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De Noordhoek Hotel
Noordhoek, Cape Metropole, Peninsula - Accommodation
De Noordhoek Hotel in Noordhoek
A must visit destination for any well-travelled visitor to Cape Town, our piece of paradise is home to some amazing places. It is these attractions that make Noordhoek a world-class destination for life or holiday. It is made even more so by the folk who have established businesses here and the passion that they have shown for and put into these businesses.
We simply love what everyone does in Noordhoek and only feel it correct that we share our Best of Noordhoek with you when you spend time with us. After all, we think we are quite good at spotting something special and unique, that’s why we built this fantastic hotel.
Our rooms are en-suite and come fitted out with fine quality linen and beds. Our common areas include a lounge, breakfast and restaurant area, sushi patio, pool and sunning area, and a meeting room for corporate visitors. The hotel has a full wireless and is complimentary to all hotel guests. We also have a quiet computer corner if you haven’t brought your own.
The Toad, Café Roux, The Foodbarn Restaurant and The Foodbarn Deli and Tapas are all fantastic restaurants and meeting places and are unbelievably conveniently situated on our doorstep. No heavy traffic, parking difficulty or shopping malls; just a very quaint and inviting village atmosphere, like something you would find in Utopia.
And when you've had enough, get in your car and head for Noordhoek Beach, Chapman’s Peak, Table Mountain or Cape Point and you will soon realise how conveniently situated our hotel is. We challenge you to find a better value for money offering anywhere in Cape Town. Come and enjoy our village life.
Don't be fooled by Cape Town's busy city life, Noordhoek is 20 minutes from the city centre and 20 minutes from Cape Point. De Noordhoek is a great place from which to explore Cape Town. Come and be our guests, you will want to move to Noordhoek.
Facilities & Activities nearby:
Facilities available at De Noordhoek Hotel,Noordhoek, Cape Metropole, Peninsula
- 5 Star Reviewed
- Airport Shuttle
- Available Next Weekend
- Available This Weekend
- Conference Venues
- Credit Card Facilities
- Indoor Fireplace
- Laundry Facilities
- Parking on Premises
- Restaurant on Premises
- Room Service
- Satellite TV
- Swimming Pool
- Wheelchair Enabled
- Womens Day Weekend
- Bird Watching
- Canoeing / Kayaking
- Horse Riding
- Scuba Diving
- Whale Watching
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Directions to De Noordhoek Hotel
Map of De Noordhoek Hotel in Noordhoek, Cape Metropole, Peninsula+ OPEN FULL MAP
GPS Co-Ordinates: 18° 22' 40" E / 34° 5' 50" S
By Car / Driving
Driving to De Noordhoek Hotel in Noordhoek, Cape Metropole, Peninsula
|Departing: Cape Town International Airport|
|Address: Airport, Cape Town International Airport (CPT), Cape Town, 7490, South Africa|
|Distance: 0.3 km / Duration: 38 mins|
|1.||Head south||0.3 km|
|2.||Continue straight||0.3 km|
|3.||Slight right||0.4 km|
|4.||Slight left toward Airport Approach Rd||48 m|
|5.||Continue straight||0.1 km|
|6.||Slight left onto Airport Approach Rd||2.1 km|
|7.||Merge onto Settlers Way/N2||10.2 km|
|8.||Take exit 6 for Rhodes Drive toward M3/Observatory/Muizenberg||0.4 km|
|9.||Merge onto M3||4.3 km|
|10.||Keep right to continue on Paradise Rd/M3|
Continue to follow M3
|11.||Slight right to stay on M3 (signs for Muizenberg)||9.3 km|
|12.||Continue onto Exit 23 (signs for M42/Steenberg Road)||0.5 km|
|13.||Turn right onto Steenberg Rd/M42||1.4 km|
|14.||Turn left onto Ou Kaapse Weg/M64||7.8 km|
|15.||Turn right onto Silvermine Rd||2.3 km|
|16.||Sharp right onto Noordhoek Main Rd/M6|
Destination will be on the right
Nearest Airport & Flights
Cape Town International Airport - Cape Town+ FIND FLIGHT TO Cape Town
Cape Town International airport used to be called D.F. Malan Airport and was opened in 1954 replacing the old Wingfield Aerodrome Airport.
This airport is the second busiest and second largest airport in South Africa and third busiest in Africa, by 2015 it is expected to have 14 million passengers pass through the airport. It is within easy driving distance (20 km) from the centre of Cape Town.
Reviews for De Noordhoek Hotel
Nice peaceful place to enjoy a cup of coffee or a hearty meal. Also a safe place for people with kids to relax. What detracts is the way people park in the road or where there are no bays, even although there is ample parking on the right of entrance.
Nice place to come spend a couple of hours, especially with kids due to the large an safe playground.You can get your car washed while you eat and have a great coffee at The Village Roast.
Awesome little village with so many different restaurants to choose from! SUPER kid friendly and amazing night markets.
One of my favorite day trips is to drive to this wonderful destination. A host of eateries to choose from fitting every budget. Love to stop for ice cream and just sit enjoying the views.
Great! Everyone works in harmony together! My fave is village sushi though but STILL! Everything else is great too!
Best place to feel the country air and have great food while enjoying some of the best scenery in the world!
Cozy little place, various restaurants and shops to choose from. All offering different things. Enough parking and enough restaurant space. There are places to just grab a coffee or sit down for a while. Great place to come with your family or by yourself.
Having lived in Cape Town for 7 years this place had been a regular stop off on a number of occasions. Great little village vibe with cute and quaint cafes including the The Foodbarn and Cafe Roux with friendly and efficient service and food that is affordable and delicious. Popular stop-off for coffee on the weekend cycles and a great place to take children during the summer months. Can get busy during weekend afternoons so best frequented during the morning. Perfect for tourists!
really nice place. Good little shops, nice places to eat, delicious coffee. Plenty of music concerts. Lovely playground and every Wednesday there is a food market. till 8pm.
This is a wonderful spot to go to for breakfast or lunch. Various restaurants and lots of outdoor and indoor seating. We were there one week before the Cape Argus bike race and we felt out of place because we were not wearing cycling clothes. It probably is a little less cyclist-focused on other weekends. We went there for breakfast and had great food and perfect coffee, and the service wasn't the fastest, but very friendly.
Went there once after a walk on the Noordhoek beach and a horse riding nearby, we found a relaxing and joyfull atmosphere village where locals meet and have some quality time outside with families.There was live music, restaurant, shops, you can have an ice cream or beer and sit down on the artificial grass and just enjoy the sunny day while kids are playing in the gated playground..Go there if you want to unwind, unplug, relax...
This is a good destination for a day out including meals from the restaurant or deli. There are also some quirky shops and delicious ice is available from the parlour. Also bought some very good rustic bread. Very pleasant and relaxed ambiance.
Stunning place to stop, whatever the occasion. With a variety of restaurants, cafes and shops one can stop for any meal or even just a snack. Parking has been radically improved and expanded recently
We had a lovely stay at De Noordhoek Hotel. The rooms are spacious and well equipped. The staff were warm, friendly and helpful. The food at the restaurant was lovely.Thank you for a lovely stay.
"The best of the best"
What can I say? De Noordhoek Hotel meets all expectations, and more. From the amazingly comfortable beds to all the stylish fittings in the rooms, just awesome. From the moment you walk in you sense that you are in for a treat. Colin, the hotel manager, and all the staff we dealt with were extremely friendly and welcoming. The breakfast was amazing and we wanted for nothing. The most amazing feature of this hotel is its setting - smack bang in the middle of an adorably quaint, but bustling, farm village. The hotel is surrounded by pubs, restaurants and curio shops, and we tried all of them. Every place at which we dined and socialized (and believe me, do you socialize in this warm, friendly setting) matched the style and warmth of its neighbour, De Noordhoek. I really cannot wait to go back, and will recommend this experience to everyone....because that is what it is, an experience.
Why use the "Request a quote”
Request a quote from De Noordhoek Hotel at no obligation.
Majority of the listed establishments are Bed & Breakfast, Guest House and Self Catering establishments whom operate without any online booking system. Unlike larger Hotel groups, whom do operate with a online booking systems, majority of Bed & Breakfast, Guest House and Self Catering establishments in South Africa do not have an internet presence or online booking systems.
However: With the "Request a quote” feature, we overcome this problem and allows you to ask any specific questions. Majority of establishments will back to your request within several hours.


