Archive for the ‘Travel’ Category

Photography | Cressing Temple Barns

Friday, January 20th, 2012


Cressing Temple, Essex, UK

New Photographs from Pedro Silmon Garden Photography

Steeped in history, the 13th century barns, at Cressing Temple, built by the Knights Templar – warrior monks who farmed for profit and spent their earnings on expeditions to protect pilgrims and fight in the crusades – are reputed to be the finest examples of their type in Europe.

Within the large precinct they occupy and dominate, is a Tudor walled garden, renovated between 1994 and 1995. The present garden is the result of painstaking research and archaeological excavation, with planting based as far as possible, on the types of medicinal plants, herbs, and flowers that would have been grown in the original garden. The reason behind our first visit was to photograph the garden but the barns are so beautiful and compelling, it was impossible to ignore them, besides, the Wheat Barn (39m long, 13.4m wide) though not as old as the Barley Barn is so omnipresent as a backdrop to the garden that it appears, from one angle or another, in almost every view. The 18th century manor house fell into disrepair and was demolished. There remain, however, 9 historical buildings on the site, including an Elizabethan granary, a farmhouse, wheelwright shop, well house and cart lodge.

The winter images above represent only a fraction of the material we produced on numerous visits throughout the the course of 2011.

Images from top:
Green Man Spout, one of four representing the four rivers of paradise, on the brick fountain in the Walled Garden
A section of the Walled Garden, planted with herbs
Herringbone paving in the Walled Garden
A section of the Knot Garden, showing part of the wooden viewing platform
The Wheat Barn
The pond behind the Cart Lodge, right
Berries of Cotoneaster lacteus
The Barley Barn with contemporary planting
The Well House, foreground, Garage and Wheat Barn, rear

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Photography | Laetitia Casta | Dominique Issermann

Friday, January 6th, 2012

Exhibition | Laetitia Casta par Dominique Issermann
Maison Européenne de la Photographie, Paris, France
January 17th – March 25th, 2012
Book | Dominique
Issermann Laetitia Casta
Editions Xavier Barral. January 2012

In winter, high up in the Swiss mountains, the great slabs of roof over the spa at Hotel Therme Vals protect it from snow and ice. Come spring the frozen covering melts away to reveal roof sections that are a grassed-over, flower studded alpine meadow. 2009 Pritzker Architecture Prize-winner, Peter Zumthor, incidentally the same architect who built the 2011 Serpentine Gallery Pavilion, hortus conclusus (enclosed garden), in London’s Hyde Park, with Piet Oudolph’s lavish garden as it’s centrepiece, chose geology and mountainscape as his role models, designing the massive spa complex in local Valser gneiss stone to look as if it had been there forever. Inside it’s a sanctuary. The building’s precise yet simple composition and use of materials, the treatment of scale and the effect of light in the minimal series of spaces within are designed to emphasise sensory, contemplative and spiritual experience.

Doyene Paris-based photographer, Dominique Issermann, has shot Sonia Rykiel’s publicity campaigns for more than 10 years, lending the images a natural and spontaneous aesthetic quality. She has exhibited widely throughout the world and numerous books have been produced about her work. Haute Couture labels: Christian Dior, Lancôme and Yves Saint Laurent have all found use for her unique skill. On Youtube you can look behind the scenes at Issermann’s recent Chanel No 5 advertising shoot, featuring Audrey Tautou. It’s a difficult task to decide which is the star of her series of rich, black and white, nude images of beautiful model Laetitia Casta, shot over three days at the Hotel Therme Spa that will be on show at Paris’s Maison Européenne de la Photographie from the middle of this month: the model, the photographer or the building.


