All lectures are held at Potten End Village Hall; for directions Click Here. Coffee and tea is available from 10.00 am prior to the prompt start of the lecture at 10.30 am.
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Morning Lecture Programme
Wednesday 27 September 2017 - The Gate of Heroes - on the China trail - Lars Tharp
From the mountains of Jiangxi province in far off China, down river, over lake and mountain, and finally across the oceans, nearly all the Chinese ceramics on display in European museums, stately homes, palaces and personal collections are survivors of that epic journey and of monumental human labour - luxury created by the labour of the masses. Each year in the 1600s and 1700s, millions of pieces - services, vases, and ornamental wares - were carried from the fabled city of Jingdezhen (the Porcelain Capital of the World) over the mountain border into Guangdong province, passing through the aptly named 'Gate of the Heroes'.
Guangdong Province China
The second part of the journey was no less perilous – the 12,000 mile sea voyage to Europe on an East Indiaman vessel. Many did not make it as the wrecks around the shores on the route to and from Europe bear silent witness.
Our speaker today Lars Tharp will take us on the same journey - one you may have seen in his 2011 BBC film ‘Treasures of Chinese Porcelain’ . Thereafter, knowing the great human labour involved, you will never again look at a piece of Chinese porcelain without this great journey coming to mind.
About the Speaker - Lars Tharp
Lars is an expert on both Ceramics and Hogarth. He consults worldwide for individuals, museums and galleries as well as acting as an occasional guest curator. Born in Copenhagen, Lars read Archaeology at Cambridge, was an auctioneer and then director at Sothebys for sixteen years. He was made director of the Foundling Museum in London in 2008, and is now its Hogarth Ambassador. Lars has appeared in many programmes on TV and radio including the Antiques Roadshow. He is also passionate about music.
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Wednesday 25 October 2017 -Vivaldi in Venice - Peter Medhurst
Vivaldi is the one Baroque composer whose music is a direct reflection of the city in which it was composed. Listen to a Vivaldi concerto and hey presto you are transported directly to the heart of 18th century Venice. The reasons for this are many – Vivaldi’s passion for colour, display and spectacle in his music; the unusual way in which Venice solved its problems with the poor and the homeless; Vivaldi’s health problems and his eccentricities as a man and a priest. Against the luxurious backdrop of 18th century Venice, and with live musical performances, this lecture explores the amazing world of Vivaldi’s music - music that is as intrinsically Venetian as the canvasses of Canaletto.
About the speaker
Peter appears in the UK and abroad as musician and scholar, giving recitals and delivering illustrated lectures on music and the arts.
He studied singing and early keyboard instruments at the Royal College of Music and at the Mozarteum in Salzburg.
Wednesday 31 January 2018 - Rescuing the mosaics of Zeugma from the flood waters of the Euphrates - Louise Schofield
In Spring 2000 an archaeological drama began to unfold on the banks of the Euphrates river in Turkey, close to the border with Syria. A small team of French and Turkish archaeologists found the Roman city of Zeugma on the banks of the river, with mosaics and wall-paintings finer than those of Pompeii.
However, just beside them was the almost completed Birecik Dam,
and the Turks had begun to flood the great reservoir behind it, putting the city under water.
Louise Schofield was instrumental in setting up the multinational rescue excavations at Zeugma before it was flooded for the Birecik dam.
In her lecture Louise will talk about the magnificent ruins of this ancient city which was sacked in the third century and then covered by a landslide - Roman villas with superb mosaics which have lain below pistachio groves in southeast Turkey for nearly 2000 years.
Once Zeugma was on the Silk Road between Antioch and China, with a quay on the River Euphrates and an affluent population of some 80,000.
The race is now on to preserve Zeugma from the rising waters of a new dam built for irrigation and energy production.
About the speaker
Louise Schofield was curator of Greek Bronze Age and Geometric Antiquities in the British Museum from 1987 until 2000. She has recently taken the post as Visiting Professor at The American University in Rome.