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domain: artistic


The article below was Published September 12, 2016 in Renewable Energy Magazine.
Newton’s First Law of Physics states that an object will remain at rest or in uniform motion in a straight line unless acted upon by an external force. In a sense, this foundation can be applied to the inertia of the permitting world for new renewable energy projects.
As a new proposal begins progressing through the entitlement process, it often moves steadily until acted upon by an external force, which could be personified by public comment, regulatory hearings or stakeholder input.
When this external force portrays a proposal in a negative light as a result of environmental, aesthetic or noise concerns for example, the progression of the proposal slows down. A March 2016 study by London Economics International and 3E, a Brussels renewable energy consultancy, conducted an analysis across 6 countries and 4 renewable technologies (onshore wind, solar, hydro and offshore wind) to examine the costs of regulatory delays on renewable energy projects.
While the results of the analysis found the impact of delays can be highly project-specific, observations also include that “regulatory costs and delays with respect to permitting, primarily driven by the environmental impact assessment, result in a greater impact on the cost of projects relative to other forms of delays.” Without proper public support to advance the environmental benefits inherent to the proposal, public officials and regulators lack the political cover that is an essential component to project approval.
All too often, long and expensive permitting and appeals processes threaten the success of renewable energy proposals. However, with the proper approach from the outset, the community can be engaged in a productive way to set the message and build a positive reputation for the project. This positive force will keep the permitting process in motion, saving time and money. To ensure success, companies can approach the approval process with these helpful tips:
- Develop an Online Presence: In a digital world where everyone is free to express their opinions, it is important to develop a website and social media presence for the project at hand. This enables companies to present the facts and offer resources for community members to learn more.A website with resources such as fact sheets and downloadable content can set the record straight against any myths. Additionally, social media pushes “sound-bite” content right into newsfeeds with the other miscellaneous content social media users elect to consume. On both platforms, viewers can express support and ask questions to engage directly with renewable companies.
- Create a Uniform Voice: A project can easily be affected by the image and voice a company projects online. The voice should be uniform across posts and responses so that social media users feel as though the same person is responding on the company or project’s behalf each time. The best way to manage any potential conflict that may arise from nay-sayers is to approach negative feedback as an opportunity to politely correct myths to set the record straight without elevating opponents’ positions.
- Advertise and Measure: Web ads are a cost-effective way to drive website traffic. Local news websites present opportunities to geo-locate your target audience and serve ads only to those living in the area that will vote on it for example. Ads on social media offer even more ways to target ads to the audience that matters most and is most likely to be interested in or support the renewable proposal. Both can link directly to the website and offer measurable results such as “cost-per-click,” cost per video view, reach and other key performance indicators depending on the objective selected.
- Leverage Stakeholder Support: Stakeholder engagement affords renewable proposals independent narrative support from groups or organizations with missions or platforms that align with the project. Identifying these stakeholders can involve making a presentation to membership or simply a one-on-one meeting to discuss the proposal and its benefits. Ultimately, renewable proposals have incredible opportunities to gain third-party support to help increase awareness in the media, online and at public hearings.
- Go with Grassroots: Community outreach can be structured like a political-style campaign, scaled to fit any size project. Calls to action across social media platforms and through other various tactics are an effective way to encourage participation by members of the public. Start with small asks to share the project’s social media pages and posts to help spread the word. As posts further inform the social media audience, and as a base of followers is built, these calls to action can get more complex to encourage letter writing to public officials and newspapers as well as attendance at important regulatory hearings. Additionally, building a database of community members with address, phone, email and demographic information and political district enables organized outreach. Those who express their opinion on social media or sign up as a supporter on the website can then be coded into this database as supporters, undecided and opponents. Then messaging through direct mail, phone banking and other Get Out The Vote (“GOTV”) efforts can use more tailored messaging through this outreach is guided by the database.
- Engage the Media: While grassroots might be considered the “new age” approach to outreach, media relations cannot be overlooked. Sit down with editorial boards to explain the project vision and benefits from the outset to announce plans formally to the community. Offer press releases as needed and be sure to invite the media to any open house events or community information sessions held on behalf of the proposal. Equally important is engaging subject-matter experts online in industry publications to help add brand value to a particular project.
With a regulatory process that can often times lack clarity and transparency, it is important to build positive momentum for renewable projects and maintain that momentum with the backing of public support in any community. All the aforementioned tips offer vehicles through which audiences can be reached and asked to help. Instead of allowing for a silent but supportive majority, calls to action to attend hearings and write letters to officials or newspaper editors will help make any proposal a positive force moving in the right direction towards approval.


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(Originally published July 19, 2021; Updated on September 7, 2021)
HDFC Bank Credit Cards has been on a roll with respect to now promotions, while they wait in the penalty box to be able to get new customers on board. They have recently launched a promotion offering 2X points on Grocery and Medicine, apart from their monthly targeted promotions for many customers. Now, there is yet another new promotion, which HDFC Bank wants to help people to use their Payzapp virtual card product.
HDFC Bank offering 3X Reward Points on Payzapp Transactions through September 30, 2021
HDFC Bank runs a digital payment product called Payzapp, which you can download via the Apple App Store or Google Play Store. From July 15, through September 30, 2021, when you make any transaction above INR 2000 via PayZapp, you will get 3X Reward Points on your HDFC Bank Credit Card. Take note, that this offer is only applicable for HDFC Bank Infinia, Diners Club Black, Regalia, and Diners Club Privilege Credit Card customers. Also, you can’t use this offer to pay rent and grab 3X points.
The maximum benefit you can earn per card in a calendar month will be 1500 reward points, which will be posted within 30 working days after the transaction.
Transaction on PayZapp can be done through the following ways:
- In-app payments (excluding Load Money, Nobroker.com, Magicbricks)
- PayZapp wallet for payment on partner app/sites
How to link a card with PayZapp?
- Log in using your credential on PayZapp
- Click on Manage Cards
- Click on the New Card tab
- Fill in your card details and click on Add Card
You can check out the full details of the promotion here.
This is a great way to make people aware of the Payzapp option, which has been largely ingrained in the Razorpay payment gateway and hence available on many websites across the country (including LiveFromALounge)
If you are going to spend over INR 2000 using your HDFC Bank credit cards online, it will be a great idea to reroute that spend via the Payzapp option after linking your card to get 3X points on the spend. This is a short-lived promotion, so make sure you act fast!
Have you made any spends using your HDFC Bank Credit Cards/Payzapp to receive 3X points?
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domain: economics


Farmer Exequiel C. Bahalla has been toiling the soil since he was barely 10 years old. He has worked it as a son and still works it as a father. It was a piece of earth that was bound to be his. The three-hectare farm in Bohol tells the story of Bahalla’s life. As a young boy, he had to quit school to help his father work the land. Years later, when he had his own family, the same farm enabled him to send all of his five children through college. “I started helping my father in the fields when I was still in Grade 3,” Bahalla, now 54, recalls. He was not even 10 years old then. He had wanted to be a soldier, but life was tough and all hands were needed in tending the crops. He had to stop schooling. He was able to finish only sixth grade of elementary education. “In the past, we had carabaos and other animals helping us in the farm. Now, we use machinery,” he says .The tipping point for this life-long farmer came in 2002, when he was able to acquire through the government’s Comprehensive Agrarian Reform Program (CARP) the three hectares of rice land that his family had been tilling for decades. He obtained the land from some relatives of his wife Teodula, whom he married when he was just 17.
In the 1970s, the young couple planted palay, camote, banana, cassava and vegetables, depending on the season. They also raised livestock. In 1993, when their barangay was clustered with other nearby villages, Bahalla and his fellow farmers formed the Katipunan Multi-purpose Farmers Cooperative. His membership in this group would later become his ticket to learning. “I married early. So, when we got the land we used it to send our children to school and make sure that they finish college,” Bahalla says, “This October, my youngest will be graduating with a degree in hotel and restaurant management.”
Although he himself finished only elementary education, Bahalla has attended so manyseminars on agriculture that other farmers began calling him the “farmer scientist.” He has gone through trainings such as Rice Seed Production and Seed Certification with Post-Harvest Technology, Farmer-led Extension Delivery Planning, Corn Seed Production, and Retooling Course for Rice Seed Production.
Bahalla’s successful farming method has become well-known that even farmers from other barangays come to him for help to improve their harvests. In 2008, he was cited as Magsasaka Siyentista for his contribution to his community. “I tell them that my crops have special elements in the fertilizers I use,” he says. He gives his fellow farmers advice on what fertilizers to use depending on the season. They had seen better harvests because of this. “The harvest of crops using these special elements is bigger. Normally, one hectare would yield 80 to 120 bags of palay but that would increase to around 200 bags, with 40 kilos per bag,” he says.
An assistance program from the Department of Agrarian Reform and the Department of Science and Technology provides Bahalla’s community with potable water. Besides the three hectares of rice land that he acquired through the CARP, Bahalla is now also renting from his neighbours six more hectares of land planted to rice and 600 coconut trees. He can afford the rent with the help of his children who are now professionals. Three of them are now working abroad: the eldest is a nurse in Saudi Arabia while two of her siblings are sailing the world’s oceans like thousands of other dollar-earning Filipino seafarers. Another daughter has decided to stay put and serve their community as a local high school teacher.
“The agrarian reform program has been such a great help for me and my family as it improved our lives,” says Bahalla. He now grows seedlings of high-yielding rice varieties that the provincial government buys for distribution to other municipalities .He also conducts lectures on viable farming techniques. “I have this principle I believe in that in farming, there’s no retirement,” Bahalla says. “I will go on working.” -- With a report from Merly Bantugan, DAR-Bohol


