A Letter from Benjamin Herbert Vores, Solicitor, 27 Church Street, East Dereham to Pomeroy & Son, Solicitors, Wymondham re conveyance of Property under the wills of Joseph Springall & Charles Springall, Norfolk. 8th August 1919.

 

Under the Will of Joseph Springall (died 1918) land was passed to his son Charles. Charles died in 1919 so arrangements re the Conveyance of the land had to be made by the Trustees of both estates and undertakings to Ernest William Springall and Gertrude Irene Ethel, nee Springall, Barnaby Charles Brother and Sister. Plus estate duty to be paid.

 

Charles Springall, Builder Farmer & Brick & Tile Manufacturer born 1859, Swanton, was the son of Joseph Springall and his wife Maria Milk. He married Emma Smith at Docking, Norfolk on 9th October 1881. He died 27th February 1919.

 

Gertrude Irene Ethel Springal born 1885 the daughter of Joseph Springall and his second wife Alice Mary Dennis had married Harold Barnaby on 10th November 1907 at Swanton.

 

10221 Super Star Destroyer (Star Wars)

 

Ages 16+. 3,152 pieces.

US $399.99 CA $499.99 DE 399.99 € UK 349.99 £

The Super Star Destroyer Executor has arrived! This jaw-dropping vessel served as command ship at the Battle of Endor and as the personal flagship of Darth Vader in the classic Star Wars movies. With its classic dagger-shaped design, the Executor is among the largest and most powerful vessels in the Star Wars galaxy. With over 3,000 pieces, measuring nearly 50" (124.5 cm) long and weighing nearly 8 pounds (3.5 kg), every aspect of this fantastic LEGO® Star Wars™ model impresses. Includes 4 minifigures: Darth Vader, Admiral Piett, Dengar, Bossk and IG-88.

Includes 4 minifigures: Darth Vader, Admiral Piett, Dengar and Bossk!

Also includes IG-88 figure!

Features over 3,000 pieces!

Measures nearly 50 inches (124.5 cm) long and weighs nearly 8 pounds (3.5kg)!

Includes display stand and data sheet label!

Center section lifts off to reveal command center!

  

The Super Star Destroyer is on sale from September 1, 2011

ANNAPOLIS, Md. (Jan. 17, 2023) Fabien Cousteau, executor and founder of the Proteus Ocean Group (POG), and members of his team take a tour of various departments during a visit to the U.S. Naval Academy. Proteus is the world’s most advanced underwater research station, a collaborative global platform for researchers, academics, government agencies, and corporations to advance ocean science. U.S. Naval Academy midshipmen are working with Proteus as part of their final capstone project.(U.S. Navy photo by Mass Communication Specialist 1st Class Jordyn Diomede)

Manhattan, New York City, New York, United States

 

The stable building at 126 West 18th Street is one of nine remaining brick-fronted stables from an original row of thirteen erected in 1864-66. The only survivor of the three initial stables in the group, the design of which formed the model for the rest of the row, No. 126 was erected for Elisha Brooks in 1864.

 

Executed in a round-arched utilitarian style related to the German Rundbcaenstil, it still features a mix of Romanesque and Renaissance Revival details. No. 126 West 18th Street has a tripartite triumphal arch composition which focuses on a central bifurcated Renaissance arch at the second story. The building has had several notable owners, among them the socially prominent banker Archibald Gracie King.

 

As a component of one of the two uniformly designed mid-nineteenth-century private carriage house groups remaining in Manhattan, it is a rare survivor. These stable rows reflect a period in the city's developmental history when private carriage houses began to be erected some blocks away from their owners' homes, on streets devoted almost exclusively to private stables and commercial liveries.

 

An early manifestation of this trend, which became common practice during the late-nineteenth and early-twentieth centuries, the West 18th Street row was one of the most extensive of the period and contained unusually large and handsomely decorated stables.

 

The Tonnele Estate and the Development of the Private Stables on West 18th Street

 

Once part of the eighteenth-century farm of Peter Warren, the lots on the south side of West 18th Street between Sixth Avenue and the old Warren Road to the west were acquired by John Tonnele around 1817. Senior partner in the firm of Tonnele & Hall, the country's leading dealer in wool, Tonnele had extensive real estate holdings in Manhattan including large tracts on

 

Sixth Avenue, 14th and 15th, and 17th and 18th Streets.2 In his will of 1846, Tonnele divided his real estate among his family, giving them the option of selling the property and investing the proceeds in trust for their heirs.

 

A total of thirty-two lots on West 17th and 18th Streets were left to his daughter Susan G. Hall. In March of 1863, she and the executors of the estate, her husband Valentine G. Hall and his brother George Hall, began selling her lots which were then occupied by snail dwellings and wood shanties.

 

As the area was semi-industrial in character, with a brewery located on the north side of 18th Street and the Weber piano factory occupying the northeast corner of Seventh Avenue and 17th Street, the Halls must have regarded the lots as unsuitable for first-class residential or commercial development.

 

However, the lots' proximity to the fashionable Fifth Avenue residential district north of Union Square must have made them seem ideal for private stables and apparently they were offered for sale as such. By 1867, all the former Tonnele Estate lots on 17th and 18th Streets were occupied by private stables with restrictive covenants on the properties prohibiting their conversion to factories or commercial livery stables.

 

Stables were a necessity during the period when private urban transportation was limited to horses and carriages. While the majority of New Yorkers rented or boarded their horses in large commercial stables, the very wealthy maintained private stables. (Since private stables invariably provided storage space for carriages, the terms carriage house and private stable are used interchangeably hereafter.)

 

Traditionally, these were located directly behind their owners' houses, sometimes facing onto the less desirable street front of a through-the-block lot. By the mid-nineteenth century/ carriage-house rows developed to serve a few of the city's most exclusive streets. Remnants of these stable rows survive at 127 and 129 East 19th Street, originally part of a group of stables serving the houses on Gramercy Park South and Irving Place, and at 57 Great Jones Street, the sole survivor of a long row of stables which once backed onto the mansions on the north side of Bond Street between Broadway and Lafayette Street.

 

Around 1860, carriage houses began to be erected a few blocks from their owners' homes, on convenient but less fashionable streets, where land costs were lower and where the noises and smells associated with stables would not mar the character of a residential neighborhood.

 

Eventually a number of streets in Manhattan were devoted almost exclusively to private and livery stables. These included East 35th and East 36th Streets between Lexington and Third Avenues (developed largely in the 1860s and 1870s), East 73rd Street between Lexington and Third Avenues (stables erected between 1883 and 1904), and West 58th Street between Broadway and Seventh Avenue (stables erected c. 1885-1905).

 

The twenty-nine stables erected on the former Tonnele Estate in the 1860s, extending from 121 to 143 West 17th Street and from 112 to 146 West 18th Street, were an early example of this type of development and together formed one of the most extensive groups of private stables built in Manhattan in the 1860s.

 

It should be noted that throughout the 1860s, most of the private carriage houses on these "stable streets" were commissioned on an individual basis and that speculatively-built rows were a rarity. Perhaps the most extensive speculative development was Sniff en Court, a group of ten private carriage houses on a blind alley off East 36th Street, erected in 1864 for four investors by local builder John Sniff in, and subsequently sold to wealthy residents of Murray Hill.

 

Although uniform in design, the row from 122 to 146 West 18th Street was created through a combination of small-scale speculative development and individual commissions.

 

In May and June of 1864, Elisha Brooks, a partner in the successful Brooks Brothers clothing firm, purchased the lots from 122 to 126 West 18th Street and had three identical stables erected on the site.

 

Brooks, who lived on East 16th Street near Fifth Avenue, retained the stable at 122 West 18th Street for his own use.

 

The newly completed stables at 124 and 126 West 18th Street were sold in October of 1864; 124 West 18th Street was purchased by Elisha's brother John, a partner in the Brooks firm who lived on Fifth Avenue, and No. 126 was sold to Thomas Vyse, Jr., a wealthy strawgoods importer who lived at 20 West 17th Street.

 

As work was proceeding on the Brooks stables, Susan Hall and her children agreed to use part of the proceeds from the sale of the lots on 18th Street to build a stable at 128 West 18th Street which would be retained for the family's use.

 

In mid-September, Valentine Hall entered into an agreement with Elisha Brooks to use the western wall of No. 126 as a party wall for the new stable at 128 West 18th Street. Though commissioned by a different client, this stable was identical in plan and design to the recently completed Brooks stables.

 

By 1866, the nine remaining lots extending from 130 to 146 West 18th Street had been sold. Their new owners also had stables erected which followed the articulation established by the Brooks stables, creating a uniform row of thirteen stables.

 

This would suggest that Brooks had made the plans for his stables available to the other owners and/or that the same builder or architect was commissioned for all thirteen buildings. The result was one of the most extensive stable rows in the city, containing unusually large and handsomely decorated buildings whose owners included a number of New York's wealthiest and most prominent citizens, among them Samuel F.B. Morse who was the original owner of the stable at 144 West 18th Street (demolished).

 

The most notable of the subsequent owners at 126 West 18th Street was Archibald Gracie King (1821-1897) , who purchased the stable from Thomas Vyse, Jr. in May of 1866.

 

A resident of East 19th Street near Gramercy Park, King was senior partner in the firm of James G. King's Sons, a leading bank dealing primarily in foreign exchange. The grandson of both the great eighteenth-century merchant Archibald Gracie (builder of Gracie Mansion) and the Federalist statesman Pufus King, King enjoyed a secure position in New York society. King seems to have kept several carriages for the use of his family.

 

His daughter, Mrs. John King Van Rensselaer, recalled that she created something of a scandal when she drove unescorted past the august Union Club in "the first pony phaeton on Fifth Avenue."

 

The Design of the 126 West 18th Street Stable

 

The stable at 126 West 18th Street is characteristic of contemporary carriage house design as adapted to a narrow urban lot. Typically, the stable would have been divided into two major ground-floor spaces — a front room for carriages and a rear room with stalls for horses.

 

The front portion of the second floor would have contained quarters for the coachman or groom, while the rear would have been used as a hayloft. Windows were restricted to the front of the building to spare neighbors the sights and smells associated with horses, but two large skylights provided additional light to the second-floor rooms.

 

The facade is designed in a round-arched utilitarian style derived from the German Rundbocrenstil (round-arch style). The Rundbogenstil evolved in Germany in the 1820s among a group of progressive architects who sought to create a synthesis of classical and medieval architecture by drawing on historic precedents in the round-arched Byzantine, Romanesque, and Renaissance styles.

 

Transmitted to this country through the immigration of German and Central European architects in the 1840s, as well as through architectural publications, the Rundbocrenstil tended to be conflated with other mid-nineteenth century round-arched styles such as the Romanesque and Renaissance Revivals.

 

Among the major American examples of the round-arched style are Charles Blesch and Leopold Eidlitz's St. George's Church (1846-56) on Stuyvesant Square at 16th Street, Alexander Saeltzer's Astor Library (1849-53, later additions 1859, 1881), at 425 lafayette Street, and Thomas Tefft's Union Depot, Providence, R.I. (1847, demolished).

 

The style is reflected in the design of the stable at 126 West 18th Street by the choice of materials (unstuccoed brick and locally available sandstone), an emphasis on flat wall surfaces, and a clear definition of architectural elements.

 

The meshing of classical and medieval motifs is apparent in the composition, which recalls both a Roman triumphal arch and the elevation of a medieval nave arcade, and in the incorporation of such details as the Renaissance-inspired cornice and diamond-pointed keystones and the Romanesque-inspired arcades and rusticated bands.

 

The facade's chief feature is a large central arch with a pair of inscribed arches and a bull's-eye tympanum. This motif, which was thought by nineteenth-century theorists to have originated in northern Italy during the Romanesque period and was widely used during the Renaissance, became a hallmark of the nineteenth-century round-arched styles, both here and in Germany.

 

Interestingly, the only other remaining group of mid-nineteenth century carriage houses in Manhattan, located at Sniff en Court, was also designed in the round-arched style and featured a triumphal arch composition with arched windows and doors flanking a central two-story arch. At 18th Street, the stables are larger and more elaborate in design.

 

In addition to its ties to the round-arched style, the design of the 126 West 18 th Street stable is distinguished by its skillful super impos it ion of recessed and projected planes. The double-height arcade, carried on slender projected piers, is on a forward plane, while the wall membrane with its door and window openings is recessed. A series of horizontal moldings break forward over the piers to unite the two planes.

 

The moldings at the arches' imposts at the second story form the capitals for two pilaster orders (a major order which articulates the piers, and a minor order which frames the windows). In addition to their function in this individual design, the repeated use of horizontal elements and the alternation of large and small arches are important elements in creating a strong sense of rhythm and harmony within the row.

 

Description

 

The two-story stable structure at 126 West 18th Street has a frontage of twenty-two feet on West 18th Street, and has been extended from its original depth of eighty-one feet to occupy the entire length of its ninety-two-foot-deep lot. Its painted brick and stone facade is designed in a round-arched style that incorporates Romanesque and Renaissance details.

 

The facade is organized in a tripartite triumphal arch composition that focuses on a double-width center bay. At the ground story, the bays are articulated by projected piers. Originally, the wide center bay contained a pair of wood carriage doors, the eastern bay an arched entrance, and the western bay an arched window; the arches were ornamented by diamond-pointed keystones and stone bards ran across the facade at the sill, watertable, impost, and cornice lines.

 

Today, the eastern bay of the ground story remains relatively intact, although the corner pier was re faced when the adjacent building at 122-24 West 18th Street was erected, and the door and transom are replacements. The center and west bay were joined in 1945 when the vehicle entrance was enlarged.

 

The wood folding doors were installed at that time, and the metal roll-down gates appear to be relatively new. The cornice that separates the two stories seems to have been removed and stuccoed when the driveway entrance was enlarged.