Images, top, by ©Dominique Issermann. Four images above by Nico Schärer, courtesy Hotel Therme Spa

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Art | Turner goes Baltic

Friday, December 30th, 2011


Baltic Presents the Turner Prize 2011
Baltic Centre for Contemporary Art. Gateshead, UK. Until 8th January , 2012

For the benefit of those who don’t know – because anyone connected with or interested in British contemporary art certainly should – for the first time in its 27 year history, our prestigious Turner Prize (in partnership with its usual home, Tate) was organised by a provincial gallery, in this case Gateshead’s Baltic, which stands on the south side of the river Tyne opposite Newcastle’s bustling and vibrant Quayside. I went in the evening, when the collection of fine bridges, lit from below in a spectrum of changing colours or silhouetted against the darkening sky, teamed with Norman Foster’s massive and undulating Sage concert hall – refered to locally as The Slug – lit from within, and the myriad of Christmas lights, illuminated the sluggish black river.

Having read a bit about the show I was familiar with first prize winner, sculptor Martin Boyce’s work, but whenever I read in an exhibition review that the work ‘must be seen in the flesh to be properly appreciated,’ I agree and at the same time become sceptical.

Each short-listed artist was alloted a large room in which to display their work. All four – except perhaps George Shaw, whose dull enamel paintings illustrating themes of urban decay, of which similar ground has been presented time and time again in photography over the last twenty odd years, all similarly sized are hung with anally minded, precisely equal space between them – had used the space to dramatic effect.

The evening viewing was well timed with regard to seeing Hilary Lloyd’s film work. One floor to ceiling wall of the room is clear glass and brought the lights of Gateshead’s urban environment inside to combine with the starkly modern, hard-edged, AV equipment used to display the artist’s sensual and intriguing, moving and still images. By complete contrast, Karla Black’s giant, pastel, paint and powder-covered, crumpled sheets of paper and transparent polythene is a riot of mad abandon.

Boyce’s work had certainly looked rather dull and the elements disparate in the photo I saw, but even with a file of visitors passing through the sculptural installation – comprising of a deconstructed desk with Calderesque mobile draped over it, the skewed waste bin, the hanging, white, jagged geometric shapes partially covering the ceiling, the similarly geometric brown, translucent paper shapes, like fallen leaves littering the extremities of the floor, and what is reminiscent of an art deco ventilation cover – the diverse elements remain separate and equally combine as a complete environment. It moved and held me, which is what I require from any art piece: a justified winner.

Also showing at Baltic
The Voyage of Growth & Discovery | Mike Kelley and Michael Smith
The only UK presentation of American artists’ collaboration. A massive, multi-facetted, theatrical crowd-pleaser, with adult themes, cuddly toys and subtle humour, based around Nevada’s Burning Man Festival – taking up the whole of the fourth floor. Until 15th January, 2012

Section Yellow | Bani Abidi
The Pakistani artist, uses photography, video and drawing to explore manifestations of power and resilience within the modern Pakistani state. Until 12th February, 2012

Image: The river Tyne. Evening view towards the Sage concert hall through the Millenium bridge. December 2011. Captured by Pedro Silmon on a Nokia 6300 mobile phone

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Photography | For Sale: 11 Ansel Adams Prints

Tuesday, December 13th, 2011


Photographs including Crossing America: Photographs from
The Consolidated Freightways Collection, Part II

Viewing: Christie’s Special Exhibition Gallery, until 18th December
Auctions: Christie’s Special Exhibition Gallery, 19th December.
Christie’s, New York City, USA. 19th December, 2011

The brief was simple and the great variety of works on view and on offer were created by many of America and the rest of the world’s finest photographers, among them: Bruce Davidson, Diane Arbus and Henri-Cartier Bresson. Over the years, Consolidated Freightways, which ceased operations in 2002, amassed an impressive array of images dating from the 1920s to the 1990s with the aim of reflecting the the American landscape as seen from the cab of a truck.

If you want to start a collection of prints, this is the place to begin. Not that you can buy anything for a song but the photographs are astonishing and many of the prices are not outlandish. The great advantage of buying anything from a corporate collection, as in this case the USA’s freight transportation giant, The Consolidated Freightways Collection, is that you can be absolutely sure of the distinguished provenance of the goods on sale.

Ansel Adams (1902-1984) chose the diverse and spectacular fabric of the vast American landscape as his subject and somehow gets closest to the objective of the collection. The eleven images above are all on offer and include an original and unique group of Adams Polaroids.

