrary – me having seen, say, the play based on the SCUM Manifesto, and afterward aggressively approaching a female stranger to say “that just makes me hate women.” I would be tarred and feathered before getting slowly stoned to death.) The play also gets my hopes up about a future masculinity in which men have the strength to bring our own dirty laundry into the light – a masculinity where men dare to be themselves but not in an atomised way. Spontaneous post-play discussions revolved around what it is to be a good individual and part of a supportive collective.

The Gods – La Tragedia Umana is a brilliant, intellectual and physical awakening from the polarised nightmare around us. Playing in December 2019, and practically sold-out, it will come back with more dates in January 2020 and hopefully a tour.

About director Emanuelle Davin 


Emanuelle Davin graduated in 2016 from the national academy for actors in Sweden. Five of the plays she has written and directed have been performed at a mix of national institutions and private and independent theatres. As an actor she first performed in the national theatre at the age of nine. Since then, Davin has performed in 25 plays at a mix of the largest institutions and smaller venues.

Says Emanuelle Davin, who lives between Stockholm and Basel: “A struggle for women to be respected and be equal is still needed – but we must also see that men are victims of patriarchal structures. Women suffer the consequences, but men drown in them – because men are part of them and they don’t know how to break free and still call themselves men.

That’s why we need to create a more nuanced masculinity, and it is not up to women to define the male role. If we want a real change in men it must come from themselves. And it is not up to us women to raise them. So if we want a better masculinity for a more equal society, women have to take a step back

www.teaterreflex.se

 

by Lavinia Dickson-Robinson

It was with great honour and excitement that I was invited to the 39th edition of the Leica Oskar Barnack Award (LOBA) in Berlin. In these four decades, LOBA has become one of the greatest accolades in the photography world; one could say they are the Oscars of photography.

Each year, 12 finalists are chosen. Their portfolios are presented to the public in a major exhibition in the Neue Schule fur Fotografie in Berlin the last week of September. Winners receive a bursary of €25,000 and €10,000-worth of Leica M equipment. So prestigious are these awards that this year over 2,000 photographers from 99 countries submitted entries.

Leica is probably the most desirable camera in the world. We normally see those in front of a Leica lens, but look at who’s been standing behind this iconic brand, and you’ll find an impressive list of 20th and 21st-century icons. Let’s start with one of the most famous women in the world, HM The Queen, who uses a Leica: there are famous shots of Her Majesty, camera in hand, taking photographs of her husband, HRH Prince Philip Duke of Edinburgh, playing polo.  Another good example is Che Guevara, whose poster by Alberto Korda has graced the walls of students ever since it was taken in 1960 and who was, himself, a skilled photographer.

LOBA © Mustafa Hassona. Palestinian Rights of Return Protests.

He used a Leica. Sean Connery, Audrey Hepburn and Elvis Presley are other examples of celebrities who chose Leica when it was their time behind the camera, rather than in front of it, as they were used to being. Reportage photography showcases the interests of the photographer, revealing those subjects he or she believes are important enough to spend a long time and a lot of energy pursuing; resulting in one of the most creative ways for a photographer to express their view of the world. It has been said many a time that beauty is in the eye of the beholder. No image will ever mean the same through someone else’s eyes, but I guess that it is the photographer’s desire, that when looking at their pictures, we see what they saw when they pushed the shutter.

This year’s jury for the LOBA Awards consisted of Steve McCurry (photographer), Milena Carstens (Director of Photography ZEITmagazin), Enrico Stefanelli (Director Photolux Festival Lucca) and Max Pinckers (LOBA Winner 2018). I wouldn’t have wanted to have been chosen for this jury, as I don’t think I would have had the courage to choose a winner among so many thought-provoking and beautiful images.

The winner of the Leica Oskar Barnack Award was Mustafah Abdulaziz and the Newcomer Award was given to Nanna Heitmann.

Mustafah Abdulaziz chose Water as the title for his arresting series of images; a crucially important relevant subject, as fresh water is now one of the most serious concerns on our planet. Lack of rain leads to drought and with drought comes famine. In many underdeveloped countries, water supplies are dirty or polluted, or both, but people are so desperate that they are forced to use it, playing Russian roulette with their lives and those of their children. Nanna Heitmann called her series Hiding from Baba Yaga. Baba Yaga was a dangerous witch who lived in a hut in the forest. Legend has it that Baba Yaga imprisoned a little girl, who eventually escaped with the help of a thin black cat. The little girl suddenly remembered something the cat had told her and she dropped a comb and her towel. A great river suddenly appeared – that river today is the Yenisei, in Siberia, one of the longest rivers in the world.

