Heritage Photography September 2019

SEPTEMBER 2019

HERITAGE PHOTOGRAPHY

CONTENTS HERITAGE PHOTOGRAPHY

EDITORIAL

Journal of the Archaeology and Heritage Group

3-4 Perspective

September 2019 Editor David Bryson heritage.editor@rps.org Advisory Editor Eric Houlder LRPS Advertising enquiries David Bryson heritage.editor@rps.org Archaeology & Heritage Group Committee Members Gwil Owen ARPS Chair heritagechair@rps.org George Backshall LRPS Secretary heritagesec@rps.org Richard K Evans FRPS Treasurer David Bryson Heritage Photography editor heritage.editor@rps.org Rodney Thring LRPS Published by the Archaeology and Heritage Group of the Royal Photographic Society, September 2019.

Copyright in all text and photographs is held by the credited authors, or as otherwise stated. No part of this publication may be reproduced, transmitted or stored in any form without prior written permission of the Publisher.

DAVID BRYSON

What has happened behind the scenes of “Heritage Photography” and why?

5 Gwil’s rant . . .

GWIL OWEN ARPS

FEATURES 6-14 Louvre Abu Dhabi ROBERT GALLOWAY LRPS

The building is of interest for its attractive design as well as for its contents.

PLACES TO VISIT 15-17 The King’s Observatory, Richmond upon Thames.

DAVID BALAAM

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I discovered the Kings Observatory purely by accident.

18-21 Treasure houses of our heritage RICHARD K. EVANS FRPS

We look here at some of the immense variety of artefacts to be found and enjoyed in Europe’s museums.

Print ISSN 0958-0565 Online ISSN 2632-3346

TECHNICAL

Cover photograph The Plaza, Louvre Abu Dhabi Robert Galloway LRPS.

22-23 An inexpensive micro

Printed by Digitalprinting.co.uk Milton Keynes, MK9 2FR United Kingdom.

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4/3 extreme wide-angle lens ERIC HOULDER

Using a lens for only £200 for heritage photography.

NOTICES & EVENTS 24 Future events

Members’ Showcase 2019.

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EDITORIAL

Perspective What has happened behind the scenes of “Heritage Photography” and why?

DAVID BRYSON

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aking on the role of Heritage Photography editor was in many ways daunting as I knew there was a lot to undertake. Not just in getting the journal published on time and increasing the frequency from 2 to 3 issues per year but catching up with the behind the scenes jobs.

For example; to bring the journal up-to-date with the “RPS style” for groups and regions publications and make sure we were complying with UK legal requirements.

Archaeolog and Heritage Photography: Digital archive As I wrote in the January 2019 ‘Perspective’ the back copies I had available are now in a digital archive using the RPS’s subscription to Issuu.com.

The available issues are Archaeolog 1978 Issue2 through to 1980, Issue 14 and Heritage Photography Autumn 2009 – previous issue. Current issue stays out of Issuu until new issue is published.

I covered much of this in my report for the AGM but as our secretary, George Backshall, kindly pointed out it was all ‘gobbledygook’ to him i.e. “language that is meaningless or is made unintelligible by excessive use of technical terms.”

Whilst some of the following may be slightly technical I hope it will be of interest to members especially anyone who wants to publish their own book or has been asked to manage that process or who may be the editor of another journal or magazine like Heritage Photography or anyone who has had work published and wants a little extra money!

RPS InDesign template for publications As part of a volunteer induction event I was made aware of the Adobe InDesign publication template developed for group and region publications so they could be developed using the RPS style guidelines.

As an InDesign user, previously PageMaker, and not a graphic designer. I decided it was best to save time by using the template. Having said that the template wasn’t entirely fit for purpose and so in developing my first edition, September 2018, I had to spend about 4 days over and above developing the issue sorting the template into a usable state.

The time spent on this dramatically reduced the time needed for the January 2019 and subsequent issues.

This issue completes the first year of 3 issues per year. Also there has been an increase in the number of pages to 24 giving greater opportunity for members to submit articles and reduce waiting time for them to appear though this has led to increased printing and postage costs.

Royal Photographic Society publications in Issuu stacks.

The easiest link to these is using the main RPS stacks address https://issuu.com/ royalphotographicsociety/stacks/ I have also added the journal to the http://sherpa. ac.uk/romeo/ index of journals and plan to widen access and visibility for researchers.

