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In 1943/44 my dad, who was enlisted in the Royal Canadian Navy, travelled with the Navy Show which was entitled, "Meet the Navy". Not sure he was actually in the cast, so I'll have to pull his file at Archives Canada in Ottawa. Since he was a Certified Public Accountant, he might have watched the books. The show went across Canada by train. I know that Dad was not with the production that went overseas in 1945.
Dad is second from the right in the above photo. Here's the story of the Navy Show:
From my Herbert Charles Barber Collection
www.flickr.com/photos/21861018@N00/collections/7215760076...
"Meet the Navy" was a Royal Canadian Navy musical revue produced during World War II under the supervision of Capt Joseph P. Connolly, director of Special Services for the RCN. Rehearsals began in June 1943 at Hart House in Toronto. The production staff and company were recognized officially, though somewhat after the fact, by a Government of Canada Treasury Board order-in-council, 13 Aug 1943, as 'an Establishment to be known as "The Navy Show" for the... Entertainment of Naval, Army and Air Force personnel on Active Service; Promotion of recruiting; [and] Maintenance of public morale and goodwill'.
The show itself, called "Meet the Navy" and directed by Louis Silver (a Hollywood producer) and Larry Ceballos (a Broadway choreographer), was premiered for servicemen 2 September at Toronto's Victoria Theatre and opened to the public 4 September. It opened in Ottawa 15 September at the Capitol Theatre (Ottawa). During a year-long national tour, which covered some 10,000 miles by train, Meet the Navy entertained about a half-million Canadians. It travelled in 1944 to Britain, opening 23 October in Glasgow and touring England (11 cities in the provinces), Ireland, and Wales and playing at the Hippodrome in London (1 Feb-7 Apr 1945, including a command performance 28 February). Performances followed in Paris' Théâtre Marigny, the Brussels Music Hall, and Amsterdam's Carré Theatre. Meet the Navy closed 12 September in Oldenburg in occupied Germany. In 1945 the National Film Board produced the film Meet the Navy on Tour. Though plans for a Broadway run fell through, the show itself was filmed in November in Britain.
Meet the Navy included skits, dance routines, and several songs: 'In Your Little Chapeau,' 'Rockettes and the Wrens,' 'Brothers-in-Arms,' 'Meet the Navy,' and 'Beauty on Duty,' all by R.W. Harwood (words) and P.E. Quinn (music); 'The Boys in the Bellbottom Trousers' by Quinn; 'Shore Leave' by Noel Langley and Henry Sherman (words) and Quinn; and the showstopper (sung by John Pratt) 'You'll Get Used to It', with words by Pratt to music by Freddy Grant. Eric Wild (who conducted the pit orchestra) and Robert Russell Bennett arranged the music.
Leading roles were taken by Pratt, Robert Goodier, Cameron Grant, and Lionel Merton. Other featured performers included Dixie Dean, Ivan Romanoff (who conducted a balalaika orchestra and a chorus in 'Scena Russki'), Carl Tapscott (who did choral arrangements), the bass Oscar Natzke, and the dance team Alan and Blanche Lund. Members of the 25-piece orchestra included the violinists Victor Feldbrill, Bill Richards, and Joseph Sera, the trombonist Ted Elfstrom, and the saxophonist-clarinetist Howard 'Cokie' Campbell.
After the London debut of Meet the Navy, Beverley Baxter wrote in the London Evening Standard: 'Why is this piece so exhilarating, so completely satisfying and, since the first class always touches the emotions, why was it so stirring? Perhaps the answer is that quite outside the professional slickness and the terrific pace of the whole thing, we were seeing the story of Canada unconsciously unfolding itself to our eyes'.
In 1980, to celebrate the 70th anniversary of the Canadian navy, the Nova Scotia government revived Meet the Navy with several members of the original cast.
Phillips, Ruth. 'The history of the Royal Canadian Navy's World War II show Meet the Navy,' unpublished manuscript (1973)
Southworth, Jean. 'Actor revives his wartime role,' Ottawa Journal, 19 Aug 1980
From: The Encyclopaedia of Music in Canada
This memorial, entitled “Your Land is For You”, commemorates the Latvian and Lithuanian partisans, usually known as ‘Forest Brothers’, who fought valiantly but ultimately futilely against the Soviet occupation in 1945-1955. It lists twenty names of Forest Brothers who died fighting the Sovietys in southern Kurzeme and Kretinga County, as well as casualties whose names are unknown.
St Lawrence, Bidborough, Kent.
Major George Nicholas Hardinge (d1858).
Major General Richard Hardinge (d1864).
Caroline Johnstone Hardinge (1799-1874).
TO THE MEMORY OF MAJOR GEORGE NICHOLAS HARDINGE, OF THE BENGAL ARMY, WHO SERVED IN THE SUTLEJ AND PUNJAUB CAMPAIGNS AND THROUGHOUT THE DEFENCE OF LUCKNOW: FROM THE EFFECTS OF THAT MEMORABLE SIEGE HE DIED ON HIS PASSAGE HOME IN MARCH 1858, AGED 29. HE HAD BEEN FOUR TIMES WOUNDED AND WAS ENTITLED TO THREE MEDALS. HE HAD BEEN HONOURABLY MENTIONED BY LORD GOUGH AND BRIGADIER INGLIS IN THEIR DESPATCHES, AND THE GOVERNOR GENERAL REMARKED IN HIS ORDERS THAT "HE HAD PROVED HIMSELF WORTHY OF HIS SOLDIER'S NAME". HIS HEROISM, GENEROSITY, AND CHRISTIAN FORTITUDE SHED A LUSTRE ON HIS LIFE AND CAUSED HIM TO BE LOVED BY ALL WHO KNEW HIM. "HE THAT ENDURETH TO THE END SHALL BE SAVED".
ALSO OF MAJOR GENERAL RICHARD HARDINGE, KH, ROYAL ARTILLERY (FATHER OF THE ABOVE) WHO SERVED IN THE THREE LAST WELLINGTON CAMPAIGNS AND WAS ENGAGED AT VITTORIA, ST SEBASTIAN, ORTHES, TOULOUSE, QUATRE BRAS AND LIGNY: DISTINGUISHED ALIKE FOR BRAVERY AND GENTLENESS, HE DIED JULY 20TH 1864, AGED 74.
ALSO OF CAROLINE JOHNSTONE HARDINGE, HIS FAITHFUL WIFE, BORN 12 JUNE 1799, DIED 5 JAN 1874.
A cartoon entitled "The Member for Gravesend" showing
Mr. W. W. Jacobs, speaking to Sir Gilbert Parker (who was MP for Gravesend in Kent, England):
Text: "It's no sort of use talking to them about the Unity and Integrity of the Empire. All they want is that you should sit down on your hat and stand rum all round."
Part of a collection of materials gathered by Jack Adams for his book 'Seated with the Mighty', a biography of Sir Gilbert Parker, published in 1979. The materials were donated in March 1987.
This work, entitled 'I Can Change' by Miranda Argyle played a huge part in influencing my work on 'Anxiety' in my 'Sentiment Dolls' series.
It tells the story of Emma Hauck, who experienced a mental disturbance that led her to believe she has been poisoned by her husband's kiss. She wrote many desperate letters to him from her asylum, promising that she 'could change her mind'.
Find more inspiration on my blog:
The 2010 Holiday Windows at Bergdorf Goodman, entitled "Wish You Were Here", had David Hoey and his visual team taking customers on a journey through fantasy travel, sly visual wit and far-flung places. With an array of wild mash-ups of unexpected arrivals and departures, each window features visual influences as diverse as Roman mythology, 1940s Hollywood musicals, the original Penn Station, and the very first science fiction film.
Bergdorf Goodman began in 1899 when Herman Bergdorf, an immigrant from Alsace, opened a tailor shop just above Union Square. Edwin Goodman, an employee of Bergdorf's, purchased the store then located in the "Ladies' Mile" in 1906. In 1914, Goodman became the first couturier to introduce ready-to-wear. The store moved to its present location at 5th Avenue and 58th Street in 1928, building its Art Deco store on the site of the William K. Vanderbilt mansion. The men's store was moved across the street to the old FAO Schwarz space at 745 Fifth Avenue in 1990.
This sculpture entitled 'Seated' is on show outside the De La Warr Pavilion, Bexhill from 19th April - 29th October 2023.
It is by Tschabalala Self and she says "Taking a seat is a universal act of leisure and calm. I wanted to create a monumental sculpture for the public that spoke to this simple joy. The woman is strong, beautiful and self-possesses. She represents all individuals, but women in particular, who understand the power and importance of simple gestures that assert their right to take up space." (2022).
Tschabalala Self was born in 1990 and is an American artist
Tschabalala Self's first public sculpture stands three metres high and is made from patinated bronze. This monumental work was an everyday object - a seat - as an entry point for questions of permission and performance within public space. Its subject - poised, immaculately dressed, glancing to her left - emboldens onlooks to sit with confidence and comfort.
Through an expansive practice bringing together painting, printmaking, sculpture and collage, Self's depictions, predominantly of women, traverse different artistic traditions. Bland and femme bodies are particularly prevalent in her work, heating different subjects, or characters, with individual and powerful identities, many of which are reimagined from chance encounters. Through mediations on race and gender, Self's work is concerned with what it means to flourish as a human and how the self is performed and perceived within contemporary life.
Read how the local community came together to make a statement after she was vandalised......
www.theguardian.com/artanddesign/2023/jun/03/uk-seaside-c...
On November 6, 2019 the Los Angeles Fire Department (LAFD) Foundation honored members of the Department who have demonstrated exceptional bravery, excellence, and commitment to their community.
VALOR
Medal of Valor: A member is entitled to consideration for this award by performing an act of conspicuous heroism and/or bravery under extreme personal risk above and beyond the calculated personal risk demands of the fire service. This prestigious award goes to:
Captain I Matthew Nolan
Award of Merit: Earned by members taking conspicuous action in rendering aid during a life-saving or life-threatening situation under circumstances which pose calculated risk to the members or performing an endeavor which brings significant credit to the Department. This outstanding award goes to:
Firefighter III/Paramedic Derek Cook
Helicopter Pilot II Joel Smith
Helicopter Pilot III David Norquist (retired)
Lifetime Achievement Award: Presented to a retiree of the Department who exemplifies the true spirit of “Service to the Community” through their actions while on active duty and as a retired member. This year’s recipient is:
Assistant Chief Roy Harvey
The Crystal Flame Community Service Award: Presented to a sworn member of the Department who has gone beyond their regular duties, demonstrating exceptional compassion and personal commitment to the community. This year’s recipients are:
Secretary Rebecca Alvarado
Letter of Special Recommendation: An act performed of unusual character during emergency or non-emergency conditions, requiring initiative or ability worthy of recognition entitles a member to consideration for this commendation. This year's recipients are:
Deputy Chief Kristin Crowley
Firefighter III/Paramedic Daniel Harris
"Our members routinely respond to a variety of incidents that place significant risks on themselves. The members being honored have exceeded what is typically expected of them and deserve to be recognized. I would like to acknowledge the LAFD Foundation for making this event possible", LAFD Fire Chief Ralph Terrazas
LAFD Event - 1106019
Photo Use Permitted via Creative Commons - Credit: LAFD VPP | Austin Gebhardt
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
In 1943/44 my dad, who was enlisted in the Royal Canadian Navy, travelled with the Navy Show which was entitled, "Meet the Navy". Not sure he was actually in the cast, so I'll have to pull his file at Archives Canada in Ottawa. Since he was a Certified Public Accountant, he might have watched the books. The show went across Canada by train. I know that Dad was not with the production that went overseas in 1945.
Dad is second from the right in the above photo. Here's the story of the Navy Show:
From my Herbert Charles Barber Collection
www.flickr.com/photos/21861018@N00/collections/7215760076...
"Meet the Navy" was a Royal Canadian Navy musical revue produced during World War II under the supervision of Capt Joseph P. Connolly, director of Special Services for the RCN. Rehearsals began in June 1943 at Hart House in Toronto. The production staff and company were recognized officially, though somewhat after the fact, by a Government of Canada Treasury Board order-in-council, 13 Aug 1943, as 'an Establishment to be known as "The Navy Show" for the... Entertainment of Naval, Army and Air Force personnel on Active Service; Promotion of recruiting; [and] Maintenance of public morale and goodwill'.
The show itself, called "Meet the Navy" and directed by Louis Silver (a Hollywood producer) and Larry Ceballos (a Broadway choreographer), was premiered for servicemen 2 September at Toronto's Victoria Theatre and opened to the public 4 September. It opened in Ottawa 15 September at the Capitol Theatre (Ottawa). During a year-long national tour, which covered some 10,000 miles by train, Meet the Navy entertained about a half-million Canadians. It travelled in 1944 to Britain, opening 23 October in Glasgow and touring England (11 cities in the provinces), Ireland, and Wales and playing at the Hippodrome in London (1 Feb-7 Apr 1945, including a command performance 28 February). Performances followed in Paris' Théâtre Marigny, the Brussels Music Hall, and Amsterdam's Carré Theatre. Meet the Navy closed 12 September in Oldenburg in occupied Germany. In 1945 the National Film Board produced the film Meet the Navy on Tour. Though plans for a Broadway run fell through, the show itself was filmed in November in Britain.
Meet the Navy included skits, dance routines, and several songs: 'In Your Little Chapeau,' 'Rockettes and the Wrens,' 'Brothers-in-Arms,' 'Meet the Navy,' and 'Beauty on Duty,' all by R.W. Harwood (words) and P.E. Quinn (music); 'The Boys in the Bellbottom Trousers' by Quinn; 'Shore Leave' by Noel Langley and Henry Sherman (words) and Quinn; and the showstopper (sung by John Pratt) 'You'll Get Used to It', with words by Pratt to music by Freddy Grant. Eric Wild (who conducted the pit orchestra) and Robert Russell Bennett arranged the music.