Louise was in charge of the British excavations and, with archaeologists from Turkey, France, Germany, and US, worked against the clock to excavate, preserve and lift the mosaics, many of which are now housed in a museum at Gazientep in Turkey which is the largest mosaic museum in the world.
Today she writes, lectures and runs international archaeological projects, mainly in south-eastern Turkey, Greece, Albania and Ethiopia. Her latest book, The Mycenaeans, was co-published by the Getty Museum and the British Museum in March 2007.
Wednesday 28 February 2018 - Understanding Cubism - Jacqueline Cockburn
One of the most cryptic movements in art will be explained through a variety of means. This lecture will consider the language we need to understand Cubist works and to be able to find meaning. It will also explore the working relationship of Picasso
and Braque after the painting of Les Demoiselles D’Avignon and also show other so-called Salon Cubists such as Léger and Juan Gris who made Cubism more palatable for its audience.
About the speaker
Jacqueline Cockburn is a linguist and art historian, with first degrees in French and Spanish and Art History, and an MA in Applied Linguistics. She has a PhD in Art History and Spanish, her research centring on 'The Drawings of García Lorca as gifts, citations and exchanges'. She was Head of Art History at Westminster School for 16 years and has lectured at Birkbeck College, London for 20 years.
Jacqueline is now Managing Director of an art tour company and is currently publishing a book on Masterpieces of Art in London.
Wednesday 28 March 2018 - Easter presents from Fabergé - Clare Phillips
Of exquisite design and unfailing ingenuity, the Easter eggs made by Fabergé for the Russian Imperial family rank amongst the most extravagant and wonderful examples of the goldsmith’s art.
Each year from the mid 1880s to 1917 different events or themes were commemorated in these eggs - from the opening of the Trans-Siberian railway to the icy beauty of a Russian winter; from the tercentenary of the Romanov dynasty to the domestic pleasure of petit-point embroidery. Fabergé drew on the most skilled designers and craftsmen and worked with an astoundingly wide range of materials.
Fabergé’s Rose Trellis Egg
Enamelled gold and diamonds set in silver, given by Tsar Nicholas II to Alexandra Feodorovna, Easter Day 1907 (height 7.7cm).
Collection: The Walter Art Museum,Baltimore.
This lecture will be a celebration of these great works and the techniques by which they were created, and will also explore the range of more modest Easter gifts and the wider context of how Easter was celebrated in Orthodox Russia.
About the speaker
Clare Phillips is a curator at the Victoria and Albert Museum, specialising in the history of jewellery, and was closely involved in the creation of the V&A's new jewellery gallery. She selected the jewellery for the V&A's acclaimed exhibitions, 'The Cult of Beauty', 'International Arts and Crafts', 'Art Deco' and 'Art Nouveau'.
In 2006 Clare curated 'Bejewelled by Tiffany' at the Gilbert Collection, Somerset House. She has also written several books on the history of jewellery.
Clare has an MA in the History of Design from the Royal College of Art.
Online ticket registration for visitors (ie Non-members of ADFAS Morning) is available via Eventbrite using www.eventbrite.co.uk/e/adfas-morning-talk-easter-presents-from-faberge-tickets-44255716038
Wednesday 25 April 2018 - The Gardens of Versailles - Jane Gardiner MA
The Gardens of Versailles
During this lecture our speaker will look at the work of André le Nôtre, royal gardener to Louis XIV and the magnificent gardens he created for the ‘Sun King ’ at Versailles.
We will examine the laying out of the formal terraces, the great tree-lined walks and the vast expanses of water. Jane Gardiner will discuss the glorification of the King through the iconography of the statues and great fountain groups; and the importance of playing water to make the gardens come alive.
We will also look at the extravagant entertainments that took place within the grounds; and the summer houses and pleasure pavilions where the King was able to escape from the thronging crowds.
