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This was an awful slide to scan, with a dark band between the white area and its reflection - I hope I have managed to make something from it.
Castleways of Winchcombe took a pair of Cummins L10 Tigers in 1990, one each with Plaxton 3200 and 3500 bodies. Both left the fleet within two years, replaced by new Setras - quite a few drivers did not like this L10 / ZF manual combination, so that might have been a reason for their short stay. After a while with the dealer, G529 EAD passed to G-Line at St. Annes-on-Sea in 1993, followed a while later by G531 EAD. The latter didn't stay for long, but 529 had a 9-year stretch, followed by a further 6 years with Aspden's at Blackburn, and then Holmeswood Coaches when they acquired Aspden's. It even managed a last few years with various owners in south Wales, until 2011.
Water Street coach park, Manchester, 12/4/94
P.S. An update on the above comments - I have been clearing out some cupboards and shelves, and throwing out old copies of coaching magazines from the 1980s/90s, but reading them all one last time ! In a late 1990 Coachmart, Castleways' owner Trevor Fogarty had a letter published, in which he gave Leyland a right pasting, for both the appalling quality of this pair of Tigers - particularly the gearbox - and Leyland's attitude to resolving the serious problems arising. I think we now know why they had a short stay here ....
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This set of photos is in Ham House Album Part 3 and follows the Album Ham House Part 2.
All the Ham House photos are collected in the album HAM HOUSE COMPLETE/
Ham House is a Grade 1 Listed Building.
It was given to the National Trust in 1948 and opened to the public in 1950.
A full description of the tapestry on the left wall, of which part is shown, is given in the following link. It is: The Dance, by William Bradshaw (1700-1775) Wool and Silk. Date: circa 1734-1740. (NTP)
A description of the tapestry to the right, also by Bradshaw, is given in The Fountain (NTP)
The information is based on the following references.
Guide Books (V&A and NT):
V&A: "Ham House, A Guide", Victoria and Albert Museum, Fourth Edition, 1959.
NT: "Ham House". The National Trust, 1995.
NTP: National Trust Collections-Ham House paintings
W: Wikipedia links in blue.
History of Ham House.
The original house was built in 1610 by Sir Thomas Vavasour (1560-1620). After his death, the lease passed to John Ramsay (1580-1626), First Earl of Holderness.
Shortly after Ramsay's death in 1626 it became the residence of, and then in 1637, the property of William Murray, 1st Earl of Dysart.
Earl of Dysart is a title in the Peerage of Scotland--it was created by King Charles I in 1643 for William Murray and has been held continuously since then by his relatives. Dysart is a town in Scotland, in the County of Fife.
William Murray bequeathed it to his daughter Elizabeth (1626-1698).
Elizabeth Murray married, first, Sir Lionel Tollemache (1624-1669), 3rd Baronet of Helmingham Hall in Suffolk. She became the mistress of Ham House and the Countess of Dysart. In 1672, three years after Sir Lionel's death, she married John Maitland, the Duke of Lauderdale, when his first wife died in that year. Duke of Lauderdale is a title in the Scottish Peerage. Lauderdale is a valley in the Scottish Borders.
Elizabeth Murray became the Countess of Dysart and Duchess of Lauderdale.
Alterations to Ham House.
From The National Trust History of Ham House:
Between 1637-39, William, the First Earl of Dysart, and his wife Catherine, embarked on a series of lavish decorative alterations to the house. These changes were designed to reflect their taste, their favoured status as friends of the King and Queen, and their position as key members of the royal court.
After their marriage, Elizabeth Murray (daughter of William and Catherine) and John Maitland were created Duke and Duchess of Lauderdale. To match their high status, they transformed Ham House into one of the grandest Stuart houses in England.
They extended the house to the south to create more rooms and employed the best craftspeople to provide the finest interiors, furniture, and art. Many of these craftspeople had also worked on royal palaces and collections. They also developed the formal gardens surrounding the house, including a private garden for Elizabeth and a showpiece walled kitchen garden.