Images from top
1 Sequoia Gigantea Roots, Yosemite National Park, California, circa 1950
Gelatin silver print, printed 1970s
Estimate 3,000 – 5,000 U.S. dollars

2 Mormon Temple, Manti, Utah, 1948
Gelatin silver print, printed 1970s
Estimate $3,000 – 5,000

3 El Capitan and Trees, Yosemite, 1955
Unique Polaroid Type 52 print
Estimate $5,000 – 7,000

4 Fern Spring, Yosemite, 1961
Unique Polaroid Type 55 print
Estimate $5,000 – 7,000

5 Zabriskie Point, Death Valley National Monument, 1942
Gelatin silver portfolio print, printed 1950
Estimate $3,000 – 5,000

6 Untitled (Lake with mountains), circa 1961
Unique Polaroid Type 55 print
Estimate $2,000 – 3,000

7 Untitled (Rapids), c. 1950s
Unique Polaroid Type 55 print
Estimate $2,000 – 3,000

8 Forest at Patrick’s Point State Park, California, 1959
Unique Polaroid Type 55 print
Estimate $3,000 – 5,000

9 Cement machinery, Crescent City, California, circa 1960
Unique Polaroid Type 55 print
Estimate $1,500 – 2,500

10 Merced River and Snow, Yosemite, 1959
Unique Polaroid Type 55 print
Estimate $5,000 – 7,000

11 Winter Sunrise from Lone Pine, Sierra Nevada, circa 1944
Gelatin silver print, printed 1970s
Estimate $20,000 – 30,000

All photographs courtesy Christie’s Images Limited, 2011

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Photography | Klein’s Rome in Paris

Friday, October 14th, 2011


Rome + Klein Photographies 1956-1960

Maison Europeenne de la Photographie, Paris. Until 8th January, 2012

In 1954, shortly after returning from Paris, where he had been since enrolling at the Sorbonne four years earlier, William Klein went to see Alexander Lieberman at US Vogue. The two had met at one of Klein’s sculpture shows in Paris, where Lieberman had been impressed by his kinetic, photosensitive glass panel works, influenced by Moholy-Nagy, and also by the photographs he had begun to take. At the Sorbonne, Klein had studied briefly under Léger, who encouraged his students to revolt against bourgeois conformity: telling them to abandon galleries and work in the streets.

“I came from painting, at a time when people were saying that
painting and painting rules were dead,” he recalls.
“I thought the same thing could apply to photography.”

Lieberman asked Klein, who had grown up on the streets of New York, what he would really like to do. Explaining that having been away for so long he somehow felt foreign he wanted to photograph the city in a completely new way – from an alien perspective. Intrigued, Vogue financed the project only to be shocked by his vulgar, crude and aggressive view of New York. Raw and chaotic, the pictures were generally regarded as being the work of an incompetent. Having been unable to find an American publisher, the resulting book New York – Life is good and good for you in New York, was published in 1956 by Editions Seuil in Paris.

“In the 1950s I couldn’t find an American publisher for my New York pictures,” he says. “Everyone I showed them to said, ‘Ech! This isn’t New York – too
ugly, too seedy, too onesided.’ They said, ‘This isn’t photography, this is shit’.”

The same year, it came out in Italy and Klein went to Rome at the invitation of Federico Fellini. Hired as assistant director on the Fellini’s Nights of Cabiria (Le notti di Cabiria) 1957 – incidentally, newly restored and rereleased in 1998 with a crucial scene that censors had cut, reinstated. Klein was provided with an ideal opportunity to explore every corner of the city with personalities as famous as Pier Paolo Pasolini and Alberto Moravia, as his guides.

As gritty, if not more so, than New York…, Klein’s book, Roma + Klein, was published in 1958 in Italy by Feltrinelli. More than fifty years later, the sixty large-scale prints, made especially for this exhibition show the ordinary, daily lives of Romans: walks in the Forum; Sunday trips to the beach at Ostia; the filming at Cinecittà… recreating the magic of those years and reaffirming his reputation as one of the great masters of photography. The reissue of Rome, celebrates Klein’s incredible talent and his gesture of love for the eternal city.

