Here are two fine buildings on the Thames near Richmond.
I don’t know what they are called or their history.
The Thames is tidal as far upstream as Richmond Lock. The lock and three sluice gates, opened in 1894, maintains the water level above Richmond. It is similar to the Thames Barrier although the latter serves to keep water from flowing upstream and flooding London. It is a magnificent piece of Victorian engineering incorporating a footbridge across the river and a lock to allow vessels to move up and down stream when the sluices are lowered. For two hours either side of high water the sluices are raised.
Until WWII pedestrians using the bridge paid a toll of 1d. Apparently the remains of the turnstiles are still visible. Next time I will look for them and find something out about the splendid villa near the lock.
There were two tits, a robin and a wren in the back garden yesterday morning. Priority booking has opened for Opera Holland Park; the riff-raff don’t get a look in until next month. I have got tickets for La traviata, Isabeau and Ariadne auf Naxos. The fourth opera is Così fan tutte to which I have taken an irrational dislike. It is much too long.
You can teach an old dog new tricks. I have discovered how to edit colour photos so that they are black and white, see Richmond Lock, above.
The second picture is of Aisgill House designed by Sir Robert Taylor, in his very characteristic style. Amongst others Barlaston Hall, Staffs, Harleyford Manor, Architect to the Bank of England. Octagonal glazing bars were a theme of his.
Tom, Simon, I hoped someone would know more than me. Thank you both.
The delightful villa is called Asgill House & the architect was Robert Taylor.
You can find out a lot about it on here:
http://www.richmond.gov.uk/media/6313/local_history_asgill_house.pdf
I once created wigs and make up for an excellent production of Cosi Fan Tutte in the glorious setting of Aix en Provence. It was designed by the equally glorious Chloe Obolonsky, who had got me involved after we worked together on Britten’s Death in Venice at the ENO. Both of us found Cosi interminably long and found countless reasons for going to visit our departments backstage to relieve the boredom. In addition there was a magnificent choice of delicious French wine available to console us!! Holland Park won’t be enticing me either!
Death in Venice was a triumph for both ENO and la Monnaie in Brussels. The minimalist set with excellent lighting evoked the atmosphere of Venice, the production made Tadzio and his friends playing, actually dancing, unaware of the pervy Gustav von Aschenbach‘s attention. And the wigs were so good because they were so unobtrusive. If ENO wants to revive its fortunes it should revive this production.
I was a bit surprised that their (Alden) Peter Grimes didn’t make your short list.