View allAll Photos Tagged Invented
America's cup Bermudes . Fly Emirates est en finale contre Oracle le bateau américain.
0 à 3 sur 7 en faveur des néo, plus que 4 victoires.
Les ingénieurs de Oracle ont une semaine pour améliorer les performances de leur bateau.
Félicitations à Team New Zealand pour ses performances alors que leur budget est 6 à 8 fois moins important que celui des américains.
Bravo pour leurs excellents choix stratégiques et l'invention du système "pedal power" intelligent et efficace.
Souhaitons leurs bonne chance.
Trabalho da Companhia de Inventos dos Artistas Bernardo Rohrmann e Renata Franca.
Essa é uma pequena caixinha com um "Menino Leitor" todo feito em madeira e quando nós puxamos a cordinha os braços e o livro se mexem!
Nikaa, a very special flickr-friend of mine.
FROM THE NOTEBOOKS OF AKHENATON
There must be something I could bring
to bear on this long suffering.
Some deity I could invent,
To sit aloft, omniscient.
Desire is not enough:
heaven should be of sterner stuff.
Up on my shoulders then, milord,
I’ll raise you to your throne, slip in,
I’ve organised some cherubim
for you to lean on. Have no fear
I’ll dress you well, you’ll not go bare
at night. Now clip this bloody track
of griefs about your waiting neck,
your tepid cloak of consolation
my pleasure in your vegetation,
my thirst for justice behind the doors
of that jewel-encrusted heart of yours.
Enough. Proclaim how good it is,
perform your mightly offices,
sit and stare for ever more, in state.
Begin, it is already late.
Ágnes Nemes Nagy
(translated by George Szirtes)
.......................................................................................................
Ekhnáton jegyzeteiből
Valamit mégis kéne tennem,
valamit a gyötrelem ellen.
Egy istent kellene csinálnom,
ki üljön fent és látva lásson.
A vágy már nem elég,
nekem betonból kell az ég.
Hát lépj vállamra, istenem,
én fölsegítlek. Trónra bukva
támaszkodj majd néhány kerubra.
És fölruházlak én, ne félj,
ne lásson meztelen az éj,
a szenvedést kapcsold nyakadra,
mintha kerek vércsík fakadna,
s az legyen langyos köpenyed:
szerettem növényeidet.
S helyezd el ékszeres szivedben:
hogy igazságra törekedtem.
Ennyi elég is. Mondd ki: jó itt,
és tedd hatalmas funkcióid,
csak ülj és nézz örökkön át.
Már nem halaszthatlak tovább.
(1967)
German postcard by Ross Verlag, no. 5380/1, 1930-1931 Photo: Paramount. Gary Cooper and Marlene Dietrich in Morocco (Josef von Sternberg, 1930).
American screen legend Gary Cooper (1901-1961) is well remembered for his stoic, understated acting style in more than one hundred Westerns, comedies and dramas. He received five Oscar nominations and won twice for his roles as Alvin York in Sergeant York (1941) and as Will Kane in High Noon (1952).
Marlene Dietrich (1901-1992) is regarded as the first German actress to become successful in Hollywood. Throughout her long career, she constantly re-invented herself, starting as a cabaret singer, chorus girl and film actress in 1920s Berlin, she became a Hollywood movie star in the 1930s, a World War II frontline entertainer, and finally an international stage show performer from the 1950s to the 1970s, eventually becoming one of the entertainment icons of the 20th century.
And, please check out our blog European Film Star Postcards.
Temper, aka Arron Bird, is widely recognised as one of the most successful and talented graffiti artists of his generation. G’owl’d is inspired by the Egyptian collections at Birmingham Museum and Art Gallery and displays a special message. Can you decipher what is says about Birmingham?
Yes, using the alphabet code and hyroglyphics I cracked the special messages:
Its people have invented some of the most fundamental things for modern civilisation influencing our culture today.
Birmingham is a world leader in creative thinking.
Birmingham is the land that created the industrial revolution.
Artist: Temper
Temper, aka Arron Bird, is a successful and talented graffiti artist. After picking up a spray can at the age of 10, the Birmingham-based artist hasn’t looked back.
Growing up in Wolverhampton’s Eastside, Temper was involved in the emergence of graffiti just as the hip-hop culture that accompanied it was making its way from the US to UK shores.
Temper has developed a unique style of graffiti and conceptual art, which allows him to work in illustrative and free-hand ‘traditional’ graffiti, as well as exquisite figurative work reminiscent of the Old Masters.
In 2001 Temper was commissioned by global brand Coca-Cola to create the artwork for their drinks brand Sprite; resulting in art by Temper appearing on over 100 million cans and bottles around Europe in what was the biggest graffiti advertising campaign ever seen.
Evolving from the hip-hop and graffiti art culture which predominated his formative years, he continues to take inspiration from street art, popular culture, comic book art and music. Most importantly, he is inspired by his own experiences, ups and downs; his own journey continues to inform his art and ideas.
Website: www.temper.co.uk
Sponsor: Edward’s Trust
Supported by: Wild in Art
The Big Hoot captured the imagination of everyone in Birmingham and beyond, with hundreds of thousands of people taking to the streets with their Big Hoot Trail maps to explore the colourful invasion of individually designed owls. Taking in the city’s 10 districts, tourists and residents alike enjoyed their owl adventure, discovering and celebrating the extraordinary creativity produced by many of Birmingham’s artistic community and over 25,000 young people.
The Big Hoot owls went under the hammer on 15 October 2015 at The Big Hoot auction sponsored by Vodafone and we are thrilled to have smashed our target by raising the incredible sum of £508,035!
The money raised from the auction will support Birmingham Children’s Hospital Charity’s £3.65m Star Appeal. This appeal will enable us to create a first of its kind, a Rare Diseases Centre in the UK specifically for children. It will provide co-ordinated care, treatment, support and most importantly hope to children and families living with a rare or undiagnosed condition.
In addition the auction raised £15,000 for G’owl’d by Temper with proceeds going to Edward’s Trust, and £7,800 for Fleet and Free with proceeds going to Birchfield Harriers.
So thank you - we simply couldn’t have done it without you.
Artists have played a major role in The Big Hoot, creating almost 100 owl sculptures. We would like to thank all the artists for their incredible creativity and hard work.
Professional artists from Birmingham, the wider Midlands region and further afield have created extraordinary giant owls that are all unique in style and character and represent the city’s creativity, history and heritage, music, fashion, architecture and attractions.
Birmingham is home to a wealth of artistic and creative individuals and communities and many award-winning and nationally and internationally acclaimed artists. We are delighted with the response from Birmingham’s creative community and are thrilled to work in collaboration with them to transform the streets, squares and parks of the city.
For five months artists have been creating owls in their studios, at home and in The Big Hoot Artists’ Studio at the Custard Factory in Digbeth. Their inspiring and innovative designs have been realised in genres including graffiti, illustration, fine art, graphics, typography, mosaic and new media. They have worked with both community groups and with corporates to realise ideas and create their stunning designs.
The Big Hoot not only provides a high quality and ambitious free public event for families but also supports the creativity of artists and celebrates talent and diversity. The Big Hoot has provided an inspiring relationship between the city and the arts.
The artists have also reached out to communities enabling more people to participate in the arts, to experience working with professional artists and to be inspiring and inspired. From the north to the south of the city residents groups, youth groups and older peoples’ groups have been collaborating with artists to generate ideas, design and create owls for The Big Hoot.
Creativity is everywhere but the opportunity to participate is not. A range of activities have been programmed within Birmingham’s diverse communities and people from the age of 3 – 97 and from wards within the city boundaries have contributed to The Big Hoot and helped make the event extraordinary. Our projects have seen artists working with hundreds of residents and community members including children in looked after care, older peoples’ clubs, young people and residents organisations to design and decorate the owls displayed as part of the 10 week public event.
Well possibly. Snooker was invented at the RMA and this is the RMA snooker room so chances are that it was in this room. Sadly its seen better days. Lucky enough to explore this place. The dukes owner lives in the renovated part so was able to by pass security and the sales and marketing people and get into this place which hasn't been explored for quite a few years at least
Italy.
CARPACCIO
The dish was invented in 1950 in Venice,
named after Vittore Carpaccio, the Venetian painter.
www.youtube.com/watch?v=7bJyaCRXhjM
This is my first picture invented the music.
I'm so stupid and foolish
I dropped the other to be available now
Where are you to keep the confidence?
I'm so stupid and foolish
I dropped the other to be available now
Where are you to keep me faithful?
My oh my oh my
Did I drop the other
Why oh why oh why?
You make it look so good
The way you put it like that
Yes I know we could
So shall we?
From the very first time
I could see in your eyes
They showed me everything I need
Was waiting
Yes I always work hard
I can make you flip out
You see now I got nerve
For asking what I'm worth
If you really got faith
Then I know you'll invest
Hold your money up high
Waving and smiling
www.ravishlondon.com/londonstreetart
Together Shoreditch and Spitalfields in the East of London constitute the most exciting place to be in London. The population is young, dynamic and imaginative; Friday and Saturday nights are a riot with a plethora of bars and clubs many with their own unique flavour. But what makes this area really special is that Shoreditch and Spitalfields comprise what one might call, ‘the square mile of art’; a de factor open air art gallery; with graffiti, posters and paste-ups being displayed on the main streets, down the side roads and in all the nooks and crannies of this post-industrial environ.
From Eine’s huge single letters being painted on shop shutters, to the haunting propaganda posters of Obey, to Cartrain’s political black and white pop-art; and to the one very small bronze coloured plastic circle, with the imprint of a dog shit and a man's foot about to step into it, which I once saw pasted to a wall, there is an incredible diversity.
Being on the streets, the work can be destroyed, taken or painted over at any minute. It is fragile and transient. Furthermore the juxtaposition of different pieces of art is random and unpredictable both in content and its location, which means that each day throws up a new and unique configuration of work within the streets, which you can only experience by travelling through the city.
Street Art Beginnings
The reasons for why East London has seen the flowering of street art are manifold. The post-industrial legacy of Shoreditch’s crumbling low-rise warehouses, not only provides an environment in which the artists and designers can do their work, but East London’s proximity to the City of London provides an economic source of support for the artists and designers; and finally Shoreditch with its building sites, old dilapidated warehouses provides a canvas upon which those artists can display their work and increase their commercial value.
Set against the characterless nature of the steely post-modernity of the city, the autumnal colours of the terraced warehouses in Shoreditch, no bigger than four to five stories high; offer a reminder of the legacy of a thriving fabrics and furniture industry which blossomed in the seventeenth Century. Both Shoreditch and Spitalfields have industrial pasts linked to the textiles industry, which fell into terminal decline by the twentieth century and was almost non-existent by the end of Wolrd War II. The decline was mirrored in the many three to four storey warehouses that were left to decay.
