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This is a series of eerie black and white photos I'll be taking for the upcoming album of my band Room & Board. The album is entitled "Mistress Misdressed Missed Rest". Each photo is titled to represent songs on the record, although they may not all pertain to the song or the order of the songs. Follow along with the photos and check out our music. The album will be out sooner than you know!
Mural entitled "Art of the Chalice" by Mauricio Ramirez aka @mauriciopainrs seen in a parking lot on Milwaukee Avenue in the Logan Square Area of Chicago, Illinois.
Through this photographic portfolio entitled “LIQUID SUBURBS” we want to focus on the theme of suburbs understood as both physical spaces and metaphorical dimensions. In the peripheries, in modern times, we have associated in negative terms what Bauman defines as “forced individualism”, as the liberation from any possible social bond and consequent solitary management of “risk”, uncertainty and the fears that derive from it. In a “liquid” society, life, particularly in the suburbs, seems to settle down and flatten itself in an eternal arid present of future prospects, similar to quicksand, amidst increasingly heavy and immobilizing doubts and perplexities, anchored to certainties linked to a past that is not it exists more and instead persists with nostalgia in the memories of flexible men, weakening them transformative capacity of reality. To adapt to continuous change and the structural risks of the second modernity, man has preferred to abandon the thought of introspection by adopting a mentality of “survival” that feeds on a “fast” thought typical of machines. A thought that does not allow for any deep reflection of one's own experiences, which does not provide the possibility of authentically taking care of one's self and which is shown through the construction, reflected by the architecture of the suburbs (as highlighted in the portfolio), of a “patchwork” Composed of many small and fragile fragments, often devoid of ties and connections, which are unable to give meaning and significance to the existential path of the individual as well as of the family nucleus and consequently of the non-community itself.
Entitled: Yung Ting Men, Front View Of The Two Towers & The Barbican [1924] O Siren [RESTORED] Light retouching of minor spots and scratches, I also whited out the sky and added a false gradation. The water in the original just didn't look like water; I smoothed out the surface and gave it a flow impression, then restored a false soft reflection.
The photograph was scanned from a book published in 1924. Thus, the image was probably taken at least several years before. It shows Yung Ting Men Gate 永定門, built during the Ming Dynasty in 1553, one of the many that allowed access through the city walls of Peking. At the time, Peking (now Beijing) was a walled city divided into two main sections; the southern, "outer" city for the Chinese, and the northern, "inner" (or Tartar) city for their Manchurian overlords. The inner city also contained a secondary walled off central section called the Imperial City; and within the Imperial city was finally, a tertiary walled off area otherwise known as the Forbidden City; like three concentric rings. Yung Ting Men (now Yongdingmen), was the central gate that entered the outer city from the south. It was also the largest of the many gated towers that dotted the wall of the outer city. Following in a straight line through the gate and to the north, would be several other gates, but otherwise a direct path into the Forbidden City. A very nice general map of the gates can be seen in Wiki:
upload.wikimedia.org/wikipedia/commons/f/fb/Beijing_city_...
Sadly, the original double tower gate was removed in 1957 for urban renewal, and a single tower reconstruction (visually an approximation of the inner gate, but bypassed on either side by the actual road system) was built on the same site in 2005. The new gate reportedly was rebuilt using traditional wood assembly techniques without the use of nails. Despite this however, I myself still would have preferred the original. Beijing currently is completing a park plaza directly south of the reconstructed gate.
en.wikipedia.org/wiki/File:Yongdinggate.jpg
This image was found on what may be the best site for a wide range of historic images of China. Thomas H. Hahn's Docu-Images:
...and its sister site:
gatheringmountains.net/Photoweb/
...are, in my personal opinion, the most in depth and extensive historic image resource for China on the net. In terms of type of material, and the obscure and rare nature of many of his images, I would put his site on a par with the Library of Congress. At any rate, the original and many more can be seen here:
About the photos Mr. Hahn writes:
"A selection of photographs and architectural drawings from Osvald Siren's monumental volume on "The Walls and Gates of Peking", published in London by John Lane and the Bodley Head in 1924. Overall the book contains 109 photographs and 50 drawings. They are printed in half-tone on heavy stock paper with a soft, but "fluffy" fiber, so the photographs may in some cases appear like paintings in fact.
All images have been scanned with a bit of a border, and do include the original captions underneath each item. Note that images come in two types of sepia tones (some brown, others have a more grayish hue). Scanned with an Epson Perfection at 300 and/or 600 dpi. Some post-processing, mainly minor sharpening and brightness/contrast adjustment.
Thomas H. Hahn
Ithaca, NY"
***
For those that haven't yet seen Mr. Hahn's site, if you care anything at all about the history of photography in China, do visit and give yourself a treat. Like me, you'll likely find yourself returning again and again to use it as both a continuing reference and invaluable resource.
Wood engraving entitled Root and created 1977 by Monica Poole (1921 -2003). Image measures 7x13 inches. Monica studied with John Farleigh and wrote the book about his life work entitled The Wood Engravings of John Farleigh. This lovely piece is typical of her elegant, sharp, silvery style. Her renderings of natural "found objects" in her Kentish surroundings were often near surrealistic.
The print is framed, so it is hard to get a really excellent photo of it - at least for this photographer.
Mural entitled "What are the Lyrics to Your Song" executed by Kristine Donnelly for Artworks Cincinnati seen at 3564 Montgomery Street in Cincinnati, Ohio.
Drone photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee.
From the ‘I love you bridge’ to the Hallam University hubs, Sheffield artist and graphic designer Alan Pennington’s elephant, entitled Our City, Our Home, showcases some of the city’s most distinctive landmarks. Alan’s bold and colourful artwork is always inspired by the people and places in our vibrant city and his amazing contribution to the Herd of Sheffield is no exception.
Designed by: Alan Pennington
Alan Pennington is a Sheffield based artist and graphic designer who is passionate about the people, places and products of his home city of Sheffield. Alan is famous for his brightly coloured paintings of the city and his iconic series of “I Love Sheffield” mugs. Alan’s work captures the feel of Sheffield and his use of bright, vibrant colours make the subjects in his artwork instantly recognisable and his style unforgettable.
Sponsored by: Northfield Construction Ltd
Auction Price: £4200
Summer 2016, a herd of elephant sculptures descended on Sheffield for the biggest public art event the city has ever seen!
58 elephant sculptures, each uniquely decorated by artists, descended on Sheffield’s parks and open spaces, creating one of the biggest mass participation arts events the city has ever seen. Did you find them all?
The trail of elephants celebrates Sheffield’s creativity with over 75% of artists from the city. Some well-known names include Pete McKee, James Green, Jonathan Wilkinson and Lydia Monks – each of which has put their own creative mark on a 1.6m tall fibreglass elephant sculpture. They are all very difference, take a selfie with your favourite as they will be on display until the end of September.
International artist Mark Alexander, who is currently working with Rembrandt for an exhibition in Berlin, flew to Sheffield especially to paint his elephant and international players from the World Snooker Championship signed SnookHerd, an elephant celebrating the heritage of snooker in Sheffield.
The Arctic Monkeys, famous for their love of their home city, added their signatures to their own personalised sculpture which pays homage to the striking sound wave cover of the band’s 2013 album “AM”.
By supporting the Herd of Sheffield you are investing in the future of Sheffield Children’s Hospital. Every penny raised will go towards our Artfelt programme, which transforms the hospital’s walls and spaces with bright art, helping children recover in an environment tailored to them. The programme also puts on workshops for youngsters to provide distraction during anxious moments – such as before an operation, and to breakup long stays on the wards.
This exciting Wild in Art event brought to you by The Children’s Hospital Charity will:
Unite our city – bringing businesses, communities, artists, individuals and schools together to create a FREE sculpture trail which is accessible to all.
Attract more visitors – both nationally and regionally as well as encouraging thousands of people to become a tourist in their own city.
Invest in the future – with a city wide education programme that can be used for years to come and by funding a life-saving piece of medical equipment at Sheffield Children’s Hospital from the Herd auction at the end of the trail.
Showcase our city – celebrating Sheffield’s heritage and cementing our status as a vibrant and culturally exciting city through this world-class initiative.
The Herd of Sheffield Farewell Weekend was held on 14-16 October and was your chance to say a last goodbye to all 58 large elephant sculptures as they gather in one place for a final send-off at Meadowhall.
This special event gave visitors a chance to see the entire herd in all its glory – from the signed Arctic Monkeys’ ‘AM’ elephant, right through to ‘SnookHerd’, autographed by a host of international snooker players including current world champion Mark Selby.
Please note that the Little Herd elephants will not be on display as they will be returned to their school for pupils to enjoy.
Meadowhall, along with its joint owners, British Land are very proud to be supporting The Children’s Hospital Charity as host sponsors for the Herd of Sheffield Farewell Weekend.
Auction: Hundreds of elephant enthusiasts gathered at the Crucible on 20 October for the Herd of Sheffield Auction, which raised a total of £410,600 for The Children’s Hospital Charity.
An exhibit entitled Journey at the Apartheid Museum in Johannesburg, South Africa. The discovery of gold in Johannesburg in 1886 attracted migrants from all over Southern Africa and many other parts of the world. This exhibit illustrates the children, grandchildren and great-grandchildren of some of those who journeyed to the city of gold in the years following 1886. Together they made up a diverse and often racially mixed community. It was this racial mixing that segregation and apartheid were designed to prevent.
Mural entitled "Underwater Cosmic Love Story" with "Jelly Babe" on the left and "Beta Boy" on the right. Created by Julia Rose Morgan aka @aerose_art and Julia Williams aka @thedesignosaur for @thecrushwalls located at 1330 35th Street in the RiNo area of Denver, Colorado.
Photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee
Engraving c.1862 from The Illustrated London News detailing the construction of Moor Park. The work was undertaken primarily by out of work cotton operatives made redundant during the cotton famine of 1861-65, the cause of which was the American Civil War.
The following description of the distress in Preston was written by Edwin Waugh. The full account entitled "HOME-LIFE OF THE LANCASHIRE FACTORY FOLK DURING THE COTTON FAMINE" can be accessed Here
AMONG THE PRESTON OPERATIVES.
Proud Preston, or Priest-town, on the banks of the beautiful Ribble, is a place of many quaint customs, and of great historic fame. Its character for pride is said to come from the fact of its having been, in the old time, a favourite residence of the local nobles and gentry, and of many penniless folk with long pedigrees. It was here that Richard Arkwright shaved chins at a halfpenny each, in the meantime working out his bold and ingenious schemes, with patient faith in their ultimate success. It was here, too, that the teetotal movement first began, with Anderson for its rhyme-smith. Preston has had its full share of the changeful fortunes of England, and, like our motherland, it has risen strongly out of them all. War's mad havoc has swept over it in many a troubled period of our history. Plague, pestilence, and famine have afflicted it sorely; and it has suffered from trade riots, "plug-drawings," panics, and strikes of most disastrous kinds. Proud Preston—the town of the Stanleys and the Hoghtons, and of "many a crest that is famous in story"—the town where silly King Jamie disported himself a little, with his knights and nobles, during the time of his ruinous visit to Hoghton Tower,—Proud Preston has seen many a black day. But, from the time when Roman sentinels kept watch and ward in their old camp at Walton, down by the Ribble side, it has never seen so much wealth and so much bitter poverty together as now. The streets do not show this poverty; but it is there. Looking from Avenham Walks, that glorious landscape smiles in all the splendour of a rich spring-tide. In those walks the nursemaids and children, and dainty folk, are wandering as usual airing their curls in the fresh breeze; and only now and then a workless operative trails by with chastened look. The wail of sorrow is not heard in Preston market-place; but destitution may be found almost anywhere there just now, cowering in squalid corners, within a few yards of plenty—as I have seen it many a time this week. The courts and alleys behind even some of the main streets swarm with people who have hardly a whole nail left to scratch themselves with.
Before attempting to tell something of what I saw whilst wandering amongst the poor operatives of Preston, I will say at once, that I do not intend to meddle with statistics. They have been carefully gathered, and often given elsewhere, and there is no need for me to repeat them. But, apart from these, the theme is endless, and full of painful interest. I hear on all hands that there is hardly any town in Lancashire suffering so much as Preston. The reason why the stroke has fallen so heavily here, lies in the nature of the trade. In the first place, Preston is almost purely a cotton town. There are two or three flax mills, and two or three ironworks, of no great extent; but, upon the whole, there is hardly any variety of employment there to lighten the disaster which has befallen its one absorbing occupation. There is comparatively little weaving in Preston; it is a town mostly engaged in spinning. The cotton used there is nearly all what is called "Middling American," the very kind which is now most scarce and dear. The yarns of Preston are known by the name of "Blackburn Counts." They range from 28's up to 60's, and they enter largely into the manufacture of goods for the India market. These things partly explain why Preston is more deeply overshadowed by the particular gloom of the times than many other places in Lancashire. About half-past nine on Tuesday morning last, I set out with an old acquaintance to call upon a certain member of the Relief Committee, in George's Ward. He is the manager of a cotton mill in that quarter, and he is well known and much respected among the working people. When we entered the mill-yard, all was quiet there, and the factory was still and silent. But through the office window we could see the man we wanted. He was accompanied by one of the proprietors of the mill, turning over the relief books of the ward. I soon found that he had a strong sense of humour, as well as a heart welling over with tenderness. He pointed to some of the cases in his books. The first was that of an old man, an overlooker of a cotton mill. His family was thirteen in number; three of the children were under ten years of age; seven of the rest were factory operatives; but the whole family had been out of work for several months. When in full employment the joint earnings of the family amounted to 80s. a week; but, after struggling on in the hope of better times, and exhausting the savings of past labour, they had been brought down to the receipt of charity at last, and for sixteen weeks gone by the whole thirteen had been living upon 6s. a week from the relief fund. They had no other resource. I went to see them at their own house afterwards, and it certainly was a pattern of cleanliness, with the little household gods there still. Seeing that house, a stranger would never dream that the family was living on an average income of less than sixpence a head per week. But I know how hard some decent folk will struggle with the bitterest poverty before they will give in to it. The old man came in whilst I was there. He sat down in one corner, quietly tinkering away at something he had in his hands. His old corduroy trousers were well patched, and just new washed. He had very little to say to us, except that "He could like to get summat to do; for he wur tired o' walkin' abeawt." Another case was that of a poor widow woman, with five young children. This family had been driven from house to house, by increasing necessity, till they had sunk at last into a dingy little hovel, up a dark court, in one of the poorest parts of the town, where they huddled together about a fireless grate to keep one another warm. They had nothing left of the wreck of their home but two rickety chairs, and a little deal table reared against the wall, because one of the legs was gone. In this miserable hole—which I saw afterwards—her husband died of sheer starvation, as was declared by the jury on the inquest. The dark, damp hovel where they had crept to was scarcely four yards square; and the poor woman pointed to one corner of the floor, saying, "He dee'd i' that nook." He died there, with nothing to lie upon but the ground, and nothing to cover him, in that fireless hovel. His wife and children crept about him, there, to watch him die; and to keep him as warm as they could. When the relief committee first found this family out, the entire clothing of the family of seven persons weighed eight pounds, and sold for fivepence, as rags. I saw the family afterwards, at their poor place; and will say more about them hereafter. He told me of many other cases of a similar kind. But, after agreeing to a time when we should visit them personally, we set out together to see the "Stone Yard," where there are many factory hands at work under the Board of Guardians.
The "Stone Yard" is close by the Preston and Lancaster Canal. Here there are from one hundred and seventy to one hundred and eighty, principally young men, employed in breaking, weighing, and wheeling stone, for road mending. The stones are of a hard kind of blue boulder, gathered from the land between Kendal and Lancaster. The "Labour Master" told me that there were thousands of tons of these boulders upon the land between Kendal and Lancaster. A great deal of them are brought from a place called "Tewhitt Field," about seven mile on "t' other side o' Lancaster." At the "Stone Yard" it is all piece-work, and the men can come and go when they like. As one of the Guardians told me, "They can oather sit an' break 'em, or kneel an' break 'em, or lie deawn to it, iv they'n a mind." The men can choose whether they will fill three tons of the broken stone, and wheel it to the central heap, for a shilling, or break one ton for a shilling. The persons employed here are mostly "lads an' leet-timber't chaps." The stronger men are sent to work upon Preston Moor. There are great varieties of health and strength amongst them. "Beside," as the Labour Master said, "yo'd hardly believe what a difference there it i'th wark o' two men wortchin' at the same heap, sometimes. There's a great deal i'th breaker, neaw; some on 'em's more artful nor others. They finden out that they can break 'em as fast again at after they'n getten to th' wick i'th inside. I have known an' odd un or two, here, that could break four ton a day,—an' many that couldn't break one,—but then, yo' know, th' men can only do accordin' to their ability. There is these differences, and there always will be." As we stood talking together, one of my friends said that he wished "Radical Jack" had been there. The latter gentleman is one of the guardians of the poor, and superintendent of the "Stone Yard." The men are naturally jealous of misrepresentation; and, the other day, as "Radical Jack" was describing the working of the yard to a gentleman who had come to look at the scene, some of the men overheard his words, and, misconceiving their meaning, gathered around the superintendent, clamorously protesting against what he had been saying. "He's lying!" said one. "Look at these honds!" cried another; "Wi'n they ever be fit to go to th' factory wi' again?"
Others turned up the soles of their battered shoon, to show their cut and stockingless feet. They were pacified at last; but, after the superintendent had gone away, some of the men said much and more, and "if ever he towd ony moor lies abeawt 'em, they'd fling him into th' cut." The "Labour Master" told me there was a large wood shed for the men to shelter in when rain came on. As we were conversing, one of my friends exclaimed, "He's here now!" "Who's here?" "Radical Jack." The superintendent was coming down the road. He told me some interesting things, which I will return to on another occasion. But our time was up. We had other places to see. As we came away, three old Irishwomen leaned against the wall at the corner of the yard, watching the men at work inside. One of them was saying, "Thim guardians is the awfullest set o' min in the world! A man had better be transpoorted than come under 'em. An' thin, they'll try you, an' try you, as if you was goin' to be hanged." The poor old soul had evidently only a narrow view of the necessities and difficulties which beset the labours of the Board of Guardians at a time like this. On our way back to town one of my friends told me that he "had met a sexton the day before, and had asked him how trade was with him. The sexton replied that it was "Varra bad—nowt doin', hardly." "Well, how's that?" asked the other. "Well, thae sees," answered the sexton, "Poverty seldom dees. There's far more kilt wi' o'er-heytin' an' o'er-drinkin' nor there is wi' bein' pinched."
"This ticket entitles the holder to one raffle for the mammoth bull, 'Jumbo,' weighing 2,200 pounds, at the Pennsylvania House, Shartlesville, Berks Co., Pa., Jacob G. Haag, proprietor, on Thursday and Friday, January 12-13th, 1888, commencing Thursday at 9 a.m., close Friday at 8 p.m. Raffling with dice. No. 1133. Tickets, 10 cents."
--------
Jacob G. Haag (1838-1904) continued as the proprietor of the Pennsylvania House until the early 1900s, when ill health apparently forced him to place this ad in the Reading Eagle, Dec. 24, 1902, p. 6:
"For rent--hotel and store with an established business of more than 60 years, will be rented together. The store goods, which is all new stock, will be sold to party renting the same at a reasonable discount. Must retire from business on account of sickness. Apply to Jacob G. Haag, Shartlesville, Pa."