 

Aside from the refaced eastern corner pier, the second story remains virtually intact. Here the piers carry an arcade in which the center arch is both wider and taller than the flanking arches. The arches are set-off by stone keystones and stone sills beneath the windows.

 

(The keystones have had their diamond-point fronts removed, the sills still retain their original profile.)

 

Stone bands, which break forward over the piers at the impost line of the arches, form the capitals for two pilaster orders — a major order articulating the arcade and a minor order framing the windows.

 

A small pilaster bisects the center bay into a pair of arched windows which are topped by a molded wood surround that features a central bull's-eye. The windows retain their original molded wood frames but the original four-over-four double-hung sash have been replaced. The building is crowned by a simple molded brick entablature.

 

Subsequent History

 

In the 1870s and 1880s, the neighborhood to the east of the stables on 18th Street, which had once been exclusively residential, became the heart of New York's chief shopping district as the retail trade expanded along Broadway, Sixth Avenue, and 14th and 23rd Streets.

 

Several of the original owners of the stables on 18th Street responded to the change in the character of the neighborhood by moving uptown or to the suburbs. At least two of the stables were sold to neighboring businesses.

 

Other owners retained their stables as investments, property values on Sixth Avenue having skyrocketed with the opening of such department stores as B. Altman's at 19th Street (begun 1876) and Hugh O'Neill's near 20th Street (original store opened 1870, present building 1887), and the completion of the Sixth Avenue Elevated Railway in 1878.

 

Archibald Gracie King retained ownership of 126 West 18th Street until 1883, when he moved to Weehawken, New Jersey. The stable was then purchased by David and John P. Duncan of John Duncan's Sons, a wine and food importing firm located on Union Square.

 

It is not known whether the Duncans used the stable for their business or purchased it as an investment, though it undoubtedly would have been leased after the Duncan firm moved downtown to Park Place in the late 1880s. In 1904, the Duncans' heirs sold the building, which was still being used as a stable, to the Security Safety Elevator Company.

 

The building was altered to accommodate manufacturing and a tower (now removed) for testing elevators was constructed on the roof. In 1923, the Otis Elevator Company purchased the building, retaining it for only five years before selling it to William H. Awe, Inc. in 1928. That company used the building as a garage and warehouse until 1945, when the second floor was remodeled for office use. The original carriage entrance was enlarged at that time.

 

Today, the 126 West 18th Street stable building is a component of one of the two remaining mid-nineteenth century carriage house groups in Manhattan. While the ground story has been partially altered, the second story is largely intact and distinguishes the building as a notable example of the round-arched style as applied to a utilitarian building type.

 

- From the 1990 NYCLPC Landmark Designation Report

10221 Super Star Destroyer (Star Wars)

 

Ages 16+. 3,152 pieces.

US $399.99 CA $499.99 DE 399.99 € UK 349.99 £

The Super Star Destroyer Executor has arrived! This jaw-dropping vessel served as command ship at the Battle of Endor and as the personal flagship of Darth Vader in the classic Star Wars movies. With its classic dagger-shaped design, the Executor is among the largest and most powerful vessels in the Star Wars galaxy. With over 3,000 pieces, measuring nearly 50" (124.5 cm) long and weighing nearly 8 pounds (3.5 kg), every aspect of this fantastic LEGO® Star Wars™ model impresses. Includes 4 minifigures: Darth Vader, Admiral Piett, Dengar, Bossk and IG-88.

Includes 4 minifigures: Darth Vader, Admiral Piett, Dengar and Bossk!

Also includes IG-88 figure!

Features over 3,000 pieces!

Measures nearly 50 inches (124.5 cm) long and weighs nearly 8 pounds (3.5kg)!

Includes display stand and data sheet label!

Center section lifts off to reveal command center!

  

The Super Star Destroyer is on sale from September 1, 2011

Draft Will of The Rev’d Charles Grove Snowden, Mitford, Morpeth, Northumberland, 7th May 1859.

 

Executors: brothers, Thomas Hodges Grove Snowden of Ramsgate and George Silvanus Snowden of Ramsgate, Kent, Surgeon. Sister, Eliza Louisa Grear (?)

 

Beneficiaries: Thomas Hodge Grove Snowden, George Silvanus Snowden.

 

Witnesses: J. W. Harbottle, Butler, Mitford Castle, T.S. Waterson, Schoolmaster, Morpeth.

 

10221 Super Star Destroyer (Star Wars)

 

Ages 16+. 3,152 pieces.

US $399.99 CA $499.99 DE 399.99 € UK 349.99 £

The Super Star Destroyer Executor has arrived! This jaw-dropping vessel served as command ship at the Battle of Endor and as the personal flagship of Darth Vader in the classic Star Wars movies. With its classic dagger-shaped design, the Executor is among the largest and most powerful vessels in the Star Wars galaxy. With over 3,000 pieces, measuring nearly 50" (124.5 cm) long and weighing nearly 8 pounds (3.5 kg), every aspect of this fantastic LEGO® Star Wars™ model impresses. Includes 4 minifigures: Darth Vader, Admiral Piett, Dengar, Bossk and IG-88.

Includes 4 minifigures: Darth Vader, Admiral Piett, Dengar and Bossk!

Also includes IG-88 figure!

Features over 3,000 pieces!

Measures nearly 50 inches (124.5 cm) long and weighs nearly 8 pounds (3.5kg)!

Includes display stand and data sheet label!

Center section lifts off to reveal command center!

  

The Super Star Destroyer is on sale from September 1, 2011

Surabaya Municipal Hall

( The Center of Bovenstad Since 1920)

 

Surabaya City Hall :This solar Garden had built by Dutch colonial, its architect is C. Citroen and executor of HV. Hollandsche Beton Mij. City hall is located in Taman Surya Street 1.

 

This solar Garden had built by Dutch colonial. Town Surabaya as Resort Gemeonte (Haminte) officially date of 1 Aprils 1906, what experienced by Dewan Hamite and led by assistant resident. In 1916 lifted the first lord mayor A. Meyroos finite commissioned in 1921.

 

During the second lord mayor of GJ Dijkerman, it had started the development of lord mayor building and finished in 1927. Its architect is C. Citroen and executor of HV. Hollandsche Beton Mij. Because its total cost 100 guilders, this building had formerly recognized as “1000 Guilders Building ".

 

The Government of Indonesia had built a city hall with modern architecture, laid at against stripper building. The stripper building has time has applied as 'Gedung Dewan Perwakilan Rakyat Daerah' and now applied as the center of municipal administration Surabaya.

 

More info: www.eastjava.com

Cristo Redentor - Morro do Corcovado.

Acessos: pela estrada de ferro Estação Cosme Velho ou de carro, pelo Parque Nacional da Tijuca).

 

Foi inaugurado no dia 12 de outubro de 1931, dia que também se comemora a Nossa senhora da Aparecida - padroeira do Brasil. Sua construção demorou quase cinco anos. No dia 7 de julho de 2007, em Lisboa, no estádio da Luz, foi eleito uma das novas Sete Maravilhas do Mundo. É considerada a maior estatua em estilo art déco do mundo. Mede 38 metros de altura (incluindo seu pedestal de 8 metros), pesa 1.145 toneladas e mede 28 metros da extremidade de uma mão à outra e está a uma altura de 709 metros sobre o nível do mar.

 

A construção de um monumento religioso no local foi sugerida pela primeira vez em 1859, pelo padre lazarista Pedro Maria Boss, à Princesa Isabel. No entanto, apenas retomou-se efetivamente a ideia em 1921, quando se iniciavam os preparativos para as comemorações do centenário da Independência. A pedra fundamental do monumento foi lançada em 4 de abril de 1922, mas as obras somente foram iniciadas em 1926.

 

Dentre as pessoas que colaboraram para a realização, podem ser citados o engenheiro Heitor da Silva Costa (autor do projeto escolhido em 1923), o artista plástico Carlos Oswald (autor do desenho final do monumento) e o escultor francês de origem polonesa Paul Landowski (executor dos braços e do rosto da escultura). Na cerimônia de inauguração, no dia 12 de outubro de 1931, estava previsto que a iluminação do monumento seria acionada a partir da cidade de Nápoles, de onde o cientista italiano Guglielmo Marconi emitiria um sinal elétrico que seria retransmitido para uma antena situada no bairro carioca de Jacarepaguá, via uma estação receptora localizada em Dorchester, Inglaterra, tudo a convite de Assis Chateaubriand. No entanto, o mau tempo impossibilitou a façanha e a iluminação foi acionada diretamente do local.

 

NOTA:

Ainda hoje, algumas pessoas dizem, erroneamente, que o monumento foi um presente da França para o Brasil, quando na verdade, a obra foi erigida a partir de doações de fiéis de arquidioceses e paróquias por todo o país, com o projeto de autoria e chefia do engenheiro Heitor da Silva Costa. Da França, vieram, apenas uma réplica de quatro metros feita de pequenos moldes, assim como modelos das mãos feitos pelo colaborador Landowski. Todos estes fatos foram atestados com rigor no programa televisivo Detetives da História produzido pelo The History Channel.

Draft Title of Mr. Charles Ratsey Isle of Wight for 23 Camden Road, Ramsgate sold to Edward G. Saxby, 1874.

 

26th & 27th November 1838: Indenture between Anna Rose, Ramsgate, Widow, William Peal, Ramsgate, Carpenter and Samuel Watkins.

 

Anna Rose inherited under the Will of her husband John Rose, dated 3rd March 1838. John Mercer of Ramsgate the joint Executor.

 

The land and premises near that of Edward Lampley and that of John Clark who had also purchased premises from Anna Rose. John Rose had purchased the land under

the Will of Revd. William Abbott.

 

Indenture dated 8th & 9th March 1836 between Sarah and Jane Abbot, Catherine Daniel and John Rose.

 

13th March 1839 Mortgage between William Peal and Hannah Peake, West Cowes, Isle of Wight, Hampshire.

 

Hannah Peake died 15th January 1858 her named Executors, John White and Gilbert Fraught? were minors, under 21 Courts took measures to protect their interests until they became of age.

 

William Peal died 5th October 1872 and his Will of 26th October 1872 appointed his wife, May Ann and son, William Oliver Peal Executrix and Executor.

 

24th May 1873 Indenture of Grant between Mary Ann Peal, Cleveland Road, Surbiton, Surrey, Widow, Charles Ratsey, Cowes, Isle of Wight, Sailmaker

 

The Burgtheater on the Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European, as well as the largest German speaking theater. The original 'old' Burgtheater on Michaelerplatz was recorded from 1748 until the opening of the new building at the ring in October, 1888. The new house was completely on fire in 1945 as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher as temporary quarters. The Burgtheater is considered Austrian National Theatre.

Throughout its history, the theater was wearing different names, first kk Theater next to the castle, then to 1918 K.K. Court-Burgtheater and since then Burgtheater. Especially in Vienna it is often referred to as "The Castle (Die Burg)" , the ensemble members are known as Castle actors (Burgschauspieler).

History

St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)

The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.

The 'old' Burgtheater at St. Michael's Square

The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, who after the death of her father ruled a general theater lock order, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor, Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.

In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her ​​royal box directly from the imperial quarters with them the Burgtheater was structurally connected. At the old venue at Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer were premiered .

On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the pieces should not treat sad events to bring the imperial audience in a bad mood. Many pieces had changed and therefore a Vienna Final (Happy End) is provided, such as Romeo and Juliet or Hamlet. From 1794, the theater was bearing the name K.K. Court Theatre next to the castle.

1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.

On 12 In October 1888 the last performance in the old house took place. The Burgtheater ensemble moved to the new venue on the ring. The Old Burgtheater had to give way to the completion of Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.

The "new" K.K. Court Theatre (as the inscription reads today) on the ring opposite the Town Hall, opened on 14th in October 1888 with Esther of Grillparzer and Schiller's Wallenstein's Camp, it was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.

However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task order for similar work in the city of Fiume theaters and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase at the café Landtmann side facing the Burgtheater (Archduke stairs) reproduced ​​Gustav Klimt the artists of ancient theater in Taormina in Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor), the London Globe Theatre and the final scene from William Shakespeare's " Romeo and Juliet" . Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.

The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus on the Isar. Above the middle section, a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Across the center house is decorated with a statue of Apollo, the facade, the towers between the Muses of drama and tragedy. Over the main entrances are located friezes with Bacchus and Ariadne. On the exterior round busts can be seen the poet Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel. The masks are also to be seen here, indicating the ancient theater, also adorn the side wings allegories: love, hate, humility, lust, selfishness, and heroism. Although since 1919, the theater was named the Burgtheater, the old saying KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits having been hung in the new building are still visible today - but these images were originally small, they had to be "extended" to make them work better in high space. The locations of these "supplements" are visible as fine lines on the canvas.

The Burgtheater was initially well received due to its magnificent appearance and technical innovations such as electric lighting of the Viennese, but soon criticism of the poor acoustics was loud. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon counted among the "sanctuaries" of the Viennese. In November 1918, the supervision on the theater was transferred from the High Steward of the emperor to the new state of German Austria.

1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. 8th May 1925 was the Burgtheater in Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza .

The Burgtheater in time of National Socialism

The National Socialist ideas also left traces in the history of the Burgtheater. Appeared in 1939 in Adolf Luser Verlag the strongly anti-Semitic embossed book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was the 50th anniversary of the opening of Burgtheater a production of Don Carlos of Karl-Heinz Stroux shown that served the Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who 'railed in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the set direction of Joseph Goebbels box: "Enter the freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 Merchant of Venice, in which Werner Kraus Shylock the Jew clearlyanti-Semitic represented. The same director staged after the war Lessing 's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused out of fear of an assassination.

