Logos, lines and stolen goods

Further to our earlier post about the Secret History of Our Streets documentary, there’s been plenty of grumbling about the editing, focus and fundamental accuracy of the programme. Deptford Misc kicks off with an excoriating post, Secret History or A Fisherman’s Tale?, which, amongst other things, dug up the tale of how Jean-Antoine Watteau’s Les Noces, stolen from the Sir John Soane Museum in 1969, came to be ‘dishonestly handled’ by one ‘Pamela Doreen Price, aged 39, a stallholder of Reginald Road, Deptford, SE’, the road (and family) at the heart of the film. See also this letter in the Guardian from Nicholas Taylor’s son. Related, The Most Hapless Art Museum in the World, or how ‘stealing Rembrandt’s Portrait of Jacob Van Gheyn from the Dulwich College Picture Gallery has become something of a sport in south London in recent years. Since 1966, the painting has been spirited off four times, an undisputed record in the art world.’ At The Palace Under the Alps (‘over 200 other unusual, unspoiled, and infrequently visited spots in 16 European countries’).


Other things. The Olympic Logo a Day site cuts through the stringent regulations about the use of the Olympic rings / The Truck Triumph of the 1960s, striking ad campaign at Today’s Inspiration / Parselmouth translator / the Train Project by HeHe (Heiko Hansen and Helen Evans) is a site specific installation to ‘develop temporary autonomous vehicles in the form of performances on unused or abandoned rail tracks’. The most recent installation is ‘inspired by AB Clayton’s painting of the inaugural journey of the Liverpool and Manchester Railway which illustrates a series of small open-topped passenger carriages on the track outside Manchester’s Liverpool Road station, HeHe will run their vehicle ‘M-blem’ on this historic track, now part of Manchester’s Museum of Science and Industry‘. Related, sort of, to the SEFT 1 project mentioned a week ago. See also On board a real-life ‘ghost train’, services which ‘exist in order to keep certain lines open, because without them the train operators would often have to close the route – something which costs time and money’.

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