The general decline was arrested in the 1980s with the emergence of Shoreditch and Hoxton (Hoxton and Shoreditch are used interchandeably to refer to the same area) as a centre for new artists. It is difficult to say what attracted the artists to this area. But it was likely to be a combination of the spaces offered by the old warehouses, the cheap rents, and the location of Shoreditch and Spitalfields close to the City of London; where the money was to buy and fund artistic endeavour.
Not just that but post-war Shoreditch dominated by tens of post-war tower blocks, built amidst the ruins of the terraced housing that lay there before, which was bombed during World War II; had the rough edge which might inspire an artist. Shoreditch hums with the industry of newly arrived immigrants but also of the dangers of the poorer communities which inhabit these areas. Homeless people can be found sat underneath bridges on the main thoroughfares on Friday and Saturday nights; and Shoreditch is apparently home to one of the largest concentrations of striptease joints and a number of prostitutes. So, Shoreditch is a crumbling dirty, dodgy, polluted mess but it also has money; and these two factors provide an intoxicating mix for artists, who can take inspiration from their environment, but also rub shoulders with people who have the kind of money to buy their work.
By the early nineties Hoxton’s reputation as a centre for artists had become well established. As Jess Cartner-Morley puts it ‘Hoxton was invented in 1993. Before that, there was only 'Oxton, a scruffy no man's land of pie and mash and cheap market-stall clothing…’ At that time artists like Damien Hirst and Tracy Emin were taking part in ‘A Fete Worth than Death’ an arts based event in Hoxton. Gradually these artists began to create their own gravity, attracting more and more of their own like. Clubs and bars began to emerge, as did a Hoxton style, ‘the Hoxton fin’ being a trademark haircut. Many designers and artists located around Shoreditch and Spitalfields. Shoreditch has also become a hive of studios for artists, vintage fashion shops, art students and musicians.
At the same time as an artistic community was forming fuelled by money from the City, London was subject to a revolution in street art. According to Ward, writing for Time Out, the street art scene began in the mid-1980s as part of London’s hip-hop scene. Graffiti artists, emulating what was going on Stateside, began to tag their names all over London. According to Ward many of those pioneers ‘went on to paint legal commissions and are at the heart of today’s scene’. That is to say, from the community of artists congregating in East London, a number were inspired by graffiti, and because the East London, with its countless dilapidated warehouses, and building sites, offered such a good canvas; they went on to use the East London as a canvas for their work.
Little seems to have been written about the individual journey’s particular street artists have taken to get to where they are, which help illuminate some of the issues talked about in this section. Cartrain said that Banksy was a huge influence for him commenting that, "I've sent him a few emails showing him my work and he sent me a signed piece of his work in the post."
What created the East London street art scene may also kill it
The East London urban art scene is unlikely to last forever, being the symptom of a delicate juxtaposition of industrial decline and economic forces.
The irony is that the same factors which are responsible for the creation of the East London art scene are likely to destroy it.
Politicians from all parties, spiritual leaders for global capital, tell us of the unstoppable forces of globalisation. They say if Britain is to continue to dip its paw into the cream of the world’s wealth it needs to become a post-industrial service economy; suggesting a rosy future of millions of Asians slaving away co-ordinated by keyboard tapping British suits, feet on desk, leant back on high backed leather chairs, secretary blowing them off.
Art, which is feeble and dependent upon the financial growth of an economy for its survival, will have to shape itself around the needs and demands of capital.
The financial district of the City of London, lying to the south of Shoreditch, has been successfully promoted as a global financial centre, and its mighty power is slowly expanding its way northwards. Plans are afoot for the glass foot soldiers of mammon, fuelled by speculative property investment, to gradually advance northwards, replacing old warehouses with a caravan of Starbucks and Japanese sushi places and a concomitant reduction in dead spaces to portray the art, increased security to capture and ward off street artists, increased property prices and the eventual eviction of the artistic community. Spitalfields has already had big corporate sized chunks taken out of it, with one half of the old Spitalfields Market being sacrificed for corporate interests in the last five years.
So then the very same financial forces, and post-industrial legacy, which have worked to create this micro-environment for street art to thrive, are the same forces which will in time eventually destroy it. Maybe the community will move northwards, maybe it will dissipate, but until that moment lets just enjoy what the community puts out there, for its own financial interests, for their own ego and also, just maybe, for the benefit of the people.
Banksy
Banksy is the street artist par excellence. London’s street art scene is vibrant and diverse. There is some good, cure, kitschy stuff out there, but in terms of creativity and imagination Banksy leads by a city mile. His stuff is invariably shocking, funny, thought provoking and challenging.
Banksy considers himself to be a graffiti artist, which is what he grew up doing in the Bristol area in the late eighties. According to Hattenstone (2003) Banksy, who was expelled from his school, and who spent some time in prison for petty crimes, started graffiti at the age of 14, quickly switching over to stencils, which he uses today, because he didn’t find he had a particular talent for the former. His work today involves a mixture of graffiti and stencils although he has shown a capacity for using a multitude of materials.
Key works in London have included:
•In London Zoo he climbed into the penguin enclosure and painted "We're bored of fish" in six-foot-high letters.
•
•In 2004 he placed a dead rat in a glass-fronted box, and stuck the box on a wall of the Natural History Museum.
•
•‘A designated riot area’ at the bottom of Nelson’s Column.
•
•He placed a painting called Early Man Goes to Market, with a human figure hunting wildlife while pushing a shopping trolley, in the British Museum.
•
His work seems to be driven by an insatiable desire to go on producing. In an interview with Shepherd Fairey he said, ‘Anything that stands in the way of achieving that piece is the enemy, whether it’s your mum, the cops, someone telling you that you sold out, or someone saying, "Let’s just stay in tonight and get pizza." Banksy gives the impression of being a person in the mould of Tiger Woods, Michael Schumacher or Lance Armstrong. Someone with undoubted talent and yet a true workaholic dedicated to his chosen profession.
Its also driven by the buzz of ‘getting away with it’. He said to Hattenstone, ‘The art to it is not getting picked up for it, and that's the biggest buzz at the end of the day because you could stick all my shit in Tate Modern and have an opening with Tony Blair and Kate Moss on roller blades handing out vol-au-vents and it wouldn't be as exciting as it is when you go out and you paint something big where you shouldn't do. The feeling you get when you sit home on the sofa at the end of that, having a fag and thinking there's no way they're going to rumble me, it's amazing... better than sex, better than drugs, the buzz.’
Whilst Banksy has preferred to remain anonymous he does provide a website and does the occasional interview putting his work in context (see the Fairey interview).
Banksy’s anonymity is very important to him. Simon Hattenstone, who interviewed Banksy in 2003, said it was because graffiti was illegal, which makes Banksy a criminal. Banksy has not spoken directly on why he wishes to maintain his anonymity. It is clear that Banksy despises the notion of fame. The irony of course is that ‘Banksy’ the brand is far from being anonymous, given that the artist uses it on most if not all of his work. In using this brand name Banksy helps fulfil the need, which fuels a lot of graffiti artists, of wanting to be recognised, the need of ego.
Banksy is not against using his work to ‘pay the bills’ as he puts it. He has for example designed the cover of a Blur album, although he has pledged never to do a commercial job again, as a means of protecting his anonymity. Nevertheless he continues to produce limited edition pieces, which sell in galleries usually for prices, which give him a bit of spending money after he has paid the bills. Banksy has said, ‘If it’s something you actually believe in, doing something commercial doesn’t turn it to shit just because it’s commercial’ (Fairey, 2008). Banksy has over time passed from urban street artist into international artistic superstar, albeit an anonymous one.
Banksy has a definite concern for the oppressed in society. He often does small stencils of despised rats and ridiculous monkeys with signs saying things to the effect of ‘laugh now but one day we’ll be in charge’. Whilst some seem to read into this that Banksy is trying to ferment a revolutionary zeal in the dispossessed, such that one day they will rise up and slit the throats of the powers that be, so far his concern seems no more and no less than just a genuine human concern for the oppressed. Some of what seems to fuel his work is not so much his hatred of the system but at being at the bottom of it. He said to Hattenstone (2003) ‘Yeah, it's all about retribution really… Just doing a tag is about retribution. If you don't own a train company then you go and paint on one instead. It all comes from that thing at school when you had to have name tags in the back of something - that makes it belong to you. You can own half the city by scribbling your name over it’
Charlie Brooker of the Guardian has criticised Banksy for his depictions of a monkey wearing a sandwich board with 'lying to the police is never wrong' written on it. Certainly such a black and white statement seems out of kilter with more balanced assessments that Banksy has made. Brooker challenges Banksy asking whether Ian Huntley would have been right to have lied to the police?
Brooker has also criticized Banksy for the seemingly meaninglessness of some of this images. Brooker says, ‘Take his political stuff. One featured that Vietnamese girl who had her clothes napalmed off. Ho-hum, a familiar image, you think. I'll just be on my way to my 9 to 5 desk job, mindless drone that I am. Then, with an astonished lurch, you notice sly, subversive genius Banksy has stencilled Mickey Mouse and Ronald McDonald either side of her. Wham! The message hits you like a lead bus: America ... um ... war ... er ... Disney ... and stuff.’ Brooker has seemingly oversimplified Banksy’s message, if indeed Banksy has one, to fuel his own criticisms. It is easy to see that for many the Vietnam painting tells us that the United States likes to represent itself with happy smiling characters, that hide the effects of its nefarious activities responsible for the real life faces of distress seen on the young girl. Something that we should be constantly reminded of. But then that’s a matter of politics not of meaninglessness.
Banksy’s ingenuity comes through in his philosophy on progression, ‘I’m always trying to move on’ he says. In the interview he gave with Shepherd Fairey he explained that he has started reinvesting his money in to new more ambitious projects which have involved putting scaffolding put up against buildings, covering the scaffolding with plastic sheeting and then using the cover of the sheets to do his paintings unnoticed.
Banksy has balls. Outside of London he has painted images in Disney Land; and on the Israeli wall surrounding Palestine. How far is he willing to push it? What about trying something at the headquarters of the BNP, or on army barracks, or at a brothel or strip club employing sex slaves, or playing around with corporate advertising a la Adbusters?
Enrique había nacido el 14 de agosto de 1862 y tenía poco en común con su hermano, el emperador alemán. Carecía, por ejemplo, de la errática naturaleza de Guillermo y de su egoísmo. El príncipe fue realmente popular en Alemania, y por causa de su humildad y sus maneras abiertas era muy querido por los que estaban bajo sus órdenes. En sus viajes al extranjero era un buen diplomático, que, a diferencia de su hermano, fue capaz de encontrar el tono.
