Lost and Found in the Lakes
If you believe one of the lost items on Monday 9th June's show is yours, please contact the team lostandfoundtd@tyrddraig.tv.
If you have lost an item in the Lake District and would like the team to help, you can apply to be on series 2 of Lost and Found in the Lakes. Click on the link to find out more.
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BBC News
23 minutes ago
- BBC News
Bristol's Wills Memorial Building celebrates 100th birthday
The 100th anniversary of one of Bristol's most iconic landmarks has been Wills Memorial Building was built as a memorial to the tobacco magnate Henry Overton Wills and opened by King George V and Queen Mary on June 9 1925 in a ceremony that saw thousands lining the of the building, seen by many as the heart of the university area of the city, began in 1915 but was delayed by the First World was one of the last gothic buildings to be built in England and attracted national attention in the run-up to its grand opening. The University of Bristol marked the centenary with a special ringing of the tower's bell and commissioned a poem by Dr Lawrence Hoo that references the building's links to the transatlantic slave trade through the Wills family."If law made it legal, does that make it right, would justice have weight, if it only wore white?" it reads. "We have newspaper cuttings from across the Bristol and national press showing pictures of the king and queen and events from the day - it just shows the level of interest there was across the country," said Rachel Gardner, Senior Archivist at the University of Bristol."The stories focus on the famous people you could see at the procession but also on people like Granny Mary Jarrett, who was 104 years old and was given special permission to ride in a taxi as part of the procession, and met the king." "There's also a lot about how the citizens of Bristol were so well behaved and only a handful of wallets went missing that day so everyone should be very proud of themselves."It was specifically requested by the king that there wasn't a costly decorations scheme but the mayor wrote in the press asking everyone to decorate as freely as possible - it really involved the whole city," she added. The building narrowly avoided destruction just 15 years after its completion when incendiary bombs dropped during The Blitz caused the roof of the Great Hall to collapse - leaning burn marks on the floor that can still be seen today. Winston Churchill - who was chancellor of the university - inspected the damage the next day and insisted that a ceremony to award honorary degrees still went Great Hall has long been repaired and now welcomes hundreds of students for graduation ceremonies every has also welcomed some famous people to receive honorary degrees, including James Blunt and the former leader of the Soviet Union, Mikhail Gorbachev. The building's opening was marked by 21 chimes from Great George - the 9.5 tonne bell that sits at the top of the mark the anniversary the university organised a special manual ringing, as it would have been done in bell is the third largest that can be manually swung in the country, and when that happens it can be heard much further than its normal two-mile radius. "When we get the bell ringing there is a lot more energy involved, and the speed the clapper hits is much higher," said Matthew Tosh, bell ringer with the University of Bristol Society of Change Ringers."But getting the bell that high is really physically demanding and even with the strongest, heaviest big bell ringers we've never managed to get it more than half way up," he George is normally only rung manually for special state occasions such as royal deaths and coronations.
BBC News
an hour ago
- BBC News
Charity Pick, Cook and Eat seeks funds for vulnerable students
A new charity is seeking funding to help it support more vulnerable young adults understand where food comes from and how to prepare nutritious Cook and Eat aims to provide educational opportunities through activities such as horticulture, nutrition, food preparation and cookery across North charity is based in the gardens of Overtown Manor near Wroughton, and works with students with severe special educational needs from Horizon's College in Royal Wootton Carter, who runs the vegetable garden, said: "This is something that the students absolutely love, planting the potatoes and digging them up afterwards. There's nothing more satisfying." She added that the programme was important for adding variety into the student's - who are aged 16 to 24 - lives. The project began in 2014 when the college approached Overtown Manor to ask whether they could send a couple of students on work experience placements to work in the numbers subsequently grew when the college lost access to its own garden following the pandemic, resulting in eight students now attending on a weekly basis, with their support charity, which gained charitable status earlier this year, is hoping the funding will allow it to buy hand tools and raised planters and build a bigger administrator Rhona Edwards said: "We know from Horizon's College, and also from the local authority adoption service, that there is a need for more young people to be able to come to spend time in the garden, and in order to do that, we need some additional funding."
