Entitled photos on Flickr

General Assembly Holds Panel Discussion on Protecting our Planet and Being Prepared for the Future by United Nations Photo

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A delegate arrives to the panel discussion of the General Assembly informal thematic consultation on the theme “Protecting our planet and being prepared for the future” as a follow-up to the report of the Secretary-General entitled “Our Common Agenda”.

UN Photo/Manuel Elías

4 March 2022

New York, United States of America

Photo # UN7925668

Corporate Psychopathy by Marcus Victor Castell

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Entitled A north-easterly aspect of Lyttelton from near the Oil Wharf, this is an image by a local photographer.

This photograph was stolen and published by Harcourts Group Ltd for the specific purpose of making a commercial profit or gain; namely, to promote sales of the Fitzroy Head residential subdivision.

In deliberate infringement of New Zealand’s Copyright Act, the photograph appeared in a double page advertisement of issue 506 of the Bluebook Canterbury magazine. It was also used on twelve pages of four separate web sites (one of which, Harcourts proclaim, receives more than half a million views each month).

In late 2008, Bryan John Thomson, CEO of the Riccarton, Christchurch based Harcourts Group was asked by the amateur photographer to address the matter of this theft of intellectual property. He responded with the assurance that "this matter will be addressed in the appropriate manner."

With no subsequent communication, Thomson's interpretation of an appropriate manner might appear to constitute ignoring a criminal offence punishable by substantial fines and a lengthy custodial sentence.

Perception IS NOT Reality is the title of Thomson's latest blog post. In view of the foregoing it could seem that the chief executive of the New Zealand’s largest real estate group's personal perception of legal responsibility may be overdue for a reality check.

Now an international conglomerate in an industry whose ethics are reputedly perceived by New Zealanders with less than favour, the Harcourts Group is currently part of the Leading Real Estate Companies of the World global network of nearly 700 real estate companies with 5,500 offices and 170,000 sales associates in 38 countries.

ADDENDUM

The theft of Intellectual Property breaches the Code of Ethics of the Real Estate Institute of New Zealand. In what might well be construed as an endorsement of the criminality of its members, the Institute has failed to respond to a formal complaint by the photographer.

_DSC7287 by Hans Jan Dürr

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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.

Tinsmith's Sign / Black Creek Pioneer Village / Toronto / Dec. 22, 2008 by Bill Barber

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From my set entitled “Black Creek Pioneer Village”

www.flickr.com/photos/21861018@N00/sets/72157611538656614/

In my collection entitled "Places"

www.flickr.com/photos/21861018@N00/collections/7215760074...

In my photostream

www.flickr.com/photos/21861018@N00/

Reproduced from Wikipedia, the free encyclopedia

Black Creek Pioneer Village is an historic site in Toronto, Ontario, Canada, just west of York University and southeast of the Jane and Steeles intersection. It overlooks Black Creek, a tributary of the Humber River.

The village is a recreation of life in 19th-century Ontario and gives an idea how rural Ontario might have looked in the early-to-mid 1800s.

The "pioneer" village consists of over forty historic 19th century buildings, decorated in the style of the 1860s with period furnishings. Besides the Historical Interpreters and Craftspeople housed in the restored buildings, the site also features historical reenactments and visiting artisans. Buildings include period houses, the original Stong Family farm buildings, a water-powered grist mill, a general store, a blacksmith's shop along with over 10 other trades buildings, a hotel, a church, and a one-room schoolhouse. A core of buildings built by the Stong family are on their original sites, while others have been moved in from across Southern Ontario.

The majority of the buildings were moved from their original sites (notably the large Halfway House and Mennonite Meeting House), and some re-built on their current locations.

The village is a regular destination for field trips by schoolchildren from the Greater Toronto Area.

It is operated by the Toronto and Region Conservation Authority.

Barbers' Garden 2008; Smokebush Flower by Bill Barber

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From my set entitled “Smokebush”

www.flickr.com/photos/21861018@N00/sets/72157607213776358/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Cotinus

Smoketree or Smoke bush (Cotinus) is a genus of two species of flowering plants in the family Anacardiaceae, closely related to the sumacs (Rhus). They are large shrubs or small trees, native to the warm temperate Northern Hemisphere. The leaves are deciduous, alternate, simple oval shape, 3-13 cm long. The flowers are clustered in a large open terminal panicles 15-30 cm long with a fluffy grayish-buff appearance resembling a cloud of smoke over the plant, from which the name derives. The fruit is a small drupe with a single seed. Often classified in Rhus in the past, they are distinguished by the leaves being simple (not pinnate) and the 'smoke-like' fluffy flower heads.

The American Smoketree (Cotinus obovatus, syn. Rhus cotinoides) is native to the southeastern United States, from Tennessee south to Alabama and west to eastern Texas. It is a larger plant, frequently becoming a small tree up to 10-12 m tall and with a trunk up to 25 cm diameter. The leaves are also larger, 6-13 cm long; it also has varied but very bright fall color, usually brighter than the Eurasian species. The flower heads are usually sparser than in C. coggygria.

The smoketrees, particularly C. coggygria, are popular garden shrubs. Several bronze or purple-leaved cultivars of C. coggygria have been selected, with warm pink inflorescences set against purple-black foliage; the commonest in commerce are 'Notcutt's Variety' and 'Royal Purple'. When brought into cultivation together, the two species will form hybrids; some garden cultivars are of this parentage.

Cultivation is best in dry, infertile soils, which keeps the growth habit more compact and also improves the autumn colour; when planted in fertile soil, they become large, coarse and also tend to be short-lived, succumbing to verticillium wilt disease. Both species can be coppiced in early spring, to produce first-year shoots up to 2 m tall with large handsome leaves, but no "smoke".

