Archives for category: Urban Sketching

Back in the summer while work on the restoration project was still in the building phase, children from several primary schools in Keighley put together a collection of objects – newspaper cuttings, coins, stamps, things they’d written – to seal up inside a time-capsule to be buried under the Norfolk Island Pine beneath the dome in the glasshouses.

Time-capsule for burial in the glasshouse

Ingeniously constructed from sections of drainpipe it looked very impressive, but it didn’t get buried at the time as the glasshouses were then still a building site. However last week it was carefully placed in a hole dug and prepared for it, and covered over and completed with a stone plaque instructing that it should not be reopened before June 2067.

I Iove time-capsules. When my sister and I were children we used to write notes and hide them in the house whenever we could. Not long ago one turned up behind the bath panel where it had been walled up for 50 years, and the current owners of the house were delighted with it and managed to contact us and send it on. The whole idea of walling something up or burying it so that at some distant time it will be discovered and explored by someone living in the future feels a bit like time-travel, and it fascinates me. All through the excavation and demolition phases of the restoration at Cliffe Castle we were hoping that we just might unearth a buried or hidden message, a Butterfield time-treasure purposely concealed – but nothing came to light. 

Milk-bottle and coins unearthed

There were things that had been dropped by accident or thrown away – a milk-bottle, a couple of Victorian coins, jugs and jars and pieces of pottery and numerous mysterious rusty metal objects that were hard to identify, and all their stories remain tantalisingly untold.

Rusty bits and pieces

All this got me thinking what I would put in a time-capsule if I were to make one now, and it would certainly be drawings, or whole sketchbooks. I often feel that sketches are frozen moments in time, almost like fossils. They record the moment something happened and how I saw it, what it meant and how it felt – something that passed through me and ended up on a piece of paper.

Clearing paths after laying tarmac

During the path-laying phase every day ended with a lot of clearing up with brooms and shovels, and since drawing people moving is so difficult but such fun I tried to sketch this action, and mostly with disastrous results. This time I think I caught something – but not without absurd anatomical mistakes 

Guiding the dome into place

The delicate operation of guiding the dome into place on top of the glasshouse. It was a hugely challenging thing to draw because the crane was so enormous, there was so much going on and it all happened fairly quickly – but I couldn’t miss the chance to see what I could get on the page. I certainly remember what went on better from having sketched it – even if this meant focusing on some things and missing others. 

I suppose you could say that this whole project, Drawing The Work – and the posts on this blog – are a kind of time-capsule, except of course that they’re not buried or hidden; the posts will stay here for anyone to see. 

Visitors to the park at the Heritage Walk

Some of the visitors at one of the Heritage Walks, listening to Claire pointing out features and explaining the building work. I love sketching people when they’re engrossed in looking and listening because they’re unselfconscious and much more interesting to draw. 

The work of the restoration is now almost finished, and from now on, my sketching will be more about life in the park rather than the work of restoring it. A big celebration to mark the completion is going to take place in the park and museum shortly before Christmas on December 10th. The exhibition of Drawing The Work goes on in the museum until January, and we’ve produced greetings cards using a selection of my sketches which will be on sale at the Christmas celebration and in the museum shop.

My Cliffe Castle posts here will now mostly be under the heading Life In The Landscape, and I’m looking forward to a whole new programme of sketching possibilities. Hope you’ll follow me on the adventure! 

Advertisements
View from the glasshouse terrace

View from the glasshouse terrace

There are still things to do, but at last the sloping terrace in front of the glasshouses is no longer a building site full of heaps of reserved topsoil and piles of hardcore and gravel. This view that I sketched a couple of weeks ago is now already a thing of the past; now the carefully raked surface that was a glowing tawny and russet brown in the afternoon sunshine has been covered with turf and is a beautiful green lawn.

The diggers are mostly gone, and I miss the excitement of their sheer bulk, their lumbering unpredictable movements and the colour and animation they brought to the site. There are many things I regret not documenting better, and I wish I’d drawn more of all the different kinds of diggers and dumpers and cranes that have come and gone, all with their own specialities and peculiarities. I find all of them exciting.