About the speaker
Jane Gardiner trained at the Victoria and Albert Museum and went on to become a Research Assistant and Lecturer in the V&A Education Department. In 1987 she was invited to join Sotheby’s Institute as tutor of 17th and 18th Century Decorative Art, going on to become a Senior Lecturer and a Deputy Director of Sotheby’s UK. She continues to lecture for both organisations.
Her areas of specialisation are Early European Ceramics and Glass and Eighteenth Century European Design. She has also lectured for the University of London; Buckingham University; the National Trust; the Art Fund; the Wallace Collection; l'Institut d'Etudes Supérieures des Arts, Paris; on board cruise ships and at antique fairs and interior design shows in America.
Wednesday 30 May 2018 - Mexican Art and Culture, past and present - Chloe Sayer
About the Speaker
We welcome Chloë Sayer to our ADFAS meeting today who is a freelance specialist in Mexican art and culture.
A Fellow of the Royal Anthropological Institute, she has made ethnographic collections and carried out fieldwork in Mexico and Belize for the British Museum. She has curated exhibitions of Mexican folk art, and has worked on television documentaries about Mexico for the BBC and Channel 4.
She lectures extensively, and has led several tours to Oaxaca, which is the capital and largest city in the Mexican state of the same name.
Chloë has written and co-authored many books and essays on Mexican Art and Culture. In particular, she has been documenting the popular arts and culture of Oaxaca since the early 1970s. Her admiration for the cultural continuity and immense skill shown by Oaxaca’s many makers and creators has informed her writing and her work over several decades.
Chloë served as a juror in FOFA’s 2008 Young Artists’ competition. FOFA stands for the Friends of Oaxacan Folk Art.
Few countries in the world offer such a rich and varied cultural heritage as Mexico. Before the Spanish Conquest of 1519, numerous civilisations rose and fell. Their great cities were peopled by muralists, sculptors in stone, ceramic artists, feather- and gold-workers, jewellers, weavers, and painters of sacred books.
Mexican Art and Culture, past and present
Below are the visible signs of Uxmal, an ancient Maya city of the classical period in present-day Mexico. It is considered one of the most important archaeological sites of Maya culture which will be discuss in today's presentation.
This is the area of Meso-america controlled by the Mayan and Aztec civilisations under discussion today.
A wonderful example of an Aztec turquoise Serpent
Bringing us slightly more up to date, we have the ladies of the Tehuantepec Isthmus in modern day Mexico.
Tehuantepec is a city and municipality in the southeast of the Mexican state of Oaxaca. The region is noted for its Velas, traditional parties where women dress up in extravagant costumes and parade through the streets.
Women traditionally dominate the local markets and the economic life of the region, often earning more money than their husbands. This unconventional matriarchal organization has sparked international interest, and is a cause for celebration in Mexico and beyond.
Frida Kahlo (1907-1954) and Diego Rivera (1886-1957) are both artists who have helped to shape the cultural identity of twentieth-century Mexico by fusing pre-Conquest and European traditions.
Today countless folk-artists in Mexico create splendid weavings, rich embroideries, shimmering beadwork, jewellery of silver and gold, fine pottery and dance-masks for religious festivals.
Chloë will be displaying items from her collection during her talk.
Booking Facilities through Eventbrite to gain access to our talks
If you want to have a 'taste' of what ADFAS have to offer, then purchase one off visitor tickets to this specific talk by visiting the ticket marketing site called Eventbrite. You will find this ADFAS feature at
Wednesday 27 June 2018 - Now you see him and now you don’t; the art of deception - Bertie Pearce - preceded by the ADFAS AGM
This is an in depth look at the profound mystery of perception.
There is an eternal fascination with the unfathomable, the weird ambiguous state of seeing things which are not there – yet are there. It carries us back into that long gone deeply missed period of our childhood when magic was common place and when the boundary between the possible and the impossible was very blurred.
In the same way as a magic trick surprises and delights us there is a primal enjoyment in being deceived by optical illusions. Since Roman times illusions have been used in art. The stretching and distorting of perspective has been highly developed by artists to create a range of effects on the viewer.