Enrique respetaba a su hermano, pero esta actitud no fue recíproca. Ciertamente, Guillermo era intelectualmente superior. Mantuvo a su hermano menor lejos de la política, aunque Enrique actuó como su representante mientras el príncipe heredero era menor de edad. Enrique cumplió con ello, pero nunca encontró interés en la política. No fue capaz de ver los efectos que tendría la política alemana de construcción naval ni tampoco estaba en la posición de aconsejar a su hermano una política diferente.
Como oficial de la marina, Enrique estaba completamente satisfecho de ello, pues amaba su situación. Recibió una de las primeras licencias de piloto de Alemania, y fue considerado como un activo y excelente marino. Tuvo gran interés en la tecnología moderna y fue capaz de entender rápidamente el valor práctico de las innovaciones técnicas.
También estaba muy interesado en los automóviles y fue él, el que supuestamente inventó el limpiaparabrisas y, según otras fuentes, introdujo la bocina.
Faltaban menos de tres meses para que un trágico hecho, el asesinato del archiduque Francisco Fernando de Austria y su esposa, Sofía Chotek, en Sarajevo el 28 de junio de 1914 a manos del joven estudiante nacionalista serbio Gavrilo Princip, desatara la peor de las catástrofes humanas padecidas en toda su historia: el estallido de la Primera Guerra Mundial, la que se iniciaría un mes después, el 28 de julio.
Al comienzo de la Primera Guerra Mundial, el príncipe Enrique fue nombrado Comandante en Jefe de la Flota del Báltico. Siendo los medios navales alemanes muy superiores a la Flota Rusa del Báltico, logró triunfar. Al finalizar las hostilidades con Rusia, su misión terminó, y el príncipe Enrique abandonó el servicio activo. Con el final de la guerra y la abolición de la monarquía en Alemania, el príncipe Enrique dejó la Marina.
Tras la Revolución Alemana de 1918-1919, Enrique se trasladó con su familia a Hemmelmark, cerca Eckernförde, en Schleswig-Holstein. Continuó con los deportes de motor y de vela, e incluso en la vejez obtuvo grandes éxitos en las regatas
Enrique de Prusia falleció el 20 de abril de 1929 a los 66 años de edad.
The Château de Chenonceau is a French château spanning the river Cher, near the small village of Chenonceaux, Indre-et-Loire, Centre-Val de Loire. It is one of the best-known châteaux of the Loire Valley.
The estate of Chenonceau is first mentioned in writing in the 11th century. The current château was built in 1514–1522 on the foundations of an old mill and was later extended to span the river. The bridge over the river was built (1556-1559) to designs by the French Renaissance architect Philibert de l'Orme, and the gallery on the bridge, built from 1570 to 1576 to designs by Jean Bullant.
An architectural mixture of late Gothic and early Renaissance, Château de Chenonceau and its gardens are open to the public. Other than the Royal Palace of Versailles, it is the most visited château in France.
The château has been designated as a Monument historique since 1840 by the French Ministry of Culture. Today, Chenonceau is a major tourist attraction and in 2007 received around 800,000 visitors.
In the 13th century, the fief of Chenonceau belonged to the Marques family. The original château was torched in 1412 to punish the owner, Jean Marques, for an act of sedition. He rebuilt a château and fortified mill on the site in the 1430s. Jean Marques' indebted heir Pierre Marques found it necessary to sell.
Thomas Bohier, Chamberlain to King Charles VIII of France, purchased the castle from Pierre Marques in 1513 and demolished most of it (resulting in 2013 being considered the 500th anniversary of the castle: MDXIII–MMXIII), though its 15th-century keep was left standing. Bohier built an entirely new residence between 1515 and 1521. The work was overseen by his wife Katherine Briçonnet, who delighted in hosting French nobility, including King Francis I on two occasions.
In 1535 the château was seized from Bohier's son [fr] by King Francis I of France for unpaid debts to the Crown. After Francis' death in 1547, Henry II offered the château as a gift to his mistress, Diane de Poitiers, who became fervently attached to the château along the river.[8] In 1555 she commissioned Philibert de l'Orme to build the arched bridge joining the château to its opposite bank. Diane then oversaw the planting of extensive flower and vegetable gardens along with a variety of fruit trees. Set along the banks of the river, but buttressed from flooding by stone terraces, the exquisite gardens were laid out in four triangles.
Diane de Poitiers was the unquestioned mistress of the castle, but ownership remained with the crown until 1555 when years of delicate legal manoeuvres finally yielded possession to her.
After King Henry II died in 1559, his strong-willed widow and regent Catherine de' Medici forced Diane to exchange it for the Château Chaumont. Queen Catherine then made Chenonceau her own favourite residence, adding a new series of gardens.
As Regent of France, Catherine spent a fortune on the château and on spectacular nighttime parties. In 1560, the first-ever fireworks display seen in France took place during the celebrations marking the ascension to the throne of Catherine's son Francis II. The grand gallery, which extended along the existing bridge to cross the entire river, was dedicated in 1577. Catherine also added rooms between the chapel and the library on the east side of the corps de logis, as well as a service wing on the west side of the entry courtyard.
Catherine considered an even greater expansion of the château, shown in an engraving published by Jacques Androuet du Cerceau in the second (1579) volume of his book Les plus excellents bastiments de France. If this project had been executed, the current château would have been only a small portion of an enormous manor laid out "like pincers around the existing buildings."
On Catherine's death, in January 1589, the château went to her daughter-in-law, Louise of Lorraine, wife of King Henry III. Louise was at Chenonceau when she learned of her husband's assassination, in August 1589, and she fell into a state of depression. Louise spent the next 11 years, until her death in January 1601, wandering aimlessly along the château's corridors dressed in mourning clothes, amidst sombre black tapestries stitched with skulls and crossbones.
Henri IV obtained Chenonceau for his mistress Gabrielle d'Estrées by paying the debts of Catherine de' Medici, which had been inherited by Louise and were threatening to ruin her. In return, Louise left the château to her niece Françoise de Lorraine, at that time six years old and betrothed to the four-year-old César de Bourbon, duc de Vendôme, the natural son of Gabrielle d'Estrées and Henri IV. The château belonged to the Duc de Vendôme and his descendants for more than a hundred years. The Bourbons had little interest in the château, except for hunting. In 1650, Louis XIV was the last king of the ancien régime to visit.
The Château de Chenonceau was bought by the Duke of Bourbon in 1720. Little by little, he sold off all of the castle's contents. Many of the fine statues ended up at Versailles.
In 1733 the estate was sold for 130,000 livres to a wealthy squire named Claude Dupin. His wife, Louise Dupin, was the natural daughter of the financier Samuel Bernard and the actress Manon Dancourt, whose mother was also an actress who had joined the Comédie Française in 1684. Louise Dupin was "an intelligent, beautiful, and highly cultivated woman who had the theatre in her blood." Claude Dupin, a widower, had a son, Louis Claude, from his first wife Marie-Aurore de Saxe, who was the grandmother of George Sand (born Aurore Dupin).
Louise Dupin's literary salon at Chenonceau attracted such leaders of the Enlightenment as the writers Voltaire, Montesquieu, and Fontenelle, the naturalist Buffon, the playwright Marivaux, the philosopher Condillac, as well as the Marquise de Tencin and the Marquise du Deffand. Jean-Jacques Rousseau was Dupin's secretary and tutored her son. Rousseau, who worked on Émile at Chenonceau, wrote in his Confessions: "We played music there and staged comedies. I wrote a play in verse entitled Sylvie's Path, after the name of a path in the park along the Cher."
The widowed Louise Dupin saved the château from destruction during the French Revolution, preserving it from being destroyed by the Revolutionary Guard because "it was essential to travel and commerce, being the only bridge across the river for many miles."
In 1864 Marguerite Pelouze [fr ], a rich heiress, acquired the château. Around 1875 she commissioned the architect Félix Roguet to restore it. He almost completely renewed the interior and removed several of Catherine de' Medici's additions, including the rooms between the library and the chapel and her alterations to the north facade, among which were figures of Hercules, Pallas, Apollo, and Cybele that were moved to the park. With the money Marguerite spent on these projects and elaborate parties, her finances were depleted, and the château was seized and sold.
José-Emilio Terry, a Cuban millionaire, acquired Chenonceau from Madame Pelouze in 1891. Terry sold it in 1896 to a family member, Francisco Terry. In 1913, the château was acquired by Henri Menier, a member of the Menier family, famous for their chocolates, who still own it to this day.
During World War I Gaston Menier set up the gallery to be used as a hospital ward. During the Second World War, the château was bombed by the Germans in June 1940.[20] It was also a means of escaping from the Nazi-occupied zone on one side of the river Cher to the "free" zone on the opposite bank. Occupied by the Germans, the château was bombed by the Allies on 7 June 1944, when the chapel was hit and its windows destroyed.
In 1951, the Menier family entrusted the château's restoration to Bernard Voisin, who brought the dilapidated structure and the gardens (ravaged in the Cher flood in 1940) back to a reflection of its former glory.
Chenonceaux is a commune in the French department of Indre-et-Loire, and the region of Centre-Val de Loire, France.
It is situated in the valley of the river Cher, a tributary of the Loire, about 26 km (16 mi) east of Tours and on the right bank of the Cher.
The population of permanent residents hovers about 350, but there is a large influx of tourists during the summer months because the village adjoins the former royal Château de Chenonceau, one of the most popular tourist destinations in France. The château is distinctive in being built across the river. The village is also situated in Touraine-Chenonceaux wine-growing area, and bordered on its northern edge by the Forest of Amboise.
Name
The difference in spelling between the Château's name (Chenonceau) and the village (Chenonceaux) is attributed to Louise Dupin de Francueil, owner of the château during the French Revolution, who is said to have dropped the "x" at the end of its name to differentiate what was a symbol of royalty from the Republic. As a result of her good relations with the village, the Château was spared the iconoclastic damage suffered by many other monuments during the Revolution. Although no official sources have been found to support this claim, the Château has ever since been referred to and spelled as Chenonceau.
Mme Dupin hosted the philosopher Jean-Jacques Rousseau in Chenonceau as tutor to her children, and among her descendants was the writer George Sand, born Aurore Dupin.
Philibert de l'Orme (pronounced [filibɛːʁ də lɔʁm]) (3-9 June 1514 – 8 January 1570) was a French architect and writer, and one of the great masters of French Renaissance architecture. His surname is also written De l'Orme, de L'Orme, or Delorme.