For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jewis ", were quickly imposed banned from performing, they were on leave, fired or arrested within days. The Burgtheater ensemble made ​​between 1938 and 1945 no significant resistance against the Nazi ideology, the game plan was heavily censored, actively just joined the Resistance, as Judith Holzmeister (then also at the National Theatre committed ) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.

The Burgtheater end of the war and after the Second World War

In summer 1944, the Burgtheater had to be closed because of the general arranged theater lock. From 1 April 1945 as the Red Army approached Vienna, outsourced a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned on 12th April 1945 it burned completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.

The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to bring Vienna 's cultural life as soon as possible again. The council called for 23 April (a state government did not yet exist), a meeting of all Viennese cultural workers into the town hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This Venue chose the newly appointed director Raoul Aslan, who championed particularly active.

The first performance after the Second World War was on 30 April 1945 by Franz Grillparzer, Sappho, directed by Adolf Rott from 1943 with Maria Eis in the title role. Other productions from the Nazi era were resumed. With Paul Hoerbiger, a Nazi prisoner a few days ago still in mortal danger, was shown the piece of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre was recorded (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott in 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took performances place. Aslan had the Ronacher rebuilt in the summer because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the larger stage.

The first new productions are associated with the name of Lothar Müthel: Anyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel to Nazi times seemed to be forgotten.

Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years of exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations of the 175th anniversary of the theater took place.

1948, a competition was announced for the reconstruction: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, after which the house into a modern theater rank should be rebuilt. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative, but also cost effective. The character of the lodges theater was largely taken into account and maintaining the central royal box has been replaced by two ranks, and with a new slanted ceiling construction in the audience was the acoustics, the weakness of the home, improved significantly.

On 14 October 1955 was happening under Adolf Rott the reopening of the restored house on the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 In October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this piece, which explores the beginning of Habsburg rule in Austria and Ottokar of Hornecks eulogy on Austria (... it's a good country / Well worth that a prince among thread! / where have you already seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .

In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.

Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts by Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard Klingenberg's successor was talking, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.

Benning, the first ensemble representative of the Burgtheater, was appointed Director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel in the then politically separated East and took more account of the public taste .

Directorate Claus Peymann 1986-1999

Under the from short-term Minister of Education Helmut Zilk to Vienna fetched Claus Peymann, director from 1986 to 1999, there was further modernization of the match schedule and staging styles. Moreover Peymann was never at a loss for words for critical messages to the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program met with sections of the audience's rejection. The largest theater in Vienna scandal since 1945, this when in 1988 conservative politicians and zealots fiercely fought the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama. The play deals with the past and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard raised after the premiere to a challenge on the stage to applause and boos .

Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann , to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his pieces precisely in his home not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the Schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard piece Before retirement by the opening night director Peymann. The pieces by Bernhard are since continued on the board of the Burgtheater and they are regularly re-released.

In 1993, the sample stage of the castle theater was opened in the arsenal (architect Gustav Peichl) . Since 1999, the castle theater has been run as a limited liability.

Directorate Klaus Bachler 1999-2009

On Peymann followed in 1999 as director Klaus Bachler. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.

Were among the unusual "events" of the Directorate Bachler

* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )

* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available only to visit )

* John Irving's reading from his book at the Burgtheater Until I find you (2006)

* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of it under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).

* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat ( December 2008). Outpatient care is enough.

Jubilee Year 2005

In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg ) received the Nestroy Theatre Award for Best Actor for his role in this piece. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.

Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves as a natural expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto this season was a quotation from Lessing's Minna von Barn-helm: "It's so sad to be happy alone."

The Burgtheater to the Mozart Year 2006

Also the Mozart Year 2006 was thought at the Burgtheater. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera, the Vienna Festival in May 2006, a new production (directed by Karin Beier ) of this opera to the stage.

Directorate Matthias Hartmann since 2009

Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the playhouses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Boesch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer and actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came firmly to the castle. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over ", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the castle, the New York group Nature Theater of Oklahoma show their great episode drama live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .

www.mariachiproductions.org/basel2012/index.php/tournamen...

After - redesigned space with beach, traditional hut bar and rustic catwalk | El espacio rediseñado con su nueva fuente, playa, pasarela rústica y bar-bohio. Hotel Barceló, Varadero, Cuba

 

Team | Equipo

 

1-HR guy from Hotel Barceló Solimar

2-Business manager from Hotel Barceló Solimar

3-Javier Ortiz Carrodeguas - team leader, marketing and executor CEO of Pyramid Studios

4-Wilder Ll. Méndez - designer, executor and CPO of Pyramid Studios

  

New Co-op, ex-Somerfield. Barking Road. The end wall still carries a Somerfield sign, as it is in a building site.

 

from comment below by RobBeer - Leslie Erastus Cater - died April 23 1972 lived at Foxburrows, Great Warley.

Erastus, d 1950 lived at Treby Street E3 Henry Derek Cater 1917 - 2000, [divinity student] and Leslie Erastus Cater, the brother of HD Cater] as executors

 

from The Times

 

20 Oct 2000 — The Rev Henry Derek Cater, of Elmbridge Village, Elmbridge Road, Cranleigh, Surrey, left estate valued at £1,339,674 net

 

chairman Leslie Cater and Francis Wallis (chairman of FJ Wallis Supermarket) were killed together in an aircraft crash over the Pyrenees.

from Wikipedia [Caters]

https://en.wikipedia.org/wiki/Cater_Brothers

In 1972, Leslie Erastus was killed when a plane, piloted by rival supermarket owner F J Wallis of Wallis Supermarkets, crashed in the French Alps.[1] After his death, the Cater family decided to accept an offer of £7 million for the business from Debenhams, in 1973.

oh!

From the Grocer

www.thegrocer.co.uk/topics/remember-superb-caters-chain/7...

 

Francis John Wallis of Wallsgrove House, High Beach who died at the same time, left £3.1 million - ultra fast probate in 30 days....

Wallis was bought by International in 1977, ... -> gateway -> Somerfield

Wife of John L. Talbott

Aged 58 years

 

1801-1859

 

Daughter of Joseph & Rebekah Ross Conklin

 

Joseph Conklin

 

John Littler Talbot was born on 20 October 1800 either in Cincinnati or Winchester, Virginia. He died on 16 October 1881 in Cincinnati.

 

John was a Quaker and the family of John and Phoebe appear in the Quaker meeting records of Cincinnati.

 

John was held in high regard by the Conkling family. He was an executor of the 1842 will of his brother-in-law, David Conkling who referred to him as "my friend, John Talbot". A nephew was named John Talbot Conkling in his honor and after the death of his brother-in-law, Pierson Conkling, John became keeper of the family records. As guardian of his brother in law David Conkling's younger children he filed a civil suit. An 1877 Hamilton County Ohio deed refers to the civil case of John L. Talbot and wife et al. vs. John Hawkins, Eveline R. Conklin et al. regarding the subdivision of David Conklin's estate.

 

John attended night school while working as a carpenter apprentice. He studied arithmetic, trigonometry, surveying, and navigation. In 1822 he built his own classroom furniture and opened a school of his own. In 1823 he helped to form a society for the elevation of teaching to a profession. In 1828, John was one of the founders of the Ohio Mechanics Institute, and shortly after, the Academy of Fine Arts and the Academy of Natural Sciences.

 

He is said to have written several school books and some books for the Society of Friends. He was the author of "The Western Practical Arithmetic". The 1880 census shows him living in Hamilton County with his nephew, John Talbot Conklin.

 

His son Wallace moved to New Orleans around 1860 and was a member of "Lee's Tigers" during the Civil War. Wallace died at Gettysburg.

 

His daughter Sara married William Tarbot Groff. Sarah died in 1900 in Ghizen, Egypt.

Draft Will of Job Grant of Ramsgate, Kent (born circa 1783 died 18th August 1866) dated 27 April 1861.

 

Executors, Wife Elizabeth Long Grant, sons, Job Grant the Younger of 1 Union Street, Southwark, Spirit Merchant and William Grant of Ramsgate, Fish Dealer.

 

Beneficiaries: Elizabeth Long Grant, wife, Job Grant and William Grant sons. Two daughters, Jane, the wife of Willoughby Carter Hillier of Billingsgate, London, Fish Salesman and Sarah the wife of Robert Bastable of 6 New Road, St. Georges in the East, Veterinary Surgeon.

 

L. Elgar, Clerk, Snowden Solicitors witness.

 

The 1851 census shows him and his wife Elizabeth living at Princes Street and that he was a Mariner. The 1861 census shows them at 3 Meeting Street, Ramsgate.

 

I walked over to the venerable old Gotham Book Mart in Manhattan in the spring of 2007, and found the shop locked up tight, with the tragically sad figures of some of Gorey's cute little stuffed characters in their little rocking chair in the window.

 

The Gotham Book Mart is no more, thanks to the cut-throat rent in New York. After nearly 90 years in business, operated by three generations of a family, the store is shut down.

 

Edward Gorey was a famous author and illustrator of funny and macabre children's books, and he was perhaps best-known for making the illustrations that prefaced PBS's Mystery TV series, with Victorian damsels in distress, falling vases, and shadowy figures. He was also known for designing the set of a Broadway production of Dracula. After Gorey died, one of the executors of the estate was his good friend, one of the owners of the Gotham Book Mart. The Gotham hosted retrospective exhibits of Gorey's works every spring since his death, but it'll host no more.

 

Read my story about the sad affair, The Internet is Killing Independent Bookstores.

Draft Will of William Hudson, Ramsgate, Hotel Keeper and Spirit Merchant, dated 22nd December 1860. This Will was later revoked by another Will dated 13 September, 1862.

 

Executors: Nephews, George Hudson and William Hudson sons of his deceased brother George Hudson.

 

Beneficiaries: his sister Mary Hudson, sister Jane Wills, Children of his deceased brother George Hudson.

 

Properties included the Bull and George Hotel, Property at 76 the High Street in the occupation of Richard Thomas Hunter.

 

Portrait of a Gentleman

 

West Building, Main Floor—Gallery 59

 

•Date: c. 1770-1773

•Medium: Oil on Canvas

•Dimensions:

oOverall: 128 × 102 cm (50⅜ × 40 3/16 in.)

•Credit Line: Andrew W. Mellon Collection

•Accession Number: 1940.1.11

•Artists/Makers:

oPainter: Joseph Wright, British, 1734-1797

 

Provenance

 

William Curzon [1836-1916], Lockington Hall, Derbyshire; purchased 1916, at the dispersal of the Curzon estate, by Mrs. Claire Marion Cox, London, as Richard, Earl Howe, by John Singleton Copley; consigned 1932 by Mrs. Cox to (The Hackett Galleries, New York); returned to Mrs. Cox and later consigned to (Mrs. Chambers Wood, New York), who sold it 1932 to (M. Knoedler & Co., New York);[1] purchased May 1936 by The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1940 to NGA.

 

[1]Knoedler’s records give the early provenance (letter from Elizabeth Clare to NGA curator William Campbell, 5 November 1963, in NGA curatorial files). Clare quotes a letter from Mrs. Cox to Mrs. Wood, undated but presumably 1932, in which Mrs. Cox states that the 1916 dispersal “was a hurried executors’ sale and few persons attended it.”

 

Associated Names

 

•Cox, Claire Marion, Mrs.

•Curzon, William

•Hackett Galleries, The

•Knoedler & Company, M.

•Mellon Educational and Charitable Trust, The A.W.

•Wood, Chambers, Mrs.

 

Exhibition History

 

•1932—Inaugural exhibition, Museum of the City of New York, 1932, no catalogue, as by Copley.

•1933—The Opening Exhibition, Museum of Fine Arts, Springfield, Massachusetts, 1933, no. 1, as by Copley.

 

Technical Summary

 

The medium-to-heavyweight canvas is twill woven; it has been lined. The ground is off-white, thinly applied. The painting is mostly executed in thin, opaque layers; the costume is rendered in thicker paint applied in small strokes, the furry texture of the lapels being created by means of a stiff white paint covered with a transparent blue glaze; there is a low impasto in the leaves and highlights. The background is extensively abraded, but otherwise there is minimal paint loss. The moderately thick natural resin varnish has discolored yellow to a moderate degree.

 

Bibliography

 

•1941—Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 43, no. 497, as Richard, Earl Howe by John Singleton Copley.

•1942—Book of Illustrations. National Gallery of Art, Washington, 1942: 249, repro. 7, as Richard, Earl Howe by John Singleton Copley.

•1949—Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 130, repro., as Richard, Earl Howe, by John Singleton Copley.

•1965—Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 140, as Richard, Earl Howe.

•1968—European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 127, repro., as Richard, Earl Howe.

•1968—Nicolson, Benedict. Joseph Wright of Derby: Painter of Light. 2 vols. London, 1968: 1:36, 207; 2:pl. 90.

•1970—American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 166, repro., as Richard, Earl Howe (?).

•1975—European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 376, repro., as Richard, Earl Howe (?).

•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: no. 530, color repro.

•1980—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 307, as Richard, Earl Howe (?).

•1985—European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 439, repro., as Richard, Earl Howe (?).

•1992—Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 342-344, repro. 343.

  

From British Paintings of the Sixteenth through Nineteenth Centuries:

 

1940.1.11 (497)

 

Portrait of a Gentleman

 

•c.1770-1773

•Oil on canvas, 128 × 102 (50⅜ × 40⅛)

•Andrew W. Mellon Collection

 

Technical Notes

 

The medium-to-heavyweight canvas is twill woven; it has been lined. The ground is off-white, thinly applied. The painting is mostly executed in thin, opaque layers; the costume is rendered in thicker paint applied in small strokes, the furry texture of the lapels being created by means of a stiff white paint covered with a transparent blue glaze; there is a low impasto in the leaves and highlights. The background is extensively abraded, but otherwise there is minimal paint loss. The moderately thick natural resin varnish has discolored yellow to a moderate degree.