The Guardian
an hour ago
- The Guardian
Gordon Baldwin obituary
Gordon Baldwin was probably happiest with the term 'sculptural potter' to describe himself. He disliked most definitions because they did not adequately encompass his art, one that explored broadly and complexly the potential of the 'vessel'. He investigated this in lyrical big bowls and striking articulated and enclosed pieces, using the premise of containment to gauge ideas about painting and drawing on new types of form. Baldwin, who has died aged 92, was a modernist in ceramics, but he never eschewed his traditional roots because they enabled him to evolve a highly original language. It led to some of the most convincing and liberated clay sculpture since the second world war. Even though Baldwin made functional work in the early 1950s, the enigmatic objects he produced from the middle of that decade were less influenced by other ceramics, and more by art from early civilisations, and notably 20th-century abstraction. His mature pieces were 'diaries of thought', with poetic titles that often referred to particular artists, literature or music that absorbed him. Visually, figures like Arp, Klee and Brancusi remained significant, prompting fresh responses to these returning obsessions. It was a sign of his endless invention that, often making in series, he remained ahead of the game, even as grand old man. Baldwin used the vessel as a metaphor for imaginary terrains and travel, enjoying the questions it might hold, especially where his sculptures were virtually sealed off but for one small aperture or opening. This fascination with the inner nature of an object or idea was defined by the poet Gerard Manley Hopkins as 'inscape', a phrase he loved. His important locations were often those on borders, where the land transforms, perhaps watery places, such as the untamed rocky beach at Porth Neigwl, on the Llŷn peninsula in north Wales, which he christened 'the place of stones'. Or the Normandy coast that Proust knew, another important writer for Baldwin, one who produced his own diaries of thought. This was not surprising for a man brought up in a sea-edged county, Lincolnshire, and as a youth he made a memorable cycle trip from his birth-city of Lincoln to the coast, surely an environment that gave him an early awareness of light, texture and changing atmosphere that would imbue the spirit of his ceramics. He was the only child of Lewis Baldwin, an engineer, and Elsie (nee Hilton). He attended Lincoln school, followed by Lincoln School of Art to study painting, and where he was introduced to pottery by Robert Blatherwick. There Baldwin met Nancy Chandler, a fellow student and his future wife, who became a fine painter herself, and a crucial partner and catalyst. In 1951 both enrolled to study ceramics at the Central School of Art in London, then still surrounded by bomb damage. They were excited by a progressive department run by Dora Billington because it was interdisciplinary and experimental. In addition to pottery tutors, artists such as William Turnbull and Eduardo Paolozzi were brought in, instilling a lively connection between different media and ideas. Billington encouraged hand-building and earthenware, Baldwin's tools in the years ahead, supplemented by occasional making at the wheel, and stoneware. Graduating in 1953, he began an influential teaching career, firstly at Goldsmiths College, London, and then concurrently back at the Central School, from 1956. This followed a break for army national service at Oswestry, Shropshire. Baldwin's output in the late 50s to early 60s included anthropomorphic bottle shapes and more overtly figurative pieces or 'watchers'. They suggested influences from Ancient Egypt, early Greece and Oceania, but also artists such as Picasso and Henry Moore. The work was surreal and ominous, akin to other British sculpture produced in the still-anxious aftermath of a world war, art described by the critic Herbert Read as expressing a 'geometry of fear'. From 1957 Baldwin also taught pottery and sculpture at Eton college, and a year later he and Nancy were married. Dividing his time at Eton with increasing art college commitments, he remained there for almost 40 years, where his approach was characterised by an inspiring sense of inclusiveness and encouragement. Those pupils who felt academically lost found civilisation instead in its drawing schools. Baldwin, who initially must have cut a somewhat avant-garde figure, had an airy first-floor studio there, but he often worked alongside his students, epitomising the power of teaching by example. By the mid-60s he had moved to a palette of metallic matts and mirror blacks on more abstract works, influenced by creative chance and musical improvisation. They had thrown, cut and reassembled elements and possessed a hieratic, ritualistic quality. Some were, he said, 'about the darkness of space inside things'. In 1970 Baldwin began parallel activity in white slip, a clear canvas for painting and colour on objects resembling strange miniature landscapes. From 1979, influenced by Umberto Boccioni's Development of a Bottle in Space, he was freeing up his modelling and marking on dramatic 'developed' bowl and bottle shapes with wing-like extensions. The 80s also saw a remarkable string of monolith forms. There was a confidence about the totemic, dream-like groups of sculpture in his ethereal show Mysterious Volumes at the Boijmans Museum in Rotterdam in 1989, capping his international reputation. No longer teaching by 1996, Baldwin was now based in Market Drayton in Shropshire, close to his beloved Wales. From the mid-80s he sometimes used vivid blues and yellows on his surfaces, but he still liked the nuances of monochromes, and the late work seen at Marsden Woo gallery in London was generally more understated and condensed. The 2012 retrospective toured by York Art Gallery revealed the extent of his activity on paper, drawings and collages which enriched his three-dimensional concerns. Baldwin's eyesight seriously declined after the York show, forcing him to give up clay, but he allayed his frustration with a flurry of playful and spontaneous charcoal drawings which showed that his mind's eye, in many ways so aural too, had not dimmed. Honours came his way, including being appointed OBE in 1992, and a doctorate from the Royal College of Art eight years later, but it was the early morning visits to the studio that really counted, those moments of journey and discovery which had to be shared. An exhibition marking his achievement is now showing at the Kunstverein in Hamburg until August. Nancy predeceased him in 2021. He is survived by his children, Raef, Amanda and Flavia, his grandchildren, Raman, Jago, Freya, Fleur, Harry and Imogen, and great-grandchildren, Otterlie and Theo. Gordon Baldwin, potter and sculptor, born 10 July 1932; died 18 May 2025