Entitlements: Jon Stewart on hypocrisy by Grace

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August 11, 2011

The Daily Show’s John Stewart comments on Fox News' Megyn Kelly’s return from

maternity leave with a more liberal perspective on mandated benefits and entitlement programs.

Brazilian Cultural Event Held on Sidelines of 2016 WIPO Assemblies by World Intellectual Property Organization

An exhibition entitled “Brazil – In the Footsteps of Innovation and Creativity”, co-organized by WIPO and Brazil, was held on the sidelines of the WIPO Assemblies, which met in Geneva from October 3 to 11, 2016.

The exhibition showcased some of Brazil’s well-known geographical indications, including alcoholic drinks, coffee and lace. It also featured notable Brazilian innovations and designs in the field of aviation (Embraer jets), as well as precision engineering, handicraft and clothing.

Delegates to the WIPO Assemblies were also treated to a musical performance of “Capoeira” – an Afro-Brazilian mix of martial art and dance that was recognized as an intangible cultural heritage by UNESCO in 2014.

Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.

The Exhibition (4) by Mike Stokes

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Last year I was asked to put together a number of interpretative panels for an exhibition entitled Pipe Organs of Chapels and Churches in the Bridgend area, Valleys and Vale. The panels were to measure 70cm x 50cm to fit into frames provided by the venue. The text was supplied by Peter J David, the curator of the exhibition who also provided many of the historic photographs of organs that do not survive and I provided some of the up-to-date images. Many hours of work went into putting these panels together and they were unveiled at the exhibition at the Open Doors event at Wesley Methodist Church, Tondu on Saturday 12th September 2015. In all there were twelve panels and I shall upload them all over the next few days. The exhibition will remain at the Church for one year and is available for viewing at normal church service or opening times or other times by appointment. The exhibition contains many artefacts associated with pipe organs and also features a number of small pedal organs.

At the opening of the exhibition, there were two other smaller displays on show, here we see Natalie Murphy, president of the Bridgend & District Local History Society with a small selection of photographs.

This image is the copyright of © Michael John Stokes; Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws. Please contact me at mjs@opobs.co.uk for permission to use any of my photographs.

PLEASE NOTE: Before adding any of my photographs to your 'Favorites', please check out my policy on this issue on my profile.

“Robin Robber” Appears in Bedfordshire by Bedfordshire Police

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A new campaign highlighting robbery was launched in Bedfordshire earlier this week. Entitled ‘Stay Safe: Help put ‘Robin’ Robber’ Behind Bars…Bedfordshire Police wants to know who is committing robbery where you live…’ it is designed to reduce crime, detect crime and de-assure offenders.

Life size cut outs of ‘Robin Robber’ seen ‘behind bars’, or in this case park railings, have been put up in areas of Luton and Bedford that are popular with the public to act as a deterrent to would-be offenders who are thinking about committing crime.

Jo Hobbs, Media Relations Manager said: “We are trying something new with this campaign and using psychological warfare to de-assure criminals, but also show the public we are making a dent and reducing crime. The signs inform the public that 461 ‘robbers’ have been arrested already this year. “. The campaign also educates the public to what is defined as robbery.

A robbery is when a person uses or threatens to use force to steal. It is more serious than theft and you can be guilty of robbery even if you are just part of a group that robbed someone. Robbery carries a maximum sentence of life imprisonment. Threatening someone in order to take possessions from them is not bullying, but robbery and convictions for this offence carry a custodial sentence.

There are 10 signs in total; which have been placed in Luton and Bedford. Robin’ Robber is also being promoted on-line via the force website and all social media channels. For more information on the campaign, click here.

At Bedfordshire Police our aim is "fighting crime, protecting the public.",

We cover 477 square miles, serve a population of around 550,000 and employ in the region of 1,260 Police Officers, 950 police staff and 120 Police Community Support Officers (PCSOs). For more details about the force, visit our website www.bedfordshire.police.uk

Poems, Chiefly in the Scottish Dialect, a poem entitled “Scotch Drink” / Poems, Chiefly in the Scottish Dialect, poème intitulé « Scotch Drink » by BiblioArchives / LibraryArchives

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Title / Titre :

Poems, Chiefly in the Scottish Dialect, a poem entitled “Scotch Drink” /

Poems, Chiefly in the Scottish Dialect, poème intitulé « Scotch Drink ».

Description :

The first edition of Robert Burns’ Poems, Chiefly in the Scottish Dialect was published in Kilmarnock, Scotland in 1786. Only about 600 copies were printed. The finely-bound copy now held by Library and Archives Canada was a gift from the British Government on the occasion of Canada’s centennial in 1967. Its green leather binding with gold-tooled decorations and silk endpapers was created in the 19th century by the well-known British bookbinder Robert Riviere. /

La première édition de Poems, Chiefly in the Scottish Dialect, de Robert Burns, a été publiée à Kilmarnock, en Écosse, en 1786. Seulement 600 exemplaires environ ont été imprimés. L’exemplaire finement relié que possède maintenant Bibliothèque et Archives Canada était un cadeau du gouvernement anglais à l’occasion de centenaire du Canada, en 1967. Sa reliure en cuir vert comportant des décorations or et des pages de garde en soie a été créée au 19e siècle par le célèbre relieur anglais Robert Riviere.

