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Swope Block (1901), home of the Swope Art Museum, 25 South 7th Street, Terre Haute, Indiana. The Swope Art Museum has many people to thank for its existence, but none more than Terre Haute jeweler Sheldon Swope. Through a bequest, Swope laid the foundations on which the museum was built.
Born in Attica, Indiana on November 3, 1843 to James Asbury Swope and Jane Hull Patterson, Michael Sheldon Swope lived on a farm near Evansville until the outbreak of the Civil War in 1861. Six months shy of his eighteenth birthday, Swope enlisted as a Private in Company I of the 14th Indiana Volunteers. The Gallant Fourteenth, as they came to be known, was the first regiment to leave Indiana for the war.
Swope served for four years in the regiment. During that time he saw the battles of Gettysburg, Antietam, and the Shenandoah Valley Campaign. Then, upon returning from the war, Swope entered the jewelry business as apprentice under his half-brother, James Swope, in Dayton, Ohio. It was in this trade that he made his fortune.
In 1867, Swope came to Terre Haute and took a job with S. P. Freeman, a local jeweler. He soon became a partner. Later, Swope bought Freeman’s portion of the firm and hired Charles T. Nehf as partner. Together, they made Swope-Nehf Jewelry Indiana’s largest jewelry store.
Swope was a shrewd businessman. He retained interest in the jewelry firm even after his retirement, and was a respected diamond merchant. He traveled considerably and was considered one of the best read men in the city of Terre Haute. However, Swope was not an art collector himself, and it is unclear why he was motivated to take such interest in opening a gallery. What is clear is that he planned for the gallery long before his death on July 9th, 1929. His will, bequeathing all but a small portion of his estate to the founding of the art gallery, was written in 1903 and remained unchanged.
During his later years, Swope lived in Florida, fishing at Punta Gorda, enjoying Daytona Beach, and occasionally returning North to hunt. Swope never married, and at the time of his death, his estate was liquidated and allowed to accumulate interest for a period ten years. In addition, his will directed that works of art be purchased, accumulated and “…displayed publicly and free of charge to all residents of Terre Haute and Vigo County, Indiana, forever.”
On September 26, 1939, the first board of managers was appointed by Judge John W. Gerdink, and planning began for the new gallery and the collection of artworks to be housed there. The second floor of the downtown Swope Block, a 1901 Italian Renaissance style commercial building that was part of the Swope estate, was gutted and rebuilt as a state-of-the-art exhibition space in a streamlined Art Deco style.
In March of 1942, The Sheldon Swope Art Gallery formally opened its doors to the public with nationwide attention. Its founding collection, assembled by the Museum’s first director, John Rogers Cox, contained new works by artists such as Grant Wood, Thomas Hart Benton, Charles Burchfield, Zoltan Sepeshy and Edward Hopper, and it remains the feature for which the Swope is best known nationally and internationally.
Gas block for my WIP. Figured y'all could use it, too. Thoughts? It spawns at 200. Remember to credit.
Ok..may not be the block of my dreams...but got 23 of them for $20. Enough to do a low wall. Now the chipping off the old cement...wish me luck.
It's easy to shut down the street for a block party! www.portlandonline.com/oni/index.cfm?c=33907
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342 Water Street, Vancouver, BC.
Description of Historic Place:
The Burns Block is a five storey plus lower level stone-clad commercial building located in the historic district of Gastown, in the triangle of land where Water Street joins West Cordova Street. It has similar primary facades facing both streets, and terminates the vista to the north on Homer Street. The northern slope of the site towards the original waterfront allows a partial exposure of the lower level.
Heritage Value:
Gastown is the historic core of Vancouver, and is the city's earliest, most historic area of commercial buildings and warehouses. The Burns Block is representative of the importance of Gastown as the trans-shipment point between the terminus of the railway and Pacific shipping routes, and the consequent expansion of Vancouver into western Canada's predominant commercial centre in the late nineteenth and early twentieth centuries. The massive cubic form and notable height of this structure are a clear indication of the extent and prosperity of commercial trade during this period.
The Burns Block is significant as an important design by William Blackmore (1842-1904), one of Vancouver's earliest and most prolific architects. Blackmore's mature work in the Romanesque Revival style helped to establish the character of Gastown as a successful and progressive commercial district. The style had a powerful rhythm and unity of materials that conveyed corporate strength and security appropriate to Late Victorian sensibilities. The three Romanesque entrance arches, with carved capitals and grotesque keystone heads, reflects the more eclectic, medieval-inspired aspects of the style.