 

Provenance

 

William Curzon [1836-1916], Lockington Hall, Derbyshire. Purchased 1916, at the dispersal of the Curzon estate, by Mrs. Claire Marion Cox, London, as Richard, Earl Howe, by John Singleton Copley; consigned by Mrs. Cox 1932 to (Hackett Galleries), New York; returned to Mrs. Cox and later consigned to (Mrs. Chambers Wood), New York, who sold it 1932 to (M. Knoedler & Co.), New York,1 from whom it was purchased May 1936 by The A. W. Mellon Educational and Charitable Trust, Pittsburgh.

 

Exhibitions

 

Inaugural exhibition, Museum of the City of New York, 1932, no cat., as by Copley. The Opening Exhibition, Museum of Fine Arts, Springfield, Massachusetts, 1933, no. 1, as by Copley.

 

The traditional identification of the sitter as Admiral Earl Howe (1726-1799), plausible solely on account of a Curzon provenance,2 is now discounted.3 The sitter is not portrayed in naval uniform, and, unlike Howe, he has a cleft chin. He is elegantly dressed, with a felt hat and a waistcoat lined with pale blue velvet.

 

The traditional attribution to Copley (whose style in the 17608 had affinities with that of Wright) was first corrected in 1965 by Charles Buckley, with the support of Benedict Nicolson.4 The use of an unconventional pose, the delight in materials—notably the furry lapels and the soft leather gloves—the contrived lighting, and the rocky background with trailing vines are all characteristic of Wright’s style. Nicolson described the portrait as a typical work of the early 17705, the period immediately preceding the artist’s Italian years (1773-1775).5 The doublebreasted waistcoat with large pointed lapels worn by the sitter was characteristic of fashion in the 1760s.

 

A version, rather inferior in quality and differing slightly in the arrangement of the background but identical in pose, costume, and lighting, was formerly owned by Captain R. T. Hinckes, of Foxley, Herefordshire. This portrait was then attributed to Zoffany and identified as representing the Marquis de Rinneau, sometime French ambassador in London.6

 

Notes

 

1.Knoedler’s records give the early provenance (Elizabeth Clare to William P. Campbell, 5 November 1963, in NGA curatorial files). Clare quotes a letter from Mrs. Cox to Mrs. Wood, undated but presumably 1932, in which she states that the 1916 dispersal “was a hurried executors’ sale and few persons attended it.”

2.Lord Howe’s eldest daughter, who became Baroness Howe after her father’s death (there were no sons), married in 1787 the Hon. Penn Assheton Curzon. Their son, Richard, who succeeded his paternal grandfather as Viscount Curzon of Penn, took the name of Howe after that of Curzon and in 1821 became the ist Earl Howe of the second creation. The portrait was said to have come from the collection of Baroness Howe, but this cannot be verified.

3.Nicolson 1968; 1 : 207.

4.William P. Campbell, memorandum, 14 June 1965, noting Buckley’s verbal opinions, in NGA curatorial files. The portrait was catalogued as Wright by Campbell in NGA 1970, 166, and by Wilmerding in NGA 1980,307.

5.Nicolson 1968 (see biography), i: 207; compare, for example, the portrait of Sir George Cooke in Kansas City of about 1770-1771 (Nicolson 1968, 2: pl. 86).

6.Hinckes sale, Christie, Manson & Woods, London, 16 April 1937, no. 132, bought in. The evidence for this identification is unknown. No other portraits of anyone named Rinneau seem to be extant, so that the identification cannot be substantiated visually. Moreover, no one bearing the name of Rinneau, or a name remotely similar to it, is listed as ambassador, minister, or chargé d’affaires in London at any time in the eighteenth century (the official list was kindly communicated to me by Anne Lewis-Loubignac, French Embassy, London).

 

References

 

•1968—Nicolson 1968, 1: 36,207;2: pi. 90.

•1970—NGA 1970:166, repro. 167.

•1976—Walker 1976: no. 530, color repro.

•1980—NGA 1980: 307.

Draft Will of Eliza Maria Burbridge, 56, Royal Road, Ramsgate, Kent, 10 March 1888. Executor and beneficiary John Coules, 56 Royal Road, Cabinet Maker and Upholsterer. Witnesses: Edward Wotton, Solicitor, Frederick Hollis Plummer, 31 Royal Road, Ramsgate, Commission Agent

 

Here it goes the most recent elven set from G&S-TEAM!

 

I took me a time to finish it, ostly because some dificulties with my computer, I hope you to like it!

The Shipley Art Gallery is an art gallery in Gateshead, Tyne and Wear, England, located at the south end of Prince Consort Road. It has a Designated Collection of national importance.

 

Origins

The Shipley Art Gallery opened to the public in 1917. This was made possible by a bequest from wealthy local solicitor and art collector, Joseph Ainsley Davidson Shipley (1822–1909).

 

Shipley was a rather enigmatic person about whom little is known. He was born in Gateshead, near High Street. He was a solicitor in the Newcastle firm of Hoyle, Shipley and Hoyle. From 1884 until his death, he leased Saltwell Park House, now known as Saltwell Towers. Shipley's main passion was art and collecting paintings. He bought his first painting when he was sixteen and by the time he died he had amassed a collection of some 2,500 paintings.

 

On his death, Shipley left £30,000 and all his pictures to the City of Newcastle, which was to build a new gallery to house the collection. This was to be known as "The Shipley Bequest". Current belief within local history circles is that Shipley’s will expressly banned Newcastle’s art gallery as a recipient of the bequest, but this assertion must be dismissed: since the foundation stone of the Laing Art Gallery was laid only in August 1901 and the gallery opened in October 1904, the institution did not yet exist in 1900, when Shipley’s will was compiled. Shipley’s will did, in fact, declare that ‘the Art Gallery to be erected in Higham Place will not be and shall not be regarded as an Art Gallery within this trust’, owing to its being ‘too small’, but he conceded that if it ‘shall be capable of being enlarged so as to render it capable of holding all, then I direct my Trustees to raise the sum of £30,000 out of my residuary estate and pay the same to the treasurer of the gallery to be applied in or toward such enlargement as aforesaid’. It was only following a lengthy process that Gateshead Municipal Council was offered the collection. As it was impossible to house all of the paintings, 359 of the pictures recommended by the executors of Shipley's will were selected. A further group was then added by the Gateshead Committee, bringing the total to 504.

 

In 1914, after the sale of the remaining paintings, work began on the new art gallery. The building, which was designed by Arthur Stockwell, M.S.A. of Newcastle, opened on 29 November 1917. The stone entrance portico is distyle in antis – four Corinthian-style stone columns flanked by solid pilasters. These are surmounted by two sculptured figures, one representing the Arts and the other Industry and Learning, by W. Birnie Rhind, RSA. of Edinburgh.

 

Pevsner described the art gallery as a "bold arrangement of a brick central block and lower wings containing galleries". The building was designated as Grade II listed in 1982.

 

Present gallery

The original 504 paintings represented all the main European schools from the sixteenth to the nineteenth centuries. Since 1917, the collection has been added to, and now comprises some 10,000 items.

 

The gallery holds a strong collection of 16th and 17th century Dutch and Flemish paintings, as well as 19th century British works, watercolours, prints, drawings and sculpture. Also featured are items of local interest, which include the popular painting by William C. Irving ((1866–1943) of "Blaydon Races" (1903) and a 1970 street scene of Redheugh Crossroads by Gateshead-born Charlie Rogers.

 

Since 1977 the gallery has become established as a national centre for contemporary craftwork. It has built up one of the best collections outside London, which includes ceramics, wood, metal, glass, textiles and furniture. The Shipley is home to the Henry Rothschild collection of studio ceramics. In 2008, the Shipley opened its Designs for Life gallery which showcases the gallery's collections of contemporary craft and design. The Gallery also hosts a varied programme of temporary exhibitions and has a strong partnership with the V&A Museum in London.

 

The Shipley Art Gallery is managed by Tyne & Wear Archives & Museums on behalf of Gateshead Council.

 

Gateshead is a town in the Gateshead Metropolitan Borough of Tyne and Wear, England. It is on the River Tyne's southern bank. The town's attractions include the twenty metre tall Angel of the North sculpture on the town's southern outskirts, The Glasshouse International Centre for Music and the Baltic Centre for Contemporary Art. The town shares the Millennium Bridge, Tyne Bridge and multiple other bridges with Newcastle upon Tyne.

 

Historically part of County Durham, under the Local Government Act 1888 the town was made a county borough, meaning it was administered independently of the county council.

 

In the 2011 Census, the town had a population of 120,046 while the wider borough had 200,214.

 

History

Gateshead is first mentioned in Latin translation in Bede's Ecclesiastical History of the English People as ad caput caprae ("at the goat's head"). This interpretation is consistent with the later English attestations of the name, among them Gatesheued (c. 1190), literally "goat's head" but in the context of a place-name meaning 'headland or hill frequented by (wild) goats'. Although other derivations have been mooted, it is this that is given by the standard authorities.

 

A Brittonic predecessor, named with the element *gabro-, 'goat' (c.f. Welsh gafr), may underlie the name. Gateshead might have been the Roman-British fort of Gabrosentum.

 

Early

There has been a settlement on the Gateshead side of the River Tyne, around the old river crossing where the Swing Bridge now stands, since Roman times.

 

The first recorded mention of Gateshead is in the writings of the Venerable Bede who referred to an Abbot of Gateshead called Utta in 623. In 1068 William the Conqueror defeated the forces of Edgar the Ætheling and Malcolm king of Scotland (Shakespeare's Malcolm) on Gateshead Fell (now Low Fell and Sheriff Hill).

 

During medieval times Gateshead was under the jurisdiction of the Bishop of Durham. At this time the area was largely forest with some agricultural land. The forest was the subject of Gateshead's first charter, granted in the 12th century by Hugh du Puiset, Bishop of Durham. An alternative spelling may be "Gatishevede", as seen in a legal record, dated 1430.

 

Industrial revolution

Throughout the Industrial Revolution the population of Gateshead expanded rapidly; between 1801 and 1901 the increase was over 100,000. This expansion resulted in the spread southwards of the town.

 

In 1854, a catastrophic explosion on the quayside destroyed most of Gateshead's medieval heritage, and caused widespread damage on the Newcastle side of the river.

 

Sir Joseph Swan lived at Underhill, Low Fell, Gateshead from 1869 to 1883, where his experiments led to the invention of the electric light bulb. The house was the first in the world to be wired for domestic electric light.

 

In the 1889 one of the largest employers (Hawks, Crawshay and Company) closed down and unemployment has since been a burden. Up to the Second World War there were repeated newspaper reports of the unemployed sending deputations to the council to provide work. The depression years of the 1920s and 1930s created even more joblessness and the Team Valley Trading Estate was built in the mid-1930s to alleviate the situation.

 

Regeneration

In the late noughties, Gateshead Council started to regenerate the town, with the long-term aim of making Gateshead a city. The most extensive transformation occurred in the Quayside, with almost all the structures there being constructed or refurbished in this time.

 

In the early 2010s, regeneration refocused on the town centre. The £150 million Trinity Square development opened in May 2013, it incorporates student accommodation, a cinema, health centre and shops. It was nominated for the Carbuncle Cup in September 2014. The cup was however awarded to another development which involved Tesco, Woolwich Central.

 

Governance

In 1835, Gateshead was established as a municipal borough and in 1889 it was made a county borough, independent from Durham County Council.

 

In 1870, the Old Town Hall was built, designed by John Johnstone who also designed the previously built Newcastle Town Hall. The ornamental clock in front of the old town hall was presented to Gateshead in 1892 by the mayor, Walter de Lancey Willson, on the occasion of him being elected for a third time. He was also one of the founders of Walter Willson's, a chain of grocers in the North East and Cumbria. The old town hall also served as a magistrate's court and one of Gateshead's police stations.

 

Current

In 1974, following the Local Government Act 1972, the County Borough of Gateshead was merged with the urban districts of Felling, Whickham, Blaydon and Ryton and part of the rural district of Chester-le-Street to create the much larger Metropolitan Borough of Gateshead.

 

Geography

The town of Gateshead is in the North East of England in the ceremonial county of Tyne and Wear, and within the historic boundaries of County Durham. It is located on the southern bank of the River Tyne at a latitude of 54.57° N and a longitude of 1.35° W. Gateshead experiences a temperate climate which is considerably warmer than some other locations at similar latitudes as a result of the warming influence of the Gulf Stream (via the North Atlantic drift). It is located in the rain shadow of the North Pennines and is therefore in one of the driest regions of the United Kingdom.

 

One of the most distinguishing features of Gateshead is its topography. The land rises 230 feet from Gateshead Quays to the town centre and continues rising to a height of 525 feet at Queen Elizabeth Hospital in Sheriff Hill. This is in contrast to the flat and low lying Team Valley located on the western edges of town. The high elevations allow for impressive views over the Tyne valley into Newcastle and across Tyneside to Sunderland and the North Sea from lookouts in Windmill Hills and Windy Nook respectively.

 

The Office for National Statistics defines the town as an urban sub-division. The latest (2011) ONS urban sub-division of Gateshead contains the historical County Borough together with areas that the town has absorbed, including Dunston, Felling, Heworth, Pelaw and Bill Quay.

 

Given the proximity of Gateshead to Newcastle, just south of the River Tyne from the city centre, it is sometimes incorrectly referred to as being a part of Newcastle. Gateshead Council and Newcastle City Council teamed up in 2000 to create a unified marketing brand name, NewcastleGateshead, to better promote the whole of the Tyneside conurbation.

 

Economy

Gateshead is home to the MetroCentre, the largest shopping mall in the UK until 2008; and the Team Valley Trading Estate, once the largest and still one of the larger purpose-built commercial estates in the UK.