Although the original hotel was destroyed in a fire, it was rebuilt in 1915 and is still in business today as Haag's Hotel and Family Restaurant.
Taken hours before the lockdown of our lives...
But have we forgotten?
Entitled "HOPE" by its now departed sculptor Buky Schwartz of North Haven, Connecticut.
"HOPE" was one of two grandiose ultramodern sclupts at each end of Westfarms mall, made and built for its opening in 1974 -- and has been here ever since, meeting eyes with millions upon billions of shoppers since, eras upon generations to come!
Schwartz commissioned art for Westfarms and would later contribute his surrealist works by its curator-in-chief and fine art enthusiast Alfred A. Taubman at other of his other centers including Lakeside Mall in Sterling Heights, Michigan (1976) and the now shuttered Lakeforest (1978).
50 Years Later, the snaking structure, which goes unnamed at the mall to this day, is made entirely in stainless steel sheen and would dramatically suggest the imposing puck-like menacer atop the shapeshifting snake in suspended animation, would come rolling down its structural, winding apex onto you!
This image was taken on March 19, 2020, the day and mere hours before the life-altering Coronavirus state-sponsored "lockdown" where the mall was open for a few more hours before a once promised weeks would turn to months before patrons would return to these halls.
The surfing civilian and Panther were found on a Youtube video, entitled ‘Tišnovský kinematograf: květen 1945’. The main image is made from a series of stills stitched together in Photoshop. It shows an early 1945 M.N.H. assembled Panther Ausf. G, characterised by the distinctive diagonally striped factory camo, Balkenkreuz application, exhaust hoods and foliage tie downs welded to the turret sides. Its tactical number confirmed by Marek Solar as “314” is in a hand written style similar to “174” (shown inset), which was ID’ed by Neill Warren as belonging to I./Pz.Rgt.24 and pinpointed in Austria by Oliver van Hettinga. In March I./24 was with 6.Pz.Div. fighting in Hungary and in the retreat into Austria. Kamen Nevenkin's trusty book Fire Brigades states on 28 April I./24 was ordered to begin transferring to Milowitz, N-E of Prague, but whether or not some elements managed to isn't confirmed. This could explain “314” being found en-route in Moravian territory, although perhaps it was still tactically attached, or absorbed into 6. Pz.Div., which retreated through Moravia.
www.network54.com/Forum/47207/thread/1434589243/For+Vikto...
Panther "314" and other German MV's can be seen from the 18:10 mark:
www.youtube.com/watch?v=OA2TpyuSEos
The film also includes a sequence of a StuG III being towed away by a Stalinets tractor. It's actually not the Panthers tracks which the civilian is filmed hitching a ride on, but a set of Pz.III-IV tracks. Stills of this StuG appeared in Canfora's interesting AFV Photo Album 2 on p.114, albeit overlooking the novelty of the surfing civilian for some reason (a book which btw includes precise insights on p.141 bearing a remarkable similarity to some other painstaking Czech Panther detective work, also published originally in this stream:
www.flickr.com/photos/82596826@N03/16255965297/in/album-7...)
Actually entitled "Spring Song" and is a circa 1930 wood engraving.
"Flora, Fauna, & Fantasy, the Art of Dorothy Lathrop" by The Brandyywine River Museum in Chadds Ford, Pennsylvania who copyrighted in 2006.
Mural entitled "Ode to the Messenger" by Brett Whitacre seen in the Clifton Avenue Street Art Gallery in the Uptown area of Chicago, Illinois.
Photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee.
One of a series of pamphlets issued by the London County Council entitled "what it does for London" in which the main services provided by the authority are described. Published by Hodder & Stoughton for the LCC the series have generic covers, with a fine illustration of County Hall and using an italic script that hints at work undertaken by Miss Mary I Wright of the Council's Central School of Arts & Crafts, whose students also produced posters for the LCC's Tramways. This booklet covers the work of the Housing Department and describes the Council as "the chief landlord concerned with the housing of the working classes". By 1924 over 100,000 inhabitants had been re-housed in LCC housing that had covered over 50 acres of slum clearance and with work 'in hand' it was intended this number would rise to over 250,000.
The LCC was set up in 1889 and was the principle local authority for vast swathes of the capital, with the new Metropolitan Boroughs as a second tier, and was directly elected. It was abolished, with many powers transferring to the Greater London Council in the 1965 reorganisation of London local government. The LCC's powers were many and widespread, including not just housing but also eduction, public health, fire, ambulances and tramways services.
Correggio -
Venus and Cupid with a Satyr, formerly entitled Jupiter and Antiope [1524-27]
Vénus et l'Amour découverts par un satyre
Louvre Inv 42 - wm
Identifying the work
In the 18th century, this painting was thought to portray Jupiter and Antiope, and it sometimes goes by that title still today. While it is true that according to myth Jupiter, greatest of all the gods, seduced Antiope in the form of a satyr, it is never stated that the latter was sleeping when discovered. In fact the flaming torch placed between Cupid (Eros) and the sleeping woman is an attribute of Venus, the goddess of love. It is with this torch that she combats the chaste Diana in the work by Perugino painted for Mantua, also found in the Louvre. Furthermore, the torch - like the arrows - is an attribute of Cupid: love has the capacity to enflame those affected by it and strike from afar. Thus we see here next to Venus the figure of Cupid, exhausted after his victory over Hercules, whose lion skin he won. The lion skin is a symbol of strength; here we find Cupid sleeping on it. The satyr - a half-man, half-goat creature who in Greco-Roman mythology is a demon of nature devoted to nymphs - serves here as the incarnation of indiscretion and prurience, despite the gesture that conceals his desire. With his right hand he shades the goddess, like the satyr who discovers Venus in the first volume of The Dream of Poliphilo, published in Venice in 1499.
This complex allegory of earthly love was probably accompanied by The School of Love (National Gallery, London), whose subject is rather heavenly love. Both works were painted around 1524-27, perhaps for Count Nicola Maffei, a close relative of Federico Gonzaga at whose home these two paintings could be found from 1536.
Author: Cécile Scailliérez
Source and even more information on the painting & its topic:
Missouri painter Sidney Larson completed this painting entitled "The Village Blacksmith" in 1969 as part of the "The Riback Mural," commissioned by Harold H. Riback for the Riback Pipe and Steel Company building on the east end of Business Loop 70 in Columbia, Missouri.
The Ribacks sold the business to Plumb Supply Company in 2015. The building housing the mural is scheduled to be remodeled in January of 2022, and the paintings will be destroyed. According to the State Historical Society of Missouri's Art Collections Manager Greig Thompson, the mural can't be preserved due to the method the mural was installed.
Notley Hawkins took photographs of the mural on December 21, 2021, at the request of Vicky Riback-Wilson to preserve a record of the paintings. Notley Hawkins studied painting and drawing with Sidney Larson at Columbia College and earned his BFA in 1987.
With the help of S.C. Steinberg, Sidney Larson published a booklet entitled The Riback Mural in 1980. The following description was included when noting the painting:
"Mr. Larson describes the village blacksmith as the closest modern day approach to the Hephaestus. Like the Hephaestus, he created with his forge, anvil and hammer, many of the things needed by the people in his community and which otherwise may not be available to them.
Though not as numerous or as needed as he was a few years back, there are still areas, even in the United States, where the blacksmith plays an important function in the well-being of his community."
The photograph was taken with a Canon EOS R5 camera with a Canon RF24-70mm F2.8 L IS USM lens at ƒ/5.6 with a 1/200-second exposure at ISO 1600. Processed with Adobe Lightroom CC.
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©Notley Hawkins. All rights reserved.
Engraved map entitled "A New / and accurate map of / Connecticut / and / Rhode Island, / from the best Authorities." ; printed on chain-laid paper; map was probably made for a book publication. Has penciled in date 1780. Mounted in thin wooden molded frame, under glass, 12 1/4" x 15 5/8"
ACC# 27.1
See more museum items at flic.kr/s/aHskgxX9We.
(Photo credit Bob Gundersen www.flickr.com/photos/bobphoto51/albums)
My first railway book entitled 'Merseyside Traction' published by Amberley Publishing Ltd on 15 April 2018. This is the front cover with Class 60, No 60099 featuring passing through my local station Whiston. The book featuring 185 images covers a period of over 20 years, featuring different traction, liveries and location within the Merseytravel boundary.
For further details please see - www.amberley-books.com/merseyside-traction.html
It is still available via your local book store, online or direct from Amberley Publishing.
Copyright: Doug Birmingham (8A Rail)
(Appeared and reviewed by RE, July 18)
From Wikipedia:
The Erdene Zuu Monastery (Mongolian: Эрдэнэ Зуу) is probably the most ancient surviving Buddhist monastery in Mongolia. It is in Övörkhangai Province, near the town of Kharkhorin and adjacent to the ancient city of Karakorum. It is part of the World Heritage Site entitled Orkhon Valley Cultural Landscape.
The Erdene Zuu monastery was built in 1585 by Abtai Sain Khan, upon the (second) introduction of Tibetan Buddhism into Mongolia. Stones from the ruins of Karakorum were used in construction. It is surrounded by a wall featuring 100 stupas. The number 108, being a sacred number in Buddhism, and the number of beads in a Buddhist rosary, was probably envisioned, but never achieved. The monastery temples' wall were painted, and the Chinese-style roof was covered with green tiles. The monastery was damaged by warfare in the 1680s, but was rebuilt in the 18th century and by 1872 had a full 62 temples inside.