Biography
Early career
Philbert de l'Orme was born between 3 and 9 June 1514 in Lyon. His father was Jehan de L'Orme, a master mason and entrepreneur, who, in the 1530s, employed three hundred workers and built prestigious buildings for the elite of the city.[3] When Philibert was nineteen he departed Lyon for Italy, where he remained for three years, working on building projects for Pope Paul III. In Rome he was introduced to Cardinal Jean du Bellay, the Ambassador of King François I to the Vatican, who became his protector and client. Du Bellay was also the patron of his friend Francois Rabelais. In about 1540 de l'Orme moved to Paris, and was soon occupied with royal projects.
Royal architect of Henry II (1548-1559)
On April 3, 1548 he was a named architect of the King by Henry II. For a period of eleven years, he supervised all of the King's architectural projects, with the exception of changes to the Louvre, which were planned by another royal architect, Pierre Lescot. His major projects included the Château de St Maur-des-Fossés, the Château d'Anet, the Château de Chenonceau in the Loire Valley; the royal Château de Madrid in the Bois de Boulogne; the Château de Vincennes, and major modifications to the Palace of Fontainebleau.
He also made a reputation as a writer and theorist, and as an innovator in building techniques. He invented a new system for making the essential wooden frameworks for constructing stone buildings, called charpente à petits bois, which was quicker and less expensive than previous methods and used much less wood. He demonstrated it before the King in 1555, and put it to work in construction at the new royal Château de Montceaux and at the royal hunting lodge La Muette [fr] in the Forest of Saint-Germain-en-Laye.
Out of favor - architectural theorist (1559-1563)
The death of Henry II of France on July 10, 1559 suddenly left him without a patron and at the mercy of rival architects who resented his success and his style. Two days later, on 10 July, he was dismissed from his official posts, and replaced by an Italian artist and architect, Francesco Primaticcio, whose work was much in fashion. He had joined a religious order, and decided to turn his attention to meditation, scholarship and writing. He made another trip to Rome to inspect the new works of Michelangelo. Beginning in 1565 wrote the first volume of a work on architectural theory, which was scientific and philosophical. It was published in 1567, and was followed by new editions after his death in 1576, 1626 and 1648.
Royal architect again (1563-1570)
Under Charles IX and Catherine de Medici, he returned to royal favor. He was employed on the enlargement of the Chateau of Saint Maur (1563) and, along with Jean Bullant, on additions to the Tuileries Palace (1564). He died in Paris in 1570, while this project was underway.
Reputation
In the 17th century, during the period of Louis XIV style that followed his death, his reputation suffered. The grand stairway that he built at the Tuileries Palace was demolished in 1664, as was his Château de Saint-Léger in 1668, to make way for classical structures. In 1683, he was denounced by François Blondel of the Royal Academy for his "villainous Gothic ornaments" and his "petty manner". Nonetheless, his two major theoretical works on construction and design continued to be important textbooks, and were regularly republished and read.
His reputation rose again in the 18th century, through the writings of Dezallier d'Argenville, who wrote in 1787 that he had "abandoned the Gothic covering in order to redress French architecture in the style Ancient Greece." D'Argenville wrote the first biography and catalog of works. Though few of his building survived to be studied carefully, later important academic works on de l'Orme were written in the 19th and 20th centuries by art historians including H. Clouzot and Anthony Blunt.
One of De l'Orme's primary accomplishments was to change the way architects trained and studied. He insisted that architects needed formal education in classical architecture, as well as in geometry and astronomy and the sciences, but also needed practical experience in construction. He himself was an accomplished scholar of ancient Greek and Roman architecture, as well as a humanist scholar. He argued that architects needed to be able to design and manage every aspect of the building, from the volumes to the lambris to adding up the cost, making detailed three-dimensional drawings of vaults, judging if wood was dry enough, and knowing to stop digging the foundation when the first sand was encountered. He had scorn for those architects who could design a facade but had no knowledge actual construction. His opponents scorned him for his background as the son of a masonry contractor. He was referred to by Bernard Palissy as "The god of the stone masons", which deeply offended him.
His other major accomplishment was to resist the tendency to simply copy Italian architectural styles; he traveled and studied in Italy, and borrowed much, but he always added a distinctly French look to each of his projects.
The first major building of de l'Orme was the Château of Saint Maur (1541), built for the Cardinal Jean du Bellay, whom de l'Orme had met during his time in Rome. Its plan showed the influence of the Italian villas; and, like the Italian buildings, it was decorated with frescoes.
Much of his work has disappeared, but his fame remains. He was an ardent humanist and student of the antique, he yet vindicated resolutely the French tradition in opposition to Italian tendencies; he was a man of independent mind and a vigorous originality. His masterpiece was the Château d'Anet (1552–1559), built for Diane de Poitiers, the plans of which are preserved in Jacques Androuet du Cerceau's Plus excellens bastimens de France, though only part of the building remains. His designs for the Tuileries (also given by Androuet du Cerceau), begun by Catherine de' Medici in 1565, were magnificent. His work is also seen at Chenonceau and other famous châteaux; and his tomb of Francis I at Saint Denis Basilica remains a perfect specimen of his art.
The most easily viewed work of de l'Orme in Paris is the court facade of the Chateau d'Anet, which was moved to Paris after a major portion of the chateau was demolished, to illustrate for students the major works of the French Renaissance. It is attached to the front wall of the chapel of the Ecole des Beaux-Arts, and is visible from Rue Bonaparte.
Partial list of works
Château de Saint-Maur (1541), demolished in 1796
Tomb of François Ie in the Basilica of Saint-Denis, Paris (1547)
Château d'Anet (1547-1555), built for Diane de Poitiers. Only one wing remains.
Plans of the Chapel of Saint-Éloi, Paris (1550-1566), (Long attributed, but not documented. Only a portion of the facade remains)
Attribution du château d'Acquigny
Facade of the residence of the Vicomte of the Duchy of Uzès (attributed)
Completion of Sainte-Chapelle at the Château de Vincennes (1552)
Château de Villers-Cotterêts, southern portion( 1547-1559)
Chapel of the Château of Villers-Cotterêts (1552-1553)
Royal Château of Saint-Léger-en-Yvelines (demolished)
Château de Meudon (attributed)
Château de Montceaux
Château de Thoiry (1560s)
The bridge upon which the Château de Chenonceau is constructed
Portions of the Louvre
Portions of the new Chateau of Saint-Germain-en-Laye
Portal of Château d'Écouen, now the National Museum of the French Renaissance (mid 16th century). The wing he designed was destroyed in 1787, but vestiges are displayed inside the Chateau.
Roofs of the towers of the Château de Bonnemare.
... et le chat mais il est pas dans la chanson !
Comme un enfant aux yeux de lumière
Qui voit passer au loin les oiseaux
Comme l'oiseau bleu survolant la Terre
Vois comme le monde, le monde est beau
Beau le bateau, dansant sur les vagues
Ivre de vie, d'amour et de vent
Belle la chanson naissante des vagues
Abandonnée au sable blanc
Blanc l'innocent, le sang du poète
Qui en chantant, invente l'amour
Pour que la vie s'habille de fête
Et que la nuit se change en jour
Jour d'une vie où l'aube se lève
Pour réveiller la ville aux yeux lourds
Où les matins effeuillent les rêves
Pour nous donner un monde d'amour
L'amour c'est toi, l'amour c'est moi
L'oiseau c'est toi, l'enfant c'est moi.
Moi je ne suis qu'une fille de l'ombre
Qui voit briller l'étoile du soir
Toi mon étoile qui tisse ma ronde
Viens allumer mon soleil noir
Noire la misère, les hommes et la guerre
Qui croient tenir les rênes du temps
Pays d'amour n'a pas de frontière
Pour ceux qui ont un cœur d'enfant
Comme un enfant aux yeux de lumière
Qui voit passer au loin les oiseaux
Comme l'oiseau bleu survolant la terre
Nous trouverons ce monde d'amour
L'amour c'est toi, l'amour c'est moi
L'oiseau c'est toi, l'enfant c'est moi
L'amour c'est toi, l'amour c'est moi
L'oiseau c'est toi, l'enfant c'est moi.
C'est tarte, non ?
Mais depuis on n'a pas fait mieux... pour l'Eurovision !
Inventamos palabras que da gusto, todo con tal de no querer ver la de pobres que tenemos! :)
Cuando una realidad resulta incómoda, la sociedad huye de ella de dos maneras: o no mencionándola –esa vieja superstición conforme a la cual lo que no se nombra no existe- o adjudicándole un bonito término que al designarla la suavice, la embellezca, la haga menos insoportable. No digamos vagabundo, mendigo, indigente, necesitado o pobre. Llamémosle «sintecho». Es un neologismo con cierto aroma poético, que si ha prosperado en el uso común es probablemente debido a que antepone la metáfora a la denuncia. Un sintecho –escríbase así, todo junto- no tiene dónde caerse muerto, como decían más descarnadamente nuestros mayores, carece de trabajo, de domicilio, de alimentos y de compañía, pero el lenguaje prefiere fijarse sólo en una sola de sus privaciones, como si así las demás quedaran resueltas. Para referirse no a los individuos, sino al problema en general, aunque algunos especialistas hablan de «sintechismo», el término más extendido es «sinhogarismo», un calco de «homelessness» inglés. Sinhogarismo es, por así decirlo, la denominación técnica oficial del fenómeno. Pero tanto da: no tener techo, no tener casa, todo viene a ser igual. Hay quienes rizando el rizo se inclinan por «transeuntismo», sin percatarse de que transeúntes son todos los que se desplazan de un lugar a otro y en especial por la vía pública. Pero quizá sea deliberado, pues de esa manera el miserable se confunde entre la multitud de paseantes ociosos, de peatones acomodados, de viajeros ajenos a cualquier problema que también llevan la etiqueta de «transeúntes». Complicado asunto, éste de poner nombres a la pobreza.
Publicado en el suplemento cultural 'Territorios' de El Correo, 19.9.09.
Bitcoin (₿) is a cryptocurrency invented in 2008 by an unknown person or group of people using the name Satoshi Nakamoto and started in 2009, when its implementation was released as open-source software.
traveladventureeverywhere.blogspot.com/2024/06/saint-pete...