At 83, having had an extraordinary life in which he became an innovative fashion photographer at US Vogue, a documentary film-maker, a fine artist working in mixed-media and having had solo exhibitions and won prizes all over the world, William Klein lives in Paris with his wife and collaborator Janine, whom he met and married after being discharged from the US army there in 1948.

Top: Piazzale Flaminio, Rome, 1956 © William Klein
Above: Cinecittà, 1956 © William Klein

Roma + Klein was republished in October 2009 by Editions du Chêne


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Dada’s Cubist Garden

Monday, May 2nd, 2011

Hyères 2011. 26th International Festival of Fashion & Photography
Festival ends today. Exhibitions continue to 29th May,
(NB Villa Noailles closed from Tuesday 3rd to Thursday May 5th included)
Villa Noailles, Hyères, Var, France.


Erwin Blumenfeld, Powder box,
study for an advertisement, circa 1944
© The Estate of Erwin Blumenfeld

Daniel Sannwald, 032c, 2010

The journey had taken almost two hours. I had driven there on a whim from Nice, where I was staying, but the Villa Noailles was closed to visitors that day. Despite all my best efforts, I was unable to blag my way in. I would have liked to have seen the shows. It was totally my fault and, let’s be honest, unprofessional of me not to have contacted the Villa’s press people beforehand. I should at least have checked the opening times. I had gone there, however – it was outside the area of my itenerary – not specifically to see the exhibitions. Having arrived I had wanted to look around the early modernist house, built by architect Robert Mallet-Stevens for art patrons Arthur Anne Marie Charles, Vicomte de Noailles and his wife, Marie-Laure Bischoffsheim, between 1923 and 1925. But the real reason behind my visit was to see the triangular cubist garden designed by Turkish-born Gabriel Guevrekian, its Turkish designer who had worked with Joseph Hoffman in Vienna and was later to work with Le Corbusier

A selection of images by pioneer of creative photography between the wars, Erwin Blumenfeld’s work forms part of the this year’s festival exhibitions at the villa. Born in Berlin, Blumenfeld was a participator in the Dadaist movement and was to become an ardent denouncer of the Nazis. After having begun working for French Vogue in 1940, he was imprisoned in several concentration camps before escaping to the US in 1941, where his collaboration with Harper’s Bazaar – where Alexei Brodovitch was art director – which had started in 1939, continued until 1944. He subsequently worked for US Vogue and was, at the time, reputed to be the most highly-paid photographer in the world. Fashion Photography: Erwin Blumenfeld was published in January 2011 by Phaidon.

A more contemporary contributer, also born in Germany – in 1979 – and producing experimental fashion and beauty photography, Daniel Sannwald’s work is sometimes hauntingly surrealistic and at other times, vividly expressionistic. Sannwald works with numerous numerous magazines, amongst them: Dazed & Confused, i-D, L’Officiel Paris,Vogue Hommes Japan, and V magazine. He has photographed projects for Louis Vuitton, Nike, Loewe, Adidas, Replay, and Shiseido. His book, Pluto and Charon was published in February 2011 by LuDIoN Editions.

… I had struggled to get the car to climb the steep hill to the villa, perched high above medieval Hyères, and was pleased that my journey had not been wasted. Neither the garden – though a little scruffy – nor the exterior of the villa – rather unsympathetically extended – disappoint. My pictures, below, appeared in Germany’s prestigious architecture and living magazine Architektur & Wohnen; some of these also formed part of a major feature, illustrated exclusively with my photographs of the gardens of the Cote d’Azure, which appeared in the UK edition of Condé Nast Traveller.

Have you visited the Villa Noailles?
What did you think of it?