LOBA © Nanna Heitmann. Hiding from Baba Yaga.

With her photographs, Heitmann documented life along its banks. Her work is powerful and raw; and it sent shivers down my spine, as my darling best friend Ania’s grandfather was sent there by the Soviets. Heitmann photographed enchanted forests and people in search of freedom depicting a journey into a kingdom of myths.

It is difficult for me to single out just one of these incredibly talented photographers, but if I had to, I would choose Enayat Asadi, an Iranian photographer who documented the war in Afghanistan. Not stopping there, he was determined to reveal the consequences of that war. Asadi spent two years in the area where Iran borders Pakistan and Afghanistan, taking harrowing images of the inhuman conditions for refugees there, as they hoped for a better future in Iran. I spent two months in Pakistan when I was 17, meeting many incredible people. Maybe it is because of that time that Asadi’s images meant so much to me. His commitment and dedication transformed his Rising from the Ashes of War series into a very special record of contemporary history. With little light and time to consider perspective or focus precision, the pictures show some technical and compositional imperfections – yet in my eyes these just add to their power and poignancy.

The work of all the finalists and winners of the Leica Oskar Barnack Award 2019 has taught me that through the lens of a simple camera, reportage photographers have risked their lives to remind us of what is important, to show us that we humans seem incapable of learning from our mistakes and that we need to wake up and understand that we are simply destroying each other and the world we live in.

Finally, I would like mention Mustafa Hassona and his Palestinian Rights of Return Protests series.  Born in Gaza in 1981, he has recorded through his Leica pain, terror, violence, death and destruction along the Gaza strip. These striking images were taken along the Arab side of the fence. Sometimes described as the Palestinian David against the Israeli Goliath; is this a conflict which can ever be resolved?

LOBA © Mustafah Abdulaziz. Water.

The work of all the finalists and winners of the Leica Oskar Barnack Award 2019 has taught me that through the lens of a simple camera, reportage photographers have risked their lives to remind us of what is important, to show us that we humans seem incapable of learning from our mistakes and that we need to wake up and understand that we are simply destroying each other and the world we live in.

I would like to thank all the photographers for their incredible work and Leica for giving a chance to
these talented artists to show to the world their stunning reportage stories.
www.leika-oskar-barnack-award.com

by Lavinia Dickson-Robinson

The very first thing I do after arriving in Florence is to go to the Santa Maria Novella Pharmacie, and with good reason. I have a habit of stocking up their divine scents soaps and candles… which are not cheap.

So after my shopping spree, I always need to settle my nerves and think of a plan to explain to husband how my credit card bill got so large. The answer, to sit on the terrace of my favourite bar in the square adjacent to Santa Maria Novella’s church to enjoy one of my favourite cocktails, a Negroni, a devilishly wicked cocktail that matches the little devils depicted on the frescoes of the church. With the first sip, my memory travels back to the 70s, when Campari was super chic, its vivid red served on the rocks with a splash of soda and a slice of orange.

In 2017, the craze for Campari resurged with the Campari Creates initiative, which saw artist Eley Kishimoto recreate the iconic Campari lettering on the Banks of the Regent’s Canal. The year after, Mark McClure created the art instillation Mostra which invited consumers to enter the magical world of Campari.

 

 

This year, in celebration of the iconic cocktail’s 100th anniversary, Campari and Galleria Campari present N100. The Art of Negroni, an exhibition of illustration, pictorial and photographic works from around the world to celebrate Negroni. The show features 29 artistic interpretations of the iconic cocktail with a CAMPARI soul. The cocktail was invented in 1919 in Florence at the Caffé Casoni by Fosco Scarselli, when the erudite and refined Count Camilo Negroni asked him to add gin instead of soda to his favourite drink: the Americano.

Starting from three equal parts of Red Vermouth, London Dry Gin and the indispensable Campari that make it up, the imagery of Negroni has been pieced together over the years through its appearances in literature, art and cinema. The Negroni is in fact drunk by James Bond in the film For Your Eyes Only; Ernest Hemingway included it in Across the River and Into the Trees; Audrey Hepburn is said to have called for Negroni to be served at the parties she organised during the filming of Roman Holiday; and Orson Wells apparently became a fan of the cocktail after discovering it in Rome in 1947 while shooting Black Magic.

Looking back at its fascinating history, some of the most interesting voices of the Italian and international artistic panorama have been called upon to interpret the iconic cocktail. Campari has inspired artists from all over the world, collaborating with partners such as Central Saint Martin’s College of Art and Design of London, the IED – Istituto Europeo di Design and the artistic collective Visionar from Milan.

