Blackshaw Head

If you follow the road up from my daughter's home to the west of Hebden Bridge you eventually, after much hair-raising climbing up steep, narrow lanes, arrive at the small village of Blackshaw Head. We went up there for their annual Village Fete at the end of August. (I'm a bit late with my posting!) 

The village has some 17th/18th century houses and farms (with a few more recently built). There's a Methodist Chapel built in 1815, that serves both as a place of worship and a community focus for the village. I occasionally used to take my youngest granddaughter to the playgroup here when I looked after her - and it was delightful; so welcoming and a real haven for lively children and tired mums/grans. The tea and cake was delicious! M used to be so tired afterwards that she'd sleep in the car on our way home. I sometimes used to drive miles so she could have a decent nap! 

The chapel itself, built in two tiers as was customary, isn't very big but is attractively panelled with large, light windows. It was set out with 'quiet spaces' for meditation and provided a peaceful haven away from the busy fete.  

This area consists of a high Pennine moorland plateau, cut through by deep valleys. (Hebden Bridge itself is right down in the bottom of the Calder valley). Blackshaw Head's elevation is over 1000ft (350m) above sea level, so there are panoramic views from here, looking around to the other villages and hamlets on the moorland. (The photo below is looking north towards Colden.) It is not far from the Pennine Way long distance footpath, which goes through Colden. 

More 62 Group textiles

Here are a few more pieces from the current exhibition of textiles by The 62 Group, in Salts Mill's Roofspace. 

The image below is part of one of four large panels by Jane McKeating, called 'Flight Path'. In her own words: 'This work explores the layers of a community, connecting the creative activities in Jane's studio to those beyond the window. In a corner of the world, far beneath flight BX235, a lady makes a map, inspiring her to print 150 images onto 5 metres of weird rollerblind material. Gazing through the window she sees the children embrace the space, making playful marks and making shapes so they become her lacy border.'

Paddy Killer's artwork of a panel and a chair, 'Consequences of Mary Swift' is in honour of her grandmother, who taught her to sew. In her teens, Mary worked in a mill in Halifax, then became a professional needlewoman, and later a housekeeper. 

This bright rug, 'Augustus the Cat' by Wera, reminded me of the 'rag rugs' that used to be in most of our homes. It's a punch needlework that she created when contemplating moving in with her partner and the cat 'who will destroy everything and ultimately cost them the rent deposit'. Originally meant to be used functionally to insulate and reduce heating bills, ironically the rug 'could not be used this way due to the very creature it portrays'. 

Woo-Jin-Joo's piece, 'Moment That She Vanishes', is an experiment with quilting as a new way of making beyond the usual domains of sculptural forms and embroidery the artist is familiar with. Mixing random patterns and materials, she explores how cultural heritages assimilate and amalgamate. 

This fragment by Audrey Walker reminded me of our local moorlands or the herbaceous borders at Harlow Carr.  It was in the tactile area where there were pieces you could touch, whilst being encouraged, understandably, NOT to touch the main displays. 

Textiles - 62 Group

There's a new exhibition in the Roofspace at Salts Mill, which I very much enjoyed. It is by The 62 Group: 'an artist led organisation' which aims 'to incorporate and challenge the boundaries of textile practice through an ambitious and innovative annual programme of exhibitions'. Since its establishment in 1962, some of the most highly regarded British textile artists have been members of the Group.

The huge, raw, roofspace, little changed since the mill's textile machinery was removed nearly 40 years ago, seemed a very fitting gallery for the works, which were innovative and quite 'raw' in themselves.  The individual works were unlabelled so you had to consult a large catalogue for information, which was a bit of a faff, but being able to move around and through them meant you could really engage with the detail of each piece. 

My first photo is a piece by Ezster Bornemisza, 'Delve and Discover', created using all manner of materials (including acetate film, newsprint and teabags!) She experiments with city maps to explore the theme of urban existence. 

Hannah Lamb is a local artist who has exhibited before in Salts Mill. The piece above, 'Inheritance', is a cyanotype on cotton organdie, with vintage patchwork. Hannah is a textiles teacher and this work explores her years of experience of making and unmaking, stitching and unpicking: repetitive actions that become 'a knowledge of the hands'. 