In 1939 the Communist leader Khorloogiin Choibalsan had the monastery ruined, as part of a purge that obliterated hundreds of monasteries in Mongolia and killed over ten thousand monks. Three small temples and the external wall with the stupas remained; the temples became museums in 1947. They say that this part of the monastery was spared destruction on account of Joseph Stalin's pressure. One researcher claims that Stalin's pressure was connected to the short visit of US vice president Henry A. Wallace's delegation to Mongolia in 1944.
Erdene Zuu was allowed to exist as a museum only; the only functioning monastery in Mongolia was Gandantegchinlen Khiid Monastery in the capital, Ulaanbaatar. However, after the fall of Communism in Mongolia in 1990, the monastery was turned over to the lamas and Erdene Zuu again became a place of worship. Today Erdene Zuu remains an active Buddhist monastery as well as a museum that is open to tourists.
On a hill outside the monastery sits a stone phallus. The phallus is said to restrain the sexual impulses of the monks and ensure their good behavior.
This 360° panorama was stitched from 75 bracketed photographs with PTGUI Pro, tone-mapped with Photomatix, and touched up in Aperture.
Original size: 18456 × 9228 (170.3 MP; 169.39 MB).
Location: Erdene Zuu Monastery, Kharkhorin, Övörkhangai, Mongolia
Mural entitled "Y Tu" by Diego Alejandro aka akalejandroart seen in the Humboldt Park area of Chicago, Illinois.
Photo by James aka Urbanmuralhunter on that other photo site.
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A supplement entitled "The advertiisng appeal of gold and silver print" for Coronation Year in the March 1937 issue of Advertising Display and Press Publicity. This very colourful page details the various designers, printers and manufacturers involved; The Grosvenor Studios did the artwork, it was printed by Marshall Hardy Ltd on John Dickinson's papers, using blocks by Knighton & Cutts with inks by Johnston & Bloy and Shackell Edwards Co. Ltd. and it looks suitably 'regal'.
The 'shadow' comes from the reaction of the metallic inks with the opposite page that looks at the future of neon signs for advertising; in annuals such pages were often separated by a piece of tissue paper.
The caricature sculpture of a cinema usher, entitled Mr. Screen, which stands outside the Screen Cinema was created in 1988 by sculptor, Vincent Browne. I like it but most of my friends do not like it.
The cinema has been operating since 1984, showing world cinema, and independent and Irish films. The Screen Cinema, originally named The New Metropole, opened on 16 March 1972 on the corner of Hawkins Street and Townsend Street on the site of the previous cinema, The Regal, which had been demolished since 1962 to make way for offices. The New Metropole name derived from the more famous Metropole Cinema on O'Connell Street (Penney's department store now occupies the building), and after the latter closed in 1973, the New Metropole became the Metropole.
Originally a single screen cinema, the auditorium was subdivided in 1982 to create two additional auditoria. The new screens were suspended from the ceiling, meaning the main screen was not reduced.
In 1984, it was renamed the Screen Cinema, which became the sister cinema to the more well known Savoy Cinema on O'Connell Street. After this, the Screen showed more unusual, independent, and foreign language films rather than mainstream Hollywood films, which attracted a cult audience to the cinema.
The Screen received a face-lift between 2004–2005 when the interior was upgraded and the cinema lost its original marquee and neon sign in favour of an electronic board displaying the programme.
It was reported in February 2012 that the George's Quay Local Area Plan, prepared by Dublin City Council to regenerate Dublin's southeast inner city, indicated that the Screen Cinema could be demolished and later re-housed in replacement property development in the Hawkins Street area. In the same month, another report suggested that the cinema was in danger of closing altogether – in the previous decade, audience numbers fell from 200,000 to 60,000 per annum.
Last November [2015] it was reported that staff had been put on protective notice.
A MFA worker carefully cleans the Zhan Wang sculpture entitled "Artificial Rock #85" located in the Shapiro Courtyard at the Boston Museum of Fine Arts. She used a small bottle of some cleaning fluid and slowly worked around the bottom of the sculpture with what looked like a Q-tip. It was fascinating to watch her carefully and meticulously work.
My challenge was to capture the scene in an interesting way. How would Jay Masiel photograph this? But then Jay would probably tell me something like "Be yourself, make the photograph unique to your style" or maybe his famous quote, "You've got photography in your life. Now put some life into your photography." ;-)
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Some pages from a publicity brochure, dated 1935, and in French entitled "coup d œil d'ensemble sur l'entreprise" and that describes the massive, vertical integrated company of Fried.Krupp Aktiengesellschaft, Essen. Krupp's have a long history, dating back to 1811 in Essen where they were foremost in the industrial development of the Ruhr and indeed, now merged with Thyssen, their HQ is still in Essen, a city once regarded as a company town.
By 1935 this vast company, manufacturing iron and steel as well as armaments, machinery, locomotives, shipbuilding and vehicles, was already thoroughly enmeshed in the economy of the National Socialist state and they, along with the family members who ran the concern, would be active participants in Germany's rearmament and complicit the country's conduct of the Second World War.
The brochure was gifted to a visiting French businessman and describes the company's shipbuilding subsidiary, Germaniawerft at Kiel, as well as some of the other offshoots such as their own shipping line based in Rotterdam that was set up to 'free' Krupp from external shipping interests.
The vessel shown, the Frielinghaus, was a Krupp's vessel, built by Krupp at Kiel and on Krupp business - the import of high grade iron ores from Narvik and other ports was vital to the production of raw process material for the concern. The ship yard at Kiel, Friedrich Krupp Germaniawerft, had been formed in 1867 but had a series of financial problems before Krupp took a controlling interest in 1896. It went on to construct many U-boats in the First and Second World Wars and after the Allied Victory in 1945 much of the bomb damaged yards were dismantled. However some of the site survived in ship building and is still in production. The vessel shown, Frielinghaus, was constructed in 1922 and was lost during WW2 when it struck a mine on 28 June 1942.
More closely associated with the production of steel was the series of coking ovens and as well as owning their own collieries, Krupp's had a series of large scale and efficient coking plants. Seen here is the Cokerie Hannover 1/2 at Hordel, Bochum. A small part of the Hannover colliery's buildings survive in preservation - to see the scale of such a works one now needs to visit the astonishing array at Zeche Zollverein.
The booklet has a series of vignettes that are signed - possible Fritz Jacobson?
Mural entitled "The Universe Favors the Risk Taker" by AG PNT aka @ag_pnt, seen at 375 NW 23rd Street in the Wynwood Arts District of Miami, Florida.
Photo by James aka Urbanmuralhunter on that other photo site.
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Document: Photograph of oil painting by Decamps entitled 'The Witches in Macbeth', 1904. Catalogue reference: COPY 1/477/660.
How have witches been depicted in popular culture throughout history? This painting of the witches in Macbeth comes from 1904. It is in The National Archives because it was registered for copyright with the government.
This image comes from our document bundle about the witch craze in 17th century England. By pairing it with early modern accounts of actual witch trials, students are encouraged to think about the legacy of this period and draw conclusions on the nature of beliefs and behaviours, the role of the authorities and legal restraint, and the role of women in society.
You can find this document collection here: www.nationalarchives.gov.uk/education/resources/early-mod...
With this document, students could consider:
- What kind of source is this?
- What does this source depict?
- What visual techniques has the artist used?
- How are the women in this source portrayed? How is the audience meant to see them?
Visual description:
Three witches stand around a boiling pot. One stirs the pot, one stokes the fire, and one lifts her hands while looking into it. They are depicted using dark shadows and sepia-toned colours.
Mural entitled "Dancing in the Village" by Joan Jiminez Suero aka @joanjiminezsueroart, seen at 743 NW 5th Avenue in Fort Lauderdale, Florida.
Photo by James aka Urbanmuralhunter on that other photo site.
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Missouri painter Sidney Larson completed this painting entitled "Hebrew Ritual Bath" in 1969 as part of the "The Riback Mural," commissioned by Harold H. Riback for the Riback Pipe and Steel Company building on the east end of Business Loop 70 in Columbia, Missouri.
The Ribacks sold the business to Plumb Supply Company in 2015. The building housing the mural is scheduled to be remodeled in January of 2022, and the paintings will be destroyed. According to the State Historical Society of Missouri's Art Collections Manager Greig Thompson, the mural can't be preserved due to the method the mural was installed.
Notley Hawkins took photographs of the mural on December 21, 2021, at the request of Vicky Riback-Wilson to preserve a record of the paintings. Notley Hawkins studied painting and drawing with Sidney Larson at Columbia College and earned his BFA in 1987.
With the help of S.C. Steinberg, Sidney Larson published a booklet entitled The Riback Mural in 1980. The following description was included when noting the painting:
"Tradition tells us that the holy men among the ancient Hebrews would bath only in fresh rain water. Depressions in the rocks, were surrounded by walls for privacy and the water was allowed to accumulate until there was enough. On completion of the bath, the water was allowed to run out and another accumulation begun."
The photograph was taken with a Canon EOS R5 camera with a Canon RF24-70mm F2.8 L IS USM lens at ƒ/5.6 with a 1/200-second exposure at ISO 640. Processed with Adobe Lightroom CC.
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©Notley Hawkins. All rights reserved.
Missouri painter Sidney Larson completed this painting entitled "A Greek Named Hero" in 1969 as part of the "The Riback Mural," commissioned by Harold H. Riback for the Riback Pipe and Steel Company building on the east end of Business Loop 70 in Columbia, Missouri.
The Ribacks sold the business to Plumb Supply Company in 2015. The building housing the mural is scheduled to be remodeled in January of 2022, and the paintings will be destroyed. According to the State Historical Society of Missouri's Art Collections Manager Greig Thompson, the mural can't be preserved due to the method the mural was installed.
Notley Hawkins took photographs of the mural on December 21, 2021, at the request of Vicky Riback-Wilson to preserve a record of the paintings. Notley Hawkins studied painting and drawing with Sidney Larson at Columbia College and earned his BFA in 1987.