Creator(s) / Créateur(s) : Robert Burns

Date(s) : 1786

Reference No. / Numéro de référence : OCLC 4752176

bac-lac.on.worldcat.org/oclc/4752176

Location / Lieu : Kilmarnock, Scotland / Kilmarnock, Écosse

Credit / Mention de source :

Robert Burns. Library and Archives Canada, Kilmarnock : Printed by J. Wilson, 1786 /

Robert Burns. Bibliothèque et Archives Canada, Kilmarnock : Printed by J. Wilson, 1786

India - Telangana - Warangal - Warangal Fort - Nandi Pavilion - 9 by Manfred Sommer

Nandi (Sanskrit: नन्दी, Tamil: நந்தி, Telugu: న౦ది) is the name for the bull which serves as the mount (Sanskrit: Vahana) of the god Shiva and as the gatekeeper of Shiva and Parvati. In Hindu Religion, he is the chief guru of eighteen masters (18 siddhas) including Patanjali and Thirumular. Temples venerating Shiva display stone images of a seated Nandi, generally facing the main shrine. There are also a number of temples dedicated solely to Nandi.

The application of the name Nandi to the bull (Sanskrit: vṛṣabha) is in fact a development of recent centuries, as Gouriswar Bhattacharya has documented in an illustrated article entitled "Nandin and Vṛṣabha". The name Nandi was earlier widely used instead for an anthropomorphic deity who was one of Shiva’s two door-keepers, the other being Mahākāla. The doorways of pre-tenth-century North Indian temples are frequently flanked by images of Mahākāla and Nandi, and it is in this role of Shiva’s watchman that Nandi figures in Kālidāsa’s poem the Kumārasambhava.

ETYMOLOGY

The word “Nandi” is believed to be derived from the ancient word “Pandi” meaning bull or its has origins in the Sanskrit language where it means 'of Shiva', 'attendant of Shiva', or happy.

BIRTH OF NANDI

There was a Sage named Shilada who underwent severe penance to have a boon - A child with immortality. Lord Indra pleased of the austerities of Shilada appeared in front of him to offer a boon. After hearing the request of Shilada and his desire to have an immortal child, Lord Indra suggested him to pray to Lord Shiva who could provide the boon; nobody else could provide such a boon. Sage Shilada continued his penance for thousand years. He was totally immovable for many years, so the termites settled on his body and slowly started to build up their nest. Finally, his whole body was covered up by them. The insects started to eat his flesh and imbibed his blood. At last, only bones remained. Lord Shiva appeared in front of him and provided the boon for an immortal child. Moreover, Lord Shiva provided Sage Shilada his old form with a single touch. Sage Shilada performed Yagna and a child appeared from the sacrificial fire. His body was clad in armour made out of diamonds. The celestial dancers and singers performed on this auspicious occasion and the deities showered flowers on the child. The boy was named ’Nandi’ - who brings joy. Shilada brought the child home, immediately the boy lost his divine appearance to an ordinary child. The child completely forgot all about his birth. Sage Shilada was worried about the sudden change. He devoted his time for the bringing up the child, his education etc. By the age of seven the boy was well versed in Veda and all sacred texts. One day the two deities - Mitra and Varuna visited Sage Shilada. At the first sight of the boy, they commented: Though the boy had all auspicious signs, he would have a very short life. The boy would not live after the age of eight. Sage Shilada was mortified at this remark. Nandi could not bear his father's sorrow, he began to pray to Lord Shiva. Lord Shiva appeared before him and blessed him. Lord Shiva adorned the boy with a necklace around his neck which he was wearing, and made him immortal. Lord Shiva blessed the child and declared that he would be worshiped along with Him and become his vahana(vehicle). Immediately the boy got all the divine powers and transformed into half bull-half human. Then he and Shilada went to Lord Shiva 's abode to live.

IN HINDUISM

Bulls appear on the Indus Valley seals, including the 'Pasupati Seal', which depicts a seated figure, and according to some scholars is similar to Shiva. However, most scholars agree that the horned bull on the Indus Valley seals is not identical to Nandi.

The various descriptions on Nandi in the Hindu Religion texts include:

Some Puranas describe Nandi or Nandikeshvara as bull faced with a human body that resembles that of Shiva- in proportion and aspect, although with four hands, two hands holding the Parasu (the axe) and Mruga (the antelope) and the other two hands joined together in the Anjali(obeisance). Brahma Vaivarta Purana mentions Krishna himself to have taken the form of a bull as no one else in the Universe can bear Shiva.

Vehicle of Shiva: The bull Nandi is Shiva's primary vehicle and is the principal gana (follower) of Shiva.

Gate keeper of Shiva's abode: The close association of Shiva and Nandi explains the presence of a statue of Nandi at the gate of many temples dedicated to Shiva. It also explains why the word "nandi" in the Kannada, Telugu and Tamil languages is used as a metaphor for a person blocking the way. In Sanskrit, a bull is called "vrisha", which has another connotation - that of righteousness or Dharma. It is important to seek the blessings of Nandi before proceeding to worship Lord Shiva.

Chief in Shiva's army: Some Puranas mention that Nandi lead the Shiva Ganas, Shiva's attendants.

A Guru of Saivism: In addition to being his mount, Nandi is Shiva's foremost disciple. In the Natha/Siddhar tradition, Nandi is one of the primal gurus. He was the guru to Siddhar Thirumulanathar, Patanjalinathar and others.

From the yogic perspective, Nandi/Nandhi/ Nandikeshvara is the mind dedicated to Lord Siva, the Absolute. In other words, to understand and absorb Light, the 'experience and the wisdom' is Nandi which is the Guru within.

Spiritually, Nandi represents an individual jiva (soul) and the message that the jiva should always be focussed on the Atman (Paramatman).

LEGENDS

According to some puranas, Nandi was born to sage Shilada who got him by the grace of Shiva.