 

Arts

The Baltic Centre for Contemporary Art has been established in a converted flour mill. The Glasshouse International Centre for Music, previously The Sage, a Norman Foster-designed venue for music and the performing arts opened on 17 December 2004. Gateshead also hosted the Gateshead Garden Festival in 1990, rejuvenating 200 acres (0.81 km2) of derelict land (now mostly replaced with housing). The Angel of the North, a famous sculpture in nearby Lamesley, is visible from the A1 to the south of Gateshead, as well as from the East Coast Main Line. Other public art include works by Richard Deacon, Colin Rose, Sally Matthews, Andy Goldsworthy, Gordon Young and Michael Winstone.

 

Traditional and former

The earliest recorded coal mining in the Gateshead area is dated to 1344. As trade on the Tyne prospered there were several attempts by the burghers of Newcastle to annex Gateshead. In 1576 a small group of Newcastle merchants acquired the 'Grand Lease' of the manors of Gateshead and Whickham. In the hundred years from 1574 coal shipments from Newcastle increased elevenfold while the population of Gateshead doubled to approximately 5,500. However, the lease and the abundant coal supplies ended in 1680. The pits were shallow as problems of ventilation and flooding defeated attempts to mine coal from the deeper seams.

 

'William Cotesworth (1668-1726) was a prominent merchant based in Gateshead, where he was a leader in coal and international trade. Cotesworth began as the son of a yeoman and apprentice to a tallow - candler. He ended as an esquire, having been mayor, Justice of the Peace and sheriff of Northumberland. He collected tallow from all over England and sold it across the globe. He imported dyes from the Indies, as well as flax, wine, and grain. He sold tea, sugar, chocolate, and tobacco. He operated the largest coal mines in the area, and was a leading salt producer. As the government's principal agent in the North country, he was in contact with leading ministers.

 

William Hawks originally a blacksmith, started business in Gateshead in 1747, working with the iron brought to the Tyne as ballast by the Tyne colliers. Hawks and Co. eventually became one of the biggest iron businesses in the North, producing anchors, chains and so on to meet a growing demand. There was keen contemporary rivalry between 'Hawks' Blacks' and 'Crowley's Crew'. The famous 'Hawks' men' including Ned White, went on to be celebrated in Geordie song and story.

 

In 1831 a locomotive works was established by the Newcastle and Darlington Railway, later part of the York, Newcastle and Berwick Railway. In 1854 the works moved to the Greenesfield site and became the manufacturing headquarters of North Eastern Railway. In 1909, locomotive construction was moved to Darlington and the rest of the works were closed in 1932.

 

Robert Stirling Newall took out a patent on the manufacture of wire ropes in 1840 and in partnership with Messrs. Liddell and Gordon, set up his headquarters at Gateshead. A worldwide industry of wire-drawing resulted. The submarine telegraph cable received its definitive form through Newall's initiative, involving the use of gutta-percha surrounded by strong wires. The first successful Dover–Calais cable on 25 September 1851, was made in Newall's works. In 1853, he invented the brake-drum and cone for laying cable in deep seas. Half of the first Atlantic cable was manufactured in Gateshead. Newall was interested in astronomy, and his giant 25-inch (640 mm) telescope was set up in the garden at Ferndene, his Gateshead residence, in 1871.

 

Architecture

JB Priestley, writing of Gateshead in his 1934 travelogue English Journey, said that "no true civilisation could have produced such a town", adding that it appeared to have been designed "by an enemy of the human race".

 

Victorian

William Wailes the celebrated stained-glass maker, lived at South Dene from 1853 to 1860. In 1860, he designed Saltwell Towers as a fairy-tale palace for himself. It is an imposing Victorian mansion in its own park with a romantic skyline of turrets and battlements. It was originally furnished sumptuously by Gerrard Robinson. Some of the panelling installed by Robinson was later moved to the Shipley Art gallery. Wailes sold Saltwell Towers to the corporation in 1876 for use as a public park, provided he could use the house for the rest of his life. For many years the structure was essentially an empty shell but following a restoration programme it was reopened to the public in 2004.

 

Post millennium

The council sponsored the development of a Gateshead Quays cultural quarter. The development includes the Gateshead Millennium Bridge, erected in 2001, which won the prestigious Stirling Prize for Architecture in 2002.

 

Former brutalism

The brutalist Trinity Centre Car Park, which was designed by Owen Luder, dominated the town centre for many years until its demolition in 2010. A product of attempts to regenerate the area in the 1960s, the car park gained an iconic status due to its appearance in the 1971 film Get Carter, starring Michael Caine. An unsuccessful campaign to have the structure listed was backed by Sylvester Stallone, who played the main role in the 2000 remake of the film. The car park was scheduled for demolition in 2009, but this was delayed as a result of a disagreement between Tesco, who re-developed the site, and Gateshead Council. The council had not been given firm assurances that Tesco would build the previously envisioned town centre development which was to include a Tesco mega-store as well as shops, restaurants, cafes, bars, offices and student accommodation. The council effectively used the car park as a bargaining tool to ensure that the company adhered to the original proposals and blocked its demolition until they submitted a suitable planning application. Demolition finally took place in July–August 2010.

 

The Derwent Tower, another well known example of brutalist architecture, was also designed by Owen Luder and stood in the neighbourhood of Dunston. Like the Trinity Car Park it also failed in its bid to become a listed building and was demolished in 2012. Also located in this area are the Grade II listed Dunston Staithes which were built in 1890. Following the award of a Heritage Lottery Fund grant of almost £420,000 restoration of the structure is expected to begin in April 2014.

 

Sport

Gateshead International Stadium regularly holds international athletics meetings over the summer months, and is home of the Gateshead Harriers athletics club. It is also host to rugby league fixtures, and the home ground of Gateshead Football Club. Gateshead Thunder Rugby League Football Club played at Gateshead International Stadium until its purchase by Newcastle Rugby Limited and the subsequent rebranding as Newcastle Thunder. Both clubs have had their problems: Gateshead A.F.C. were controversially voted out of the Football League in 1960 in favour of Peterborough United, whilst Gateshead Thunder lost their place in Super League as a result of a takeover (officially termed a merger) by Hull F.C. Both Gateshead clubs continue to ply their trade at lower levels in their respective sports, thanks mainly to the efforts of their supporters. The Gateshead Senators American Football team also use the International Stadium, as well as this it was used in the 2006 Northern Conference champions in the British American Football League.

 

Gateshead Leisure Centre is home to the Gateshead Phoenix Basketball Team. The team currently plays in EBL League Division 4. Home games are usually on a Sunday afternoon during the season, which runs from September to March. The team was formed in 2013 and ended their initial season well placed to progress after defeating local rivals Newcastle Eagles II and promotion chasing Kingston Panthers.

 

In Low Fell there is a cricket club and a rugby club adjacent to each other on Eastwood Gardens. These are Gateshead Fell Cricket Club and Gateshead Rugby Club. Gateshead Rugby Club was formed in 1998 following the merger of Gateshead Fell Rugby Club and North Durham Rugby Club.

 

Transport

Gateshead is served by the following rail transport stations with some being operated by National Rail and some being Tyne & Wear Metro stations: Dunston, Felling, Gateshead Interchange, Gateshead Stadium, Heworth Interchange, MetroCentre and Pelaw.

 

Tyne & Wear Metro stations at Gateshead Interchange and Gateshead Stadium provide direct light-rail access to Newcastle Central, Newcastle Airport , Sunderland, Tynemouth and South Shields Interchange.

 

National Rail services are provided by Northern at Dunston and MetroCentre stations. The East Coast Main Line, which runs from London Kings Cross to Edinburgh Waverley, cuts directly through the town on its way between Newcastle Central and Chester-le-Street stations. There are presently no stations on this line within Gateshead, as Low Fell, Bensham and Gateshead West stations were closed in 1952, 1954 and 1965 respectively.

 

Road

Several major road links pass through Gateshead, including the A1 which links London to Edinburgh and the A184 which connects the town to Sunderland.

 

Gateshead Interchange is the busiest bus station in Tyne & Wear and was used by 3.9 million bus passengers in 2008.

 

Cycle routes

Various bicycle trails traverse the town; most notably is the recreational Keelmans Way (National Cycle Route 14), which is located on the south bank of the Tyne and takes riders along the entire Gateshead foreshore. Other prominent routes include the East Gateshead Cycleway, which connects to Felling, the West Gateshead Cycleway, which links the town centre to Dunston and the MetroCentre, and routes along both the old and new Durham roads, which take cyclists to Birtley, Wrekenton and the Angel of the North.

 

Religion

Christianity has been present in the town since at least the 7th century, when Bede mentioned a monastery in Gateshead. A church in the town was burned down in 1080 with the Bishop of Durham inside.[citation needed] St Mary's Church was built near to the site of that building, and was the only church in the town until the 1820s. Undoubtedly the oldest building on the Quayside, St Mary's has now re-opened to the public as the town's first heritage centre.

 

Many of the Anglican churches in the town date from the 19th century, when the population of the town grew dramatically and expanded into new areas. The town presently has a number of notable and large churches of many denominations.

 

Judaism

The Bensham district is home to a community of hundreds of Jewish families and used to be known as "Little Jerusalem". Within the community is the Gateshead Yeshiva, founded in 1929, and other Jewish educational institutions with international enrolments. These include two seminaries: Beis Medrash L'Morot and Beis Chaya Rochel seminary, colloquially known together as Gateshead "old" and "new" seminaries.

 

Many yeshivot and kollels also are active. Yeshivat Beer Hatorah, Sunderland Yeshiva, Nesivos Hatorah, Nezer Hatorah and Yeshiva Ketana make up some of the list.

 

Islam

Islam is practised by a large community of people in Gateshead and there are 2 mosques located in the Bensham area (in Ely Street and Villa Place).

 

Twinning

Gateshead is twinned with the town of Saint-Étienne-du-Rouvray near Rouen in France, and the city of Komatsu in Japan.

 

Notable people

Eliezer Adler – founder of Jewish Community

Marcus Bentley – narrator of Big Brother

Catherine Booth – wife of William Booth, known as the Mother of The Salvation Army

William Booth – founder of the Salvation Army

Mary Bowes – the Unhappy Countess, author and celebrity

Ian Branfoot – footballer and manager (Sheffield Wednesday and Southampton)

Andy Carroll – footballer (Newcastle United, Liverpool and West Ham United)

Frank Clark – footballer and manager (Newcastle United and Nottingham Forest)

David Clelland – Labour politician and MP

Derek Conway – former Conservative politician and MP

Joseph Cowen – Radical politician

Steve Cram – athlete (middle-distance runner)

Emily Davies – educational reformer and feminist, founder of Girton College, Cambridge

Daniel Defoe – writer and government agent

Ruth Dodds – politician, writer and co-founder of the Little Theatre

Jonathan Edwards – athlete (triple jumper) and television presenter

Sammy Johnson – actor (Spender)

George Elliot – industrialist and MP

Paul Gascoigne – footballer (Newcastle United, Tottenham Hotspur, Lazio, Rangers and Middlesbrough)

Alex Glasgow – singer/songwriter

Avrohom Gurwicz – rabbi, Dean of Gateshead Yeshiva

Leib Gurwicz – rabbi, Dean of Gateshead Yeshiva

Jill Halfpenny – actress (Coronation Street and EastEnders)

Chelsea Halfpenny – actress (Emmerdale)

David Hodgson – footballer and manager (Middlesbrough, Liverpool and Sunderland)

Sharon Hodgson – Labour politician and MP

Norman Hunter – footballer (Leeds United and member of 1966 World Cup-winning England squad)

Don Hutchison – footballer (Liverpool, West Ham United, Everton and Sunderland)

Brian Johnson – AC/DC frontman

Tommy Johnson – footballer (Aston Villa and Celtic)

Riley Jones - actor

Howard Kendall – footballer and manager (Preston North End and Everton)

J. Thomas Looney – Shakespeare scholar

Gary Madine – footballer (Sheffield Wednesday)

Justin McDonald – actor (Distant Shores)

Lawrie McMenemy – football manager (Southampton and Northern Ireland) and pundit

Thomas Mein – professional cyclist (Canyon DHB p/b Soreen)

Robert Stirling Newall – industrialist

Bezalel Rakow – communal rabbi

John William Rayner – flying ace and war hero

James Renforth – oarsman

Mariam Rezaei – musician and artist

Sir Tom Shakespeare - baronet, sociologist and disability rights campaigner

William Shield – Master of the King's Musick

Christina Stead – Australian novelist

John Steel – drummer (The Animals)

Henry Spencer Stephenson – chaplain to King George VI and Queen Elizabeth II

Steve Stone – footballer (Nottingham Forest, Aston Villa and Portsmouth)

Chris Swailes – footballer (Ipswich Town)

Sir Joseph Swan – inventor of the incandescent light bulb

Nicholas Trainor – cricketer (Gloucestershire)

Chris Waddle – footballer (Newcastle United, Tottenham Hotspur and Sheffield Wednesday)

William Wailes – stained glass maker

Taylor Wane – adult entertainer

Robert Spence Watson – public benefactor

Sylvia Waugh – author of The Mennyms series for children

Chris Wilkie – guitarist (Dubstar)

John Wilson - orchestral conductor

Peter Wilson – footballer (Gateshead, captain of Australia)

Thomas Wilson – poet/school founder

Robert Wood – Australian politician

 

Draft Will of George Burges, 28 Hardres Street, Ramsgate, Kent dated 22nd March 1861.

 

Executors: Rev’d Henry Richards Luard, Fellow of Trinity College, Cambridge and Charles Thomas Hill of 51, Beaumont Square, Mile End, London.

