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These Lawrence students are reconnecting with Native culture using the art of thatching

These Lawrence students are reconnecting with Native culture using the art of thatching

As a late fall wind rustles through a field of tall marsh plants, students from Haskell Indian Nations University, in Lawrence, Kansas, harvest cattails. In the wetlands behind the school, MK Kerron is teaching the art of traditional thatching.

Kerron, a member of the Wichita and Affiliated Tribes and a master’s-degree student in geography at the University of Kansas, learned how to work with grass from her grandfather.

“His artist name is Wayneokchat,” Kerron says. “It means ‘yellow bird’ in our language.”

Kerron’s grandfather is well-known for the replicas of grass houses he creates for arts and crafts shows in Texas, Oklahoma and Kansas.

Harvesting cattails deep in the Haskell wetlands, Kerron prepares a bundle to take to the building site.

Julie Denesha

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KCUR 89.3

Deep in the cattails on Haskell’s wetlands, Kerron prepares a bundle to take to the building site.

“I originally learned how to do thatching back during the COVID pandemic, so that was the hobby I learned during the COVID,” Kerron says with a laugh. “I just really loved it, and now I feel happy that I can pass along these skills.”

Generations ago, the Wichita built large grass homes from big bluestem, which can grow 6 to 8 feet tall. Grasses were sewn together using bone needles and tall cedar poles were used for support. But local prairie grasses are in short supply on Haskell’s campus these days, so they’re using cattails.

These images of a Wichita grass house and its interior was made by American photographer Edward S. Curtis. His work focused on the American West and Indigenous populations.

Edward S. Curtis

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Library of Congress

These images of a Wichita grass house and its interior were made by American photographer Edward S. Curtis, whose work focused on the American West and Indigenous populations.

Kerron and her students take the cattails to a small field where several domed frames made of slender wood await.

“I always have wanted to learn how to thatch,” says Courtney King, a senior at Haskell. “I tried looking up YouTube videos and usually it’s white men in Britain doing it. That didn’t feel right to me.”

King is the lead student researcher at the Haskell Greenhouse.

“I’m Peoria and Miami,” King says. “My people built wigwams with cattails.”

King’s focus is restoring native species to the school’s campus. Finding a way to use the invasive cattails that clog the wetlands was her idea.

Kerron and King trim the top of the cattail bundles with garden shears to create a nice, clean line.

Julie Denesha

/

KCUR 89.3

Kerron and King trim the top of the cattail bundles with garden shears to create a nice, clean line.

“It’s just to reconnect people with the land and partake in traditional ecological knowledge, as our ancestors have for thousands of years,” King says. “And many, many tribes thatched wigwams, grass houses, sweat lodges — not all of us are Plains Indians, as far as teepees and all of that kind of stuff. So we’re reconnecting with that culture and bringing that back.”

‘Rebuilding slowly but surely’

According to legend, in 1541, when the Spanish conquistador Francisco Vázquez de Coronado saw sunlight reflecting off the Wichita tribe’s domed, grass homes he thought he’d found a golden city.

“Our first encounter with colonizers was the conquistadors and in a lot of notes from way back then … they would describe grass houses to look like a beehive, which, you can kind of see it,” Kerron says.

With King’s help, she gathers the cattail’s narrow leaves and root stalks into tight bundles, soon to become the house’s walls or roof.

“Whenever we are thatching the grass in, you want to pack it tight,” Kerron says, “because this is the insulation back then, so you want it really tight.”

The cattail bundles are tied together with string and attached to the wooden frame. Once in place, Kerron trims the tops with garden shears to create a clean line.

Kerron uses twine to tighten the bundles of cattails. She says the bundles need to be snug against the house frame to keep out the elements.

Julie Denesha

/

KCUR 89.3

Kerron uses twine to tighten the bundles of cattails. The bundles need to be snug against the house frame to keep out the prairie winds.