International Standard Serial Number and Royalties for visual artists and writers Anyone who has looked at the inside cover or back of a book will have seen the International Standard 3

Book Number (ISBN). The International Standard Serial Number (ISSN) is a magazine or journals equivalent with each publication having its own number.

In earlier issues of Heritage Photography you may have noticed a slight confusion as the ISSN looked like an ISBN but also was the number for the RPS Journal.

In liaison with the British Library who provide the ISSN service for the UK, http://www.bl.uk/ bibliographic/issn.html, I have been able to update our records for Heritage Photography in print and electronic form as well as for the group’s earlier publication Archaeolog.

Archaeolog (Print) ISSN 0143-0661 Archaeolog (Online) ISSN 2632-3354 Heritage photography (Print) ISSN 0958-0565 Heritage photography (Online) ISSN 2632-3346 These are important for anyone looking to collect royalties from any of the collecting agencies as records for the publication of photographs or writing require an ISBN or ISSN. Claims for artistic works including photographs can be made through the Designers and Artists Copyright Society (DACS), https://www.dacs.org. uk/, or for writing and photographs through the Authors Literary Copyright Society (ALCS), https:// www.alcs.co.uk/.

This income comes primarily from licences issued by the Copyright Licensing Agency (CLA) and the Publishers’ Licensing Services (PLS) to license reproduction rights on behalf of its member organisations. The CLA offers a number of licensing options for businesses, educational institutions and government agencies to ensure artists and writers are paid fairly when their works are copied or scanned.

If you have had any photographs or writing published in books or journals these can be a useful source of additional income, though like any other income royalties are taxable.

Legal Deposit Libraries Act 2003 and the British Library If you haven’t come across this law, and many haven’t, every publisher in the UK is required to deposit a copy of their publications, books and journals, in the British Library and if requested in the UKs copyright libraries. This is irrespective them having an ISBN or ISSN. Along with sending a copy to the British Library, the Bodleian Library, Cambridge University Library, the National Library of Scotland, the National Library of 4

Wales and the Library of Trinity College, Dublin, are each entitled to delivery, free of charge, one copy of every publication that they request.

Information is available about the Legal Deposit Libraries Act 2003 at http://www.legislation.gov. uk/ukpga/2003/28/contents. The web link for the agency is https://www.legaldeposit.org.uk/ In terms of compliance we had only submitted copies of Archaeolog and the 3 collections of photographs under the Heritage Photography title from 1989.

We are now up-to-date with legal requirements for deposition of Heritage Photography as I was able to send the British Library a complete set of issues from Autumn 2009 onwards.

Social Media George Backshall and I have created a Facebook group which is now online at https://www.facebook. com/groups/rpsah/ Just go onto facebook and type groups/rpsah or search for RPS. We currently have 23 members on board but would love more to join us.

Ongoing behind the scenes work Developing and sustaining contributions for future issues with advance notice of themed issues.

Updating the index of articles Scanning and Archiving of A&H Newsletters (Partially completed) Current wants for digitisation and archiving include: Heritage Photography - Issue 1 (December 1989), Issue 2 (March 1993) and Issue 3 (Spring 1996), Archaeolog Issue 1.

We would really love for every member to contribute to the journal and to have a wide range of interests published. So, if you have an idea for photographs or articles and photographs for the journal. Please contact me: heritage.editor@rps.org.

DAVID BRYSON

EDITORIAL

Gwil’s rant . . . . .

Chair of the Archaeology and Heritage Group. GWIL OWEN ARPS.

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y the time you read this the summer will be officially past, though, with some luck, we will all still be able to get out with our cameras and do what it is that we all do so well (I hope).

I trust that many of you will have joined Rodney Thring at the Weald Museum, and added your images to our on-line presence. Do not forget our Members’ Showcase in October. Both the photographs, and the related discussions make this a vital part of our existence.

At the last committee meeting we decided to explore the possibility of a group exhibition. We have seventy frames all waiting to be filled. Which of yours would you like to see on a wall? Also, if you know of a suitable venue near your home, please let us know.

Every so often I, and George, our secretary, get a breakdown of all the online activity of the various group parts of the RPS’ website. Fascinating though this may be, it doesn’t help us much to learn why our members use the website. How about, just occasionally, dropping George or myself an email saying what you think of it all?

Let us know what you think Chair: Gwil Owen heritagechair@rps.org Secretary: George Backshall heritagesec@rps.org

Cultural heritage Cultural heritage has many facets. Broadly speaking it is whatever a society does in the present, with a view to handing it on to future generations, or preserves its inheritance from the past with the same objective.