This includes Trompe L’oeil and the closely related Anamorphic art. Between the 16th and the 19th Century, anamorphosis became extremely popular and supplied an ideal means of camouflaging dangerous political statements, heretical ideas, and even erotic pictures.
It was later revitalised by Salvador Dali who was always fascinated by optical tricks and hidden imagery.
Along with Composite Portraiture and Impossible Figures, the 18th to the 20th Century saw the immense popularity of Double Imagery, widely distributed on puzzle cards and popular advertisements. We also look at Ambiguous Imagery as used by the masterful Belgian surrealist Rene Magritte.
In the 1960's the term Optical Art or Op Art was coined to describe the growing movement of abstract painters led by Victor Vasarely and Bridget Riley. Op Art is a mathematically oriented form, usually abstract, which uses repetition of simple forms and colours to create vibrating effects, moiré patterns, an exaggerated sense of depth, foreground-background confusion, and other visual phenomena.
Camouflage, born out of war and taking its influence from nature with a little help from the surrealists, gave birth to 'disruptive pattern' and 'razzle dazzle'. As well as a form of disguise it has also become a means of distinguishing friend from foe. Finally, we consider the ultimate illusion of using perspective, colour and design in Theatre Magic to conceal, shrink and ultimately disappear.
About the speaker
Bertie Pearce is a Member of The Inner Magic Circle with Gold Star. He has performed all over the world in many weird and wonderful places. In 2003 he was awarded the Carlton Comedy Award by the Magic Circle and twice won the award for Originality from The International Brotherhood of Magicians.
He inherited a fascination with conjuring from his maternal Grandfather Charles Derek Hill who was a classic amateur conjurer of his day, building illusions at the family firm, Higgs and Hill.
Equipped with a degree in Drama from Manchester University, Bertie went on to the Ecole Internationale du Theatre Jaques Lecoq in Paris. After a summer season in Jersey and two pantomimes he served time on the Cruise Ships for four years.
In 2009 Bertie became an accredited NADFAS lecturer and has toured extensively sharing his passion for Magic, Punch and Judy, Victorian Pastimes and Charles Dickens.
Aside from performing, Bertie loves the calm of the Sussex countryside where he has lived all his life. He loves gardening, forestry, making things and is very involved in his local church in Crowborough. He is married and has two children, six light Sussex chickens, two pigs and a border terrier called Buttons.
Wednesday 4 October 2017 - Visit to Red House and Eltham Palace
RED HOUSE, Bexleyheath
William Morris, and his friends, certainly left his mark on this handsomely decorated house but plenty more was added to Red House by its later owners. It became a true home for creative types, which is perhaps the reason it became the stylish home we care for today.
Palace of Art
William Morris commissioned Red House from his friend and architect Philip Webb in 1859 and moved in with his wife Jane a year later. He dreamed of the house becoming a 'Palace of Art', a place where his talented friends could decorate the walls with stories of medieval legends. In the event he only stayed till 1865, leaving tantalising glimpses of his vision for us to discover.
Circle of Friends
Morris was a generous host and his friends visited frequently, their days filled with fun and laughter. As well as being the architect, Philip Webb designed furniture for the house but there are examples throughout of how they all worked collaboratively. In the gallery for example, Morris painted flowers and Philip Webb painted birds on the glass, both overlaid with Edward Burne Jones' work depicting Fortuna.
Morris & Co
It was at Red House in 1862 that 'the Firm' began as Morris, Marshall, Faulkner & Co directly as a result of Morris finding nothing he liked to furnish the house. Later to become Morris & Co, the company still exists today producing wallpaper and textiles based on interpretations of his timeless designs.