Digger on the glasshouse terrace

Digger on the glasshouse terrace

I haven’t drawn any of them with the care and attention they deserve, either – and neither have I learnt anything about hydraulics or the engineering of heavy plant (I love the use of the word ‘plant’ when it refers to machinery – as when you see a sign saying ‘Plant Hire’ and you know it’s not about renting a rhododendron, or my favourite traffic-sign that warns of ‘Heavy Plant Crossing’. I would have loved to have seen a sign in the park saying ‘Heavy Plant at Work’. Wouldn’t that have been something.)

Plants of the more usual kind have begun to appear in the glasshouses and I hope to get the chance to see more of this soon – I just had the briefest glimpse through the door the other day. Cactii, succulents – all kinds of soft beguiling colours and strange and exciting shapes. At last architecture and planting is coming together, and what’s been just a vision and plans on paper is becoming something real…..

Trial planting of ferns for a 'rootery' in the glasshouse

Trial planting of ferns for a ‘rootery’ in the glasshouse

Cliffe Castle Park in Keighley is being restored with funds from the Heritage Lottery Fund. Work started on site back in June 2016 and I’ve been following progress and sketching whenever and wherever I could. I’ve called the project Drawing The Work, and my sketchbooks and watercolours are now on display in Cliffe Castle Museum until Christmas. 

The pond is finished! The final stages of lining it included putting in water-bar, (or high-pressure gasket to give it its proper name) – along the two channels in the cement that had been left for the purpose. It’s clever stuff – it absorbs the expansion and contraction that happens with changing temperatures and thereby prevents cracking in the cement. Amazingly this narrow red tape can expand up to 200 times its size, which is why they took great care to make sure the surface where it was laid was completely dry, to stop it immediately puffing up to something the size of an anaconda……(!) 

Laying water-bar in the pond liner

All this was explained to me in patient detail by Bill the site foreman who has never minded me asking endless questions. He’s always been ready to stop and kindly educate me about things like the proportions of cement-mix, or the uses of threaded stainless steel bar. I’ve learned a lot from Bill, and not least by just watching him at work and directing the men he works with. 

Bill directing work from the edge of the fountain

After many years with Casey’s, Bill has now reached retirement and I was extremely honoured to be asked to make him a card that all his fellow workers could sign and present to him on his last day, at the end of August. Yesterday was the day – and like all endings and good-byes, a moment of a lot of feelings and emotions. When a team has worked together for a long time, breaking that apart is hard for everyone – especially those who have worked closely side-by-side, and when someone as well liked and well respected as Bill moves on, he leaves a gap that will not be filled. Lots of smiles and laughter, but in the days and weeks to come Bill will be missed. I will miss him too, along with all the rest. 

Detail from Bill's retirement card

Detail from Bill’s retirement card

And now the pond that Bill worked so hard to perfect is full of water, with not a sign of a leak; the fountain in the middle has been installed, and the bases of the two carved marble fountains have been lined and made water-tight, and on Wednesday, for the first time and after such a long time of waiting – and just in time for Bill’s last day – the water was turned on and the fountains came to life. I was so excited I think I actually jumped up and down – and even though the security fence is still up and poking a camera through the wire mesh is not an easy thing to do, I managed to take a wobbly video with my phone. 

(Sincere apologies if this video doesn’t work as it’s the first time I’ve ever posted one; I’m hoping that together the magic of the WordPress editor and my ability to understand it will carry the day……) 

Today the ongoing work in the park was merely a backdrop to a very important annual event, and I made sure I was there to meet some of the visitors and to try to sketch a few very quick portraits. 

Teddy bear sunbathing

The sun shone. In fact it was hot, which perhaps explains why a lot of bears simply lay around on picnic blankets, in various bear-like positions. Though some adopted more thoughtful and even strenuous poses…. 

Short haired bear doing yoga

I’ve often wondered if bears are interested in yoga. This one seemed to be holding a pose with a placid and peaceful demeanour and I couldn’t help thinking this would be a good addition to a picnic. Teddy bear yoga – or perhaps teddy bear Tai Chi? I’d find a bit of practice of that sort in the company of teddy bears very calming – they’re even less stretchy than me, and very much better at acheiving peaceful stillness. Something for next year? 

Teddy in a pushchair

This is Jasper (I know that by his necktie) who was one of the few bears I saw to have acquired a really comfortable seat. No doubt he was going to have to ride home in less style when his owner reclaimed the buggy but in the meantime he was reclining contentedly and observing the crowds queueing for balloons. 