The artists involved representing Italy are Alvvino, Giacomo Bagnara, Iolanda Bellotti, Elenia Berretta, Margherita Terraneo, Alessandro Cripsta, Federico Epis, Luca Font, Elisa De Alencar Rodrigues, Jacopo Rosati and Francesco Poiana. The exhibition also features a broad international presence with the works of Rupert Whale from the UK; Michael Corridore and Jamie Preisz from Australia; André Clemente from Brazil; Søren Behncke from Denmark; Emil Wikström from Finland; Julia Spiers from France; Alicia Martha Gisela Stricker from Germany; Spiros Halaris from Greece; Jan Chan from Hong Kong; Lianne Nixon.

 

 

The display titled The Art of Negroni showcases the results of these collaborations through a diverse collection of creative installations, illustrations, pictorial and photographic works dedicated to the Negroni cocktail and to what it represents, both in the collective imagination and in the personal visions of the artists involved.

The variety of works presented pays testimony to the various stylistic approaches that also reflect the range of refined billboards from the early 20th century to the Futurist designs ushered in by Depero, and the famous lettering in the works of Bruno Munari, while the subjects represented are inspired by the iconic Campari bottle itself, the botanical notes in the cocktail ingredients, right up to entirely abstract interpretations conjured up by the Negroni bouquet.

The Campari approach, both visionary and forward-looking, has thus always been a source of inspiration, and not just for bartenders.

Through an approach which is simultaneously classic and contemporary, the brand has forged artistic partnerships with both Italian and international illustrators, painters, directors, poets and sketch-artists, contributing to the development of an entrepreneurial vision for an avant-garde brand. The Art of Negroni is therefore also a homage to the extraordinary world of Campari advertising material, which ever since its origins in 1860, has made use of the arts as its narrative vehicle and communicative channel of choice.

Till Friday 20 December 2019. Viale A. Gramsci, 161, 20099 Sesto San Giovanni. Milano
www.campari.com/it/inside-campari/campari-gallery
Saatchi Gallery. London.
Until 3rd May 2020

Commemorating the centenary of the discovery that captivated the world, this exhibition brings us the largest collection of King Tutankhamun’s treasures ever to travel out of Egypt, a total of 150 original artefacts from the boy king’s tomb, of which 60 had never left Egypt before.

Visitors can discover the legend of the golden king before the historic treasures return to Cairo to be permanently housed with Tutankhamun’s full collection at the Grand Egyptian Museum, currently under construction in Giza. Once completed it will be a world-leading scientific, historical and archaeological study center that will cover approximately 3,000 years of ancient Egyptian history and house more than 100,000 artefacts.

The legend of Tutankhamun captured the world’s imagination when, in 1922, his tomb was unearthed by British explorer Howard Carter and financier Lord Carnarvon. A hundred years later, this is still the only Ancient Egyptian royal tomb ever found intact. World exhibitions in 1972 and 2007 drew record crowds. This time is no different, with London being the third of 10 cities to host the show, after record-setting stops in Los Angeles and Paris.

© IMG

 

Treasures of the Golden Pharaoh explores the meaning of the items in the royal tomb and how lucky it was that we discovered it at all. Born in 1342 B.C., Tutankhamun ascended to the throne when he was only 9 years old, after the death of his father, Akhenaten. In his short reign, he restored Egypt’s old traditions by returning the capital city to Memphis, and re-opened the long neglected temples of the gods and goddesses of Ancient Egypt. The pharaohs that succeeded Tutankhamun nearly managed to erase him from the history books. Thank God for Carter’s perseverance!

The ancient Egyptians believed that death was also a rebirth. Through nine immersive galleries that incorporate digital content, contextual material, audio and custom soundscapes, visitors to this exhibition follow Tutankhamun on his journey to the afterlife in his quest for immortality, discovering how his funerary objects were used on the perilous journey to the underworld where the king joined Ra, the sun god and creator of the world, represented in this exhibition by a life-sized statue that once stood guard over his burial chamber.

As visitors explore Tutankhamun’s life, they become part of perpetuating the Pharaoh’s immortality: to speak his name is to make him live. Unlike past tours, this show is exclusively focused on interpreting the significance and meaning of the king’s burial items. Tutankhamun died shortly after an accident around 1326 B.C. An X-ray taken in 1968 revealed damage to his skull, which could have been caused by a fall, a blow to the head, or during mummification. More recent CT scans suggest the likely cause of death was infection from a fracture in his left leg. Dr Zahi Hawass, one of the world’s most famous archaelogists, thinks that before the end of 2020, they’ll know the exact cause of his death.