 

Beneficiaries: Wife Jane Burges, daughters, Maria Burges, Anne Burges, infant, Fanny Burges, infant.

 

Property: 28 Hardres Street, Ramsgate, 2, St. Augustine Place, Ramsgate.

 

Moving day - A year after we saw Alex off to New Zealand, Lawrence finally moved back in for a few months - To be fair, he has been living with us since March, but he kept his flat on in Hove.

Unfortunately, his Landlord has died this year so the Executors have put the flat up for sale and given Lawrence notice, so he's moved back in with us before eventually moving out to a new place, date and location to be decided !!

Copy

THIS IS THE LAST WILL AND TESTAMENT of me ADOLPH HENRY COOMBS DAWES of 36 Hight street Gawler in the State of South Australia Medical Practitioner.

1. I REVOKE all testamentary instruments heretofore made by me.

2. I APPOINT ELDER’S TRUSTEE AND EXECUTOR COMPANY LIMITED of 37-39 Currie Street Adelaide in the said State to be my EXECUTOR and TRUSTEE.

3. I GIVE the whole of my estate after payment thereout of my debts and funeral and testamentary expenses to my wife JEAN OLIVE DAWES absolutely.

IN WITNESS whereof I have hereunto set my hand this First day of July One thousand nine hundred and sixty.

 

AHC Dawes

 

SIGNED by the said ADOLPH HENRY COOMBS DAWES as and for his last Will and Testament in the presence of us both present at the same time who at his request in his presence and in the presence of each other have hereunto subscribed out names as witnesses.

Witness ? Witness ?

Occupation Town Clark Occupation Secretary

Address Lyndoch Road, Gawler Address 1 war? St, Gawler

 

Draft Will of William Hudson, Ramsgate, Hotel Keeper and Spirit Merchant, dated 22nd December 1860. This Will was later revoked by another Will dated 13 September, 1862.

 

Executors: Nephews, George Hudson and William Hudson sons of his deceased brother George Hudson.

 

Beneficiaries: his sister Mary Hudson, sister Jane Wills, Children of his deceased brother George Hudson.

 

Properties included the Bull and George Hotel, Property at 76 the High Street in the occupation of Richard Thomas Hunter.

 

Thursday, July 13th

Finding and Applying for Federal Jobs

Federal Track

9:30 AM – 11:30 AM

Federal A&B

Description

Unlock the Secrets to Landing Your Federal Dream Job! Master the Art of Federal Job Hunting and Craft the Perfect Federal Resume to Stand Out in the Crowd!

During this session, you will learn:

The difference between a private sector and federal resume

How to document work history and education

Do’s and Dont’s of a federal resume

Developing a master resume

Navigating USAJOBS

The federal hiring process

Speaker

LaShawn Dobbins(Speaker)U.S. Department of Homeland Security, Director of Strategic Talent Recruitment

 

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Shattering the Glass Ceiling: Career Journeys of AANHPIs to the Senior Executive Service

Federal Track

12:30 PM – 2:00 PM

Federal A&B

Description

AANHPIs represent 7% of the Federal workplace, and hold 5% of the executive leadership positions. Hear from AANHPI women in different Federal agencies and departments on their career paths, how their navigated their way through the process, the different pathways for becoming an executive leader, and challenges and opportunities and how you can position yourself to become a Federal executive.

Speakers

Vivian Chen(Moderator)Chief Learning Officer U.S. Department of Agriculture

Natalie Lui Duncan(Speaker)Food Safety and Inspection Service, U.S. Department of Agriculture, Deputy Assistant Administrator

Emily Su(Speaker)U.S. Department of Energy, Assistant General Counsel for Enforcement

Jiashen You(Speaker)U.S. Equal Employment Opportunity Commission, Chief Data Officer and Director for the Office of Enterprise Data and Analytics

 

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Civil Rights, Equal Employment Opportunity (EEO), Affirmative Employment, and now DEIA? How do these all play out for people of color in general and AANHPIs specifically?

Federal Track

2:15 PM – 3:45 PM

Pan American

Description

Hear from Federal DEIA leaders on how EEO and Civil Rights laws have been enhanced with DEIA principles promoted in the federal workplace through President Biden's issuance of Executive Orders (EOs) which have advanced equity, civil rights, racial justice and equal opportunity throughout all of the Federal Government. In June 2021, the President specifically issued EO 14035, Diversity, Equity, Inclusion, and Accessibility (DEIA) in the Federal Workforce so that Agency workforces reflect the diversity of America through its employment policies and practices to ensure that public servants at all levels have an equal opportunity to succeed and lead. This builds on other Equity-related EOs such as EO 13985 Advancing Racial Equity and Support for Underserved Communities through the Federal Government. The Federal Government is working to be a model for DEIA, where all employees are treated with dignity and respect through its recruitment, hire, professional development, career advancement and retention of the Nation’s talent with initiatives to remove barriers to equal opportunity. Hear how the Federal Government is ensuring accountability to assure a diverse, equitable, inclusive, and accessible workplaces that yields higher-performing organizations.

Speakers

Javier Inclan(Moderator)National Science Foundation Office of Inspector General, Assistant Inspector General for Management and CIO

Dorris Lin(Speaker)U.S. Department of Homeland Security, Director for Inclusive Diversity

Cyrus Salazar(Speaker)DHS/TSA

Golda Philip(Speaker)Maternal and Child Health Bureau, Senior Advisor for Equity

 

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Welcome Reception

6:00 PM – 9:00 PM

Presidential

Description

Kick off the convention with a warm welcome from OCA National and OCA-DC Chapter, and enjoy some appetizers while networking with fellow attendees.

Speakers

Thu Nguyen, Executive Director, OCA

United States Representative, Ted Lieu, California's 36th Congressional District; Vice Chair of the House Democratic Caucus

United States Representative, Judy Chu, California's 28th congressional district; Chair of the Congressional Asian Pacific American Caucus

United States Representative, Grace Meng, New York's Sixth Congressional District

Linda NG, National President, OCA

Scott Sapperstein - AT&T's Assistant Vice President of Public Affairs

Bel Leong-Hong, Past Present of the OCA Greater Washington DC, DNC AAPI Caucus Chair Bel Leong-Hong

Adrienne Ngar-Yee Poon, President, OCA-Greater Washington, DC Chapter, Asian Pacific American Advocates

Ben de Guzman, Director of the Mayor's Office on Asian and Pacific Islander Affairs (MOAPIA)

Claudine Cheng, former OCA National President

Laura Berrocal, Vice President, Policy and External Affairs at Charter Communications

Helen Zia, EXECUTOR - ESTATE OF LILY AND VINCENT CHIN

DEBBIE CHEN, EXECUTIVE VP, OCA

Brandon Tsay, an American hobbyist computer programmer who disarmed the 2023 Monterey Park shooting gunman

 

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Venator, at scale, with the Executor.

Harry Ralph MATHER, Husband of Katherine. Born 11th October 1886 died 13th April 1938. This memorial has his death year as 1938,other records show 1937. He was the son of Reverend Harry Sneyd Mather and Caroline Louisa Leeke. Formerly, Captain in Uganda Police.

At rest in Ta Braxia Cemetery, Malta

Katherine died 7th January 1969 at Kendal, Westmorland and her son Richard Lionel Sneyd Mather was her executor. (See Richard L S Mather)

UK, Outward Passenger Lists 1890-1960, Ancestry

Departed from the port of London bound for Beira on S.S. Malda on the 23rd September 1932.

Harry MATHER of Blackford, Wedmore, Somerset aged 46 Police Officer., disembarking at Mombasa, Katherine his wife aged 40 and their son, Richard aged 5.

UK, Incoming Passenger Lists, 1878-1960, Ancestry

Arrived at Southampton on the 21th July 1929 off S.S. Njassa from Mombassa. Harry Ralph Mather, Police Superintendent. His wife, Katherine, children, Marion, Richard. Bound for Thurloxton Manor Somerset. They all previously lived in Kenya

Arrived 12th February 1934 on S.S. Matiana disembarking at Plymouth. Katherine Mather aged 42 and Richard Lionel aged 6. They embarked from Uganda. Address in England was Poste Restanta Sherborne, Dorset.

Arrived at London Port on S.S. Matiana, 3rd May 1935 Harry Ralph Mather alone. Address in England was given as Thurloxton Manor, Taunton, Somerset. Occupation, Government Official from Uganda aged 48.

Arrived at the Port of London on S.S. Mantola, December 1936 from Mombasa aged 50 with his wife, Katherine aged 45. His occupation, Superintendent of Police.

(Medal Card) May have been Captain , Royal Field Artillery. In France 1915 retired from the army 1st September 1922. Lived at Little Knoxbridge, Staplehurst, Kent.

THEIR SON

Richard Lionel Sneyd MATHER. Captain 370316.. Born 24th July 1927 and died on 22nd November 2009 aged 83. Funeral service was held at t St Johns Church Helsington, Cumbria at 1.30pm Friday 4th December 2009.

 

Another of those interesting bumps in the ground that need to be researched and explained. This lies in a narrow isthmus of the Parish of Pott Shrigley which bumps up against the three adjacent parishes of Lyme Handley, Poynton and Adlington and makes for some interesting coal mining development on the different estates.

 

In the late 1840s the land here was in the ownership of the executors of the late William Turner, textile manufacturer from Blackburn who had purchased a lot of Pott Shrigley from the Downes family in the early nineteenth century and then moved into their ancestral home at Shrigley Hall. The 1848 tithe map shows a trackway from a wharf on the canal to the site of this pit and I suspect that coal was being trammed up to the boats at this time by the lessees Samuel Hunt & Co. By the early 1880s the pit was being operated by the Needham family who had originated in nearby Worth but had for many years operated collieries in Hurdsfield, Macclesfield. George Needham is listed as owner and manager in an 1884 list of collieries, but he had died in 1880 and I suspect that by then the colliery was being run by his son Joseph who was living with his family at Red Acre at the time of the 1881 census. He stated his occupation as Engine Man as he had been since the 1850s at Hurdsfield. By 1888 operations appear to have ceased and the tramway is noted as disused. Joseph went off to Chorlton to become a coal merchant.

 

The tramroad embankment is seen running in from the right side of the photograph and the spoil tip of the pit is left centre. The extract from the 1882 Ordnance Survey map has the tramroad alignment running up from the bottom and the position from which the photograph was taken marked with a red X. The shaft here was 255ft deep to the Arley seam which is locally known as the Redacre Mine and is about 2ft thick. It is a good quality coal and burned well when I tried the pieces collected from the spoil tip.

In remembrance of hares

 

We are drawing hares, thirty-odd assorted members

of three art groups, being taught a new technique:

pastel painting on velour paper.

I am pleased with the result, though doubt it is really

the medium of choice, for me.

 

Memories return of hares, running, jumping, fighting

on the Downs, in frosted furrows, mad March hares indeed.

And hares following their labyrinthine ways, criss-crossing

the ancestral routes of badger, fox and roe deer, high on the hill,

the various high-ways marked by a darker twisting strip of grass,

flattened foliage, nibbled herbs, a trodden path, linking

gaps through limestone walls, burrows, forms, latrines…

 

Soft pastel clogs the furred surface, is rubbed smooth

with a grimy finger, the colour intensified, layer by chalky layer,

building the picture, defining the form.

 

I remember the hare running towards us, on our ancient track,

the green lane, the drovers’ road, the Long Hollow.

Wild-eyed in fright, he was fleeing the approaching dog, unaware

of our presence until he was almost at our feet, my camera

forgotten in the excitement of the moment.

Like a cartoon animal, it screeched to a halt, fore-paws braced,

jinxed, darted through the hedge, and raced off over the field,

leaving the dog panting in frustration.

 

The painting takes shape, blocking-in darks, mid-tones, lighter areas,

each application of colour blended into the whole, a limited palette, black, mid-brown,

ochre, ivory, figuring the texture of grizzled fur,

revealing the light falling on muzzle, crown, laid-back ear.

 

I see again the farm trailer, waiting by the gate, the men smoking, guns broken,

the laid-out lines of the newly-dead, with eyes clouded in death, limbs limp in death,

lips drawn back exposing curving yellowed teeth in death…

Judge and jury, executors and executed, found guilty of grazing

on winter wheat, paying the price.

 

It is time to add the finishing detail to the drawing: we are allowed at last

a stick of hard white pastel, to delineate the whiskers, and finally

the eye, the golden iris, the oval pupil, reflecting the sunlight, the open sky,

the wildness of place, the freedom of life.

  

Awarded 1st place in Quantum Leap Open Competition Autumn 2014

and published in QL 68, Nov 2014.

 

Read on Radio Bute fm by Alan Carter 27th Dec 2014

 

StarCraft

Bag 6.

This scrap of paper was among some papers which were kindly given to me by the executors of Joan Wild ( 1916 - 2010) who was born in Winster.

 

You will see that the scrap contains a short biography of Helen Mary Rains. Someone has written above the article “See photograph underneath.” Sadly, this photograph did not come to me with the scrap, more’s the pity.

 

The article starts – “Somewhere in Winster Churchyard is the grave of Miss Helen Mary Rains.” More of that later.

 

But first, I can add a little to the information in the article. Oh, I’d better tell you that on the back of the scrap written in the same hand as the note about the missing photograph is this: “August Issue 1984 of Winster Parish News.”

 

Miss Rains was born in Winster on 28 July 1859 and never married. She died on 30 July 1925.

 

In the last published Census of 1911 Miss Rains was living with her bachelor brother, Ralph Staley Rains, in Winster. Ralph was a farmer and Miss Rains was a school teacher employed by “County Council” – presumably Derbyshire.