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Hello to Berlin

Saturday, March 12th, 2011

Five days in Berlin

The party that started in 1989 when the Berlin Wall fell – or rather, was pulled, knocked and beaten down – is still going on in the Mauerpark (literally, the Wall Park) in the city’s Prenzlauer Berg district which, every Sunday, hosts impromptu Karaoke events and where live bands play for free. In waste ground directly adjacent to the park and spilling over it is one of Europe’s largest and jam-packed flea markets. Almost anything imaginable is on offer from second-hand rabbit skin hats to fruit bowls made from heat-warped vinyl records, bashed-about antique furniture or hand-made jewellery. There’s every variation of great street food and drink to sample, too.

Berlin is vast. The city as a whole is undoubtedly reborn but there remain many reminders of its sometimes extraordinarily bleak and apocalyptical, sometimes magnificent, melting-pot history. We went as tourists. The weather was cold, the sky blue. I took only a small, compact camera. We stayed five days and travelled around on the S-Bahn – trains that run mainly above ground and go out to the suburbs – and the U-Bahn – trains that run mainly underground in the central area. Mostly, though, we walked, admiring the buildings and monuments, old and new, dipping into the wealth of trendy and traditional bars and restaurants, visiting a turkish market, eschewing the opportunity to see exhibitions in order to allow ourselves as much time as possible to get the feel of as many central districts as we could.

Have you been to Berlin since the wall came down? What did you think of it?

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Spring is sprung

Friday, February 18th, 2011

Easton Walled Garden: Snowdrops

Spring is creeping through what remains of last year’s autumn leaves – that winter covered in deep snow and transformed into sodden mulch – manifesting itself in shows of pure white snowdrops, yellow aconite and purple crocus. Easton Walled Garden, just off the A1, in Lincolnshire, where we broke the return journey south, having made an impromptu visit to the North East England, has a wonderful display of spring flowers. My image, above, will be available shortly via The Garden Collection, where you can see many more of my garden photographs.

Do Snowdrops do it for you? Please leave a comment

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Comme ci, comme ça

Friday, February 11th, 2011

Coco Chanel: The Legend and the Life
Justine Picardie, HarperCollins 2010, 352 pp hardback

In the middle of a deep recession, one must cut one’s cloth accordingly, and, despite the noise and general acclaim surrounding the publication of Justine Picardie’s biography of Coco Chanel, I didn’t feel like laying out £25 to buy a copy last September, when it was published. I was very pleased (after having dropped a few hints) to receive one as a Christmas present. Picardie, who took 8 years to research and write this very stylish book is not merely a fashion writer – she was once Features Director at British Vogue – but a proper journalist, for the book involved a tremendous amount of research. With hindsight, I should have been glad to pay £25 of my own money for it.

As is made clear, Chanel consorted with the Moderns: Picasso, Cocteau, Dali, and financed Diaghilev’s, avant-garde, Ballet Russes. She was influenced by what she saw them doing but, ever the hard-nosed businesswoman, extracted only the elements which she considered might have commercial value and could be applied to her design work at that particular point in time. ‘Fashion,’ she said, ’should die and die quickly, in order that commerce may survive…’. For the beautiful villa she began building in 1929, La Pausa – incidentally, currently up for sale at €11,200,000, I discovered during my own research for this review – at Roquebrune-Cap-Martin, high up in the Alpes Maritimes, with views towards the Mediterranean and Monaco and overlooking the rocky coastline below, in amongst which Eileen Gray’s (1924) radical and uncompromisingly modern villa, E-1207, perches, Chanel chose the Belle Epoque style. Perhaps she regarded Modernism as just another fad.

Mademoiselle Chanel’s reputation for contradiction is well-documented in the book – she altered not only her date of birth in her passport but her early biographical details, too, giving whatever version best suited her purpose at any given moment – and bearing this in mind, Patrick Budge’s smart and elegant design for the HarperCollins book package can be construed as consistent. Incidentally, the book’s cover font is in sans serif on Justine Picardie’s blogspot page, as opposed to the serif font version on the cover above.

Did you read it? What did you think? Please leave a comment

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How Long is a Piece of Spaghetti?

