GRAND OPENING

Frances Spalding (see blog dated 14 March 2009) giving her talk; below signing Charles' book
Charles enjoying a brief rest and a glass of ...
Barbara Merry chats to Ian, the Goldmark Gallery researcher


Frances signs books above, whilst below Brian Merry talks to Sue Goldmark

Jeremy and Pam (see blog dated 11 July 2008) queue for Kate's banquet, seen below

People watching our DVD and Ian (see blog dated 10 June 2008)

Orde Levinson above, Oli below (see blog dated 19 October 2008)

Mike and Frances at the opening

We have finally made it! Libby drew the short straw for the day's zero hero and driver. We had hoped for a day off but no, Charles filmed the proceedings whilst Libby photographed. No rest for ...
We arrived in Uppingham just about opening time and people were already arriving. Over the next couple of hours the numbers grew, there must have been about 300 people in the galleries, absolutely staggering and we met up with many friends we had made over the past 18 months. The ambiance was terrific, very friendly, aided not least by Kate's wonderful buffet. Frances Spalding (whose splendid book John Piper, Myfanwy Piper. Lives in Art was being launched) was indefatigable, gave two talks and signed books endlessly, engaging with every buyer personally, absolutely stunning! And the legendary Orde Levinson, he of the Piper prints Catalogue Raisonne, also attended - quite a coup.

Roger and Garry, our Morris Minor Men (see blog dated 25 August 2009)

The DVD can be obtained from the Goldmark Gallery, Uppingham, Rutland, Tel 01572 821424, email info@goldmarkart.com, or see their website www.goldmarkart.com

What next? Who knows. We're open to offers. We make a good team, inspire each other and spark the imagination - so if you're interested - you know who to contact!!

lastminute.com

Well, what have we been doing since the last blog entry? You may well ask, and since you do:
LIBBY scripted the Extras films and made slide shows of original Piper works and location stills.
CHARLES made adjustments to DVD, recut parts, added new credits, titivations, then edited extras, added visual material and music, designed opening and closing credits for extras based on Piper's marbled papers (note green for GO and red for END - ultra clever this stuff!), downloaded plug-in for jolly frames on extras, sound mixed levels throughout. He also transferred music from suitable LPs, each more than 50 years old (to by-pass copyright laws) on to the computer, cleaned same of clicks etc and then extracted 5-6 minute sections for the slide shows.
At the 11th hour (literally) his negotiations with Shell came good and they allowed us not only to use parts of the film Crown of Glass (about Liverpool Met Cathedral) in our main film, but also to add the entire Shell documentary to our DVD - a HUGE bonus! Not least because it's fantastic (almost unknown) footage about an amazing project.
Once all the sections were complete Charles then built the DVD (think LEGO writ large), imported assets, 12 tracks average, marbled papers added for menu pages - for example the opening, extras, slide shows and the sub sections (Piper website and Blog [THAT'S US!]), DVD access software for non Mac users. He also had to produce and add a short Goldmark Gallery promo at the last minute.
And then the testing, the endless testing and re-jigging, which went on and ON and ON and ON and ON until 1am Sunday 27 September (each change takes about 4 hours computer processing time, so not something to be taken lightly). And when is the opening? Oh, a mere 10 hours from now! Perfection run rampant!

What next?

You may well ask! There's still most of the captions to add, some more sound tweaking, eagle eyed Charles spotted a frame out of place, and there's the extras to do - slide shows of prints, originals and location photographs, films of the King George VI story (unlucky with the weather), Piper personal (amusing stories), the entire Curwen Press interview with Stanley Jones which will be of great interest to printmakers, and the symbolism of Oundle windows and Chichester tapestry. And all this has to be completed by Tuesday 22 September, so we've both got our work cut out - what's new pussycat?