Leading roles were taken by Pratt, Robert Goodier, Cameron Grant, and Lionel Merton. Other featured performers included Dixie Dean, Ivan Romanoff (who conducted a balalaika orchestra and a chorus in 'Scena Russki'), Carl Tapscott (who did choral arrangements), the bass Oscar Natzke, and the dance team Alan and Blanche Lund. Members of the 25-piece orchestra included the violinists Victor Feldbrill, Bill Richards, and Joseph Sera, the trombonist Ted Elfstrom, and the saxophonist-clarinetist Howard 'Cokie' Campbell.
After the London debut of Meet the Navy, Beverley Baxter wrote in the London Evening Standard: 'Why is this piece so exhilarating, so completely satisfying and, since the first class always touches the emotions, why was it so stirring? Perhaps the answer is that quite outside the professional slickness and the terrific pace of the whole thing, we were seeing the story of Canada unconsciously unfolding itself to our eyes'.
In 1980, to celebrate the 70th anniversary of the Canadian navy, the Nova Scotia government revived Meet the Navy with several members of the original cast.
Phillips, Ruth. 'The history of the Royal Canadian Navy's World War II show Meet the Navy,' unpublished manuscript (1973)
Southworth, Jean. 'Actor revives his wartime role,' Ottawa Journal, 19 Aug 1980
From: The Encyclopaedia of Music in Canada
A cultural event entitled “Paraguay – an Economically Fertile Country” featuring an exhibition on the many aspects and achievements that make the country one of South America’s most promising destinations for investment opportunities, and music performances was held on the sidelines of the Assemblies of WIPO Member States, which met from October 2-11, 2017. WIPO co-organized the event with the Government of Paraguay.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
From my set entitled “Hosta”
www.flickr.com/photos/21861018@N00/sets/72157607213588660/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Hosta (syn.: Funkia) is a genus of about 23–40 species of lily-like plants native to northeast Asia. They were once classified in the family Liliaceae but are now included in the family Agavaceae by the Angiosperm Phylogeny Group. The scientific name is also used as the common name; in the past they were also sometimes called the Corfu Lily, the Day Lily, or the Plantain lily, but these terms are now obsolete. The name Hosta is in honor of the Austrian botanist Nicholas Thomas Host.[1]The Japanese name Giboshi is also used in English to a small extent. The rejected generic name Funkia, also used as a common name, can be found in some older literature.
Hostas are herbaceous perennial plants, growing from rhizomes or stolons, with broad lanceolate or ovate leaves varying widely in size by species from 1–15 in (3–40 cm) long and 0.75–12 in (2–30 cm) broad. Variation among the numerous cultivars is even greater, with clumps ranging from less than 4 in (10 cm) across to more than 6.5 ft (2 m) across. Leaf color in wild species is typically green, although some species (e.g., H. sieboldiana) are known for a glaucous waxy leaf coating that gives a blue appearance to the leaf. Some species have a glaucous white coating covering the underside of the leaves. Natural mutations of native species are known with yellow-green ("gold") colored leaves or with leaf variegation (either white/cream or yellowish edges or centers). Variegated plants very often give rise to "sports" that are the result of the reshuffling of cell layers during bud formation, producing foliage with mixed pigment sections. In seedlings variegation is generality maternally derived by chloroplast transfer and is not a genetically inheritable trait.
The flowers are produced on erect scapes up to 31 in (80 cm) tall that end in terminal racemes. The individual flowers are usually pendulous, 0.75–2 in (2–5 cm) long, with six tepals, white, lavender, or violet in color and usually scentless. The only strongly fragrant species is Hosta plantaginea, which is also unusual in that the flowers open in the evening and close by morning. This species blooms in late summer and is sometimes known as "August Lily".
Taxonomists differ on the number of species; as such, the list at the right may be taken loosely. The genus may be broadly divided into three subgenera. Interspecific hybridization is generally possible, as all species have the same chromosome number (2n = 2x = 60) with the exception of H. ventricosa, a natural tetraploid that sets seed through apomixis. Many varieties formerly described as species have been taxonomically reduced to cultivar status, while retaining Latin names resembling species (e.g., H. 'Fortunei').
Though Hosta plantaginea originates in China, most of the species that provide the modern shade garden plants were introduced from Japan to Europe by Philipp Franz von Siebold in the mid-19th century. Newer species have been discovered on the Korean peninsula as well.
Hostas are widely-cultivated ground cover plants, particularly useful in the garden as shade-tolerant plants. Hybridization within and among species and cultivars has produced numerous cultivars, with over 3000 registered and named varieties, and perhaps as many more that are not yet registered. Cultivars with golden- or white-variegated leaves are especially prized. Popular cultivars include 'Francee' (green leaves with white edges), 'Gold Standard' (yellow leaves with green edges was discovered by Pauline Banyai) 'Undulata' (green leaves with white centers), 'June' (blue-green leaves with creamy centers), and 'Sum and Substance' (a huge plant with chartreuse-yellow leaves). Newer, fragrant cultivars such as 'Guacamole' are also popular. Pictures of hosta species and cultivars, along with other information, may be found at www.hostalibrary.org.
The American Hosta Society and the British Hosta and Hemerocallis Society support Hosta Display Gardens, often within botanical gardens.
Hostas are notoriously a favourite food for deer, slugs and snails, which commonly cause extensive damage to hosta collections in gardens. Poisoned baits using either metaldehyde or the safer iron phosphate work well for the latter, but require repeated applications. Deer control tends to be variable, as anything other than fencing tends to work for a few years then cease to work as they become accustomed to it.
Foliar nematodes, which leave streaks of dead tissue between veins, have become an increasing problem since changes in attitudes about pesticides since the mid-1990s in many countries have caused a resurgence in this once-controlled pest. There are no effective means for eliminating nematodes in the garden, although they can be controlled to the point where little or no symptoms are seen.
A virus called Hosta Virus X has become common since 2004 and plants that are infected must be destroyed. It can take years for symptoms to show, so symptomless plants in infected batches should also be considered infected.
Otherwise they are generally easy and long-lived garden plants, relatively disease free, requiring little care other than watering and some fertilizer to enhance growth. Some varieties are more difficult to grow, as can be expected with 5,000+ cultivars, but most are easy enough for beginners.
From my set entitled “Boats and Ships”
www.flickr.com/photos/21861018@N00/3206986832/in/set-7215...
In my collection entitled “Transportation”
www.flickr.com/photos/21861018@N00/collections/7215761271...
In my photostream
www.flickr.com/photos/21861018@N00/
From my set entitled “Jamestown”
www.flickr.com/photos/21861018@N00/sets/72157606230698243/
In my collection entitled “Virginia: Beach, Williamsburg, Jamestown, Yorktown: May 2008”
www.flickr.com/photos/21861018@N00/collections/7215760622...
Reproduced from Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Jamestown,_Virginia
Jamestown (originally also called "James Towne" or "Jamestowne") is located on the James River in what is currently James City County in the Commonwealth of Virginia. The site is about 40 miles (62 km) inland from the Atlantic Ocean and the entrance to the Chesapeake Bay and about 45 miles (70 km) downstream and southeast of the current state capital city of Richmond. Both the river and the settlement were named for King James I of England, who was on the throne at the time, granted the private proprietorship to the Virginia Company of London's enterprise.
The location at Jamestown Island was selected primarily because it offered a favorable strategic defensive position against other European forces which might approach by water. However, the colonists soon discovered that the swampy and isolated site was plagued by mosquitoes and tidal river water unsuitable for drinking, and offered limited opportunities for hunting and little space for farming. The area was also inhabited by Native Americans (American Indians).
The 3 points of Colonial Virginia's Historic Triangle, Jamestown, Williamsburg, and Yorktown are linked by the National Park Service's scenic Colonial Parkway.
The 3 points of Colonial Virginia's Historic Triangle, Jamestown, Williamsburg, and Yorktown are linked by the National Park Service's scenic Colonial Parkway.
Despite inspired leadership of John Smith, chaplain Robert Hunt and others, starvation, hostile relations with the Indians, and lack of profitable exports all threatened the survival of the Colony in the early years as the settlers and the Virginia Company of London each struggled. However, colonist John Rolfe introduced a strain of tobacco which was successfully exported in 1612, and the financial outlook for the colony became more favorable. Two years later, Rolfe married the young Indian woman Pocahontas, daughter of Wahunsunacock, Chief of the Powhatan Confederacy, and a period of relative peace with the Natives followed. In 1616, the Rolfes made a public relations trip to England, where Pocahontas was received as visiting royalty. Changes by the Virginia Company which became effective in 1619 attracted additional investments, also sowing the first seeds of democracy in the process with a locally-elected body which became the House of Burgesses, the first such representative legislative body in the New World.
Throughout the 17th century, Jamestown was the capital of the Virginia Colony. Several times during emergencies, the seat of government for the colony was shifted temporarily to nearby Middle Plantation, a fortified location on the high ridge approximately equidistant from the James and York Rivers on the Virginia Peninsula. Shortly after the Colony was finally granted a long-desired charter and established the new College of William and Mary at Middle Plantation, the capital of the Colony was permanently relocated nearby. In 1699, the new capital town was renamed Williamsburg, in honor of the current British king, William III.
After the capital was relocated, Jamestown began a gradual loss of prominence and eventually reverted to a few large farms. It again became a significant point for control of the James River during the American Civil War (1861–1865), and then slid back into seeming oblivion. Even the Jamestown Exposition of 1907 was held elsewhere, at a more accessible location at Sewell's Point, on Hampton Roads near Norfolk.
Queen Elizabeth II of the United Kingdom and her consort Prince Phillip inspect replica of Susan Constant at Jamestown Festival Park in Virginia on October 16, 1957
Queen Elizabeth II of the United Kingdom and her consort Prince Phillip inspect replica of Susan Constant at Jamestown Festival Park in Virginia on October 16, 1957
Beginning in 1893, 22.5 acres of the Jamestown site were acquired by the Association for the Preservation of Virginia Antiquities. A crucial sea wall was built in 1900 to protect the shoreline near the site of James Fort from further erosion. In the 1930s, the Colonial National Historical Park was established to protect and administer Jamestown, which was designated a National Historic Site. The U.S. National Park Service acquired the remaining 1,500 acres (6.1 km²) of Jamestown Island through eminent domain in 1934.
For the 350th anniversary in 1957, Jamestown itself was the site of renewed interest and a huge celebration. The National Park Service provided new access with the completion of the Colonial Parkway which led to Williamsburg, home of the restored capital of Colonial Williamsburg, and then on to Yorktown, the other two portions of Colonial Virginia's Historic Triangle. Major projects such as the Jamestown Festival Park were developed by non-profit, state and federal agencies. Queen Elizabeth II of Great Britain and Prince Philip attended. The 1957 event was a great success. Tourism became continuous with attractions regularly updated and enhanced.
The two major attractions at Jamestown are separate, but complementary to each other. The state-sponsored Jamestown Settlement near the entrance to Jamestown Island includes a recreated English Fort and Native American Village, extensive indoor and outdoor displays, and features the three popular replica ships. On Jamestown Island itself, the National Park Service operates Historic Jamestowne. Over a million artifacts have been recovered by the Jamestown Rediscovery project with ongoing archaeological work, including a number of exciting recent discoveries.
Early in the 21st century, in preparation for the Jamestown 2007 event commemorating America's 400th Anniversary, new accommodations, transportation facilities and attractions were planned. The celebration began in the Spring of 2006 with the sailing of a new replica Godspeed to six major East Coast U.S. cities, where several hundred thousand people viewed it. Queen Elizabeth II and Prince Phillip joined America's festivities on an official state visit to Jamestown in May 2007.
From my set entitled “Tuberous Begonia”
www.flickr.com/photos/21861018@N00/sets/72157607213634242/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Begonia is a genus in the flowering plant family Begoniaceae. The only other member of the family Begoniaceae is Hillebrandia, a genus with a single species in the Hawaiian Islands. The genus Symbegonia is now included in Begonia. "Begonia" is the common name as well as the generic name for all members of the genus.
With ca. 1500+ species, Begonia is one of the ten largest angiosperm genera. The species are terrestrial (sometimes epiphytic) herbs or undershrubs and occur in subtropical and tropical moist climates, in South and Central America, Africa and southern Asia. Terrestrial species in the wild are commonly upright-stemmed, rhizomatous, or tuberous. The plants are monoecious, with unisexual male and female flowers occurring separately on the same plant, the male containing numerous stamens, the female having a large inferior ovary and two to four branched or twisted stigmas. In most species the fruit is a winged capsule containing numerous minute seeds, although baccate fruits are also known. The leaves, which are often large and variously marked or variegated, are usually asymmetric (unequal-sided).
Because of their sometimes showy flowers of white, pink, scarlet or yellow color and often attractively marked leaves, many species and innumerable hybrids and cultivars are cultivated. The genus is unusual in that species throughout the genus, even those coming from different continents, can frequently be hybridized with each other, and this has led to an enormous number of cultivars. The American Begonia Society classifies begonias into several major groups: cane-like, shrub-like, tuberous, rhizomatous, semperflorens, rex, trailing-scandent, or thick-stemmed. For the most part these groups do not correspond to any formal taxonomic groupings or phylogeny and many species and hybrids have characteristics of more than one group, or fit well into none of them.
The genus name honors Michel Bégon, a French patron of botany.
The different groups of begonias have different cultural requirements but most species come from tropical regions and therefore they and their hybrids require warm temperatures. Most are forest understory plants and require bright shade; few will tolerate full sun, especially in warmer climates. In general, begonias require a well-drained growing medium that is neither constantly wet nor allowed to dry out completely. Many begonias will grow and flower year-round but tuberous begonias usually have a dormant period, during which the tubers can be stored in a cool and dry place.
