Heading North on Highway 1 just south of Crystal Brook

Operational Contract Support Joint Exercise 2016 participants built teamwork and tested their mettle on the endurance and leadership reaction courses March, 24, 2016, at Fort Bliss, Texas.

www.lawyerslegalformsanddocuments.com/business-legal-form... - Employment contracts are important for both employer and employee. There are several different types of employment contracts, which need to be used depending on the situation.

Royal Jordanian Airbus A320neo delivery ceremony. Airbus Delivery Center.

An example of the data archive in action. Some datasets require researchers to sign a contract and implement a security plan to keep data with potentially identifying information secure. We manage several large contracts at PRI.

M74 Greenhillstairs 19/08/2015

Forest Contract Ltd is a leading Contract Furniture Supplier in UK. We manufacture quality furniture for hotel, offices and restaurants for commercial purposes.

www.forestcontract.com

Sadly, Montenegro still has limited recycling facilities. Paper and plastic can be placed in special collection bins but rumour has it that the city council could not get anyone to take on the contract for collecting glass.

So in an attempt to stick to our re-use, recover & recycle philosophy. We hope to fill in the window spaces in the building with rows of empty wine bottles. We estimate that we need over 500!!! A big thank you to all local bar owners and friends who are saving them for us.

An old Crystal Lake based construction firm

CASA VANZO - struttura ricettiva extra alberghiera

Fondazione I.R.P.E.A. - Padova

Progetto: arch. Santelli Nazzareno, Santelli Andrea e Rampado Diego

General Contractor: Tecnoffix Interior

Mazzali ha realizzato gli ambienti notte e studio.

Armadio: modello 900, tamburato con massello di abete, essenza di rovere, verniciatura all’acqua e ingnifuga

Letti e Comodini: multistrato, essenza di rovere, verniciatura all’acqua e ingnifuga

Scrittoi: multistrato, essenza di rovere, verniciatura all’acqua e ingnifuga

Boiserie: multistrato, essenza di rovere, verniciatura all’acqua e ingnifuga

VANZO – extra hotel accommodation

Foundation I.R.P.E.A. - Padova

Design: arch. Nazzareno Santelli, Andrew Santelli and Rampado Diego

General Contractor: Interior Tecnoffix

Mazzali has created the night and study spaces.

Technical card:

Cabinet: Model 900, with honeycomb sandwich panel with solid wood frame, oak, water and fire resistant painting

Beds & Tables: plywood, oak, water and fire resistant painting

Desks: plywood, oak, water painting water and fire resistant painting

Boiserie: plywood, oak, water and fire resistant painting

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I was originally enrolled into the GETTY IMAGES collection as a contributor on April 9th 2012, and when links with FLICKR were terminated in March 2014, I was retained and fortunate enough to be signed up via a second contract, both of which have proved to be successful with sales of my photographs all over the world now handled exclusively by them.

On November 12th 2015 GETTY IMAGES unveiled plans for a new stills upload platform called ESP (Enterprise Submission Platform), to replace the existing 'Moment portal', and on November 13th I was invited to Beta test the new system prior to it being officially rolled out in December. ESP went live on Tuesday December 15th 2015 and has smoothed out the upload process considerably.

These days I take a far more leisurely approach to my photographic exploits, a Nikon D850 FX Pro body as companion to my D7200 DX, I travel light with less constraints and more emphasis on the pure capture of the beauty that I see, more akin to my original persuits and goals some five decades previously when starting out. I would like to say a huge and heartfelt 'THANK YOU' to GETTY IMAGES, and the 23.445+ Million visitors to my FLICKR site.

***** Selected for sale in the GETTY IMAGES COLLECTION on May 8th 2018

CREATIVE RF gty.im/956292696 MOMENT OPEN COLLECTION**

This photograph became my 3,090th frame to be selected for sale in the Getty Images collection and I am very grateful to them for this wonderful opportunity.

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This photograph was taken on the banks of the River Cray at an altitude of Twenty metres at 05:27am on Thursday 22nd April 2018, in the golden hour around sunrise, (Sunrise was at precisely 05:58am),off Rectory Lane in the grounds of Foots Cray Meadows, over the River Cray in Bexley, Kent, England.

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Nikon D850 24mm 1/3s (Electronic front curtain) f/4.0 iso64 RAW (14 bit uncompressed) Image size L 8256 x 5504 FX). Colour space Adobe RGB. AF-C focus 51 point with 3-D tracking. Manual exposure. Matrix metering. Auto 0 white balance (8030K). Nikon Distortion control on. Vignette control Normal.Manfrotto 055Xprob Carbon Fiber Tripod 3 Sections. Manfrotto 327RC2 Magnesium Ball Head. Manfrotto quick release plate 200PL-14. Jessops Tripod bag.

Nikkor AF-S 24-120mm f/4G ED VR. Phot-R ultra slim 77mm UV filter. Nikon EN-EL15a battery. Matin quick release neckstrap. My Memory 128GB Class 10 SDXC. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module.

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LATITUDE: N 51d 25m 33.50s

LONGITUDE: E 0d 7m 38.30s

ALTITUDE: 20.0m

RAW (TIFF) FILE: 130.00MB (NEF 94.3mb)

PROCESSED (JPeg) FILE: 48.20MB

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PROCESSING POWER:

Nikon D850 Firmware versions C 1.01 (16/01/2018) LD Distortion Data 2.017 (20/3/18)

HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.2.11 15/03/2018). Nikon Capture NX-D 64bit (Version 1.4.7 15/03/2018). Nikon Picture Control Utility 2 (Version 1.3.2 15/03/2018). Adobe photoshop Elements 8 Version 8.0 64bit.

First have ran 398/399 for years in Huddersfield. Ironically a Ex First Scania is on the route with Yorkshire Buses.

SN05 HWV - 36027 ex First Scotland East

1818 - Ex McGills

Description: Marriage contract

Object Origin: Verona, Italy

Date: 1786

Medium: ink and paint on vellum

Persistent URL: digital.cjh.org/R/?func=dbin-jump-full&object_id=244156

Repository: Yeshiva University Museum, 15 West 16th Street, New York, NY 10011

Call Number: 1983.006

Rights Information: No known copyright restrictions; may be subject to third party rights. For more copyright information, click here.

See more information about this image and others at CJH Museum Collections.

6y38 stands at Filey,Freightliner have recently won a track renewal contract on the Wolds Line bringing green Freds to the area for the first time

twitter.com/KeltruckLtd/status/941261720663846912

Another #TomPrichardContracting #Scania delivery. A bit wet for driver training but all went ahead and the sweeping begins #KeepWalesTidy #Sweeper #TomPrichard #Llantrisant #Wales #SouthWales #Cymru #CF72

#SuppliedByKeltruck keltruckscania.com/suppliedbykeltruck

MAZZALI Contract: “LA STECCA”, residenza universitaria di Imt Alti Studi Lucca

"La Stecca", l'imponente immobile originariamente parte del complesso del convento di San Francesco, è sede dell’ IMT (Istituzioni, Mercati, Tecnologie) Istituto di Alti Studi , un istituto statale di istruzione universitaria, di ricerca e di alta formazione.