Sunday, May 23rd, 2010

To Bologna and back (eventually)

Have you ever been to Bologna? No, neither had we but our daughter had paid a visit there last year and loved it, so we thought we’d give it a go. Our budget was limited but by booking a modest hotel and flights on-line, well in advance, the outlay was relatively small. Our stay over, in the taxi on the way from our hotel to the airport, we congratulated ourselves after having had a great time in the city. The hotel was great. The weather was great. The predicted rain and high humidity never materialised; on the contrary, much of the time it was sunny but cool; sometimes, especially in the evening, a chilly wind blew up that nudged us toward pulling on an extra layer but couldn’t deter us from exploring the city on foot. Our spirits might have taken a knock at the airport had the taxi driver, whom we’d given a generous tip, not caught us up, honked his horn to attract our attention then leaned over to hand my wife, Lesley, her favourite scarf, which she’d left behind on the back seat. It was Sunday; when the automatic doors opened ushering us inside we weren’t surprised to find the airport building quiet.

Earlier, waltzing out of the hotel toward the waiting car we overheard an elderly woman, who we mentally dismissed as an old fuddy-duddy, ask the receptionist whether she’d mind calling the airport to make sure her flight would be leaving on time. The last we’d heard of the Icelandic volcano’s continuing eruptions and ominous, wandering ash cloud was that it was causing problems on the Iberian Peninsula’s western seaboard. The week before’s general election and its aftermath was all the news we’d bothered to keep up with.

Save for a few that were heading for more southerly destinations, the word CANCELLED appeared against every flight on the airport monitors. Evidently, the ash cloud had drifted in our direction; all northern Italian airspace was closed until 1400 hours. We managed to find a Ryan Air desk manned by two bored-looking, uniformed staff, who informed us that we would be eligible for a refund of the full cost of the flight. One of them handed us a hastily printed A4 handout filled on both sides with bullet-pointed text explaining the company’s, and our own, position. ‘Oh,’ said the other, helpfully, ‘you might like to know that Ryan Air has cancelled all fights until Tuesday.’ We needed to get back to London and besides, Bologna is really only worth a three-day visit; staying two extra nights in a hotel would mean laying out a lot of extra cash, which wasn’t on our agenda.

The following morning, stumbling out of the couchette, in which we’d spent the last ten hours on our way to Paris from Nice, it was hard to imagine what we’d been through in the preceding 24. We had first enquired at all the car hire desks whether it was possible to take a car to Paris and to leave it at a depot there. It wasn’t. One of those we spoke to told us he was organising a mini bus to drive up to twelve stranded Brits to Calais, privately, and asked us if we’d like to be included. ‘No,’ we told him; the price was scandalous and besides, he looked a bit shifty.

Like a lot of English tourists, our Italian is more or less limited to what various types of food and a few wines are called. We had taken another taxi to the main railway station, where the woman on the ticket counter spoke no English. ‘Parigi?’ we asked, hopefully. ‘No,’ she said, shaking her head. ‘Milano’ and ‘internazionale’ were about the only words we understood from the deluge of them that issued from her animated lips through a whole universe of facial expression. Resorting to international language: ‘Okay’ we told her.

Milano Centrale, Milan’s colossal railway station, opened in 1931; it has no definite architectural style, but is a blend of among others, Belle Epoque and Art Deco, and (having been incomplete when Mussolini came to power) has additional fascist embellishments. It is 200 metres wide, is a soaring 72 metres high and has 24 platforms. Every day about 320,000 passengers pass through it, using 600 trains. ‘Inferno’ is Italian for ‘hell’; jumping into the burning mouth of a live volcano might have been less intimidating. The place was heaving: the signage inconsistent, confusing. It took us about 20 minutes just to locate a loo. By now it was 2pm. There had been no buffet or restaurant on the train. We had eaten nothing since breakfast at 8am. Despite its opulent grandeur, the only source of food at Milan’s main station appeared to be the Italian version of a MacDonald’s, serving fast-food pizza. Scorning it, we wheeled our suitcases out of the station and found ourselves in an almost silent, urban desert, the only signs of life: the sparse remnants of a Philipino congregation who’d attended a Catholic service at a nearby church. Gritting our teeth, we went back inside and ate pizza.