Kerron says classes like this are an important way to keep Indigenous traditions alive, and, though thatching classes are over for the season, Kerron says they’ll be back at work in the spring.

“Haskell, at one point, was a boarding school where a lot of these traditions were taken away,” Kerron explains. “We’re here now rebuilding slowly but surely. And, you know, a lot of people say a lot of these things are going to die out, but I refuse to think that.”

Artnet : Top French Art Expert Heads to Trial for Allegedly Selling Fake Antique Furniture to the Palace of Versailles

Artnet  :  Top French Art Expert Heads to Trial for Allegedly Selling Fake Antique Furniture to the Palace of Versailles
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The French antique furniture expert Bill Pallot is set to face trial on charges of forgery. According to the suit, the furniture collector and dealer allegedly falsely claimed items were from the 18th century, and sold pieces at high prices to buyers, including the Palace of Versailles.

A court northwest of Paris released their conclusions to an more than seven-years-long investigation into the shocking case, allowing proceedings to head to trial at a still-unspecified date.

Pallot, nicknamed “Père La Chaise” (meaning “Father of the chair”) in a pun on the famous Paris cemetery Père Lachaise, stands accused of commissioning dozens of fake Louis XVI gilded seats, some of which were eventually sold to the Palace of Versailles and the Prince Hamad al Thani for millions of dollars between 2008 and 2014.

Pallot reportedly admitted to the fraud but told investigators he had initially only wanted to see whether he could fool other experts. He commissioned the suspect pieces from the trusted carpenter Bruno Desnoues, who regularly completed special restoration projects for the Palace of Versailles.

Together, they allegedly made chairs which they said had decorated the lustrous salons of the likes of Countess du Barry, a favorite mistress of King Louis XV, and Marie-Antoinette. In 2016, as news of the scandal broke, Pallot served four months in prison but has since returned to working in the antique furniture industry in varied capacities, according to French reports.

The Palace of Versailles is the main victim to be listed in the released court ruling, and as a result of its involvement, was subject to a government-commissioned inspection into its acquisition protocols between 2008 and 2012, which had a total a value of €2.7 million ($ 2.9 million). The ensuing report found “malfunctions” and a “lack of vigilance” by the institution, and tasked it with “profoundly revising” their acquisition procedures “as soon as possible.”

For his part, Desnoues, who also admitted to knowingly making and profiting from the swindle, faces charges alongside Pallot, whose lawyer was not able to comment at the time of writing.

Among the others called to trial in the ruling released on November 13 was the respected antique dealer Laurent Kraemer, whose eponymous gallery was founded in 1875. However, charges against Kraemer have been drastically reduced. Initially, he was accused of fraud; he now faces lesser charges of negligence. In 2015 the gallery allegedly sold two fake chairs to Prince Hamad al Thani for €2 million ($2.18 million), which were supposedly commissioned by Marie-Antoinette, but which Desnoues had recently made for Pallot with such historic accuracy. They were declared national treasures by the French state in 2013. The gallery later reimbursed Hamad al Thani.

In written messages and phone conversations, Kraemer’s legal representatives and employees vehemently denied any wrongdoing, and lamented the dealer’s involvement in a scandal that has tarnished his reputation, as well as the French antiquities market.

Since Kraemer was first interrogated, “charges [against him] have melted like snow in the sun,” stated his lawyers, Martin Reynaud and Mauricia Courrégé. “They spoke of fraud, which today, has become an issue of negligence, which we firmly contest,” added the duo. Initially accused of selling four fake chairs, that number has been reduced to two. “The entire investigation demonstrates that the Kraemers did not know that this furniture was fake,” they added. “The Kraemer gallery was fooled, and with it, all the greatest French experts on 18th-century furniture.”