 

And now – you’ve been patient wondering where Miss Rains’ grave is in Winster Churchyard. Click on this link to see a photograph of it which she shares with her brother.

www.flickr.com/photos/winsterderbyshire/3323295359/

 

Almshouses. 1720, altered early C20 and restored 1974. Built by the executors of the will of William Penny. Sandstone rubble boundary wall and ashlar entrance archway with ashlar dressings, the dwellings mostly covered by roughcast render, with green slate roofs. 2 parallel rectangular ranges at right-angles to the street, each comprising 5 units with a 6th added at the west end of both, forming a narrow courtyard closed by a chapel at the west end and a screen wall with entrance arch at the east end. The entrance archway of 3 bays with rusticated quoins, shallow Tuscan pilasters framing the centre, pulvinated frieze, moulded cornice, and shaped gable with hollow-moulded coping and ball finials. The central gateway is segmental-headed and has a robust rusticated surround, and wrought-iron gates with scrolled cresting; the original square lettered tablet in the gable has been recently replaced with a modern one copying the Latin inscription. The houses are single-storeyed, each unit of one bay with a window to the left of the door. The doorways have quoined jambs and double lintels, and the large cross-windows have slightly recessed flat-faced mullions and transoms, and leaded glazing. The roofs have coped gables with ball finials on the apex, and low rebuilt chimneys on the ridge. The added units at the west end are in matching style but on a larger scale. The courtyard has flagstone paving with gutters running along the front of the dwellings crossed by flagstone bridges to the doors. The chapel at the west end presents a shaped gable facade of coursed squared sandstone, with a keyed round-headed doorway in the centre approached by 3 steps with simple curved side-railings, a square tablet over the door inscribed FORGET NOT/ THE CONGREGATION /OF THY POOR, and a square bellcote on the apex of the gable, with a ball finial. The 2-bay side walls have cross-windows, and the west end has a tripartite round-headed window (but these are not visible from the courtyard). INTERIOR: the chapel has an oak dado of raised and fielded panels, and a roof truss with tie-beam and sturdy turned queen-posts. The altar table bears the date '1928', the probable date of restoration. HISTORY: William Penny (1646 - 1716) occupied various positions on the Town Council and was three times Mayor of Lancaster. When King Street was widened in the early C20 the two almshouses nearest the road were demolished, the screen wall rebuilt in its present position, the chapel shortened, and two new almshouses built next to the chapel. EH Listing

Underneath the arch between the north chapel and chancel, tomb of Sir David Phillip / Phelip 1450- 1506 and wife Anne Seymark 1533-1510 www.flickr.com/gp/52219527@N00/VG480o who is buried Chenies manor Bucks which she inherited ++

This was the site of a chantry set up after his death, licenced in November 1506 to David Cecille one of his executors "to fund a chantry of 2 chaplins or 1 chaplin perpetual for the good estate of the King while he lives and for his soul afterwards and for the soul of Elizabeth his late consort and the soul of the said David and of his father and mother and Anne his wife (when she dies) and all faithful with licence for the said chaplin to acquire in mortmoin lands to the value of 9l a year".

Anne was the co-heiress daughter of Thomas Seymark / Semark of Thornhaugh by Alice daughter of William Lexham

and Margaret Oldhall. She was the ward of Sir Richard Sapcote of Elton Hunts and later firstly married to his 2nd son William Sapcote having a son Guy Sapcote m Margaret daughter of Guy Wolston

Sir David & Anne m c1485 but had no children,

.Coming from a lowly welsh family Sir David served Henry Tudor (late Henry Vll) in France and fought at the Battle of Bosworth. He became a squire to the body and gentleman usher at court and steward to the kings mother Margaret Beaufort at Colley Weston palace near Stamford living nearby at Thornhaugh, He also held the office of Keeper of the Kings Swans in the waters of Lincolnshire, Northamptonshire, Cambridgeshire and Huntingdonshire and was also keeper of the royal forest of Kings Cliffe which bounded his estates and Windsor Park. .In 1499 he was sheriff of Bedford and Buckingham and a benefactor to the church of Holme in Hunts where there was a window inscription "Of your chartie pray for Sir Davy Phelip and my lady his wife, and for all benefactors of this windowe".

His nephew by marriage Richard Cecil www.flickr.com/gp/52219527@N00/z8mxo3 , father of William Cecil, Lord Burghley joined him having married advantageously Alice daughter of John Dicons alderman of Stamford by Margaret Seymark sister of his wife Anne Seymark ++

On the monument is the Dragon of Wales together with crowned Tudor Roses, and the Portcullis emblem of the Beauforts

The Semarks were out of favour after Bosworth and Annes marriage to David Phelip favoured by the Tudors and Ann's inheritance of the Cheyne fortune resulted into a family of position within the Court of Henry VIII.

www.cb5.co.uk/davidphelip.htm - Church of St Mary Stamford Lincolnshire

Star Wars Imperial Fleet

ANNAPOLIS, Md. (Jan. 17, 2023) Fabien Cousteau, executor and founder of the Proteus Ocean Group (POG), and members of his team take a tour of various departments during a visit to the U.S. Naval Academy. Proteus is the world’s most advanced underwater research station, a collaborative global platform for researchers, academics, government agencies, and corporations to advance ocean science. U.S. Naval Academy midshipmen are working with Proteus as part of their final capstone project.(U.S. Navy photo by Mass Communication Specialist 1st Class Jordyn Diomede)

This Indenture, made the 24th day of April 1867 between the Reverend William Procter the younger of Doddington in the County of Northumberland Clerk of the 1st part (,) Isabella Young Gilchrist of Berwick upon Tweed, Spinster of the second part and the Reverend Aislabie Proctor of Alwinton in Northumberland Clerk B.A. and Arthur Baxter Visick of Berwick upon Tweed Dentist (,) for themselves and theirs heirs executors and administrators herein after designated the said Trustees of the third part. Whereas a marriage is intended to be solemnised between the parties hereto of the first and second parts and it has been agreed to such settlement as herein after is mentioned Witnesseth that in consideration of the intended marriage they the said William Proctor the younger and Isabella Young Gilchrist do hereby convey assign and transfer unto the said Trustees All sum or sums of money which he the said William Proctor the younger is entitled to in reversion under his Father and Mothers marriage settlement (,) which may come to him at any time from any member of his family descent or will and also all lands tenements or hereditarments now belonging to the said Isabella Young Gilchrist or which may belong to her or over which she has or may have any controlling power and All sum or sums of money which she the said Isabella Young Gilchrist is entitled to in reversion or which may come to her at any time from any member of her family by descent or will (.) To hold the same unto the said trustees upon Trust to call in (,) alter and vary the securities from time to time and invest the same upon Government (,) or real securities (,) or any railway stock upon which all calls which are paid (,) or on preference stock as they (with the consent in writing of the said William Proctor the younger and Isabella Young Gilchrist during their lives and of the survivor according to the discretion of the said Trustees) may think proper and with the like consent to sell all real estate and to give discharges for all purchase moneys (.) And upon trust to pay the rents (,) dividends and interest arising therefrom to the said William Proctor the younger during his life and after his decease (,) upon Trust to pay the same unto the said Isabelle Young Gilchrist for her life (,) then several receipts alone after they fall due to be the only discharge for the same and after both their deaths then upon Trust to pay the said rents (,) dividends and interest towards the maintenance and education of the said intended marriage (,) if any (,) and upon trust to divide the capital and the produce of the real estates equally between or amongst such children as and when they come to the age of twenty one years or day or days of marriage. But if any one or more of such children shall die leaving child or children (,) the child or children so left shall take their parents share and if there shall be no children or all of them shall die before they take a vested interest (,) then as to the property hereinbefore mentioned belonging to the said William Proctor the younger upon Trust to dispose of the same as he shall by will appoint and in default of such appointment to his next of kin according to the statute of distributions as if he had never been married and had died intestate (.) And with respect to the property hereinbefore settled belonging to the said Isabella Young Gilchrist upon trust to dispose of the same as she may by will executed either while covert or discovert appoint the same and in default of such appointment to her next of kin according to the statute of distributions as if she had never been married and had died intestate. And each of them the said Willian Proctor the younger and Isabella Young Gilchrist for himself and herself and for his (,) her and their heirs (,) executors and administrators and assigns hereby irrevocably appoints the said Trustees to be his (,) her and their lawful attorney and attornies to sue for and get in all monies which may arise or fall due to him (,) her and them by virtue of this settlement. And to act for him (,) her and them as fully as he (,) she or they could have acted if they had remained single and unmarried. In witness where of the said parties to these presents have hereunto set their hands and seals the day and the year first above written –

 

The images shown in this album have been digitized by the project's volunteers. The transcriptions have also been produced by volunteers. All copyrights remain with the Northumberland Archives, please contact them for use of any information.

Star Wars Imperial Fleet

Steam Tank "Executor"

Abstract of Title John Peake to 111 High Street and 1, 3, 5, 7 Chatham Street, Ramsgate dated 1879 contracted to be sold to Revd.’ Edward Grippen Banks.

 

111, High Street, Ramsgate:

 

3rd April 1826 Indenture between Charles Twyman of Dumpton, St Peters, Thanet, Yeoman, John Peake of Ramsgate, Carpenter and Wheelwright and Stephen Bayly of Ramsgate, Grocer.

 

Formerly in the occupation of: Thomas Johnson then Johanna and Mary Smith, then Mary Smith, then John Muddle, then John Heyburn.

 

1, 3, 5, 7 Chatham Street:

 

13th and 14th February 1824 Indenture between Martha Smith of Ramsgate, Widow, Sarah Joad of Ramsgate, Stephen Joad of Colchester, Essex, Surgeon, John Peake, William Peeke, Yeoman, Thomas Abbott and Edward Dering.

 

John Peake died 19th November 1878 and Elizabeth Peake and George Philpott appointed as Executors of his Will.

 

Brasília, 11/12/2014. Secretário nacional de Segurança Alimentar e Nutricional, Arnoldo de Campos, participa do painel Relatos de beneficiárias e executores de políticas públicas. foto: Ubirajara Machado/MDS

Draft Will of Elizabeth Pottle Teagle, Widow of 13 Havelock Road, West Kensington Park, Middlesex, 1885. Relict of Thomas Teagle.

 

Executor Frederick Long of Wymondham, Norfolk, Tailor. Beneficiaries, sister Mary Long, wife of Henry Long, of Wymondham, Tailor. Should she die first then to the daughter of Mary Long, Sarah Eliza Long, the wife of Frederick Long.

 

Elizabeth Pottle Teagle died 4 December 1892. Solicitor, Whites and Pomeroy, Wymondham, Norfolk

 

The Tenth Duke and Duchess of Manchester very involved in Kenya and the future and protection of Animals.

Kenya Wild Animal protection ordnance 1951.

No (18 of 1951) Appointments.

In Exercise of Powers conferred by section 52 of The Wild Animals Protection Ordinance

1951 I hereby Appoint.

 

1). Chridta Johannes cloete esq.

2). Ian Mcray Watson esq.

3).W CAMBELL Haughty Warner esq.

4). Ronald William Ryan Esq.

5). Major Peter Drummond carmachel

6). Andrew J Cross esq.

7). Hector S Douglas Esq.

8). Stephen Ifold elks esq.

9). Sr Vincent Glenday esq. K C M G

10). His Grace The Duke of Manchester

11). Sberlh Salm Mohamed Muhasmy

12). Harold Mearns Anthony Sutton esq.

 

To Be The Honary Game Wardens from the Date Hereof, May 15, 1958 Nairobi Kenya

 

WH HALE

Chief Game Warden

It was a lovely ceremony on the beach, where people shared memories of Brian. David, his executor and old friend committed the ashes to the sea, then we followed up with roses. His friend Lloyd and his great niece Martina took in the Pride Parade and some of the festivities after we hosted folks at the house for birthday cake. We chose the 20th for the memorial as it was Brian's birthday, as well as Lloyds - it's amazing when two friends have the exact same birthday. Larry and Brian had previously bought the pink t-shirts to wear to the parade he had intended to watch. After all that, Larry and I drove Lloyd and Martina to a couple of the places Brian had lived prior to him moving in with us, as well as a couple of the places he had worked, to give them a sense of 'Brian's Halifax.' Martina was a young girl the last time she saw him. We're only saying good-bye to his earthly presence, he will live in our hearts forever.

Dividido em Shounen e Shuojo (para meninos e meninas respectivamente), Gekigá, Seinen e Josei (mais realista, para homens e mulheres) e também Yaoi e Yuri (com público alvo homosexual, mas relativos as estórias e não a sexo explícito) e os famigerados e famosissímos Hentais (nem vou explicar), já são febre no mundo a mais de 20 anos e parte integrante da cultura japonesa a mais de meio século. Enquanto aqui no Ocidente é comum rotular quadrinhos como "coisa de criança ou adolescente" lá qualquer adulto lê sem que ninguém olhe tortamente com indiferença e desprezo, como normalmente ocorre aqui. Coleciono vários títulos e morro de raiva com algumas coleções que ficaram incompletas por conta de cancelamentos ou por que o desenhista (lá normalmente o criador quase sempre é o roteirista e desenhista) entra em crise existencial e pára de escrever/desenhar bem no melhor da estória. Dá uma raiva!! Mas nem por isso paro de ler e através deles conheçer mais um pouco das estórias fascinantes que só os orientais sabem criar e contar...

Chelsea, Manhattan, New York City, New York, United States

 

The stable building at 128 West 18th Street is one of nine remaining brick-fronted stables from an original row of thirteen erected in 1864-66. Designed in a round-arched utilitarian style related to the German Rundbogenstil. it still features a mix of Romanesque and Renaissance Revival details. No. 128 West 18th Street has a tripartite triumphal arch composition which focuses on a central bifurcated Renaissance arch at the second story. Erected by Susan and Valentine Hall, the developers of the 18th Street row, the 128 West 18th Street Stable was retained by members of the socially prominent Hall family until 1905.

