Julie Peasgood Celebrates Date Night with Prosecco

Julie Peasgood Celebrates Date Night with Prosecco


Happily married for the last twenty-two years, my husband Patrick and I started ‘dating’ again about three years ago, because we reckon it’s never too late to spend special time together, as you do on those first special dates.

Date nights – or date days – don’t necessarily need to involve much expenditure – we’ve made trips to Art Galleries (the Winnie the Pooh exhibition at the V&A) or special museums (the Dennis Severs House in Spitalfields) or a meal in a wonderful ancient pub in the centre of Oxford (the secret but iconic Turf Tavern). We take it in turns to surprise each other, but with our dates derailed by Covid-19 we’ve needed to turn the tables.

Actually, forget tables. Tonight we’re having an indoor picnic – and it’s a veritable feast. Prosciutto, quails eggs, guacamole, giant green Nocellara olives, prawns, potato salad, roasted peppers, artichoke hearts and a tomato and buffalo mozzarella salad with my husband Patrick’s home-baked rosemary and walnut soda bread. But what brings it all together and makes it a proper occasion, is the bottle of Prosecco we have chosen to celebrate with.

Feast & Fizz

Perlage Col Di Manza DOCG Valdobbiadene Superiore Prosecco is quite a looker. The cork is covered with a fine cotton cloth, bound tight with raffia and the bottle itself is impressive, with embossed birds circling the glass. From Perlage winery, renowned globally as one of the first Italian Organic Sparkling Wineries, it is the world’s first Valdobbiadene Prosecco Superiore DOCG to be made with biodynamic and organic grapes. It has no added sulphites and is vegan certified. It also tastes like heaven – think fragrant rose garden meets crisp apple orchard, though it’s surprisingly dry, rather than sweet or cloying. With a fine, active mousse bursting with Italian vitality, it’s an elegant, aromatic, fresh and intriguing aperitif that’s in a different league to any Prosecco I’ve ever tasted.

Perlage Col Di Manza

WinesWithStories.com isn’t just an exceptional, artisan wine provider, it’s also very informative. Created by wine importer GreatVine Ltd, their mission is to help people drink better wine by providing a handpicked selection of artisan wineries, where authenticity and provenance is assured above all else. Bona fide, hand-made, single vineyard quality wines (unlike more commercial wines) always have a story.

I had no idea before tasting Perlage Col Di Manza that it’s important to drink Prosecco as fresh as possible. It isn’t designed to age like Champagne as it’s made in steel tanks using a different method known as Charmat. And if it isn’t a ‘Millesimato’ Prosecco as this one is, the producers are not obliged to put the year of vintage on the label, so it’s possible that many of the cheaper Proseccos on the market may be quite old and beyond their best (rather like selling food without an expiry date). Prosecco has a shelf life and ideally shouldn’t be consumed beyond the year of vintage, which is why the suppliers for WinesWithStories.com bottle it fresh from the tank for every shipment.


In a nutshell, the less time Prosecco spends in the bottle, the better – but when it tastes this good (and produces no hangover!) there isn’t much danger of it lying around for long…

Check WinesWithStories for yourself, and tell them Julie Peasgood sent you!
Use discount code: Glotime10 which gets you a £10 Discount on orders of £50 and over
That’s on top of existing offers on their site for 10% discount on cases of 6 and 20% discount on cases of 12 and free delivery over £150
So there is no excuse to enjoy a bottle or two

Website: https://wineswithstories.com/
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The quirky and delightful Charles Burns and Michael Herbert, may look as if they have just stepped out of a Dickens novel, but their sheer genius and ability to entertain adds value and variety to any special day, and can be booked for Weddings, Bar Mitzvahs or any other special celebration or event.

We recently enjoyed the two artists at our Glotime.tv celebrity lunch in December and the guests all enjoyed the delightful pair and told us it added so much to the day.

These two specialist artists have this to say about their own art form.

‘The art of cutting profile portraits with scissors is an old English craft with a fascinating history. It died out in Victorian times – after the invention of photography – and today is almost totally unknown.

Yet silhouette cutting still has much to offer. In today’s world, where technology is all, there is something captivating about such a simple art. All a silhouettist needs is paper, scissors and a quirky skill. Driven by a belief in the future of his art, Charles Burns – The Roving Artist – has taken this lost craft and re-invented it for the twenty-first century. Teaming up with fellow silhouettists, Michael Herbert and others, he has created a flexible team of artists working at events all over the UK and abroad.