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Real Bulland : Auction pursuant to Art. 112b (7) of the POSA

Real Bulland  :  Auction pursuant to Art. 112b (7) of the POSA
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Auction pursuant to Art. 112b (7) of the POSA

24.11.2023 11:42:20 (local time)

BSE informs all its members that the auction pursuant to Art. 112b (7) of the POSA for the sale of rights under the capital increase of Real Bulland AD-Sofia (RBL1) will take place on 27 November 2023 /Monday/. At the auction will be offered 3,789,451 rights, to which no shares have been subscribed.
The auction will be performed as the Exchange member, authorised to administer the capital increase, shall enter a market order for sale of the entire amount of unexercised rights according to Art. 47 (4) & (5) of Part IV of the BSE Rules and Regulations. The order shall be entered within one (1) minute as of the start of the order entry phase of the respective auction.
The time frame for entering orders is from 1:15 pm until 1:45 pm.

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Disclaimer

Real Bulland AD published this content on 24 November 2023 and is solely responsible for the information contained therein. Distributed by Public, unedited and unaltered, on 24 November 2023 10:41:07 UTC.

Libraries open the door to Indigenous arts and culture

Libraries open the door to Indigenous arts and culture

Warning: This story may be traumatizing for some readers.

The metal buffalo at Calgary’s Central Library is hard to miss.

Its body is made up of hundreds of letters strung together to form 120 words in the language of the Blackfoot Confederacy. The statue, called Education is the New Buffalo, stands about shoulder height, if not a bit taller than its creator Lionel Peyachew.

The sculpture is a response to an open call made by the library for work by Indigenous artists. Peyachew is a member of the Red Pheasant Cree Nation in Saskatchewan and an associate professor of Indigenous fine arts at First Nations University of Canada. He said the sculpture represents how Indigenous Peoples’ way of life has changed.

“A long time ago, we were all dependent on the buffalo. That was how we survived,” Peyachew said. “But now, all new survival is education.”

The Calgary Public Library is one of dozens in urban centres across Canada prioritizing Indigenous representation in their space. New developments, such as the Ādisōke facility in Ottawa and the Dawes Road branch in Toronto, are being built to feature permanent installations of Indigenous art and Indigenous-led building design.

In 2017, the Canadian Federation of Library Associations released its own report in response to the Truth and Reconciliation Commission’s 94 calls to action in 2015. The association crafted 10 recommendations specific to libraries that have since been endorsed by 38 library organizations across Canada. Those included implementing Indigenous knowledge protection protocols and enhancing opportunities for Indigenous library, archival and information professionals.

Kirk MacLeod, chair of the association’s Indigenous matters committee, said a followup document will aim to inspire further action by focusing on the current accomplishments of Canadian libraries.

Peyachew is among 11 Indigenous artists with permanent installations scattered throughout the Calgary library in the heart of downtown. For Peyachew, as an Indigenous person, the location is an invaluable part of why this piece matters.

The Calgary Public Library is one of dozens in urban centres across Canada prioritizing Indigenous representation in their space.

“Our work was always in such places as the museum, where everything was old and just shown for curiosity,” he said. “Now, we are able to show our art inside a public space, which means a lot to me.”

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Education is the New Buffalo, a sculpture by Indigenous artist Lionel Peyachew, at Calgary’s Central Library. Photo provided by Lionel Peyachew

Danielle Piper had a patchwork of people wander into her gallery while she was Indigenous artist-in-residence at Calgary’s Central Library. She said teachers often ask her how to responsibly teach Indigenous art in their classrooms, but there was one visitor in particular who still sticks with her.

“There was one man I remember who had just left incarceration and he was looking for medicine,” she said. “So I gave him smudge (and) we started a conversation.”

It was an emotional exchange like this one about art as a way to heal and release trauma that Piper thinks she would not have if she wasn’t present in this public, urban space.

“That was really a beautiful exchange to have with people,” she said.

After her time at the library, Piper became a full-time artist and has continued to work with the library on a number of art projects. She encourages others to apply for her former position because she wants Indigenous artists to continue taking up space.

“It’s important that we claim a bit of that Indigenous space and occupy it,” she said. “Put someone in it who’s working and even just available as a way of making that space more inviting to other Indigenous people.”

