Whalley Nab and Pendle. A painting by Rob Miller
.JPG)
Whalley Nab and Pendle.
70 cm x 70 cm
Acylic on Canvas
Rob Miller
70 cm x 70 cm
Acylic on Canvas
Rob Miller
The Workhouse Little Town Ribchester February Snow A painting by Rob Miller
The Workhouse Little Town Ribchester February Snow
Liquatex on Canvas
30 x 20 inches
Heavy snowfall in February Little Town is a small group of houses huddled by the River Ribble before the bridge apparently it marks the roman ford where Watling Street crosses the Ribble and has been a town since then. The workhouse is a print and design firm and is on the left.
The Road to Whalley on Whalley Nab - A painting by Rob Miller.
The Road to Whalley on Whalley Nab
Liquatex on Canvas
50 cm x 50 cm
Work Completed.
On the last day of Automn (Read Lancashire) A painting by Rob Miller
On the last day of Autumn I walked the road to Simonstone
- (Higher House Farm Read Lancashire)
Professional Acrylic on Canvas
50 x 70 cm
Here is a seasonal poem that I have always liked, its by the German Poet Maria Rainer, who like Schumann the composer had a certain grasp of the seasons. This poem is called autumn which translated in a rudimentary fashion (Its a long time since I did my German Exam) may mean; Thank you Lord for the long summer, the ripening of the vine will be completed if we have but two more warm days, and then she reminds us that if you have not completed what you should have done such as building your house than that time is now past and you must walk ceaselessly while the falling leaves dance. Here the seasons of the year are representative of the seasons of life.
Herbsttag
Herr: es ist Zeit. Der Sommer war sehr groß.
Leg deinen Schatten auf die Sonnenuhren,
und auf den Fluren laß die Winde los.
Befiel den letzten Früchten voll zu sein;
gib ihnen noch zwei südlichere Tage,
dränge sie zur Vollendung hin und jage
die letzte Süße in den schweren Wein.
Wer jetzt kein Haus hat, baut sich keines mehr.
Wer jetzt allein ist, wird es lange bleiben,
wird wachen, lesen, lange Briefe schreiben
und wird in den Alleen hin und her
unruhig wandern, wenn die Blätter treiben.
Rainer Maria Rilke
Boscant Brabants. Work in progress. Rob Miller
Commission
W/C on paper
74 x 35 cm
Boscant Nd Brabants
Work in progress,
( the paint is still very wet as can be seen by the puddle on the right)
Rob Miller
The workhouse Ribchester Wintry Lane, Winter Willow and River Painting by Rob Miller
Work in progress
20" x 30"
Liquitex on canvas
Wintry Lane The Workhouse at Ribchester
Work in progress
20" x 30"
Liquitex on canvas
Winter willow on the River Ribble
De Tabley
20" x 30"
Liquitex on canvas
Winter willow on the River Ribble
De Tabley
The snow brings great opportunities for the landscape painter, a different set of subtle hues, different shapes and different forms. These two paintings are off subjects close to the old De Tabley Arms.
Beech Trees Whittle Hall; Work in Progress Rob Miller
Beech Trees Whittle Hall On Moor Lane; The road from York to Whalley.
Acrylic on canvas
These are the first two stages of this painting; the painting is a part of a small series that retraces a favourite walk I did as a teenager. For me the road is still an excellent example of all that is best in Lancashire. A high narrow lane an expanse of green passes through meadows and woods by farms and ancient halls. There are great views out to sea, views up to Pendle Hill ahead and on the left the opening Ribble Valleys myriad woods, hedges, rivers and villages. Above the sky is large and expansive. You can almost sense what Cezanne would make of Moor Lanes wonderful greens and soft blues.
Pick Up Bank Drawings by Rob Miller
.JPG)
Charcoal and Ink on Paper.
I have a great affinity to this place. I love its rugged nature and its place in the valley. The bank is steeped in history, mining, agriculture cotton milling its East Lancashire at its best. Its also a place for concern, untouched and unchanged for a century or more, now the bulldozer owner is making short change of the fragile moorlands.
On the old Roman Road, Read Lancashire...Work in progress Rob Miller
The Old Roman Road Higher House Farm
Acrylic on Canvas.
This shows two of the stages in the painting the first the background colours and drawing in charcoal and paint creating the paintings structure and future mood. The area is on the edge of moorland, ancient woodland and witchcraft.