The economic boom of the pre-World War One era was reflected by the addition of two additional storeys in 1911, designed in a compatible style by architects Grant and Henderson, to accommodate expanding business needs.
Source: City of Vancouver, Heritage Planning Street Files
Character-Defining Elements:
The character-defining elements of the Burns Block include:
- location, in close proximity to the waterfront of Burrard Inlet and the Canadian Pacific Railway yard
- siting on the property lines, with no setbacks
- location on a trapezoidal lot, with two street frontages and a return onto an alley, as a result of the irregular street layout of Gastown
- five-storey plus lower level flat-roofed symmetrical form, scale and massing
- masonry construction: rough-dressed sandstone used on both the Water Street and West Cordova Street facades; brick demising walls; and parged brick side facades
- Romanesque Revival style, as exemplified by the pier-and-spandrel motif, rough-dressed masonry, round-headed entrance arches, carved capitals and grotesque keystone heads
- two round-arched entries on West Cordova Street, and one larger arched entry on Water Street
- regular fenestration, employing double-hung 1-over-1 wood-sash windows on the upper floors
- large rectangular ground floor windows with monolithic sandstone sills and lintels
- elaborate sheet metal cornices with heavy brackets
- heavy timber frame internal structure
- interior features such as brick demising walls
The building was called The Buscombe Building at one time.
PORT GENTILE, Gabon (Jan. 12, 2008) Seaman Wilfredo Jirauruiz blocks a spike during a volleyball game against the Vieille Gloire (Old Glory) team a local Gabonese volleyball team. Africa Partnership Station (APS) uses sports games like this one as a way to create partnerships throughout West and Central Africa. APS is a multi-national effort to bring the latest training and techniques to maritime professionals in nine West and Central African countries, and to address the common threats of illegal fishing, smuggling and human trafficking. In addition to maritime training, APS will perform more than 20 humanitarian projects in the region. U.S. Navy photo by Mass Communication Specialist 2nd Class RJ Stratchko (Released)
May 5, 2008 (126/366)
I believe proper knitters use t-pins for blocking, but I don't have any, so some of my quilting pins have to do double duty.
For her blocks in the Tag Square Bee Jo asked for pink and white blocks. Our theme in this bee is squares and this month I wanted to make squares without using squares. This block is just half square triangles. I'm really happy with how it turned out!
Our Daily Challenge 14-20 January : Water
This huge puddle just outside my gate is a temptation to some to create a wave. Sadly nobody obliged whilst I was taking pics, but one of my lodgers was a victim of an idiot who targeted her on purpose.
(1361), A few stacks of stock piled blocks fell over onto the side of an Hanson lorry, (photo courtesy of RM.
185/366 Tuesday 3 July 2012 - I made my first low volume block. In the evening I went out to eat with an old school friend. We nattered so much that the evening passed by in a flash. I didn't realise until I got home I'd had a camera in my bag so I could have taken a picture of the cricket bats and other cricket decor in the pub. Next time.
blogged at: isisjem.blogspot.co.uk/2012/07/some-quiet-play.html
La historia comienza así;
Caminando por Santiago, encuentro una bella y antigua pintura en muy mal estado...
los ´cachureos´ estaban a quinientos pesos en ese rincón de la feria.
La chica del dibujo anónimo
esperó pensativa tal vez meses o años, por algo más de color,
sólo unos cuantos trazos pintaban la silueta y la escena,
no tenía ni el cabello para soñar nuevas historias.
Buscó en su habitación...
Sin dejar de lado su tristeza encontró algo más adentro...
Ella ahora, escribe todo rojo en su corazón.
Block de notas / acrílico sobre tela / 40 x 50 cm / FelipeSmides 2009
Last block of the Ruby McKim Farm Quilt design set. Finished 11/2/09! Done with DMC #355 6-strand-floss.
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★Download Link: + Toy blocks Saled
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No, not the American football kind. Some of the rigging on the Bluenose II. We talked with one of the crew about the woven rope mat on the deck. They have one of those for every cleat on the deck with a metal loop attached. They keep the metal from banging and scrapping on the wood. The crew makes them themselves when they're on hiatus from sailing.