An Archaeologist studies past societies (recent and distant) through the medium of their remains and their traces in the landscape. An Anthropologist looks at modern societies - and of course their past as they express it now. Both can discover what societies have done, and how, and what people’s lives were and are. We explore this heritage now with our cameras. Our curiosity about the past is one gateway to understanding ourselves.

“Man knows himself only to the extent that he knows the world.” (Goethe) Heritage can also be considered from the point of view of what we bequeath to the future. Particularly in modern western societies it is a matter of

principle that the past should be preserved as a valuable asset for our descendants. We know their lives will be the better for having our knowledge and understanding to guide them. However some other societies, now and then, do not, and did not consider the distant future, preferring to keep in the here and now those things and ideas which are valuable. Our society, centuries hence, may hold the past to be of no use or little interest. It will be their choice. We might bear this in mind before hubris strikes us down.

As a group we have some influence in this general conversation.

How can/should we exercise it?

Well, for a start, blind enthusiasm just doesn’t cut it.

Our future audience can assume that enthusiasm, but unless an image has precise clues as to why we felt that way it is useless.

How to do this?

Analyse the subject and use the basic photographic techniques (viewpoint, lighting, timing) to pass on a precise message. Of course this is “Photography 101” as the Americans would have it.

The really difficult bit is the self analysis which explains why you really like the bits that you consider important. For what it’s worth, my own experiences dealing with creative artists have shown that the better the artist the more they understood the details of their own motivation. Give it a try and have fun.

Members’ Exhibition 2020 The group will be presenting a members’ exhibition in Cambridge from the 13th to the 27th of September 2020.

Please start thinking about which of your images (or groups of images) you would like to be included.

Ultimately we will be asking for images mounted on a specific size of card, but we may be able to offer some help if sending pre-prepared prints is problematic. I am happy to discuss your suggestions for, or questions about what you might offer.

Just email me: heritagechair@rps.org.

GWIL OWEN ARPS

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FEATURES

Louvre Abu Dhabi The Louvre Abu Dhabi, which opened in November 2017, is a major new gallery devoted to heritage material spanning 7 millennia. The building is of interest for its attractive design as well as for its contents. ROBERT GALLOWAY LRPS.

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he Louvre Abu Dhabi has been designed and curated with advice and assistance provided by the Louvre in Paris. An idea of the scale of the project may be had from its cost, about 600m Euros for the building with an annual sum of about 400m Euros to be available for acquisitions. The French architect Jean Nouvel designed the building which opened in November 2017.

The building The Louvre Abu Dhabi is on Saadiyat Island, mostly projecting into the sea and with a park on the island in front of the building, see Figure 1. The galleries and other rooms are like large boxes, externally white, generally adjacent to one another and interconnected internally. Most of the white boxes, which resemble white flat roofed single story buildings, sit under a large circular shallow dome.

The form of an umbrella comes to mind to one from a wet climate. However not being in a wet climate, the umbrella dome need not be water tight.

The dome consists of seven layers and each layer is a structure of metal beams which form a particular pattern. Viewed from inside, the sky is mostly obscured by the beams in the seven layers of the dome, and it is like looking through the branches of trees: light can pass through the gaps to form patterns on the walls and floors, see Figure 2, with the patterns of light changing as the sun moves.

This dome structure also permits hot air to pass out of the building through the dome.

Between the twelve adjoining galleries housing the permanent exhibition and the large gallery for visiting exhibitions is a large Plaza looking rather like a street, see Figure 2.

Figure 1. An exterior view of the Louvre Abu Dhabi. Sony RX100VI pocket camera, 20MP at ISO400, f/10, 1/500 sec.

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Figure 2. The Plaza, Louvre Abu Dhabi.

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Figure 3. View looking out from the Plaza of the Louvre Abu Dhabi.

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Figure 4. The Grand Vestibule.

Figure 5. Fight between Creugas and Damoxenous; Antonio Canova, Italy, plaster, 1795-1803.

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Figure 6. Sphinx; Greece or Italy, 600-500 BCE .

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Figure 7. This vase with geometric motifs is the earliest piece of pottery found in the United Arab Emirates, at Marawah Island, Abu Dhabi. It is thought to be Mesopotamian and date from about 5500 BCE. (Department of Culture & Tourism, Abu Dhabi)

Figure 8. Decorated Glazed Ceramic Tiles; Ottoman Empire, Turkey, Iznik, 1575- 1580.