The second image is a freshening coat of paint that begins to set some values in colour but not in tone. Structurally it also starts a debate between the values that I should place on whats more important to me and the viewer is it:-
a) the distant view through the trees or
b) the white farm its intimate pedestrian gateway and the bend in the old road.
Whalley Nab Two new paintings by Rob Miller
Two works completed both are part of a series of new work on journeys. These two works are of Whalley Nab which is a perfect wooded knoll above Whalley village. The terraced cottages of the village can be glimpsed through the circle of leafs which are just strating to change and yellow. In the top painting the wooden lane, steep on one side opens up to a view of Pendle and rows of fields, scattered housing litter the woodlands and the River Calder glitters like a necklace. Aside from the seasons all is largely unchanged on the lane since I walked up the steep brow with my mother some twenty or so years ago.Whalley was the place were I was born.
The road to Whalley; Nearing the bottom of the Nab;
The road to Whalley; On Whalley Nab.
50 cm x 50 cm
Acrylic on Canvas
Fell Farm Painting Lancashire. Rob Miller
Fell farm Lancashire
Acrylic on Canvas
61 cm x 91 cm
A work revisited. High above the Pennine valley, a lost ship, the farm squats in the lee
of the valley. Sharing company with the houses of stone quarry men long departed
Today empty byres, quiet halls and rectangular windows in a sea of blond.
Ted Hughes puts it far better..
'These grasses of light,
which think they are alone in the world.
These stones of darkness,
which have a world to themselves.
Moors are a stage for the performance of heaven
Any audience is incidental'
Ted Hughes Stanbury Moor Remains of Elmet.
West Pennine Farms two mixed media drawings by Rob Miller
.JPG)
Top. Stanley Stacks and Crowthorn Farms.
Bottom. Higher Head Farm along Broadhead Road looking South
.
Bottom. Higher Head Farm along Broadhead Road looking South
.
Farmstead Types - National Overview by Jeremy Lake
Today the English, Pennine, upland farm buildings along with their stone walls and way of life are quickly disappearing under a cloud of glass and plastic conservatories and Gymkhana sheds. As the farm buildings are inhabited by new owner developers and new agricultural buildings are made of steel and concrete, the Pennine landscape now sprouts glistening strucures hiding behind steel CTV gates beneath ranks of massed wind turbines;
These farms, farmhouses and their simple, practical structures have always been a part of my art, as they have been to many English and European Landscape Painters. As a landscape painter, sat at my easil or sketch book the old farms would blend into the land as an almost inseparable unit to tree and branch. They are, it appears to the passing walker or artist as at home in the English landscape as anything made by nature, as any animal or flower.
Whilst drawing and painting the farms I have often mused on how they became to be designed in the way that they are. How they happened to be and what occurred. Lately I have been asked the same question by others who are interested in painting this disappearing subject matter. In a short time I found that the farms, I painted were not always with us, it was parliamentary laws which grew them to benefit the nation and same that seeks to make them decline. Turner and Constable et al captured the farms development as we today capture the farms decline.
I've cut and pasted here the appendix to an article by Jeremy Lake the archeologist and historian, that appears in Winchester Council Strategic planning Dept planning background papers website.. though their are no credits apart from the authors name. " An Introduction To English Agricultural History and Farm Buildings:- Their Development, Survival and Significance by Jeremy Lake" which is of interest in defining how the buildings developed. or at least the part that reflects linear style buildings more common in upland areas.
Farmsteads perform several basic functions: providing shelter for farmers and their families; the housing and processing of crops; the storage of vehicles, implements and fodder; the management and accommodation of livestock. Building functions can be usefully distinguished between crop processing and storage (barns, hay barns, cider houses, oast houses and farm maltings, granaries) and the accommodation of animals (cow houses and shelter sheds, ox houses, stables, pigsties) and birds (dovecots and poultry houses). These functions can either be accommodated within individual specialist structures or combined with others into multi-functional ranges.
The great diversity of farmstead plans (Figure 16) provides a very direct reflection of the degree to which these farm-based functions are located in specialist or combination structures and ranges. The resulting diversity of form and scale is the direct outcome of the significant variation in farming practice and size that occurs both over time and from place to place. Individual farm buildings, for example, could be:
• Small-scale and highly dispersed, as in the wood–pasture landscapes of the Kentish Weald and the Suffolk clays;
• Set out in strong linear groupings, especially in northern pastoral areas with little corn and longer winters and where there was an obvious advantage in having cattle and their fodder (primarily hay) under one roof;
• Arranged around yards, examples being the large aisled barn groupings of the southern English downlands and the large planned layouts built in accordance with ideas being spread through national literature and contacts.