Helen Yardley's works (above), made from hand-dyed, screen printed and machine embroidered wool felt, are acoustic panels. Inspired by Matisse, abstract shapes are sliced, pieced together and embellished. The grey one on the right references the Cornish coast in its choice of colours. I thought they looked marvellous against the peeling paint and stonework of the mill's wall. 

The grey collage 'Transience' below, by Jan Beaney, also takes inspiration from the coast, specifically Charmouth beach where ledges of rock are eroded and etched, repositories for sand and sea water. 

I'm afraid I couldn't work out the creator of the draped nets, but I did like them. (I'm in a bit of a blue and white phase currently, so perhaps that contributed.) 

Sue Stone created the panels below: 'Integrated'. They are digital prints of artworks she has made for various exhibitions, embellished with appliqué, hand and machine embroidery. A dialogue is created between the front and back of the work, what's visible and what's hidden. 

I didn't find the makers of these pieces either, but they do illustrate the variety of work on show, from more traditional work to the rather avantgarde in materials and concept. I very much enjoyed the exhibition and will go back, I think. It's on until 1 November.  

 

Layered

Much of the beauty in show gardens like RHS Harlow Carr comes from the skilful layering of colour, form and texture. That's what I was trying to capture in these images. 

The herbaceous 'long borders' have been thinned out quite a lot ready for new planting for next year, but they still looked delightful. I rather liked the 'red-hot' pokers but either they've not turned red yet or these are a cooler variant. Either way, their sculptural quality is attractive. 

I adore the neon purple of the Verbena bonariensis, the plant at the front of the border above. They've been too big and sprawling for any of my gardens but I'm always drawn to them. I used to have a sedum at my previous house, a welcome splash of colour at this time of year. The one in the photo below - Purple Emperor - had rather gorgeous chocolate coloured foliage. 

Even on its way to dying, the eryngium (sea holly) looked spectacular, its bleached out spikes showing up against the deep blue clematis. 

Some of my favourite areas of the gardens are the nectar alleys in the teaching garden, with ornamental grasses, lots of cone flowers and hyssops. The breeze creates lots of movement here and the colours, against the grey paths, look stunning. 

Everything in the garden is lovely

As you would expect of the Royal Horticultural Society, everything in the gardens at Harlow Carr is lovely. Whether that be sunflowers, nearing their end but still adding a bright splash of colour  - or a mixed border in the kitchen garden:

A few interesting sculptures, like these kinetic 'sycamore seeds' that constantly move in the breeze...

Abundant produce in the vegetable areas: espaliered apple trees were laden with glossy fruit and I saw (for the first time, as far as I'm aware) chickpeas growing: 

These vibrant blooms are commonly called autumn crocus but their proper name is Colchicum autumnale (meadow saffron). Their blooms flower in autumn before the leaves appear. 

Oh and I do love a big, exuberant planter and they are very good at them at Harlow Carr:

Green symphonies

I've lost count of the number of times I've visited the RHS gardens at Harlow Carr but I'm glad I live within easy driving distance and, with annual membership, I can go as often as I like. On my last trip, it was clear that we're in a transitional season from summer to autumn. The interest comes from texture and form - seedheads, foliage - since many blooms have more or less finished and the true autumn colours are not yet really showing. 

After a damp summer, all the greens are amazing and the foliage is lush. Recent high winds, however, have dislodged tree branches and some of the woodland was closed as a precaution. Better safe than sorry. It's a huge estate though, so there was still plenty to delight the senses - and bumping into some friends there as I queued for coffee meant we had a leisurely drink and a most enjoyable chat too. 

The pond in the 'teaching garden' was absolutely crammed with lily pads, and happily there was enough sunshine to open up some of the flowers too. 

Elsewhere it looked like something had had a good munch on the hostas, but I actually enjoyed the resulting lace-like patterns. 

This area near the entrance has had a complete overhaul in the last couple of years, with a pool and rockery created. It has really filled out with plants - compare it to how it looked in spring 2023 HERE. 

Misty, moisty

It seemed a dull day, not promising for a walk, but I wanted the exercise so I went out anyway. I was glad I had, as it was warm - humid even - and very still, with not a breath of wind. There'd been rain overnight so it was slightly misty and there was everywhere that wonderful scent of warm, damp earth: petrichor. 