Mazzali ha realizzato:

100 camere residenziali per docenti, ricercatori e studenti.

16 spazi ufficio e multimediali.

MAZZALI Contract : “ LA STECCA ” IMT campus, Lucca.

IMT is an Institute for Advanced Studies that aims to push the frontiers of knowledge and to contribute to the formation of international professional elites for business and institutions.

Mazzali made:

N° 100 short to medium term housing bedrooms for professors, students and visitors;

N° 16 office spaces for faculty and staff

The beautifully and painstakingly restored complex includes the San Francesco Church (to be used for major events), the Guinigi Chapel (for seminars and smaller events), the "Sala delle Colonne" (for seminars and meetings), classrooms, residential facilities for students, short- to medium-term housing for visiting faculty, office spaces for faculty and staff, the canteen, and numerous internal and external areas for study and socialization. PhD students who qualify for a scholarship are offered free housing in the San Francesco complex, while all students and faculty have free access to the canteen.

DAY 2--

Today I was up and about around 7 am. My feet are soaked but the mild weather makes the constant drizzel bearable. I went to book some accommodations at the tourism office and let me just say that we REALLY go all out for our tourists in Toronto in comparison! They only book Amsterdam and some Holland tours and only the ones they have contracts with. I haven't been able to find a travel agency to book accommodations in Rome so I'm worried about this flight from Paris to Ciampino airport outside of Rome.

I did a three hour walking tour of Amsterdam including the red light district, the churches and three eras of architecture. It was very interesting to say the least and I feel a lot more comfortable on my own now that I know the city a little better and see how far one part is from another. The tram is a lot of fun... it makes you feel like a local. I had to leave the tour near the end to go across town to the Diamond Museum, not for a tour (I'm doing that tomorrow via bicycle) but to get on a bus tour which took me to Zaan, Volendam and Edam. The tour covers the windmills, cheese makers and clog makers... Three of the things I have longed to see! I was going to get a pair of clogs but there's no room for them in my bag and I'm not about to globe trot with the extra weight. It's absolutely freezing in the open countryside! The best thing about the tour, thick, hot chocolate; the worst thing, the guy sitting in front of me keeps horking his shnot and swallowing it. It's making my intestine turn. Speaking of stomachs, I discovered that the milk, called melk in duetsch, tastes weird and sweet. It's either our milk is over-processed or there's isn't pasteurized the same. I also learned that one cannot take cheese back to Canada if they are flying from Frankfurt... Better I found that out the easy way rather than in customs. Let me just say that the smoked Gouda is delightful and probably much better with some vino!

The people I have met here are very nice (I hate that word but they really are just nice!) I met some people on the first tour from Dublin, Australia, Italy, Spain, Brazil and Cali. I couldn't say bye to them because I was running late for the bus tour but I may visit their hostel later to see if I can find them again...not! One needs balls for that! It's difficult to make friends, and that's not a usual feeling I get since I'll chat it up with just anyone, but it is true. Maybe staying in a hostel would've solved that problem, maybe it's because people are guarded when travelling these days, but ultimately I'm not complaining... Just commenting!

The Van Gogh, or the "Van Gof" as the locals call it, is packed with a lineup down the street because two of the other museums are closed... I hope to get there tomorrow if the rumours of it being closed on Mondays aren't true. I still have to hit up Anne Frank's Huis and again will peddle my way over tomorrow. The cyclists are aggressive and crazy and I've been told there's no other way to be so I'm looking forward to getting rid of some frustration... Some L. Izon frustration! Hahaha! OMG... When I got to the airport in Franfurt I thought I saw Lucy waiting for the same flight as me to Amsterdam... Thank God is was just my lack of 20/20 vision! Imagine? I had a good chuckle after a huge sigh of relief.

Tonight I think I will visit the cafe from Ocean's 12 but that's only if I'm feeling balsy again. :S. Rewind to the windmill, cheese and clog tour... I met four awesome couples! One from Pheonix (on honeymoon!! Awww!), another from London - so sweet and polite! I felt like the queen was talking to me. The other two were from Chelsea... Tom you will love this... the funnest, most entertaining 60 years olds ever!!! Hysterical, witty and, I am an old soul, they were so great I am going to stay in touch with them! 50 pictures later, pruney feet, a sniffle (not a hork like the other dude), and uber-frizz I bid them all farewell and got four visitor leads for Toronto! Do I get some commission out of that? AW can you advise? :D

A new change of clothes, some MTV Europe (ALL music videos- and they love Feist, Broken Social Scene and Jack Johnson!), a lot of deep breaths, memorizing the map, and a pepp talk from three of the most important people in my life, I, yes me, stepped out into the hallucinagenic, sweetly scented night of Amsterdam!!! If you're not sure what the big deal about that is, well then I don't like you enough (just kidding) no but really, then you don't know me well enough. It's an accomplishment and a half! 2 espressos, 2 waters, 2 banana juices, a croissant stuffed with cream just like in a canelloni topped with fresh strawberries and glazed with sugar, and being in the company of Woody, Britney and 50... Priceless. For everything else there's a platinum avion credit card that your mom added you to.

So since I'm writing this you may have guessed it, I am safe among a few other things!

Amsterrrrddddaaammm!

Tomorrow I attempt cycling like a local and taking in a concert. Also to note, I keep meeting Russians here, Oleg, Vassily and Stefan... Weird. What's even weirder is that I'm giving them instructions on how to get around when I'm not really sure myself. Ha!

www.archivessearch.qld.gov.au/items/ITM435753

IID 435753 - Historic Places collection.IID 435753 Historical-Places IM0930 Brisbane Customs House and City Reach Dept No.BW89-700

The Brisbane Customs House, located at the northern end of Queen Street and beside the Brisbane River at the northern end of the Town Reach, is an imposing two-storeyed rendered brick building in the classical style. The site is prominent due to the proximity to the river, the bend in Queen Street and the general topography which opens up many views to and from the building. A prominent feature is the large copper dome at the semi-circular northern end which is a focal point viewed from both directions along Queen Street and from the river for ships arriving from Moreton Bay. The architectural form of the building announces the northern edge of the city centre and is sympathetic to the landscape features of cliffs and river bends.

The architectural form clearly demonstrates the intended purpose of the building with the double entrance from both the city and the river, which is a response to the siting of the building between the river and the town. The riverside setting allows long views across and along the river to the building.

Other features of the Brisbane Customs House which demonstrate its former use are more characteristic of late 19th century customs houses in Australia, especially the general design and planning arrangement of the building to include an imposing masonry façade, an impressive public space (the former Long Room now used for functions), a secure bonded warehouse (the former Queens Warehouse, now converted to an art gallery), offices and a secure boundary fence.

The Brisbane Customs House is a well proportioned and skilfully designed example of a Victorian building in the Renaissance mode executed to take best advantage of its dominant site and solve the practical problems of dual access from the town and from the river. It has considerable unity in its scale, form and use of materials.

The main structure of the building is of brick on a stone foundation. The columns, pilasters, balusters to the colonnade, the parapet and side entrances are of Murphy's Creek sandstone. There are cast iron balustrades on the recessed verandahs and external stairs. The main roof is clad with corrugated iron. Timber window and door joinery survives reasonably intact on the exterior walls.