JUGDEMENT DAY

We decided to put in a new Osbert voice because he sounded too much like the Piper voice, so after a few circuits of plum digestion, Charles managed a well modulated Sitwell as oppose to his kindly and somewhat tentative Piper. Charles then started serious work on sound levels and since he is somewhat of a perfectionist he couldn't even spare the time for a lunch break so a sandwich was delivered to his lair. The ongoing DVD was finally completed and rendered and a copy made by 4.15.
Twenty minutes later Mike Goldmark and his son Jay arrived to view the film which we watched in the Electrical Shadow Digital Cinema. Luckily they were both most impressed, felt it set a new standard for art films, best work Charles has ever done for Goldmark, felt it was hugely informative but without being didactic and also very entertaining.
So a definitive thumbs up and we have not been thrown to the lions!
And they also appreciated the meal Libby cooked for them afterwards.
PHEW!

we must be really ...

Today we finished double checking Chichester, Aldeburgh and Venice. Then back to the start adding music and sound effects throughout, checking the sound levels. The tweaking stage is akin to editing a manuscript, dotting the 'i's', checking the spelling, punctuation etc - a very long winded business and made more difficult by the fact that there are sometimes up to 10 different tracks to co-ordinate. Various changes had to be made to my narration which involved more sound recording downstairs. We finally finished putting all 16 sections together at 5pm and after a quick cuppa dashed back upstairs to watch the whole thing through for the first time. It's 75 minutes long! But pretty good we think, although we are getting to the stage of not being able to see the wood for the trees.

no rest for ...

Having risen at 6.45 to get to Epsom in time for the lecture (bearing in mind possible delays on the M25) and then driven up to Film Farm without a lunch break, Libby arrived ready for a restorative cup of tea at 4.30pm. We then clambered up to the edit suite and spent the next 3 hours reviewing Charles' new intro, his Spitfire filming and the added musical interludes and then double checked up to the Stowe section.

viewing

This morning we went through all the sections in turn noting any changes/alterations required. This included the intro which threw Libby into a panic because she envisaged every section was about to be completely overhauled. However this proved to be the only major disruption, and we feel tentatively pleased with our efforts.
Libby left after an espresso at 1.30 to drive to Clevedon to cook a celebratory meal for her father-in-law's 91st birthday, then drive to Port Isaac to celebrate a friend's 60th, then to visit the Eden Project, back to Clevedon, drive back to Kent Monday, catch up with correspondence and washing Tuesday, give a lecture in Epsom Wednesday morning before driving back to Film Farm for more tweaking work before we show the film to Mike Goldmark Friday 4th. Scary or what!
Meanwhile Charles has to battle with his VAT and then start putting the sequences together, do all the sound levels and add music.
No rest for ...

epical editing

Today we finally got masses of editing done - starting early and at the beginning, tweaking bits we weren't satisfied with, adding various images and yesterday's efforts, and completing the Super 8 sections which necessitated changes in the script which then of course necessitated sound recordings - since these are made in the cinema on the ground floor and the edit suite is on the 3rd floor we both got in a lot of exercise (which Tigger needed because she'd discovered her trainers weren't packed so she hasn't been able to go for her daily run). We even managed to finish the Venice section - so all sections completed. Yippee!
Although we were both so shattered by the close of the day that Yippee's weren't really vocalised.

Magnificent Morris Minor Moments

Today started bright and early, and the weather was decent too. We packed the car and tootled round to Garry and Cheryl Steele's house where their black Morris Minor, beautifully shiny, was perkily awaiting its outing. Unfortunately Garry wasn't feeling too well so his fellow Morris Minor Mates, Roger Buck and Sandy Hamilton, had agreed to be the stars of the show. And what stars they were - suitably dressed in shirt and tie, blazers, tweed jackets and with a vast array of headgear - charming, affable, ready for any challenge and all conducted with happy smiling faces. We had a fabulous morning, although I was a trifle worried when Charles decided to film whilst sitting on the back of the moving car, and the camera didn't appreciate the huge splash as the pair drove fast through the ford (but it looks great on film!). Charles got some wonderful footage, just a shame we haven't space for more in the final film.
Returned to Film Farm, Libby changed into her black garb, out again to film her speaking to camera.
Returned to Film Farm to grab a bite to eat and discovered Pepper had left Charles a little present - a mouse carefully deposited in his clog!
The morning's filming had then to be logged and processed during which time we both did other necessary tasks. Finally returned to editing, mainly Super 8 stuff.

yet more editing ...