Gilded Wooden shrine with scenes of Tutankhamun and Ankhesenamun. © Laboratoriorosso, Viterbo, Italy.

Dr Tarek El Awady, curator of the exhibition explained, “The Valley of the Kings, where the tomb of Tutankhamun was unearthed, was reserved as the sacred burial place for the kings of the New Kingdom. 61 tombs had been found in the Valley before the discovery of Tutankhamun’s tomb (kv62). Few artefacts had been recovered from the royal tombs in the valley, and the only tomb recovered almost intact before Tutankhamun’s, the tomb of Yuyia and Tuyu, was not a royal burial.

From the treasure of Tutankhamun, less than 2000 objects out of the 5,000 found were on display in the Egyptian Museum and the rest of the treasure was stored, due to the lack of the space in the museum. Therefore, a new home for Tutankhamun’s treasure will be inaugurated in the year 2020, the Grand Egyptian Museum, which will host and display all of the treasure of Tutankhamun for the first time.”

As Dr Hawass said, “Each item had a specific purpose for the pharaoh’s perilous journey to the afterlife.” Tutankhamun was certainly buried with some extraordinary burial furniture, but it was largely “borrowed”. Some of the most famous objects in his tomb were originally made for a Queen/Pharaoh, who reigned for a brief period between Amenhotep IV/Akhenaton and Tutankhamun. This Queen/Pharaoh was none other than Princess Merytaton, Tutankhamun’s elder sister. For some reason, she was not buried with the furniture of a king, but merely as a member of the royal family and these objects were thus reused for his brother’s burial. Furthermore, the smallness and unusual shape of Tutankhamun’s tomb in the Valley of the Kings suggests that it was not his. It may be assumed that a tomb of royal dimensions had been begun, but that it was unfinished when he died. It was therefore necessary to make use of a tomb that could be used and decorated rapidly, once part of the burial furniture was installed—as attested by the drops and splashes of yellow paint accidentally and hurriedly left by the necropolis artists on the gilt-wood external chapel.

Tutankhamun’s Wishing Cup in the Form of an Open Lotus. © Laboratoriorosso, Viterbo, Italy.

The search to discover more treasures hidden under millennia of sand continues. Dr Hawass has high hopes for the near future: “I am excavating next to the tomb of Tutankhamun, I am searching for the tomb of Queen Nefertiti and Queen Ankhsenamun, the wife of Tutankhamun.

In addition, I started the Egyptian mummy project in April 2019, scanning 28 mummies to reveal their mysteries. Using modern DNA techniques, we are examining the two female queen mummies found in KV 21 because one of them, the headless one, might possibly be of Ankhsenamun due to preliminary studies. We also suspect that the other KV 21 mummy could be of Nefertiti.”

www.tutankhamun-london.com

 

 

by Papa-Sono Abebrese

Having just completed watching Peaky Blinders, I think I understand why the whole country seems to have fallen in love with the character of early 20th century gangster Tommy Shelby and his family.

Set just after the end of WWI, this is quite an intriguing and somehow intellectual series.  During five seasons, we follow Tommy Shelby, a Birmingham gangster\businessman as he builds and maintains a thriving empire consisting of both criminal and legitimate businesses, from Small Heath, an unsavoury ghetto in Birmingham, along with his squad: the Peaky Blinders. Similar to many, if not all gangster movies and TV shows of our time, family seems to be the nucleus and the main drive for Tommy’s ambition, and the reason for much of his success.

Initially, the main earner for their franchise is illegal bookmaking, namely fixing horse races, a sport for which Tommy feels a deep passion. What excited me the most while watching this show, is seeing the gradual expansion of their empire throughout each season, not only financially, but in power, territory around Britain, and most amazingly, with their political connections. Creator Steven Knight has infused this man with savvy finesse and coordination, making him a completely credible character, even in his direct dealings with Winston Churchill.

The fictional gang is loosely based on the Peaky Blinders, a real 19th century urban youth gang who were active in the city from the 1890s to the early 20th century.

In case you are one of the very few human beings who have not watched the series, let’s start with their living situation. In the first season, each member of the family lives in their own tiny shack in Small Heath. They’re more than comfortable with this setting, it allows them quick and easy access to the whole district, and are always amongst the people so they can regulate the community as they so wish. Their main headquarters is a gated up concealed fortress from which they oversee their gambling operation. A handful of Tommy’s soldiers, along with his two brothers (Arthur and John) and Aunt Polly (second in command after Tommy), keep things in order. In the evening they all go to a pub called the Garrison where the men l socialise, hold meetings, and get insanely drunk till the early hours of the morning.