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
ALBANIA
Albanian Trilogy: A Series of Devious Stratagems
Armando Lulaj
Commissioner: Ministry of Culture. Curator: Marco Scotini. Deputy Curator: Andris Brinkmanis. Venue: Pavilion at Arsenale
ANDORRA
Inner Landscapes
Roqué, Joan Xandri
Commissioner: Henry Périer. Deputy Commissioner: Joana Baygual, Sebastià Petit, Francesc Rodríguez
Curator: Paolo de Grandis, Josep M. Ubach. Venue: Spiazzi, Castello 3865
ANGOLA
On Ways of Travelling
António Ole, Binelde Hyrcan, Délio Jasse, Francisco Vidal, Nelo Teixeira
Commissioner: Ministry of Culture, Rita Guedes Tavares. Curator: António Ole. Deputy Curator: Antonia Gaeta. Venue: Conservatorio Benedetto Marcello - Palazzo Pisani, San Marco 2810
ARGENTINA
The Uprising of Form
Juan Carlos Diste´fano
Commissioner: Magdalena Faillace. Curator: Mari´a Teresa Constantin. Venue: Pavilion at Arsenale – Sale d’Armi
ARMENIA, Republic of
Armenity / Haiyutioun
Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brazil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK
Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the World, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue: Monastery and Island of San Lazzaro degli Armeni
AUSTRALIA
Fiona Hall: Wrong Way Time
Fiona Hall
Commissioner: Simon Mordant AM. Deputy Commissioner: Charles Green. Curator: Linda Michael. Scientific Committee: Simon Mordant AM, Carolyn Christov-Bakargiev, Max Delany, Rachel Kent, Danie Mellor, Suhanya Raffel, Leigh Robb. Venue: Pavilion at Giardini
AUSTRIA
Heimo Zobernig
Commissioner: Yilmaz Dziewior. Curator: Yilmaz Dziewior. Scientific Committee: Friends of the Venice Biennale. Venue: Pavilion at Giardini
AZERBAIJAN, Republic of
Beyond the Line
Ashraf Murad, Javad Mirjavadov, Tofik Javadov, Rasim Babayev, Fazil Najafov, Huseyn Hagverdi, Shamil Najafzada
Commissioner: Heydar Aliyev Foundation. Curators: de Pury de Pury, Emin Mammadov. Venue: Palazzo Lezze, Campo S.Stefano, San Marco 2949
Vita Vitale
Edward Burtynsky, Mircea Cantor, Loris Cecchini, Gordon Cheung, Khalil Chishtee, Tony Cragg, Laura Ford, Noemie Goudal, Siobhán Hapaska, Paul Huxley, IDEA laboratory and Leyla Aliyeva, Chris Jordan with Rebecca Clark and Helena S.Eitel, Tania Kovats, Aida Mahmudova, Sayyora Muin, Jacco Olivier, Julian Opie, Julian Perry, Mike Perry, Bas Princen, Stephanie Quayle, Ugo Rondinone, Graham Stevens, Diana Thater, Andy Warhol, Bill Woodrow, Erwin Wurm, Rose Wylie
Commissioner: Heydar Aliyev Foundation. Curators: Artwise: Susie Allen, Laura Culpan, Dea Vanagan. Venue: Ca’ Garzoni, San Marco 3416
BELARUS, Republic of
War Witness Archive
Konstantin Selikhanov
Commissioner: Natallia Sharanhovich. Deputy Commissioners: Alena Vasileuskaya, Kamilia Yanushkevich. Curators: Aleksei Shinkarenko, Olga Rybchinskaya. Scientific Committee: Dmitry Korol, Daria Amelkovich, Julia Kondratyuk, Sergei Jeihala, Sheena Macfarlane, Yuliya Heisik, Hanna Samarskaya, Taras Kaliahin, Aliaksandr Stasevich. Venue: Riva San Biagio, Castello 2145
BELGIUM
Personnes et les autres
Vincent Meessen and Guests, Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimara~es & Kasper Akhøj, Maryam Jafri, Adam Pendleton
Commissioner: Wallonia-Brussels Federation and Wallonia-Brussels International. Curator: Katerina Gregos. Venue: Pavilion at Giardini
COSTA RICA
"Costa Rica, Paese di pace, invita a un linguaggio universale d'intesa tra i popoli".
Andrea Prandi, Beatrice Gallori, Beth Parin, Biagio Schembari, Carla Castaldo, Celestina Avanzini, Cesare Berlingeri, Erminio Tansini, Fabio Capitanio, Fausto Beretti, Giovan Battista Pedrazzini, Giovanni Lamberti, Giovanni Tenga, Iana Zanoskar, Jim Prescott, Leonardo Beccegato, Liliana Scocco, Lucia Bolzano, Marcela Vicuna, Marco Bellagamba, Marco Lodola, Maria Gioia dell’Aglio, Mario Bernardinello, Massimo Meucci, Nacha Piattini, Omar Ronda, Renzo Eusebi, Tita Patti, Romina Power, Rubens Fogacci, Silvio di Pietro, Stefano Sichel, Tino Stefanoni, Ufemia Ritz, Ugo Borlenghi, Umberto Mariani, Venere Chillemi, Jacqueline Gallicot Madar, Massimo Onnis, Fedora Spinelli
Commissioner: Ileana Ordonez Chacon. Curator: Gregorio Rossi. Venue: Palazzo Bollani
CROATIA
Studies on Shivering: The Third Degree
Damir Ocko
Commissioner: Ministry of Culture. Curator: Marc Bembekoff. Venue: Palazzo Pisani, S. Marina
CUBA
El artista entre la individualidad y el contexto
Lida Abdul, Celia-Yunior, Grethell Rasúa, Giuseppe Stampone, LinYilin, Luis Edgardo Gómez Armenteros, Olga Chernysheva, Susana Pilar Delahante Matienzo
Commissioner: Miria Vicini. Curators: Jorge Fernández Torres, Giacomo Zaza. Venue: San Servolo Island
CYPRUS, Republic of
Two Days After Forever
Christodoulos Panayiotou
Commissioner: Louli Michaelidou. Deputy Commissioner: Angela Skordi. Curator: Omar Kholeif. Deputy Curator: Daniella Rose King. Venue: Palazzo Malipiero, Sestiere San Marco 3079
CZECH Republic and SLOVAK Republic
Apotheosis
Jirí David
Commissioner: Adam Budak. Deputy Commissioner: Barbara Holomkova. Curator: Katarina Rusnakova. Venue: Pavilion at Giardini
ECUADOR
Gold Water: Apocalyptic Black Mirrors
Maria Veronica Leon Veintemilla in collaboration with Lucia Vallarino Peet
Commissioner: Andrea Gonzàlez Sanchez. Deputy Commissioner: PDG Arte Communications. Curator: Ileana Cornea. Deputy Curator: Maria Veronica Leon Veintemilla. Venue: Istituto Santa Maria della Pietà, Castello 3701
ESTONIA
NSFW. From the Abyss of History
Jaanus Samma
Commissioner: Maria Arusoo. Curator: Eugenio Viola. Venue: Palazzo Malipiero, campo San Samuele, San Marco 3199
EGYPT
CAN YOU SEE
Ahmed Abdel Fatah, Gamal Elkheshen, Maher Dawoud
Commissioner: Hany Al Ashkar. Curator: Ministry of Culture. Venue: Pavilion at Giardini
FINLAND (Pavilion Alvar Aalto)
Hours, Years, Aeons
IC-98
Commissioner: Frame Visual Art Finland, Raija Koli. Curator: Taru Elfving. Deputy Curator: Anna Virtanen. Venue: Pavilion at Giardini
FRANCE
revolutions
Céleste Boursier-Mougenot
Commissioner: Institut français, with Ministère de la Culture et de la Communication. Curator: Emma Lavigne. Venue: Pavilion at Giardini
GEORGIA
Crawling Border
Rusudan Gobejishvili Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Joseph Sabia
Commissioner: Ana Riaboshenko. Curator: Nia Mgaloblishvili. Venue: Pavilion at Arsenale – Sale d’Armi
GERMANY
Fabrik
Jasmina Metwaly / Philip Rizk, Olaf Nicolai, Hito Steyerl, Tobias Zielony
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office. Deputy Commissioner: Elke aus dem Moore, Nina Hülsmeier. Curator: Florian Ebner. Deputy Curator: Tanja Milewsky, Ilina Koralova. Venue: Pavilion at Giardini
GREAT BRITAIN
Sarah Lucas
Commissioner: Emma Dexter. Curator: Richard Riley. Deputy Curator: Katrina Schwarz. Venue: Pavilion at Giardini
GRENADA *
Present Nearness
Oliver Benoit, Maria McClafferty, Asher Mains, Francesco Bosso and Carmine Ciccarini, Guiseppe Linardi
Commissioner: Ministry of Culture. Deputy Commissioner: Susan Mains. Curator: Susan Mains. Deputy Curator: Francesco Elisei. Venue: Opera don Orione Artigianelli, Sala Tiziano, Fondamenta delle Zattere ai Gesuati, Dorsoduro 919
GREECE
Why Look at Animals? AGRIMIKÁ.