The exterior of the building is very intact except for the loss of the original roof, which was replaced by the present steel trussed roof in the 1940s, the removal of chimneys and the widening of the northwestern end of the balconies in the 1940s.

The interior fabric is less intact due to the alterations and additions carried out during its use as a customs house and to the most recent refurbishment, which removed much of the 1940s fabric but recovered aspects of the 19th century form, including reconstruction of the original timber staircase.

Inside the building the most imposing space is that of the Long Room beneath the dome. Fluted Corinthian pilasters of painted plaster are below the coffered ceiling of the dome, which has a central glazed section. In the basement some of the original walls with arched openings remain.

The 1890-91 Moggill sandstone retaining wall carries around the perimeter of the site reasonably intact and incorporates a wrought iron balustrade, masonry piers, stairs and rooms for the former underground privies at the river's edge. There is a small ground with a mature fig tree and sunken garden, which contribute to the building's riverside setting.

The Brisbane Customs House at the northern end of the Town Reach of the Brisbane River, near Petrie's Bight, was erected between 1886 and 1889 to a design prepared by Charles McLay of the Queensland Colonial Architect's Office.

The 1880s building replaced an earlier and much smaller customs house on the site. The location had been chosen in 1849 following the declaration of Moreton Bay as a port of entry in 1846 and after considerable discussion as to the most suitable location for a customs house. At the time shipping activity was centred on the South Brisbane Reach and the decision to locate a customs house at the northern end of the Town Reach acted as an impetus for the development of wharves along this part of the river. A small building was erected for customs purposes in 1850 and in the following decades became increasingly inadequate as Brisbane emerged as the principal commercial centre and port of Queensland.

In 1884 the Queensland Government decided to construct a new customs house. In March 1886 a design by Charles McLay was selected from many proposals in the Colonial Architect's Office for a new Brisbane Customs House. McLay completed the specification in May 1886 and construction commenced in September that year.

Charles McLay was the major designer under the colonial architect George Connolly and was appointed Chief Draftsman in 1889. His works include the Bundaberg Post Office, probably the Fortitude Post Office and the Lady Norman Wing Brisbane Children's Hospital (with JJ Clark), of which the Brisbane Customs House is by far the most ambitious and prominent design.

The contract was let to one of Brisbane's oldest and most respected contractors, John Petrie & Son, who tendered with a price of £37,342. The contract time was 30 months but because of difficulties with the supply of some materials, especially stone for the foundations, and alterations to the original plans, the building took longer than anticipated to complete and it was opened on 2 September 1889. Retaining walls, fencing, a double staircase down to the river and nearby earth closets were also constructed.

Construction was finished in three years at a cost of £38,346. The downstream end of the Brisbane central business district was selected to spur the development of wharves in the precinct known as Petrie Bight. The lower floor contained a secure warehouse where goods not having been passed customs were stored.

The completed building incorporated pedimented gables and a massive colonnade. Heraldic scenes in the pediments were precursors to the official Queensland coat of arms, which was not granted until 1893. A curved iron balustrade to the balconies included the initials of the reigning sovereign, Victoria Regina, in the cast. Red cedar was used extensively for desks, counters, cabinets and tables as well as for a massive and elegant staircase.

The Brisbane Customs House was built during a period of economic prosperity and a construction 'boom' in Queensland and was amongst the more impressive of a number of notable public and commercial buildings erected in Brisbane during the 1880s, which included the first stage of the Treasury Building (1886-1889). Public pride in the new customs house was considerable. On 7 September 1889, a few days after the building was opened for business, the local Brisbane Courier newspaper drew attention to "the handsome and imposing appearance, especially as seen from the river or from Petrie's Bight" and predicted that the Brisbane Customs House with its tall columns, pilasters and large copper-sheathed dome would "become one of the features of the city".

In 1891 stables, additional retaining walls and fencing, and more earth closets were erected at a cost of £446. By the mid-1890s gardens and a driveway had been developed. The mature fig tree now at the site was possibly planted about this time. Minor repairs were carried out throughout the 1890s, including some work in 1895 after seven feet (2.1 m) of water inundated the basement during the Brisbane River floods early in 1893.

By December 1908 the Brisbane Customs House, valued at £80,804 (£40,804 for the structure and £40,000 for the site), had been transferred to the Commonwealth.

In 1906 the inadequacies of the original flat roof were overcome by the installation of a new hipped roof. Rearrangement of counters and partitions in the Long Room was carried out in 1911 and again in 1919. Frequently minor repairs, cleaning and maintenance work was carried out to the interior of the building in succeeding decades. In 1947 major internal alterations were undertaken: all but two of the internal masonry walls were demolished; the timber floors were replaced by concrete slabs; the cedar staircase was removed and a new terrazzo one was installed at another location; mezzanine floors were erected in the Long Room; and the roof was replaced - without the original chimneys. In 1978 part of the exterior was cleaned, repaired and sealed and painted.

In the mid-1980s the Australian Customs Department moved out of the building to Australia House. The building remained vacant from 1988 until leased by the University of Queensland and restored as a convention centre and art gallery in the mid-1990s. At this period some of the interior masonry walls that had been removed in 1947 were replaced and the original timber stair was reconstructed. Non-significant partitions added after 1948 and parts of the 1940s fit out were removed except for some good quality intact 1940s office cabinetry which survived and part of the 1940s main stair which provided access to the basement. Two of the 1940s galleries added to the Long Room were removed and one, at the southwest end, retained and adapted. Timber window and door joinery was conserved and plaster mouldings reconstructed where they were missing.

In 2015, Customs House continues to be used by the University of Queensland as a function centre, art gallery and restaurant.

apps.des.qld.gov.au/heritage-register/detail/?id=600156

Operational Contract Support Joint Exercise 2016 provides training across the spectrum of OCS readiness from requirements and development of warfighter staff integration and synchronization through contract execution supporting the Joint Force Commander. (U.S. Air Force photo by Staff Sgt. Jonathan Snyder/Released)

Contract staffing solutions

Kara Livingston looks at the contract she signed with the moving company, Vanlines of America. (KOMU photo/Brandon Twichell)

BOEING B-17G-95-DL 44-83868/77233/N5237V

Jul 45 Built by Douglas Aircraft Corporation at Long Beach, California with

manufacturers' serial 32509, as part of the last block of B-17Gs built by

Douglas, `868 being the 17th from last of the block, part of contract

No.AC-1862.

04 Jul 45 First Flight - 1¼-hour test flight by Douglas test pilot Wally Tower.

05 Jul 45 50-minute test flight by Tower since the previous flight had been less than

the statutory 1½ hours.

06 Jul 45 Accepted at factory by USAAF as 44-83868.

08 Jul 45 Departed Long Beach en route to Syracuse Army Air Base, NY, via

Chanute Field IL - arrived 09 Jul.