The artists combine traditional skill with modern, stylish presentation. Whether you need a single silhouette cutter for a wedding, or a team of artists to make 500 silhouettes at a gala dinner, The Roving Artist can provide.

“Must a silhouette always be in profile? What happens if you cut me face

For years, like most silhouette artists, I tended to avoid these questions.

“It won’t look like you” I’d say, “all you’ll get is a round shape with
two ears sticking out!”

This is true. My fellow American silhouettists refer to such cuttings,
rather disparagingly, as “lollipops”.  For people with long hair,
covering their ears and neck, the prospect is even more uncertain.  One
may as well cut out a sack of potatoes!

Generations of silhouette artists have always cut their portraits in
profile. Looking through my collection of antique silhouettes, I’ve
never seen one not in profile. To a silhouettist, this feels “just the
way things are”. There’s something about the human profile which allows
us to bring out the likeness; nothing else really works.

Nevertheless, graphic designers use silhouettes very differently. From
the iconic iPod adverts of the 2000s to ubiquitous corporate clip art,
silhouettes are seen in a wide variety of poses and from many points of
view. Some years ago, being me, I began to ask: “could a silhouettist
work this way too?”

Working at events offers me some wonderful freedoms. You may have heard
me say that my studio is wherever I happen to be that day. I’m fond of
saying it! You see, when a question like this pops us, I’m free
to experiment. Nobody really minds if one or two silhouettes go wrong,
it just becomes part of the fun. So, one Christmas season, I decided
that next time somebody asked “what happens if you cut me face on?” I
would give it a go.

As predicted, I quickly ran into problems. Graphic designers have time
on their side. They can draw out their designs and spend time refining
and correcting them. I literally just cut and hope! My most successful
cuttings were bald men with white shirts. By cutting in the collar and
tie I discovered I could create the shape of the head, and — yes, to my
surprise — there was a likeness there. Attractive young women with long
hair, on the other hand, really did come out like a sack of potatoes!

I decided to put the project on the back burner.

Then, last October I was booked to create reportage silhouettes during
an interview in Ghent, Belgium. Reportage is when I cut silhouettes to
illustrate a meeting or event — in this case for a magazine
article — rather than to provide entertainment. The interviewee was a
famous Belgian tax inspector, well known for his black-and-white views
on tax law (hence the silhouette theme). The interview was scheduled to
last for 40 minutes.  I began by creating silhouettes of
both interviewer and interviewee, and then went on to create some scenes
in profile. These included the table, books, and cups of coffee between
them. This was quite complex and (for me) time-consuming work with a lot
of detail and some preliminary sketching required. Once my work was done
it became apparent that the interview was going to overrun.
It occurred to me I could use the extra time to experiment with head-on
silhouettes. I created a few of these, freehand, quite fast.

Sifting through the cuttings afterwards it became clear — as is so often
the case — that I’d done my best work in the closing minutes of the
interview. By then I was working at high speed and was not really
thinking about what I was doing. I was just playing! One of these
cuttings became a full-page spread in the magazine. The interviewer has
his back to us, while the tax collector is silhouetted face on. A large
area of black paper became a backdrop for text in white. The
commissioning editor was really enthusiastic about this cutting; he felt
I had discovered a truly French, comic-book style!

After the experience, I realised that reportage may be a way forward.
Eager to explore the style further, I decided to seek the input of some
other silhouettists. So, just over a week ago, I hosted a not-in-profile
Burns Night party.

Being a Burns, Burns Night has become a big thing in my life. Every year
I invite those silhouettists I work with regularly, plus a few other
artistic friends, to a dinner in Mays Barn (my studio in Emmer Green).
My idea is some sort of post-Xmas / Burns night / Roving-Artist company
party. We don’t really follow the Burns-night protocol (apart from me
getting to slice a haggis in half with a sword!) Each year, I pose to
the assembled artists a different artistic question. Last week, I asked
them to bring their scissors, so we could explore these not-in-profile
profiles together.


What of the future? As entertainment — although it really amused a
troupe of silhouettists – I’m not sure the idea works. The results are
just too uncertain. As illustration or reportage, however, it certainly
does. I really enjoy reportage work, and would love to do more of it.


You can find more information and how to book at http://www.roving-artist.com/

Download PDF Document here: roving_artist-publicity


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