Begonias of the semperflorens group are frequently grown as bedding plants outdoors. A recent group of hybrids derived from this group is marketed as "Dragonwing Begonias"; they are much larger both in leaf and in flower. Tuberous begonias are frequently used as container plants. Although most Begonia species are tropical or subtropical in origin, the Chinese species B. grandis is hardy to USDA hardiness zone 6 and is commonly known as the "hardy begonia". Most begonias can be grown outdoors year-round in subtropical or tropical climates, but in temperate climates begonias are grown outdoors as annuals, or as house or greenhouse plants.
Most begonias are easily propagated by division or from stem cuttings. In addition, many can be propagated from leaf cuttings or even sections of leaves, particularly the members of the rhizomatous and rex groups.
The cultivar Kimjongilia is a floral emblem of North Korea.
The heart of the Piazza dei Miracoli is the Duomo, the medieval cathedral, entitled to Santa Maria Assunta (St. Mary of the Assumption). This is a five-naved cathedral with a three-naved transept.
It was begun in 1064 by the architect Buscheto and is the originator of the distinctive Pisan Romanesque style in architecture. The mosaics of the interior show a strong Byzantine influence, while the pointed arches point to Muslim influences.
The façade, of grey marble and white stone set with discs of coloured marble, was built by a master Rainaldo, as indicated by a write above the middle door: Rainaldus prudens operator.
The Duomo at SunsetThe massive bronze main doors were made in the workshops of Giambologna but visitors in the past entered through the Porta di San Ranieri (St. Ranieri's Door), in front of the Leaning Tower. Made in around 1180 by Bonanno Pisano, this doorway was actually moved from its original place opposite the Baptistery when Giambologna's doors were erected.
Above the doors there are four rows of open galleries with, on top, statues of Madonna with Child and, on the corners, the Four evangelists. One of these galleries contains the tomb of Buscheto.
The interior is faced with black and white marble and has a gilded ceiling and a frescoed dome. It was largely redecorated after a fire in 1595, which destroyed most of the medieval art works.
The impressive mosaic, in the apse, of Christ in Majesty, flanked by the Blessed Virgin and St. John the Evangelist, survived the fire however. It evokes the mosaics in the church of Monreale, Sicily. Although it is said that the mosaic was done by Cimabue, only the head of St. John was done by the artist in 1302 and was his last work, since he died in Pisa in the same year. The cupola, at the intersection of the nave and the transept, was decorated by Riminaldi showing the ascension of the Blessed Virgin. Galileo is believed to have formulated his theory about the movement of a pendulum by watching the swinging of the incense lamp (not the present one) hanging from the ceiling of the nave. That lamp, smaller and simpler than the present one, it is now kept in the Camposanto, in the Aulla chapel. The impressive granite Corinthian columns between the nave and the aisle came originally from the mosque of Palermo, captured by the Pisans in 1063.
The coffer ceiling of the nave was replaced after the fire of 1595. The present gold-decorated ceiling carries the coat of arms of the Medici.
The elaborately carved pulpit (1302-1310), which also survived the fire, was the made by Giovanni Pisano and is one the masterworks of medieval sculpture. It was packed away during the redecoration and was not rediscovered and re-erected until 1926. The pulpit is supported by plain columns (two of which mounted on lions sculptures) on ones side and by caryatids and a telamon on the other: the latter represent St. Michael, the Evangelists, the four cardinal virtues flanking the Church, and a bold, naturalistic depiction of a naked Hercules. A central plinth with the liberal arts supports the four theological virtues. The present day reconstruction of the pulpit it is not the correct one. Now it lies not in the same original position, that was nearer the main altar, and the disposition of the columns and the panels are not the original ones. Also the original stairs (maybe in marble) was lost.
The upper part has nine panels dramatic showing scenes from the New Testament, carved in white marble with a chiaroscuro effect and separated by figures of prophets: Annunciation, Massacre of the Innocents, Nativity, Adoration of the Magi, Flight into Egypt, Crucifixion, and two panels of the Last Judgement.
The church also contains the bones of St Ranieri, Pisa's patron saint, and the tomb of the Holy Roman Emperor Henry VII, carved by Tino da Camaino in 1315. That tomb, originally in the apse just behind the main altar, was disassembled and changed position many times during the years for political reasons. At last the sarcophagus is still in the Cathedral, but some of the statues were put in the Camposanto or in the top of the façade of the church. The original statues now are in the Museum of the Opera del Duomo.
The building, as several in Pisa, is also slightly tilting since the construction.
From the brochure entitled the Elizabethton Walking Tour, this home is listed as stop #4:
The house known as the Doctor Bowers House was built around 1906 by Dr. E.E. Hunter and his wife, Mollie Jobe Hunter, daughter of Dr. Abraham Jobe, after a fire destroyed their previous home. One of Elizabethton's most beloved physicians, Dr. Hunter, also operated a drug store in the city, served for a short time as Postmaster, and oversaw the construction of the Covered Bridge. The house is primarily Greek Revival Style with various other architectural style influences, particularly Classical Revival. The north bay of the interior stair landing features beautiful stained glass windows.
Entitled "Off to Camp", this image shows a well-dressed group of soldiers passing through the Hotspur Tower in Alnwick's Bondgate, surrounded by the usual audience of children and adults alike.
Note the elevated onlooker at the lower edge -- obviously a man who has found something to stand upon !
I'm unsure as to what soldiers these are -- the uniforms are almost tropical style (khaki drill) and they are wearing slouch hats. Fusiliers newly returned from Peshawar ?
The light-coloured straps over the shoulders are the straps of standard issue over-the-shoulder haversacks; the precursors of the backpacks to come.
The British Army's regular forces had been cruelly exposed in the Boer War, where regulars and reservists were reinforced by a rather motley selection of militiamen, yeomanry and volunteers.
By 1910, in the wake of the quite significant Haldane reforms, there were nearly 252,000 men in the regular Army, plus nearly 136,000 men in the Army reserve. This was actually more than at the ends of either the Napoleonic or Crimean wars !
The British Army's commitments continued globally -- soldiers had recently been used in British Guiana to quell riots; troops had already been sent to Persia and would remain there until after the Great War; the slave trade in Nigeria was being crushed by force by British soldiers; and 1907 saw the start of a thirteen-year struggle with the "Mad Mullah" and his Dervishes in Somaliland.
In other words, the British Army was being widely used throughout the world.
However, none of those conflicts resembled the style of warfare to come.
Note the Hotspur Tower (Bondgate Tower/Arch) -- the square stone directly over the archway had borne a sculpted Lion on its face, dating from the 15th century. This Lion Rampant had clearly been badly eroded even by 1907, although it does seem to have been refurbished in years since.
Ironically, although locally known as the symbol of the Percy Family, this widely-seen Lion symbol is actually the "Brabant Lion", named after an area of the European Lowlands (including part of Belgium) where many of these men may later have seen a terrible action.
Museum de Fundatie Zwolle NL presents an exhibition entitled Giacometti-Chadwick, Facing Fear, to run from 22 September 2018 to 6 January 2019. The sculptures of Alberto Giacometti (1901-1966) and Lynn Chadwick (1914-2003) are manifestations of the sense of fear and disillusionment that pervaded Europe during the Cold War period. Their work bids a final farewell to pre-war romanticism and aestheticism, and lands with both feet in the raw reality of the post-war world. While Giacometti reduced the human form to its bare essentials, Chadwick created powerful archetypal images of both people and animals. The exhibition includes more than 150 works. Never before has the work of Giacometti and Chadwick been so explicitly brought together.
Their paths first crossed in 1956, when Chadwick became the youngest person ever to win the Grand Prix for Sculpture at the Venice Biennale. With only six years’ experience as a sculptor, the British artist snatched the prize from Giacometti, the hot favourite, who was thirteen years older and already a major name in Paris. Giacometti would go on to win the prize in 1962, but which of the two men was awarded it in 1956 is less significant than the fact that these two particular sculptors were the front-runners at that time. Each of them was expressing, in his own individual way, the sense of deep-seated angst that overshadowed day-to-day life in Europe in the fifties and sixties: the fear of a global nuclear disaster that would wipe out human civilisation.
Alberto Giacometti is among the most significant figures in the whole field of modern European sculpture. A member of a notable family of Swiss artists, he moved to Paris in 1922 and would remain there for the rest of his life, working as a sculptor, painter and graphic artist. After training with Émile-Antoine Bourdelle, he discovered modernism and so-called ‘primitive’ ethnographic art of Africa and Oceania. In response to these influences, his work became more abstract. In the early thirties, his Surrealist sculptures expressing subconscious emotions created a furore. From 1935, however, personal psychological tensions triggered a crisis in his life and work that led to a return to the human figure. Initially, his portraits and figures became both increasingly tiny and more and more attenuated. This thinness was to remain the most distinctive feature of Giacometti’s art. After the Second World War, he began to create the elongated, emaciated figures that would bring him worldwide fame. In all their attenuation, they reduce humanity to its very essence and appear both vulnerable and enigmatic.
In the early fifties, up-and-coming artist Lynn Chadwick managed to dislodge Henry Moore and Barbara Hepworth from their dominant position in the field of British sculpture. Born in London, Chadwick had started his career as a technical draughtsman and exhibition stand designer. He took an equally constructional approach to his sculpture: rather than model his human and animal figures in clay or wax, he constructed them by welding steel rods together to create an armature and then filling in the gaps with a kind of cement. The angularity of the work being produced by him and other young British artists was described in 1952 as ‘the geometry of fear’, a reference to the constant dread of nuclear annihilation. Chadwick’s apocalyptic Dancers and stoical Watchers gave powerful expression to this sense of angst. From the early seventies, he broadened his repertoire to include subjects that seem to restore the sovereignty of the human spirit. Sculptures like Cloaked Figure and Sitting Couple no longer look threatening, but emanate a sense of composure and invulnerability.
Giacometti’s pre-war work influenced Chadwick’s development and the two men were keenly aware of each other’s presence. In addition to the vast differences, there are also many similarities between their oeuvres. Giacometti-Chadwick, Facing Fear is the product of close cooperation with the Fondation Marguerite et Aimé Maeght in Saint-Paul-de-Vence and the Chadwick Estate and Blain|Southern gallery in London.
To the left of ‘Men reading', we have the ‘Fight with Cudgels’ coupled with an enigmatic and sinister piece entitled ‘Atropos or The Fates’. Again, these two large works form a pair, being similar in treatment, and identical in size, and having been placed side by side originally in Quinta del Sordo (The house of the deaf man). The landscape in ‘The Fates’, or ‘Destiny,’ would seem to continue that of the other as the horizon line dissects both pictures and we observe monumental figures towering over their 'natural' habitat. Both paintings seem to relate back to previous prints in the ‘Los Caprichos’ set.
Plate 62 echoes the ‘Fight with Cudgels’ The caption reads : "who would have thought it" and this is clarified by the adage : "See, here is a terrible quarrel as to which of the two is more of a witch. Who would have thought that the screechy one and the grizzly one would tear each other’s hair in this way? Friendship is the daughter of virtue; villains may be accomplices but not friends".
There is an aspect of 'live by fire, die by fire' in this etching. As the two witches struggle with each other, the "grizzly one" is being molested from below by her own death, which takes the form of a bear, whilst the screechy one is being attacked by a leaping cat. Whether either of these demons actually exist is a matter of irrelevance. Goya is talking about the futility of vanity and petty opposition, when death is constantly beside us as an unseen reality. The wrath of these monsters is being aroused by the actions of the combatants. The demons of bloodshed and death are easily aroused but not so easily placated. The seedbed of human folly and vanity is fecund ground, and through war the death-drive achieves satiation.
This hopeless subject is tellingly repeated in the image of the two cudgelling combatants. They ferociously ply their weapons as they sink into quicksand, a fact which both seem totally oblivious to as they each concentrate their energies in their attempts to despatch the other. Whilst the protagonists in this harrowing act of mindless aggression deal out deathblows, imagining each to have the power to do so, the quicksands of age and disease ignore their petty arguments and suck in the healthy and the injured, the victor and the vanquished, in a game where there can be no winners .
Whilst the two 'enemies' encounter each other, the Fates hover over the landscape. We see Clotho on the left as she spins out the thread, and Lachesis as she measures it with her eyeglass, passing it on, as Atropos prepares to cut the life-thread with her raised scissors. The fourth figure seems to have her hands bound behind her back, as she stares at the spectator in muted dejection. Perhaps she is the mother of us all, whose relentless issue must travel the road through the spinning and measuring, to the final cruel scissors-cut of death. Paired with the former painting, this even further reduces the stance of the adversaries to the ridiculous and the absurd. This painting is also called ‘Destiny’ or ‘Atropos’. Either title would enhance this relentless death theory.
In the ‘Disasters’, Goya has shown us children only as they are snatched from their mothers. Again in ‘Saturn’ this tradition is continued as the father devours the children of Rhea. Here the children of an anonymous mother are snatched by destiny, even as the blood red of Zuniga's clothing foreshadows his death. Goya's Promethean cry of pain fills his dark anguished nights .
“When those dead bodies lay overwhelmed by their own bulk, they say that Mother Earth, drenched with their streaming blood, informed that warm gore anew with life, and that some trace of her former offspring might remain, she gave it human form. But this new stock, too, proved contemptuous of the Gods, very greedy for slaughter, and passionate. You might know that they were the sons of blood".
Ovid’s ‘Metamorphoses’ Book I, Vol. I, lines 156-162
Mother earth grieves as she watches her two, blood thirsty, wayward sons cudgel each other whilst they are being sucked in by the quick sands of 'destiny'.
I am interested in the idea of Goya as a generator of 'Bachelor Machines'.