Cillian Murphy as Tommy Shelby. Photo: © Annie Forrest.

Although content with their humble beginnings, Tommy has a secret addiction to opium, which he smokes at the end of his day, locked up alone in his low key dwelling. This is to help battle the demons and horrors he endured while serving in WWI as a tunneller.

During one of his crew’s heists, they come across a consignment of military grade guns. This seizure by Tommy’s boys has the police, local rivals, and of course the IRA frantically making enquiries, and its not long before they’re all looking in direction of the Peaky Blinders. The head of the police sends a female undercover agent to apply for a job in the Garrison in an attempt to infiltrate the Peaky Blinders and acquire information. However, as television would have it, Tommy manages to charm and style her to the point she falls hopelessly in love with him, fully defects to his side, and marries him, also shooting the head of police, the same one that sent her to play spy in the first place. Like I said, just as television would have it..

The Peaky Blinders criminal endeavours steadily grow and prosper to the point they can diversify their portfolio. They buy racetracks and horses around the city, and are now legitimising their operation which by then extends to London. Still there is plenty of work to be done on the streets. All members of the crew wear peaked flat caps, and cleverly concealed in the brims would be small razor blade, so whenever a brawl would break out, they would snatch off their hat, and wreak chaos, many times blinding or slitting the throat of their opponents, hence the name Peaky Blinders. Should the blades not be sufficient, guns and bombs are readily at hand. All in the name of letting their business and reputation grow, and that it definitely does. Riding on horseback soon turns to driving elegant automobiles.

By the start of the second series, Tommy has relocated to a smart mansion out of the ghetto, further out in the country, with his wife and new born baby boy. Their gambling HQ has increased in size, with more steel gates, safes, employees and security personnel. As well as the garrison, the firm also have a collection of other pubs under their control. In addition to this, they are now in the business of manufacturing and exporting vehicles.

Tommy takes one of his biggest losses in season three when his wife is shot dead in their own home during a lavish charity ball. This doesn’t break him, but fills him with anger and takes him to an even more violent and carefree approach to his ventures, leading to him swindling and tricking his way to poor decisions which nearly could have cost the whole family their lives. The end of this season sees all of them (minus himself somehow) charged with multiple murders, shootings, and bomb explosions. Minutes before they are all to be hung for their offences, Tommy cunningly manages to negotiate a deal with associates he has established in top standings in Parliament and all are spared. The show must go on.

Tom Hardy as Alfie Solomons. Photo: © Annie Forrest.

Season four shows the affluence spread out to the senior members of the family. Polly and Tommy’s two brothers each move into bigger, more luxurious lodgings in smarter parts of the city. Another legitimate venture they have undertaken is manufacturing alcohol, a few distilleries have been set up in different parts of their territory. Sadly, one of the brothers, John is killed in what will initiate a war with the mafia, who have waged a vendetta for the killing of one of their men, Mr Changretta, by the Peaky Blinders. By the end of this season, the mafia has of course lost and more spectacularly, Tommy has managed to use his network and links to parlay for himself a position as Member of Parliament, representing Birmingham.

Residency in London is next for Tommy so he can continue his political exploits in season five. It takes for him to get to this position to realise he is now dealing with the most evil, black hearted, and powerful men he has ever encountered in his colourful career. His first face to face meeting with Winston Churchill reveals that they have a common nemesis, but this enemy will take longer than a season to eliminate. Therefore, we impatiently await for season six, which is speculated to be filmed then aired, either end of 2020 or early the following year.

Concluding, I feel that the Peaky Blinders series has been such a phenomenal success for as long as it has, plus a distinguishable credit for British television because of its ingenious amalgamation of violence, love, family and the paramount factor: the rise to the top. Also, all creeds and classes of life enjoy watching because all levels of society are featured in the series. Tommy rubs shoulders with all social classes over the series.

Lastly, I do feel younger audiences and other easily influenceable viewers should beware. In my 30 years of watching television, I’ve never seen a show where the characters drink and smoke so much! It amused me to no end, on average I calculated Tommy would smoke 12 cigarrettes per episode. Sometimes even more. Maybe that’s just what it was like in the ‘20s.

Available on BBC and Netflix.

On Saturday November 2nd, more than 1,000 people joined in a day of celebrations at

Auckland Castle opening- An aerial view of Auckland Castle and Bishop Auckland. Photograph © Peter Haygarth. Courtesy of The Auckland Project.