Later owners of Red House include:
James Heathcote (1866-1877) who bought Red House from Morris at a knockdown price of £1,800
Charles Holme (1889-1903) who set up the Studio, an influential magazine supporting the Arts & Crafts movement
Henry Maufe (1903-1910), whose wife extended the garden by buying the orchard
Thomas Hills (1935-1952) who rented the ground floor to the National Assistance Board during the war. They decorated liberally with brown paint and filled the house with ration books
Ted and Doris Hollamby (1952-2003) who lived and cared for the house for over 50 years
ELTHAM PALACE, Royal Borough of Greenwich
Description of Eltham Palace
The site is now dominated by the stylish house built in 1933–6 by the architects Seely and Paget for Stephen and Virginia Courtauld. They incorporated the great hall – the most substantial survival from the medieval royal palace – in to the design. Like the house, the palace’s 19 acres of gardens feature both 20th-century and medieval elements.
The house is designed on a butterfly plan, with two wings, one of them linked to the medieval great hall. The house exterior was built in sympathy with the great hall using a red brick design with Clipsham stone dressings, inspired by Hampton Court Palace. Between the two wings is the curved, single-storey entrance colonnade, flanked by two pavilions. The exterior makes notable use of applied sculpture.
The Courtaulds’ house is now presented with a mixture of original and replica items of furniture and works of art. The interiors combine an eclectic mixture of styles.
The styles used range from ‘historical’ (such as the drawing room) to the new aesthetic of the 1930s, which rejected attempts to copy the past in favour of Modernism (as exemplified in the dining room). Typical features include wall surfaces lined with a range of native and exotic woods, the use of pale paint colours – a contrast to the strong colours favoured by the Edwardians – and ceilings designed as an integral part of the room. Furniture was designed with clean lines and an absence of applied decoration.
Perhaps the most dramatic interior is the entrance hall, created by the Swedish designer Rolf Engströmer. Its walls are lined with blackbean veneer and decorated with marquetry that includes figures of a Viking standing opposite a Roman soldier, set against background scenes from Italy and Scandinavia. Light floods in from the glass dome, highlighting the walnut and blackbean tables and chairs below.
The design of the Art Deco dining room, by the Italian designer Peter Malacrida, relies on contrasting tones and textures for effect, with bird’s-eye maple veneer walls and an aluminium-leaf ceiling. The distinctive black and silver doors depict animals and birds drawn from life at London Zoo.
The dining-room table and chairs are replicas, made in 1998 of the originals designed by Malacrida. The originals were rediscovered in 2001 at Pinewood Studios, and are now stored at Eltham.
The magnificent oak roof of the great hall at Eltham, an elaborate hammer-beam construction, dates from the 1470s. It was dismantled and reassembled in 1911–14, and the hall itself was fully restored in the 1930s.
The great hall was built for Edward IV in the 1470s for court dining, entertaining and receptions.
Its magnificent oak roof is an elaborate ‘false hammer-beam’ construction, with the short vertical posts morticed into the ends of the arch-braced horizontal hammer-beams. Curved wind-braces give strength to the roof trusses.
There is evidence that the roof was once partly gilded: it also contained a louvre, ventilating an open hearth in the centre of the floor.
Intending the great hall to be used as a music room, the Courtaulds had a minstrels’ gallery added at one end. Much of the 1930s work represents Stephen Courtauld’s (and his architects’) concept of what a medieval great hall should look like.
Stained glass was added to the hall windows in 1936 by George Kruger Gray. The roundels depict the badges of Edward IV, and the glass in the bay windows depicts some of the great owners of the palace, from Bishop Odo to Edward IV and his queen, Elizabeth.
On the first floor, many of the bedrooms reflect the ‘Cunard style’ made popular by the fashionable cruise liners of the time, featuring built-in furniture and smooth veneered surfaces, often with curved ends. Perhaps the most exotic room is Virginia Courtauld’s vaulted Art Deco bathroom, lined with gold mosaic and onyx, complete with gold-plated bath taps and a statue of the goddess Psyche.
Several rooms on the first floor opened to visitors for the first time in April 2015. They include Virginia Courtauld’s recreated walk-in wardrobe, and bedrooms occupied by her nephews Peter and Paul Peirano, with a shared bathroom that had the only shower in the house.