A critical factor in farmstead planning is also the relationship of the farm buildings to the working areas within and around the farmstead and the farmhouse. The major working areas were trackways to surrounding fields and local markets, ponds and cart washes, the areas for the movement of vehicles and animals, the accommodation of animals and the platforms where hay and corn would be stacked, the latter prior to threshing in the barn. The size of the areas for stacking corn (known as rickyards in most of the country) varied according to local custom and the extent of arable crops kept on the farm.
Local tradition and status were the principal reasons for whether the house was accessed through the yard and buildings were attached, or whether the house looked toward or away from the yard. Internal access between dwelling house and farm buildings was a feature of farmyard architecture in much of Europe. However, in England from the 13th century it became much more common to have separate entrances, even where buildings and houses were joined. The role of women in the farmyard was commonly restricted to ‘milking cows, feeding pigs and calves, making butter and cheese, tending poultry, and occasionally tending with the hay and corn harvests’ (Whetham 1978, p.81), and hence led to the integration of processes such as brewing and dairying into the house and a formal separation of the house and gardens from the farmyard, especially in the case of post-1750 re-modellings and larger farms typically over 150 acres. In such instances, the house could face toward its own home close or garden.
The development of the farmhouse has been the subject of regional and national studies (Barley 1961, for example). Farmhouses can tell us much about the former prosperity and development of steadings, such as the major phases of rebuilding that affected parts of southern England in the 15th to early 17th centuries and the wealth introduced through cattle rearing in parts of northern England in the century or so after 1660. In summary, the most common farmhouse plan of the medieval period, traceable to the 12th century, has the main entrance in one side wall to an entrance passage (usually with a door opposite) that separated an open hall (to allow smoke from the fire to escape through the roof) from a lower end, which could house a kitchen, services and in some areas livestock. The hall served as the main living and eating room, status and space determining whether there would be an inner chamber (for sleeping or a private area) beyond. By the end of the 16th century, farmhouses in most areas of England (except in the extreme south west and the north) had been built or adapted into storeyed houses with chimneystacks. There was a strong degree of regional variation, for example in the positioning of the chimneystacks and their relationship to the main entrance. From the later 17th century, services in some areas were being accommodated in lean-tos (outshots) or rear wings, and from the mid-18th century houses that were more symmetrically designed (with central entrances, chimneystacks on the end walls and services placed to the rear of the front reception rooms) became standard across the country. As a general rule, farms over 70 acres needed to look beyond the family for additional labour, and so rooms for live-in farm labourers – usually in the attic or back wing of the house – became a feature of many farmhouses.
The predominant farmstead plan types, which are closely related to farm size, terrain and land use, are listed below. There are many variations on these themes, particularly in the manner in which fully evolved plan groups can, as a result of successive rebuilding, contain elements of more than one plan type.
Linear plans
This group comprises farmsteads with farm buildings attached to, and in line with, the house. It includes some of the earliest intact farmsteads in the country.
The earliest examples of linear plans are longhouses, which served as dwellings for farmers’ families and housing for cattle. Each longhouse had a common entrance for the farmer’s family (accommodated at the up-slope end of the building) and livestock, the cow house being marked usually by a central drain and a manure outlet at the lower gable end. Longhouses were often found grouped together and associated with strip farming of the surrounding fields. Documents and archaeological excavation indicate that they had a widespread distribution in the north and west of the British Isles in the medieval period, but that in much of lowland England they were either absent or being replaced by yard layouts with detached houses, barns and cow houses from the 14th century (see, for example, Gardiner, 2000 and Figure 17). Such re-buildings are commonly believed to be associated with the decline of smaller peasant farmers and the emergence of a wealthier peasant class. Longhouses, and their variant types with separate entrances for livestock and farmers, continued in use in parts of the South West, the Welsh borders and the northern uplands and vales into the 18th and 19th centuries. Those built in or before the 17th century were originally entered from a passage, which also served as the entrance to the house. However, during the 18th century social pressures led to the provision of a separate dividing wall and byre door, and to the demolition of some byres and the conversion or rebuilding of others to domestic or new agricultural use (barns, for example). The piecemeal rebuilding and conversion of both lower end and house-part that this permitted tended to discourage total reconstruction, inevitably limiting the ability to respond effectively to changing requirements. These later changes are clearly visible in the buildings, as is evidence about the size and layout of the original byres, and of the arrangement of the passage (against which the stack heating the main part of the house was positioned) that once formed the common entrance to these longhouses as a whole. The initial dominance of the longhouse in some areas is significant, since, as a house type capable of almost infinite adaptation, it exerted considerable influence on the subsequent evolution of farmsteads.