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Costa Mesa officials want to continue operating the Balearic Community Center into next year, but they probably could not afford the lease with the city's projected budget deficit.
The city is talking with the Newport-Mesa Unified School District, which owns Balearic, in hopes of reducing or waiving next year's $71,000 lease. The community center is home to many programs and services including the early childhood program, the day camp program and contract classes, such as karate and yoga, among others.
"We recognize that it's a difficult time for all public agencies, and we're hoping the budgets of the school district and the city turn around; but in the meantime, I think it's appropriate for us to help where we can," Supt. Jeffrey Hubbard said. "We have a positive relationship, and we wanted to offer it as an acknowledgment of both the good relationship we have as well as the fiscal reality."
Costa Mesa, facing a projected $16.4-million budget deficit next year, is proposing to eliminate many services and lay off 77 of its employees. Closing Balearic is one cost-saving proposal.
Except for the Summer Playgrounds Program, all services offered at the community center are cost-effective, said Jana Ransom, recreation manager.
If the district waives next year's lease, Balearic could stay open.
"What we're hoping to do, if we can get the fee reduced or even waived next year, we're hoping to put just programs that offset the cost of operating the building," Ransom said.
Along with planning on offering only cost-effective classes next year, the city is working on reducing the cost of the utilities and the maintenance of the building to about $20,000, Ransom said.
That amount would be offset by the money Costa Mesa makes from renting out Balearic for parties and events, Ransom said.
One church group regularly rents the center on a regular basis, she said.
The city expects to make about $19,000 next year from the rental of the building, Ransom said.
Although waiving the fee for the city would take away from the district's budget, Hubbard said, it's worth maintaining the long-standing relationship with Costa Mesa.
The city has been leasing Balearic from the district for 30 years.
"It's two issues: We know that field space is something the city is in need of and we didn't want to preclude the city from using it in the future if their needs for field space continue," Hubbard said. "The second is if we were to take it back, we then have to go through the process of taking time to find a new tenant, establish fair rates and it's not always easy to find quality tenants. The city has been an excellent tenant."

domain: news


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As many of you know, Royal Ascot officially kicked off today. That means it is the merriest of millinery weeks here at Royal Hats! I am beyond thrilled that two very talented milliners are joining my hat commentary this week. British hat designer Katie Vale, who shared her millinery insight and wonderful sense of humour last year, has graciously agreed to return. Talented American hat designer Jill Courtemanche will be joining us as well (you might remember Jill from this wonderful guest post).
Because we will be working together across multiple time zones (sometimes, with limited internet access), our commentary will be coming to you later than usual- likely the morning after the event. I thank you for your patience and hope you will enjoy our conversation. Please do weigh in with your own thoughts about the marvelous hats we will see.
So it all started in 2004, when the fashion was to have sleek, straight, neat, long hair. The exact opposite to what I have! On a daily basis I was getting fed up with the mass of uncontrollable curls before me and so I began making “things” to pretty my hair. I say “things”, because in the start I was just experimenting with anything and everything around me. Having realised that I was not only loving making these items, but also I was starting to get stopped to be asked where I had got them from; and I decided to go back to school……well evening school! Something I didn’t think I would ever end up doing again.
I have carried out over 2 years worth of courses in wire work and have spent several years training with Rose Corey, Milliner by Royal Appointment to the late Queen Mother. Through this training I have learnt the traditional art of millinery.
I pride myself on all items being designed and hand made fully by myself. Not only do I believe that this ensures the consistent quality of the items, but also because I love doing it. Now on a daily basis if I’ve not got pliers in my hand, it’s because I’m sat at my sewing machine. What started out as a retaliation against high street fashion has turned into my daily passion.
Milliner Jill Courtemanche lives and works in sunny San Diego, California. She graduated from New York City’s prestigious Fashion Institute of Technology in the mid-90’s and after a decade of working alongside master artisans in New York and Europe, she opened her namesake atelier in 2006.
Jill brings a young, feminine and contemporary approach to her hats while incorporating traditional techniques and craftsmanship. All of her pieces are created using vintage materials, trims and embellishments combined with modern fabrics, and many styles are produced in limited, exclusive quantities. From fascinators to fedoras, Jill’s hats have topped Yoko Ono, Donatella Versace, Princess Mary of Denmark, and football legend Jose Foure.
Jill also teaches popular hat-making courses, for both beginner and more advanced students, which are attended by millinery enthusiasts from around the world. Jill Courtemanche Millinery accommodates a variety of client needs, from hats for social events, horse races, religious services and nights on the town, to custom bridal pieces and a modern men’s collection.


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Agreed, California is an odd place to choose as a launch site. The only benefit to it might be ease of transferring materials.
Arguably one reason the Maldives in the Indian Ocean nor the Line Islands in the Pacific Ocean have not been developed as a possible launch site. Even with the use of the oceans, the logistics of distance and time is a powerful foe.
The other, regardless of downrange issues, everyone wants it in the back yard. There the government can keep all the secrets safe and well protected, and once the fireworks of launch is over everyone else can go home eat Bar-b-Que and sip cold beer.