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Figure 9. Woman dressed in a woollen garment; Central Asia, Bactria, 2300-1700 BCE. 13

Figure 10. Monumental Lion; important Islamic work from Southern Spain or Southern Italy, hollow bronze, 1000 -1200.

There is also a Children’s gallery, a Conference hall, a café, restaurant and shop. The galleries containing the permanent collection are entered through the Grand Vestibule, see Figure 4.

The Exhibits The “permanent” collection is said to comprise about 600 artefacts of which about half belong to the Louvre Abu Dhabi and the remainder are on long term loan, mainly from French Galleries, while the Louvre Abu Dhabi builds up its collection appropriately.

The artefacts in the permanent collection range in age from 5500 BCE to the present century, in size from coins to larger than life statues and oil paintings. The geographical range is from around the Mediterranean eastwards on through Asia to China and Japan.

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Clearly only a tiny selection can be shown here. I have chosen 6 examples to hint at the range of artefacts [figs. 5-10]. Five are owned by the Louvre Abu Dhabi.

Details are from the captions accompanying the exhibits.

The first Visiting Exhibition appropriately concerned the history of the Louvre Paris, the second concerned Globes of the World and of the Sky, while Treasures of the Arabian Peninsula is the current topic.

Photography The camera used was a Sony A77 with C size sensor, ISO 400 or 800, zoom lens 16mm – 50mm, f5.6, indoor 1/13- 1/50 sec., outdoor 1/400 sec., hand held, with RAW files processed in Lightroom.

ROBERT GALLOWAY LRPS.

PLACES TO VISIT

The King’s Observatory, Richmond upon Thames I discovered the King’s Observatory purely by accident, whilst looking for interesting historic buildings to take my U3A group to, and searching Google Maps, saw a link to this undiscovered treasure. DAVID BALAAM

The Kings Observatory as seen approaching from the Golf Club drive.

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he Observatory was commissioned in 1769 by King George III, the architect being Sir William Chambers. The vast surrounding park was landscaped by Capability Brown.

The King was keen on the sciences of the day and wanted to observe the heavens but in particular the transit of the Planet Venus across the face of the Sun which was then predicted to occur in 1769 From 1893 the Observatory passed through many hands, including in recent past as the head office of Autoglass. The building is now leased from the Crown Estate to Kew Holdings whose chief executive and passionate guardian of this historic place is Robbie Brothers.

Robbie has painstakingly restored much of what the public see to the style, colour and atmosphere of the eighteenth century. He has included many precious, personal collections, especially from the Far East where he resides.

The Observatory was opened twice in 2019 in February and October. Do check the website for future openings in 2020. Further information about this historic place can be found at https://www. kingsobservatory.co.uk

DAVID BALAAM

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Telescope Cupola. The Cupola housing the telescope is the oldest of its type in the World and is where the passage of Venus across the face of the Sun was observed by the King, Queen Charlotte, the Superintendent of the Observatory Dr. Demainbray and others early in the morning of the 3rd June, 1769.

View of the library upper mezzanine, chandelier and ceiling 16

This engraved stone scroll is dedicated to Robert Beckley who invented the recording anemometer and rain gauge.

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PLACES TO VISIT

Treasure Houses of our Heritage We look here at some of the immense variety of artefacts to be found and enjoyed in Europe’s museums. They range from man’s earliest creations, through Roman and medieval relics, to survivors of our industrial age – treasures perhaps of the future. RICHARD K. EVANS FRPS

Museum of the North, Beamish, County Durham.

This four-wheeled tank engine is preserved and active hauling visitors at the Beamish site; it was built by the North Eastern Railway in 1890.

Victoria and Albert Museum, London.

Marble statue ‘Vertumnus and Pomona’, made in 1725 by sculptor Laurent Delvaux.

Museum of Mechanical Musical Instruments, Rudesheim, Germany.

Kremlin Museum, Moscow.

The ‘Czar’s Cannon’ of 1586, ordered by Ivan IV. It weighs 40 tons and has a 35-inch bore.

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Titled ‘A Musical Celebration in the Land of the Dolls’, this is the largest Orchestrion with automata ever made. It was constructed in Buffalo, New York in 1890 by Bernhard Duffner from Furtwangen in Bavaria’s Black Forest, from where he had emigrated in 1865. The 27 dancers and instrumentalists are operated pneumatically, playing and dancing to eleven different tunes.

Ulster Folk Museum, Northern Ireland.