With the help of S.C. Steinberg, Sidney Larson published a booklet entitled The Riback Mural in 1980. The following description was included when noting the painting:
"Though you won't find the name of "Hero" mentioned too often, if you look hard enough and long enough you will find that Hero, of Alexandria, was born during the first century, AD. Even the place of his birth is uncertain. It is very definite that he was an extremely smart man. He wrote extensively on subjects concerned mainly with applied math and physics. He is best known as the inventor of many mechanical devices, particularly those using heat and water as described in his book, 'Pneumatics'. A second book, 'Mechanics' describes the use of the wheel and axle, the wedge, the screw, the lever and the pulley system.
Our painting pictures the use of combined knowledge from both books to show the use of heat and water plus a pulley system and the lever to open and close the temple doors.
In the background we see the Parthenon, the great temple built on top of the Acropolis in Athens about 425 BC. One can only guess how the many massive pieces of marble needed to build this huge building ever got up the steep hill and then how they ever were put into place considering the tools with which they worked.
The two men shown are Greek scholars. Neither is meant to be Hero.."
The photograph was taken with a Canon EOS R5 camera with a Canon TS-E50mm f/2.8L MACRO lens at ƒ/11.0 with a 0.5-second exposure at ISO 50. Processed with Adobe Lightroom CC.
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©Notley Hawkins. All rights reserved.
A statue entitled Drop Leaf Chicken in downtown Cedar Falls. I used to take daily photos of this thing when I first came back to Iowa, and email the photo to a few friends, with the email entitled "The Daily Chicken"
One of those friends (Theresa) requested a train going by the chicken sculpture. Since rail movements on this spur occur maybe 6 times a year at best, this was only the second time I caught a train going by it.
Here, the sculpture over looks the Iowa Northern Railway shoving 104 coal and rock hoppers into a storage yard near the CF Utilities at the end of this spur.
A Cedar Falls Community TV blurb on the sculpture from 2007. Apparently funds were raised, as the sculpture never left town
Entitled: Men With Leopard At The Dongan Mission, China [1932] Fr. O Rauschenbach [RESTORED] Minor spot removal, image size doubled, tonal and contrast adjustments. minor edge restoration, a Sepia and then fake Blue - Yellow Duotone.
This image was found on the University Of Southern California Library's Internet Mission Photography Archives. The following is from their title page:
"The Internet Mission Photography Archive offers historical images from Protestant and Catholic missionary collections in Britain, Norway, Germany, and the United States. The photographs, which range in time from the middle of the nineteenth to the middle of the twentieth century, offer a visual record of missionary activities and experiences in Africa, China, Madagascar, India, Papua-New Guinea, and the Caribbean. The photographs reveal the physical influence of missions, visible in mission compounds, churches, and school buildings, as well as the cultural impact of mission teaching, religious practices, and Western technology and fashions. Indigenous peoples' responses to missions and the emergence of indigenous churches are represented, as are views of landscapes, cities, and towns before and in the early stages of modern development."
Source: digitallibrary.usc.edu/impa/controller/index.htm
According to their information about this image:
"This is a photograph of a group of five men proudly displaying the leopard they shot in the mission compound at Dongan. It was the second leopard shot on the compound and it weighed 66 lbs."
Further, about the sad fate of the photographer, who was in China as a Clergyman:
"Born in Missouri, Fr. Rauschenbach entered Maryknoll in 1918 and was ordained to the priesthood on June 15, 1924. He was assigned to South China, where he spent the next twenty-one years in Maryknoll's Kongmoon Vicariate. Fr. Otto used dispensaries and radio broadcasts to interest people in Christ's message. He was also responsible for many buildings, including the compound at Nanfau and hospital at Toishan. During World War II, while the entire Kongmoon Territory was encircled by the Japanese, Fr. Otto remained with his people during their time of need. On May 14, 1945, he was killed by bandits while ministering to the Christians in the area."
Record ID: impa-m4119
This is a Glass Slide entitled 'A bit of old Newcastle.' featuring a street view of Newcastle upon Tyne's Cathedral and Dog Leap Stairs.
The slide is from the late 19th century.
The slide would have been viewed through a Magic Lantern, an early type of image projector.
This image is part of the Tyne & Wear archives & museums set South Shields Art Gallery Social History collection.
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email adam.bell@twmuseums.org.uk
Entitled: Bowl Shaped Objects Scattered Outside A Building, Yunnan, China [1922] JFC Rock [RESTORED] I did light spot and scratch retouching, adjusted contrasted and tones, and added a false gradation to the sky. The original can be found using Harvard's VIA (Visual Information Access) search engine under Record Identifier olvwork286140.
Joseph Francis Charles Rock (1884-1962), is probably the most well known Asian botanist of his era. From 1908-1962, he was literally a driving force for the discovery and research of Asian flora. Arriving to Hawaii in 1907, he largely self taught himself the indigenous plant life to a point that he quickly became a recognized authority, and was hired on as the US Territory (Hawaii was not yet a US state) of Hawaii's first official botanist, and joined the University of Hawaii's faculty in 1911. Embarking on a series of trips from 1922 to 1949, he discovered and researched new botanical material from the Chinese southwest (Yunnan, Sichuan, southwest Gansu and eastern Tibet). Many of the plants species that he collected are now housed and can be seen in the Arnold Arboretum of Harvard University. As a keen scientific observer, he also took scrupulous notes of the people, culture and customs of the areas that he traversed, compiling and contributing a wealth of knowledge to our current understanding of those societies and times.
Salt is probably one of the most under appreciated commodities of the present day. Years ago, throughout the world, it was almost as valued as gold or silver, with special government departments devoted to the full time control of production, distribution and sales. In China, for hundreds of years, the salt trade was controlled by the imperial government. Illegal production or trade of salt was punishable by death. Salt smuggling or the illegal manufacture of it, entailed the participation of criminal gangs who would control territory; people would be murdered or killed for the needs of the activity, similar to the harsh and cutthroat nature of the cocaine or heroin trade of today. Rock's picture of the salt processing building was likely of a government approved or licensed operation; else he probably would not have survived the encounter. The picture above is of a salt drying house (notice the open slat walls to allow good air flow). Typically, salt is either taken from the sea or an underground mine as brine (salt in solution), and then recovered by the boiling off of the water, leaving the dried mineral residual (as seen in the above photo). The salt "cake" then takes the shape of the vessel in which it was dried in.
Unfortunately, even in those days, the salt trade was rife with greed. Like the recent milk powder scandal in China that killed several babies and sickened more than a quarter million (milkmen spiked their product with Melamine, artificially raising the protein value of their milk, but the milk then became prone to induce kidney stones and failure), the salt was often adulterated with other ingredients (which was also sometimes deadly), to give a false impression that the cake was heavier in salt content and hence be of a higher market price.
Mural entitled Legends done for the Utah Arts Alliance by Iosua Tai Taeoalii (Josh) aka Weird Chief seen in Salt Lake City, Utah.
Photo by James aka Urbanmuralhunter on that other photo site.
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Mural entitled "Angels & Demens" [sic] by Derek Donnelly aka @saintpaintarts created for the Crescent Heights Neighborhood Association in St. Petersburg, Florida.
Photo by James aka @urbanmuralhunter on that other photo site.
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I just found out I've been tagged months ago !
I am sorry to be such a bad contact and I apologize to luce houghton (http://www.flickr.com/photos/lucehoughton/4774834123/), Aybüke ღ moon_ay (http://www.flickr.com/photos/moon_ay/4756481819/), erika, пианист (http://www.flickr.com/photos/eericchin/4568844999/) and gerardo 2010 (http://www.flickr.com/photos/gerardo2010/4482040956/).
1/ Obviously I still don't have the control of flickr and I really wish someone explains me that "tagged thing" in details;
2/ I can drive people crazy asking every minute "Have you seen the sky?" "And now?" "See the yellowish clouds?" "It's getting pink now!";
3/ My titles are 90% song lyrics because it reminds me of how I entitled my drawings when I was a teen;
4/ I am pretending to work as I'm writing this (happy birthday boss!);
5/ I sneeze while I sleep;
6/ It's only the sixth line and I already feel very narcissistic and uninteresting talking about me like that;
7/ I don't like Xmas because it feels artificial and it really puts people under a lot stress;
8/ I spent the night dreaming of terrible haemorrhage because yesterday I cut my foot;
9/ I'd like to thank my brother for giving me my first camera and buying me my first pro account;
10/ I've been trying to begin analogic photography for 4 months and can't find enough time ..
Missouri painter Sidney Larson completed this painting entitled "The Palace at Knossos" in 1969 as part of the "The Riback Mural," commissioned by Harold H. Riback for the Riback Pipe and Steel Company building on the east end of Business Loop 70 in Columbia, Missouri.
The Ribacks sold the business to Plumb Supply Company in 2015. The building housing the mural is scheduled to be remodeled in January of 2022, and the paintings will be destroyed. According to the State Historical Society of Missouri's Art Collections Manager Greig Thompson, the mural can't be preserved due to the method the mural was installed.
Notley Hawkins took photographs of the mural on December 21, 2021, at the request of Vicky Riback-Wilson to preserve a record of the paintings. Notley Hawkins studied painting and drawing with Sidney Larson at Columbia College and earned his BFA in 1987.
With the help of S.C. Steinberg, Sidney Larson published a booklet entitled The Riback Mural in 1980. The following description was included when noting the painting:
"Pictured here is the earliest known, modern appearing bath tub. It dates back to 1600 BC and was unearthed in the ruins of the Second Palace of Knossos (Pronounced 'No-siss') in Crete. It was of painted clay and did drain through the floor. It had to be filled by the slaves though history does indicate that the Cretans had developed a method of pressure piping water. In the same area where the tub was uncovered, they also found the swirl design over the tub and the dolphin mural. The original mural is now in the Museum of Heraclion, in Crete. The major difference between the original and Mr. Larson's interpretation is, that in the original, some of the smaller fish are a bright orange, not unlike the color used in the panel.