Following the last edit session Charles was again invaded by Jobear for 3 days, followed by a working weekend with Carole Pegg and her husband. Meanwhile Libby caught up with work, tried valiantly to curb the excesses of her garden, took photos of Romney and Dungeness, found some relevant images in the Westminster Art Library and completed her monthly mother visit (via Southwell Minster to look at a Reyntiens window - beautiful place).
We reconvened this afternoon but progress was slow due to repeated incoming telephone calls and a visit from Neo trying to find Christmas decorations (don't ask!) It also transpired that not all of Venice had been logged but this could not proceed whilst editing so the Mac had to be left on all night to slog through everything. Anyway we finally managed to finish the Aldeburgh section before a late supper.
The other task on the agenda was to charge batteries and sort out necessary equipment for Tuesday - a date with a Morris Minor! We're filming the car for the Shell Guide section - the occupants are of course John Piper and John Betjeman.

edit, edit, edit ...

This session lasted 9-15 August, long days ending about 8 or 9 pm, Charles' shoulders giving him jip, generally exhausting - but we're within sight of finishing at last (although then there's the fine tuning). We watched the South Bank film about Piper and Charles practised the Piper voice for quotable quotes. Also a film of Piper by John Burder which is pure gold-dust and we've been able to use certain bits of footage - a fantastic addition to the film.
Another fun time was had watching the Super 8 films and putting together sequences for the start of each topographical area. Charles has a number of Super 8 cameras and as we toured the country would shoot off some film (as in REAL film - not this digital malarky). The completed films were specially processed and then telecined and they have a wonderful quality to them, quite different from the digital. We found some emotive music for the section headers and some labelling which makes it look as if Piper had scribbled a note for himself in a writing pad. Great fun and rather magical.
The other highlight of the week was watching the meteorites on Wednesday evening - Charles was hugely irritated because he saw 1 1/2 to my 4 sightings!

even more editing!

One week free between editing sessions during which time Libby gave another lecture and finished her essay for the Japanese exhibition catalogue whilst Charles worked on his new darkroom and attempted to find his desk under the accumulated papers. Five days editing starting 20 July, not much to report really, except hard work and long hours. Having said which we did watch Betjeman's Metro-land (related to work so we weren't slouching) and Chabrol's Le Boucher, which was a treat (related to the family wedding Libby is attending in France 1 August). Two weeeks before the next session - Libby lecturing and preparing to entertain 8 people prior to the long trip through France with 3 nonegenarians (!) - Charles contending with the Bear and Charlotte. No rest for ...

More editing

Following another Gourmet Art lecture in Harpenden Libby tootled up to Lincolnshire for the second editing session, the entire script clasped tightly in her hand (well, it was on the lap top anyway). Luckily Charles was impressed with her efforts (she's obviously had a good coach) and the pair launched themsleves into the editing process. First stage, recording Libby's narration which went almost without hitch and then up to the edit suite for 3 days labour intensive effort putting together Brighton, Renishaw, Windsor, Coventry during the war and most of Coventry stained glass. Not a bad start, about 14 minutes total.
We also went to vet a Piper look-alike - only he wasn't, so then back to the drawing board - searching through the huge Spotlight volumes for possible Piper and Betjeman characters. A week's respite. Next scheduled edit 20-23 July.

Editing

Teotihuacan, Mexico - just to prove Charles did actually go there!

The week following our return from Venice Charles processed all 900 photos and 475 film clips which he handed over to me to name and sort out 5th June before he departed for Mexico the following day - this was no jaunt but a very tiring trip with the British Museum.

Following a drive down to Wales to film Gareth making my stained glass panel, we've been holed up for 2 days getting our heads round Piper once more, and sorting out a running order, following which we put together a starter sequence and actually produced 3 whole minutes of finished film! Yippee! At least we feel we've started on the final production which has to be complete by the end of August allowing tweaking and time to make the DVDs before the grand opening now 27th September.

Libby's job until the next scheduled edit session (9-11 July) is to firm up the film sequence with relevant interviews, film, narrative, images etc. Charles' job should be aiming to recover but he's got a week of Joe the Bear and Charlotte Bach editing in store. No rest for the ...