Auckland Castle as the historic site opened its doors for the first time in three years. The 900-year-old castle, once home to the powerful Prince Bishops of Durham, has re- opened following extensive conservation work, led by regeneration charity and visitor destination, The Auckland Project.

The Auckland Project is working to create positive change for those living, working and visiting Bishop Auckland and to ensure the town’s future is as magnificent and vibrant as its past.
To do so they are creating a visitor destination in Bishop Auckland, incorporating Auckland Castle, a Spanish Gallery, Faith Museum, Walled Garden, Deer Park, Mining Art Gallery, Auckland Tower visitor centre and an outdoor spectacular, Kynren – an epic tale of England, performed every summer on a 7.5- acre stage.

To celebrate the re-opening of the Castle, a sell-out crowd of residents from Bishop Auckland and its surrounding towns and villages enjoyed live music and entertainment at a Georgian-themed community celebration.

A ceremony was also held, with speeches from Jonathan Ruffer, Founder of The Auckland Project and Tiffany Hunt MBE, Chair of the Committee for the North of England at The National Lottery Heritage Fund. Mrs Sue Snowdon,Her Majesty’s Lord-Lieutenant of County Durham, also spoke before cutting the ribbon to officially declare the Castle re-open. Speaking at the opening, Mr Ruffer said: “The visitor destination is the first visible sign of what we’re doing, but our purpose here is to see Bishop Auckland back in the style and the confidence that it had 100 years ago.”

Watching the crowd that turned up for the event, Mr Ruffer added,

“The real pleasure is not looking at the bricks and mortar but at the marvellous turn out today, what tells us that here we are looking at the future of Bishop Auckland and it’s a bright one.”

The conservation of Auckland Castle has been supported by a number of organisations and individuals, including a £12.4m grant from The National Lottery Heritage Fund. Sir Peter Luff, Chair of The National Lottery Heritage Fund, said: “We are delighted that, thanks to National Lottery players, this significant site has undergone conservation. The Castle’s transformation into an arts and cultural centre will connect people with their heritage and act as a major catalyst for the regeneration of Bishop Auckland. We hope Auckland Castle will be an inspiration for heritage organisations across the country, encouraging even more of them to work to boost their local economy and ensuring the UK is an ever more attractive place to live, work and visit.”

Photograph, House of Hues, courtesy of The Auckland Project.

Reflecting the rich history of Auckland Castle and its grand Georgian State Rooms, visitors at the opening event enjoyed a host of history-themed entertainment with appearances from characters from the 18th century, such as Bishop Shute Barrington, as well as sword fighting demonstrations and live music from the era.

Attendees of all ages also had fun stepping into Georgian-themed fancy-dress, taking part in craft activities and trying their hand at fencing and archery. Throughout the day, people were invited to record their personal history and links to Auckland Castle on a special Memory Tree.

The Bishop’s Kitchen café, inside the Castle, was open for the first time, offering a selection of snacks, sandwiches and treats all created by The Auckland Project’s Catering Team to keep visitors well fueled throughout the day. 1,000 ticket holders were given the opportunity to be among the first to step back through the Castle doors to see the newly conserved building and explore the untold stories of power and faith that lie behind its walls.

Auckland Castle Opening St Peter’s Chapel Auckland Castle. Photograph by © Graeme Peacock.

Visitors were able to walk through centuries of the Castle’s history, from 300-year-old St Peter’s Chapel, through the carefully conserved grandeur of the Georgian Gothic State Rooms to the bishops’ private apartments, which have been opened up for the first time. Clare Baron, Head of Interpretation and Exhibitions at The Auckland Project, said: “After three years of hard work and careful conservation it’s so exciting to see the Castle doors re-opened and visitors welcomed back inside. The story of Auckland Castle and the Prince Bishops of Durham spans more than 1,000 years but for various reasons has remained relatively untold. Now, thanks to extensive conservation work and research, visitors are able to walk in the footsteps of the men who helped shaped the country we live in today.”

Following its official launch, Auckland Castle is now open Wednesday to Sunday, 10am to 4pm, last entry 3pm. Entry is priced at £10 for adults, £8 for concessions and £3 for under- 16s. Tickets can be pre-booked until March 2020.

Entry includes admission to the Bishop Trevor Gallery, which houses a programme of special exhibitions of fine art, with a focus on European painting from the medieval period to the present day. Currently, the gallery is home to the National Gallery Masterpiece Tour 2019, sponsored by Christie’s, which sees Nicolas Poussin’s The Triumph of Pan displayed alongside other works.
Visitors can also purchase an Auckland Pass, starting at £12.50 per adult, which offers entry to Auckland Castle and Bishop Trevor Gallery as well as The Auckland Project’s Mining Art Gallery and Auckland Tower visitor centre until January 2021.

