Green Ted

London Catchup

27th June 2018

Green Ted place

As noted in the blog, I have started the photography degree and so GT is playing second fiddle at the moment. Nevertheless, I have managed some GT shots along the way.

I attended a second workshop at Wex, following on from that on flâneurism. This was on time lapse photography with Nige Levanterman: it's a fascinating topic but not one I have time for right now. On the way there, I encountered a few pieces. Then, an outing mainly for BA purposes also picked up a couple of GTs on the South Bank.

Ernest Bevin

Green Ted and Ernest Bevin, Edwin Whitney Smith
Ernest Bevin, Edwin Whitney Smith
Tooley Street
23rd June 2018, 9:34
iPhone 7+, 6.6mm (57mm)
1/180 sec; f/2.8; ISO 20
Cat. 4,100-104

Ernest Bevin plaque Ernest Bevin and Bevington Bevington Bevington plinth

The bust or Ernest Bevin is fine, but rather high. At the other end of the small park (or traffic island) is one of those hundreds of meaningless Victorian/Edwardian-chap-in-robes London statues, this one of Samuel Burne Bevington, the first Mayor of Bermondsey by Samuel March.
Quote from London Stone and Metal.

At the far end of Tooley Street, near the junction with Tower Bridge Road, can be found this statue of the Rt.Hon.Ernest Bevin (1881-1951). Between the 1920s and 1950s Bevin was a central figure in the British labour movement and in British foreign policy and served as foreign secretary in the late 1940s.
Ernest Bevin was born on 9 March 1881. He received little formal education and was orphaned at the age of eight. He began work at 11 in the Bristol docks but soon exhibited an extraordinary gift for organisation. He became involved in the Dockers’ Union and was instrumental in the creation of the Transport and General Workers Union, of which he became general secretary in 1922.
The sculptor was Edwin Whitney Smith (1880-1952) but this statue was not typical of his other work.

Lord Ganesha

Green Ted and Lord Ganesha
Lord Ganesha
Tooley Street
23rd June 2018, 9:37
iPhone 7+, 6.6mm (57mm)
1/1400 sec; f/1.8; ISO 20
Cat. 4,110-11

Green Ted and Lord Ganesha, detail


This is in the forecourt of the Lalit Hotel, near the bust of Ernest Bevin. The quote is from the hotel's web site.

Ganpati Bappa Moriya!
This is how we invoke Lord Ganesha, the God of prosperity, fortune and success. According to the Hindu mythology, a prayer is offered to Ganapati before a new beginning, to achieve fruitful results.
The majestic idol in the premise of The LaLiT London gives one and all an opportunity to seek divine blessings from Lord Ganesha.

Goodmans Fields Horses, Hamish Mackie

Green Ted and Goodmans Fields Horses
Goodmans Fields Horses, Hamish Mackie
23rd June 2018, 13:28
iPhone 7+, 4mm (28mm)
1/250 sec; f/1.8; ISO 20
Cat. 4,120-27

Green Ted and Goodmans Fields Horses Green Ted and Goodmans Fields Horses Green Ted and Goodmans Fields Horses Green Ted and Goodmans Fields Horses Green Ted and Goodmans Fields Horses Green Ted and Goodmans Fields Horses Green Ted and Goodmans Fields Horses

This group of sculptures extends over quite a length of prencinct. One group of two horses is embelished with sporadic, sequenced mini-fountains, presumably to suggest galloping through water. All the photographs were taken on the iPhone: some are differential-focus composites.
Quote from The Field.