The highlight of the 2 days was when Charles' latest acquisition arrived from Australia - a soundman hat, so that he can wear headphones whilst also preventing the top of his head and his neck from burning, and there's even a toggle to prevent said hat flying away. Even Libby, who had been hugely sceptical about the accessory, had to admit that it was fit for purpose!

Literary Lions

Remember my blog 25 May declaring the literary lions c/o Goldmark Gallery, Uppingham, were taking over Venice (if not the world) - well - it's OFFICIAL!

Venice Day 5

This morning we have to pack the bags and vacate the rooms by 10am, but have the techy stuff for filming with us, so a question of logistics. First stop Rialto Market. For one thing we've just realised that Rigby's Ca'da Mosto neighbours our hotel (previous spot on map in wrong place) but is also covered in scaffolding - so what's new - anyway the only place to view same is from Market. Then we think this is also a good place for Libby voice to camera, so she does FB and Piper and decide to leave Rigby for more suitable location - something more cutting edge.
Then down to Academia Bridge for more Rigby shooting and stationary seagulls (Charles has a thing about them and they never fly away, so I am of the belief that they are part of the Biennale art installation, rubber decoys Pritt-sticked to the moorings - but don't let on, I certainly won't). Talking of Biennale's - the submarine we saw yesterday is now morred near Ca' Rezzonica! Libby also spotted a chap in costume talking on his mobile which reminded her of the well known image of the Last Emperor in full regalia chatting on his mobile!

And back to the wonderful gondola yard and this time - sweet success! Not only did the chaps rub the boats down, wander around and look useful - BUT they also launched a new gondola - well you can't say fairer than that! Meanwhile Libby photographed the antiques barge on the canal.
Following this a ham panini for Charles c/o another Brunetti haunt, the charismatic Cantine del Vino gia Schiavi, which he ate route marching back to Academia, boat to San Samuele where more Rigby filming. Back to hotel, a major reshuffle of equipment, and then a couple of hours free until we departed for the plane. Above: Cantine del Vino gia Schiavi
Libby directed footsteps back to the jewellery shop (see Venice day 1) and it turned out the proprietor was also the craftsman, so no wonder the items were extra special and could not be resisted.

An ice cream in Campo Zanipolo, then back to collect the bags, on to the Piazzale Roma, filmed the Rigby chat on the bridge, on to the bus and out to the airport. 900 photographs and 475 film clips in 5 long days!

Above: Charles making a mess as usual, outside Rosa Salva (another Brunetti favourite!)

Farewell Venice, you were truly beautiful, exhausting, but a rare treat, and I will always remember you.

Venice Day 4

Above: No we haven't moved to Switzerland - this is the gondola yard!

Today we are heading for Desdemona's House (Palazzo Contarini Fasan) (FB and Rigby) and the Salute (an iconic symbol for FB and placed in the background of many generic Venetian scenes). Charles got waylaid by men mending street lamps and pile drivers in the vicinity of the Dogano but was finally brought back to reality and wielded round to the other side of the Salute for more (FB) filming (more people blocking lens etc). From there to Guidecca side of Dogana (of course sealed off and undergoing reconstruction or whatever) alongside which was moored hideous Russian millionaire oligarch type yacht. UGH!
Left the trail, along Zattere and back inland to the delightful Campo Barbaro (back of equally delightful C' Dario c/o FB) and Claudia Canestrelli's treasure trove of an antique shop with Bouffon fish prints in old frames, and malachite boxes (too expensive for the likes of us).
Thence along the back of the Guggenheim (lots of over-priced shops as one may imagine), a few wiggles and into Campo S Trovaso, next to which is the gondola boatyard - which FB painted. He must have loved this spot, the yard dating from the 16th century, a wooden chalet from the Dolomites, the same craft and scene existing almost unchanged 100 years since FB first saw it. Magical. And all the sounds which Charles just loves and was about to record when a WI type party invaded the scene and the chaps stopped for lunch!
Give up - so now over to Palanca, where, it being 2pm, we stopped for lunch on the waterfront at what turned out to be an excellent eatery, and reasonable (by Venetian standards) - probably the best meal of the entire trip, Charles having a fish dish and Libby having aubergine and mozzarella salad. We weren't drunk (honestly) but whilst seated we spotted a submarine covered with graffiti gently nudging its way along the Guidecca! (photo follows to prove it!)