The dolphin, apparently, was the good luck emblem of the bath as it was found either as a painting or a sculpture on numerous occasions, in the proximity of a bath.
There appears to be no valid explanation for the presence of the single male among the females. When the artist was asked, he said, "He is a plumber". This however is not based on any known fact."
The photograph was taken with a Canon EOS R5 camera with a Canon RF24-70mm F2.8 L IS USM lens at ƒ/5.6 with a 1/160-second exposure at ISO 400. Processed with Adobe Lightroom CC.
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©Notley Hawkins. All rights reserved.
Mural entitled "Momento Mori" by ROSHI aka @dirtyoldroshi for Paint Memphis, seen at 498 North Hollywood Street in Memphis, Tennessee.
Drone photo by James aka @urbanmuralhunter on that other photo site.
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Entitled: Fisherman In Grand Canal By The East Gate, Peking, China [c1907] HC White Co. [RESTORED] Minor spotting defects repaired, followed by major adjustments to contrast, tonal range, minor edge repairs and a final sepia tone.
The original photograph was found in the US Library of Congress' collection under Reproduction Number LC-USZ62-42221. The image was the right half of a stereoview and was of such extremely poor quality that I had serious doubts about being able to salvage it at all. It was dark to the point that almost no details were apparent, and it was further crippled by the fact that it was only a very low resolution image to begin with (1994Kb). Perhaps the Gods of Photoshop were smiling on this one; I know it wasn't me.
This lift net method of fishing has probably been in China for untold generations. An ingenious contraption with few moving parts made from easily available materials, it would be enough to keep any poor family from starvation.
The Collingwood Monument is a Grade II* listed monument in Tynemouth, England, dedicated to Vice Admiral Lord Cuthbert Collingwood. A Napoleonic-era admiral noted for being second-in-command to Admiral Lord Nelson during the Battle of Trafalgar, Collingwood is sometimes referred to as the forgotten hero of Trafalgar. The monument's base is by John Dobson and the statue is a work of the sculptor John Graham Lough. It is situated just off Front Street in Tynemouth and overlooks the mouth of the River Tyne.
Background
Lord Collingwood was born in Newcastle upon Tyne, the son of a merchant. He attended the Royal Grammar School and joined the Royal Navy as a volunteer at the age of 12. From there he continued his nautical education under his cousin Captain Richard Brathwaite. After serving in the British Naval Brigade at the Battle of Bunker Hill, Collingwood was commissioned in 1775 as a lieutenant. His first command was HMS Badger, after succeeding Horatio Nelson, and his first major command was HMS Sampson. During the Battle of Trafalgar Collingwood assumed command of the British fleet after the death of Lord Nelson, transferring to HMS Euryalus. Collingwood then led the fleet and completed the battle plans that he and Nelson had created together. For his role in the battle Collingwood was given the thanks of both houses of Parliament and awarded a pension of £2,000 per annum, as well as being promoted on 9 November 1805 to Vice-Admiral of the Red and raised to the peerage as Baron Collingwood, of Caldburne and Hethpool in the County of Northumberland.
In 1805 Collingwood was appointed to the Commander-in-Chief, Mediterranean Fleet. After requesting to be relieved of his command the Government stated that it urgently required an admiral of his calibre to lead against the dangers of the French and her allies, and that his country could therefore not dispense of him. However, in 1809 his health declined and he was granted leave. In 1810 Collingwood died of cancer on board HMS Ville de Paris as he sailed for England. He was laid to rest beside Lord Nelson in St Paul's Cathedral. During his career he had served in the American Revolutionary War, the French Revolutionary Wars and the Napoleonic Wars, and had been awarded three Naval Gold Medals, making him one of only three people to share the distinction of earning a total of three.
The inscription on the base of the plinth
The monument was erected to commemorate Collingwood and his connection to North Shields, and was deliberately positioned so that it could be seen from the Tyne. It was paid for by public subscription. The architect was John Dobson and John Graham Lough was responsible for the sculpture. The monument features a high wide base, with slit openings and a door in the rear. A flight of steps leads to the base of the plinth and side walls flank the steps. Upon the walls are four cannon from HMS Royal Sovereign, Collingwood's flagship during the Battle of Trafalgar. The statue of Collingwood stands upon this plinth and the is draped in a cloak over Collingwood's Royal Navy uniform.[clarification needed] The figure's left hand rests on a bollard wrapped in rope.
The monument was completed in 1845 except for the cannons, which were added in 1849.
The inscription on the plinth reads:
THIS MONUMENT was erected by public subscription to the memory of
ADMIRAL LORD COLLINGWOOD
who in the Royal Sovereign on the 21st October 1805 led the British fleet into action at Trafalgar and sustained the sea fight for upwards of an hour before the other ships were within gun shot which caused Nelson to exclaim
'SEE HOW THAT NOBLE FELLOW COLLINGWOOD TAKES HIS SHIP INTO ACTION
He was born at Newcastle upon Tyne 1748 and died in the service of his country on board of the VILLE DE PARIS on 7 March 1810
AND WAS BURIED IN ST PAUL'S CATHEDRAL
THE FOUR GUNS UPON THIS MONUMENT BELONGED TO HIS SHIP THE
"ROYAL SOVEREIGN"
The monument is the scene of a murder in Season 11 of the TV series Vera (in the episode entitled Witness).
John Graham Lough (8 January 1798 – 8 April 1876) was an English sculptor known for his funerary monuments and a variety of portrait sculpture. He also produced ideal classical male and female figures.
Life
John Graham Lough was born at Black Hedley Port, Greenhead near Consett, County Durham, one of eleven children born to William Lough of Aycliff, County Durham and Barbara Clementson of Dalton, Northumberland. His father was a farmer near Hexham and he may himself have worked as a farmer in his youth. He was later apprenticed to a stonemason, at Shotley Field near Newcastle upon Tyne. He later found work in Newcastle as an ornamental sculptor and carved the decorations on the building of the city's Literary and Philosophical Society.
Lough came to London by sea in 1825 to study the Elgin Marbles at the British Museum. He took lodgings in a first floor in Burleigh Street, above a greengrocer's shop, and there commenced to mould his colossal statue of Milo of Croton based on his studies of the Elgin Marbles and the work of Michelangelo. In 1826 he joined the Royal Society Schools with the support of John Thomas Smith and became the protégé of the painter Benjamin Haydon. The following year he exhibited the completed statue. (A later 1863 bronze version survives at Blagdon, Northumberland). It so impressed London society that it brought him scores of patrons and established his career.
He began exhibiting ideal figures and heads at the Royal Academy from 1826. Between 1834 and 1838, he spent a period in Rome where his portrait style was influenced by Neo-classicism.
Lough received a provisional commission to carve four granite lions for the base of Nelson's Column. However, in 1846, after consultations with the column's designer, William Railton, he withdrew from the project, unwilling to work under the constraints imposed by the architect The commission was later given to Edwin Landseer who, with assistance from the sculptor Carlo Marochetti, carried out the work in bronze, finally completing it in 1867.
He was a close friend of the surgeon Campbell De Morgan who sat with Lough as he lay dying of pneumonia. A bust of De Morgan by Lough was given to the Middlesex Hospital medical school and is on display there. Lough is buried in Kensal Green cemetery, London.
One of his younger brothers, Thomas, was a talented musician, artist, and poet, best known for "The Ramshaw Flood" (1848), but declined into vagrancy and poverty, dying at Lanchester Workhouse only a year after John Graham's death.
Works
Lough's memorial to Thomas Noon Talfourd, in the Shire Hall, Stafford
Lough's public works include a statue of Lord Collingwood in Tynemouth, a memorial to Thomas Noon Talfourd, in the Shire Hall, Stafford, and the bronze George Stephenson memorial of 1862, opposite the North of England Institute of Mining and Mechanical Engineers Newcastle upon Tyne.
In London, he produced the monuments to Henry Montgomery Lawrence and to Bishop Middleton in St Paul's Cathedral, and made the Queen Victoria and Prince Albert for the Royal Exchange. In Canterbury Cathedral, he was responsible for the monuments to Bishop Broughton, and to Lt Col Frederick Mackeson.
Lough produced many ideal works on classical, historical and literary themes, including a series of marble statues of Shakespearean subjects for his chief patron Matthew, 4th Baronet Ridley.
Although he was a prolific sculptor, he was also a controversial one, as his work divided opinion about its merits. The Literary Gazette was a fervent supporter, proclaiming his first exhibition as a demonstration of his "extraordinary genius" and a later sculptural group as a work which "nineteen out of twenty people would prefer ... to any other work in the exhibition." The Art Journal was just as fervently critical, damning his statue of Queen Victoria for the Royal Exchange as "an odiously coarse production, in which not one feature of the Queen is recognisable", and of such "gross vulgarity" that it exceeded "the worst production that has ever been publicly exhibited."
John Dobson (9 November 1787 – 8 January 1865) was a 19th-century English neoclassical architect. During his life, he was the most noted architect in Northern England. He designed more than 50 churches and 100 private houses, but he is best known for designing Newcastle railway station and his work with Richard Grainger developing the neoclassical centre of Newcastle. Other notable structures include Nunnykirk Hall, Meldon Park, Mitford Hall, Lilburn Tower, St John the Baptist Church in Otterburn, Northumberland, and Beaufront Castle.
Tynemouth is a coastal town in the metropolitan borough of North Tyneside, in Tyne and Wear, England. It is located on the north side of the mouth of the River Tyne, hence its name. It is 8 mi (13 km) east-northeast of Newcastle upon Tyne. It is best known[dubious – discuss] for Tynemouth Priory.