Also restored and opened for the first time is a map room, where the family’s secretary planned their extensive worldwide travels. Conservators have recently uncovered (beneath later wallpaper) large maps pasted to the walls of areas to which the Courtaulds travelled. Vignettes were painted onto the walls around the maps, depicting scenes and characters from around the world.
The Courtauld gardens are laid out on two levels within the framework of the medieval buildings, walls and earthworks. Within the grounds, the principal remains of the medieval palace are the north bridge, moat walls and buttresses. Extensive footings of other excavated buildings, including the 15th-century and Tudor royal apartments in the palace’s west range, have been left exposed in some areas.
The Courtaulds built on the existing design and structure of mature trees and shrubs, but added ornamental plantations, shrubberies and specimen trees.
They also laid out new garden areas of different character, scale, proportion and detail, making the most of the site. They expanded the moat, formed a series of garden ‘rooms’ in the west moat, developed a large Rock Garden east of the moat, and incorporated smaller features such as the Quadrant Garden and Triangular Garden. The dry south moat is crossed by a timber bridge designed by the architects Seely and Paget, which rests on 16th-century brick piers.
To the east of the site beyond the moat were two tennis courts (now a play area) built by the Courtaulds. Beyond those, in the area now occupied by the car park, were the Courtaulds’ glasshouses, which included two orchid houses. A small secluded area further south, surrounded by yew hedges, once contained the Courtaulds’ swimming pool, in-filled in 1967.
The 1930s planting was a mixture of informality, as in the Rock Garden, and formality, as on the west side in the Rose Garden, with its sunken pond, and in the garden rooms.
Much of this structure and some of the Courtauld-era planting survive. The gardens are displayed to a 1930s style that represents what the Courtaulds might have achieved had they remained longer at Eltham.
Planting introduced by English Heritage includes a long herbaceous border at the foot of the south moat wall, replanted in 2000 and designed by Isabelle van Groeningen as part of the Contemporary Heritage Garden scheme.
Wednesday 29 November 2017 - Welcome drink for new members after the lecture
We welcome all new ADFAS members for a post lecture drink with existing members to enable you to get to know each other better.
Please use this opportunity to find out what is happening within your Society and understand what you can do for the benefit of the Society generally.
Available to discuss topics such as Young Arts support and the exciting development of the proposed parallel series of evening lectures and what you can do to assist in your Society getting this activity off the ground.
Examples will be on show that reflect what ADFAS can do to improve your Society's visibility in the Dacorum area as a direct consequence of this type of promotional initiative, and hence be of benefit to all our members. A growing Society is a healthy Society!
You will have probably have seen these flyers and posters in local library; coffee bars and restaurants locally and in Tring, St Albans and Hemel Hempstead; Platform 4 of Berkhamsted train station, under windscreen wipers in local car parks and possibly through your neighbour's letter box!
10 October 2017 at The Court House 8 November 2017
This has produced a sizeable number of new faces atteding these taster sessions for our Evening series to test out the 'market' potential for increasing our ADFAS membership.
Ask us about the 'reach' we have achieved in a matter of a few weeks in getting a growing number of people aware of these lectures.
We have done this using the combination of additional website usage; 'What's On' style websites together with the the tried and tested methods of talking to people!
In addition, we have found the use of Ticket Marketing sites an absolute marvel in terms of administration.
This is a generic flyer to promote both ADFAS and the Evening lecture programme. This will be replaced once the Committee have decided on the actual lecturers, their lectures, dates, etc. for the proposed series of six lectures in the remaining 2017-2018 year.
Tuesday 12 December 2017 - Visit to Dennis Severs' House, London
The Dennis Severs’ House at 18 Folgate Street, Spitalfields, London is more than just a time capsule.
It is both a breathtaking and an intimate portrait of the lives of a family of Huguenot silk-weavers from 1724 to the dawn of the 20th Century.
As you follow their fortunes through the generations, the sights, smells and sounds of the house take you into their lives.
It was Dennis Severs’ intention that as you enter his house it is as if you have passed through the surface of a painting, exploring with your senses and imagination a meticulously crafted 18th Century world.