1981
This image was scanned from a slide of a coloured wood engraving entitled "Newcastle Coal Fields, New South Wales" [1865] engraved by Walter Hart, presumably from an original painting by Oswald Rose Campbell (1820-1887) probably created during the period from 1855-1864 when the artist was living in Sydney, and prior to his return to Melbourne. See: adb.anu.edu.au/biography/campbell-oswald-rose-3157 It was originally published in The Australian News for Home Readers 25 August 1865 page 12: trove.nla.gov.au/ndp/del/page/6163138?zoomLevel=1
This image forms part of a research collection of slides compiled by the late Dr John Turner (1933 - 1998), local historian and lecturer. His collection is rich in Australian history and local studies.
The engraving is a view taken from the hill overlooking Darby Street Newcastle. Features in the view include: St John's Anglican Church, (between Darby Street and Dawson Street), directly behind is a train on the Newcastle Coal Company's Railway, (running along Bruce Street and curving towards Dawson Street), a train running along the Australian Agricultural Coal Company's Railway, to the extreme right of the engraving can also be seen a train on the Great Northern Railway. Various buildings can be seen along Darby Street and (probably) Laman Street
We sincerely thank the State Library of Victoria that were able to provide details regarding the original black and white engraving.
Title: THE NEWCASTLE COAL FIELDS, NEW SOUTH WALES. [picture]
Author/Creator: Walter Hart
Colourist: Unknown
Contributor(s): Oswald Rose Campbell 1820-1887
Publisher: Melbourne : Ebenezer and David Syme
Date(s): August 25, 1865
Description: print : wood engraving.
Subjects: Wood engravings
Notes:
Wood engraving published in The Australian News for Home Readers.
Title printed below image.
Engraved in image l.r.: Walter Hart.
Monogram of Oswald Campbell engraved in image l.l.
Contents/Summary: Shows view overlooking Newcastle, railway lines and buildings in middle distance while factories? belch smoke in distance.
Related works: Series: Illustrated newspaper file. Australian news for home readers
Link to digitised item: www.slv.vic.gov.au/miscpics/gid/slv-pic-aab15469
Link to this record: search.slv.vic.gov.au/primo_library/libweb/action/dlDispl...
This image can be used for study and personal research purposes. If you wish to reproduce this image for any other purpose you must obtain permission by contacting the University of Newcastle's Cultural Collections.
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This creation is entitled “Monster Mash at the Haunted Mansion.” This was the first time I forayed into the world of minifigures and admittedly had a ball transforming them into classic vampires, werewolves, mummies, the Headless Horseman, Frankenstein, the Creature from the Black Lagoon, the Grim Reaper, Freddy Krueger, witches and all variety of zombies inspired by the ever-popular “Walking Dead” series. Of course, no haunted mansion would be complete without a haunted cemetery and haunted gazebo. As Halloween will be here before you know it; it is the perfect time to join the “Monster Mash at the Haunted Mansion.” Have fun!
From my set entitled “Tuberous Begonia”
www.flickr.com/photos/21861018@N00/sets/72157607213634242/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Begonia is a genus in the flowering plant family Begoniaceae. The only other member of the family Begoniaceae is Hillebrandia, a genus with a single species in the Hawaiian Islands. The genus Symbegonia is now included in Begonia. "Begonia" is the common name as well as the generic name for all members of the genus.
With ca. 1500+ species, Begonia is one of the ten largest angiosperm genera. The species are terrestrial (sometimes epiphytic) herbs or undershrubs and occur in subtropical and tropical moist climates, in South and Central America, Africa and southern Asia. Terrestrial species in the wild are commonly upright-stemmed, rhizomatous, or tuberous. The plants are monoecious, with unisexual male and female flowers occurring separately on the same plant, the male containing numerous stamens, the female having a large inferior ovary and two to four branched or twisted stigmas. In most species the fruit is a winged capsule containing numerous minute seeds, although baccate fruits are also known. The leaves, which are often large and variously marked or variegated, are usually asymmetric (unequal-sided).
Because of their sometimes showy flowers of white, pink, scarlet or yellow color and often attractively marked leaves, many species and innumerable hybrids and cultivars are cultivated. The genus is unusual in that species throughout the genus, even those coming from different continents, can frequently be hybridized with each other, and this has led to an enormous number of cultivars. The American Begonia Society classifies begonias into several major groups: cane-like, shrub-like, tuberous, rhizomatous, semperflorens, rex, trailing-scandent, or thick-stemmed. For the most part these groups do not correspond to any formal taxonomic groupings or phylogeny and many species and hybrids have characteristics of more than one group, or fit well into none of them.
The genus name honors Michel Bégon, a French patron of botany.
The different groups of begonias have different cultural requirements but most species come from tropical regions and therefore they and their hybrids require warm temperatures. Most are forest understory plants and require bright shade; few will tolerate full sun, especially in warmer climates. In general, begonias require a well-drained growing medium that is neither constantly wet nor allowed to dry out completely. Many begonias will grow and flower year-round but tuberous begonias usually have a dormant period, during which the tubers can be stored in a cool and dry place.
Begonias of the semperflorens group are frequently grown as bedding plants outdoors. A recent group of hybrids derived from this group is marketed as "Dragonwing Begonias"; they are much larger both in leaf and in flower. Tuberous begonias are frequently used as container plants. Although most Begonia species are tropical or subtropical in origin, the Chinese species B. grandis is hardy to USDA hardiness zone 6 and is commonly known as the "hardy begonia". Most begonias can be grown outdoors year-round in subtropical or tropical climates, but in temperate climates begonias are grown outdoors as annuals, or as house or greenhouse plants.
Most begonias are easily propagated by division or from stem cuttings. In addition, many can be propagated from leaf cuttings or even sections of leaves, particularly the members of the rhizomatous and rex groups.
The cultivar Kimjongilia is a floral emblem of North Korea.
Museum de Fundatie Zwolle NL presents an exhibition entitled Giacometti-Chadwick, Facing Fear, to run from 22 September 2018 to 6 January 2019. The sculptures of Alberto Giacometti (1901-1966) and Lynn Chadwick (1914-2003) are manifestations of the sense of fear and disillusionment that pervaded Europe during the Cold War period. Their work bids a final farewell to pre-war romanticism and aestheticism, and lands with both feet in the raw reality of the post-war world. While Giacometti reduced the human form to its bare essentials, Chadwick created powerful archetypal images of both people and animals. The exhibition includes more than 150 works. Never before has the work of Giacometti and Chadwick been so explicitly brought together.
Their paths first crossed in 1956, when Chadwick became the youngest person ever to win the Grand Prix for Sculpture at the Venice Biennale. With only six years’ experience as a sculptor, the British artist snatched the prize from Giacometti, the hot favourite, who was thirteen years older and already a major name in Paris. Giacometti would go on to win the prize in 1962, but which of the two men was awarded it in 1956 is less significant than the fact that these two particular sculptors were the front-runners at that time. Each of them was expressing, in his own individual way, the sense of deep-seated angst that overshadowed day-to-day life in Europe in the fifties and sixties: the fear of a global nuclear disaster that would wipe out human civilisation.
Alberto Giacometti is among the most significant figures in the whole field of modern European sculpture. A member of a notable family of Swiss artists, he moved to Paris in 1922 and would remain there for the rest of his life, working as a sculptor, painter and graphic artist. After training with Émile-Antoine Bourdelle, he discovered modernism and so-called ‘primitive’ ethnographic art of Africa and Oceania. In response to these influences, his work became more abstract. In the early thirties, his Surrealist sculptures expressing subconscious emotions created a furore. From 1935, however, personal psychological tensions triggered a crisis in his life and work that led to a return to the human figure. Initially, his portraits and figures became both increasingly tiny and more and more attenuated. This thinness was to remain the most distinctive feature of Giacometti’s art. After the Second World War, he began to create the elongated, emaciated figures that would bring him worldwide fame. In all their attenuation, they reduce humanity to its very essence and appear both vulnerable and enigmatic.
In the early fifties, up-and-coming artist Lynn Chadwick managed to dislodge Henry Moore and Barbara Hepworth from their dominant position in the field of British sculpture. Born in London, Chadwick had started his career as a technical draughtsman and exhibition stand designer. He took an equally constructional approach to his sculpture: rather than model his human and animal figures in clay or wax, he constructed them by welding steel rods together to create an armature and then filling in the gaps with a kind of cement. The angularity of the work being produced by him and other young British artists was described in 1952 as ‘the geometry of fear’, a reference to the constant dread of nuclear annihilation. Chadwick’s apocalyptic Dancers and stoical Watchers gave powerful expression to this sense of angst. From the early seventies, he broadened his repertoire to include subjects that seem to restore the sovereignty of the human spirit. Sculptures like Cloaked Figure and Sitting Couple no longer look threatening, but emanate a sense of composure and invulnerability.
Giacometti’s pre-war work influenced Chadwick’s development and the two men were keenly aware of each other’s presence. In addition to the vast differences, there are also many similarities between their oeuvres. Giacometti-Chadwick, Facing Fear is the product of close cooperation with the Fondation Marguerite et Aimé Maeght in Saint-Paul-de-Vence and the Chadwick Estate and Blain|Southern gallery in London.
Sculpture entitled Souaci Gesú by Buranese artist Remigio Barbera. The sculpture is located in a park between the Fondamenta dei Squeri and Via San Mauro on Isola di Burano in the Laguna Veneto in Italy.. The sculpture is near the vaporetto stop and is one of the first things that visitors to Burano see.
The sculpture faces the waterfront and is said to depict a woman expressing complete despair. Many Buranese men are fishermen or watermen, so one may speculate that the sculpture depicts grief and despair for a loved one lost at sea.
Private press book entitled 'Lo Paradiso Di Dante Alghieri'. The third and final part of Dante's Divine Comedy, following the Inferno and the Purgatorio. Published by The Ashendene Press, 1905.
Cover bound fully in green morocco by Katherine Adams with gilt foliate decoration of of berries and leaves naturalistically rendered to the fore edge. Spine with raised banding and title and date in gilt. Printed on vellum in red and black fount. With illuminated initials designed by Graily Hewitt in gold, red, green and blue. Woodcut illustrations throughout by C. Keates after those of the edition of 1481.
From the library belonging to Emery Walker. CAGM.1991.1016.996.T13
This sculpture entitled 'Seated' is on show outside the De La Warr Pavilion, Bexhill from 19th April - 29th October 2023.
It is by Tschabalala Self and she says "Taking a seat is a universal act of leisure and calm. I wanted to create a monumental sculpture for the public that spoke to this simple joy. The woman is strong, beautiful and self-possesses. She represents all individuals, but women in particular, who understand the power and importance of simple gestures that assert their right to take up space." (2022).
Tschabalala Self was born in 1990 and is an American artist
Tschabalala Self's first public sculpture stands three metres high and is made from patinated bronze. This monumental work was an everyday object - a seat - as an entry point for questions of permission and performance within public space. Its subject - poised, immaculately dressed, glancing to her left - emboldens onlooks to sit with confidence and comfort.
Through an expansive practice bringing together painting, printmaking, sculpture and collage, Self's depictions, predominantly of women, traverse different artistic traditions. Bland and femme bodies are particularly prevalent in her work, heating different subjects, or characters, with individual and powerful identities, many of which are reimagined from chance encounters. Through mediations on race and gender, Self's work is concerned with what it means to flourish as a human and how the self is performed and perceived within contemporary life.
Read how the local community came together to make a statement after she was vandalised......
www.theguardian.com/artanddesign/2023/jun/03/uk-seaside-c...
Newpaper clipping, likely from the Belleville Intelligencer entitled "Photographs"
"By far the most interesting item in the photographic section is the remarkable exhibit of Mr. A. C. Ponton (No. 92). Had there been special awards of greater importance than the silver medal I should have given one to this entry. Its interest lies in the fact that it reveals to use the effect of what appears to be an influence hitherto unexplored and undeveloped. The “effluve” of vapour from the contents of a fresh egg (or a similar emanation from sugar and many other common substances) acting in the dark is found to have a curious effect upon chloride of silver paper, darkening it in iridescent tints, which remain permanent after the unaffected silver has been removed by the ordinary method of “'fixing” in “hypo.” The effect is in some respect comparable to effects observed by Hunt in the earliest days of photography, and attributed to heat; to those attributed by Le Bon to human light emanation (e.g. from the finger-tips placed in contact with a dry-plate in the dark) to those exerted by radium, and many other “radio-active"” substances, and to those found by Dr. Russell, when wood, card-board, and many other substances were placed near, or in contact with a dry-plate in the dark.
Mr Ponton has possibly not gone so far as some of the other observers in testing his active material under very varied conditions, but he has gone quite beyond them in suggesting a possible practical use for his process, by interposing stencils between the “effluve” and the sensitive surface. Apart from this, and even if no possible practical application had been or ever was to be suggested, the observation and investigation of a series of facts such as Mr Ponton has placed before us, is of prime importance."
Donated by Allan Dempsey.
From my set entitled “Boats and Ships”
www.flickr.com/photos/21861018@N00/3206986832/in/set-7215...
In my collection entitled “Transportation”
www.flickr.com/photos/21861018@N00/collections/7215761271...
In my photostream
www.flickr.com/photos/21861018@N00/
From my set entitled “Jamestown”
www.flickr.com/photos/21861018@N00/sets/72157606230698243/
In my collection entitled “Virginia: Beach, Williamsburg, Jamestown, Yorktown: May 2008”
www.flickr.com/photos/21861018@N00/collections/7215760622...
Reproduced from Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Jamestown,_Virginia
Jamestown (originally also called "James Towne" or "Jamestowne") is located on the James River in what is currently James City County in the Commonwealth of Virginia. The site is about 40 miles (62 km) inland from the Atlantic Ocean and the entrance to the Chesapeake Bay and about 45 miles (70 km) downstream and southeast of the current state capital city of Richmond. Both the river and the settlement were named for King James I of England, who was on the throne at the time, granted the private proprietorship to the Virginia Company of London's enterprise.