Sculptor Hamish Mackie will unveil six life-and-a-quarter bronze horses at a new development in London in June. The sculptures have been commissioned by Berkeley Homes to remember the livery horses once kept at Goodman’s Fields in EC1. The horses are depicted galloping, rearing and in water at the two-acre landscaped space within walking distance of the City of London.
The best sporting art can capture the animal kingdom with dextrous skill. The equine world is particularly evocative, with the horse in art a recurring theme. Sculptor Hamish Mackie and the addition of his half-dozen horses is the latest incarnation. From Sir Alfred Munnings’ paintings, to modern artists, such as Jeremy Houghton, the horse has been rendered in stone, clay, bronze; on paper, canvas and wood. We never tire of these four-legged companions. And the graceful sextet that will soon be grazing on Goodman’s Fields are simply wonderful.
[He] based his selection of breeds “on power, durability and the likelihood of their being in livery”. Leading the troop is an Andalusian stallion rearing alongside a Russian x Arab horse. Half-submerged in a fountain behind them is an Irish cob; the next horses seen are two young thoroughbred x shires trying to outrun each other. Bringing up the rear is an Irish draught x warmblood, based on a 17.3hh hunter called Pinkerton. “He was a fantastic horse and I took hundreds of pictures and videos of him and toyed with the idea of him going up a bank but that was not right for him. So I turned Pinkerton into a mare, which is artistic licence,” said Hamish Mackie.
The hardest subject to find was the Arab x Russian horse, a stallion called Sambist, which won all five of Russia’s Classics.

London Pride, Frank Dobson

Green Ted and London Pride, Frank Dobson
London Pride, Frank Dobson
South Bank
25th June 2018, 13:30
Fuji X-M1, 16-50mm @ 17mm (26mm)
1/75 sec; f/7.1; ISO 400
Cat. 4,130-31

London Pride, Frank Dobson, plaque

First photographed in 2015. Quote from Historic England.

The period after 1945 saw a shift from commemorative sculpture and architectural enrichment to the idea of public sculpture as a primarily aesthetic contribution to the public realm. Sculpture was commissioned for new housing, schools, universities and civic set pieces, with the counties of Hertfordshire, London and Leicestershire and the new towns leading the way in public patronage. Thus public sculpture could be an emblem of civic renewal and social progress. By the late C20 however, patronage was more diverse and included corporate commissions and Arts Council-funded community art. The ideology of enhancing the public realm through art continued, but with divergent means and motivation.
Visual languages ranged from the abstraction of Victor Pasmore and Phillip King to the figurative approach of Elisabeth Frink and Peter Laszlo Peri, via those such as Lynn Chadwick and Barbara Hepworth who bridged the abstract/representational divide. The post-war decades are characterised by the exploitation of new – often industrial – materials and techniques including new welding and casting techniques, plastics and concrete, while kinetic sculpture and ‘ready mades’ (using found objects) demonstrate an interest in composite forms.
The sculptor Frank Dobson (1886–1963) was chosen by the Festival Design Group (led by Hugh Casson and Misha Black) with the assistance of the Arts Council to create a sculpture for the 1951 Festival of Britain. Dobson decided to develop a work-in-progress on the theme of Leisure. He developed the full-scale clay models at the studios of the Royal College of Art, London assisted by his students. The budget did not run to bronze, so the models were then cast in plaster by R Davies, the RCA’s caster, and finished in gun-metal. The piece was originally erected at the Belvedere Road entrance to the Royal Festival Hall, the only permanent element of the Festival.

Laurence Olivier, Angela Conner

Green Ted and Laurence Olivier, Angela Conner
Laurence Olivier, Angela Conner
South Bank
25th June 2018, 13:24
Fuji X-M1, 16-50mm @ 19mm (29mm)
1/220 sec; f/7.1; ISO 400
Cat. 4,140-41

Green Ted and Laurence Olivier, Angela Conner Laurence Olivier, Angela Conner

Quote from London SE1, September 2007.

A new statue of Laurence Olivier as Hamlet, created by the sculptor Angela Conner, was unveiled by members of Olivier's original National Theatre company on Sunday afternoon as part of a series of events to celebrate the centenary of the legendary actor's birth.
Lady Olivier (better known as Joan Plowright) was joined by Anna Carteret, Gawn Grainger, Charles Kay, Geraldine McEwan, Ronald Pickup and Sheila Reid to perform the ceremony.
Speeches were made by the National Theatre's chairman Sir Hayden Phillips, Laurence Olivier's son Tarquin and Lord Attenborough.
More than 200 donors, mainly theatre and film people and institutions, contributed to the Laurence Olivier Centenary Statue Appeal.
The statue is situated in the corner of Theatre Square and faces the auditorium in the National that bears Olivier's name.