Fluffy grey Me to You bear

And by the time I left some bears like their young owners were looking a bit sleepy…. some were getting squashed into carrying bags or tucked under arms or into the luggage carriers of buggys. This is Baby Bear, a fluffy grey long haired Me To You bear, waiting to be picked up and taken home. 

I took my own bear along to see what was happening. He’s been with me for almost as long as I can remember (off and on – over the years he’s had sabbaticals and gone on expeditions and adventures of his own; at one time he was a remedial teaching assistant) so he’s getting to be a venerable age. People were duly impressed by this – he must have been the oldest bear there. 

Bear accompanying me sketching

There’s no other way to say it – the pond liner leaked. A plastic liner was not a good choice it seems, and perhaps it was fortunate that it failed quickly before it was too late to put it right even at this late stage. This is what it looked like when I drew it in April – 

And this was what it looked like a couple of weeks ago when preparations had started for laying a new concrete liner – 

I learnt a lot of technical stuff about cement and construction in the course of all this. Some of it I was familiar with but other things were new to me (and as usual I didn’t catch all the action, only some of the highlights). 

The day the cement was due to be poured and spread I went up to the site earlier than usual, but arrived at ‘brew-time’ and since everyone had been hard at it for a while they stopped for tea while I warmed up my sketchbook, which was lucky for me because as soon as work started again it was all about sketching non-stop movement. Even though I’ve been drawing the work regularly for over a year I’ve still not had much practice observing the action involved in trundling a wheelbarrow, levelling with a rake or crouching down and smoothing with a trowel. Too often all this kind of work has been going on at a distance behind security fence and hoarding – but this time there was plenty of opportunity to try to draw movement…… 

…… and realise immediately how little I understand wheelbarrows, for one – and what pushing one really looks like. 

Anyway I observed how concrete can be made to stick to a steep slope such as the side of a pond without all sliding down to the bottom, how everything has to be timed right and how the weather affects the drying, and how this is very much a team effort. Very little talking went on – or much less than usual – it was focused, concentrated work. And great to draw. 

I had to leave after about an hour and a half and went back the following day to catch up with what came next. The length of the pond has been divided in three sections by two trenches prepared to take expansion tape (that’s one of them, carefully protected by black plastic in the second sketch above) – so the work of pouring, levelling and smoothing was being done in stages, one part at a time. 

Part two coming in the next few days……! 

The best parties are the ones that are not necessarily the most spectacular, but all you remember is having fun and enjoying the day! 

Sketchers preparing for a behind-the-scenes tour of the unfinished glasshouses

Unexpected fun – Sketchers preparing for a privileged behind-the-scenes tour of the unfinished glasshouses

Museum sketching in the Conservatory - Gina Glot's drawing of the carved marble urn

Museum sketching in the Conservatory – Gina Glot’s drawing of the carved marble urn shaped like a shell

I was so busy meeting people at the Garden Party last Sunday that I didn’t get a chance to do any sketching, but luckily there were others who did! At long last I had the chance to meet up with sketchers who until now I’d only known online, through Yorkshire Urban Sketchers and Sketch That Leeds. For them it was a chance to enjoy the action, to see some of the things I’ve been sketching in the park all year, to explore and draw in the museum – and to get a behind-the-scenes look at the still unfinished work when they were taken on a tour of the glasshouses (hence the hard hats). 

Sketchers from Sketch That Leeds, drawing dancers in the museum

Sketchers from Sketch That Leeds, drawing dancers in the museum. (Note the vital piece of equipment peeping out of the bag; I thought for a minute Helen had brought along a little friend but the weather was a bit variable – we all came prepared)

Sketching the action

Sketching the action (I never got the chance to see the drawing so I don’t know if the fellow in the foreground who looks about to dash in and join the dance got into the picture too….)

Meeting Sketchers at lunchtime in the Lodge

Meeting Sketchers at lunchtime in the Lodge

Joe Bean's sketch of the jazz trio playing outside the Conservatory

Music in the park; Joe Bean’s sketch of the jazz trio playing outside the Conservatory

The tour of the glasshouses was an unexpected extra and although no-one got a chance to sketch there, everyone realised what an exciting place it’s going to be from a sketching point of view. The views are going to be magnificent and the buildings themselves are going to be even more wonderful when they’re planted up with ferns and succulents and cacti and the Norfolk Island Pine. And of course, there will be the café! 