Maria Papadimitriou
Commissioner: Hellenic Ministry of Culture, Education and Religious Affairs. Curator: Gabi Scardi. Deputy Curator: Alexios Papazacharias. Venue: Pavilion at Giardini
BRAZIL
So much that it doesn't fit here
Antonio Manuel, André Komatsu, Berna Reale
Commissioner: Luis Terepins. Curator: Luiz Camillo Osorio. Deputy Curator: Cauê Alves. Venue: Pavilion at Giardini
CANADA
Canadassimo
BGL
Commissioner: National Gallery of Canada, Marc Mayer. Deputy Commissioner: National Gallery of Canada, Yves Théoret. Curator: Marie Fraser. Venue: Pavilion at Giardini
CHILE
Poéticas de la disidencia | Poetics of dissent: Paz Errázuriz - Lotty Rosenfeld
Paz Errázuriz, Lotty Rosenfeld
Commissioner: Antonio Arèvalo. Deputy Commissioner: Juan Pablo Vergara Undurraga. Curator: Nelly Richard. Venue: Pavilion at Arsenale - Artiglierie
CHINA, People’s Republic of
Other Future
LIU Jiakun, LU Yang, TAN Dun, WEN Hui/Living Dance Studio, WU Wenguang/Caochangdi Work Station
Commissioner: China Arts and Entertainment Group, CAEG. Deputy Commissioners: Zhang Yu, Yan Dong. Curator: Beijing Contemporary Art Foundation. Scientific Committee: Fan Di’an, Zhang Zikang, Zhu Di, Gao Shiming, Zhu Qingsheng, Pu Tong, Shang Hui. Venue: Pavilion at Arsenale – Giardino delle Vergini
GUATEMALA
Sweet Death
Emma Anticoli Borza, Sabrina Bertolelli, Mariadolores Castellanos, Max Leiva, Pier Domenico Magri, Adriana Montalto, Elmar Rojas (Elmar René Rojas Azurdia), Paolo Schmidlin, Mónica Serra, Elsie Wunderlich, Collettivo La Grande Bouffe
Commissioner: Daniele Radini Tedeschi. Curators: Stefania Pieralice, Carlo Marraffa, Elsie Wunderlich. Deputy Curators: Luciano Carini, Simone Pieralice. Venue: Officina delle Zattere, Dorsoduro 947, Fondamenta Nani
HOLY SEE
Commissioner: Em.mo Card. Gianfranco Ravasi, Presidente del Pontificio Consiglio della Cultura. Venue: Pavilion at Arsenale – Sale d’Armi
HUNGARY
Sustainable Identities
Szilárd Cseke
Commissioner: Monika Balatoni. Deputy Commissioner: István Puskás, Sándor Fodor, Anna Karády. Curator: Kinga German. Venue: Pavilion at Giardini
ICELAND
Christoph Büchel
Commissioner: Björg Stefánsdóttir. Curator: Nína Magnúsdóttir. Venue: to be confirmed
INDONESIA, Republic of
Komodo Voyage
Heri Dono
Commissioner: Sapta Nirwandar. Deputy Commissioner: Soedarmadji JH Damais. Curator: Carla Bianpoen, Restu Imansari Kusumaningrum. Scientific Committee: Franco Laera, Asmudjo Jono Irianto, Watie Moerany, Elisabetta di Mambro. Venue: Venue: Arsenale
IRAN
Iranian Highlights
Samira Alikhanzaradeh, Mahmoud Bakhshi Moakhar, Jamshid Bayrami, Mohammed Ehsai
The Great Game
Lida Abdul, Bani Abidi, Adel Abidin, Amin Agheai, Ghodratollah Agheli, Shahriar Ahmadi, Parastou Ahovan, Farhad Ahrarnia, Rashad Alakbarov, Nazgol Ansarinia, Reza Aramesh, Alireza Astaneh, Sonia Balassanian, Mahmoud Bakhshi, Moakhar Wafaa Bilal, Mehdi Farhadian, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Shilpa Gupta, Ghasem Hajizadeh, Shamsia Hassani, Sahand Hesamiyan, Sitara Ibrahimova, Pouran Jinchi, Amar Kanwar, Babak Kazemi, Ryas Komu, Ahmad Morshedloo, Farhad Moshiri, Mehrdad Mohebali, Huma Mulji, Azad Nanakeli, Jamal Penjweny, Imran Qureshi, Sara Rahbar, Rashid Rana, T.V. Santhosh, Walid Siti, Mohsen Taasha Wahidi, Mitra Tabrizian, Parviz Tanavoli, Newsha Tavakolian, Sadegh Tirafkan, Hema Upadhyay, Saira Wasim
Commissioner: Majid Mollanooruzi. Deputy Commissioners: Marco Meneguzzo, Mazdak Faiznia. Curators: Marco Meneguzzo, Mazdak Faiznia. Venue: Calle San Giovanni 1074/B, Cannaregio
IRAQ
Commissioner: Ruya Foundation for Contemporary Culture in Iraq (RUYA). Deputy Commissioner: Nuova Icona - Associazione Culturale per le Arti. Curator: Philippe Van Cauteren. Venue: Ca' Dandolo, San Polo 2879
IRELAND
Adventure: Capital
Sean Lynch
Commissioner: Mike Fitzpatrick. Curator: Woodrow Kernohan. Venue: Pavilion at Arsenale - Artiglierie
ISRAEL
Tsibi Geva | Archeology of the Present
Tsibi Geva
Commissioner: Arad Turgem, Michael Gov. Curator: Hadas Maor. Venue: Pavilion at Giardini
ITALY
Ministero dei Beni e delle attività culturali e del turismo - Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. Commissioner: Federica Galloni. Curator: Vincenzo Trione. Venue: Padiglione Italia, Tese delle Vergini at Arsenale
JAPAN
The Key in the Hand
Chiharu Shiota
Commissioner: The Japan Foundation. Deputy Commissioner: Yukihiro Ohira, Manako Kawata and Haruka Nakajima. Curator: Hitoshi Nakano. Venue : Pavilion at Giardini
KENYA
Creating Identities
Yvonne Apiyo Braendle-Amolo, Qin Feng, Shi Jinsong, Armando Tanzini, Li Zhanyang, Lan Zheng Hui, Li Gang, Double Fly Art Center
Commissioner: Paola Poponi. Curator: Sandro Orlandi Stagl. Deputy Curator: Ding Xuefeng. Venue: San Servolo Island
KOREA, Republic of
The Ways of Folding Space & Flying
MOON Kyungwon & JEON Joonho
Commissioner: Sook-Kyung Lee. Curator: Sook-Kyung Lee. Venue: Pavilion at Giardini
KOSOVO, Republic of
Speculating on the blue
Flaka Haliti
Commissioner: Ministry of Culture, Youth and Sports. Curator: Nicolaus Schafhausen. Deputy Curator: Katharina Schendl. Venue: Pavilion at Arsenale - Artiglierie
LATVIA
Armpit
Katrina Neiburga, Andris Eglitis
Commissioner: Solvita Krese (Latvian Centre for Contemporary Art). Deputy Commissioner: Kitija Vasiljeva. Curator: Kaspars Vanags. Venue: Pavilion at Arsenale
LITHUANIA
Museum
Dainius Liškevicius
Commissioner: Vytautas Michelkevicius. Deputy Commissioner: Rasa Antanaviciute. Curator: Vytautas Michelkevicius. Venue: Palazzo Zenobio, Fondamenta del Soccorso 2569, Dorsoduro
LUXEMBOURG, Grand Duchy of
Paradiso Lussemburgo
Filip Markiewicz
Commissioner: Ministry of Culture. Deputy Commissioner: MUDAM Luxembourg. Curator: Paul Ardenne. Venue: Cà Del Duca, Corte del Duca Sforza, San Marco 3052
MACEDONIA, Former Yugoslavian Republic of
We are all in this alone
Hristina Ivanoska and Yane Calovski
Commissioner: Maja Nedelkoska Brzanova, National Gallery of Macedonia. Deputy Commissioner: Olivija Stoilkova. Curator: Basak Senova. Deputy Curator: Maja Cankulovska Mihajlovska. Venue: Pavilion at Arsenale - Sale d’Armi
MAURITIUS *
From One Citizen You Gather an Idea
Sultana Haukim, Nirmal Hurry, Alix Le Juge, Olga Jürgenson, Helge Leiberg, Krishna Luchoomun, Neermala Luckeenarain, Kavinash Thomoo, Bik Van Der Pol, Laure Prouvost, Vitaly Pushnitsky, Römer + Römer
Commissioner: pARTage. Curators: Alfredo Cramerotti, Olga Jürgenson. Venue: Palazzo Flangini - Canareggio 252
MEXICO
Possesing Nature
Tania Candiani, Luis Felipe Ortega
Commissioner: Tomaso Radaelli. Deputy Commissioner: Magdalena Zavala Bonachea. Curator: Karla Jasso. Venue: Pavilion at Arsenale – Sale d’Armi
MONGOLIA *
Other Home
Enkhbold Togmidshiirev, Unen Enkh
Commissioner: Gantuya Badamgarav, MCASA. Curator: Uranchimeg Tsultemin. Scientific Committee: David A Ross, Boldbaatar Chultemin. Venue: European Cultural Centre - Palazzo Mora
MONTENEGRO
,,Ti ricordi Sjecaš li se You Remember "
Aleksandar Duravcevic
Commissioner/Curator: Anastazija Miranovic. Deputy Commissioner: Danica Bogojevic. Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE, Republic of *
Theme: Coexistence of Tradition and Modernity in Contemporary Mozambique
Mozambique Artists
Commissioner: Joel Matias Libombo. Deputy Commissioner: Gilberto Paulino Cossa. Curator: Comissariado-Geral para a Expo Milano 2015. Venue: Pavilion at Arsenale
NETHERLANDS, The
herman de vries - to be all ways to be
herman de vries
Commissioner: Mondriaan Fund. Curators: Colin Huizing, Cees de Boer. Venue: Pavilion ar Giardini
NEW ZEALAND
Secret Power
Simon Denny
Commissioner: Heather Galbraith. Curator: Robert Leonard. Venue: Biblioteca Nazionale Marciana, Marco Polo Airport
NORDIC PAVILION (NORWAY)
Camille Norment
Commissioner: OCA, Office for Contemporary Art Norway. Curator: Katya García-Antón. Deputy Curator: Antonio Cataldo. Venue: Pavilion at Giardini
PERU
Misplaced Ruins
Gilda Mantilla and Raimond Chaves
Commissioner: Armando Andrade de Lucio. Curator: Max Hernández-Calvo. Venue: Pavilion at Arsenale – Sale d’Armi
PHILIPPINES
Tie a String Around the World
Manuel Conde, Carlos Francisco, Manny Montelibano, Jose Tence Ruiz
Commissioner: National Commission for Culture and the Arts (NCCA), Felipe M. de Leon Jr. Curator: Patrick D. Flores. Venue: European Cultural Centre - Palazzo Mora
POLAND
Halka/Haiti. 18°48’05”N 72°23’01”W
C.T. Jasper, Joanna Malinowska
Commissioner: Hanna Wróblewska. Deputy Commissioner: Joanna Wasko. Curator: Magdalena Moskalewicz. Venue: Pavilion at Giardini
PORTUGAL
I Will Be Your Mirror / poems and problems
João Louro
Commissioner/Curator: María de Corral. Venue: Palazzo Loredan, campo S. Stefano
ROMANIA
Adrian Ghenie: Darwin’s Room
Adrian Ghenie
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Mihai Pop. Venue: Pavilion at Giardini
Inventing the Truth. On Fiction and Reality
Michele Bressan, Carmen Dobre-Hametner, Alex Mirutziu, Lea Rasovszky, Stefan Sava, Larisa Sitar
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Diana Marincu. Deputy Curators: Ephemair Association (Suzana Dan and Silvia Rogozea). Venue: New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice
RUSSIA
The Green Pavilion
Irina Nakhova
Commissioner: Stella Kesaeva. Curator: Margarita Tupitsyn. Venue: Pavilion at Giardini
SERBIA
United Dead Nations
Ivan Grubanov
Commissioner: Lidija Merenik. Deputy Commissioner: Ana Bogdanovic. Curator: Lidija Merenik. Deputy Curator: Ana Bogdanovic. Scientific Committee: Jovan Despotovic. Venue: Pavilion at Giardini
SAN MARINO
Repubblica di San Marino “ Friendship Project “ China
Xu De Qi, Liu Dawei, Liu Ruo Wang, Ma Yuan, Li Lei, Zhang Hong Mei, Eleonora Mazza, Giuliano Giulianelli, Giancarlo Frisoni, Tony Margiotta, Elisa Monaldi, Valentina Pazzini
Commissioner: Istituti Culturali della Repubblica di San Marino. Curator: Vincenzo Sanfo. Venue: TBC
SEYCHELLES, Republic of *
A Clockwork Sunset
George Camille, Léon Wilma Loïs Radegonde
Commissioner: Seychelles Art Projects Foundation. Curators: Sarah J. McDonald, Victor Schaub Wong. Venue: European Cultural Centre - Palazzo Mora
SINGAPORE
Sea State
Charles Lim Yi Yong
Commissioner: Paul Tan, National Arts Council, Singapore. Curator: Shabbir Hussain Mustafa. Scientific Committee: Eugene Tan, Kathy Lai, Ahmad Bin Mashadi, June Yap, Emi Eu, Susie Lingham, Charles Merewether, Randy Chan. Venue: Pavilion at Arsenale – Sale d’Armi
SLOVENIA, Republic of
UTTER / The violent necessity for the embodied presence of hope
JAŠA
Commissioner: Simona Vidmar. Deputy Commissioner: Jure Kirbiš. Curators: Michele Drascek and Aurora Fonda. Venue: Pavilion at Arsenale - Artiglierie
SPAIN
Los Sujetos (The Subjects)
Pepo Salazar, Cabello/Carceller, Francesc Ruiz, + Salvador Dalí
Commissioner: Ministerio Asuntos Exteriores. Gobierno de España. Curator: Marti Manen. Venue: Pavilion at Giardini
SYRIAN ARAB REPUBLIC
Origini della civiltà
Narine Ali, Ehsan Alar, Felipe Cardeña, Fouad Dahdouh, Aldo Damioli, Svitlana Grebenyuk, Mauro Reggio, Liu Shuishi, Nass ouh Zaghlouleh, Andrea Zucchi, Helidon Xhixha
Commissioner: Christian Maretti. Curator: Duccio Trombadori. Venue: Redentore – Giudecca, San Servolo Island
SWEDEN
Excavation of the Image: Imprint, Shadow, Spectre, Thought
Lina Selander
Commissioner: Ann-Sofi Noring. Curator: Lena Essling. Venue: Pavilion at Arsenale
SWITZERLAND
Our Product
Pamela Rosenkranz
Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic and Marianne Burki. Deputy-Commissioner: Swiss Arts Council Pro Helvetia, Rachele Giudici Legittimo. Curator: Susanne Pfeffer. Venue: Pavilion at Giardini
THAILAND
Earth, Air, Fire & Water
Kamol Tassananchalee
Commissioner: Chai Nakhonchai, Office of Contemporary Art and Culture (OCAC), Ministry of Culture. Curator: Richard David Garst. Deputy Curator: Pongdej Chaiyakut. Venue: Paradiso Gallerie, Giardini della Biennale, Castello 1260
TURKEY
Respiro
Sarkis
Commissioner: Istanbul Foundation for Culture and Arts. Curator: Defne Ayas. Deputy Curator: Ozge Ersoy. Venue: Pavilion at Arsenale – Sale d’Armi
TUVALU
Crossing the Tide
Vincent J.F. Huang
Commissioner: Taukelina Finikaso. Deputy Commissioner: Temate Melitiana. Curator: Thomas J. Berghuis. Scientific Committee: Andrea Bonifacio. Venue: Pavilion at Arsenale
UKRAINE
Hope!