domain: geography


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I learned of Snowbird’s passing through an email message from “B” Casapulla. “B” wrote
We lost Bird last week. I got up to feed and he was gone. No sign of struggle, it looked like he laid down and died. I hope that was the case. A beautiful soul like Birdie deserved nothing less.
We’re all still grieving. We thought we had more time. He was fine the night before, eating his dinner and goofing off like he always did. Such a shock to find him gone…
He’s buried in the pasture with his other friends. We’ve planted forget-me-nots on his grave. He has a pretty marker with a running horse on it. I’m heartbroken.
He touched so many. I posted his loss on Facebook and got many responses. He was a wonderful teacher, therapist, and friend. I’ll miss him every day.
Sorry to have to tell you this. I know you knew him first. His life will be celebrated here forever.
“B” words reflect so much of the beautiful being that was Snowbird. Some of his story appears in Chapter 12, “The Rhythm of the Strands,” much of which I’m including below. If you’ve already read the book, you might remember that for the last seven years of his life, from 2009 to 2016, Bird helped numerous children, teenagers, and adults, through his role in Take the Reins, a wonderful horse therapy program in Summit County run by “B” Casapulla and Helen Royal.
~ ~ ~
Around 2009, B and Helen learned about another SAR horse, Snowbird, often called Bird. He’d run into problems with its owners, and Clara, because of their guarantee, had bought him back from the man. Bird had served as a show horse for his daughters for a number of years, but then the girls either didn’t want to or couldn’t show him anymore.
The dad decided Bird needed a job, and the one available was as packhorse on a hunting trip. As an arena horse, a show horse, Bird had excelled. He’d been handled by the daughters, who’d doted on him. Now he was to experience something quite different, something that required unfamiliar equipment, travel over varying terrain, and unusual, inanimate cargo. The experience proved to be a damaging one. On the hunting trip, Bird fell off a ledge and was badly hurt.
When Clara heard about the incident, she was furious with the man for giving Bird a job for which he was so ill suited. She took the injured horse back and put him in pasture. She wanted to let him, in her words, “be a horse and relax for a couple of years,” to fully recover from the ordeal. Whispers of coming and going.
Snowbird’s accident didn’t diminish his beauty. During his convalescence, artist Linda Gulinson photographed him, and from the photograph, painted a stunning picture. The painting, an impressive thirty inches by forty inches, now hangs in Clara’s living room. Linda’s specialty lay in Western art, with a focus on Native Americans, and more specifically, on Native American children. But when Singing Acres Ranch came into her life, she began to paint horses . . .
When the Gulinsons came to visit, Margaret and Clara would get the colts to do all kinds of exciting things for Linda’s camera, run, frolic, chase each other. As a result, Singing Acres Ranch horses grace not only corrals and pastures across the country, but also the walls of many homes and offices through Linda’s paintings.
Of the many Singing Acres paintings by Linda, two hold places of honor in the living room at the ranch. In one, three SAR horses, heads and necks pictured, are clustered together in such a way that suggests they’re having a little confab. At the top is Matilda, then Sophie, and Sixteen Tons. Linda painted it early in the friendship and titled it “Gossip.”
The other is the later one of Bird when he was convalescing, in which he’s standing by the pond looking around to his right. His mahogany bay coloring is sprinkled with a few white App spots across his rump, his black mane and lower legs contrasting beautifully with his coat. He exudes tranquility . . .
One day when Helen and B were at the ranch, they met Bird, and they fell in love right away. Given his calm disposition, Clara was sure he’d make a good therapy horse and sure enough, he was a hit in the program.
At first, although sweet and well mannered, he was a little standoffish, not connecting immediately. This wasn’t a problem since Helen and B knew that their horses’ quirks could also be assets for their clients. So when they did horse introductions, they told his story in terms of what clients themselves may have experienced. They talked about how Bird had overcome hardships himself, that he’d been hurt and was scared to connect.
B thought that whether this was true for a horse is anyone’s guess. But the idea worked well for kids who needed to learn to overcome adversities themselves. It was especially useful for those who’d never been around horses to hear about Bird’s reserve. Many people in the program hadn’t had first-hand experience with horses, and it was Bird they instinctively trusted. Kids and adults gravitated to his calmness.
Once, when a newspaper reporter came to do a story on the program, B and Helen offered to take her through a traditional first session. As usual, they gave highlights of horses’ stories that they thought most closely paralleled the client’s story and let her take it from there.
This reporter had been in nursing but had recently changed her career to journalism. Although happy with the change, she knew that because she was new to the work, she hadn’t yet developed much confidence in her ability to do it. She was right in the middle of the crossroads of rediscovering herself, with all its doubt and uncertainty. When she heard about how Bird had been a show horse, how he’d then been used as a packhorse and suffered the accident that triggered his return to Clara and subsequent move to Take the Reins, she chose him.
She could tell he was a little cautious, mirroring her own restraint, her own uncertainty. She had, in fact, been afraid to get close to a horse. They were new to her, and they were big. It took her some time to go near him, then longer to be able to touch him.
When the article appeared, Helen was pleased to see it written it as the reporter’s own story, that what had happened between her and Bird was a fitting reflection of the program’s power and effectiveness. In an accompanying photo, she had her arms around Bird’s neck, hugging him.
Snowbird has a special place in my heart, too. On May 10, 1992, the first anniversary of my sister’s death, David, my partner in life, and I were at Singing Acres. It had snowed the day before and the air held the memory of the storm, misty clouds cloaking the mountains and hanging low over the meadow. Inside having morning coffee with Margaret and Clara, I was soaking in the warmth of the fire from the old rock fireplace and the warmth of our friendship as we sat around catching up on what had been going on in our lives. David was out taking in the crisp morning air and enjoying poking around in the rustic mountain setting. Without warning, he burst through the door, breathless with excitement. “There’s a baby, and it’s just barely here!” he cried.
We jumped up and sprinted outside, behind the house and up to the corral by the “condo.” Sure enough, there in a snow bank lay a beautiful bay foal, minutes old, his mother standing over him. She gave us only a brief look, as if to say, “Isn’t he something?”
David and I watched the newborn struggle to his feet for the first time, his long, skinny black legs wobbling with the effort. A few minutes earlier, he’d been in a warm, dark place, now there was brightness, cool, soft air, and a whole world to become acquainted with.
Seeing this new life seemed such a gift, on that day of all days—a first anniversary I’d approached with apprehension—and he was a beauty. The day had turned into a beauty, too. The bright Colorado sun had burned off the misty clouds, revealing a brilliant sky, a smiling sky one could say. It was as if the sun were greeting the brand-new baby, too.
Soon after, back at home in Denver, we talked with Clara. “It seemed only natural to call him Snowbird,” she told us. We agreed. It seemed the perfect name.
Having been there when Snowbird arrived, hearing the stories about him over time, listening to Brenda and so many others tell about Margaret and Clara, I think of the many ways our lives are braided, intertwined whether we’re kin or not, whether we’re horses or human. We touch each other’s lives, often unexpectedly, catching up, blending in, letting go. This is the rhythm of the strands, the whispers of coming and going. This is the rhythm that spoke to me on the first anniversary of Susan’s death, that spoke to my heart with the birth of that beautiful colt. And this is the rhythm of Singing Acres Ranch that speaks to me still.
~ ~ ~
Thank you, Bird, for teaching us so many important life lessons. Your presence in our lives was a joy, and memories of you bring comfort. We learn from you still.
Virginia Moraga says
It is amazing what memories draws a person back to the ranch.. Snowbird was one of those special horses like Elvira, Sammy, Romeo, and Quixote that stick out in my mind. How lucky you were to to be there when he made his grand entrance. The anniversary of my Mothers passing is drawing near and reading about Snowbird has made me long for coffee, and good conversation with Clara back at the ranch. I spoke with Clara the other day. She sounds well but she sure would like to chew on something. Danny and Marge will be visiting and Kris and I will be visiting at the end of July…
Carol Wilson says
Love your comment, Virginia. And coffee, conversation, you, and Clara sound like an exceptional–and most importantly–loving combination!
Jaye Zola says
We learn in so many ways and Snowbird,’s life and his impact have helped so many. That painting is a wonderful tribute to the healing power of animals and the majesty of horses. Thanks for sharing his life (and yours) with us.
Carol Wilson says
Thank you, Jaye, for your comment and your considerable contribution to the book–and all my books!
Carol Friend says
Thanks for sharing this lovely story.
Carol Wilson says
I appreciate your reading it, CF. What a treasure long-term friendship is!
Linda Gulinson says
I so miss my wonderful experiences at the ranch with Clara and Margaret and their horses. It was a pleasure to paint the horses. so sorry that Snowbird is no longer with us. We moved to Arizona to be near some of our sons but miss Colorado and friends like Clara and Margaret whom I learned so much from. Since the phones are still our I cannot call yet but please give her my love. Thank you for showing the paintings also, it was my pleasure and honor to paint them. Linda Gulinson
Carol Wilson says
I’ll certainly give her your love. She doesn’t have a lot of energy these days and doesn’t stay on the phone much but, if you wanted to drop her a note, I know she would love that. She spoke much and highly of you. Thanks for getting in touch.
Linda Gulinson says
Thank you for replying. I will drop her a note, I miss all of the wonderful times with her and the horses. You are a gifted writer, thanks for your nice comments also, Linda

domain: literature


text:
How to make a smooth transition from FreeHand to Illustrator, from importing to using advanced effects.
Shows FreeHand users how to work in Illustrator, from basic importing to advanced creative effects.
“This $25 was the BEST I could have ever spent! I have spent hours relearning things I had forgotten and solidified my confidence in what I do know.” —Claudia W.
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All the children have gone back to their various colleges and schools, so today is the first quiet day of the year. I normally don't bother to make lunch when it's just me (there's nearly always something left over in the fridge, or fruit, or salad), but I've got a cold, and hanker after carbohydrate. I cooked a bowl of spaghetti, coated it in olive oil and the juice of half a lime, added some finely chopped coriander, then some of the fried anchovy crumbs which are now a permanent feature of my fridge, together with a little pinch of dried chilli seeds. Delicious. The key to fast food is a little preparation, carried out when you've got time and/or feel like cooking.
Colours of the season - Hydrangea quercifolia 'Snow Queen' R.C. Sherriff's The Fortnight in September Skein Queen's Delectable in 'Golden Plum'
15 hours ago

domain: food


text:
Generic Name and Formulations:
Nonoxynol-9 12.5% (100mg/applicatorful); vaginal foam.
Personal Products Co.
Indications for DELFEN:
1 applicatorful vaginally up to 1 hr before each intercourse. Do not douche for at least 6 hrs after intercourse.
Discontinue if irritation occurs.
Clinical Pain Advisor Articles
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- FDA Approves Aimovig for Migraine Prevention
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- Pain Interference Associated With Depression, Pain Self-Efficacy in Chronic Musculoskeletal Pain
- Effect of Prescription Drug Monitoring Programs on Fatal, Nonfatal Drug Overdoses
- Standardized SCS Workflow May Effectively Alleviate Failed Back Surgery Syndrome-Related Pain
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- Overuse and Underuse of Imaging Common in Low Back Pain Management
- Unit-Dose Packaging of Buprenorphine-Naloxone Effective on Unintentional Pediatric Exposure
- Language Used in Medical Record Can Affect Patient Care
- Opioid-Related Adverse Drug Events Associated With Worse Patient, Cost Outcomes

domain: medical


text:
“The architect of the bill that criminalizes the denial of the Armenian Genocide is in parliament once again. She defeated her socialist opponent by receiving 50.65 percent of the votes.
To note, Boyer’s bill, which considers the denial of genocide as a criminal offense, was adopted by the [French] Senate in January 2012. But short time thereafter, the country’s Constitutional Council canceled the Senate’s decision, arguing that it runs counter to the [country’s] Constitution.
[Separately,] Two MP candidates, who stand out by their pro-Turkish activities, were defeated in the French parliamentary elections,” Hayots Ashkharh writes.