Mel Smith Parks Manager showing Sketchers the glasshouses

Mel Smith the Parks Manager showing Sketchers the glasshouses – standing on the terrace that will be in front of the café

In front of the café

The open end to the café glasshouse row

At the end of the café row of glasshouses the structure will be a covered roof, with no walls – so you can sit or stand there sheltered from the weather but still enjoying the fresh air and with uninterrupted views across the lawn to Cliffe Castle and Airedale

And the exhibition of Drawing The Work is now open in the museum, in the Breakfast Room next to the Conservatory – a long glass cabinet displaying my sketchbooks and drawings, accompanied by some of the objects in the sketches, watched over by Queen Victoria’s beady eye…. 

Display in the Breakfast Room

Sketched objects, and the objects themselves

Display cabinet with drawings

It’s humbling to see my work on show alongside the extraordinary objects and works of art in the museum. There are some wonderful things in this room and it felt quite startling to come into the museum and see my drawings and sketchbooks next to the things that I love to sketch! Over on a table in the corner are the four facsimile sketchbooks next to a welcoming sofa where people can recline in comfort and browse the books, under the gilded chandalier in the marvellous surroundings of what was the Butterfield’s everyday dining room. I love this mixing up of the past, the present and the future – and I’m so enjoying being able to share my sketchbooks like this. I look forward to meeting more of the people who like me are fascinated by the way history unfolds in front of us day by day – and to more urban sketching! 

Demolition work in June 2016

Back in June last year when I started this project that I’ve called Drawing The Work, I had no idea quite what might come of it. Four and a half sketchbooks and a pile of looseleaf drawings later, and I realise it’s taken on a life of its own, and it isn’t finished yet. But since this Sunday saw the opening of the display of all my work in Cliffe Castle Museum it seems like a good time to talk a bit about what it’s like to sketch in the park, and how I go about doing it. So what follows is the How, followed by the Why, in two parts. 

1. Practical matters: tools and equipment 
People always seem interested in my sketching kit – well, other sketchers are, anyway – so here’s the chance to see what’s in my bag. (Part one may get a bit technical so if you’re not a sketcher you may want to skip to part 2).

Mini sketching kit in a bag

Essentials: small bag on a strap that I always wear. It’s just big enough to hold 2 or three pens with different inks, sometimes a pencil, 2 waterbrushes (one with water, one with indigo ink diluted about 50:50 with water) a couple of sheets of kitchen paper and my mini-palette (see below).

This is my absolutely basic essential kit and goes with me everywhere – most days I go out with just this little bag and a spiral bound sketchbook. Most of my pens are Lamy Safari, and the one I use the most (and love the best) is the one dangling from the strap on the front of the bag; it’s a Lamy Safari Vista filled with De Atramentis Document ink that’s permanent and waterproof. I have other pens with other colours of ink, some waterproof and some not, and those I vary from day to day. The strap across the front of the bag is mostly for hanging pens on when I’m actually sketching, for easy access and a quick draw (!) and there’s a mini-pocket and a flap-strap with velcro to hold other things, like kitchen paper for blotting and brush cleaning. I don’t often take a water pot with me but usually rely on waterbrushes; although they have their drawbacks they’re incredibly useful especially since I do all my sketching standing up. 

My homemade mini-palette

My homemade mini-palette made from plastic packaging for inter-dental toothbrushes. The watercolour pans are blister packs for indigestion tablets.

I try to keep everything I carry as lightweight as possible so this tiny palette is ideal as it weighs almost nothing. I’ve also added a strap across the back made from 2.5cm masking tape that I can slide a flat stick of rigid card through, and then this gives me a paintbox-on-a-stick, that I can hold in the same hand as my sketchbook:

Paintbox-on-a-stick

Paintbox-on-a-stick – looking a bit battered now. I may have to make a new one soon; the corners started to leak and I patched them up with nail polish. 

I’ve used many different sketchbooks over time but I’ve never got over feeling inhibited by books that have expensive paper. I want to be able to draw fast and fill pages with drawings that may be terrible, especially if I’m warming up after not sketching for a few days, so I use A5 sketchbooks by Crawford and Black which are really cheap, and are spiral bound so that I can open the book right up and fold it round to hold it easily in one hand. In fact the paper is surprisingly good – it works fine for drawing with a pen, and takes light watercolour washes, and I rather like the way watercolour behaves on this paper – washes tend to ‘bloom’ a lot because of the sizing.