Kelli Morning Bull, a member of the Piikani Nation in southern Alberta and Indigenous design lead for the Calgary Public Library, said one of the initiatives she’s most proud of is the Elders’ Guidance Circle program, which began in 2019.

Individuals or groups can submit requests to meet with an elder or knowledge keeper from the Treaty 7 and Calgary area. Those requests are vetted by a co-ordinator and, if approved, handed off to an elder. Morning Bull said requests for the program skyrocketed in 2021 after the remains of 215 children were found at the site of a former residential school in Kamloops, B.C.

Now, people are booking a month in advance to connect with an elder due to the sustained volume of requests, and positive testimonials continue to pour in.

“Their minds are blown because of the amount of information they didn’t learn in school, or the perceptions and biases they’ve had around Indigenous culture and Indigenous people,” she said.

“It’s really shifting … how people are viewing Indigenous people and it’s building compassion.”

While Calgary now has a few years of experience making its spaces welcoming for urban Indigenous people, similar projects in other major cities across Canada are just taking off.

In Ottawa, a celebration held in October marked the construction of five floors at Ādisōke, a new facility created through a partnership between the Ottawa Public Library, Library and Archives Canada and the Anishinābe Algonquin Nation — whose unceded, traditional territory hosts the building. Ādisōke means “storytelling” in Anishinābemowin Algonquin language.

Set to open in 2026, the space promises a circular lodge designed to represent a traditional wigwam on the second floor, a wayfinding wheel at one of its entrances, an interior atrium with wood elements, some oral storytelling stations and a garden filled with native trees and plants of significance to local First Nations.

Dawn Saunders Dahl, a member of the Métis Nation of Alberta and curator of Indigenous public art for Ādisōke, said in addition to the facility’s structural elements, she wants the space to showcase Indigenous art from across Canada.

“The real intent is to ensure that everyone, but especially Indigenous artists, feels like this is a place for them to feel welcome and see something of their culture reflected in those spaces,” she said.

Peyachew said the more libraries in Canada that decide to integrate Indigenous knowledge and public art, the more Indigenous artists will be able to see a future for their work.

“It (shows) other young artists that you have potential to show your art in public spaces,” Peyachew said. “Do not give up. You’re an artist. You’re an Indigenous artist. You’re special.”

If you are a residential school survivor and need emotional support, a national crisis line is available 24 hours a day, seven days a week: 1-866-925-4419

UAE resident Haridas picks up photography award for Hoopoe shot

UAE resident Haridas picks up photography award for Hoopoe shot
The image, taken with a Nikon Z8, features a Hoopoe in flight.
Image Credit: Supplied

Dubai: UAE-based wildlife enthusiast Hermis Haridas picked up an international award for his image of a Hoopoe at the Al Qudra Lakes in Dubai. The photo was taken with a Nikon Z8 camera and showcases the Hoopoe in various moments, both in flight and on the ground.

Haridas, the founder of Paws Trails and Mara Trails Camp, said: “I observed that each time it caught a prey, it flew in the same direction to a nearby tree. I spent a few days photographing this bird, and when I got home and looked over the pictures, I got the idea to photograph the bird against a background with light and dark sides to represent the dark and light sides of existence.

“The following day, I arrived a little earlier at the same location and waited for the ideal shot to occur.”

Art Basel Launches an Online Sales Platform Ahead of Miami Beach Fair

Art Basel Launches an Online Sales Platform Ahead of Miami Beach Fair

Collectors from around the world shopping for art in the primary market will soon have a new online avenue to acquire works they want from a reputable source, but this time, they will be required to pledge a donation to a charity along with purchasing a work they desire.

Such is the basis of Access by Art Basel, a new online sales platform by the Swiss fair giant that aims to bridge primary art market activities with philanthropy. Featuring over a dozen works from galleries participating at the upcoming Art Basel Miami Beach, the platform will make its debut on Monday (November 27) ahead of next month’s fair, Art Basel announced on Thursday. It is a pilot project and it may be extended to future Art Basel fairs.