From there along the Fondamenta and vaporetta to San Giorgio Maggiore. Here views mainly of St Mark's and Dogana/Salute and back to Redentore and Le Zitelle, plus sound recording.
Above: Charles in obeisance - actually filming water on steps!

Back to St Mark's and Charles decides to do walk-about with the sound equipment whilst Libby guards the bags and takes people shots. A few more obligatory shots from the Riva. Decide to take vaporetto out to the Lido and back, feels like a different land - there's cars for one thing - CARS? A middle aged Italian Mama attached herself to Libby en route and explains everything in detail to a non Italian speaking personage who nevertheless managed (I hope) to sound incredibly interested! Above: Charles having a few minutes well earned rest en route to the Lido, and filming on the waterfront there.
Back to the hotel after another long and exhausting day and thence to local cafe where a rather diappointing meal - but hey, this is Venice and everything has a certain magic, just sitting outside in a pretty square is worth something!

Venice Day 3

Libby's first expense of the trip - bandages and antiseptic for those lanced blisters - a mere £13! Ouch (in every sense).
Off by 9.30 to the Rialto Market, just fab! Full of local colour, fresh produce, Charles did about 16 clips of the fish alone (will we find a slot for them in any of the proposed films?!). Different varieties of aubergines, wonderful spotted beans, courgette flowers, fresh spring garlic (couldn't resist so smelly bags back to the UK), artichoke hearts ready sliced, herbs, really ugly tomatoes (the sort FB would have loved), tall slim sparrow grass, each peach, pear, plum. We could have spent hours there but had to return to the grindstone.
This involved views of the Rialto Bridge from both sides (Rigby and FB), Mike's logo (again), and Palazzos Dolfin-Manin and Camerlenghi (FB). Same problem in the crowds with people standing right in front of the camera lens, but then Charles did exactly the same to a charming young American lady trying to take a photo of some graffiti. Back to hotel about 1pm to dump stuff, put batteries on charge. Lunch at the obligatory tappas (Tappa Obligatoria), not as good as yesterday, then back to work.
This afternoon deepest darkest Cannaregio, slightly out of the tourist beat which made it even lovelier. First stop opposite San Stae (Piper), then lots of photo opportunities in the Campo de la Maddelena, then back to the waterfront opposite Ca' Pesaro (Piper). Unfortunately a passing wave drenched Charles' clogs and socks (yes, you heard me) and he wimped about it for the remainder of the afternoon. Since it was only 4pm we decided to then tackle some more squares in San Marco, so the vaporetto to Sant' Angelo and a walk to Palazzo Pesaro (Piper), rather a drab looking building and narrow canal from which to film. Next stop Santa Maria del Giglio to film the gem Ca' Dario (Piper) and the Salute (FB). Walked inland to the Baroque church (Piper) and from there to La Fenice (Rigby) where Libby rather enjoyed people watching. Onwards to San Moise (Piper) which had a real buzz about it, a wedding party crossing the square, gondoliers merrily chatting and trying to get trade, others slipping through the water with their gondolas and precious loads of tourists supping champagne. £90 an hour to hire a gondola apparently - we judiciously decided against - and anyway only tourists do that!
Returned to hotel about 7pm and watched some footage whilst supping the flagon wine. Ca d'Oro a fun place for a meal and good value, very popular, not only diners but others spilling into the street sampling cicheti. Two very pleasant young Canadian chaps sitting next to us. Great excitement of the evening when a fire brigade launch sped down the Grand Canal, sirens blaring, lights flashing, creating a huge wash. Good job Charles wasn't standing on the water's edge - there'd have been more than soaked clogs!