A5 Crawford and Black sketchbook

A5 Crawford and Black sketchbook. I reinforce the cover by taping some of the first pages to the inside of it to make it more rigid. 

If I want to do a sketch that’s more painterly in a watercolour way, I use a loose sheet of heavy (300gsm) watercolour paper cut and folded into a concertina-fold strip – this way I can end up doing either a panoramic landscape view, or a series of sketches related to each other that make up a story. 

Panoramic sketch of the old toilet block

Panoramic sketch of the old toilet block on a concertina-fold sheet of watercolour paper

I’ve already mentioned that I do all my sketching standing up. There are several reasons for this; firstly I’m more comfortable that way, and also I’ve noticed that people don’t come up and peer at what you’re drawing as much if you’re standing rather than sitting. I don’t mind this and I like talking but it can be a bit distracting, and more importantly I need to get into exactly the right place to get the best view of what I’m drawing which often means walking about and moving frequently from one place to another, especially if I’m sketching work that’s in action. This is fine, but standing in one place to do a drawing for more than ten minutes gets tiring. Holding a sketchbook in one hand like this can be a strain. So I have an adaptable contraption like a tray with a strap, that supports my sketchbook and takes the weight of it off my arm. The strap goes round my back and over my shoulder, like a guitar strap, and the whole thing is held together with binder-clips. 

Wearable drawing-board with a strap

Wearable drawing-board with a strap, made from two hardback A4 desk-diaries with all the paper removed, and only the hard binders remaining. Overlapping and clipped together they can make a longer rectangular shaped board…

Wearable drawing-board with a strap, unassembled

…. when unclipped, the two A4 binders sit next to each other to make them more compact to carry about. 

I carry all this stuff in a cotton bag with a long strap that I can sling across me to walk easily, and I’ve become easily identifiable at a distance because of this bag. I don’t know if this is a good thing or not – it means I can’t easily sneak up on people and draw without being noticed… 

Cotton carrying bag

Cotton carrying bag, not rain proof, so I have a plastic carrier bag in it just in case.

I always have my phone camera with me and I do sometimes take reference shots, to remind me about colour if I add watercolour later at home – I sometimes do this if there isn’t time to paint on the spot or if there’s a lot of rapid complicated work going on, just so I catch anything that happens a bit too fast to sketch. But I do this as little as possible and I seldom actually draw from photos. I find this quite hard to do as I’m not really seeing the thing itself but just an image of it, and it feels unresponsive. The exception is if I want to do a recognisable and careful portrait of someone, and then a photo helps. 

Michael Scarborough, of The Friends of Cliffe Castle and the Conservation Group

Michael Scarborough, of The Friends of Cliffe Castle and the Conservation Group, at the occasion of the raising of the dome on the glasshouses

This pretty much sums up the how, but then there’s the why.  

2. Why Draw? And Why Cliffe Castle? 

People sketch for different reasons, all individual, all of them valid. I can only talk about why I do it, and there are two reasons; one is to record – actually it would be better to say witness – and the other is to understand, discover, and connect. Something happens when you stand in front of a thing and draw it that is quite different from simply looking at it or taking a photograph of it; sketching is an encounter, and after drawing something you have a relationship with it that you didn’t have before, and that you’ll never forget. This is what Urban Sketching is about. 

I first discovered the Urban Sketchers movement back in 2015 and it’s had a huge influence on my drawing. Realising that there are people all over the world who have the same compulsion to sketch from life as I do, and being able to see their work online and share mine as well has been absolutely life changing. Without this feeling of being part of a sketching community I would never have had the confidence to start my sketching project Drawing The Work, and as it’s gone on I’ve had so much encouragement and support – especially from Yorkshire Sketchers. 

And I can’t talk about Urban Sketchers without mentioning  Richard Johnson, news illustrator and Urban Sketcher whose extraordinary drawings – and writing – have made such an impact on me. Rather than try to explain what his work is like I’ll leave it for you to discover yourself; have at a look at Why We Draw and you’ll see what I mean. 