Austria’s left-leaning Greens formally agreed yesterday to join a coalition led by the conservative People’s Party, in a sign of the growing influence of environmental parties in Europe in response to fears of climate change. Many more radical members of the Greens were unhappy, however, with a coalition described by the Austrian media as considerably more turquoise, the colour of the People’s Party, than green. Although they have been rewarded with a rise in tax on flights, a cut in the cost of public transport and a pledge to make Austria carbon neutral by 2040, the Greens will have to support Kurz’s tax-cutting economic agenda and conservative social policies, partly carried over from the previous conservative-far right coalition. Greens made gains in May’s elections to the European parliament, and are at present in coalitions in Finland, Sweden, Lithuania and Luxembourg — though, in all four cases, they rule alongside Social Democrats and other left-of-centre parties rather than conservatives, as will be the case in Austria. The Greens are already in government in 12 of Germany’s 16 state parliaments — in seven of them alongside the CDU. They lead the government of just one: the southwestern state of Baden-Württemberg.
Times 5th Jan 2020 read more »
Guardian 4th Jan 2020 read more »


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Welcome to Tindlovu Camps Bay
Tindlovu Camps Bay is located on the first floor of the Promenade, the restaurant offers diners a clear ocean view, enchanting interiors and a selection of carefully curated curios that all contribute to a visual and taste experience that you will be taken on. Authenticity is something we pride ourselves in and we certainly do not skimp on our food. This is the perfect restaurant in Camps Bay, Cape Town for ocean view sundowners.
Tindlovu Camps Bay Menu
Tindlovu Camps Bay, a restaurant with a passion for True South African inspired food, captivating interiors, and a breathtaking oceanic view, promises to be a memorable experience.
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What our customers say about Tindlovu Camps Bay.
021 200 5944
First Floor, The Promenade, 75 Victoria Road, Camps Bay, Cape Town, 8040
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domain: travel


text:
If you’d convinced yourself that nobody with a brain and a conscience would compare arbitrary crap to slavery in 2014, we regret to inform you that insensitive morons still walk freely among us. More
Topic: the hunger games
If you’re bored of Lindsay Lohan‘s nipples and Kim Kardashian‘s pantilessness, don’t fret– here’s the only selfie you need to see today. More
The dress code in New York is more casual and less naked everywhere. More
I like Jennifer Lawrence more and more with every outfit… More
If you, like me, looked at the decadent late capitalist fashions of the capitol city in dystopian sci-fi parable The Hunger Games and thought “swag,” this will be music to your ears. More
Continuing her ascension as the world’s most famous and well-liked actress, Jennifer Lawrence takes the all-important September issue of American Vogue. More
Did you know that Jennifer Lawrence is not actually an oppressed teenager like Katniss Everdeen, but a 22-year-old woman who would almost be out of college by now if insanely successful young actors went to college? It’s true. (And yet, it still kind of creeps me out that the grown men who populate AskMen.com voted her “most fuckable woman of 2013” or whatever.) Perhaps in recognition of her budding desirability, her latest fashion spread in Vogue Italia veers away from Vogue UK‘s shout out to sweater fetishists and focuses more on hot young actress fetishists, as well as clothing fetishists (duh, it is Vogue). Check her out executing some serious fashion poses and making some serious sexyface, then cry bitter tears of “WTF?!” when you remember that she is obese by Hollywood standards. More
“I eat like a caveman, I’ll be the only actress who doesn’t have anorexia rumors.” How, dear Lawrence, does a caveman eat? More
As previously reported, Hunger Games star Jennifer Lawrence can be seen on the November cover of Vogue UK looking fancy and lovely in Dolce & Gabbana. But anyone who opens up the magazine expecting to find a collection of similar photographs is in for a disappointment; the editorial within shows a much more casual J-Law lounging around in various snuggly sweaters. This is bound to disappoint certain fashionistas, but it should be a pleasant surprise for sweater-lovers, MDMA addicts (she looks so soft!), and anyone who likes to fantasize about what Jennifer Lawrence would look like if they accompanied her on a romantic fall leaf-peeping trip upstate. Which one are you? More
Facebook Banned This Woman's Weight Loss Pic - Why?
'Vaginal Knitting" - Watch Woman Knit From Wool Inside Her Vagina
Source: The Frisky
Could He End Up In Jail For This?
50 Novels Guaranteed To Make You A Better Person
The Gov't Has Been Overpaying For WHAT?!
For your niece, of course. More
For seers. More
Welcome to celebrity-dom, Jennifer Lawrence! Prepare to have everything you wear for the rest of your life cruelly scrutinized by bloggers like me. Starting with the outfit you wore to The Hunger Games‘ premiere in Madrid last night. We need to talk about it. More
She’s not wearing any pants, for starters. No pants at all. More
Tyra Banks’ novel Modelland comes out on September 13. The book is about a fictional world where families push their daughters to compete for the chance to be taken to a place called, well, Modelland. There, the girls learn to become “Intoxibellas,” which are probably a mix of geishas and superheroes. The first chapter is up on Barnes and Noble’s website, and I couldn’t help but notice how many similarities Modelland has with The Hunger Games. That’s a smart move on Tyra’s part, since the Hunger Games trilogy is the biggest thing in Hollywood right now. So where are the overlaps? More

domain: entertainment


text:
Not for distribution by US newswire or in United States
NESS-ZIONA, ISRAEL – March 10, 2020 – VAXIL BIO LTD. (“Vaxil” or the “Company”) (TSX VENTURE: VXL), an innovative immunotherapy biotech company specializing in cancer and infectious diseases, announces that it has submitted a new patent application for its anti-infective vaccines platform as a result of our recently announced COVID19 candidate discovery.
Vaxil has applied for a US patent (U.S 62/987,310) on a coronavirus vaccine that is intended to provide broad patent protection for novel vaccines, pharmaceutical compositions and methods of treating and preventing an infectious disease as well as methods for producing a peptide vaccine against coronaviruses.
The Company also announces that since our recent press release dated March 4, 2020, a further, $221,000 (“Warrant Proceeds”) has been received from the exercise of 2,210,000 warrants, having an exercise price of $0.10 per warrant, that were previously issued in January 2018 (“January 2018 Warrants”). Upon exercise of the warrants an additional 2,221,000 common shares of the Company will be issued.
Vaxil is an Israeli immunotherapy biotech company focused on its novel approach to targeting prominent cancer markers and infectious diseases. Its lead product ImMucin™ successfully completed a Phase 1/2 clinical trial in multiple myeloma and received orphan drug status from the FDA and EMA. The company continues to develop ImMucintm and is also developing a tuberculosis vaccine / treatment that has demonstrated promising preliminary results with further preclinical evaluation underway at a top US academic and research institution. Additional indications and mAb candidates are under evaluation as immuno-oncology and infectious disease treatments alone and in combination with other treatments.
Vaxil exploits the unique properties of signal peptide domains on crucial proteins to develop targeted therapies against cancer targets and infectious disease pathogens. These signal peptide domains are identified by VaxHit™, Vaxil’s proprietary bioinformatic approach. These SPs induce a robust T- and B-cell response across wide and varied HLA subtypes, while acting as true, universal neoantigens. The peptide platform targets these cells by “educating” or specifically activating the immune system to recognize and attack the affected cells. In addition, Vaxil’s mAb platform directly recognizes the target protein expressed on malignant cells and recruits other elements of the immune system to lyse those cells.
Disclaimer: The TSX Venture Exchange Inc. has in no way passed upon the merits of the Company has neither approved nor disapproved the contents of this press release. Neither TSX Venture Exchange nor its Regulation Services Provider (as that term is defined in the policies of the TSX Venture Exchange) accepts responsibility for the adequacy or accuracy of this release. This news release contains forward-looking information, which involves known and unknown risks, uncertainties and other factors that may cause actual events to differ materially from current expectation. Important factors – including the availability of funds, the results of financing efforts, the results of exploration activities — that could cause actual results to differ materially from the Company’s expectations are disclosed in the Company’s documents filed from time to time on SEDAR (see www.sedar.com). Readers are cautioned not to place undue reliance on these forward-looking statements, which speak only as of the date of this press release. The company disclaims any intention or obligation, except to the extent required by law, to update or revise any forward-looking statements, whether as a result of new information, future events or otherwise. This press release does not constitute an offer to sell or a solicitation of an offer to sell any of the securities described herein in the United States or elsewhere. These securities have not been, and will not be, registered in the United States Securities Act of 1933, as amended, or any state securities laws, and may not be offered or sold in the United States or to U.S. persons unless registered or exempt therefrom.