It was Nandi who cursed Ravana (the demon King of Lanka) that his kingdom would be burnt by a monkey (Vanara). And later Hanuman burnt Lanka when he went in search of Sita, who was kept prisoner by Ravana in Ashok Vatika. In one puranic story, it is stated that once Siva and Parvathi were playing a game of dice. For any game there has to be an umpire, who has to declare who is the winner. Siva and Parvathi agreed to have Nandi (the divine bull) as the umpire. Nandi is a favorite of Siva, as he is Siva's vehicle. Although Siva lost the game, Nandi declared him the winner. It is stated that Parvathi was indignant over Nandi's partiality for Siva and cursed him that he should die from an incurable disease. Thereupon Nandi fell at the feet of Parvathi and pleaded for forgiveness. "Mother forgive me. Should I not show at least this amount of gratitude to one who is my master? Is it not humiliating for me to declare that my master has lost the game? To uphold his honor I no doubt uttered a lie. But am I to be punished with such severity for so small an offence?" Nandi prayed for forgiveness in this manner. Parvathi forgave Nandi and taught him the means to atone for his lapse. She told him. "The Chaturdasi day in the month of Bhadrapada is the day when my son's birthday is celebrated. On that day you have to offer to my son what pleases you most (green grass)". This means that one atones for one's sins when one offers to the Lord what is most pleasing and enjoyable to him. For Nandi the most enjoyable and relishing food is green grass. As directed by Parvathi Nandi worshipped Ganapathi by offering green grass. Nandi was then relieved of his dreaded disease. His health improved and by the grace of Parvathi he was redeemed.

When the positive forces, the devas, and the negative forces, the asuras, joined together on a rare occasion to churn the ocean with a mountain to obtain the nectar of immortality they utilized Vasuki, the serpent, as the rope. The devas pulled from one end and the asuras from the other. Lots of precious herbs and gems were produced during the Churning and one of them was a poison (halāhala) which became human karma. This "poison" was so dangerous that none of the devas or asuras wanted to go near it. It was extremely sticky and coming into contact with this poison, i.e., human karma, would drag the divinity down to the realms of human suffering and ego. As everyone else ran away, Lord Siva, followed by Nandi, came forward to help as he was the only one who could counteract this deadly poison. Siva took the poison into his hand and drank it, the descent of the poison was in turn stopped at His throat, by His divine consort. Siva is therefore also known as Nīlakaṇṭha (the blue-throated one) and Viṣakaṇṭha (the poison-throated one). Nandi saw some of the poison spill out of Siva's mouth and immediately drank if off the ground. The devas and asuras watching were shocked and wondered aloud what would happen to Nandi. Lord Siva calmed their fears saying, "Nandi has surrendered into me so completely that he has all my powers and my protection".

LARGEST NANDIS IN INDIA

1. Lepakshi, Andhra Pradesh

2. Brahadishwara Temple, Tamil Nadu

3. Chamundi Hills, Mysore, Karnataka

4. Bull Temple, Bangalore, Karnataka

5. Rameswaram, Tamil Nadu

6. Hoysaleswara Temple, Halebidu, Karnataka

7. Shanthaleswara Temple, Halebidu, Karnataka

8. Vadakkunnathan Temple, Thrissur, Kerala

9. Virupaksha Temple, Hampi, Karnataka

10. Nandi Temple, Western Group of Temples, Khajuraho, Madhya Pradesh

11. Kedareshvara Temple at Balligavi (Karnataka)

12. Doddabasaveshvara temple, Kurugodu Bellary dist

WIKIPEDIA

Scarce Hood's 1919 Calendar "Free Samples" by inferno55

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Entitled "Over There"

Through the Sumac by Bill Barber

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From my set entitled ‘Sumac”

www.flickr.com/photos/21861018@N00/sets/72157607186471302/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Sumac

Sumac (also spelled sumach) is any one of approximately 250 species of flowering plants in the genus Rhus and related genera, in the family Anacardiaceae. The dried berries of some species are ground to produce a tangy purple spice often used in juice.

Sumacs grow in subtropical and warm temperate regions throughout the world, especially in North America.

Sumacs are shrubs and small trees that can reach a height of 1-10 meters. The leaves are spirally arranged; they are usually pinnately compound, though some species have trifoliate or simple leaves. The flowers are in dense panicles or spikes 5-30 cm long, each flower very small, greenish, creamy white or red, with five petals. The fruits form dense clusters of reddish drupes called sumac bobs.

Sumacs propagate both by seed (spread by birds and other animals through their droppings), and by new sprouts from rhizomes, forming large clonal colonies.

The drupes of the genus Rhus are ground into a deep-red or purple powder used as a spice in Middle Eastern cuisine to add a lemony taste to salads or meat; in the Turkish cuisine e.g. added to salad-servings of kebabs and lahmacun. In North America, the smooth sumac (Rhus glabra), and the staghorn sumac (Rhus typhina), are sometimes used to make a beverage, termed "sumac-ade" or "Indian lemonade" or "rhus juice". This drink is made by soaking the drupes in cool water, rubbing them to extract the essence, straining the liquid through a cotton cloth and sweetening it. Native Americans also used the leaves and berries of the smooth and staghorn sumacs combined with tobacco in traditional smoking mixtures.

Species including the fragrant sumac (Rhus aromatica), the littleleaf sumac (R. microphylla), the skunkbush sumac (R. trilobata), the smooth sumac and the staghorn sumac are grown for ornament, either as the wild types or as cultivars.

The leaves of certain sumacs yield tannin (mostly pyrogallol), a substance used in vegetable tanning. Leather tanned with sumac is flexible, light in weight, and light in color, even bordering on being white.