Access by Art Basel is developed by Arcual, a technology company launched in 2022 and backed by Art Basel’s parent company MCH Group, as well as the Luma Foundation and BCG X. While Arcual specializes in blockchain solutions for galleries, Access will not run on the blockchain.

Collectors will be able to browse the works available for sale via Access from Monday onwards. They can submit a request to purchase a work they desire through December 10, the last day of Art Basel Miami Beach.

Works are sold at a fixed price, but there is a bidding aspect to the sale in that collectors will be required to pledge a donation to a charity of their choice between the Miami Foundation or the International Committee of the Red Cross, with a minimum amount of donation beginning 10 percent of the listing price of the artwork. However, it will be up to the gallery to decide to whom a work to be sold, and the donation won’t come into effect until the sale takes place.

Art Basel Miami Beach 2022. Image courtesy of Art Basel.

Art Basel Miami Beach 2022. Image courtesy of Art Basel.

“We wanted to deliver a platform that meaningfully and effectively supports the causes that matter to our galleries and their artists, while allowing them to remain the beneficiaries of 100 percent of the sale on artworks,” noted Noah Horowitz, CEO of Art Basel, in a statement.

During his previous tenure at Sotheby’s, Horowitz launched a similar platform called Artist’s Choice that ran alongside the Contemporary Curated sale in New York in September 2022; for each lot sold, a 15 percent donation was made to a charity or institution selected by the artist.

Over a dozen galleries will take part in the pilot edition of Access by Art Basel by invitation, including Pace and François Ghebaly. Featured works include those by the Miami-based Herman Bas at Fredric Snitzer, New York-based Katherine Bradford at Kaufmann Repetto, Taipei-based Wu Chi-Tsung at Sean Kelly, American artist Rafael Delacruz at Michel-Innes & Nash. Mendes Wood DM will be offering works by Jaider Esbell, Sprüth Magers will feature Jenny Holzer, alongside works by Mark Handforth at Luhring Augustine, Angel Otero at Hauser & Wirth, Chelsea Ryoko Wong at Jessica Silverman, and Maja Ruznic at Karma.

Galleries are not required to pay a fee to take part, and Art Basel is not taking any share in sales. These works will also be shown at the fair from December 6 onwards but they will be sold exclusively only on Access.

“This is a great development for Art Basel. To me it seems like green shoots of responsible and sustainable collecting that aligns artists and collector values, because this is necessary right now. I think this is what as a business they have also identified as necessary,” noted art advisor Janna Lang. “The world is not well.” Art Basel will be making a $25,000 donation on the occasion of the launch of Access, with the amount to be split evenly between the Miami Foundation and the International Committee of the Red Cross.

While some in the art world are skeptical about the new platform, Lang did not see this as another tool for sales. “I see this as a tool to make sales that would be made anyway, but with the addition of some impactful investing.”

Some dealers have reflected that collectors and art buyers have become increasingly aggressive asking for discounts for primary sales recently as the market is getting softer. While discounts are not uncommon, a sales initiative that requires the buyer to make a charitable donation on top of the sale of an artwork can make people do more when the world is clouded by uncertainties and warfares, noted one advisor who does not wish to be named. “At the end of the day, there’s some money,” the art advisor said.

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Crossing Paths: New photography project takes aim at the impacts of transportation on wildlife

Crossing Paths: New photography project takes aim at the impacts of transportation on wildlife

Wildlife

The debut campaign launched by the Canadian Conservation Photographers Collective brings awareness to threats to wildlife from roads, railway transit, ocean transportation and air traffic

  • Nov 24, 2023
  • 575 words
  • 3 minutes

A female grizzly bear leads her three yearling cubs across a highway as a car threatens in the background; a humpback whale breaches off the B.C. coast, trailing foam and sea spray while a tugboat churns past; a snow goose extends its long white neck to view its surroundings on an airfield, blurry droplets of red, yellow and white runway lights in the distance.