Historically part of Northumberland until 1974, the town was a county borough which included the nearby town of North Shields.
In 2001, the population of the town was recorded at 17,056. In the 2011 census, it along with North Shields had a population of 67,519. Which makes it the largest settlement in North Tyneside.
History
An aerial shot of Tynemouth Castle, taken in 1917, which was a major coastal fortress and the control centre of the Tyne defences, which stretched from Sunderland to Blyth.
The headland towering over the mouth of the River Tyne has been settled since the Iron Age.[3] The Romans may have occupied it as a signal station, though it is just north of the Hadrian's Wall frontier (the Roman fort and supply depot of Arbeia stands almost opposite it on the southern headland of the Tyne). In the 7th century a monastery was built in Tynemouth and later fortified. The headland was known as Pen Bal Crag.
The place where now stands the Monastery of Tynemouth was anciently called by the Saxons Benebalcrag
— John Leland at the time of Henry VIII
The monastery was sacked by the Danes in 800, rebuilt, and destroyed again in 875, but by 1083 it was again operational.
Three kings are reported to have been buried within the monastery: Oswin, King of Deira (651); Osred II, King of Northumbria (792); and, for a time, Malcolm III, King of Scots (1093). Three crowns still adorn the North Tyneside coat of arms. (North Tyneside Council, 1990).
The queens of Edward I and Edward II stayed in the Castle and Priory while their husbands were campaigning in Scotland. King Edward III considered it to be one of the strongest castles in the Northern Marches. After the Battle of Bannockburn in 1314, Edward II fled from Tynemouth by ship.
A village had long been established in the shelter of the fortified Priory, and around 1325 the prior built a port for fishing and trading. This led to a dispute between Tynemouth and the more powerful Newcastle over shipping rights on the Tyne, which continued for centuries. For more history see North Shields.
Prince Rupert of the Rhine landed at Tynemouth in August 1642 on his way to fight in the English Civil War.
Tynemouth was incorporated as a borough in 1849. The first Town Clerk was Thomas Carr Leitch.
Tynemouth was later administered as a county borough with its headquarters at Tynemouth Town Hall in North Shields until 1974.
Tynemouth was listed in the 2018 Sunday Times report on best places to live in Northern England.
Climate
Tynemouth has a very moderated oceanic climate heavily influenced by its position adjacent to the North Sea. As a result of this, summer highs are subdued and, according to the Met Office 1981–2010 data, average around 18 °C (64 °F). Due to its marine influence, winter lows especially are very mild for a Northern English location. Sunshine levels of 1515 hours per annum are in the normal range for the coastal North East, which is also true for the relatively low amount of precipitation at 597.2 millimetres (23.51 in).
Attractions and amenities
Beaches
Tynemouth Longsands
In the late 18th century, sea-bathing from Tynemouth's east-facing beaches became fashionable. King Edward's Bay and Tynemouth Longsands are very popular with locals and tourists alike.
Prior's Haven is a small beach within the mouth of the Tyne, sheltered between the Priory and the Spanish Battery, with the pier access on its north side. It was popular with Victorian bathers and is now home to Tynemouth Rowing Club and the local sailing club.
King Edward's Bay (possibly a reference to Edward II) is a small beach on the north side of the Priory, sheltered on three sides by cliffs and reached by stairways or, by the fit and adventurous who understand the weather and tides, over the rocks round the promontories on the north or south sides.
Longsands is the next beach to the north, an expanse of fine sand 1,200 yards (1,100 m) long, lying between the former Tynemouth outdoor swimming pool and Cullercoats to the north. The outdoor pool opened in 1925 and was considered a major tourist attraction in its heyday.
In 2013, Longsands was voted one of the best beaches in the country by users of the world's largest travel site TripAdvisor. TripAdvisor users voted the beach the UK's fourth favourite beach in its 2013 Travellers' Choice Beaches Awards. The beach was also voted the 12th best in Europe.
King Edward's Bay
Front Street
A statue of Queen Victoria by Alfred Turner, unveiled on 25 October 1902, is situated at the edge of the Village Green which is home to the War Memorials for the residents of Tynemouth lost during the Second Boer War of 1899–1902. Designed by A.B. Plummer, it was unveiled on 13 October 1903 by William Brodrick, 8th Viscount Midleton.
The larger central memorial is made of white granite with a cruciform column rising from between four struts in a contemporary design for its time. The front face has a relief sword and wreath carved onto it with the inscription below. The other three faces hold the honour roll for those lost during both World Wars. It was unveiled in 1923. DM O'Herlihy was named as the original designer but a press report stated that a Mr Steele designed the monument and credited O'Herlihy with preparatory works on the village green. The 82 names from World War II were added in 1999.
Tynemouth Clock Tower on Front Street was erected in 1861 by William Scott, esq., a native of the town. Designed by Oliver and Lamb with carvings by Robert Beall, the tower housed a clock by Joyce of Whitchurch. At ground level there were drinking fountains (and drinking troughs for dogs) on the north and south sides, a marine barometer (by Negretti and Zambra) to the west and an access door to the east. Made of polychrome bricks and ashlar, the tower (which has been Grade II listed since 1986) is described as being in the Venetian Gothic style.
Kings Priory School
Located on Huntingdon Place, Kings Priory School (formerly The King's School and Priory Primary School) is a co-educational academy with over 800 pupils aged between 4 and 18. Though founded in Jarrow in 1860, the school moved to its present site in Tynemouth in 1865 originally providing a private education for local boys. The school has an Anglican tradition, but admits students of all faiths. Formerly a fee-paying independent school, in 2013 the school merged with the local state Priory Primary School to become a state academy.
Former King's School was named in reference to the three ancient kings buried at Tynemouth Priory: Oswin, Osred and Malcolm III. Its most famous old boy is Stan Laurel, one half of the comedy duo Laurel and Hardy. Hollywood film director Sir Ridley Scott, and racing driver Jason Plato also attended the school.
Tynemouth Pier and lighthouse
This massive stone breakwater extends from the foot of the Priory some 900 yards (810 metres) out to sea, protecting the northern flank of the mouth of the Tyne. It has a broad walkway on top, popular with Sunday strollers. On the lee side is a lower level rail track, formerly used by trains and cranes during the construction and maintenance of the pier. At the seaward end is a lighthouse.
The pier's construction took over 40 years (1854–1895). In 1898 the original curved design proved inadequate against a great storm and the centre section was destroyed. The pier was then rebuilt in a straighter line and completed in 1909. A companion pier at South Shields protects the southern flank of the river mouth.
A lighthouse had built on the old North Pier (first lit in 1895, it displayed three lights mounted vertically: green over white over red, with a range of 7 nautical miles (13 km; 8.1 mi)); however, when the pier had to be rebuilt to a new design, an entirely new lighthouse was required. The work was undertaken by Trinity House, beginning in 1903; the lighthouse was finished before the pier itself, and was first lit on 15 January 1908. The revolving optic, manufactured by Barbier, Bénard, et Turenne, displayed a flash three times every ten seconds; it remains in use today. The light source was an incandescent oil vapour lamp, which (together with the optic) produced a 70,000 candle-power light with a range of 15 nautical miles (28 km; 17 mi). The lighthouse was also equipped with a reed fog signal, powered by compressed air, which was mounted 'on the cupola'; it sounded one long blast every ten seconds. It was manned by four keepers, with two on duty at any one time. In September 1961 a new, more powerful electric light was installed by the Tyne Improvement Commissioners (powered from the mains). Then in 1967 the lighthouse (by then staffed by six keepers on rotation) was automated; a diesel generator was installed along with an electric foghorn.
Before the pier was built, a lighthouse stood within the grounds of Tynemouth Priory and Castle. It was demolished in 1898. It stood on the site of the now-disused Coastguard Station.
On 20 October 2023, the dome of the lighthouse was "forcibly removed by the relentless combination of sea and wind" caused by Storm Babet.
The Spanish Battery
The Spanish Battery c. 1870.
The headland dominates the river mouth and is less well known as Freestone Point. Settlements dating from the Iron Age and later have been discovered here. The promontory supposedly takes its name from Spanish mercenaries who manned guns there in the 16th century to defend Henry VIII's fleet. Most of the guns had been removed by 1905. It is now a popular vantage point for watching shipping traffic on the Tyne.
Beyond the Battery, and commanding the attention of all shipping on the Tyne, is the giant memorial to Lord Collingwood, the Collingwood Monument. Collingwood was Nelson's second-in-command at the Battle of Trafalgar, who completed the victory after Nelson was killed in action. Erected in 1845, the monument was designed by John Dobson and the statue was sculpted by John Graham Lough. The figure is some 23 feet (7.0 m) tall and stands on a massive base incorporating a flight of steps flanked by four cannons from HMS Royal Sovereign – Collingwood's ship at Trafalgar.
The Black Middens
These rocks in the Tyne near the Monument are covered at high water, and the one rock that can sometimes be seen then is called Priors Stone. Over the centuries they have claimed many ships whose crew "switched off" after safely negotiating the river entrance. In 1864, the Middens claimed five ships in three days with many deaths, even though the wrecks were only a few yards from the shore. In response a meeting was held in North Shields Town Hall in December 1864 at which it was agreed that a body of men should be formed to assist the Coastguard in the event of such disasters. This led to the foundation of the Tynemouth Volunteer Life Brigade.
Tynemouth Aquarium
Blue Reef Aquarium
Undersea aquatic park, containing seahorses, sharks, giant octopus, frogs, otters and many other creatures. Its Seal Cove is a purpose-built outdoor facility providing an environment for a captive-bred colony of harbour seals. The 500,000-litre (110,000 imp gal; 130,000 US gal) pool includes rocky haul-out areas and underwater caves, specially created to ensure marine mammals are kept in near natural conditions. It was previously known as the Blue Reef Aquarium Tynemouth.