Dried sumac wood is fluorescent under long-wave UV light. Mowing of sumac is not a good control measure as the wood is springy resulting in jagged, sharp pointed stumps when mowed. The plant will quickly recover with new growth after mowing. See Nebraska Extension Service publication G97-1319 for suggestions as to control.

At times Rhus has held over 250 species. Recent molecular phylogeny research suggests breaking Rhus sensu lata into Actinocheita, Baronia, Cotinus, Malosma, Searsia, Toxicodendron, and Rhus sensu stricta. If this is done, about 35 species would remain in Rhus. However, the data is not yet clear enough to settle the proper placement of all species into these genera.

St Edmundsbury Cathedral, Bury St. Edmunds. by BIG ALBERT

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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.[1] 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.

Interior

The font was designed in 1870 by George Gilbert Scott, constructed on a medieval shaft, with a cover by Frank Ernest Howard of Oxford. The decoration was added in 1960. A painting, "The Martyrdom of St Edmund" by Brian Whelan hangs in the Lady Chapel.[7] A sculpture by Elizabeth Fink entitled Crucifixion stands by the Treasury steps. Stained glass in the cathedral includes the medieval Susanna Window which has Flemish glass in the lower section and English glass at the top. The west window depicts the Last Judgement and dates from about 1900.

In addition to guided tours of the cathedral itself, visitors can view changing exhibits of art in the Edmund Gallery, and an exhibit of historic and religious regalia and artefacts in the Cathedral Treasures display.

Last Supper Painting, Church of the Immaculate Conception, Farm Street, London by Alex-David Baldi

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Officially entitled 'In Memoriam', this 4-meters-long work was painted by artist Andrew White in 2011-2012. It captures the moment during the last supper when Jesus breaks the bread. The way that the light illuminates the apostles' faces is very striking, and I like how Jesus' face is depicted a second time staring out of the darkness. The work hangs in a side chapel of the Catholic church of the Immaculate Conception in Mayfair.

Battlefields stereoscope- No. 39. "Amiens" by Rescued by Rover

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Original caption reads

“No. 39”. Amiens.”

One from a series of Stereoscopic cards entitled “The Battlefield Series”, published by George Nightingale & Co, Normanton Avenue, Bognor (England).

The cards are printed on the back with the information: “These Photos are finished and printed entirely by Ex-service men at Reflex Studios & Press, Parkstone.”

The photos were presumably taken during the months following the end of hostilities on the European battlefields, and likely published during 1919 or 1920.

Montana State Capitol Dome (Helena, Montana) by courthouselover

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This statue entitled Montana stands seventeen-feet-high and was intended to be the personification of liberty. Sculptor Edward J. Van Landeghem was its creator. It was placed atop the capitol during construction in the December of 1900.

The stunning Montana State Capitol in Helena was constructed at a cost of $540,000 from 1899 to 1902 using the designs of Council Bluffs, Iowa architects Charles Emlen Bell and John Hackett Kent. In 1909-12 additions were placed on the east and west sides of the building under the supervision of architects Frank M. Andrews of New York and John G. Link and Charles S. Haire of Montana.

"ALCHEMY" INTRO by Jensen Knives by John Lewis Jensen

Hello, My name is John Lewis Jensen, and I've been making high-end Art Knives since 1994.

This project, entitled “ALCHEMY”, is one of those projects I started many years ago (2004), but which ended up on the back burner until 2012, when I re-commenced it.

This project encompasses almost everything I’ve learned over 20+ years. It covers jewelry, sculpture, metalwork, knifemaking and machining. Specifically, techniques used are forging, machining, drilling, milling, inlays, cold connections, sanding, filing, precision measurements, trouble shooting, blade grinding, finishing, heat treating, tempering, blade sharpening, polishing, masking, etching, nitre-bluing, multi-color anodizing, stone setting, gold leafing, word work, laser engraving, etc. Materials used, include Titanium, Damascus Steel, Timascus, Fossil Ivory, Carbon Fiber, Abalone, & Super Conductor.

The 1st several dozen photos were actually posted on my old website back in May of 2005, and which I believe was the 1st knifemaking WIP ever posted on a website. Part of this project was also published in “Blades Guide to Knife Making”, Vol. 1.

Knifemaking is still a very underground art, so I set out to create the “Ultimate Behind the Scenes Look”, in hopes that by sharing the creation of one of my pieces, it helps to elevate the overall craft. I have left NOTHING out! The results are a 400+ hour, completely hand-made Art Knife, documented by over 1100 step-by-step, sequential photos, and over 20 videos, each with a full descriptive caption. I hope you enjoy!

A few simple things I ask for in return:

1.Please, do NOT flat out copy my work. If you are influenced, that’s fine, but make it your own, and please give credit where credit is due.

2.Even if my work is not your cup of tea, please be respectful.

3.If you really get something out of this, please consider making a PayPal donation to: john@jensenknives.com

Questions and comments are certainly welcome. Enjoy, and please share this project with anyone that you think might be interested in seeing it.

Finally, don’t forget to visit my website, and various social media pages…

Website: www.jensenknives.com

Facebook: www.facebook.com/JensenArtKnives

Flickr: www.flickr.com/photos/jensenstuff/sets

Pinterest: www.pinterest.com/jensenknives

Instagram: instagram.com/jensen_knives

YouTube: www.youtube.com/user/JensenKnives

Behance: www.behance.net/johnlewisjensen

Tumbler: jensenknives.tumblr.com

Deviant Art: jensenknives.deviantart.com

Rooster Mr. D'Kokowill, Anthropomorphic Art Doll, Anthro doll, Furry doll, Fantasy Doll, 1:6 Dollhouse doll, Handmade doll, OOAK, interior doll, Rooster, Cock, cock-a-doodle-doo, cockerel. by Zlata's fantasy dolls

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*** He is based on my dolls storys from World of Dolls "Anthrogon" on my New serie of dolls entitled "Confectionery D'Kokowill" in which Mr. D'Kokowill is owner this confectionery. For many years he bakes delicious cakes for visitors its small cozy confectionery.