Venice Day 2

Hardly slept again, and then at 5am the seagulls started squawking raucously, presumably heralding the arrival of fish at the Rialto Market. By 7am the Canal and Market are busy, busy, busy, locals, business people, children being taken to school in motor boats, tourists, a gondola ferry from the Market to Campo S Sofia.
Meeting for breakfast (rather sweet croissants), we decide to tackle St Mark's first. Whilst I studied the map, Charles sorted out the techy stuff and managed to slim it down to the tripod bag, my rucksack and a carrier bag. So off we go - a walk to Ca d'Oro, vaporetto to St Mark's, where, despite the morning being relatively juvenile, we are faced with hordes of tourists sounding not dis-similar to the earlier seagulls. Most of them also appeared to be grossly overweight, which offends C most frightfully, and they had a particularly nasty habit of standing right in front of the camera mounted on its tripod as if it, and its 6ft4in operator, were invisible. Gentle reader, you can well imagine that by the end of the morning, poor Charles was not the happiest of bunnies (to put it mildly).
Anyway, soldier on we did, the big camera, the Super8, a cute little Linux for blog shots and Libby in charge of the Nikon. Piper, Rigby and Brangwyn (FB) had all produced countless images of the Piazza, Piazzeta, campanile, St Mark's, Doge's Palace, the two columns, Bridge of Sighs, Danieli, and views from the Riva of San Giorgio Maggiore, the Dogana and Salute. Half of these buildings were covered in scaffolding or Sisley-wrap, the artists had conveniently moved some buildings to produce a more pleasing composition, there was no shade, the equipment was heavy, temperature 31C. Nightmarish! A ridiculously priced bottle of water certainly helped matters. Libby becomes obsessed with marble patterning (see below) and architectural details.We finally finished about 13.30 and took the equipment back to the hotel before finding a little bar where we indulged in mozzarella and tomato salad, a glass each (we felt we deserved it), followed by an espresso. Just what the Dr ordered but at £28 a trifle pricey!
Collected equipment for the afternoon session and C changed into his beloved Birkenstock clogs. Retraced yesterday's walk. First stop the lovely Campo S Maria Nova where we filmed S Maria dei Miracoli (matching Piper and Rigby images) and made some sound recordings. The reflections in water and the canals generally start waylaying us at every turn - beautiful photographic and filmic opportunities. CM stopped for a Mask opportunity (see below).
From there to Campo Zanipolo (Piper and FB 'did' the Scuolo and FB did the Ponte del Cavallo) where we also shot (not literally you understand) the little cafe, the canal, children skipping. On to the Ospedaletto (c/o Piper), not easy to photograph in narrow street, amazing Atlantes. More fascinating canal stops. Saw some lovely glass jewellery in a little shop - might have to return! Found a wonderful shop where the wine is sold by the litre from huge flagons so we filled up the water bottle - a mere 2 euros per litre, so vastly cheaper than water! On to Campo S Maria Formosa where we stopped for a necessary break and un' ombra. Restored, we filmed the church (Piper) and the delightful 15th century marble relief above the Ponte del Paradiso (FB) - scaffolding next door needless to say. Onwards to San Giorgio dei Greci (Rigby) and San Zaccaria (Piper and Rigby). A final sprint to the vaporetto stop and back to the hotel by 8.30 which makes a 10 1/2 hour day! Noted by Libby's feet which have developed 2 large blood blisters. Ugh.
Tried the flagon wine (pas mal), munched some olives. Walked to Ca d'Oro but no room so booked for tomorrow and ended up at a tiny place near the hotel where I had fried squid (yum) and C had liver and persuaded me to try some. And you know what, it was a revelation, delicious and not a bit like school liver!