The location at Jamestown Island was selected primarily because it offered a favorable strategic defensive position against other European forces which might approach by water. However, the colonists soon discovered that the swampy and isolated site was plagued by mosquitoes and tidal river water unsuitable for drinking, and offered limited opportunities for hunting and little space for farming. The area was also inhabited by Native Americans (American Indians).
The 3 points of Colonial Virginia's Historic Triangle, Jamestown, Williamsburg, and Yorktown are linked by the National Park Service's scenic Colonial Parkway.
The 3 points of Colonial Virginia's Historic Triangle, Jamestown, Williamsburg, and Yorktown are linked by the National Park Service's scenic Colonial Parkway.
Despite inspired leadership of John Smith, chaplain Robert Hunt and others, starvation, hostile relations with the Indians, and lack of profitable exports all threatened the survival of the Colony in the early years as the settlers and the Virginia Company of London each struggled. However, colonist John Rolfe introduced a strain of tobacco which was successfully exported in 1612, and the financial outlook for the colony became more favorable. Two years later, Rolfe married the young Indian woman Pocahontas, daughter of Wahunsunacock, Chief of the Powhatan Confederacy, and a period of relative peace with the Natives followed. In 1616, the Rolfes made a public relations trip to England, where Pocahontas was received as visiting royalty. Changes by the Virginia Company which became effective in 1619 attracted additional investments, also sowing the first seeds of democracy in the process with a locally-elected body which became the House of Burgesses, the first such representative legislative body in the New World.
Throughout the 17th century, Jamestown was the capital of the Virginia Colony. Several times during emergencies, the seat of government for the colony was shifted temporarily to nearby Middle Plantation, a fortified location on the high ridge approximately equidistant from the James and York Rivers on the Virginia Peninsula. Shortly after the Colony was finally granted a long-desired charter and established the new College of William and Mary at Middle Plantation, the capital of the Colony was permanently relocated nearby. In 1699, the new capital town was renamed Williamsburg, in honor of the current British king, William III.
After the capital was relocated, Jamestown began a gradual loss of prominence and eventually reverted to a few large farms. It again became a significant point for control of the James River during the American Civil War (1861–1865), and then slid back into seeming oblivion. Even the Jamestown Exposition of 1907 was held elsewhere, at a more accessible location at Sewell's Point, on Hampton Roads near Norfolk.
Queen Elizabeth II of the United Kingdom and her consort Prince Phillip inspect replica of Susan Constant at Jamestown Festival Park in Virginia on October 16, 1957
Queen Elizabeth II of the United Kingdom and her consort Prince Phillip inspect replica of Susan Constant at Jamestown Festival Park in Virginia on October 16, 1957
Beginning in 1893, 22.5 acres of the Jamestown site were acquired by the Association for the Preservation of Virginia Antiquities. A crucial sea wall was built in 1900 to protect the shoreline near the site of James Fort from further erosion. In the 1930s, the Colonial National Historical Park was established to protect and administer Jamestown, which was designated a National Historic Site. The U.S. National Park Service acquired the remaining 1,500 acres (6.1 km²) of Jamestown Island through eminent domain in 1934.
For the 350th anniversary in 1957, Jamestown itself was the site of renewed interest and a huge celebration. The National Park Service provided new access with the completion of the Colonial Parkway which led to Williamsburg, home of the restored capital of Colonial Williamsburg, and then on to Yorktown, the other two portions of Colonial Virginia's Historic Triangle. Major projects such as the Jamestown Festival Park were developed by non-profit, state and federal agencies. Queen Elizabeth II of Great Britain and Prince Philip attended. The 1957 event was a great success. Tourism became continuous with attractions regularly updated and enhanced.
The two major attractions at Jamestown are separate, but complementary to each other. The state-sponsored Jamestown Settlement near the entrance to Jamestown Island includes a recreated English Fort and Native American Village, extensive indoor and outdoor displays, and features the three popular replica ships. On Jamestown Island itself, the National Park Service operates Historic Jamestowne. Over a million artifacts have been recovered by the Jamestown Rediscovery project with ongoing archaeological work, including a number of exciting recent discoveries.
Early in the 21st century, in preparation for the Jamestown 2007 event commemorating America's 400th Anniversary, new accommodations, transportation facilities and attractions were planned. The celebration began in the Spring of 2006 with the sailing of a new replica Godspeed to six major East Coast U.S. cities, where several hundred thousand people viewed it. Queen Elizabeth II and Prince Phillip joined America's festivities on an official state visit to Jamestown in May 2007.
Sculpture entitled "Dawn Shadows" by Louise Nevelson in the atrium lobby of the Madison Plaza building at the corner of Madison and Wells Streets in downtown Chicago, Illinois.
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
Virginia creeper or five-leaved ivy (Parthenocissus quinquefolia) is a woody vine native to eastern and central North America, in southeastern Canada, the eastern and central United States, eastern Mexico, and Guatemala, west as far as Manitoba, South Dakota, Utah and Texas.
It is a prolific climber, reaching heights of 20 to 30 m in the wild. It climbs smooth surfaces using small forked tendrils tipped with small strongly adhesive pads 5 mm in size. The leaves are palmately compound, composed of five leaflets (rarely three leaflets, particularly on younger vines) joined from a central point on the leafstalk, and range from 3 to 20 cm (rarely 30 cm) across. The leaflets have a toothed margin, which makes it easy to distinguish from poison-ivy, which has three leaflets with smooth edges.
The flowers are small and greenish, produced in clusters in late spring, and mature in late summer or early fall into small hard purplish-black berries 5 to 7 mm diameter. These berries contain oxalic acid, which is poisonous to humans and other mammals, and may be fatal if eaten. However, accidental poisoning is uncommon, likely because of the bad taste of the berries. Despite being poisonous to mammals, they provide an important winter food source for birds. Oxalate crystals are also contained in the sap, and can cause irritation and skin rash [1]
St Edmundsbury Cathedral (formally entitled the Cathedral Church of St James) is the cathedral for the Church of England's Diocese of St Edmundsbury and Ipswich. It is the seat of the Bishop of St Edmundsbury and Ipswich and is in Bury St Edmunds. Originating in the 11th century, it was rebuilt in the 12th and 16th centuries as a parish church and became a cathedral in 1914; it has been considerably enlarged in recent decades.
A church has stood on the site of the cathedral since at least 1065, when St Denis's Church was built within the precincts of Bury St Edmunds Abbey. In the early 12th century the Abbot, Anselm had wanted to make a pilgrimage along the Way of St James to Santiago de Compostela. He was unsuccessful and instead rebuilt St Denis's and dedicated the new church to Saint James, which served as the parish church for the north side of Bury St Edmunds. Anselm was also responsible for building the abbey gate tower, known today as the Norman Tower, alongside St James's, which also served as the church's belfry and it continues in this function to the present day.
This church was largely rebuilt, starting in 1503, in the Perpendicular style by John Wastell, a master mason who also worked on King's College, Cambridge. Further alterations to the building were undertaken in the 18th and 19th centuries, notably a new chancel and a hammerbeam roof by George Gilbert Scott. When the Diocese of St Edmundsbury and Ipswich was created in 1914, St James's Church was made the cathedral. In 1959 Benjamin Britten wrote the Fanfare for St Edmundsbury for a "Pageant of Magna Carta" held in the cathedral grounds.
From 1959 onwards there was renewed building work designed to transform the former parish church into a cathedral building. Between 1959 and 1970, the Victorian chancel was demolished and replaced with a new quire, a cloister was added on the west side; also transepts, a Lady chapel and a side chapel dedicated to St Edmund were built. The cathedral architect from 1943 to 1988 was Stephen Dykes Bower and he left £2 million for the completion of the cathedral. In the cathedral grounds a new choir school and visitor's centre were which were opened in 1990, built by Dykes Bower's successor, Alan Rome. Work started on a Gothic revival style tower in 2000; funded by the Millennium Commission, the Stephen Dykes Bower Trust and others, the Millennium Tower was designed by Hugh Matthew, an associate of Dykes Bower. The 150 foot (46 metre) structure was built from 600,000 bricks and faced with Barnack and Clipsham stone. Its completion was officially celebrated on 22 July 2005. Further additions are the Chapel of the Transfiguration and the East Cloister, both completed in 2009, and the Crypt Treasury in 2012.
The Dean of St Edmundsbury is the head (primus inter pares – first among equals) and chair of the chapter of canons, the ruling body of the cathedral. Before 2000 the post was designated as a provost, which was then the equivalent of a dean at most English cathedrals. The first provost was John Orpen.
From my set entitled “Fibrous Begonia”
www.flickr.com/photos/21861018@N00/sets/72157607213642582/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Begonia is a genus in the flowering plant family Begoniaceae. The only other member of the family Begoniaceae is Hillebrandia, a genus with a single species in the Hawaiian Islands. The genus Symbegonia is now included in Begonia. "Begonia" is the common name as well as the generic name for all members of the genus.
With ca. 1500+ species, Begonia is one of the ten largest angiosperm genera. The species are terrestrial (sometimes epiphytic) herbs or undershrubs and occur in subtropical and tropical moist climates, in South and Central America, Africa and southern Asia. Terrestrial species in the wild are commonly upright-stemmed, rhizomatous, or tuberous. The plants are monoecious, with unisexual male and female flowers occurring separately on the same plant, the male containing numerous stamens, the female having a large inferior ovary and two to four branched or twisted stigmas. In most species the fruit is a winged capsule containing numerous minute seeds, although baccate fruits are also known. The leaves, which are often large and variously marked or variegated, are usually asymmetric (unequal-sided).
Because of their sometimes showy flowers of white, pink, scarlet or yellow color and often attractively marked leaves, many species and innumerable hybrids and cultivars are cultivated. The genus is unusual in that species throughout the genus, even those coming from different continents, can frequently be hybridized with each other, and this has led to an enormous number of cultivars. The American Begonia Society classifies begonias into several major groups: cane-like, shrub-like, tuberous, rhizomatous, semperflorens, rex, trailing-scandent, or thick-stemmed. For the most part these groups do not correspond to any formal taxonomic groupings or phylogeny and many species and hybrids have characteristics of more than one group, or fit well into none of them.
The genus name honors Michel Bégon, a French patron of botany.
The different groups of begonias have different cultural requirements but most species come from tropical regions and therefore they and their hybrids require warm temperatures. Most are forest understory plants and require bright shade; few will tolerate full sun, especially in warmer climates. In general, begonias require a well-drained growing medium that is neither constantly wet nor allowed to dry out completely. Many begonias will grow and flower year-round but tuberous begonias usually have a dormant period, during which the tubers can be stored in a cool and dry place.
Begonias of the semperflorens group are frequently grown as bedding plants outdoors. A recent group of hybrids derived from this group is marketed as "Dragonwing Begonias"; they are much larger both in leaf and in flower. Tuberous begonias are frequently used as container plants. Although most Begonia species are tropical or subtropical in origin, the Chinese species B. grandis is hardy to USDA hardiness zone 6 and is commonly known as the "hardy begonia". Most begonias can be grown outdoors year-round in subtropical or tropical climates, but in temperate climates begonias are grown outdoors as annuals, or as house or greenhouse plants.
Most begonias are easily propagated by division or from stem cuttings. In addition, many can be propagated from leaf cuttings or even sections of leaves, particularly the members of the rhizomatous and rex groups.
The cultivar Kimjongilia is a floral emblem of North Korea.
From my set entitled “Hosta”
www.flickr.com/photos/21861018@N00/sets/72157607213588660/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Hosta (syn.: Funkia) is a genus of about 23–40 species of lily-like plants native to northeast Asia. They were once classified in the family Liliaceae but are now included in the family Agavaceae by the Angiosperm Phylogeny Group. The scientific name is also used as the common name; in the past they were also sometimes called the Corfu Lily, the Day Lily, or the Plantain lily, but these terms are now obsolete. The name Hosta is in honor of the Austrian botanist Nicholas Thomas Host.[1]The Japanese name Giboshi is also used in English to a small extent. The rejected generic name Funkia, also used as a common name, can be found in some older literature.
Hostas are herbaceous perennial plants, growing from rhizomes or stolons, with broad lanceolate or ovate leaves varying widely in size by species from 1–15 in (3–40 cm) long and 0.75–12 in (2–30 cm) broad. Variation among the numerous cultivars is even greater, with clumps ranging from less than 4 in (10 cm) across to more than 6.5 ft (2 m) across. Leaf color in wild species is typically green, although some species (e.g., H. sieboldiana) are known for a glaucous waxy leaf coating that gives a blue appearance to the leaf. Some species have a glaucous white coating covering the underside of the leaves. Natural mutations of native species are known with yellow-green ("gold") colored leaves or with leaf variegation (either white/cream or yellowish edges or centers). Variegated plants very often give rise to "sports" that are the result of the reshuffling of cell layers during bud formation, producing foliage with mixed pigment sections. In seedlings variegation is generality maternally derived by chloroplast transfer and is not a genetically inheritable trait.
The flowers are produced on erect scapes up to 31 in (80 cm) tall that end in terminal racemes. The individual flowers are usually pendulous, 0.75–2 in (2–5 cm) long, with six tepals, white, lavender, or violet in color and usually scentless. The only strongly fragrant species is Hosta plantaginea, which is also unusual in that the flowers open in the evening and close by morning. This species blooms in late summer and is sometimes known as "August Lily".
Taxonomists differ on the number of species; as such, the list at the right may be taken loosely. The genus may be broadly divided into three subgenera. Interspecific hybridization is generally possible, as all species have the same chromosome number (2n = 2x = 60) with the exception of H. ventricosa, a natural tetraploid that sets seed through apomixis. Many varieties formerly described as species have been taxonomically reduced to cultivar status, while retaining Latin names resembling species (e.g., H. 'Fortunei').