Rooster on Etsy: www.etsy.com/listing/473087066/rooster-mr-dkokowill-art-d...

Description:

- He is 11.81 inches (30 cm) from her base to the top of her head.

- Doll with hand painted glass eyes.

- His form is of wire armature - movable except the head, hands, boots.

- His head made from Polymer Clay and white mohair faux fur.

Outfit: shirt, cardigan, scarf, velvet trousers, apron and sleeves, boots made of genuine leather.

Him costume was designed in the Victorian (1880) style for confectionery workers.

*Outfit not be removed!

Cake is Polymer Clay Miniature 2.36x 2.36 inches (6x6 cm)

D'Kokowill is self-balancing, but unstable stand on his own two tiny feet without aid of a doll stand.

Keywords: Art dolls , Rooster decor , Rooster dolls , Ooak , Cock rooster, furry, anthro rooster, cock-a-doodle-doo, cockerel, furry gifts, Ooak Dolls , How to make art dolls , Interior dolls , Fine Art , Rooster art doll , Rooster, Gifts for 2017 Year, Fantasy Dolls , Fairy Tale , Zlata Schimanski , Zlata's fantasy dolls , World of dolls Anthrogon , Animals sculpture , Handmade dolls , Fantasy art , Birthday gifts , Toys , Dolls Story , Handmade toys , Art sculpture , poliuretan PU resin , portrait in frame , how to make polimer clay dolls , Dolls , Miniature dolls, Doll portrait in frame , Collectible Dolls, Collectible sculptures, Halloween, Halloween gifts, Gothic dolls, Gothic, Gothic art, Victorian dolls, Victorian gothic, 1:6 Dollhouse doll

See my other listings for more Anthropomorphic Dolls: www.etsy.com/shop/ZlatasFantasyForest?section_id=17547178

To see all my other listings click here: www.etsy.com/shop/ZlatasFantasyForest?ref=search_shop_red...

all clients are entitled to an opinion... by Ideias Frescas

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Todos os clientes têm direito a um parecer ... e todos os Designers têm o dever de corrigir esse parecer

All clients are entitled to an opinion......and all designers are required to correct that opinion

Pulmonaria by Bill Barber

From my set entitled “Pulmonaria”

en.wikipedia.org/wiki/Pulmonaria

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Pulmonaria

The lungworts are the genus Pulmonaria of flowering plants in the family Boraginaceae, native to Europe and western Asia, with one species (P. mollissima) east to central Asia. According to various estimates there may be between 10 and 18 Pulmonaria species found in the wild, but the taxonomy of this genus is very confusing.

The scientific name Pulmonaria is derived from Latin pulmo (the lung). In the times of sympathetic magic, the spotted oval leaves of P. officinalis were thought to symbolize diseased, ulcerated lungs, and so were used to treat pulmonary infections. The common name in many languages also refers to lungs, as in English "lungwort" and German "Lungenkraut". In some East European languages, the common name is derived from a word for honey, e.g. Russian "medunitza" and Polish "miodunka".

English colloquial names include Lungwort, Soldiers and Sailors, Spotted dog, Joseph and Mary, Jerusalem Cowslip, Bethlehem Sage.

Lungworts are perennial herbs that form clumps or rosettes. They are covered in hairs of varied length and stiffness, and sometimes also bear glands. The underground parts consist of a slowly creeping rhizome with adventitious roots. Flowering stems are unbranched, rough, covered with bristly hairs, usually not exceeding 25–30cm, with a few exceptions (P. mollis, P. vallarsae). The stems are usually upright, or slightly spreading.

The leaves are arranged in rosettes. The blades are usually large, from narrowly lanceolate to oval, with the base ranging from heart shaped to very gradually narrowing, and can have a sharply pointed or blunt tip. Leaf margin is always entire, but in some species and forms can be rather wavy. Basal leaves are carried on stalks that can be short or longer than the leave blade in various species. Stem leaves are smaller and often narrower, and are unstalked or clasping the stem. All leaves are covered with hairs that are usually bristly, or occasionally soft. The leaves are often prominently spotted in black and blue, or sometimes in pale green, or unspotted.

The inflorescence is a terminal scorpioid cyme, with bracts. Lungwort flowers are heterostylous, with two distinct forms of flower within each species; those with short stamens and long styles ("pin" flowers) and those with long stamens and short styles ("thrum" flowers), with the former usually being larger and more showy. The calyx is hairy, 5-lobed, tubular or funnel-shaped, enlarging as the fruit ripens. The corolla is funnel-shaped and consists of a long, cylindrical tube and a limb with five shallow lobes. Within the corolla throat, five tufts of hairs alternate with the stamens to form a ring. The colour of corolla varies from purple, violet or blue to shades of pink and red, or sometimes white. The colour of the flower in bud is often pink, which then changes as the flower matures. The stamens and style are included within the corolla and not protruding.

The nutlets are smooth, egg-shaped, brownish, up to 4.5 mm long and 3 mm wide, each containing a single seed. Up to four nutlets per flower are produced, ripening mostly in summer.

Pulmonaria species are used as food plants by the larvae of some Lepidoptera species including Coleophora pulmonariella which feeds exclusively on P. saccharata.