Transport
Maintaining transport links between Tynemouth and Newcastle is Tynemouth Metro station, originally opened in 1882 as a mainline station catering for the thousands of holiday-makers who flocked to the Tynemouth beaches. Its ornate Victorian ironwork canopies have earned it Grade II listed status. They were restored in 2012, and the station now provides a venue for a weekend "flea market", book fairs, craft displays, coffee shops, restaurants, exhibitions and other events.
Tynemouth is the end point for the 140-mile (230 km) long Coast to Coast Cycle Route from Whitehaven or Workington in Cumbria.
Religion
Tynemouth's Parish Church is the Church of the Holy Saviour in the Parish of Tynemouth Priory. It was built in 1841[45] as a chapel of ease to the main Anglican church in the area, Christ Church, North Shields. In Front Street there were two other churches, the Catholic Parish of Our Lady & St Oswins, opened in 1899, and also Tynemouth Congregational Church, which closed in 1973 and is now a shopping arcade.
Notable residents
Susan Mary Auld – naval architect
Thomas Bewick – engraver, spent many holidays at Bank Top and wrote most of his memoirs there in 1822
Septimus Brutton – played a single first-class cricket match for Hampshire in 1904
Toby Flood – England rugby player, was a pupil at The King's School
Ralph Pake – professional footballer
Ray Slater - (1931–2005), professional footballer
Andy Taylor – former lead guitarist for the new wave group Duran Duran was born in Tynemouth in 1961 at the Tynemouth Jubilee Infirmary.
John of Tynemouth (canon lawyer) – (died 1221), Canon lawyer, author, teacher at Oxford University later canon and judge.
John of Tynemouth (chronicler) – (fl. c. 1350), vicar of Tynemouth, author of world history and of British hagiography.
John of Tynemouth (geometer) – (fl. early 13th century), author of a book on geometry later relied on by Adelard of Bath and Roger Bacon. Possibly the same man as the canon lawyer.
Notable visitors
Charles Dickens visited Tynemouth and wrote in a letter from Newcastle, dated 4 March 1867:
'We escaped to Tynemouth for a two hours' sea walk. There was a high wind blowing, and a magnificent sea running. Large vessels were being towed in and out over the stormy bar with prodigious waves breaking on it; and, spanning the restless uproar of the waters, was a quiet rainbow of transcendent beauty. the scene was quite wonderful. We were in the full enjoyment of it when a heavy sea caught us, knocked us over, and in a moment drenched us and filled even our pockets.'
Giuseppe Garibaldi sailed into the mouth of the River Tyne in 1854 and briefly stayed in Huntingdon Place. The house is marked by a commemorative plaque.
Lewis Carroll states in the first surviving diary of his early manhood, that he met 'three nice little children' belonging to a Mrs Crawshay in Tynemouth on 21 August 1855. He remarks: 'I took a great fancy to Florence, the eldest, a child of very sweet manners'.
Algernon Charles Swinburne arrived hot foot from Wallington Hall in December 1862 and proceeded to accompany William Bell Scott and his guests, probably including Dante Gabriel Rossetti on a trip to Tynemouth. Scott writes that as they walked by the sea, Swinburne declaimed his Hymn to Proserpine and Laus Veneris in his strange intonation, while the waves 'were running the whole length of the long level sands towards Cullercoats and sounding like far-off acclamations'.
Peter the Great of Russia is reputed to have stayed briefly in Tynemouth while on an incognito visit to learn about shipbuilding on the Tyne. He was fascinated by shipbuilding and Western life. Standing 6 feet 8 inches (203 cm) and with body-guards, he would not have been troubled by the locals.
Festivals
Mouth of Tyne festival
The Mouth of the Tyne Festival currently continues the local festival tradition. This annual free festival is held jointly between Tynemouth and South Shields and includes a world-class open-air concert at Tynemouth Priory.
Tynemouth pageant
Tynemouth Pageant is a community organisation in North Tyneside, Tyne and Wear, England, devoted to staging an open-air dramatic pageant every three years in the grounds of Tynemouth Castle and Priory, by kind permission of English Heritage who run the historic monastic and defensive site at the mouth of the River Tyne.
From my set entitled “The Flight Crew”
www.flickr.com/photos/21861018@N00/sets/72157607477197733/
In my collection entitled “Uncle Bill Watson”
www.flickr.com/photos/21861018@N00/collections/7215760783...
In my photostream
www.flickr.com/photos/21861018@N00/
Lyall was born to Martha Beatty in North Bay, Ontario on July 19, 1924. Before enlisting, he worked as a store clerk. He attended #1 Air Gunner’s Ground Training School at Quebec City and #3 Air Gunner Training School at Three Rivers (Trois Rivieres), Quebec
He embarked from Halifax on March 10, 1944, and disembarked in the U.K. on March 18, 1944. After arriving in Britain he was stationed at #3 Personnel Receiving Centre, Bournemout, Dorset, where he awaited further postings. He arrived at #83 Operations Training Unit on May 23, 1944. He was killed while taking part in a training mission on the night of July 22/23, 1944, and was buried at Blacon Cemetery, Chester.
Chief Ground Officer, J.G. Goldie, found Lyall to be conscientious and good leadership material… “a very fine type-otherwise a marvelous actor” Lyall had no preference in terms of the position he wished to hold on the aircrew. He seems to have made many friends in his various training environments.
This is entitled "TIME" not simply because it depicts 2 clocks among clockwork gears, but because it actually, literally **IS** time. It is a physical manifestation of all the countless hours I poured into its creation. When you hold this book, you hold time itself in your hands. Imagine how powerful that would feel. You can have that power. You can purchase this sculpture. You can visit www.unicoherent.com/Originals and scroll down down down the page until in the murky laboratory basement of the page you find objects whose powers are not those of items who normally see the light of day. You can contact me. You can receive an unmarked package in the mail. You can hold time in your very hands.
The Bugatti Veyron EB 16.4 is a mid-engined sports car, designed and developed in Germany by the Volkswagen Group and manufactured in Molsheim, France, by Bugatti Automobiles S.A.S.
The original version had a top speed of 407.12 km/h (252.97 mph). It was named Car of the Decade and best car award (2000–2009) by the BBC television programme Top Gear. The standard Bugatti Veyron also won Top Gear's Best Car Driven All Year award in 2005.
The current Super Sport version of the Veyron is recognized by Guinness World Records as the fastest street-legal production car in the world, with a top speed of 431.072 km/h (267.856 mph), and the roadster Veyron Grand Sport Vitesse version is the fastest roadster in the world, reaching an averaged top speed of 408.84 km/h (254.04 mph) in a test on 6 April 2013.
Name origin
The Veyron EB 16.4 is named in honour of Pierre Veyron, a Bugatti development engineer, test driver and company race driver who, with co-driver Jean-Pierre Wimille, won the 1939 24 hours of Le Mans while driving a Bugatti. The "EB" refers to Bugatti founder Ettore Bugatti and the "16.4" refers to the engine's 16 cylinders and 4 turbochargers.
World record controversy
A controversy developed in 2013 over the Veyron Super Sport's status as the world’s fastest production car, ultimately resolved in the Veyron's favor.
In early April 2013, driving.co.uk (also known as Sunday Times Driving) began an investigation following claims from US car maker Hennessey that its 928 kW (1,244 bhp) Hennessey Venom GT was entitled to the Guinness World Record. With a recorded speed of 427.6 km/h (265.7 mph) the Hennessey was 3.4 km/h (2.1 mph) slower than the Veyron but Hennessey dismissed Bugatti’s official record saying that the Veyron Super Sport was restricted to 415 km/h (258 mph) in production form and that for it to achieve its record top speed of 431.0 km/h (267.8 mph), the car used was in a state of tune not available to customers. Hennessey said its Venom GT was road-ready and unmodified and was therefore a production car in the strict sense of the term.
Driving.co.uk requested clarification from Guinness World Records, which investigated this claim and found that the modification was against the official guidelines of the record. Upon finding this, Guinness World Records voided the Super Sport's record and announced it was "reviewing this category with expert external consultants to ensure our records fairly reflect achievements in this field."
After further review, Shelby SuperCars, the producers of the Ultimate Aero TT, said that they had reclaimed the record, however Guinness reinstated the Super Sport's record after coming to the conclusion that "a change to the speed limiter does not alter the fundamental design of the car or its engine."
Bugatti Veyron 16.4 Super Sport, World Record Edition (2010–)
The Bugatti Veyron 16.4 Super Sport is a faster, more powerful version of the Bugatti Veyron 16.4. Production is limited to thirty units. The Super Sport has increased engine power of 1,200 PS (880 kW; 1,200 bhp), a torque of 1,500 N·m (1,100 lbf·ft), and a revised aerodynamic package. The Super Sport has a 431.072 km/h (267.856 mph) top speed, making it the fastest production road car on the market although it is electronically limited to 415 km/h (258 mph) to protect the tyres from disintegrating.
The Bugatti Veyron 16.4 Super Sport World Record Edition is a version of the Bugatti Veyron 16.4 Super Sport. It is limited to five units. It has an orange body detailing, and a special, black, exposed, carbon, body.
The vehicle was unveiled in 2010 at The Quail, followed by the 2010 Monterey Historic Races at Laguna Seca, and the 2010 Pebble Beach Concours d'Elegance.
[Text taken from Wikipedia]
This Lego miniland-scale 2010 Bugatti Veyron Super Sport has been created for Flickr LUGNuts' 88th Build Challenge, - "Let's go Break Some records", - for vehicles that set the bar (high or low) for any number of vehicles statistics or records. In the case of the Veyron Super Sport, the fastest road car in the world - 431.072 km/h (267.856 mph).