domain: biology


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The Orioles announced on Sunday that first baseman Chris Davis has been placed on the 10-day disabled list due to a hip injury. Pitcher Evan Phillips was recalled from Triple-A Norfolk. It is unclear when Davis, 33, suffered the injury, but he hadn't started since Thursday. Davis famously got off to a very slow start — setting a record for futility — but has hit better over the last six weeks or so. Since April 13, he has a .229/.302/.427 batting line with five home runs and 15 RBI in 106 plate appearances. Still not what the Orioles want, but better than nothing. Renato Núñez and Trey Mancini will handle first base while Davis is recovering from his injury.
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Today I want to tell you about an awesome crochet stitch called the Herringbone Half Double. I was introduced to it a while ago in a pattern for fingerless mitts (Firecracker Gloves). Truthfully at the time I was new to crochet and found the stitch awkward. I never finished the gloves, and the pattern was forgotten. Earlier this week a series of unrelated events led me to discover the pattern stashed in a pile of old papers. It was crochet serendipity since I wanted make a pair of fingerless gloves to help combat the cold at work.
I got started and discovered the stitch that once seemed difficult was now fun and interesting. After a few rows I found my rhythm and the yarn was gliding off my hook. The fabric that it produces is smooth and dense, perfect for gloves. Worked in the round it reminds me a bit of the fabric that the basic Tunisian stitch produces. Worked in rows it creates the herringbone design. I think that it would look lovely in a cardigan and it can probably be used in any pattern that calls for a standard half double crochet without much (if any) adjustment.
Learning new stitches is one of the things that keeps me interested in crochet. For anyone who might be new to this one, or in case you need a refresher I put together this picture tutorial to encourage you to give it a try. At the end of the post are links to PDF files that you can download demonstrating the basic stitch as well as the increase and decrease.
Working the Herringbone Step-by-Step
There you have it! I sure hope that you give this versatile stitch a try. If you're a beginner, be patient and give yourself time to get used to the movement. It's not hard, it just feels different than what you might be used to. Let me know if you've ever made anything using this stitch. I'd also love to hear about other stitches that you think I should try.
Until next time friends,
Be blessed and stitch & read with love!


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It seems that it’s already a weekend for Kareena Kapoor Khan! We should learn how to party like a boss from Bebo and her BFFs.
After giving us some SERIOUS fitness goals, Kareena is now making us jealous by partying hard with her squad that too on a weekday!
After wrapping up the schedule of Veere Di Wedding, it seems Kareena finally got some time to chill with her girl gang- Amrita Arora, Malaika Arora, and sister Karisma Kapoor. All the gorgeous ladies had gathered at fashion designer Manish Malhotra’s residence last night.
Kareena’s favorite Manish and Amrita shared some picture on their Instagram account and by looking at the picture we are sure that they must have partied harder! We crave for such parties, isn’t it? Have a look at the party pictures here:
Aren’t they all looking fab? These parties literally give us some party goals!
Kareena Kapoor Khan and her gang already have one more reason to party again. Bebo’s little munchkin Taimur Ali Khan is soon going to turn one on December 20 and we are pretty sure that Taimur will have a great time at his birthday bash! Even the guest list will have who’s who from the B-Town. We are hoping we get to see more of Taimur’s cutest pictures!
Earlier, Taimur’s aunt Karisma had revealed about the birthday plans. She had said, “Yes, Taimur’s birthday is arriving and it is a special moment for us. The family is really very excited and thrilled about the same. We will have a family get together of sorts, and will not be having a big celebration.”