Peter "kuku-sama" Cunningham by Zen Peacemakers

PETER CUNNINGHAM recently returned from China where he is teaching Chinese photographers and completing his STILL FILM entitled Cultural Evolution. This might seem a long journey from his first paid job as a photographer in 1973, when, for $25 he made Bruce Springsteen's first pictures at Columbia Records and later did the same for Madonna. Peter learned to be a professional photographer creating images for famous performers in music and theater, he did this for 15 years (portfolio) until the birth of MTV made the field less interesting.

At the same time he learned to remain a passionate amateur from photographer Adger Cowens who taught about seeing not objects in one's camera, but perceiving objects as the light that is bouncing off them, mixing it with your feelings and history and mythology, and and responding from your gut. Peter also learned from Henri Cartier-Bresson who he was privildged to assist in 1975. The two traveled every day for a month to New Jersey to document what HCB considered the prototypical American state. My job was to talk to everyone so Henri could concentrate on seeing. The New York Times gave Henri it's lead op-ed space on the day Bill Moyers aired the show.

Also in 1980, Peter began studies with Bernie Glassman at the Zen Community of New York. His first public exhibitiion, "THIS IS IT? was held in the cafe sponsored by ZCNY; that little cafe evolved into The Greyston Bakery famous for cakes and cookies and for revivifying people with difficult histories. Peter's travels and friendships among Zen practitioners and teachers in Japan, Europe, The Middle East, and The United States have been a great blessing and influence on his life and work. His trip to Japan with Bernie and Peter Matthiessen to visit the ancestors of Bernie's teacher, Maezumi Roshi, resulted in the publicaton of "Nine-Headed Dragon River"; Peter has helped document the migration of Zen Buddhist practice from Japan to the West. After Maezumi Roshi's death in 1995 the practice, while retaining it's traditional form in many places, also evolved into new American/European forms. Bernie Glassman took his students into the streets or to sit meditation in Auschwitz-Birkenau and has now created The Peacemaker Community; Genpo Roshi started his Big Mind form of teaching, and throughout the West; many of the best teachers of the next genereation are women, a development that would have been inconceivable in Japan.

'In about 1980 cable tv was being launched and I was asked by an ad agency to create a series of 20 posters of people (my friends) which were displayed on the NYC subways in all 5 boroughs. I took the opportunity to take make a second more personal portrait of my models posed next to the purposeful commercial image on the postere. This series became the Black&White portion of Peter's first major exhibition in 1982 at Harkness House curated by Liz Thompson and Kathy DeShaw.

The other half of this 1982 exhibition framed color prints in combinations, and thus began the long evolution of the theatrically-scaled triptych medium Peter calls "StillFilm". Peter has exhibited still films around the world; in 2005 he showed the Still Films in Krakow, London, Paris, and Berlin. ..... the web version he calls "StillTV".

In 1989 when the Berlin Wall fell, Peter, based in New York City,began creating a Still Film he calls BLINDERS. I wondered what would replace the authoritarian structures that had ruled in the East, what systems are in place in the West that keep people well behaved and going to work day after day."

Peter continued this general theme in Berlin in 1994 with his still film WÄNDE WENDE (Walls Change) Previewing the still film's debut at The Knitting Factory, The New Yorker says about Cunningham, "These visual poems are decidedly more ambitious than his celebrity work; in the past they've consisted of essays on nature and consumerism. He shot his latest still film in Berlin, and it addresses, in a stunningly colorful fashion, how the walls that hem us in are not necessarily made of concrete."

Peter's current work in China, Cultural Revolution is based on a similar idea, that images have a kind of persuasive power was once wielded by guns. Peter imagines presenting these three shows together in their home cities: New York, Berlin, and Beijing:

"19th Century Fish People Portraits No.10" Original ACEO by Dean A. Kendrick by Dean Kendrick

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ORIGINAL ACEO entitled, "19th CENTURY FISH PEOPLE PORTRAITS No.10" (2008) by award winning American artist/animator Dean A. Kendrick. The piece is a 2.5" x 3.5" ink marker drawing/watercolor painting on heavy weight watercolor paper that is intentionally stained with a coffee wash to give it an older, worn look as if it was found in the leaky attic of an under-kept Victorian mansion.

Who are the Fish People? Where did they come from? Are they a forgotten, de-evolutionary race that flourished in the 19th century United States?

ACEO stands for "Art Cards, Editions and Originals". These popular, collectible cards are exclusively 2.5" x 3.5" in size.

"... then shiver once from head to toe..." by jim wene

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A light / text installation entitled "For 7 World Trade" by Jenny Holzer and James Carpenter

from Urban Convalescence by James Merrill

Out for a walk, after a week in bed,

I find them tearing up part of my block

And, chilled through, dazed and lonely, join the dozen

In meek attitudes, watching a huge crane

Fumble luxuriously in the filth of years.

Her jaws dribble rubble. An old man

Laughs and curses in her brain,

Bringing to mind the close of The White Goddess.

As usual in New York, everything is torn down

Before you have had time to care for it.

Head bowed, at the shrine of noise, let me try to recall

What building stood here. Was there a building at all?

I have lived here on the same street for a decade.

Wait. Yes. Vaguely a presence rises

Some five floors high, of shabby stone

—Or am I confusing it with another one

In another part of town, or of the world?—

And over its lintel into focus vaguely

Misted with blood (my eyes are shut)

A single garland sways, stone fruit, stone leaves,

Which years of grit had etched until it thrust

Roots down, even into the poor soil of my seeing.

When did the garland become part of me?

I ask myself, amused almost,

Then shiver once from head to toe,

Transfixed by a particular cheap engraving of garlands

Bought for a few francs long ago,

All calligraphic tendril and cross-hatched rondure,

Ten years ago, and crumpled up to stanch

Boughs dripping, whose white gestures filled a cab,

And thought of neither then nor since.