Trains to Munich, which we reckoned must be far enough north to be safe from the ash cloud, were all full. Assured that we could pick up a connecting train to Nice, we bought tickets to Ventimiglia, on Italy’s Mediterranean coast close to the French border. The journey under ominous skies, across vast areas of dull countryside, punctuated here and there by stops at grimy, industrial towns, took an age. Standing up, getting our things together, thinking we had reached our destination, we discovered that the train was only coming into Genoa, which meant two more hours to go. Under sullen skies and passing through countless tunnels, past deserted, sad-umbrella’d, narrow beaches the train creaked and swayed on its relentless odyssey. Even the sea looked bored. There was a stop at Savona then San Remo, which we visited briefly on a family holiday in the area ten years ago: others at Imperia and Bordighera, none of which we’d been particularly enamoured by. Finally reaching Ventimiglia, we dashed through the light drizzle to board the Nice train that was just about to leave. It turned out to be mostly filled with French commuters, who have jobs in Italy but live in France. Miraculously, the sky cleared and the sun came out as the train, hugging the steep cliffs, rounded the headland where the Alps fall into the Mediterranean. Bathed in evening sunlight, orange, ochre, countless pale green-shuttered Menton, one of our favourite towns on the Mediterranean coast, welcomed us back but just as quickly, waved adieu, to be quickly replaced by other-worldly, skyscrapered Monte Carlo and a gaggle of smart yachts and gigantic cruise-liners moored beyond the port, still brushed with the dying sun’s golden light.

When we inspected them: our tickets to Paris that we bought in Milan and came in three parts, had Nice Riquier marked on them as the station where we should alight in Nice. However, the Nice-Paris portion of the journey was to start from Nice Ville. Approaching Nice the train slowed a little and came to a sudden halt at Nice Riquier station, where we were the only ones to jump up and leap off. Before we had time to question our decision, the train left. Something was wrong. Things didn’t look very promising. It was so obviously not a main station. The station buildings looked rather run-down. No one was about. The ticket office was closed. We were confused. We were intimidated when two black teenagers in full rapper gear appeared. Facing me, shrugging her shoulders and raising her eyebrows, as if to say we had no other choice, Lesley, who is braver than me, turned and walked over to them and asked if they knew where we could get a taxi. They smiled shyly, taking off their dark glasses then took on worried looks when Lesley showed them our tickets and went on to explain that we needed to catch the 9 pm train to Paris. They didn’t know about taxis but told us – by this time I had wandered over – there was a tram stop a couple of hundred away. But then one of them pulled out a train time-table and advised us to stay put; the next train to Nice Ville was due in 20 minutes and the journey only took six, which would give us more than enough time to catch the mainline train north.

Starving: from Gare d’Austerlitz, Lesley and I walked across the Seine to the Marais, where we allowed ourselves the luxury of a well-deserved, phenomenal breakfast at her favourite Paris brasserie, Camille. We had been shocked to find – being in France! – that aside from a vending machine from which sweets, crisps and soft drinks could be had, there was no other source of sustenance on the sleeper. Malteasers and barbeque-flavoured crisps are not the ideal supper but, before retiring, I dug around in a suitcase and pulled out a beautifully gift-wrapped bottle of mirtillo (blueberry) grappa to wash them down with. Paris, early on a beautiful, milkily-lit weekday morning in mid-May, although we wished we could linger, wasn’t the end of the story. Before us, there remained the Eurostar to St Pancras; the tube to Liverpool Street; the train journey to Stansted, where we’d left our car and finally, the half-hour drive home.

In case you were wondering…
In Bologna, everyone was out on the streets, including the happy father and his two rather glum-looking children in my picture, to watch the Bologna stage of the Mille Miglia, in which 1927-1957 vintage cars race one another along 1000 miles of Italian roads. The 2010 winners, driving a 1939 BMW 328 Mille Miglia Coupé, were Giuliano Cané and Lucia Galliani, making this their tenth Mille Miglia victory.

Has anyone has had similar travel experiences? Please post a comment

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