The Corner Shop, one of many buildings typifying life throughout Ulster. The calendar on the door shows the date to be November 1919.

Norwegian Maritime Museum, Oslo.

First-ever crossing from Greenland, through the North-West Passage to the Bering Strait, was made

by Roald Amundsen during 1903-06 in this sloop Gjøa, built in Rosendal in 1872. After lying in San Francisco for over 60 years, the vessel was returned to Bygdøy, Norway in 1972.

Museum of Archaeology, Nicosia, Cyprus.

Some of the 2,000 sixth-century BC terracotta figures found in the Sanctuary of Ayia Irini (St Irene) in north-west Cyprus.

The Museum of London.

With a population of some 45,000, Roman Londinium in the first and second centuries AD was the largest city in Britain and a major international port. This diorama depicts shipping activities on the river Thames at that time.

Ethnographic Museum of Georgia.

Re-creation of a typical Caucasian mountain farmer’s house of the early 19th century.

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Royal Saxon Porcelain Museum, Germany.

Porcelain figurines modelled about 1745 by Johann Kandler, one of the Meissen factory’s most famous craftsmen.

Blaufarveverket, Norway.

Bobbin lacemaking was a popular and profitable craft for European ladies throughout the 17th and 18th centuries. This example is displayed in the mine-manager’s house, now open as a museum, at Norway’s long-closed cobalt mines in Telemark.

Geffrye Museum, London.

Here in the former Almshouses of the Ironmongers Company are living-room settings dating from 1630 to the 1990s, all furnished in correct period style.

Pictured is a first-floor drawing room as it would have appeared in the home of a well-off city family in the 1830s.

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The Shuttleworth Remembrance Trust Old Warden aerodrome near Bedford is the home of the Shuttleworth Collection of historic aircraft, many of them regularly flown. This Avro Tutor trainer dates from 1931.

Museum of the Conservatori, Rome.

The Science Museum, London.

Second-century relief, about 6ft x 4ft, celebrating the triumph in battle of the Emperor Marcus Aurelius.

Part of the London Clockmakers’ Company collection, this mahogany-cased eight-day spring clock was made by William (?) Johnson of Gray’s Inn Passage in 1780.

Horniman Museum, London.

National Car Museum, Mulhouse, France.

Collections of preserved birds and insects were popularly displayed in wealthy Victorian and Edwardian homes. This realistic diorama is one of several in London’s Arts & Crafts style museum in Forest Hill.

Bugatti eight-cylinder Type 55 roadster, built in Molsheim near Strasbourg in 1932 – an icon of 1930s sports car design. It is one of some 120 Bugatti cars owned by the brothers Schlumpf which formed the basis of this museum’s collection.

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TECHNICAL

An inexpensive micro 4/3 extreme wide-angle lens Some years ago I wrote an article in Heritage Photography on my experiences with the new Micro Four-thirds MFT (or M4/3) camera systems.

ERIC HOULDER LRPS

The lens in place on my Panasonic G7. Photographed with my G1 and 14-42mm lens.

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ith both Panasonic and Olympus making cameras and lenses for that mount, the number of lenses quickly proliferated, though none could be described as inexpensive.

However, the independent maker Samyang began producing quality MFT lenses soon after I wrote, and more recently SLR Magic has joined in. The latter is a strange name, and I first heard about their 8mm f/4 rectilinear wide angle via David Kilpatrick’s 2019 review in Cameracraft 1. This largely positive review cancelled any predjudice I may have had because of the cheap-sounding name.

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As I am sure most readers know, the Kilpatrick’s have been involved with photography since the 1960s, and have produced quality magazines in the Borders with little advertising but beautifully reproduced pictures since that time. Being totally independent, their reviews are stringent and noted for honesty. This particular review prompted me to regularly scan the on-line advertising, and to purchase one when the price dropped substantially below £200. As a number of Group members now use Panasonic or Olympus MFT systems, the writer felt that a brief review of this unusual optic would prove useful.

The lower lake at Nostell Priory, National Trust. My linear polariser was used, the subsequent vignette being cloned out during processing. A long white con-trail was also removed.

The 8mm f/4, (16mm full frame equivalent) is really intended for drones which tend to use M4/3 mounts. This accounts for the rather quirky appearance of the lens. The only plastic in the box are the sturdy front and rear caps, the lens itself being all glass and metal, and quite small; so small indeed that the rather fiddly aperture ring does not have all the settings engraved on it, with just dots between figures, and no click-stops.