14 Jul 45 Transferred from USAAF supply pool to US Navy as Bu No.77233. With

the advent of the Cadillac II programme (land-based long-range Airborne

Early Warning, command and control system) the USAAF set aside 20

brand new Douglas built B-17Gs serialled between 44-83855 and 44-

83884, including 44-83868, forming the nucleus of the US Navy radar

equipped PB-IW programme as US Navy serials 77225 to 77244. The

aircraft were transferred to the US Navy at Johnsville, Pennsylvania. See

Article - `The Navy and Coast Guard PB-1; A Summation. S A

Thompson, AAHS Journal Spring 1995. The US Navy obtained a total of

79 B-17s from various sources 1945-50, 21 as PB-IWs and 28 purely for

spares. On this date the aircraft left Syracuse Air Base for NAS

Johnsonville, a crew having been requested three days earlier.

Upon transfer 44-83868 and the other aircraft were ferried to the Naval

Aircraft Modification Unit (NAMU) at NAS Johnsville for conversion, the

major change being the installation of AN/APS-20 search radar in a

radome fitted below the bomb bay. Antennae were added to the fuselage.

Armament was usually deleted. Early PB-IWs flew in natural metal, later

changed to overall gloss sea blue with white codes and lettering. PB-IWs

entered Navy service for anti-submarine patrol and maritime

reconnaissance duties in Spring 1946.

26 Jul 45 Struck off charge by USAAF?

Aug 45- 44-83868 assigned to NAMU at Johnsville.

Mar 47

Apr 47-Mar 48 Air Test and Evaluation Squadron No.4 (VX-4), at NAS Quonset Point,2

Rhode Island on the eastern coast of the USA.

Apr 48 Assigned to Air Early Warning Squadron No.1 (VPW-1), Ream Field, San

Ysidro, near San Diego, California, as one of four VX4 Pb1-Ws assigned

to the unit. VPW-1 was the Navy’s first dedicated land based AEW

Squadron, with an authorised strength of six aircraft. Operated in support

of the Pacific Fleet. Due to limited facilities and short runways at Ream

Field, the Squadron moved to nearby NAAS Miramar for operations,

although Ream Field remained its assigned home base.

08 Sep 49- Under overhaul at Naval Air Material Centre (NAMC) Norfolk,

18 Jul 50 Virginia.

21 Jul 50 To VX-4, Patuxent River, Maryland. Carried squadron code ‘XD -5’ on

tail. Generally operated in support of the U.S. Atlantic Fleet.

May-Oct 52 Assigned to Airborne Early Warning Squadron 2 (VW-2) at NAS

Patuxent River, including August-Oct 52 detachment to VW-2

Detachment 1 at Gardamoen, Norway. The former VX-4 had disbanded in

June 1952 and reformed at the same base as VW-2 on 18 Jul 52, still

operating in support of the Atlantic fleet. It provided Airborne Early

Warning, scouting, weather reconnaissance and electronic

countermeasures support.

14 Oct 52- Under overhaul at NAMC Norfolk, Virginia.

19 May 53

03 Jun 53- To VW-2, Patuxent River. The unit retired its last PB1-W in March 1955,

Nov 54 replacing them with PO1-W Constellations.

08 Dec 54- Under overhaul at NAS Norfolk. During US Navy service carried

codes XD-2 and XD-24. Overhaul period ended May 1955.

26 May 55 Withdrawn and stored at NAF Litchfield Park, 20 miles west of Phoenix,

Arizona (where RAFM PBY-6A `L866' was also stored 1953-1957) US

Navy PB-IWs were the last front line US Military B-17s and were replaced

in 1955 by Lockheed WV-2 Constellation Warning Star aircraft.

10 Jul 56 Struck off US Navy charge along with the other remaining 15 US Navy B-

17s at Litchfield Park. (of these 16 aircraft, three survive today). The 16

PB-IWs were sold in three groups. At this time 77233 had logged 3,484

flying hours.

02 Dec 57 77233 was part of the third and final batch of thirteen PB-IWs sold, in this

case to the American Pressed Steel Corporation of Dallas, Texas for

$8,333.33 and given a registration block between N6460D and N6471D,

77233 being allotted N6466D, but this was not taken up - the company

also had a block of registrations between N5225V and N5237V, and

77233 became N5237V on 08 March 1958 when this block was used in

preference.

1958 Twelve of the 13 PB-IW aircraft were ferried from NAF Litchfield Park to

Dallas - Love Field and parked near the Dallas Aero Service ramp on the

north side of the airport and were gradually sold off as civil transports in

South America (6 aircraft) and a US fire bombers (3 aircraft). See article3

and photo of 77233 at Love Field c.1960 carrying basic US Navy colours

with white `2' and `Hell Wagon' Nose Art on starboard nose, and crude

white painted civil registration - AAHS Journal Summer 1964 p.141;

Flypast September 2004 p.44 and 46. Around this time local rumours had

it that these aircraft were earmarked for Cuban revolutionary Fidel Castro

in his attempt to overthrow the Batista regime, but when crews arrived to

fly them to Cuba they were prevented by Federal agents. American

Compressed Steel Corporation was later linked with CIA efforts to

smuggle surplus military aircraft to African and South American countries

so perhaps the rumour is not that farfetched. Most of the Love Field PBIWs quickly became derelict until rescued by civil operators in the 1960s.

Two flew to England in 1961 of the filming of `The War Lover' and were

scrapped there in 1962 after filming was completed.

26 Feb 60 Sold to Ashland Corporation of Tucson, Arizona.

07 Jul 60 Sold to Marson Equipment and Salvage Company, also of Tucson, but

remained at Love Field.

27 Sep 61 Sold to Aero Union of Anderson, California along with seven other B-17s

and restored to airworthy condition, despite being sunk up to the axles in

the ground.

c. Nov 61 Ferried to California, still in basic USN markings and colour scheme, with

‘XD’ code on fin.

28 Dec 61 Sold to Calvin Butler of Butler Aircraft Co, Redmond Oregon as Tanker

E15 in United States Forestry Service region 6 (Oregon and Washington

states). Fitted with a 2,200-gallon four-door tank installed for fire

bombing work to drop retardant 24 May 1962. See log books - airframes,

engines and propellers for 1962-83 period. DoRIS Ref.B3249. See also

article by Cpl Butler in Correspondence Files, entry 82.

21 Aug 62 Spray booms installed for aerial spraying.

Transferred through several of Butler’s companies, including the Butler

Rental Company (01 Mar 63); Butler Aircraft Company (29 Dec 1965);

Calvin Butler (29 Dec 1966); Butler Aircraft 06 May 1970, still tailmarked as tanker 15 in May 1971.

27 Jul 67 Accident at Carson, Washington – at 16.30hrs collided with trees whilst

pulling up from run during fire control flight, due to restricted vision

causing substantial damage. This was a fire retardant drop on Gifford

Pinchot National Forest, and visibility was greatly reduced by smoke.

27 Sep 75 Photographed operating from U.S. Forest Service Goleta Air Tanker Base,

Santa Barbara, California whilst being used to fight the Rattlesnake

Canyon fire in Los Padres National Forest. Colour scheme was overall

natural metal; chin turret removed and faired over; nose Plexiglass and tail

gunner’s windows overpainted silver; borate tank fitted into bomb bay and

extending slightly below it. Tail number ‘65’, horizontal tail surface, rear4

fuselage band and nacelle bands all faded Dayglo. See IPMS/USA Update

Vol.12 No.3 P.62.