Cliffe Castle is on my doorstep, which means I’m extremely lucky to have such good sketching opportunities close enough for me to reach. My condition with ME/CFS means I can’t make long excursions but I can get to the park almost every day. The Parks Department and Museum staff have been an enormous help, always interested and encouraging and ready to give me time to answer questions (sometimes very long lists of them) and now and again take me on supervised tours of the building site. 

So, special thanks to Dan Palmer the Heritage Officer (seen above, one grey and muddy day back in March), Mel Smith the Parks Manager (who I have yet to sketch – I promise I will!), Dave Bennison the Parks Technical Officer, Daru Rooke the Museum Manager (it was Daru and Dave who first made contact with me when I was sketching them peering excitedly into an excavation at the site of the pond) and Geri Abruzzese (whose job title I’m not sure of, but who always seems to be around in the Gardener’s Lodge whenever I need something). And a very big thank you to Kirsty Gaskin the curator at the museum who has made such an exceptional job of the exhibition of my sketches. 

Thank you all, for reading. And as always, do get in touch if you’d like to – leave a comment here below this post or send me a message through my contact page. 

If you’re already a sketcher, happy sketching – and if you’re not, why not give it a try? 

Deborah 

Cliffe Castle Park in Keighley is being restored with funds from the Heritage Lottery Fund. Work started on site back in June 2016 and I’m following progress and sketching whenever I can.

It’s now more than a year since work started in the park and we’re past the deadline for completion, but with a project of this scale these things can happen.

This means that the Grand Opening Event on July 30th has had to be trimmed down accordingly and won’t be the full-blown celebration that was originally planned; instead it’ll be a day of music and other attractions, re-titled the Cliffe Castle Garden Party. But for me, the fact that work is still going on means there are still interesting stories unfolding and lots still to record. 

Lowering the carved dolphin support onto the fountain base

The restored marble fountains are being put back together, and I caught the act of lowering the carved dolphin support and fixing it into place on the north fountain. These structures are like tiered wedding cakes – two great dishes one on top of the other supported by carved middle sections, topped off by carved cherubs (which had been badly damaged – one was missing a head, and the other was riding a headless goose. Or swan? You can see the whole post I did on the unrestored fountains here.) 

Fountain before restoration

Fountain before restoration in 2016

It was exciting to see the cleaned up dolphins back, and interesting to watch as holes were drilled in the marble so the whole piece could be pinned in place on top of the first dish with stainless steel threaded rods. The blue pipes that supply water up to the top of the fountain had to be carefully threaded through each section…but before that could happen the crane had to carefully raise and lower the thing into place. Guiding it into position was a two man job and the best way to grasp hold of it was generally one hand firmly in a dolphin’s open mouth… 

Drilling holes and lowering the dolphins into placeThreading water pipes through dolphins Quite tricky, as the dolphins all have to end up facing in exactly the right direction. 

Then it was all about making sure everything was level and perfectly upright…. and in a day or so the next section will be going up. Before long now we’ll see the fountains looking as they once were – and I can’t wait to see water spouting and gushing and overflowing! 

In the meantime I hope I catch more of these moments as the restoration story continues. It’s easy to miss – and often things happen before I know it and take me by surprise. This was a lucky day. 




More updates on the work of the conservation project, photos, plans, and background information here, and at the Cliffe Castle Park Conservation Group website and on the Parks Service page of Bradford Leisure Services.

Cliffe Castle Park in Keighley is being restored with funds from the Heritage Lottery Fund. Work started on site back in June 2016 and I’m following progress and sketching whenever I can.

The bandstand roof has been repaired. It required a full framework of scaffolding, ladders, and protective fencing (which made it a pretty interesting thing to climb on) and luckily I managed to sketch it one evening earlier in the Spring before the scaffolding came down. (I love drawing scaffolding). Then the front of the stage needed attention, and the steps, and various other bits and pieces…. 

Some parks have pretty, round, wrought iron Victorian bandstands. They look very nice and especially so with a brass band or a string quartet or a folk band playing in them. I know some people were hoping that the restoration project would include a Victorian design for the bandstand, but actually this kind of structure doesn’t necessarily enhance the music, especially certain kinds of music, or even make it very easy to hear. 