Though Hosta plantaginea originates in China, most of the species that provide the modern shade garden plants were introduced from Japan to Europe by Philipp Franz von Siebold in the mid-19th century. Newer species have been discovered on the Korean peninsula as well.
Hostas are widely-cultivated ground cover plants, particularly useful in the garden as shade-tolerant plants. Hybridization within and among species and cultivars has produced numerous cultivars, with over 3000 registered and named varieties, and perhaps as many more that are not yet registered. Cultivars with golden- or white-variegated leaves are especially prized. Popular cultivars include 'Francee' (green leaves with white edges), 'Gold Standard' (yellow leaves with green edges was discovered by Pauline Banyai) 'Undulata' (green leaves with white centers), 'June' (blue-green leaves with creamy centers), and 'Sum and Substance' (a huge plant with chartreuse-yellow leaves). Newer, fragrant cultivars such as 'Guacamole' are also popular. Pictures of hosta species and cultivars, along with other information, may be found at www.hostalibrary.org.
The American Hosta Society and the British Hosta and Hemerocallis Society support Hosta Display Gardens, often within botanical gardens.
Hostas are notoriously a favourite food for deer, slugs and snails, which commonly cause extensive damage to hosta collections in gardens. Poisoned baits using either metaldehyde or the safer iron phosphate work well for the latter, but require repeated applications. Deer control tends to be variable, as anything other than fencing tends to work for a few years then cease to work as they become accustomed to it.
Foliar nematodes, which leave streaks of dead tissue between veins, have become an increasing problem since changes in attitudes about pesticides since the mid-1990s in many countries have caused a resurgence in this once-controlled pest. There are no effective means for eliminating nematodes in the garden, although they can be controlled to the point where little or no symptoms are seen.
A virus called Hosta Virus X has become common since 2004 and plants that are infected must be destroyed. It can take years for symptoms to show, so symptomless plants in infected batches should also be considered infected.
Otherwise they are generally easy and long-lived garden plants, relatively disease free, requiring little care other than watering and some fertilizer to enhance growth. Some varieties are more difficult to grow, as can be expected with 5,000+ cultivars, but most are easy enough for beginners.
Thank you flickr friends! I'm opening my latest exhibit entitled "Places" on Saturday evening. Here is an article in the Baltimore Guide about the show. I really don't think I'd be in a position to show my work had it not been for the awesome positive feedback I have received from my contacts on flickr, particularly Tracey Whitefoot. I hope you'll have a minute to read the piece.
baltimoreguide.com/http:/baltimoreguide.com/southeast-off...
> f-material-for-photographer/
Museum de Fundatie Zwolle NL presents an exhibition entitled Giacometti-Chadwick, Facing Fear, to run from 22 September 2018 to 6 January 2019. The sculptures of Alberto Giacometti (1901-1966) and Lynn Chadwick (1914-2003) are manifestations of the sense of fear and disillusionment that pervaded Europe during the Cold War period. Their work bids a final farewell to pre-war romanticism and aestheticism, and lands with both feet in the raw reality of the post-war world. While Giacometti reduced the human form to its bare essentials, Chadwick created powerful archetypal images of both people and animals. The exhibition includes more than 150 works. Never before has the work of Giacometti and Chadwick been so explicitly brought together.
Their paths first crossed in 1956, when Chadwick became the youngest person ever to win the Grand Prix for Sculpture at the Venice Biennale. With only six years’ experience as a sculptor, the British artist snatched the prize from Giacometti, the hot favourite, who was thirteen years older and already a major name in Paris. Giacometti would go on to win the prize in 1962, but which of the two men was awarded it in 1956 is less significant than the fact that these two particular sculptors were the front-runners at that time. Each of them was expressing, in his own individual way, the sense of deep-seated angst that overshadowed day-to-day life in Europe in the fifties and sixties: the fear of a global nuclear disaster that would wipe out human civilisation.
Alberto Giacometti is among the most significant figures in the whole field of modern European sculpture. A member of a notable family of Swiss artists, he moved to Paris in 1922 and would remain there for the rest of his life, working as a sculptor, painter and graphic artist. After training with Émile-Antoine Bourdelle, he discovered modernism and so-called ‘primitive’ ethnographic art of Africa and Oceania. In response to these influences, his work became more abstract. In the early thirties, his Surrealist sculptures expressing subconscious emotions created a furore. From 1935, however, personal psychological tensions triggered a crisis in his life and work that led to a return to the human figure. Initially, his portraits and figures became both increasingly tiny and more and more attenuated. This thinness was to remain the most distinctive feature of Giacometti’s art. After the Second World War, he began to create the elongated, emaciated figures that would bring him worldwide fame. In all their attenuation, they reduce humanity to its very essence and appear both vulnerable and enigmatic.
In the early fifties, up-and-coming artist Lynn Chadwick managed to dislodge Henry Moore and Barbara Hepworth from their dominant position in the field of British sculpture. Born in London, Chadwick had started his career as a technical draughtsman and exhibition stand designer. He took an equally constructional approach to his sculpture: rather than model his human and animal figures in clay or wax, he constructed them by welding steel rods together to create an armature and then filling in the gaps with a kind of cement. The angularity of the work being produced by him and other young British artists was described in 1952 as ‘the geometry of fear’, a reference to the constant dread of nuclear annihilation. Chadwick’s apocalyptic Dancers and stoical Watchers gave powerful expression to this sense of angst. From the early seventies, he broadened his repertoire to include subjects that seem to restore the sovereignty of the human spirit. Sculptures like Cloaked Figure and Sitting Couple no longer look threatening, but emanate a sense of composure and invulnerability.
Giacometti’s pre-war work influenced Chadwick’s development and the two men were keenly aware of each other’s presence. In addition to the vast differences, there are also many similarities between their oeuvres. Giacometti-Chadwick, Facing Fear is the product of close cooperation with the Fondation Marguerite et Aimé Maeght in Saint-Paul-de-Vence and the Chadwick Estate and Blain|Southern gallery in London.
I waI was tempted to entitle this, "Christmas in Prison," but I feel as if I've used too many lines from John Prine already.
Flickr apparently only supports sRGB, so when I inadvertently upload anything in a different colorspace, the colors aren't read correctly. By the same, Flickr doesn't like it when I try to upload file sizes in excess of 20mb. Thus, the full-size of this was a no-go, unfortunately. Thankfully, you, the viewer, aren't missing much, as this place isn't exactly visually diverse. Really, all you're missing is the retina-puncturing sharpness my camera captures.
Also, on a semi-related note, hand-shooting the P65+ is difficult. With DSLRs, I can often shoot at shutter speeds of less than 1/20th (with wide-angle lenses), and still have respectably sharp images. Unfortunately, the inverse-focal-length-adage is kind of useless for this camera, as I can't seem to get a sharp image unless I use something closer to 1/3f. Clearly, this is intended for tripod use.
The Springfield Art Association will host an opening reception for a nationally juried ceramic exhibition entitled Shapes of Influence on Friday evening, August 3rd, from 5:30-7:30 PM. Awards and a gallery talk by juror Simon Levin will occur at 6:45 PM.
The show will be on display in the SAA's M.G. Nelson Family Gallery from August 3-September 1 and features work from over two dozen states and Canada.
Juried artists include Morgan Barton, Kenneth Baskin, Casey Beck, Irina Bondarenko, Robert Bruch, Danielle Callahan, Michelle Coakes, John Cohorst, Louis Colomarini, John Costanza, Paula Diaz-Sylvester, Auguste Elder, Karen Ellis-Phillips, Curtis and Karen Frederick, Verne Funk, John Gargano, Kaitlyn Getz, Sarah Gross, Lois Harbaugh, Ian Hazard-Bill, Jason Hess, Jennifer Holt, Drew Ippoliti, Iskra Ivanova, Anna Kats, Patty Kochaver, Robert Kokenyesi, Lucien Koonce, Joe Kraft, Annie Lee, Andrew Mcintyre, Jessie Martin, Paul McCoy, Avra Messe, Molly Morning-glory, Matthew Patton, Sara Prigodich, Jenny Reed, Masa Sasaki, Jessica Sallay-Carrington, Kourtney Stone, Suzanne Storer, Sam Thompson, Austin Wieland, Nicole Winning, Matthew Wright, Kensuke Yamada, Lisa York, and David Zahn.
Invited artists include Dan Anderson, Kahil Irving, Peter Pincus, and Kelsie Rudolph.
The M.G. Nelson Gallery is open to the public M-F from 9 AM-5 PM and Saturdays from 10 AM-3 PM.
This is close -up of the finished 3D Painting entitled Centurion.
See the full slide show in the Epic Journey in the Transformation of this 3D Painting here.
www.flickr.com/photos/57605784@N06/sets/72157625891634410...
When I first saw this picture I know I had to paint it, full credit to the original artist, it is a masterpiece. Bursting out of the Colosseum, on the left you have the elements of history and tradition, and on the right you have the future, which looks like a space craft, and in the middle you have the Centurion, signalling, forward...the past and future being lead by the present, how it should be.
Working full time as well, this picture may take me 3 to 4 days to complete, every night I will post more & more stages to completion. If you click on the Slideshow link below you can watch a Slideshow showing the many stages in the painting of the picture, iv uploaded 11 so far, it may take as many as 30 until im happy with it. Every night if you click on the same link you will see the new additions automatically added to the slidehow, giving you an insight into how 3D Paintings are created.
Transformation Slideshow :
www.flickr.com/photos/57605784@N06/sets/72157625891634410...
As with all civilisations, nations & empires, its not how strong you are, its what you stand for that counts , it is these values, not military might & brute force, that determines longevity & prosperity.
Many things have been said about the Romans, the recent film released 2010 entitled Centurion is a good example, as was Spartacus, and the birth & life of Jesus Christ. When all is said & done the Romans lasted an aweful long time, they must have been doing something right.
There demise was started with the emergence of a movement that put forth to mankind a much higher set of values, not a stronger military force. That movement is Christianity.
The Roman civilisation tried to Adapt, tried to absorb, but its decline was inevitable. The Catholic Church is what remains of the Roman branch of Christianity.
From my set entitled “Peonies”
www.flickr.com/photos/21861018@N00/sets/72157607186459134/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
The peony or paeony (Paeonia) is the only genus in the flowering plant family Paeoniaceae. They are native to Asia, southern Europe and western North America.
Most are herbaceous perennial plants 0.5–1.5 metres tall, but some are woody shrubs up to 1.5–3 metres tall. They have compound, deeply lobed leaves, and large, often fragrant flowers, ranging from red to white or yellow, in late spring and early summer. In the past, the peonies were often classified in the family Ranunculaceae, alongside Hellebores and Anemones.
The peony is named after Paeon or Paean, a student of Asclepius, the Greek god of medicine and healing. Asclepius became jealous of his pupil; Zeus saved Paeon from the wrath of Asclepius by turning him into the peony flower
The peony is among the longest-used flowers in ornamental culture and is one of the smallest living creature national emblems in China. Along with the plum blossom, it is a traditional floral symbol of China, where it is called 牡丹 (mǔ dān). It is also known as 富贵花 (fuguihua) "flower of riches and honour", and is used symbolically in Chinese art.[2] In 1903, the Qing Dynasty declared the peony as the national flower. Currently, the Republic of China on Taiwan designates the plum blossom as the national flower, while the People's Republic of China has no legally designated national flower. In 1994, the peony was proposed as the national flower after a nationwide poll, but the National People's Congress failed to ratify the selection. In 2003, another selection process has begun, but to date, no choice has been made.
The famous ancient Chinese city Luoyang has a reputation as a cultivation centre for the peonies. Throughout Chinese history, peonies in Luoyang are often said to be the finest in the country. Dozens of peony exhibitions and shows are still held there annually.
In Japan, Paeonia lactiflora used to be called ebisugusuri ("foreign medicine"). In kampo (the Japanese adaptation of Chinese medicine), its root was used as a treatment for convulsions. It is also cultivated as a garden plant. In Japan Paeonia suffruticosa is called the "The King of flowers" and Paeonia lactiflora is called the "prime minister of flowers".
Pronunciation of 牡丹 (peony) in Japan is "botan". Before the Meiji period, meat taken from quadrupeds was seldom consumed in Japan due to Buddhism. Thus in cases where such meat was handled, it was paraphrased using the names of flowers. The term botan was used (and is still used) to paraphrase wild boar meat. This comes from the flowery resemblance of the sliced meat when spread over a dish. Another example is sakura (cherry blossoms) which stands for horsemeat.
In 1957, the Indiana General Assembly passed a law to make the peony the state flower of Indiana, a title which it holds to this day. It replaced the zinnia, which had been the state flower since 1931.
Mischievous nymphs were said to hide in the petals of the Peony thus causing this magnificent flower to be given the meaning of Shame or Bashfulness in the Language of Flowers. It was named after Pæon, a physician to the gods, who obtained the plant on Mount Olympus from the mother of Apollo. Once planted the Peony likes to be left alone and punishes those who try to move it by not flowering again for several years. Once established, however, it produces splendid blooms each year for decades (Taken from The Language of Flowers, edited by Sheila Pickles, 1990).
Peonies are also extensively grown as ornamental plants for their very large, often scented flowers.
Peonies tend to attract ants to the flower buds. This is due to the nectar that forms on the outside of the flower buds.
Peonies are a common subject in tattoos, often used along with koi-fish.
This piece, entitled "Canoe on Lake Huron", is from page 35 of Anna Jameson's sketch book, donated to the library by the Bain family in 2000.
Title: Sketchbook
Creator: Anna Brownell Jameson, 1794-1860
Date: 1837
Identifier:jameson-album-053-p35-cropped Format: Picture
Rights: Public domain
Courtesy: Toronto Public Library.
More information: View more images by Anna Jameson
This is close -up of the finished 3D Painting entitled Centurion.