domain: celebrity


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The Kitchen Sink Too: British Art 1945–1975 is a project led by Research Curator, Abi Shapiro at Museums Sheffield. The project undertakes research into Sheffield’s post-war visual art holdings to improve public access to the collection through a range of activities and events including the exhibition, “This Life is So Everyday”: The Home in British Art 1950–1980, on display at the Graves Gallery in Sheffield (30 March 2019–6 July 2019). In this Cover Collaboration, Abi Shapiro reflects on the invisibility of women’s perspectives of domesticity in early post-war art, and the process of working with community groups to develop research towards the exhibition’s theme of “home”.
The home and domesticity were the main subjects of “kitchen sink” painting, a short-lived style of realism active in London between 1952 and 1957. The four artists typically associated with this genre are Jack Smith, Edward Middleditch, Derrick Greaves, and John Bratby. Unlike other “schools” or movements in early twentieth-century British art, the four did not group themselves based on mutually agreed principles, but were linked by critics, curators, and their dealer, Helen Lessore at the Beaux Art Gallery, for a perceived commonality in style and their preference for domestic subject matter. From 1952, they were known as the Beaux Arts Quartet, until the critic David Sylvester colloquially described them in 1954 as painters of “the kitchen sink” and the name stuck.1DOI
In the histories of post-war British art, it remains widely unchallenged that these four men are the only “kitchen sink” artists.2 Their works from the 1950s are considered as central in discourses of post-war representations of the home and labour, with critics and historians often locating “kitchen sink” painting’s legacy as a precursor to British pop art’s focus on everyday domestic objects.3 Yet despite the many “kitchen sink” works depicting women undertaking domestic labour, there is a lack of awareness of, and scholarship about, artworks made by women in the 1950s depicting the home. This has not only led to biased perspectives of representations of the home in post-war art, but it has also affected the way issues of gendered subjectivity and labour are (or aren’t) implicated in art-historical discourses of domesticity, as well as highlighting the fact that many women artists still remain absent from art’s histories.DOI
In what can be considered a classic “kitchen sink” painting because of its mundane breakfast setting, in Jean and Table Top (Girl in a Yellow Jumper), John Bratby depicts his new wife gazing blankly across their kitchen (Fig. 1). With hands clasped at her lap and head tilted, Jean appears small next to the cluttered table of cereal boxes, washing powder, dirty bowls, empty teacups, and glass milk bottles left over from breakfast. The scene does not suggest Jean’s domestic bliss, but bears witness to her disengaged affect in this everyday reality.
John Bratby repeatedly painted the home he shared with Jean Bratby (Cooke) throughout the 1950s and 1960s, recording the mundane details of their kitchen, bedroom, and living room (even twice painting their toilet).4 In these paintings Jean is often portrayed by John as despondent and passive. In his numerous self-portraits, John Bratby depicts himself within the domestic space but not necessarily engaged with it (or with Jean). This can be seen in Kitchen Interior where John stands removed from the scene with his hands in his suit pockets as Jean washes dishes (Fig. 2). By documenting the interior of his material (and by extension, psychical) world for decades, Bratby honed a visual language that spoke not only of an unremarkable and everyday domesticity, but of a constructed and masculine domesticity that characterised his career and the genre of “kitchen sink” painting.5
Using a thick impasto application of paint, usually in muted hues on large canvases, the four young male “kitchen sink” artists depict images of children and mothers in sparse and dingy kitchens (Smith) (Fig. 3), still lifes of stove tops or upturned mattresses (Middleditch) (Fig. 4), street scenes of children playing and Northern industrial cityscapes (Greaves) (Fig. 5), and a cluttered family home and its inhabitants (Bratby).
These unflinching images of daily life led to wider disagreements over realism as a politically motivated style. The artists denied this kind of intent with Smith nonchalantly stating, “I just painted the objects around me.”6 But “kitchen sink” painting was deployed as a pawn by critics debating the role of politics in art. In 1952, the socialist art critic John Berger insisted realism offered “a sharper meaning” to working-class reality.7 Yet for David Sylvester domesticity and realism were jointly rooted in art-historical traditions of painting interior space; subject was only a pretext for style.8 These debates brought attention to the young artists’ works, which reached a peak in 1956 when the four artists were chosen to represent Britain at the Venice Biennale (Fig. 6). This was, however, a short-lived moment of notoriety. While this international exposure provided each artist with a degree of fame, and recognised “kitchen sink” painting as a celebrated trend, the genre’s popularity soon fell out of favour. By 1957 “kitchen sink” painting was more or less over.9
As these debates about realism played out on national and international stages, the “kitchen sink” painters’ version of domesticity became synonymous with post-war social realism. Yet in terms of how we understand early post-war depictions of domesticity in British art and cultural history, this has served to foreground “home” as seen from the perspectives of young, white, straight men in a heteronormative framework. Research by Greg Salter usefully explores the presentation of masculinity and domesticity in 1950s paintings by male artists (including Bratby) offering an analysis of the way selfhood, masculinity, and home were negotiated according to post-war social values.10 Yet what other domestic narratives and subjectivities might appear by expanding the remit of “kitchen sink” realism beyond these four accepted artists?DOI
This question is part of a wider research project at Museums Sheffield. The project, The Kitchen Sink Too: British Art 1945–1975, looks at Sheffield’s expansive modern British art collection of over 1,400 works of art to examine lesser-told stories both in the collection and in the history of British art more generally. The project aims to use research to improve public access and engagement with the collection through activities and events including an exhibition titled “This Life is So Everyday”: The Home in British Art 1950–1980 at the Graves Gallery in Sheffield (30 March 2019–6 July 2019).DOI
To focus the project towards developing an exhibition, the theme of home was chosen to trace a domestic trajectory across this thirty-year period in Sheffield’s collection. The project tracked approximately 150 artworks that relate to this theme from 1950s “kitchen sink” paintings, through to 1960s and 1970s pop art domestic objects, and feminist art in the 1970s. One aim was to undertake collection research and exhibition development that did not issue solely from the research curator’s viewpoint. As such, we sought input from the local community by working with groups with different domestic experiences during the period in question in order to explore various perspectives of “home”. This directed the sub-themes of the research as well as what would be included in the show and how it would be interpreted.DOI
Crucially, most of the residents grew up and lived in South Yorkshire during the timeline of the project (1945–1975) and therefore we used museum collection objects to stimulate memories in a series of reminiscence sessions. A range of domestic issues materialised that we would not have otherwise considered. For example, there were stories about living in makeshift bomb shelters in the Sheffield blitz and stories of several families’ excitement about acquiring a first television set. People also described the mental and physical challenges of requiring extra support at home in later life, which offered a key perspective on how home changes over a lifetime. As many participants were women, gendered domestic roles and the physical labour of home maintenance were also common themes. In terms of collection research, this encouraged questions about why “kitchen sink” paintings that often depicted women’s domestic labour were all made by men. The absence of women representing their own experiences directed a search for works in Sheffield’s collection made by women. These were, however, harder to find as they had a more subtle relationship to domesticity in the 1950s and 1960s and entered the collections at different times to other “kitchen sink” works. For example, Margaret Mellis (Fig. 8) and Anne Redpath created still life compositions staged in their homes using their own domestic objects, and Mary Potter (Fig. 9) and Winifred Nicholson painted the views from their home windows.
We also worked with people living in Sheffield who attend the Conversation Club, a community-run group designed for refugees and asylum seekers to practise English and socialise. The activities we ran focused on writing personal responses to collection objects that related to the theme of home. Works that solicited strong aesthetic and emotional reactions were selected for inclusion in the exhibition with individuals’ corresponding responses put on display. This encouraged more expansive ways of researching by thinking about what “home” means as Britain negotiates its national and international identity and borders for Brexit. For those (including myself) who have migrated to Britain, we discussed how “home” is often multiple places and identities at once, which can sometimes feel in conflict. This invited an exploration of artists in Sheffield’s collection who had made Britain their home, as well as acknowledging the collection’s lack of representation of artwork by some of the post-war migrant communities specific to the region.12 This led to researching prints by Avinash Chandra, an Indian-born British artist (Fig. 10), and Josef Herman, a Polish-born British artist, both of whom explored their cross-cultural heritage in their practices during the 1950s and 1960s. As is the case in most public British art collections, artists of colour, especially women of colour, are poorly represented in this period of Sheffield’s collection.13 This stimulated research into BAME artists working in the early post-war period and making suggestions for future displays and acquisitions.
With both groups, “home” materialised as a mutable and complex concept that could not be pinned down to even a small group of issues. Yet it was clear that domesticity has played a powerful role in people’s lives and the way their social and cultural subjectivities are shaped. For women in particular, domesticity has been a framework in the formation of private and public identities. Feminist historians and cultural theorists have shown the many ways women have been (and still are) politically, socially, and economically disenfranchised because of the presumed correlation between their reproductive capabilities and suitability to do domestic work (including home maintenance and child care).DOI
In recent decades, scholars have tracked “a domestic turn” in the twenty-first century driven by the upheavals of traditional gender roles in post-war society. Bearing witness to this turn, contemporary art and feminist scholarship continues to explore how our configurations of home shape our understanding of the world. Common issues raised include the distinction between public and private space, the politics of labour, nationalism and globalism, bodily rights and subjectivities, and how our relationships to objects construct our material lives.14DOI
As a research curator, my interest in the home and my methods in this project are indebted to these scholarly discourses and linked to recent discussions in feminist and queer art histories of “new domesticities”. This refers to approaches to material culture that consider domesticity as not only a theme or content for art but also as a critical lens through which to re-examine networks of cultural production and revise canons that privilege certain versions of domesticity (and domestic subjectivities) over others.15DOI
These methodologies of “new domesticities” have wide-reaching implications for revisiting and rethinking “kitchen sink” painting and domestic narratives in post-war social realism. For example, when exploring works of art that address key domestic concepts such as the normative family or gendered divisions of domestic labour, we need to account for whose artistic perspectives are shaping these representations of home. This is not to say that we must insist on knowing the artistic intention of depicting domestic life, but instead it means resisting the replication of domesticity in art galleries from the same privileged points of view, and also taking into account what or who is not represented.