Because of its design – it is after all shaped like a giant megaphone – the bandstand does work really well from an acoustic point of view (as demonstrated by Philip Rushworth not too long ago, on a recent Heritage Walk, seen here) – and I love sketching performances in the park. The musicians are always really enjoyable to hear but also great to watch and wonderful to draw. 

Irish band concert on the bandstand

The bandstand is now ready to host performers again and this Sunday afternoon sees the start of the summer programme of bandstand concerts – starting with Hurricane Blue – who I sketched when they played here last year:

Hurricane Blue playing a bandstand concert July 2016

The sloping lawn is a perfect place to sit and listen to bands play

And there’s always such a variety of music in the bandstand programme – which is another good reason to keep the design of the stage as it is. How would a 6 piece heavy rock/symphonic metal group like Wolf 359 look (or sound) on a pretty little wrought iron bandstand? I sketched them belting out a fantastic set at last year’s Fresh Aire music festival (sadly not happening this summer, but hopefully scheduled again for next year). 

Fresh Aire 2016 Bandstand sets and spectator

The bandstand is such an important part of life in the park and will be welcoming performers and audiences all summer – including of course, at the Grand Opening Party on the 30th July when we celebrate the completion of the restoration and the re-opening of the park. 

Lots to look forward to! 

More updates on the work of the conservation project, photos, plans, and background information here, and at the Cliffe Castle Park Conservation Group website and on the Parks Service page of Bradford Leisure Services.

Cliffe Castle Park in Keighley is being restored with funds from the Heritage Lottery Fund. Work started on site back in June 2016 and I’m following progress and sketching whenever I can.

Back in April, the bank beneath the glasshouse terrace that stretches between the museum and the junction of paths at the top of the hill near the playground was planted with rhododendrons.* Just last week, a lot more planting started and the lawn in front of the bank is now laid out as planned (I’ll get to sketching all this sometime soon) – but the bank of rhododendrons got me really excited when I first saw it more than a month ago. As soon as the plants were in it looked lovely, but in only a few days some of the little bushes started to throw out buds which soon began to hint at opening, and at this moment they looked so extraordinarily exotic. It made me realise how the Victorians must have seen them, when these plants were new arrivals in England – there’s such drama and excitement about the way the buds prepare themselves as if they’re going to explode into something alien and unknown. As I sketched them I was wondering what they reminded me of and I found myself thinking not of plants at all, but more mythical things. They look like dragon’s eggs, about to hatch. 

Perhaps this isn’t quite as crazy an idea as it might seem. The rhododendrons that were originally planted all along this bank – and on the other side of the house as well, so the the building stood framed by an arc of glorious coloured blossoming bushes – all came from China, famously a land of dragons. And just overhead, clutching a weather-vane and gazing balefully across the lawn towards the Aire Valley is a more gothic, Northern type of dragon, hard to see clearly in detail because it’s perched so high up, but a landmark visible from all over this part of the park.  

A few days later the buds opened and spilled out in a riot of colour. I have to confess that I don’t often get this excited by horticulture, but all this was somehow so much more than I’d expected – I suppose I’d got caught up in the story as much as the drama and beauty of the flowers. 

For such a long time up until now the daily stories in the restoration project have been about chopping down, digging out, excavating and construction, and the landscape has been one of mud and frequently churned up grass – so the start of planting and the sight of these flowers seemed like a real celebration and the start of something new. There’s so much more to come! And already it’s possible to imagine what this part of the park will look like at the same time next year….. more beauty, and lots more stories. 

* For those interested in such things I asked about the varieties of different rhododendrons planted and they include Edith Bosley, Snow White, Mothers Day, Horizon Monarch, Mrs Lowinsky, Albert Schweizer and Delta. The ones I sketched are (probably} Horizon Monarch. 

POSTSCRIPT: it’s not long to go now until the Saltaire Arts Trail – the weekend of the 27th to 29th May – and I’ve sent in another entry to the Postcard Exhibition to be held in the United Reform Church in Saltaire Village – a drawing of a fantastically gnarled old root grubbed out during the relandscaping somewhere in the park. All the postcards will be on display and for sale (at extremely reasonable prices) with the proceeds going to The Cellar Trust – so if you fancy an original watercolour of a genuine Cliffe Castle root get along to the exhibition! 




More updates on the work of the conservation project, photos, plans, and background information here, and at the Cliffe Castle Park Conservation Group website and on the Parks Service page of Bradford Leisure Services.