Bookings can be made online (10% launch discount), at www.aucklandproject.org , via telephone,
on 01388 743797, or in person at Auckland Tower, Bishop Auckland Market Place.

 

by Lavinia Dickson-Robinson 

An extraordinary O of Britain’s most stunning natural and historic landmarks by artist Francis Salvesen. Sneaking through the school art room window aged eight, Francis Salvesen drew and painted all the time. His passion for art continued during his career in the army, where he spent his free time painting wild scenery.

An entirely self-taught artist, Francis has developed his work alongside diverse careers across many different continents. Encouraged and inspired by his artist godfather, Francis developed his artistic talent painting portraits of family members for fun and as gifts.

Francis’s love for nature shows in this collection of 50 oil paintings of some of the UK’s most beautiful and historic sites. His vivid and evocative colour schemes virtually guide visitors around the UK through the effects of light, colour and atmosphere.

From the white cliffs of Dover, John O’Groats and the Giant’s Causeway to water cascades in the Brecon Beacons, Brighton Pavilion and Eilean Donan Castle in the Scottish Highlands, Francis’s paintings reveal monumental views across England, Scotland, Wales and Northern Ireland, capturing the transient effects of light and immersive layers of detail. These are passionate tributes to the diversity and beauty of the British landscape and he hopes his works will highlight the environmental importance of these unique sites.

Pulpit Rock, Dorset.

Historic monuments such as Brighton Pavilion or Eilean Donan Castle showcase the remarkable history and architecture of the British Isles. Based on studies, photos and, sometimes, repeated paintings of the same location at different times of day in different seasons, these sites are brought to life through Francis’s vivid and poignant treatment of colour.

Part of the long tradition of British landscape painting, Francis’s meticulous and passionate works explore the unique majesty of places he has come to love, while also raising important questions about how these sites can be preserved and maintained in the face of development and environmental threats.

Francis says:

“I hope that my paintings will allow me to guide you around the country, on my voyage of discovery. Certainly, I found the scenes deeply inspiring. I took photographs as the cloud formations, seasons, lights and colours impacted on my conscious and subconscious, and detailed my thoughts in the poetry that accompanies each painting. I hope my exhibition will inspire others to be passionate about the natural wonders of the British landscape.”

Great British Landscapes. La Galleria. Unit 30, Royal Opera Arcade, 5b Pall Mall, London SW1Y 4UY.
Exhibition opening hours are 8am-11pm Monday to Friday and 9-6pm on Saturday 16th November. Free Entry.

 

www.brilliantbrushstrokes.co.uk

 

A life lived in the name of duty

Sergeant George Edgar Hildreth .

Sixty million soldiers from all over the world served in Word War I, fighting in locations all over the planet, from France to Greece, Turkey to China, the North Sea to the Pacific Ocean. The acceleration in the development of warfare technology at the end of the 19th century meant that combat in WWI became a unique and terrifying experience.

In the UK around six million men were mobilised during WWI, and of those, 890,000 died during the war. Over 16,800 civilians also lost their lives. A lot has been written about the famous battles of the Great War: Somme, Marne, Gallipoli, Amiens, but only the valour of a few men has been recognised: Alvin York, Henry Johnson, Alan Jerrard, and even a woman, Edith Cavell, a British nurse who helped 200 Allied soldiers escape from German-occupied Belgium. But what happened to the other millions of soldiers that dutifully and bravely served day after day in the front line? What happened when men, often not even 20 years of age, were given the order of ‘going over the top’?

One such man was George Edgar Hildreth, the son of the local blacksmith in Prestwood, Buckinghamshire. The Hildreths have been in the area for a long time and had been instrumental in the development of the village, contributing with most of the ironmongery for public buildings, including that for the Church. Such was their presence in Prestwood that there is even a Hildreth lane today, a Hildreth’s Garden Centre and a Hildreth’s Hardware Store.

When WWI started in 1914, his brother Harry stayed to look after the blacksmith shop and George signed up to go to war. He joined the rifles, the South Wales Borderers and was trained at Bisley, at the Royal Regiment training grounds in Surrey, to become a sharp shooter. In Sebastian Faulk’s famous novel Birdsong (1993), the author focused in how the experience of trauma shapes individual psyches. One of the main characters is a miner who, in 1916 France, was a soldier ordered with digging out the explosives in no man’s land, so they could blow them up remotely and move on.

Front of postcard sent by Sergeant Hildreth to his wife from the Somme.