See the full slide show in the Epic Journey in the Transformation of this 3D Painting here.
www.flickr.com/photos/57605784@N06/sets/72157625891634410...
When I first saw this picture I know I had to paint it, full credit to the original artist, it is a masterpiece. Bursting out of the Colosseum, on the left you have the elements of history and tradition, and on the right you have the future, which looks like a space craft, and in the middle you have the Centurion, signalling, forward...the past and future being lead by the present, how it should be.
Working full time as well, this picture may take me 3 to 4 days to complete, every night I will post more & more stages to completion. If you click on the Slideshow link below you can watch a Slideshow showing the many stages in the painting of the picture, iv uploaded 11 so far, it may take as many as 30 until im happy with it. Every night if you click on the same link you will see the new additions automatically added to the slidehow, giving you an insight into how 3D Paintings are created.
Transformation Slideshow :
www.flickr.com/photos/57605784@N06/sets/72157625891634410...
As with all civilisations, nations & empires, its not how strong you are, its what you stand for that counts , it is these values, not military might & brute force, that determines longevity & prosperity.
Many things have been said about the Romans, the recent film released 2010 entitled Centurion is a good example, as was Spartacus, and the birth & life of Jesus Christ. When all is said & done the Romans lasted an aweful long time, they must have been doing something right.
There demise was started with the emergence of a movement that put forth to mankind a much higher set of values, not a stronger military force. That movement is Christianity.
The Roman civilisation tried to Adapt, tried to absorb, but its decline was inevitable. The Catholic Church is what remains of the Roman branch of Christianity.
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
From my set entitled “Bleeding Heart”
www.flickr.com/photos/21861018@N00/sets/72157607186479750/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Dicentra
Dicentra spectabilis also known as Venus's car, bleeding heart, Dutchman's trousers, or lyre flower, is a perennial herbaceous plant native to eastern Asia from Siberia south to Japan. This species of bleeding heart can grow to 24"-36" tall and has ternately compound leaves (leaflets that come in threes). The flowers are pendulous, shaped much like hearts, produced in a raceme bearing 3-15 individual flowers, each one 1-2" long, with pink outer petals and white inner petals. The flowering season is from early spring to mid summer. The common name of this plant, bleeding heart, comes from the heart-shaped flowers which have a longer inner petal that extends below the 'heart'.
It is a popular ornamental plant for flower gardens in temperate climates, and is also used in floristry as a cut flower. It can be a full sun plant if in a cool area but in a warm climate, prefers semi-shaded areas. It needs to be kept moist and prefers neutral to alkaline soil with good drainage although these plants can tolerate heavy clay soil as well.
It is prone to aphids, slugs and snails, which cause damage to its leaves. Propagation is by sowing the seeds when fresh. It can also be divided, preferably in the late fall or early spring. However, contact with the plant can cause skin irritation because the entire plant is toxic, so should be handled with gloves and long sleeves.
Several cultivars have been selected, including 'Alba', with pure white flowers, and 'Goldheart', a relatively new cultivar developed at Hadspen Garden in England and introduced in 1997 with fuchsia-coloured flowers that drop from the stem in a row, and yellow foliage that turns lime green by mid summer.
IMMEDIATE RELEASE
Contact: Clement HanamiEric Nakamura
310 415 0513eric@giantrobot.com
chanami@janm.org
GIANT ROBOT TO KICK-OFF JAPANESE AMERICAN NATIONAL MUSEUM
NEW SERIES WITH GIANT ROBOT BIENNALE: 50 ISSUES ON NOV. 3
LOS ANGELES.—The Japanese American National Museum will begin a new series of collaborative exhibitions entitled Salon Pop by presenting Giant Robot Biennale: 50 Issues, developed in collaboration with Eric Nakamura of Giant Robot and running from November 3, 2007 through January 13, 2008. The exhibition is being sponsored by the Imprint Culture Labtm, with additional support from the James Irvine Foundation. An opening reception is being planned for November 3, from 6 p.m. to 10 p.m. at the National Museum in Little Tokyo.
Celebrating its 50th issue, the pop-culture magazine Giant Robot is proud to curate the Giant Robot Biennale: 50 issues, featuring artists with whom they have worked in the past, whether in the pages of the magazine or in the associated gallery spaces in Los Angeles, San Francisco, or New York City.
Giant Robot has helped to transform the landscape of the boundaries of art, often working with brand-new artists (some still in art school). Many have gone on to great success and present their art around the world, while others are in a more modest state, paying the rent with art-related projects such as commercial work and consumer products. The latter is nearly a constant theme among the artists; each has delved into making products of some sort, and has built a following in a side-discipline although art is his or her primary focus.
The Biennale’s works will range from Pryor Praczukowski's cinematic photography to David Choe's graffiti-like murals. The pieces in between include panels by leading indie-comics artist Adrian Tomine and the pop culture inspired works of Seonna Hong, Gary Baseman, APAK, Souther Salazar, and Saelee Oh. Sashie Masakatsu's oil paintings reflect the nostalgia of pop culture-influenced youth while Eishi Takaoka's sculptures can dominate a room with their meditative presence.
“The Japanese American National Museum is pleased to work again with Eric Nakamura on Giant Robot Biennale: 50 Issues,” stated Irene Hirano, National Museum President and CEO. “We honored Eric and Giant Robot at our 2006 Annual Dinner and Eric worked as part of our advisory committee for Landscaping America: Beyond the Japanese Garden.”
“This show also represents another step for our institution in reaching out to younger audiences. A grant from the James Irvine Foundation has allowed us to gather information that indicates that community and arts organizations like the National Museum need to develop new approaches and innovative content if they hope to be relevant to each new generation. We believe working with Eric Nakamura and Giant Robot will help us accomplish this.”
This exhibition is the first in the Salon Pop series that includes collaborative displays that focus on Asian American pop culture. As the art world changes and begins to make room for the works of artistic innovators-many of whom were formerly labeled as street artists, graphic designers, or illustrators-under a newly evolved definition of fine art, popular culture has enthusiastically embraced this genre. It has been through this art, with its influences from Asia, that Americans are being introduced to a new concept of what it means to be Asian or Asian American. Giant Robot, the Japanese American National Museum, and the Imprint Culture Lab are working together to reveal the evolution of this sub-culture with this exhibition.
About the Curator
Giant Robot magazine began in 1994, as a staple-and-fold zine and has now grown into a full-fledged bi-monthly magazine, which is available at most stores and newsstands. Giant Robot opened its first store in 2001, and formulated a combination of pop culture goods, ranging from Japanese import toys, graphic design and art books, and monthly art exhibitions. Giant Robot has since opened stores and galleries in San Francisco and New York City and even has a restaurant called gr/eats in West Los Angeles. Curating this exhibition is the publisher/co-editor and owner, Eric Nakamura who curates most of the 36 exhibitions Giant Robot puts on annually in each of the three cities.
About Imprint Culture Labtm
The Imprint Culture Labtm was founded by interTrend Communications to investigate, promote and curate Asian-sourced and inspired consumer culture. Imprint’s mission is to foster creativity and innovation in the business segment by connecting the cultural dots between various elements, which can include inspiration from art, media, food, fashion, product design, architecture and pop-culture phenomena. Imprint engages consumers and clients through various methods including: an annual culture conference, small interactive workshops, as well as a host of customized consultancy and research products. For more information go to www.imprintlab.com or contact Ryan Ku at ryan@intertrend.com
About the Japanese American National Museum
The Japanese American National Museum is dedicated to fostering greater understanding and appreciation for America's ethnic and cultural diversity by preserving and telling the stories of Americans of Japanese ancestry. Since its incorporation in 1985, the National Museum has grown into an internationally recognized institution, presenting award-winning exhibitions, groundbreaking traveling exhibits, educational public programs, innovative video documentaries and cutting-edge curriculum guides. The National Museum raised close to $60 million to renovate an historic building in 1992 and open a state-of-the-art Pavilion in Los Angeles’ Little Tokyo Historic District in 1999. There are now members and donors representing all 50 states and 16 countries.
General Information
The Japanese American National Museum is located at 369 East First Street in the historic Little Tokyo section of Los Angeles. For more information, call (213) 625-0414 or visit www.janm.org. National Museum hours are Sunday, Tuesday, Wednesday, Friday and Saturday: 11:00 a.m. to 5:00 p.m. and Thursday 11:00 a.m. to 8:00 p.m. Admission is $8.00 for adults, $5.00 for seniors; $4.00 for students and children; free for Museum members and children under age six. Admission is free to everyone on Thursdays from 5:00 to 8:00 p.m. and every third Thursday of the month from 11:00 a.m. to 8:00 p.m. Closed Mondays, Fourth of July, Thanksgiving Day, Christmas Day, and New Year's Day. Final visitor admissions take place thirty minutes before closing.
High and low resolution images are available upon request.
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Installation of Glen Cinema Memorial entitled Rattle Little Mother at Dunn Square Paisley.
Location Of Names On Rattle Little Mother, Glen Cinema Memorial
Front “ To The Children Of The Glen Cinema “
Left Panel as you face front of memorial which faces in the direction of the Piazza “ Elizabeth Leonard - Samuel McBlane - Sarah McCafferty - Robert McConnell - Nellie McCran - Minnie McCran - Edward McEnhill - Margaret McEnhill - James McEnhill - Denis McGarrity - Robert McGirr - Jeanie McGrattan - Mary McWattie - Margaret Morrow - Robert Niven - Georgina Peacock - Tom Perkins - John Pinkerton - William Pinkerton - Alexander Telfer - William Rae - Thomas Renfrew - George Scott - William Spears - Jane Stevenson - Robert Wingate.
Back of Memorial which faces Paisley Town Hall “ James Gielty - John Gielty - Norman Gillies - John Goodwin - Henry Green - Mary Green - Archibald Grogan - Annie Hamilton - George Hammond “ 31 December 1929 “ Elizabeth Hart - Peter Houston - Thomas Howard - Julia Irvine - William Irvine - Thomas Jackson - James Johnston - George Kennedy - Helen Kilkie - Thomas Kilkie.
Right panel as you face front of memorial which faces towards Forbes Place “ Robert Adams - Robert Alexander - John Bell - William Black - Hugh Blue - John Bowes - David Boyd - Caroline Brain - Lily Buchanan - John Cairns - Daniel Corbett - Elizabeth Corrigan - Agnes Coyle - Robert Craig - Francis Curran - Elizabeth Dempster - Leah Dixon - Mary Dolan - George Elliott - Henry Elliott - Bessie Finlay - Enso Fiori - Janet Fitch - William Fitch - James Gatherer - Margaret Gibson.
N.B All lettering in gold except from “ 31 December 1929 “ on rear of memorial which is in black, both sides contain 26 names whilst there is 19 names on the back.
On entitlements, Speaker Boehner acknowledged that structural changes to Medicare and Social Security would produce little or no savings in the immediate budget window because changes will be phased in to give people time to plan and adjust. However, "making relatively small changes now can lead to huge dividends down the road in terms of debt reduction."
This is the set of 30 show card images for the TK2 show at Rotofugi in Chicago. (All photos copyright © Geozilla Omni-Monster 2009)
This is one example Show Card from the set of 30 available, prepared for the TK2 show at Rotofugi in Chicago. (For the full set of 30 images, see pic entitled "Toy Karma 2 Show Card Images".) (All photos copyright © Geozilla Omni-Monster 2009)
One Show Card was given free with any Rotofugi purchase on opening night.
Additional cards available now individually or in a full set of 30.
For more information, contact Kirby at Rotofugi.com.
Please don't steal images.
The inauguration of the ‘Mirrored Painting’ by Italian artist Michelangelo Pistoletto, entitled 'Ritratto di Paolo Nespoli - Astronauta, Missione VITA', took place on 28 March 2018 at ESRIN, ESA’s centre for Earth observation in Frascati, Italy, as the climax of a joint initiative and a permanent symbol of the important link between space and art. The event hosted by the Head of ESA ESRIN and ESA's Director of Earth Observation Programmes Josef Aschbacher, was attended by ESA astronaut Paolo Nespoli, Michelangelo Pistoletto, ASI representative Fabrizio Zucchini and RAM radiartemobile representatives Dora Stiefelmeier and Mario Pieroni.
This original piece of art, created by famous artist Michelangelo Pistoletto who is known as one of the founding fathers of the Italian Arte Povera contemporary art movement, features a full-scale representation of ESA astronaut Paolo Nespoli. For Paolo’s VITA mission, ESA and ASI developed original ‘space and art’ initiatives as part of the communication activities to actively involve wider audiences. This began with Pistoletto’s development with ESA of the official patch for Paolo’s mission, which includes the artist’s symbol of his Third Paradise concept in the artwork.
A natural continuation of this cooperation was the ‘SPAC3’ app, which allowed users to select and combine Paolo’s images from space with their own photos. This activity was intended to draw attention to the wellbeing of our planet, and was inspired by the Sustainable Development Goals of the United Nations. These provided the basis for Paolo’s choice of photos, and the app users could respond with their own photos on the same theme.
As a social artwork project, SPAC3 demonstrated that the two worlds of art and science can work together with the common objective of highlighting issues affecting our planet, and showed how involving a wider public could contribute to the vision and become part of this collective work. This joint initiative was made possible via a partnership between ESA and RAM radioartemobile, in cooperation with ASI and Cittadellarte-Fondazione Pistoletto.
Photos: ESA – M. Valentini
A return to the Kent church project, and a brief call in at Newnham.
A fine Kent church in a pretty village a few miles from Faversham, opposit a nice looking Shepherd Neame pub.
I had called in first thing, but was locked. After being promised it was always open, I did return and find it open, though I rushed my visit, so will have to return.
This series from the first visit of the day when the porch was locked.