N5237V operated regularly until 1981, as tanker 65 from Visalia,

California when DC-7s replaced the two B-17s in the Butler Aviation

Fleet. Usually dropped a phos-chek or fire-trol water mix fire retardant,

dyed for visibility on the ground. Colour photos as Tanker 65; Flypast

September 2004 p.49 and Flypast May 2009 p.70 (at Hemet, 1980).

1982-3 Retired, traded to TBM inc, and restored to military configuration by

TBM Inc. team led by engineer Ken Stubbs at Sequoia Field. Given

markings of 332nd Bombardment Squadron, 94th BG (H), 3rd Air

Division, USAAF 8th Air Force, England, 1945. Received bomb bay

doors, a new Plexiglas nose, and fibreglass replica turrets.

Aircraft donated to RAFM by US Air Force Museum who had acquired

the aircraft, in appreciation of a Vulcan donated by the RAF. Actual

restoration costs funded by RAFM. Ferry Flight arranged from California

to UK, piloted by Air Cdr Ron Dick, then Air Attache at the British

Embassy, Washington, Ken Stubbs of TBM Inc. as 2nd Pilot/Engineer and

Flt Lt Dave Fox of No.10 Squadron RAF as navigator. Photo of crew:

Aircraft Illustrated Dec 83 p.570.

Sep 83 At Sequoia Field, San Joaquin Valley, California, thence to Castle AFB for

repainting.

28 Sep 83 Post restoration test flight from Sequoia Field. Photo in USA as newly

restored; The Flying M February 1984 p.12.

03 Oct 83 Departed Fresno, California having previously been ferried from Sequoia.

Callsign ‘RAFAIR B17’ For account of delivery flight see Ron Dick’s

articles in Air Clues May 1984 and Jan/Feb 1985.

04 Oct 83 To Peterson AFB, Colorado Springs (including flypast at the nearby

USAF Academy).

05 Oct 83 To England AFB, Louisiana for refuelling.

06 Oct 83 To 8

th

AF HQ, Barksdale AFB, Louisiana.

07 Oct 83 To USAF Museum, Wright Patterson AFB, Ohio.

08 Oct 83 To Andrews AFB, Washington DC

11 Oct 83 To Gander, Newfoundland.

12 Oct 83 To Lajes, Azores.

13 Oct 83 Arrived at RAF Brize Norton, Oxon. Touched down at 5.30pm at the end

of the final 1120 nautical miles leg from Lajes, completed in 7 hours 20

minutes having flown some 7000 miles in 50 flying hours since leaving

California. Photos: Aviation News 18 Nov-1 Dec 83 p.586; FlyPast Dec

83 p.3; Air Pictorial Dec 83 p.446; Aviation News December 2002 p.952.5

25 Oct 83 Made flypast (two passes) at RAFM Hendon whilst temporarily based at

RAF Honington.

27 Oct 83 Flypast over former East Anglia USAAF bases in company with Duxfordbased B-17 `Sally B' –

Article and photos: FlyPast Jan 84 p.16-67; Aviation News 30 Dec 83 - 12

Jan 84 p.681; Sally B News Issue 37 Summer 2000. Colour photo at

Duxford; 8

th

Air Force (Flypast Special 2002) p.71

07 Nov 83 Final flight to Stansted Airport, Essex for dismantling by Civilian

contractor, J R Consultants. Again accompanied by Sally B. Photos:

Flypast Jan 84 p.17; Flypast May 2001 p.91. Engines exchanged with

higher hour examples from Sally B. Total flying hours 5,724.

08-9 Dec 83 Moved by road to RAFM Hendon and reassembled for display in the

Bomber Command Hall, the engines being fitted 21 Dec 83.

Jan 84 Placed on public display. Remains displayed in Bomber Command Hall at

present.

17 Apr 84 Official handover ceremony at RAFM - General William P Acker, Cdr of

US 3rd Air Force, handed the B-17 over to MRAF Sir Michael Beetham,

Chairman of the RAFM's board of Trustees, and received a cheque for

£35,000 from the Boeing Company to pay for restoration costs. Photo:

Air Pictorial Jul 84 p.272.

23 Nov 93 Registration N5237V cancelled by FAA-recorded in error as ‘destroyed’

Sources: USAAF/USAF -Individual Aircraft Record Cards, USAF Historical Research

Agency; Army Air Force Installations Directory = Continental United States,

Headquarters, Army Air Forces, Washington DC, 1 August 1945.

TEXT; ANDREW SIMPSON

 ROYAL AIR FORCE MUSEUM 2009

Austria Kunsthistorisches Museum

Federal Museum

Logo KHM

Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture

Founded 17 October 1891

Headquartered Castle Ring (Burgring), Vienna 1, Austria

Management Sabine Haag

www.khm.at website

Main building of the Kunsthistorisches Museum at Maria-Theresa-Square

The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.

The museum

The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.

History

Archduke Leopold Wilhelm in his Gallery

The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .

Architectural History

The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).

From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.

Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.

Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.

The lighting and air conditioning concept with double glazing of the ceilings made ​​the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .

Kuppelhalle

Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)

Grand staircase

Hall

Empire

The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.

189, the farm museum was organized in seven collections with three directorates:

Directorate of coins, medals and antiquities collection

The Egyptian Collection

The Antique Collection

The coins and medals collection

Management of the collection of weapons, art and industrial objects

Weapons collection

Collection of industrial art objects

Directorate of Art Gallery and Restaurieranstalt (Restoration Office)

Collection of watercolors, drawings, sketches, etc.

Restoration Office

Library

Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.

1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.

The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.

Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.

First Republic

The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.

It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.

On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.

Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.

With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the

Egyptian and Near Eastern Collection (with the Oriental coins)

Collection of Classical Antiquities

Collection of ancient coins

Collection of modern coins and medals

Weapons collection

Collection of sculptures and crafts with the Collection of Ancient Musical Instruments

Picture Gallery

The Museum 1938-1945

Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.

With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.

After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.

The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.

The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.

The museum today

Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).

The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.

In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.

Management

1919-1923: Gustav Glück as the first chairman of the College of science officials

1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director

1933: Arpad Weixlgärtner first director

1934-1938: Alfred Stix first director

1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director

1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation

1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation

1949-1950: Hans Demel as administrative director

1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation

1951-1952: Fritz Eichler as administrative director

1953-1954: Ernst H. Buschbeck as administrative director

1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director

1967: Edward Holzmair as managing director

1968-1972: Erwin Auer first director

1973-1981: Friderike Klauner first director

1982-1990: Hermann Fillitz first director

1990: George Kugler as interim first director

1990-2008: Wilfried Seipel as general director

Since 2009: Sabine Haag as general director

Collections

To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.