Monday 5 February 2018 - Visit to Spencer House and Two Temple Place
Spencer House, London
Our first stop on our day out in London is Spencer House. This mansion in St James's Place, London is the property of Earl Spencer, the brother of Diana, Princess of Wales.
The house was commissioned by John, 1st Earl Spencer, in 1756, the Earl requiring a large townhouse to cement his position and status.
We then visit Two Temple Place which is dedicated to promoting culture and philanthropy as part of The Bulldog Trust under their Chief Executive Officer, Mary Rose Gunn.
The house hosts many exhibitions, showcasing material from publicly owned museums and gallery collections from around the UK, as well as numerous other cultural and philanthropic events.
This spectacular neo-Gothic mansion is also one of London's most prestigious venues for corporate and private entertaining, combining the grandeur of a state occasion with the intimacy of a private house party.
The Bulldog Trust and our own The Arts Society are delighted to announce their partnership for staging this Age of Jazz exhibition at Two Temple Place. Marking 100 years since Jazz reached these shores, Age of Jazz explores the impact that jazz had on the British public from 1918 onward.
Jazz is well-understood as a soundtrack to the interwar years, but its reception was always complex. In Britain, jazz provoked reactions ranging from devotion to abhorrence when first the idea and then the sound of the music entered the consciousness of the British public in the aftermath of the First World War.
While jazz has underscored some key exhibitions on this period in the past decade, Age of Jazz explores the aesthetic and cultural impact of the music on artists and society at large. It examines how Britons encountered jazz and in particular, how art produced in response to jazz represented or influenced perceptions of the genre. Drawing on the richness of regional public collections throughout the UK, this exhibition will bring together an eclectic range of media from painting, printmaking and cartoons, to moving film, instruments and the all-important sound of jazz.
The exhibition has been curated by Catherine Tackley, Professor and Head of Music at the University of Liverpool and one of the UK’s leading authorities on jazz.
Thursday 15 March 2018 - ADFAS Annual Lunch - Berkhamsted
This year's ADFAS Annual Lunch for Morning members only will be held at The Gatsby Restaurant at 97 High St, Berkhamsted, HP4 2DG.
The date is Thursday 15th March with arrival at 12.30 pm for 1.00 pm lunch.
Access to this event is is only available through the pre-purchased ticket and menu choice together with appropriate payment to the Hon Treasurer.
Monday 30 April to Friday 4 May 2018 - Residential trip – The Artistic Delights of Glasgow
The Art of Glasgow and Dumfries departing 30th April 2018
Day 1 - Monday 30th April
We meet at Milton Keynes Station for our Virgin Trains journey to Glasgow in standard class coaches.
On arrival in Scotland we are met by our Blue Badge guide who accompanies us throughout the tour.
We then walk the short distance to the centrally located 4* Grand Central Hotel in Glasgow.
A welcome dinner is included in our hotel this evening, and the remaining three nights are on a bed and breakfast basis.
Day 2 - Tuesday 1st May
Our Blue Badge guide meets us at our hotel every morning and will accompany us throughout the day.
During our guided tour of Glasgow this morning we visit St Mungo’s Cathedral. Consecrated in 1197, the medieval Cathedral is home to one of the finest post war collections of stained glass windows in Britain.
We then visit the unique House for an Art Lover, which opened to the public in 1996 and was inspired from Mackintosh’s competition entry of 1901. The attraction incorporates a permanent exhibition of decoratively furnished rooms, realised by contemporary artists and crafts people, which allow visitors the opportunity to compare the original drawings against each completed room.
This afternoon we continue to Dumfries House for a guided tour followed by included tea or coffee, and shortbread.
Designed 250 years ago by renowned 18th century architect brothers John, Robert and James Adam, Dumfries House is an imposing Palladian mansion nestled within 2,000 acres of scenic countryside in Ayrshire in south-west Scotland. Today the house is widely acknowledged as one of the most architecturally significant stately homes within the United Kingdom.