Linear layouts (including the laithe house of the Pennines) are now most strongly associated with the hill farms of northern England (North East, North West and Yorkshire and the Humber). A major reason for the persistence of the layout in this location was that it was suited to smaller farms (of 50 acres or less) needing fewer buildings – other than for the storage of subsistence levels of corn for the household and livestock, and the housing of some milk cattle, poultry and pigs. The close proximity of farmer and livestock during the winter months was another factor, cattle being stalled indoors from October to May. It was also a layout ideally suited to building along the contours of a hillside and so this farmstead plan remained in use in upland areas of England into the 19th century.
Linear plans have often evolved as a result of gradual development, for example in the rebuilding of a lower end for the cattle as service area for the house, and the addition of new cow houses, stabling and barns in line. Linear layouts will often be associated with loose scatters or even yard arrangements of other farm buildings.
www.winchester.gov.uk/Download.asp?.../HistoricFarmBuildings/...introtoengaghistoryandfarmbuildings...
http://art-landscape.blogspot.com/2010/01/landscape-art-timeline-in-art-history.html
This site gives an excellent prace of Landscape Painting and is well worth a visit.
These farms, farmhouses and their simple, practical structures have always been a part of my art, as they have been to many English and European Landscape Painters. As a landscape painter, sat at my easil or sketch book the old farms would blend into the land as an almost inseparable unit to tree and branch. They are, it appears to the passing walker or artist as at home in the English landscape as anything made by nature, as any animal or flower.
Whilst drawing and painting the farms I have often mused on how they became to be designed in the way that they are. How they happened to be and what occurred. Lately I have been asked the same question by others who are interested in painting this disappearing subject matter. In a short time I found that the farms, I painted were not always with us, it was parliamentary laws which grew them to benefit the nation and same that seeks to make them decline. Turner and Constable et al captured the farms development as we today capture the farms decline.
I've cut and pasted here the appendix to an article by Jeremy Lake the archeologist and historian, that appears in Winchester Council Strategic planning Dept planning background papers website.. though their are no credits apart from the authors name. " An Introduction To English Agricultural History and Farm Buildings:- Their Development, Survival and Significance by Jeremy Lake" which is of interest in defining how the buildings developed. or at least the part that reflects linear style buildings more common in upland areas.
Farmsteads perform several basic functions: providing shelter for farmers and their families; the housing and processing of crops; the storage of vehicles, implements and fodder; the management and accommodation of livestock. Building functions can be usefully distinguished between crop processing and storage (barns, hay barns, cider houses, oast houses and farm maltings, granaries) and the accommodation of animals (cow houses and shelter sheds, ox houses, stables, pigsties) and birds (dovecots and poultry houses). These functions can either be accommodated within individual specialist structures or combined with others into multi-functional ranges.
The great diversity of farmstead plans (Figure 16) provides a very direct reflection of the degree to which these farm-based functions are located in specialist or combination structures and ranges. The resulting diversity of form and scale is the direct outcome of the significant variation in farming practice and size that occurs both over time and from place to place. Individual farm buildings, for example, could be:
• Small-scale and highly dispersed, as in the wood–pasture landscapes of the Kentish Weald and the Suffolk clays;
• Set out in strong linear groupings, especially in northern pastoral areas with little corn and longer winters and where there was an obvious advantage in having cattle and their fodder (primarily hay) under one roof;
• Arranged around yards, examples being the large aisled barn groupings of the southern English downlands and the large planned layouts built in accordance with ideas being spread through national literature and contacts.