The focussing ring has a restricted range of distances with a useful chromed metal knob protruding, whilst a knurled screw locks focus – sensible for drones and quite useful for heritage photographers in many situations, particularly in confined spaces.

I would certainly have found it useful in a recent exploration of John Carr’s mausoleum under Horbury church, which is accessed by a cramped tunnel which demands a 180° body twist in a very restricted space. As it was, I fitted my 7.5mm Samyang fisheye before entering, shortened the neck-strap, and zipped up my fleece to protect it.

I now intend to re-visit with the 8mm as soon as practical.

Another unusual feature is the optically flat and multi-coated ‘protector’ in front of the lens. This can be replaced with a thin screw-in 52mm filter; and a really thin filter is needed here. My very thin

(but still twice the thickness of the supplied flat) linear polariser produced a miniscule vignette in the frame corners, but this was easily removed in post-processing. There is an implication in the brief instruction card that either a filter or the flat must be in place in use. In practise, I noticed prominent flare if the sun appeared in the frame – no surprise here.

Being non-meter-coupled, the lens may only be used in Aperture Priority or Manual modes; no hardship as a lens this wide only requires simple zone focussing. For close-ups with non-dedicated lenses, the MFT cameras have their own unique focussing system which worked well with the SLR Magic lens. Though not, admittedly, the sharpest tool in the box, it is certainly adequate for publication. A number of dealers both here and abroad advertise it under £200. However, there is a rumour that it is about to be discontinued, so if you use M4/3, look sharp!

1. Kilpatrick, D. (2019) SLRMagic 8mm f4 MFT. Cameracraft; January/February: 50-51 [URL https:// issuu.com/iconpublications/docs/cc_janfeb2019 accessed September 18th 2019]

ERIC HOULDER LRPS

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NOTICES ARCHAEOLOGY & HERITAGE GROUP MEMBERS’ SHOWCASE 12 October 2019 10:00 - 16:00 Leatherhead Institute, Room G6 67 High Street Leatherhead United Kingdom KT22 8AH

Speakers and topics DAVID BRYSON The story behind photographs, and photographs as stories The aim of this talk is to look at how we can use photographs and research to tell the stories behind the events and to examine how photographs can be complete stories in themselves.

ERIC HOULDER LRPS Lost Albums; Destroyed Negatives; Dark Places The rediscovery of a handful of enprints prompts a journey back to 1958 and a half-forgotten investigation, whilst a borrowed endoscope suggests secret tunnels. Meanwhile, anniversaries spawn a spate of retrospection.

BRIAN IDDON LRPS The work of Sam Weller FRPS Brian will introduce us to the work of Sam Weller FRPS, who formed the Bromoil Circle of Great Britain. The bromoil process is one whereby an ink-based image is derived from a silver bromide print, and Brian will show us Sam’s bromoils from the Circle’s archive collection. These depict many iconic views from around the U.K. in the 1940s and 1950s.

MIKE SASSE Reminders of the Coal Industry in England Collieries were still a common sight in many parts of England 30 years ago, but the rapid final decline of the industry has left few reminders of its presence save for memorials. Subject matter ranges from decayed sites to buildings and equipment preserved for the future, and other facets of the industry.

RODNEY THRING LRPS My Heritage Photography Rodney works primarily in traditional black & white photography - his subjects are often churches and cathedrals, but also include castles, other buildings and ancient monuments. He will show us and discuss a selection of his work, which includes pin hole prints and colour prints.

Please book for the event by contacting the organiser which helps us to plan the event and avoids disappointment in the case of oversubscription. Please look at the website for more details.

Please e-mail the event organiser Mike Sasse mike.sasse@btinternet.com 01892 531179

TOUR OF STANDEN (NATIONAL TRUST PROPERTY) WATER TOWER, HOUSE AND GARDENS. 14 October 2019 10:15 - 15:00 Standen House West Hoathly Road East Grinstead United Kingdom RH19 4NE Join the A&H Group Visit to Standen National Trust property, an exclusive visit of the Water Tower, its machinery and fine views across the Weald of Sussex. Summer visits to the water tower are not permitted whilst nesting bats are tending their young Afterwards visit the Art and Crafts family home with Morris & Co. interiors. See website for further details.

Please confirm with George Backshall, Group Secretary, your attendance in advance so we know the numbers to expect.

Please email the event organiser George Backshall heritagesec@rps.com For further details about events please go to the group’s web pages on the RPS site at http://rps. org/Home/Special Interest Groups/Archaeology and Heritage.