Also, to clasp them, the small, red-nailed hand

Of no one I can place. Wait. No. Her name, her features

Lie toppled underneath that year's fashions.

The words she must have spoken, setting her face

To fluttering like a veil, I cannot hear now.

Let alone understand.

So that I am already on the stair,

As it were, of where I lived,

When the whole structure shudders at my tread

And soundlessly collapses, filling

The air with motes of stone.

Onto the still erect building next door

Are pressed levels and hues—

Pocked rose, streaked greens, brown whites.

Who drained the pousse-café?

Wires and pipes, snapped off at the roots, quiver.

Well, that is what life does. I stare

A moment longer, so. And presently

The massive volume of the world.

Closes again.

Upon that book I swear

To abide by what it teaches:

Gospels of ugliness and waste,

Of towering voids, of soiled gusts,

Of a shrieking to be faced

Full into, eyes astream with cold—

With cold?

All right then. With self-knowledge.

Indoors at last, the pages of Time are apt

To open, and the illustrated mayor of New York,

Given a glimpse of how and where I work,

To note yet one more house that can be scrapped.

Unwillingly I picture

My walls weathering in the general view.

It is not even as though the new

Buildings did very much for architecture.

Suppose they did. The sickness of our time requires

That these as well be blasted in their prime.

You would think the simple fact of having lasted

Threatened our cities like mysterious fires.

There are certain phrases which to use in a poem

Is like rubbing silver with quicksilver. Bright

But facile, the glamour deadens overnight.

For instance, how “the sickness of our time”

Enhances, then debases, what I feel.

At my desk I swallow in a glass of water

No longer cordial, scarcely wet, a pill

They had told me not to take until much later.

With the result that back into my imagination

The city glides, like cities seen from the air,

Mere smoke and sparkle to the passenger

Having in mind another destination

Which now is not that honey-slow descent

Of the Champs-Elysées, her hand in his,

But the dull need to make some kind of house

Out of the life lived, out of the love spent.

My Uncle Bill Watson, Navigator. I'll be around to see you all tomorrow. by Bill Barber

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From my set entitled “The Flight Crew”

www.flickr.com/photos/21861018@N00/sets/72157607477197733/

In my collection entitled “Uncle Bill Watson”

www.flickr.com/photos/21861018@N00/collections/7215760783...

In my photostream

www.flickr.com/photos/21861018@N00/

Hi, All:

I’m back for a day or two. While I was down, I started work on pulling my Uncle Bill’s story together. I have so much stuff. I’ve scanned almost thirty of his letters home. I’ve also scanned letters from my grandmother to Bill, miscellaneous documents, a moving account of Bill’s memorial service, a letter from the chaplain who buried him in Chester and letters to my grandparents from the parents of Bill’s flight crew. The boys died when the Wellington bomber in which they were training ditched into the Irish sea during a training mission.

In January, I will be going to Archives Canada in Ottawa to pull the files on the whole flight crew, as well as the second world war records pertaining to Bill’s friend, Cam Devine, my father, Herb Barber, and Karen’s father, George Pepper. I will also pull the first world war files for my uncles, John and Art Barber, and my great uncle, Wilbert MacDonald. It’ll take a few days of research to go through all the files. I pulled the records for Bill and his crew once before…in early 2003. At that time I photocopied quite a few records, but there are more I should have obtained.

This set of pictures were taken at #1Y Depot in Halifax, just before each of the boys shipped overseas at various times early in 1944. They still hadn’t met each other at this point, and would not meet until they crewed up in May, 1944. These images are photocopies of originals which are in Ottawa. I will try to have the originals duplicated in high quality when I go to the archives.

You’ll see the boys’ formal photos in the flight crew link given above. What a difference. Those formal photos were taken while the boys were at home…feeling relaxed and proud.

Over the next month or so, I will post the letters and documents. I think you will find them an interesting account of life in the early 1940s. Bill did a lot of things in a matter of eight or nine months.

I hope you are transported by his story as I was.

My Uncle Bill Watson was born on March 3, 1922 in Grand Valley, Ontario. His mother was Lily Selma Watson, and his father was William Henry Watson. Before enlisting, he worked as a pharmacist’s apprentice in Mount Dennis, Ontario. He attended a Lorne Scots training program at Niagara-on-the-Lake from July to September, 1941

Bill attended #4 Wireless School in Guelph, Ontario, after which he entered service at No. 1 Manning Depot at the CNE grounds in Toronto. Upon leaving basic training, Bill attended #6 Initial Training School at the former normal school in St. James Square, Toronto. He received his officer’s commission after attending #4 Air Observation School in London Ontario (Crumlin)

Bill was chosen to become a navigator which attests to his high marks at Initial Training School. From January 3-16, 1944, Bill was posted at #1Y Depot in Halifax, and he attended #2 Air Gunner Training School in Lachine Quebec from January 16, 1944 to February 11, 1944.

Bill embarked from Halifax on March 5, 1994, and arrived at Greenoch, Scotland on March 14, 1944. From March 15, 1944 to April 18, 1944, Bill was stationed at #3 Personnel Receiving Centre in Bournemouth, Dorset where he awaited advanced postings. From April 18, 1944 to May 24, 1944, he was located at 9 Observer Aircraft Flying Unit, Llandwrog, Wales.

From May 24, 1944 until his death on July 23, 1944, Bill was part of #83 Operational Training Unit at Peplow, Shropshire. He was killed on a night training mission, when his Wellington bomber ditched in the Irish Sea, and he was buried at Blacon Cemetery, Chester on August 11, 1944

Male Sumac Flower by Bill Barber