I did my usual circuit, out along the canal, back along the river and through the park. Some people may think it's boring doing the same few walks over and over but I love it. It's never 'the same' two days running, always something new to notice.  There were quite a few other folk about (more than my photos would suggest). The schools were just starting their autumn term but in a phased return, so there seemed to be quite a few grandparents shepherding their grandchildren, as well as the usual crop of dog-walkers. Everyone seemed to be in a good mood; lots of 'good mornings' and 'hellos' and even a few people who stopped for a light chat along the way. 

It felt very much a transitional time, with a few trees already beginning to show a little autumn colour, though it was only the start of 'meteorological autumn'. 

The river was surprisingly still, hardly discernibly moving, despite the recent rain. There must have been fish near the surface... plenty of ripples and, once, a 'plop' so loud that it actually made me jump! 

I returned feeling peaceful and at ease; even stopped for a coffee at the park café, though as soon as I sat down it began to drizzle and, by the time I got home, the rain had set in. 

Lego creations

Whilst I was in Harrogate, I decided I'd have a look at a few of the Lego Trail figures that were dotted around the town centre, mostly in shop windows (so excuse the reflections on the glass). They were quite a wondrous sight. Imagine how many bricks you'd need to make just one of these. Very cleverly done though. 

Clockwise from top left: Puss in Boots, Cinderella's Carriage, The Little Mermaid, Red Riding Hood, The Dragon, The Frog Prince. 

There were others too but I didn't have time to see them all. 

Montpellier Quarter

Harrogate retains something of the elegance of its heyday as a growing and popular spa town in the 17th, 18th and 19th centuries. It is still considered a desirable area in which to live and still attracts a lot of visitors. We stopped for lunch in a tea room in the Montpellier Quarter, an attractive part of town, sandwiched between the main shopping centre and the Valley Gardens. Here the streets have been pedestrianised and the beautifully restored buildings house many high-end independent shops and boutiques, art galleries, antiques shops, bars and cafés. Many of the cafés have outdoor seating, to take advantage of the limited British days when it is warm and dry enough to sit outside. Luckily the day we were there was one of them.  

Dahlias

In late summer, for as long as I can remember, there has been a dahlia border in Harrogate's Valley Gardens. In fact, I can recall getting very excited photographing the blooms years ago when I first started to get interested in photography. I don't have any of those images now... I wonder if my skills have improved? 

There can't be that many flowers that show such a huge variety of form and colour: from simple, open, single-layered petals to pompoms and complex tubular structures, some very neat, some almost ragged looking. I'm never quite sure whether I actually like them. I wouldn't have them cut in a vase in my home, but there's a certain fascination to them and they bring a wonderful burst of colour to the garden. 

Royal Pump Room

Harrogate's Royal Pump Room, built in 1842 and extended in 1913, stands opposite the entrance to the Valley Gardens. It is now a museum but originally it was where people came to drink sulphur water, pumped on site from the Old Sulphur Well, and to meet friends and socialise. 

Inside it has all been restored, after it closed as a spa during World War II. You can see the counter where water was served, and the original well head in the basement. 

I've been past the museum many times and never been in. I didn't have long enough there this time. There was more to see than I expected, so I might have to go back some time. I think they have changing exhibitions, and there were costume displays and dioramas showing the kind of hydrotherapy facilities that people used in the Royal Baths.

There are bottles of mineral water from the many springs and wells in the town. Nearby was a Bath chair, a common sight around Harrogate in the 19th century. These covered, wheeled chairs could be hired by visitors from a rank so that a bath chair man would push them to the various hotels and spa buildings. 

There is also a mock-up of one of the treatment benches from the Royal Baths. The bather lay on an inflated rubber bed on a wooden table. Water streamed from the jets overhead and the bather would be soaped, rinsed, massaged and have his or her joints manipulated by a bath attendant, with water going from warm to cold. There is still a fabulous Turkish Bath in Harrogate, with all its Victorian tiles and mahogany wood. It's quite an experience and really very relaxing, with different areas of varying heat and steam. When last I visited, a few years ago, you could still get a massage - fairly rough and bracing! I keep thinking I should try it again. It's rather wonderful.