Day 3 - Wednesday 2nd May
We firstly visit the village of Tarbet, a picturesque village once described by Queen Victoria as being blessed with ‘splendid passes, richly wooded with the highest mountains behind’, where there is an included cruise on beautiful Loch Lomond.
We continue with our Blue Badge guide to Helensburgh to visit Hill House. Sitting high above the Clyde, Hill House is considered one of Charles Rennie Mackintosh’s finest domestic creations.
The feel of the house, which was decorated with the help of Mackintosh’s wife, Margaret Macdonald Mackintosh, is of restrained elegance combined with dazzling architecture.
Day 4 - Thursday 3rd May
This morning we enjoy a guided tour of the Kelvingrove Art Gallery and Museum, Scotland’s most visited museum and home to one of Europe’s greatest civic art collections.
We then head to the Riverside Museum. Opened in 2011 and the winner of the 2013 European Museum of the Year award, the museum focuses on travel and transportation in the city.
With over 3,000 objects on display there's everything from skateboards to locomotives, paintings to prams and cars to a Stormtrooper. There are 9 main display themes at the Riverside Museum from ‘The Streets’ which covers how individuals, organisations and transport innovations have shaped the city, to ‘The River Clyde’ which reflects on the how the river has allowed Glasgow to become a major port and industrial city. Other displays include ‘Looks and Fashion’, along with ‘Disasters and Crashes’ which chronicles how transport failure by accident or intent has affected people's lives and the way transport is designed, built and used.
Day 5 - Friday 4th May
After checking out of our hotel this morning we visit the Hunterian Gallery, safeguarding the Mackintosh Collection, and comprising of 800 drawings, designs and watercolours, as well as a small but important archive of correspondence, photographs and periodicals.
Whilst at the Hunterian Gallery, you may choose to visit Mackintosh House on an individual basis, which is a reconstruction of the principal interiors from the original Glasgow home of the architect. Rooms on display include the hall, dining room, studio drawing room and main bedroom where Mackintosh’s distinctive and contemporary style is evident.
We return to the station for our return Virgin Trains journey to Milton Keynes and then on to Berkhamsted.
Wednesday 30 May 2018 - Members’ Drinks after the lecture
Tuesday 3 July 2018 - Visit to Upton House
Upton House and Gardens
Upton House was built in 1695 for Sir Rushout Cullen. Upton House is a country house in the civil parish of Ratley and Upton, Warwickshire, about 7 miles northwest of Banbury, Oxfordshire. It is in the care of the National Trust.
It was remodelled by Percy Morley Horder in 1927-9 for Walter Samuel, the 2nd Viscount Bearsted, whose family founded the Shell Oil Company. Morley Horder’s alterations to Upton were made partly to house the Bearsted’s large art collection, partly to provide extra bedrooms, and partly to remove the effects of some 19th-century additions which had destroyed the symmetry of the original Baroque house. This involved a drastic reworking of the interior, as well as the building of substantial wings to either side of the main block. The alterations also included the addition of a squash court at the west end, but this was later converted into a picture gallery.
The restrained interiors allow for many of the rooms to be used as display spaces for Upton’s magnificent collections. The interior includes a collection of fine English porcelain and English and Continental Old Master paintings.
ADFAS Trip details
Leaving at 8.30 am from GADEBRIDGE
8.45 am from BERKHAMSTED (outside WH SMITHS)
Returning to BERKHAMSTED at approx 5.00 pm
Itinerary (all timings are approximate)
10.30 am Group arrives at Upton House
11.00 am Coffee and shortbread
12.45 pm Tour of Upton House
1.30 pm Private Lunch (Iris Tearoom) Included
2.00 pm Short talk on porcelain
Free time to visit gardens or house
3.15 pm Board coach for return to Berkhamsted area
The Cost per person is £37.70 (for NT Members) which includes coffee and lunch.
Cheques to be made payable to ADFAS
Refunds on payments for outings will only be made if the place(s) can be re-sold!