A critical factor in farmstead planning is also the relationship of the farm buildings to the working areas within and around the farmstead and the farmhouse. The major working areas were trackways to surrounding fields and local markets, ponds and cart washes, the areas for the movement of vehicles and animals, the accommodation of animals and the platforms where hay and corn would be stacked, the latter prior to threshing in the barn. The size of the areas for stacking corn (known as rickyards in most of the country) varied according to local custom and the extent of arable crops kept on the farm.
Local tradition and status were the principal reasons for whether the house was accessed through the yard and buildings were attached, or whether the house looked toward or away from the yard. Internal access between dwelling house and farm buildings was a feature of farmyard architecture in much of Europe. However, in England from the 13th century it became much more common to have separate entrances, even where buildings and houses were joined. The role of women in the farmyard was commonly restricted to ‘milking cows, feeding pigs and calves, making butter and cheese, tending poultry, and occasionally tending with the hay and corn harvests’ (Whetham 1978, p.81), and hence led to the integration of processes such as brewing and dairying into the house and a formal separation of the house and gardens from the farmyard, especially in the case of post-1750 re-modellings and larger farms typically over 150 acres. In such instances, the house could face toward its own home close or garden.
The development of the farmhouse has been the subject of regional and national studies (Barley 1961, for example). Farmhouses can tell us much about the former prosperity and development of steadings, such as the major phases of rebuilding that affected parts of southern England in the 15th to early 17th centuries and the wealth introduced through cattle rearing in parts of northern England in the century or so after 1660. In summary, the most common farmhouse plan of the medieval period, traceable to the 12th century, has the main entrance in one side wall to an entrance passage (usually with a door opposite) that separated an open hall (to allow smoke from the fire to escape through the roof) from a lower end, which could house a kitchen, services and in some areas livestock. The hall served as the main living and eating room, status and space determining whether there would be an inner chamber (for sleeping or a private area) beyond. By the end of the 16th century, farmhouses in most areas of England (except in the extreme south west and the north) had been built or adapted into storeyed houses with chimneystacks. There was a strong degree of regional variation, for example in the positioning of the chimneystacks and their relationship to the main entrance. From the later 17th century, services in some areas were being accommodated in lean-tos (outshots) or rear wings, and from the mid-18th century houses that were more symmetrically designed (with central entrances, chimneystacks on the end walls and services placed to the rear of the front reception rooms) became standard across the country. As a general rule, farms over 70 acres needed to look beyond the family for additional labour, and so rooms for live-in farm labourers – usually in the attic or back wing of the house – became a feature of many farmhouses.
The predominant farmstead plan types, which are closely related to farm size, terrain and land use, are listed below. There are many variations on these themes, particularly in the manner in which fully evolved plan groups can, as a result of successive rebuilding, contain elements of more than one plan type.
Linear plans
This group comprises farmsteads with farm buildings attached to, and in line with, the house. It includes some of the earliest intact farmsteads in the country.
The earliest examples of linear plans are longhouses, which served as dwellings for farmers’ families and housing for cattle. Each longhouse had a common entrance for the farmer’s family (accommodated at the up-slope end of the building) and livestock, the cow house being marked usually by a central drain and a manure outlet at the lower gable end. Longhouses were often found grouped together and associated with strip farming of the surrounding fields. Documents and archaeological excavation indicate that they had a widespread distribution in the north and west of the British Isles in the medieval period, but that in much of lowland England they were either absent or being replaced by yard layouts with detached houses, barns and cow houses from the 14th century (see, for example, Gardiner, 2000 and Figure 17). Such re-buildings are commonly believed to be associated with the decline of smaller peasant farmers and the emergence of a wealthier peasant class. Longhouses, and their variant types with separate entrances for livestock and farmers, continued in use in parts of the South West, the Welsh borders and the northern uplands and vales into the 18th and 19th centuries. Those built in or before the 17th century were originally entered from a passage, which also served as the entrance to the house. However, during the 18th century social pressures led to the provision of a separate dividing wall and byre door, and to the demolition of some byres and the conversion or rebuilding of others to domestic or new agricultural use (barns, for example). The piecemeal rebuilding and conversion of both lower end and house-part that this permitted tended to discourage total reconstruction, inevitably limiting the ability to respond effectively to changing requirements. These later changes are clearly visible in the buildings, as is evidence about the size and layout of the original byres, and of the arrangement of the passage (against which the stack heating the main part of the house was positioned) that once formed the common entrance to these longhouses as a whole. The initial dominance of the longhouse in some areas is significant, since, as a house type capable of almost infinite adaptation, it exerted considerable influence on the subsequent evolution of farmsteads.