 

As a component of one of the two uniformly designed mid-nineteenth-century private carriage house groups remaining in Manhattan, it is a rare survivor. These stable rows reflect a period in the city's developmental history when private carriage houses began to be erected some blocks away from their owners' homes, on streets devoted almost exclusively to private stables and commercial liveries. An early manifestation of this trend, which became common practice during the late-nineteenth and early-twentieth centuries, the West 18th Street row was one of the most extensive of the period and contained unusually large and handsomely decorated stables.

 

The Tonnele Estate and the Development of the Private Stables on West 18th Street

 

Once part of the eighteenth-century farm of Peter Warren, the lots on the south side of West 18th Street between Sixth Avenue and the old Warren Road to the west were acquired by John Tonnele around 1817. Senior partner in the firm of Tonnele & Hall, the country's leading dealer in wool, Tonnele had extensive real estate holdings in Manhattan including large tracts on Sixth Avenue, 14th and 15th, and 17th and 18th Streets. In his will of 1846, Tonnele divided his real estate among his family, giving them the option of selling the property and investing the proceeds in trust for their heirs.

 

A total of thirty-two lots on West 17th and 18th Streets were left to his daughter Susan G. Hall. In March of 1863, she and the executors of the estate, her husband Valentine G. Hall and his brother George Hall, began selling off the lots which were then occupied by small dwellings and wood shanties.

 

As the area was semi-industrial in character, with a brewery located on the north side of 18th Street and the Weber piano factory occupying the northeast corner of Seventh Avenue and 17th Street, the Halls must have regarded the lots as unsuitable for first-class residential or commercial development. However, the lots' proximity to the fashionable Fifth Avenue residential district north of Uhion Square must have made them seem ideal for private stables and apparently they were offered for sale as such. By 1867, all the former Tonnele Estate lots on 17th and 18th Streets were occupied by private stables with restrictive covenants on the properties prohibiting their conversion to factories or commercial livery stables.

 

Stables were a necessity during the period when private urban transportation was limited to horses and carriages. While the majority of New Yorkers rented or boarded their horses in large commercial stables, the very wealthy maintained private stables. Traditionally, these were located directly behind their owners' homes, sometimes facing onto the less desirable street front of a through-the-block lot.

 

By the mid-nineteenth century, carriage-house rows developed to serve a few of the city's most exclusive streets. Remnants of these stable rows survive at 127 and 129 East 19th Street, originally part of a group of stables serving the houses on Gramercy Park South and Irving Place, and at 57 Great Jones Street, the sole survivor of a long row of stables which once backed onto the mansions on the north side of Bond Street between Broadway and Lafayette Street.

 

Around 1860, carriage houses began to be erected a few blocks from their owners' homes, on convenient but less fashionable streets, where land costs were lower and where the noises and smells associated with stables would not mar the character of a residential neighborhood.

 

Eventually a number of streets in Manhattan were devoted almost exclusively to private and livery stables. These included East 35th and East 36th Streets between Lexington and Third Avenues , East 73rd Street between Lexington and Third Avenues , and West 58th Street between Broadway and Seventh Avenue .

 

The twenty-nine stables erected on the former Tonnele Estate in the 1860s, extending from 121 to 143 West 17th Street and from 112 to 146 West 18th Street, were an early example of this type of development and together formed one of the most extensive groups of private stables built in Manhattan in the 1860s.

 

It should be noted that throughout the 1860s, most of the private carriage houses on these "stable streets" were commissioned on an individual basis and that speculatively-built rows were a rarity.

 

Perhaps the most extensive speculative development was Sniff en Court, a group of ten private carriage houses on a blind alley off East 36th Street, erected in 1864 for four investors by local builder John Sniff in, and subsequently sold to wealthy residents of Murray Hill.

 

Although uniform in design, the row from 122 to 146 West 18th Street was created through a combination of small-scale speculative development and individual commissions. In May and June of 1864, Elisha Brooks, a partner in the successful Brooks Brothers clothing firm, purchased the lots from 122 to 126 West 18th Street and had three identical stables erected on the site.

 

As work was proceeding on the Brooks stables, Susan Hall and her children agreed to use part of the proceeds from the sale of the lots on 18th Street to build a stable at 128 West 18th Street which would be retained for the family's use.

 

In mid-September, Valentine Hall entered into an agreement with Elisha Brooks to use the western wall of No. 126 as a party wall for the new stable at 128 West 18th Street. Though commissioned by a different client, this stable was identical in plan and design to the recently completed Brooks stables. Ey 1866, the nine remaining lots from 130 to 146 West 18th Street were sold off and stables were erected by their new owners.

 

Again, these continued the articulation of the Brooks stables to create a uniform row of thirteen stables, suggesting that Brooks had made the plans for his stables available to the other owners and/or that the same builder or architect was commissioned for all thirteen buildings.

 

The result was one of the most extensive stable rows in the city, containing unusually large and handsomely decorated buildings whose owners included a number of New York's wealthiest and most prominent citizens, among them Samuel F.B. Morse who was the original owner of the stable at 144 West 18th Street .

 

Susan and Valentine Hall, the developers of the 18th Street stables and owners of 128 West 18th Street, were members of the wealthy merchant class which came to dominate New York society in the mid-nineteenth century. Susan's father, John Tonnele, had begun his career as a glove merchant before rising to prominence in the wool trade. Tonnele used his profits to invest in real estate, amassing large holdings in Manhattan and Brooklyn as well as farmland in Pennsylvania and France.

 

Valentine Hall entered John Tonnele's wool business as a boy and after his marriage to Susan became a partner in the firm.

 

Hall had a reputation as a tough-minded businessman^ and like his father-in-law invested heavily in real estate. He accumulated one the city's great fortunes and by 1845 was able to retire from business and devote his time to investment and religious affairs. The Halls were among the first residents of Gramercy Park where in 1845 they built a Gothic Revival style house at 16 Gramercy Park South which was later altered and became the Players Club.

 

Their children made socially prestigious marriages — Valentine G. Hall, Jr., and Margaret Hall both wed members of the Ludlow family, Hudson River Valley aristocrats with ties to the Livingston, De Peyster, and Clarkson families, and Catherine Hall married Eugene Schieffelin, an artist and cousin of the owners of the Schieffelin pharmaceutical company. Among the Halls' descendents was Eleanor Roosevelt, who was raised by her maternal grandmother, Mrs. Valentine G. Hall, Jr.

 

In 1864, when the stable at 128 West 18th Street was under construction, Valentine and Susan Hall were living on East 25th Street, just off Madison Square — thus, it is likely that the building was first employed for their personal use.

 

In 1868, however, the family moved uptown to East 40th Street, remaining there a year before settling in Murray Hill. Since none of the Halls' children lived near the stable at that time, it seems probable that Susan Hall put the building up for rent. She retained ownership of the stable until her death in 1884 when, following the provisions of John Tonnele's will, the property was divided among her four children, Valentine G. Hall, Jr., Catherine Schieffelin, Margaret Ludlow, and John Tonnele Hall.

 

The Design of the 128 West 18th Street Stable

 

The stable at 128 West 18th Street is characteristic of contemporary carriage house design as adapted to a narrow urban lot. Originally two stories high, it was later raised a story. As built, the stable would have been divided into two major ground-floor spaces — a front room for carriages and a rear roam with stalls for horses. The front portion of the second floor would have contained quarters for the coachman or groom, while the rear would have been used as a hayloft. Windows were located only on the front of the building to spare neighbors the sights and smells associated with horses, but two large skylights provided additional light to the second-floor rooms.

 

The facade is designed in a round-arched utilitarian style derived from the German Rundbocrenstil . The Rundboaenstil evolved in Germany in the 1820s among a group of progressive architects who sought to create a synthesis of classical and medieval architecture by drawing on historic precedents in the round-arched Byzantine, Romanesque, and Renaissance styles.

 

Transmitted to this country through the immigration of German and Central European architects in the 1840s, as well as through architectural publications, the Rundbocrenstil tended to be conflated with other mid-nineteenth century round-arched styles such as the Romanesque and Renaissance Revivals.

 

Among the major American examples of the round-arched style are Charles Blesch and Leopold Eidlitz's St. George's Church on Stuyvesant Square at 16th Street, Alexander Saeltzer's Astor Library , at 425 Lafayette Street,18 and Thomas Tefft's Union Depot, Providence, R.I. .

 

The style is reflected in the design of the stable at 128 West 18th Street by the choice of materials , an emphasis on flat wall surfaces, and a clear definition of architectural elements. The meshing of classical and medieval motifs is apparent in the composition, which recalls both a Roman triumphal arch and the elevation of a medieval nave arcade, and in the incorporation of such details as the Renaissance-inspired cornice and diamond-pointed keystones and the Romanesque-inspired arcades and rusticated bands.

 

The facade's chief feature is a large central arch with a pair of inscribed arches and a bull's-eye tympanum. This motif, which was thought by nineteenth-century theorists to have originated in northern Italy during the Romanesque period and was widely used during the Renaissance, became a hallmark of the nineteenth-century round-arched styles, both here and in Germany.

 

Interestingly, the only other remaining group of mid-nineteenth century carriage houses in Manhattan, located at Sniff en Court, was also designed in the round-arched style and featured a triumphed arch composition with arched windows and doors flanking a central two-story arch. At 18th Street, the stables are larger and more elaborate in design.

 

In addition to its ties to the round-arched style, the design of the 128 West 18th Street stable is distinguished by its skillful superimposition of recessed and projected planes. The double-height arcade, carried on slender projected piers, is on a forward plane, while the wall membrane with its door and windew openings is recessed. A series of horizontal moldings break forward over the piers to unite the two planes. The moldings at the arches' imposts at the second story form the capitals for two pilaster orders .

 

In addition to their function in this individual design, the repeated use of horizontal elements and the alternation of large and small arches are important elements in creating a strong sense of rhythm and harmony within the row.

 

Description

 

Constructed as a two-story stable in 1864, the building at 128 West 18th Street was raised to three stories in 1905. The structure has a frontage of twenty feet on West 18th Street, and has been extended from its original depth of eighty-one feet to occupy the entire length of its ninety-two-foot-deep lot. Its painted brick and stone facade is designed in a round-arched utilitarian style and incorporates Romanesque and Renaissance details.

 

The facade is organized in a tripartite triumphal arch composition that focuses on a double-width center bay. At the ground story, the bays are articulated by projected piers. Originally, the wide center bay contained a pair of wood carriage doors, the eastern bay an arched window, and the western bay an arched entrance; the arches were ornamented by diamond-pointed keystones and stone bands ran across the facade at the sill, watertable, impost, and cornice lines.

 

Today, most of the stonework has been cut flush with the brickwork and covered with stucco. Aside from this alteration the eastern bay of the ground story remains largely intact. The window opening contains original four-over-four double-hung wood sash and an iron grille in a wood frame.

 

In the center bay cast-iron posts have been inserted in the brick piers and the piers have been narrowed to increase the width of the vehicle entrance. There is a wood garage door , set at about a fifteen degree angle from the plane of the facade and a metal roll-down gate which is attached to the face of the piers.

 

In the west bay, the west side of the recessed arch has been removed to provide additional room for a metal replacement door. Above the door, the original wood and glass transom has been replaced by brick infill and a metal louver. The first story is capped by a brick entablature which appears to be intact beneath the large painted metal sign extending across the width of the facade.

 

On the second story the piers carry an arcade in which the center arch is both wider and taller than the flanking arches. The arches are set-off by stone keystones and stone sills beneath the windows. Stone bards mark the impost line of the arches.

 

A small pilaster bisects the center bay into a pair of arched windows which are topped by a molded wood surround that features a central bull's-eye. The windows in this bay and the west bay retain their original frames . The window opening in the east bay has been lengthened and its sash replaced. The second story is capped by a pair of stringcourses, which were part of the original crowning entablature, and a projecting stone course which forms the sill for the third-story windows.

 

The third story is also faced with brick and has four regularly spaced round-arched windows which are taller and narrower than the windows on the lower stories. A pair of stringcourses spans the facade at impost level and the building is crowned by a brick entablature with a decorative frieze and corbelled cornice. The windows have their original one-over-one double-hung wood sash.

 

Subsequent History

 

In the 1870s and 1880s, the neighborhood to the east of the stables on 18th Street, which had once been exclusively residential, became the heart of New York's chief shopping district as the retail trade expanded along Broadway, Sixth Avenue, and 14th and 23rd Streets.

 

Several of the original owners of the stables on 18th Street responded to the change in the character of the neighborhood by moving uptown or to the suburbs. At least two of the stables were sold to neighboring businesses. Other owners seem to have retained their stables as investments, property values on Sixth Avenue having skyrocketed with the opening of such department stores as B. Altman's at 19th Street and Hugh O'Neill's near 20th Street , and the completion of the Sixth Avenue Elevated Railway in 1878.

 

The Halls retained ownership of the 128 West 18th Street Stable until 1905 when the building was sold to Catherine Foley.20 She commissioned George McCola to add a third story and install a ramp so that horses could be kept on the second floor.

 

When the work was completed in November of 1905, the property was acquired by Linda Stahlberg, later Linda Rau. The building remained a stable until 1918 when it was converted to a storehouse for paper stock and rags. By the late 1930s it had become a service garage. In the 1940s it was leased to the Acme Steel Partition Company as a garage and is currently occupied by the Nagel Roof Company, which also owns the adjacent former stable at 126 West 18th Street.

 

Today, the 128 West 18th Street stable building is a component of one of the two remaining mid-nineteenth century carriage house groups in Manhattan. While the ground story has been altered, the second story is generally well preserved and distinguishes the building as a notable example of the round-arched style as applied to a utilitarian building type.

 

- From the 1990 NYCLPC Landmark Designation Report