Sergeant George Edgar Hildreth was doing the opposite. As a sniper, he was out there in no man’s land, wading through the mud, the blood and the bodies that were lying around, to position himself, looking to mark Germans and take them out, one by one. That’s what he did from 1914 to 1918. He was 6ft 6’, hard to miss. However, he had to keep cool, crawl, and slither, and somehow, he managed to survived unscathed for three and half years. He was posted to France, to the trenches, as part of the Western Front. Landing in Le Havre in 1914, he was deployed first to Ypres and from there, later in the war, to the Somme.

For the soldiers of WWI, combat was an exceptional circumstance, rather than the norm. For many, life consisted of toiling to keep those at the front supplied. One could even say that frontline troops had not too bad a life, as they were regularly rotated to make sure that the time they spent facing the enemy was balanced with time spent at rest, even going on home-leave. As a frontline soldier, Sergeant Hildreth’s every day life was pretty much the same, the sodden squalor and listless life of facing forward until day’s end: live in the trenches, go out, set up your position, settle, take aim and shoot. The only respite was the occasional leave to go home and see his wife.

That said, the reality of life in the front was much harder

That said, the reality of life in the front was much harder. Men were exposed to the elements for days or weeks on end, with limited shelter from cold, wind, rain and snow in the winter or from the heat and sun in summer. Artillery destroyed the familiar landscape, reducing trees and buildings to desolate rubble and churning up endless mud in many areas. The deafening and disorienting noise of artillery and machine gun fire, both enemy and friendly, was incessant. It is true though that in some quiet sectors there was little real fighting and a kind of informal truce could develop between the two sides. Even in more active parts of the front, battle was rarely continuous and boredom was common among troops, with little of the heroism and excitement many had imagined before the war.

On the other hand, the men and women who served in WWI endured some of the new brutal forms of warfare ever known. Millions were sent to fight away from home for months, even years at a time, and underwent a series of terrible physical and emotional experiences. The new technologies available to WWI armies combined with the huge number of men mobilised made the battlefields of 1914-18 horrific.

Message form postcard sent by Sergeant Hildreth to his wife from le Somme.

Men ordered to attack – or ‘go over the top’ – had to climb out of their trenches, carrying their weapons and heavy equipment, and move through the enemy’s “field of fire” over barbed wire, keeping low to the ground for safety… and avoiding landmines. The objective was to reach the enemy’s front line, and use rifles or bayonets to attack the enemy directly in their own trenches. Once the defenders were eliminated, the attacking force seized the position… in theory. In reality, these tactics were often unsuccessful and victorious attacks were rare, ground gained by attrition; every inch was earned in the blood, sweat and tears of the men who fell to provide the way for their fellow soldiers. Casualties were extremely high, with many men killed and wounded: attackers often suffered higher casualties than defenders. Wounded men were carried or escorted back to field hospitals for treatment, while the dead could only be buried if there was a break in the fighting.

In January1918, Sergeant Hildreth was shot in the head and presumed dead. A telegram was sent to his wife from the War Department saying:

Sorry to inform you that your husband made the ultimate sacrifice to your country and died in combat. Thank you for your sacrifice…

Unknown to all of them, Hildreth had spent two days crawling in the mud and rain with a massive head injury, cold, alone, disoriented and scared. He finally arrived to a French field hospital where he was treated.

Three weeks after the telegram from the War Office, a postcard and letter from him arrived to his wife saying, “I expect you’ll be surprised to get this letter from me, dear, but I thought I’d let you know that I was slightly wounded in the face and shoulder but nothing serious.” Where this man found the courage and presence of mind to write such a letter, I can’t imagine. After that, he was dismissed from service and went back home. In this day and age, when information arrival is almost immediate, it is hard to comprehend that someone could be presumed dead; that actually measures were undertaken to finalise the life of Sergeant Hildreth, and yet, he was alive and reliant on a postcard from a hospital bed to prove he was still among the living.

Sergeant Hildreth’s only son, George, was born in 1925

Hildreth took a short break and then went to train other sharp shooters at Bisley, before joining Scotland Yard in 1921. He was given Detective status, and put in charge of the Prime Minister’s security at Chequers all the way through the 1930s. Sergeant Hildreth’s only son, George, was born in 1925. Despite peace and the uneasy overtures of hostilities returning to Europe, it was the smallest and most hidden of killers that bettered George Hildreth in the end. In 1937 Hildreth refused to leave his post as Head of Security at Chequers, despite of having a bad cold, which turned into pneumonia and eventually, killed him. Just months before penicillin became widely available and in the prime of his life, Sargeant Hildreth’s life was cut short by an invisible enemy.

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