Linear layouts (including the laithe house of the Pennines) are now most strongly associated with the hill farms of northern England (North East, North West and Yorkshire and the Humber). A major reason for the persistence of the layout in this location was that it was suited to smaller farms (of 50 acres or less) needing fewer buildings – other than for the storage of subsistence levels of corn for the household and livestock, and the housing of some milk cattle, poultry and pigs. The close proximity of farmer and livestock during the winter months was another factor, cattle being stalled indoors from October to May. It was also a layout ideally suited to building along the contours of a hillside and so this farmstead plan remained in use in upland areas of England into the 19th century.
Linear plans have often evolved as a result of gradual development, for example in the rebuilding of a lower end for the cattle as service area for the house, and the addition of new cow houses, stabling and barns in line. Linear layouts will often be associated with loose scatters or even yard arrangements of other farm buildings.
www.winchester.gov.uk/Download.asp?.../HistoricFarmBuildings/...introtoengaghistoryandfarmbuildings...
http://art-landscape.blogspot.com/2010/01/landscape-art-timeline-in-art-history.html
This site gives an excellent prace of Landscape Painting and is well worth a visit.
Yosemite Valley Painting by Rob Miller (final Draft)
Yosemite Valley Acrylic on Canvas 61 cm x 123 cm
I think that there is nothing more daunting for an artist than taking the final steps of a commission especially when the commissioners, in this case a young executive couple who are no strangers to art have been eagerly awaiting its arrival. The subject matter that they selected from their honeymoon tour of some of Americas National parks was an inspirational image of Yosemite Valley that Paul shot after a long and hard drive. The landscape he said, was amazing, "once you have climbed steeply out of the valley through many rock tunnels etc , you come out into the open to a sublime view". A full length, image of that breath taking valley, Yosemite. Painting that wild and barren, sublime landscape in a way that represents its sheers size and scale is itself an onerous but enjoyable task. In doing so, I had to rely mostly on my personal knowledge of high mountains from walks that I had undertaken in the Alps and Norway along with these words from Wordsworth.
"Over the dark abyss, intent to hear
Its voices issuing forth to silent light
In one continuous stream; a mind sustained
By recognitions of transcendent power,
In sense conducting to ideal form,
In soul of more than mortal privilege.
One function, above all, of such a mind
Had Nature shadowed there, by putting forth,
'Mid circumstances awful and sublime,
That mutual domination which she loves"
Wordsworth The prelude section 79/80
I think that there is nothing more daunting for an artist than taking the final steps of a commission especially when the commissioners, in this case a young executive couple who are no strangers to art have been eagerly awaiting its arrival. The subject matter that they selected from their honeymoon tour of some of Americas National parks was an inspirational image of Yosemite Valley that Paul shot after a long and hard drive. The landscape he said, was amazing, "once you have climbed steeply out of the valley through many rock tunnels etc , you come out into the open to a sublime view". A full length, image of that breath taking valley, Yosemite. Painting that wild and barren, sublime landscape in a way that represents its sheers size and scale is itself an onerous but enjoyable task. In doing so, I had to rely mostly on my personal knowledge of high mountains from walks that I had undertaken in the Alps and Norway along with these words from Wordsworth.
"Over the dark abyss, intent to hear
Its voices issuing forth to silent light
In one continuous stream; a mind sustained
By recognitions of transcendent power,
In sense conducting to ideal form,
In soul of more than mortal privilege.
One function, above all, of such a mind
Had Nature shadowed there, by putting forth,
'Mid circumstances awful and sublime,
That mutual domination which she loves"
Wordsworth The prelude section 79/80
Rob Miller. Drawing:- The road to Edgworth drawings 4,3,7. Ink & Charcoal on paper
.JPG)
Rob Miller. Drawing:- The road to Edgworth 4,3,7,. Ink & Charcoal on paper
Drawings along the Road to Edgeworth Winter 2010. n0s 6,2,5 West Pennine Moors. Rob Miller
Rob Miller. Drawing:- The road to Edgworth nos 6, 2 and 5. Ink & Charcoal on paper
Some notes on the area.
I’ve always found this a great place to drive through in either direction and better still a fascinating place for walks and explorations.