Researching Margaret Mellis’ still life Red Flower (Fig. 8) in Sheffield’s collection led me to examine her early works from the 1950s, including one particular image, Woman and Fish II (Fig. 11). The painting depicts a woman in an apron standing over a series of kitchen objects, including a fish in a frying pan, a plate of sausages, a vase of flowers, and a basket. The woman does not appear to be actively engaged with these items but instead ambivalently presides over them.
It is highly likely that Mellis knew about the “kitchen sink” painters.16 Her depiction of the domestic scene in Woman and Fish II with the use of an awkward perspective (as Bratby often did) and her loose painterly brushwork surely puts this work in proximity to the genre of “kitchen sink” painting—if not as a part of it, then as a later reaction to it. Given that women at work in the home was a common subject in “kitchen sink” painting (unusually, so was depicting babies), it is important that Woman and Fish II is marked as an underrepresented interpretation of domestic experience. To make this point, Woman and Fish II has been borrowed for the exhibition in Sheffield from the Jerwood Collection and placed near Bratby’s Jean and Table Top (Fig. 1).DOI
Further research into Bratby’s painting, Jean and Table Top in Sheffield’s collection, revealed another story: Bratby’s wife, Jean, who was also a painter, painted interior scenes at the same time as her husband in the 1950s. In a striking work, Early Portrait of John Bratby (1954) (Fig. 12), Jean painted John with an almost an identical composition to the image he made of her in Jean and Table Top earlier that same year—but there are differences. In her work, John appears comfortable at their breakfast table with his legs crossed and the arrangement of two plates implies Jean’s recent company for their meal. It is a far more relaxed and companionable image of domesticity than Jean and Table Top, with John presented as an unassuming and casual subject. Greg Salter has speculated that Jean’s depiction undermined how John saw himself according to his many self-portraits. For Salter, John Bratby negotiated his unstable masculinity within paintings of a domestic sphere with which he couldn’t connect. Jean’s painting can be read as a remedial interpretation of John’s unease at home, but also as a powerful reimagining of her husband in the same pose she once assumed in his painting.DOI
Jean and John were known to have a tempestuous relationship with several sources indicating that he physically abused Jean.17 A close friend of Bratby has suggested that this was due to Jean’s artistic success in the early 1950s, before John’s career was aligned to “kitchen sink” painting’s ascending fame. Jean’s painting of John in many ways then seems a riposte to the painting her husband made of her as a dull subject. Bratby once said, “I sometimes painted my wife Jean Cooke as a particular person, not with affection. She was someone to paint”.18 In Early Portrait of John Bratby, we see a rare moment in art history, with a corrective visual statement issuing from the objectified artist’s muse. Here, Jean assumes authority by placing John into the position he put her in, but softens his affect into a version she chose to present to the viewer. Jean and Table Top will be in the Sheffield exhibition side-by-side with a reproduction of Jean’s painting of John accompanied by interpretation that compares these two paintings in order to—quite literally—address another perspective of John Bratby’s “kitchen sink” domesticity.DOI
While the project at Sheffield will continue to undertake research into the collection, the exhibition showcases how working with local groups can impact on collections’ research and curatorial practice. By reflecting on the personal and collective themes that materialised during the collaborations, a valuable dialogic process emerged. In the exhibition, this is evident in the interpretation where the groups’ comments are prominently displayed on the artworks’ labels, showing the diversity of responses generated. A video area in the gallery also features one of the groups of older adults sharing anecdotes in a series of interviews about their memories of home in the post-war period. Adjacent to the video is a display of the social history collection objects that were used to stimulate their recollections. These items also correspond to objects that feature in the works of art in the exhibition, especially in the pop art works, including branded products and domestic appliances. The groups were later invited to the gallery to see all of the different communities’ contributions to the exhibition.DOI
This opportunity provided an alternative means for local Sheffield residents who did not typically engage with the museum or fine art to both access the collection in a focused way and to develop a sense of ownership over the cultural landscape of their city. The responses from the groups was overwhelmingly positive in this regard with almost all participants suggesting they would return to the museum again. From an institutional perspective, this collaborative approach proved key in decentring traditional curatorial authority as we developed the exhibition. It also enabled new research into Sheffield’s post-war British art collection and new ways of engaging with post-war British art history to showcase the missing stories embedded in its public collections.
“The Kitchen Sink Too: British Art 1945–1975” is a two-year project based at Museums Sheffield, funded by a Curatorial Research Grant from the Paul Mellon Centre for Studies in British Art, Sheffield Town Trust, The H. and L. Cantor Trust, Arts Council England, Sheffield City Council, and Museums Sheffield.
The exhibition is supported by The Finnis Scott Foundation with the engagement programme supported by Freshgate Foundation, and further research development support from a Jonathan Ruffer Curatorial Research Grant from Artfund.
About the author
Abi Shapiro is a curator, writer, and researcher, who specialises in the legacies of art made by women in Western post-war art history. She holds a PhD from McGill University in Canada where her thesis explored the practice and legacy of the American sculptor and installation artist Ree Morton. She has previously worked as Lecturer of Art Histories at City & Guilds of London Art School and as Research Curator: British Art 1945–1975 at Museums Sheffield. She is currently Assistant Curator at The Hepworth Wakefield.
David Sylvester first used the term “kitchen sink” painting after seeing John Bratby’s work in 1953. He wrote, “the post war generation takes us back from the studio to the kitchen … an inventory which includes every kind of food and drink, and even the babies nappies on the line. Everything but the kitchen sink? The kitchen sink too.” David Sylvester, “The Kitchen Sink”, Encounter, December 1954.1
Only two exhibitions considered Peter Coker as a fifth artist in the group. See, Frances Spalding, The Kitchen Sink Painters (London: Mayor Gallery in association with Julian Hartnoll, at the Mayor Gallery, March–April 1991, and The Kitchen Sink Painters: John Bratby, Peter Coker, Derrick Greaves, Edward Middleditch, Jack Smith, Galerie Michael Haas, Berlin, March–April 1995. Key publications which assume that the group consists only of the four male artists include: James Hyman, The Battle For Realism: Figurative Art in Britain During the Cold War 1945–1960 (New Haven, CT: Yale University Press, 2001) and Lynda Nead, The Tiger in the Smoke: Art and Culture in Post-War Britain (New Haven, CT: Yale University Press, for the Paul Mellon Centre for Studies in British Art, 2017).2
Tim Hilton said “Was there a link between Kitchen Sink and RCA Pop? I think so.” See Tim Hilton (1988), as quoted by James Hyman in Derrick Greaves: From Kitchen Sink To Shangri-La (London: Lund Humphries, 2007), 165.3
Jean took Bratby’s surname when they were married in 1953 and used his surname on her works of art mostly in the 1950s until reverting to her unmarried name of “Cooke” on her husband’s insistence, so that their work would not be confused. Jean Cooke is the name by which her work is known today. See, Andrew Lambirth, “Jean Cooke: Painter of Wit and Subtlety”, The Independent, 11 August 2008, https://www.independent.co.uk/news/obituaries/jean-cooke-painter-of-wit-and-subtlety-890262.html.4
I am indebted to the scholarship of Greg Salter for examining this topic in depth. See Greg Salter, Domesticity and Masculinity in 1950s British Painting, unpublished PhD thesis, School of Art History and World Art Studies, University of East Anglia, 2013.5
Jack Smith, Ark  as cited by Nead in The Tiger in the Smoke, 368.6
John Berger, “For the Future”, New Statesman and Nation, 19 January 1952, 64.7
See David Sylvester, “The Kitchen Sink”, Encounter, December, 1954.8
With the exception of John Bratby, the artists changed technique and subject matter after 1956, moving towards more abstract styles (Smith) or pop (Greaves). For a more detailed history of the last few years of the Kitchen Sink artists, see Hyman, The Battle For Realism, 178–186.9
See Salter, Domesticity and Masculinity in 1950s British Painting.10
We are grateful to the residents of Gilbert Court and Applegarth Close and the Guinness Partnership staff for their collaboration on this project.11
According to the 2011 census, the largest post-war migrant group in Sheffield is the Pakistani community. Sheffield also has large Caribbean, Indian, Bangladeshi, Somali, Yemeni, and Chinese communities. See “Sheffield’s Population”, Sheffield City Council, 2011 Census, https://www.sheffield.gov.uk/home/your-city-council/population-in-sheffield.12
For a database of twentieth-century BAME artists’ works of art in UK public collections, see “BAM National Collections Audit”, led by Dr Anjalie Dalal-Clayton, Black Artists and Modernism, http://www.blackartistsmodernism.co.uk/black-artists-in-public-collections/.13
For just a few examples of this scholarship see, Alexandra Kokoli, The Feminist Uncanny in Theory and Art Practice (London: Bloomsbury Academic, 2016); Angela Dimitrakaki, Gender, ArtWork and the Global Imperative: A Materialist Feminist Critique (Manchester: Manchester University Press, 2013); Marsha Meskimmon, Contemporary Art and the Global Imagination (London: Routledge, 2011).14
For a fuller discussion of the kind of scholarship this approach encompasses, see the Special Issue of Oxford Art Journal “Feminist Domesticities”, 40, no. 1 (March 2017) including the “Introduction: Feminist Domesticities”, by Jo Applin and Francesca Berry, “Introduction: Feminist Domesticities”, Oxford Art Journal 40, no. 1 (March 2017): 1–5. doi:10.1093/oxartj/kcx007.15
Mellis’ husband at the time, Adrian Stokes, was close friends with the critic David Sylvester.16
For more on this issue, see Salter, Domesticity and Masculinity in 1950s British Painting, 57.17
John Bratby, as quoted by Greg Salter, Domesticity and Masculinity in 1950s British Painting, 45.18
Applin, Jo and Berry, Francesca (2017) “Introduction: Feminist Domesticities”. Oxford Art Journal 40, no. 1 (March): 1–5.
Berger, John (1952) “For the Future”. New Statesman and Nation, 19 January.
Dalal-Clayton, Anjalie (n.d.) “BAM National Collections Audit”. Black Artists and Modernism, http://www.blackartistsmodernism.co.uk/black-artists-in-public-collections/.
Dimitrakaki, Angela (2013) Gender, Art Work and the Global Imperative: A Materialist Feminist Critique. Manchester: Manchester University Press.
Galerie Michael Haas (1995) The Kitchen Sink Painters: John Bratby, Peter Coker, Derrick Greaves, Edward Middleditch, Jack Smith. Berlin, March–April 1995.
Hyman, James (2001) The Battle For Realism: Figurative Art in Britain During the Cold War 1945–1960. New Haven, CT: Yale University Press.
Hyman, James (2007) Derrick Greaves: From Kitchen Sink To Shangri-La. London: Lund Humphries.
Kokoli, Alexandra (2016) The Feminist Uncanny in Theory and Art Practice. London: Bloomsbury Academic.
Lambirth, Andrew (2008) “Jean Cooke: Painter of Wit and Subtlety”. The Independent, 11 August, https://www.independent.co.uk/news/obituaries/jean-cooke-painter-of-wit-and-subtlety-890262.html.
Nead, Lynda (2017) The Tiger in the Smoke: Art and Culture in Post-War Britain. New Haven, CT: Yale University Press, for the Paul Mellon Centre for Studies in British Art.
Meskimmon, Marsha (2011) Contemporary Art and the Global Imagination. London: Routledge.
Salter, Greg (2013) Domesticity and Masculinity in 1950s British Painting, unpublished PhD thesis, School of Art History and World Art Studies University of East Anglia.
Spalding, Frances (1991) The Kitchen Sink Painters. London: Mayor Gallery in association with Julian Hartnoll.
Sylvester, David (1954) “The Kitchen Sink”. Encounter, December.
- Abi Shapiro
- 31 May 2019
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- Abi Shapiro, "The Kitchen Sink Too", British Art Studies, Issue 12, https://doi.org/10.17658/issn.2058-5462/issue-12/cover


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- Preparation time: 5 minutes
- Total time: 5 minutes
- Category: Breakfast, Snack, Healthy food item
- Serving: 1
- Calories: 390 calories
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- 10 ice cubes
- Step 1:
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- Step 2:
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