Kunsthistorisches Museum (main building)

Picture Gallery

Egyptian and Near Eastern Collection

Collection of Classical Antiquities

Vienna Chamber of Art

Numismatic Collection

Library

New Castle

Ephesus Museum

Collection of Ancient Musical Instruments

Arms and Armour

Archive

Hofburg

The imperial crown in the Treasury

Imperial Treasury of Vienna

Insignia of the Austrian Hereditary Homage

Insignia of imperial Austria

Insignia of the Holy Roman Empire

Burgundian Inheritance and the Order of the Golden Fleece

Habsburg-Lorraine Household Treasure

Ecclesiastical Treasury

Schönbrunn Palace

Imperial Carriage Museum Vienna

Armory in Ambras Castle

Ambras Castle

Collections of Ambras Castle

Major exhibits

Among the most important exhibits of the Art Gallery rank inter alia:

Jan van Eyck: Cardinal Niccolò Albergati, 1438

Martin Schongauer: Holy Family, 1475-80

Albrecht Dürer : Trinity Altar, 1509-16

Portrait Johann Kleeberger, 1526

Parmigianino: Self Portrait in Convex Mirror, 1523/24

Giuseppe Arcimboldo: Summer 1563

Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07

Caravaggio: Madonna of the Rosary (1606-1607)

Titian: Nymph and Shepherd to 1570-75

Portrait of Jacopo de Strada, 1567/68

Raffaello Santi: Madonna of the Meadow, 1505 /06

Lorenzo Lotto: Portrait of a young man against white curtain, 1508

Peter Paul Rubens: The altar of St. Ildefonso, 1630-32

The Little Fur, about 1638

Jan Vermeer: The Art of Painting, 1665/66

Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559

Kids, 1560

Tower of Babel, 1563

Christ Carrying the Cross, 1564

Gloomy Day (Early Spring), 1565

Return of the Herd (Autumn), 1565

Hunters in the Snow (Winter) 1565

Bauer and bird thief, 1568

Peasant Wedding, 1568/69

Peasant Dance, 1568/69

Paul's conversion (Conversion of St Paul), 1567

Cabinet of Curiosities:

Saliera from Benvenuto Cellini 1539-1543

Egyptian-Oriental Collection:

Mastaba of Ka Ni Nisut

Collection of Classical Antiquities:

Gemma Augustea

Treasure of Nagyszentmiklós

Gallery: Major exhibits

de.wikipedia.org/wiki/Kunsthistorisches_Museum

investment venture contract

Following Countryliner being stripped of their Surrey CC contracts, routes 24 and 25 are now being run by Coaches Excetera.

There were three buses about today, which was a initially a surprise. Due to the old Countryliner timetable being so tight, Surrey CC and Coaches Excetera have arranged for three buses to be used (instead of two), so that a better service can be provided to users. Traffic congestion causing late running wasn't helping today though.

The second bus seen was another, 'new' (not seen this one before) former Metroline Dart - ex-DLD144 (W144 ULR). This is due to be painted into fleet livery and become a regular on the route.

It's seen here laying over at Guildford bus station with 24 up on the blinds. Presumably, it had arrived on the 1155 ex-Cranleigh, due in at 1224. The photo was taken at 1250.

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I was originally enrolled into the GETTY IMAGES collection as a contributor on April 9th 2012, and when links with FLICKR were terminated in March 2014, I was retained and fortunate enough to be signed up via a second contract, both of which have proved to be successful with sales of my photographs all over the world now handled exclusively by them.

On November 12th 2015 GETTY IMAGES unveiled plans for a new stills upload platform called ESP (Enterprise Submission Platform), to replace the existing 'Moment portal', and on November 13th I was invited to Beta test the new system prior to it being officially rolled out in December. ESP went live on Tuesday December 15th 2015 and has smoothed out the upload process considerably.

These days I take a far more leisurely approach to my photographic exploits, and having moved from professional Nikon equipment to consumer bodies and lenses, I travel light less constraints and more emphasis on the pure capture of the beauty that I see, more akin to my original persuits and goals some five decades previously when starting out. I would like to say a huge and heartfelt 'THANK YOU' to GETTY IMAGES, and the 20.340+ Million visitors to my FLICKR site.

***** Selected for sale in the GETTY IMAGES COLLECTION on November 13th 2017

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This photograph became my 2,739th frame to be selected for sale in the Getty Images collection and I am very grateful to them for this wonderful opportunity.

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Photograph taken at an altitude of Eighty eight metres at 12:31pm on Thursday 2nd November 2017 off Fairview Lane at The High Rocks, in Tunbridge Wells, Kent, England.

High Rocks is a 3.2 hectare (7.9 acre) geological Site of special scientific interest 3 km (1.9 mi) west of Tunbridge Wells in Rast Sussex, England. The site was notified in 1986 under the Wildlife and Counntryside Act 1981, and is an important geomorphological site for sandstone weathering features

The location was formed when a melting ice sheet at the end of the last Ice age uncovered hardened silt deposited when the area was part of the Wealden Lake. There are traces of Middle Stone Age and Iron Age residents, including a 1st-century A.D. fort guarding against the Roman invasion of Britain

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Nikon D7200 10mm 1/160s f/5.6 iso100 RAW (14Bit) Size L (6000x4000)DX. Hand held. Auto focus AF-C with 3D-tracking enabled. Manual exposure. Matrix metering. Auto white balance.Auto Active D-lighting. Adobe RGB. Auto distortion control enabled. Vignette control normal.

Nikkor AF-S 10-24mm f/3.5-4.5G ED. Phot-R 77mm UV filter.Nikon MB-D15 Battery grip pack. Nikon EN-EL battery (2). Hoodman H-EYEN22S soft rubber eyecup. Matin quick release neckstrap. My Memory 32GB Class 10 SDHC. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module.

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LATITUDE: N 51d 7m 19.10s

LONGITUDE: E 0d 13m 33.80s

ALTITUDE: 88.0m

RAW (TIFF) FILE SIZE: 69.00MB

PROCESSED (JPeg) SIZE: 34.60MB

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PROCESSING POWER:

Nikon D7200 Firmware versions A 1.10 C 1.02 (9/3/17) L 2.015 (Lens distortion control version 2)

HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.2.4 24/11/2016). Adobe photoshop Elements 8 Version 8.0 64bit.

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The CONTRACT of the ARCH……

The ARCH is a word and a structure that features prominently over the millennia……

ARCHES are used in building powerful word constructs and social control structures as well as being used extensively in ARCHitecture and civil engineering.

These power structures are always hierARCHical, often with a single entity at the top known as a monARCH.

The MASONIC control structure has certainly adopted this ARCHitecture and even pretends to be borne out of the stone mason fraternities.

In Gnosticism, ARCHons are the builders of the physical universe. Among the ARCHontics, Ophites, Sethians and in the writings of Nag Hammadi library, the ARCHons are rulers, each related to one of seven planets; they prevent souls from leaving the material realm.

The ARCHers – a long running program through history – not just the BBC….

'SOVEREIGN' - literally means to reign from above.

This is why the MonARCH of a country is referred to as 'Your HIGHNESS'

Then we have

MatriARCHs - a system of society or government ruled by a woman or women

PatriARCHs - a system of society or government in which the father or eldest male is head of the family and descent is reckoned through the male line.

OligARCHs - government by the few, especially despotic power exercised by a small and privileged group for corrupt or selfish purposes.