Yevgenia Belorusets, Nikita Kadan, Zhanna Kadyrova, Mykola Ridnyi & SerhiyZhadan, Anna Zvyagintseva, Open Group, Artem Volokitin
Commissioner: Ministry of Culture. Curator: Björn Geldhof. Venue: Riva dei Sette Martiri
UNITED ARAB EMIRATES
1980 – Today: Exhibitions in the United Arab Emirates
Abdullah Al Saadi, Abdul Qader Al Rais, Abdulraheem Salim, Abdulrahman Zainal, Ahmed Al Ansari, Ahmed Sharif, Hassan Sharif, Mohamed Yousif, Mohammed Abdullah Bulhiah, Mohammed Al Qassab, Mohammed Kazem, Moosa Al Halyan, Najat Meky, Obaid Suroor, Salem Jawhar
Commissioner: Salama bint Hamdan Al Nahyan Foundation. Curator: Hoor Al Qasimi. Venue: Pavilion at Arsenale – Sale d'Armi
UNITED STATES OF AMERICA
Joan Jonas: They Come to Us Without a Word
Joan Jonas
Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini
URUGUAY
Global Myopia II (Pencil & Paper)
Marco Maggi
Commissioner: Ricardo Pascale. Curator: Patricia Bentancour. Venue: Pavilion at Giardini
VENEZUELA, Bolivarian Republic of
Te doy mi palabra (I give you my word)
Argelia Bravo, Félix Molina (Flix)
Commissioner: Oscar Sotillo Meneses. Deputy Commissioner: Reinaldo Landaeta Díaz. Curator: Oscar Sotillo Meneses. Deputy Curator: Morella Jurado. Scientific Committee: Carlos Pou Ruan. Venue: Pavilion at Giardini
ZIMBABWE, Republic of
Pixels of Ubuntu/Unhu: - Exploring the social and cultural identities of the 21st century.
Chikonzero Chazunguza, Masimba Hwati, Gareth Nyandoro
Commissioner: Doreen Sibanda. Curator: Raphael Chikukwa. Deputy Curator: Tafadzwa Gwetai. Scientific Committee: Saki Mafundikwa, Biggie Samwanda, Fabian Kangai, Reverend Paul Damasane, Nontsikelelo Mutiti, Stephen Garan'anga, Dominic Benhura. Venue: Santa Maria della Pieta
ITALO-LATIN AMERICAN INSTITUTE
Voces Indígenas
Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Alberto Saraiva. Venue: Pavilion at Arsenale
ARGENTINA
Sofia Medici and Laura Kalauz
PLURINATIONAL STATE OF BOLIVIA
Sonia Falcone and José Laura Yapita
BRAZIL
Adriana Barreto
Paulo Nazareth
CHILE
Rainer Krause
COLOMBIA
León David Cobo,
María Cristina Rincón and Claudia Rodríguez
COSTA RICA
Priscilla Monge
ECUADOR
Fabiano Kueva
EL SALVADOR
Mauricio Kabistan
GUATEMALA
Sandra Monterroso
HAITI
Barbara Prézeau Stephenson
HONDURAS
Leonardo González
PANAMA
Humberto Vélez
NICARAGUA
Raúl Quintanilla
PARAGUAY
Erika Meza
Javier López
PERU
José Huamán Turpo
URUGUAY
Gustavo Tabares
Ellen Slegers
001 Inverso Mundus. AES+F
Magazzino del Sale n. 5, Dorsoduro, 265 (Fondamenta delle Zattere ai Saloni); Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 31st
Organization: VITRARIA Glass + A Museum
Catalonia in Venice: Singularity
Cantieri Navali, Castello, 40 (Calle Quintavalle)
May 9th - November 22nd
Organization: Institut Ramon Llull
venezia2015.llull.cat
Conversion. Recycle Group
Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)
May 6th - October 31st
Organization: Moscow Museum of Modern Art
Dansaekhwa
Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)
May 7th – August 15th
Organization: The Boghossian Foundation
Dispossession
Palazzo Donà Brusa, Campo San Polo, 2177
May 9th - November 22nd
Organization: European Capital of Culture Wroclaw 2016
wroclaw2016.pl/biennale/
EM15 presents Doug Fishbone’s Leisure Land Golf
Arsenale Docks, Castello, 40A, 40B, 41C
May 6th - July 26th
Organization: EM15
Eredità e Sperimentazione
Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia
May 9th - November 22nd
Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova
Frontiers Reimagined
Palazzo Grimani, Castello, 4858 (Ramo Grimani)
May 9th - November 22nd
Organization: Tagore Foundation International; Polo museale del Veneto
Glasstress 2015 Gotika
Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;
May 9th — November 22nd
Organization: The State Hermitage Museum
Graham Fagen: Scotland + Venice 2015
Palazzo Fontana, Cannaregio, 3829 (Strada Nova)
May 9th - November 22nd
Organization: Scotland + Venice
Grisha Bruskin. An Archaeologist’s Collection
Former Chiesa di Santa Caterina, Cannaregio, 4941-4942
May 6th – November 22nd
Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia
Helen Sear, ... The Rest Is Smoke
Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)
May 9th - November 22nd
Organization: Cymru yn Fenis/Wales in Venice
Highway to Hell
Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)
May 9th - November 22nd
Organization: Hubei Museum of Art
Humanistic Nature and Society (Shan-Shui) – An Insight into the Future
Palazzo Faccanon, San Marco, 5016 (Mercerie)
May 7th – August 4th
Organization: Shanghai Himalayas Museum
In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia
Dorsoduro, 417 (Zattere)
May 6th - November 15th
Organization: ArsCulture
Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators
Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)
May 9th – June 30th; September 11st – October 31st
Organization: Italian Art Motherboard Foundation (i-AM Foundation)
www.venicebiennale-italiadocet.org
Jaume Plensa: Together
Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore
May 6th – November 22nd
Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus
Jenny Holzer "War Paintings"
Museo Correr, San Marco, 52 (Piazza San Marco)
May 6th – November 22nd
Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia
correr.visitmuve.it
Jump into the Unknown
Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262
May 9th – June 18th
Organization: Nine Dragon Heads
9dh-venice.com
Learn from Masters
Palazzo Bembo, San Marco, 4793 (Riva del Carbon)
May 9th – November 22nd
Organization: Pan Tianshou Foundation
pantianshou.caa.edu.cn/foundation_en
My East is Your West
Palazzo Benzon, San Marco, 3927
May 6th – October 31st
Organization: The Gujral Foundation
Ornamentalism. The Purvitis Prize
Arsenale Nord, Tesa 99
May 9th – November 22nd
Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015
www.purvisabalva.lv/en/ornamentalism
Path and Adventure
Arsenale, Castello, 2126/A (Campo della Tana)
May 9th – November 22nd
Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau
Patricia Cronin: Shrine for Girls, Venice
Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)
May 9th – November 22nd
Organization: Brooklyn Rail Curatorial Projects
curatorialprojects.brooklynrail.org
Roberto Sebastian Matta. Sculture
Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)
May 9th – November 22nd
Organization: Fondazione Echaurren Salaris
www.fondazioneechaurrensalaris.it
www.maggioregam.com/56Biennale_Matta
Salon Suisse: S.O.S. Dada - The World Is A Mess
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st
Organization: Swiss Arts Council Pro Helvetia
Sean Scully: Land Sea
Palazzo Falier, San Marco, 2906
May 9th – November 22nd
Organization: Fondazione Volume!