Venice Day 1

Above: An excited Libby in St Mark's

Excitement reigns. I've lived in the Middle and Far East and travelled much of the world but have NEVER been to Venice and have longed to do so for oodles of ages, so am hugely excited this morning (in fact hardly slept last night). Ready by 7.45 so set off and arrived at Gatwick an hour early! Had a coffee and read Brunetti's Venice until I got a message from Charles at 10.30 - turned out he'd been 30 minutes early so had also been twiddling his metaphorical thumbs. Absolutely unprecedented for Charles to be early! Quick re-sorting of equipment so that all the valuable stuff goes as hand luggage - if the check-in bags are lost we'll be clothes-less.
Checked in - I got frisked (the titanium hip always produces a beep!) and I had to empty out my small rucksack - meanwhile Charles' bag stuffed to the brim with batteries, chargers, cables etc is not even questioned!
Plane late leaving, but made up for lost time. BA's current financial straits noted in the lunch - a sandwich. Although we were offered a bottle of wine afterwards - which C declared was more akin to paraffin.
Flying over Venice, the sparkling water, campaniles, domed churches - oh gosh, just beautiful, actually brought a tear to the eye. And then the heat on landing at Marco Polo - divine - having spent 23 years in hot countries I just adore the heat (makes me even livelier if possible). Bus to Venice then a vaporetto and then what felt like a lengthy walk (but nothing compared to the next few days) trying to negotiate the narrow streets with 6 large bags including an outsized tripod bag.
Hotel delightful, right on the Grand Canal opposite the Rialto Market, no straight walls, furniture on the slant, tacky overblown Murano glass mirrors and chandeliers. I'm mesmerized by the view from the window, the Canal is so busy, all sorts of vessels plying back and forth, and all very civilised, no water rage - I could watch this for hours. Who needs TV? Not me for one.
It being late afternoon we change for dinner and set off (sans equipment but avec dot littered map) on a recce for tomorrow, delightful Campo S Maria Nova (Campari soda), Campo Zanipolo (ugly hoardings with Communist posters across square), Campo S Maria Formosa and thence to St Mark's where we discover part of the Doge's Palace and the Bridge of Sighs are being renovated and obliterated by ghastly Sisley advertisements. In fact half of the buildings in the square seem to be covered by scaffolding, which is not good news for our filming. Vaporetto back to Rialto for a literary lion photo opportunity (see previous entry). In fact we are beginning to note that the Goldmark logo has taken over this fair city!
Brunetti led us to Antico Dolo in San Polo for some excellent cicheti followed by a divine cuttlefish and polenta. We amble back to Campo SS Apostoli where we indulge in a caffe coretta (and toast Brunetti).

Above: Charles with his caffe coretta

Venice - here we come!

Met up with Charles in deepest Essex, the latter armed with his latest gadget, a light tent. This singular device is designed for photography of sculptures, pots etc, and comes with a variety of different coloured backgrounds. We were charged with photographing some Brangwyn ceramics for the Japanese exhibition next year, and the black background proved to be stunning.

Thence back to Film Farm supposedly to do some FBSG editing - BUT - actually to discover the most exciting news that Mike Goldmark has decided the Piper film needs that extra oomph and we're off to Venice the end of the month! WOWZERS! We've also got to do some Rigby Graham work whilst there (Mike would like to re-publish Rigby's absolutely wonderful illustrations of Venice originally printed in 1986 as Venice, Scaraboti by Rigby Graham) and as if that wasn't enough Mike then added Brangwyn to the equation. We both feel that of the three artists, Rigby's images of the city are by far the most evocative.

Who could resist such an offer? Although when we started looking at pictures (FB did over 100 images of Venice in various media) and putting little coloured dots on a map of Venice we began to realise that this would not be a joy ride but 3 1/2 days of solid slogging around the city. But hey, someone's got to do it!

Part of our dotty Venice map (Piper in yellow, Brangwyn in red and Rigby in green)

Oh, and we've also got to photograph Mike's logo - nicked from the Dieci Savi building at one end of the Rialto Bridge (Mike and said logo a couple of years ago - plus another couple or so)!

26 September 2009

A date to put in your diaries - because this is the date Frances Spalding's book (published by OUP) and our film will be jointly launched at the Goldmark Gallery, Uppingham! So, we've got our work cut out between now and then!

This last week I've been compiling a list of all the images and paintings we have of Piper's work, and have started transcribing the interviews - a lengthy and rather laborious process which I personally find I can only manage in short segments - generally the evenings accompanied by a glass of wine.

I also entered the blog URL into www.wordle.net/create and it came up with this - the site is a wonderful waste of time!

Spalding and home

No, not Lincolnshire, but Frances Spalding (above), the Piper expert and author of John Piper, Myfanwy Piper: Lives in Art (to be published later this year). A super lady, very articulate and enthusiastic and of course hugely knowledgeable about her subject. We really must try to get our DVD released about the same time as her book.

And then back to Lincolnshire and Film Farm which was freezing cold because jackdaws had nested in the chimney which resulted in the AGA going into a black funk and so no heating! Brrrr! Tomorrow a look at the rushes, hopefully a spot of typesetting and then home whoever.