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A most unusual and welcoming church consisting of tower, aisled nave, chancel and north and south chapels. There is no stained glass and the pews are plain, making the interior rather austere. The building dates from the thirteenth and fourteenth centuries - the double piscina in the chancel with an aumbry and image niche being the only medieval furnishings to survive. To the east of the narrow south aisle is the Champion Court Chapel, which was added to the church in the fifteenth century by the Champion family. In a church so thoroughly restored by the Victorians it is interesting to see this part of the building. Because it was privately owned the floor remains uneven and unrestored. Two rustic little tablets in the floor date from the late seventeenth-century burial of Henry Cromys. The beautifully kept churchyard and the spiky 1860s exterior of the church add much to the character of the whole village.
www.kentchurches.info/church.asp?p=Newnham
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NEWNHAM.
THE next parish south-eastward is Newnham, antiently written Newenham, which signifies the new town.
The high road through Syndal, or Newnham valley, over Hollingborne-hill towards Maidstone, leads through it. On this road, in the valley, is the village of Newnham, near the western boundary of the parish, adjoining to Doddington, having the church within it, and on the opposite side the parsonage-house, which is known by the name of the calicoe house, from the remarkable red and white colouring of plaister on the front of it. Sholand stands at a small distance further, nearer to Doddington. The parish contains near 1800 acres, of which about one third is woodland and pasture. It extends up the hills on each side the valley, where it is covered with woods to the brow of them. On the northern one, just above the village, is Champion, usually called Champyn-court. It is a cold but healthy country, the land is poor, part chalky, and the rest a red cludgy earth, both very much covered with flints; the woodlands, consisting chiesfly of oak and beach, with some hazel, &c. interspersed among them, are but very indifferent, as are the oak trees in them, which seldom grow to a larger size than for carpenter's use. A fair is held in the village on St. Peter's day, June 29, for linen and pedlary.
THE SCARCE PLANT Potentilla argentea, tormentil cinquefoil, grows in a road hedge near the village.
THE MANOR OF NEWNHAM, alias CHAMPIONCOURT, was antiently part of the possessions of a family which assumed its surname from it. Hugh de Newnham was lord of it in the reign of king Henry I. and then held it of the St. Johns, who were the king's tenants in chief for it.
He was a benefactor to the priory of St. Andrew, in Rochester, to which, among other premises, he gave the church of the adjoining parish of Norton. Thomas, son of Bartholomew de Newenham, was a benefactor to the abbey of St. Radigunds, near Dover, to which he gave one carriage load of hay to be taken yearly from his meadows in Newenham. (fn. 1) Fulk de Newenham succeeded his father Hugh, above-mentioned, in the possession of this manor. In the 19th year of king Stephen, anno 1153, he founded the nunnery of Davington, in this neighbourhood, to which he gave lands in this parish, as well as the church of Newnham, which before this was appurtenant to the manor. His daughter Juliana carried this manor in marriage to Sir Robert de Campania, or Champion, as the name was afterwards called, who resided at the manor house, called from thence CHAMPIONS-COURT, which name it has retained to this time. His son Sir Robert de Campania, was one of those Kentish gentlemen, who attended king Richard I. at the siege of Acon, in Palestine, where he was, with many others of them, knighted. His descendant John de Campania, or Champion, was one of those knights, who were present with that king at the siege of Carlaverock, in Scotland, in his 28th year, and in the 31st of that reign had a grant of a market, on a Thursday weekly, a fair yearly on the feast of St. Peter and St. Paul, in his manor of Newnham, and free-warren in Norton and Newnham, what arms this family bore I have not found, but to an antient deed of the 26th year of that reign, for the marriage of Julian, sister of Sir John de Chaumpaine, with Roger de Toketon, possessor of the manor of Sileham, in Rainham, and other estates in the hundred of Middleton, there is a seal appendant, with a coat of arms, viz.Vairy, and circumscribed, S. JOHIS DE CHAUMPAINE. (fn. 2)
In the 1st year of Edward III. Margery, widow of John de Champaigne, obtained the king's writ to the sheriff to restore to her all such estates as had been forfeited in his father's reign, on account of the prosecutions of Hugh le Despencer the elder and younger.
At length this family ended in three daughters and coheirs, of whom, Catherine was married to Robert Corbet, and Thomasine to Thomas Chevin; the former of whom, on the division of their inheritance, became, in right of his wife, entitled to this manor. He was descended from the Corbets, of Salop, whose ancestor of that name came in with the Conqueror, of which family there have been three summoned to parliament, and in later times, two branches raised to the dignity of baronets. The raven was the coat armour of all the Corbets, in general, though borne in different numbers, and with various distictions. Robert Corbet above-mentioned, bore for his arms, as of the elder branch, Or, one raven, sable. (fn. 3)
This name at length terminated in two daughters and coheirs, Joane, married to Samuel Slapp, and Elizabeth to Ralph Hart, whose arms were, Azure, three barts heads, caboshed, or, and they in right of their wives, possessed it in undivided moieties; but on the death of Joane, sole daughter and heir of Samuel Slapp, and his wife above mentioned. S. P. the whole see of this manor came into the possession of Richard Hart, son of Ralph Hart and his wife before-mentioned. His successor, about the beginning of king James I.'s reign, alienated it to Sir Henry Spiller, who, in the next reign of Charles I. conveyed it to Rodulph Weckerlin, esq. who resided at Champions-court, after having been a great traveller in different parts of the globe. He was descended of a good family of the duchy of Wirtemburgh, in Upper Germany, and married Anne, daughter of Sir William Hugessen, of Provenders, afterwards married to Gideon Delaune, esq. whom she likewise survived. They bore for their arms, Sable, a bee hive, or. (fn. 4) He died possessed of it in 1667, and was buried in the north chancel of Linsted church, from whose heirs it at length passed by sale, in the reign of queen Anne, to Jacob Sawbridge, of London, afterwards one of the South-Sea directors in the fatal year 1720. He died possessed of it in 1748, and his greatgrandson Samuel-Elias Sawbridge, esq. of Ollantingh, is the present owner of it.
A court baron is held for this manor, which extends over part of the parish of Newnham.
SCHOLAND, commonly called Shulland, is an estate in the southern part of this parish, being situated about one field's distance on the east side of the high road of Newnham valley, just before you enter the village of Doddington.
In the reign of Edward I. Jeffry de Shonyngton was in possession of this estate, which he held by knight's service, of Robert de Campania, and he again of Robert de St. John, the king's immediate tenant, and his descendant Richard de Sconyngton paid aid for it, in the 20th year of Edward III. After which, this estate passed into the family of Bourne, seated at the almost adjoining seat of Sharsted, from whence it went again by sale to Chevin, descended from the Chyveynes or Chevins, of Chevene-court, in Marden. One of this family, of Sholand, Thomas Chevin, married Thomasine, daughter and coheir of John Champaine, of Champions-court, as has been already mentioned. From the name of Chevin it passed by sale to Maycott, and Richard Maycott died possessed of it anno 30 Henry VIII. after which it came into the possession of the family of Adye, of the adjoining parish of Doddington, in which it remained till Joane, daughter of John Adye, esq. carried it in marriage to Thomas Sare, esq. of Provenders, in Norton. He left issue a son Adye Sare, esq. of Provenders, who, in the latter end of queen Elizabeth's reign, sold it to Mr. James Hugessen, of Dover, from which name it passed to that of Skeere, who bore for their arms, Argent, on a bend vert,between a lion rampant in chief,sabel,and three oak leaves in base,of the second,as many escallopshells of the first. Several of them lie buried in this church and that of Doddington. Here it remained till Mr. John Skeere dying without male issue, it descended by his will, in 1746, partly to Mr. Edward Dering, of Doddington, who had married Elizabeth, one of his daughters, and partly to his other daughter and coheir Barbara, then unmarried, who purchased the other part of Mr. Dering, and so became possessed of the whole of it, which she by marriage, in 1752, entitled her husband Thomas Godsrey Lushington, esq. to the possession of. He died in 1757, S.P. by her, on which she again became entitled to it in her own right, and afterwards sold it to Mr. William Loftie, gent. of Canterbury, the son of Mr. Paul Loftie, of Smeeth, by his wife Eleanor, daughter of Thomas Turner, esq. of Grays-inn, by Elizabeth his wife, daughter of Sir Edward Boys, of Fredville, and bore for his arms, Sable, a chevron ermine, between three trefoils slipt, argent. He died possessed of it in 1778, and by his will devised it to his second son Mr. William Loftie, who afterwards exchanged it, for other lands in Romney Marsh, with his brother Mr. Robert Lostie, of the kingdom of Ireland, the present owner of it.
THERE IS A MANOR, called SCHOLLAND, alias SHORLAND, extending over part of this parish and part of Doddington, which has for time out of mind belonged to the same owners as that of Sharsted, in the latter parish, and as such is now in the possession of Alured Pinke, esq. of Sharsted, but it has no connection with the estate of Sholand before-described.
THE HOMESTALL is an estate, situated on the hill near the northern boundary of this parish, though partly in that of Doddington, which was formerly the habitation of gentlemen. Robert Adye, gent. descended from those of Greet, in the adjoining parish of Doddington, resided here in the reign of Charles I. and married Elizabeth, one of the daughters of James Bourne, esq. of Sharsted. After which it became the property of the Nicholsons, who resided at it, several of whom lie buried in Doddington church. (fn. 5) After which it became the estate of Mr. Allen, of Canterbury, whose widow afterwards possessed it, and it is now the property of her devisees.
Charities.
JOHN HULSE, ESQ. gave a house in this parish, now the poor house, and about an acre of land, called the Alders, in Westwell, vested in the minister and churchwardens, and of the annual produce of 15s.
THERE is a small charity school here, for the teaching of the poor children of the parishes of Newnham and Doddington to read and write, but I cannot find it has any endowment.
The poor constantly relieved are about six, easually 35.
NEWNHAM is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Ospringe.
The church, which is dedicated to St. Peter and St. Paul, consists of three isles and a chancel. The steeple, which is low and pointed, is covered with wood, in it are four bells. In the chancel are several memorials of the Hulkes's, or Hulse's, as they afterwards called and wrote themselves. In the body are several memorials of the Skeere's.
In one of the windows are these arms, Per chevron, sable, and ermine, in chief, two boars heads, couped, or; and another, being the like coat, impaling, Argent,on a bend, azure, three boars heads, couped, or.
Fulk de Newenham, lord of the manor of Newnham, with the church appurtenant to it, on his foundation of the Benedictine nunnery of Davington, in the year 1153, gave the church of Newnham as part of his endowment of it; but the abbot of Favertham afterwards claiming it by a like gift from the same donor, the prioress resigned it into archbishop Hubert's hands, who came to the see in 1193, for him to dispose of it as he might think fit. Upon which the archbishop, in consideration of their poverty, and prompted by charity, granted it to the nuns there, to be possessed by them as an appropriation for ever, paying yearly to the monks of the abbey of Faversham the pension of two marcs and an half, or 33s.4d. which he assigned to the firmary of their abbey. (fn. 6)
It continued part of the possessions of the nunnery at the escheat of it to the crown, in the 27th year of king Henry VIII. at which time this parsonage, with the glebe-lands, was demised by indenture to Henry Bourne, esq. at the yearly rent of twenty pounds.
It continued in the crown till the 35th year of that reign, when the king granted it, among the rest of the possessions of the priory of Davington, to Sir Thomas Cheney, knight of the garter, &c. after whose death, his only son and heir Henry, afterwards lord Chency, became possessed of it.
In 1578, William Lovelace, esq. sergeant-at law, was both impropriator and patron of this church, which was afterwards possessed in moieties, with the alternate presentation of the vicarage by Thomas Adye and Thomas Sare, gents. After which, one moiety, with the alternate right of presentation, together with the parsonage-house, became the property of Mr. John Hulkes, gent. who resided here, and dying in 1651, was buried in the chancel of this church. His son Mr. John Hulse, as he wrote his name, succeeded him in it, but dying in 1681, s. p. by his will devised it to his cousin John, son of Mr. Charles Hulse, late of Chartham, deceased, who bore for his arms, as appears by the gravestones of this family in this church, Sable, three piles, argent. His only son John dying under age, it came by his will in 1713, to his three brothers Edward, Nathaniel, and Strensham Hulse, from one of whom it was alienated to colonel William Delaune, of Sharsted, in Doddington; since which it has descended in like manner as that seat, to Alured Pinke, esq. of Sharsted, the present possessor of this moiety of the parsonage, the parsonage-house, and the alternate presentation of the vicarage of this church.
The other moiety of the parsonage of Newnham, with the alternate presentation to the vicarage, is now become the property of Mr. William Hills, late of the borough of Southwark.
These moieties of the tithes of the parsonage are separated by metes and bounds, and have been so of long time by an antient agreement drawn up for that purpose.
It is a vicarage, of the clear yearly certified value of fifteen pounds, the yearly tenths of which are 11s. 3d. which used to be paid to the the crown-receiver, but now, from the above certified value, it is discharged both from first fruits and tenths.
In 1640 it was valued at twenty pounds. Communicants eighty-six.
¶This vicarage has been augmented with the sum of 600l. now in the hands of the governors of queen Anne's bounty, of which sum 200l. was an augmentation from queen Anne's bounty, after which, in 1766, 200l. more was added from the same fund, on a distribution of the like sum from the legacy of Mrs. Ursula Taylor, paid to them by the hands of Sir Philip Boteler, bart, as executor to Dr. Quarles, who was executor to Mrs. Taylor, who by her will in 1722 devised the remainder of her personal estate, on certain events, which afterwards happened, to the governors of queen Anne's bounty, in addition to their augmentation of small livings, which residue of her personal estate Sir Philip Boteler paid into the governors hands, to be applied by them in sums of 200l. together with the like sum from their fund, for the augmenting of such small livings as should be named by himself, many of which were in this county, and it is now worth, exclusive of the above augmentation, about forty-five pounds per annum.