Such is the nature of the arresting, albeit atypical, images on display in Crossing Paths, a new digital publication and the debut initiative from the Canadian Conservation Photographers Collective (CCPC). Part photo essay, part educational tool, Crossing Paths seeks to raise awareness about the destructive and harrowing impacts of public and commercial transportation on wildlife in Canada.

“This is a topic that deserves to be covered,” says Josh DeLeenheer, the CCPC’s B.C.-based founder and director. He notes that beyond the obvious impacts we see on roadways, there are many more threats to wildlife from transportation “that we don’t necessarily think about.”

Formed in 2021, the CCPC is run by a small team of volunteers and currently counts 35 photographers and videographers among its members. Its goal is to “shed light on pressing conservation issues,” draw attention to the solutions that exist, and to link its audience with others — collectives, NGOs, non-profits, research organizations and governments — that are engaged in these issues.

Crossing Paths brings together five transportation themes: roads and highways, railway transit, ocean transportation, air traffic and human activity on lakes and rivers. The photography, which depicts scenes of collision and conflict between wildlife and these fives modes of human transportation, drives the package, however DeLeenheer and his colleagues also researched the topics and brought in partner organizations to contribute educational content and to provide the audience with a means of taking further action.

“We wanted to have actionable goals,” DeLeenheer says. “We want to be able to direct our audience to these organizations that are already engaged in [finding solutions].”

For example, CCPC partnered with the Marine Education & Research Society (MERS) based in Port McNeill, B.C., for the section on ocean transportation. MERS is a registered charity that researches and promotes marine conservation. It campaigns to raise awareness about the harmful impacts of collisions and noise pollution from boat and ship traffic on marine wildlife — particularly, of late, humpback whales, recent returnees to B.C. waters whose behaviour and biology make them susceptible to collisions.

Jackie Hildering, MERS’ education and communications director, says participating in Crossing Paths offered an “an opportunity to amplify” its messaging about collision and noise impacts, as well as the urgent need for more ethical photography of marine animals — images that emphasize “how wild they are, not how close they are” — by media and ecotourism operators.

Given that Crossing Paths just launched, DeLeenheer says the team is still striving to raise its profile, leveraging the networks of its member photographers, partners and others. At the same time, they are also thinking about next steps — new campaigns, as well as working to secure non-profit status for the CCPC in 2024.

“This is our first campaign, so it’s a bit of an explanatory experience,” he says. But he’s hopeful the work and the CCPC’s mission will find a following. “I got into photography because of my passion for conservation. There’s so many stories on a local and national level that we can tell.”

Brixton photography – street scenes, rain, architecture and a dapper chap, Autumn 2023

Brixton photography – street scenes, rain, architecture and a dapper chap, Autumn 2023

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Here’s a selection of 30 photographs taken around central Brixton in the last couple of months.

Above, a dramatic rainbow can be seen arcing over the San Marino coffee bar.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Market stall cart.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Loughborough Junction station.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

New developments at Loughborough Junction.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Brixton Hill shopfront.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Marks & Spencer gets a long-overdue refurb.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Brixton station.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Station Road.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

It’s been a wet November so far.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Water leaking into the tube station.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

The perennial loss-making Pop Brixton.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Fashion show at Morleys.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Brixton Water Lane.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Big queue for Jeff The Chef.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Brixton station.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

A dapper chap with a box of washing powder.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

New fibre connections being installed at the Barrier Block.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Brixton Party Shop.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Not a door, Loughborough Junction.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Waiting for the train.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Pope’s Road.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Late afternoon. Acre Lane.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Train and viaduct, Valentia Place.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Sticker, Prince Albert.

Brixton photography - street scenes, rain, architecture and a dapper chap, Autumn 2023

Rainbow over the Loughborough Estate.

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