In these long-running and ARCHaic societal control structures we also have:

ARCH dukes and ARCH duchesses

ARCH bishops

ARCH deacons

ARCH druids

ARCHangels

ARCHitects

SquireARCHies - landowners collectively, especially when considered as a class having political or social influence

mARCHioness - a noblewoman with the rank of marquess, or the wife of a marquess.

mARCHer lords - A Marcher Lord was a noble appointed by the King of England to guard the border between England and Wales. A Marcher Lord was the English equivalent of a margrave or a marquis before the introduction of the title of "marquess" in Britain

ARCHimandrite - the superior of a large monastery or group of monasteries in the Orthodox Church

ARCHaeology or archeology is the study of human activity through the recovery and analysis of material culture. Archaeology is often considered a branch of socio-cultural anthropology, but archaeologists also draw from biological, geological, and environmental systems through their study of the past

TrierARCH - the title of officers who commanded a trireme in the classical Greek world. In Classical Athens, the title was associated with the trierarchy, one of the public offices or liturgies, which were filled by wealthy citizens for a year

HagiARCHy - government by saints, holy men, or men in holy orders

AutARCHic - having and exercising complete political power and control: absolute, absolutistic, arbitrary, autarchical, autocratic, autocratical, despotic, dictatorial, monocratic, totalitarian, tyrannic, tyrannical, tyrannous

HeptARCHy - a collective name applied to the seven kingdoms of Anglo-Saxon England from the Anglo-Saxon settlement of Britain in the 5th century until the 8th century consolidation into the four kingdoms of Mercia, Northumbria, Wessex and East Anglia.

TetrARCHy - term adopted to describe the system of government of the ancient Roman Empire instituted by Roman Emperor Diocletian in 293, marking the end of the Crisis of the Third Century and the recovery of the Roman Empire

TheARCHy - rule by a god or gods

GynARCHy - rule by women or a woman.

ExARCHate - a Byzantine province governed by an exARCH

AnARCHy - a state of disorder due to lack of social structure

All this history was documented by ARCHivists – with old records being kept on pARCHment

At school we are not taught the true meaning of the ARCHway….

By passing through the ARCHway we may be unaware that we are entering into an agreement or contract where we are to be ruled over.

The ‘CONTRACT of the ARCH’ perhaps……

ARCANUM and ARCANA - mysterious or specialized knowledge, language, or information accessible or possessed only by the initiate.

ARCHES in Modern Culture….

The ARCHERS - a British BBC radio soap opera broadcast since 1951. Having aired over 19,300 episodes, it is the world's longest-running drama.

The ARCHERS is set in the fictional village of AmBRIDGE

ARCHing over us - the first ever flighted birds….

ARCHaeopteryx – a genus of bird-like feathered dinosaurs.

More famous ARCHes…

ARCHimedes (c. 287 – c. 212 BC)

Considered to be the greatest mathematician of ancient history, and one of the greatest of all time.

The Fields Medal for outstanding achievement in mathematics carries a portrait of ARCHimedes, along with a carving illustrating his proof on the sphere and the cylinder.

The inscription around the head of ARCHimedes is a quote attributed to him which reads in Latin: Transire suum pectus mundoque potiri.

'RISE ABOVE ONESELF AND GRASP THE WORLD’.

ARCHimedes, Freemasonry and the Moderns Grand Lodge Constitutions

Frontispiece to the 1723 Edition:

The 1723 edition is well-known for its elaborate frontispiece engraved by John Pine in 1723. It features a classical arcade of John Montagu, the Second Duke of Montagu (Knight of the Garter #532), and the Grand Master of the Grand Lodge of England (1721-1723), passing the scroll of the "Constitutions" to his 1723 successor, Philip Warton, First Duke of Wharton. Both are attended by their officers. Apollo, god of the sun, charges above in his chariot, symbolizing the meridian height. Behind the gathering is a passageway framed by walls of water - evocative of the parting of the Red Sea.

The 47th proposition of Euclid, the traditional symbol of a past masters of a Masonic lodge, appears in the foreground. Below it, in Greek, is ARCHhimedes' famous exclamation: “Eureka!” (“I have found it!”)

eureka (English) - εύρηκα (Greek)

For more hidden knowledge see

pubastrology.com

In Abrahamic Religions, NOAH features as the tenth and last of the pre-Flood patriARCHs.

The story is all about the signs of the Zodiac - the Royal ARCH or ARK….

‘NOAH’S ARK of the COVENANT’ PDF Document Download Link:

pubastrology.files.wordpress.com/2021/10/noahs-ark-of-the...

_https://pubastrology.files.wordpress.com/2021/10/noahs-ark-of-the-covenant-revision-6.pdf

Operational Contract Support Joint Exercise 2016 provides training across the spectrum of OCS readiness from requirements and development of warfighter staff integration and synchronization through contract execution supporting the Joint Force Commander. (U.S. Air Force photo by Staff Sgt. Jonathan Snyder/Released)

Imagine a law that encourages the Federal government to partner with local businesses? A law that would create a partnership to do things such as restoring our forests, improving fish and wildlife habitat, removing noxious weeds, and creating healthy rivers. On top of these benefits to the environment, this law also improves the economies of rural communities. Sound too good to be true? Think again.

With the adoption of stewardship contracting authority (public law 108-7) in 2003, BLM has been able to offset forest product values against service costs, select “best value” contracts and award 10-year agreements with communities. Stewardship contracts may be used to improve, maintain or restore forests, rangelands, water quality and habitat. They can also be used to reduce hazardous fuels that pose risks. Since its inception, BLM has issued over 170 awards, covering over 51,000 acres.

Simply said, these contracts are a legal agreement to be “stewards” on Federally-managed lands. In real life this translates to a variety of projects from removing encroaching juniper trees and grinding them up to be used in a variety of ways, to restore native grasslands by cutting small confiers and selling them as Christmas trees, to thinning stands to increase forest health.

In the Lakeview District, stewardship contracting has allowed for maximum biomass utilization of forest and woodland products. Trees cut from the projects have been used for fuelwood, “hogfuel” chips burned to make renewable electricity, clean chips that are ground up and used to make hardboard and an array of juniper products like post and poles. Thousands of tons of BLM-sourced juniper has supplied the local Juniper Mill at REACH in Klamath Falls thanks to the Gerber Stewardship Contract. This contract has allowed for over 6,000 acres of forests and woodlands to be restored through treatments under this project. This unique mill is a non-profit organization that specializes creative utilization of juniper, finding uses for nearly all parts of the tree. On top of that, the REACH mill is an active participant in vocational-rehabilitation programs that focus on employing individuals with disabilities.

Thanks to the Gerber Stewardship, juniper byproducts that would have been previously burned can be used to foster community partnerships and stimulate the local economy.

The Medford District is also creatively implementing stewardship contracts to restore and maintain healthy ecosystems. Last year, the district awarded the Landing Pile Biomass Utilization Contract, an interagency contract in support of the Southwest Oregon Interagency biomass strategy. This contract allows landing piles from the BLM’s Medford District to be used locally rather than being burned.

As a result, the contract reduces open burning, improves air quality,and also stimulates local woody biomass markets—a good deal for everyone involved.

Stewardship contracting provides the BLM with the authority to implement landscape scale treatments that meet local and community needs. These contracts can include such activities as hazardous fuels reduction, fish and wildlife habitat improvements, forest health treatments, removal of noxious weeds, and stream restoration, to name a few.

As a result, stewardship projects make our public lands more resilient to natural disturbances, like wildfires and climate change.