Information courtesy of Turton Local History Society. Large areas of the West Pennine Moors are designated ‘Open Access’ see Ordnance Survey map explorer series No. 287 Explore 90 square miles of unspoilt moorlands, numerous reservoirs and beautiful woodlands Discover hidden valleys and explore some of the many historic villages. Enjoy getting close to nature – see curlews, peregrines and brown hares. Wander the long distance walk, the Witton Weavers Way – the full 32 miles or one of four shorter circular walks.
White Horse Broadhead Road.
This Inn and all the adjacent buildings date from the Enclosure Act of Edgworth Moor in 1795 when the ‘new’ roads of Broadhead and Bolton Road were laid out to straddle the ‘ancient highway’. This crossing formed the new village centre and still houses the Inn, Post Office, Craft Shop, Grocers, Butchers and Pharmacy. Holdens ice cream is second to none! The village Medical Centre shares a car park with the White Horse. Turning right past the Edgworth Cricket Club ground we return to the Barlow Institute.
West Pennine Walks by: Mike Cresswell.
This is the book for all those who love Lancashire, and for those yet to discover its hidden charms. There's superb walking in this compact area nestling in the south-east of the county; rushing streams, narrow valleys, stone-built villages and welcoming small towns; and all so accessible by car and public transport. The 30 routes, all of which are circular, are between 2.5 and 13.5 miles. They can be split and linked, giving up to 100 walks to cater for all tastes and abilities. The first edition appeared in 1988; Mike has now re-walked every route, taking account of changes in the man-made landscape ranging from new gates and stiles to an entire new motorway.
Useful contacts:
Blackburn Visitor Centre (general information) 01254 53277; email: countryside@blackburn.gov.uk or visit www.blackburn.gov.uk
Countryside Services (information and events) 01254 691239, email countryside@blackburn.gov.uk or visit www.blackburn.gov.uk
Great House information centre (West Pennine Moors information) 01204 691549
L.C.C. Countryside Service 01772 534709
http://www.westpenninemoors.com/
The Country Code
Be safe – plan ahead & follow any signs
Leave gates and property as you find them
Protect plants & animals & take your litter home
Keep dogs under close control
Consider other people
Some notes on the area.
I’ve always found this a great place to drive through in either direction and better still a fascinating place for walks and explorations.
Information courtesy of Turton Local History Society. Large areas of the West Pennine Moors are designated ‘Open Access’ see Ordnance Survey map explorer series No. 287 Explore 90 square miles of unspoilt moorlands, numerous reservoirs and beautiful woodlands Discover hidden valleys and explore some of the many historic villages. Enjoy getting close to nature – see curlews, peregrines and brown hares. Wander the long distance walk, the Witton Weavers Way – the full 32 miles or one of four shorter circular walks.
White Horse Broadhead Road.
This Inn and all the adjacent buildings date from the Enclosure Act of Edgworth Moor in 1795 when the ‘new’ roads of Broadhead and Bolton Road were laid out to straddle the ‘ancient highway’. This crossing formed the new village centre and still houses the Inn, Post Office, Craft Shop, Grocers, Butchers and Pharmacy. Holdens ice cream is second to none! The village Medical Centre shares a car park with the White Horse. Turning right past the Edgworth Cricket Club ground we return to the Barlow Institute.
West Pennine Walks by: Mike Cresswell.
This is the book for all those who love Lancashire, and for those yet to discover its hidden charms. There's superb walking in this compact area nestling in the south-east of the county; rushing streams, narrow valleys, stone-built villages and welcoming small towns; and all so accessible by car and public transport. The 30 routes, all of which are circular, are between 2.5 and 13.5 miles. They can be split and linked, giving up to 100 walks to cater for all tastes and abilities. The first edition appeared in 1988; Mike has now re-walked every route, taking account of changes in the man-made landscape ranging from new gates and stiles to an entire new motorway.
Useful contacts:
Blackburn Visitor Centre (general information) 01254 53277; email: countryside@blackburn.gov.uk or visit www.blackburn.gov.uk
Countryside Services (information and events) 01254 691239, email countryside@blackburn.gov.uk or visit www.blackburn.gov.uk
Great House information centre (West Pennine Moors information) 01204 691549
L.C.C. Countryside Service 01772 534709
http://www.westpenninemoors.com/
The Country Code
Be safe – plan ahead & follow any signs
Leave gates and property as you find them
Protect plants & animals & take your litter home
Keep dogs under close control
Consider other people
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