The process is a unique one for several reasons, some of which include: First, the process requires collaboration. The collaborative process fosters community partnerships and stimulates local economies; particularly those whose economies depend on resources from nearby federal lands – such as timber or forage.

Second, contracts solicited under the stewardship authority are awarded on “best value,” allowing the BLM to thoroughly evaluate contractors’ proposals, and award contracts based on factors other than price or revenue generation. Conversely, a timber sale contract is always awarded to the highest bidder. Stewardship contracting allows BLM and communities to define other contracting attributes they also value.

And third, the stewardship authority allows BLM to exchange goods for services within a single contract. This means that BLM can essentially “trade” the cost of services received for the value of the treatment’s byproduct. All of these factors help increase efficiencies, which is good business for both the BLM and the contractors.

Meretricious

This little whimsy inspired by the agonies documented in paulclarke.com/honestlyreal/2010/12/oh-christmas-tree/

Sefa's Kyuubey cosplay @ Atomic Lollipop 2012

Olympus OM-D E-M5

Panasonic 20mm f1.7

+++ DISCLAIMER +++

Nothing you see here is real, even though the model, the conversion or the presented background story might be based on historical facts. BEWARE!

Some background:

After the division of Czechoslovakia by Germany in 1939, Slovakia was left with a small air force composed primarily of Czechoslovak combat aircraft. This force defended Slovakia against Hungary in March 1939, in the Slovak–Hungarian War in March 1939 in which Hungary reoccupied Carpathian Ruthenia and parts of southern Slovakia. In this the SVZ suffered some losses against Royal Hungarian Air Force. Later, the SVZ also took part in the German Invasion of Poland. The SVZ took part in Axis offensives in the Ukraine and Russian Central front sectors of the Eastern Front under the lead of Luftwaffe in the Stalingrad and Caucasus operations. This engagement resulted in great losses of aircraft and personnel, though.

Since Hs 123 production had already stopped in 1940 and all tools had been destroyed, the permanent attritions could not be replaced - due to a lack of serviceable airframes and spare parts the type’s numbers dwindled. When Romania and the Soviet Union entered Slovakia, they organized with some captured aircraft and defectors a local Insurgent Air Force to continue the fight against Axis forces in country, including the last operational Slovak Hs 123s. No aircraft survived the war.

General characteristics:

Crew: 1

Length: 8.33 m (27 ft 4 in)

Wingspan: 10.5 m (34 ft 5 in)

Height: 3.2 m (10 ft 6 in)

Wing area: 24.85 m² (267.5 sq ft)

Empty weight: 1,500 kg (3,307 lb)

Gross weight: 2,215 kg (4,883 lb)

Powerplant:

1× BMW 132Dc 9-cylinder air-cooled radial piston engine with 660 kW (880 hp),

driving a 2-bladed metal variable-pitch propeller

Performance:

Maximum speed: 341 km/h (212 mph, 184 kn) at 1,200 m (3,937 ft)

Range: 860 km (530 mi, 460 nmi) with a 100 l drop tank

Combat range: 480 km (300 mi, 260 nmi) with 200 kg (440.9 lb) of bombs

Service ceiling: 9,000 m (30,000 ft)

Rate of climb: 15 m/s (3,000 ft/min)

Armament:

2× 7.92 mm MG 17 machine guns, 400 rpg

Up to 450 kg (992.1 lb) of bombs under fuselage and wings

The kit and its assembly:

A relatively simple what-if project, and it took a while to figure out something to do with a surplus Airfix Hs 123 A kit in The Stash™ without a proper plan yet. The Hs 123 is an overlooked aircraft, and the fact that all airframes were used during WWII until none was left makes a story in Continental Europe a bit difficult. I also did not want to create a German aircraft – Finland was an early favorite, because I wanted to add a ski landing gear (see below), but since I won’t build anything with a swastika on it this option was a dead end. Then I considered an operator from the Balkans, e. g. Romania, Bulgaria, Croatia or Slovakia – and eventually settled for the latter because of the national markings.

The kit was built almost OOB, and the Airfix Hs 123 is a nice offering. Yes, it’s a simple kit, but its is IMHO a very good representation, despite the many rivets on the hull, a rather bleak interior and some sinkholes (e. g. on the massive outer wings struts). It goes together well, just a little PSR here and there. I just added a dashboard (scratched from styrene sheet) and modified the OOB 50 kg bombs with extended impact fuzes with a flat, round plate at the tip, so that the bomb itself explodes above soft ground or snow for a bigger blast radius.

The only major modification is a transplanted ski landing gear from a PM Model (Finnish) Fokker D.XXI, which had to be reduced in length to fit under the compact Hs 123. A small tail ski/skid was scratched from styrene sheet material.

Thankfully, the Hs 123 only calls for little rigging – just between the central upper wing supports and there is a characteristic “triangle” wiring in the cowling. All these, together with the wire antenna, were created with heated sprue material.

Painting and markings:

Finland had been a favorite because I would have been able to apply a more interesting paint scheme than the standard Luftwaffe RLM 70/71/65 splinter scheme with a low waterline that was typical for the Hs 123 during WWII. However, as a former Luftwaffe aircraft I retained this livery but decided to add a winter camouflage as a suitable thematic supplement to the skis.

The basic colors became Humbrol 65 underneath and 30 and 75 from above – the latter for a stronger contrast to the Dunkelgrün than Humbrol 91 (Schwarzgrün). Thanks to the additional whitewash mottles, which were inspired by a similar livery seen on a contemporary Bulgarian Avia B.534, I did not have to be too exact with the splinter camouflage.

The cockpit and cowling interior were painted with RLM 02 (Humbrol 240), the propeller blades became Schwarzgrün (Humbrol 91, further darkened with some black) and the bombs were painted in a dark grey (Revell 77) while the small 100 l drop tank became bare aluminum (Revell 99).

However, before the white mottles could be added, the kit received its decals so that they could be painted around the markings, just as in real life. The Slovak national markings had to be scratched, and I used standard white simplified German Balkenkreuze over a cross made from blue decal stripes. Later a separate red decal circle was placed on top of that. The only other markings are the red “7” codes, edged in white for better contrast (from a Heller Bf 109 K) and the fuel information triangles on the fuselage from the Hs 123’s OOB sheet. As an ID marking for an Eastern Front Axis aircraft, I retained the wide yellow fuselage stripe from the OOB, sheet, too, and added yellow tips on the upper wings’ undersides.

The whitewash camouflage was then created with white acrylic paint (Revell 05), applied with a soft brush with a rounded tip. Once this had dried, I treated the surfaces with fine wet sandpaper for a weathered/worn look.

Finally, after some soot stains behind the exhausts and around the machine gun nozzles, the kit was sealed with matt acrylic varnish and the rigging (see above) was done.

The Hs 123 might not be the sexiest aircraft of WWII, but I like this rugged pug which could not be replaced by its successor, the Ju 87, and served in its close support role until literally no aircraft was left. Putting one on skis worked quite well, and the exotic Slovak markings add a special touch – even though the national markings almost disappear among the disruptive whitewash camouflage! The result looks quite plausible, though, and the old Airfix kit is IMHO really underestimated.