Sepphoris. Alessandro Valeri
Molino Stucky, interior atrium, Giudecca, 812
May 9th – November 22nd
Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin
Tesla Revisited
Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 18th
Organization: VITRARIA Glass + A Museum
The Bridges of Graffiti
Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)
May 9th - November 22nd
Organization: Associazione Culturale Inossidabile
The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice
Palazzo Tiepolo Passi, San Polo, 2774
May 6th - November 22nd
Organization: Fundaciò Artigas; ArsCulture
The Question of Beings
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)
The Revenge of the Common Place
Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)
May 9th – September 30th
Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)
The Silver Lining. Contemporary Art from Liechtenstein and other Microstates
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
October 24th – November 1st
Organization: Kunstmuseum Liechtenstein
The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno
Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)
May 7th - November 22nd
Organization: ArsCulture
The Union of Fire and Water
Palazzo Barbaro, San Marco, 2840
May 9th - November 22nd
Organization: YARAT Contemporary Art Organisation
Thirty Light Years - Theatre of Chinese Art
Palazzo Rossini, San Marco, 4013 (Campo Manin)
May 9th - November 22nd
Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art
Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice
Arsenale, Castello, 2126 (Campo della Tana)
May 9th - November 22nd
Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council
Under the Surface, Newfoundland and Labrador at Venice
Galleria Ca' Rezzonico, Dorsoduro, 2793
May 9th - November 22nd
Organization: Terra Nova Art Foundation
tnaf.ca
Ursula von Rydingsvard
Giardino della Marinaressa, Castello (Riva dei Sette Martiri)
May 6th - November 22nd
Organization:Yorkshire Sculpture Park
We Must Risk Delight: Twenty Artists from Los Angeles
Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)
May 7th - November 22nd
Organization: bardoLA
Wu Tien-Chang: Never Say Goodbye
Palazzo delle Prigioni, Castello, 4209 (San Marco)
May 9th - November 22nd
Organization: Taipei Fine Arts Museum of Taiwan
We were surrounded before I figured out that someone was gonna get hurt.
I didn't see it coming at all and it happened so fast that there really wasn't time to get scared.
The guy that threw the punch was young... like twenty eight maybe... and you could tell he worked out... a lot... probably junked up on steroids too... had his sleeves rolled up in that roid-rager way to show off his 'guns'... even though that'd gone out of style years before.
It was the kinda punch a guy'd throw to impress his buddies.
The kinda punch a man throws not so much to hurt the guy he's hittin' but to say to his buddies 'I gotcher back.'
That's probably the worst punch to get hit with.
Man... it flew right close by my head... I thought it was comin' for me but it was way too fast for me to even duck it.
I could HEAR the guy's swing.
The guy knew how to throw a punch too... that was pretty clear.
He started it with his big toe and the energy went right through his entire body like a lightning bolt and it was all invested in his meaty well formed fist... watching him throw it was like watching a whip get cracked.
There wasn't even time to blink.
He 'punched through' his target like a skilled street fighter.
That hit was 'all business.'
The old man's nose was just instantly shattered right in front of me... obliterated.
Before his body even crumpled there was this horrific explosion of blood.
It splattered everywhere and I remember it hitting the wall and the floor before his body did.
I remember this liquidy-thump sound... like a big piece of meat getting tenderized... nothing like the sound of a guy gettin' hit on TV.
The man's face was demolished.
This shit was for real.
Too real.
There must have been eight of them and I knew I was next.
I can tell you from experience that nothing sucks worse than being second in line for execution.
A guy I worked with taught interrogation to various agencies with the US Government... he's well known as an expert on the matter... we were driving through California one night on the way to a meeting in Tijuana and he told me that he was working with the Turks and their intelligence services a few years back.
They wanted to show him how they get a guy to talk.
So he said they tied a guy to a chair that they wanted information from and then they took another guy and tied him to a chair right in front of him...
a guy who had nothin' to do with nothin'... just some schmuck who got caught up in the operation.
They skinned the guy alive right in front of the dude that they wanted the information from.
Needless to say he sung like a canary and told them everything they wanted to hear.
My guy quit workin' with the Turkish Intelligence after that.
Because even in the world of intrigue there's boundaries to decency.
What kind of guy punches an old man like that for callin' his boss a liar?
I turned around to face the guy... I knew that there was no way outta this one.
I wasn't gonna take it in the back of the head but I knew I was gonna take it so I figured I'd take it like a man... at least I could see it comin'.
The circle tightened to close up the space the old man vacated after hitting the floor and I was at the center of it.
Those jackals seemed to want some more blood on the floor... this time it was gonna be my blood.
I really don't like seeing my blood puddle on the floor you know?
When the guy cocked back... I don't even think I threw my hands up to defend myself.
It would have just prolonged the agony I knew that I was about to feel.
But he didn't throw at me.
He hesitated.
We locked eyes and I silently mentally pleaded with the guy not to do it... but not a word came from my lips... I might've shook my head slightly... like 'don't do this' but that was it.
Who wants to die begging for their life?
I couldn't face God and ask him to let me slide by if I did that... and everyone knows the devil'd laugh your ass outta hell for it...
Maybe that's why they invented purgatory...
If you ain't good enough to get into heaven but you're too big a sissy boy to get into hell.
I wouldn't ask for mercy from a man so merciless he threw a punch like that at a defenseless old man.
Tough guy started to throw at me a time or two... like a flinch and he cocked back again... like he was readjusting his aim or his stance or something...
Like he was taking windage on a target.
It was almost like he wanted to see me cower in front of him and his buddies.
I'd take the beating silently before I gave him that satisfaction.
But the punch never came.
He just turned around and walked away and the circle around me broke up without a word, although I remember these sounds... contemptuous sounds... sounds that said 'you'dda been next' and 'you're lucky we don't kill you' but they weren't words proper... just noises.
The old man was making loud slurping-gurgling sounds and bleeding out all over the place...
He kinda rolled over and put his hands over his shattered nose.
It was pointing in a different direction as it had been when we'd walked in... almost like two directions if you can imagine that... it was heinously smashed.
The only sound he made was this labored gasping for air.
It was the unmistakeable sound of death if you've ever heard death before... the wheezing garglesong of the Grim Reaper himself.
When I picked the old man up to drag him outta there I was surprised at how light he was... like a feather really... he told me before we walked in that he was a retired railroad signalman... he hadda be almost eighty I figured.
He wore some awful synthetic pastel sweater and looked like everyone's grampa.
Now it was just covered in his blood.
Who the fuck goes around punching someone like that?
Especially someone who wears a badge.
I dragged the old guy out the door leaving a long bloody trail... that really thick, deep and dark blood that comes from a headwound like that... it was just pouring out of his nose... like it was a firehose of blood.
I dragged him across the sidewalk and his wife jumped out of the car as soon as she saw us.
I couldn't figure her out... she must've been really shocked or confused because she had this really sweet smile on her face.
Her husband looks like he's about to die on the sidewalk and I swear she looks like she's gonna pinch my cheek and offer me some cookies.
She was wearin' what looked like her Sunday church dress and I watched her smile turn to horror in an instant... a split second as she took it all in.
'No... no... no' she moaned.
I'll never forget the poor lady's look.
Seein' her seemed to perk the old guy up and I was kinda relieved that he got up under his own power... kinda staggerin' but he still got up.
You could tell he didn't want her seein' him like this.
She asked me what happened and he just looked at me... his head shaking... her hands trying to cradle him but retreating repeatedly in horror... like she couldn't bring herself to touch him.
He gave me that 'shut the fuck up and don't say anything to the old lady' look.
I shrugged my shoulders and shook my head and I turned around to walk away as the old man seemed to find a little bit of piss and vinegar or pride within' himself...
He got angrier as she screamed over and over again 'what happened' and she held her blood covered hands up to her face shaking them as if that would remove all the blood and turn back the clock to when her husbands face looked recognizable.
I think he mighta told her to shut up.
The effluent of assault gave off such contrast splattered on her yellow dress... it's splatter on the lace of her collar was something that never should have been... a deep and terrible masochistic irony.
It made it all seem so wrong.
The old man got into the drivers seat and yelled at her to shut the door.
He was trying to calm her down... to take some control of the situation... her panicking didn't seem to help anything.
With a heavy clunk the passenger door shut and the old Buick peeled off.
Probably straight to the emergency room.
I don't think we ever exchanged a word after he took that hit.
I jumped into my truck and got onto the expressway at twenty second street before the queasiness began to turn to seething red hot anger.
Fuck those motherfuckers I thought.
They had no right.
The old man didn't do anything but say that the cheif was wrong.
Who the hell did they think they were?
It wasn't a minute later I called up the district headquarters.
I told the guy who answered the phone what I'd just seen and he said someone from internal affairs would get back to me.
I hadn't driven seventy five blocks when my phone rang.
It was internal affairs.
They already knew my address.
They made sure to point that out.
They must have already called the station and got the story because the guy knew the details.
He told me that he was gonna turn on a tape recorder.
And he told me that I was going to say that 'I did not see a uniformed firefighter knock out an eighty year old man.'
He never threatened me.
Not with words anyway.
That was implicit in the tone of his voice.
But I knew the dirt I was dealin' with and I knew how they played the game.
I didn't know the old man.
It really wasn't even my beef.
He turned on the tape recorder.
I told him what he told me to say.
It is one of the few real regrets I have in this life.
And that's what was going through my mind in that dark parking lot fifteen years later when a completely bizarre sequence of events was initiated that led me to uncover the murder of more than two hundred innocent people.
People whose families had no idea they'd even been murdered until I told them.
And it was kinda looking like right now that I had the number '201' written on the target on my forehead.
Kings College Chapel, Cambridge
Produced in Cologne about 1510, and probably installed in one of the Cologne religious houses. After the desecration of the monasteries it was bought by the Norwich glass dealer JC Hampp, probably on his 1804 tour, and by the 1820s he had sold it to the antiquarian William Wilkins, who installed it in a house he had built on Lensfield Road in Cambridge.
After Wilkins's death it was auctioned off, eventually being donated and installed in the College WWI Memorial Chapel in 1921 as a memorial to Laurence Humphry.
The Holy Hunt. The Archangel Gabriel as a huntsman, holding four hounds in leash, pursues a unicorn, which takes refuge with the Virgin Mary, as she sits within a closed garden, surrounded by her symbols. (Hilary Wayment, 1988).
The Medieval bestiaries suggested that a uncorn can only be trapped by a maiden. As soon as the unicorn sees her, it lays its head on her lap and falls asleep. The allegory drawn from this was that the unicorn represented the Incarnation of Jesus, and the maiden his mother Mary.
The scene is often depicted in medieval art with a hunter approaching. The juxtaposition between the maiden and the hunter is similar to that between Mary and Gabriel in Annunciation scenes. In the chapel glass the hunter is clearly depicted as Gabriel.
As well as the famous 16th Century glass in the main chapel windows, there is a large collection of late medieval and early modern English and Continental glass in the side-chapels. Some of it is not very well displayed in comparison with the similar collection at Glasgow Cathedral, being set in front of, and in some cases behind, glazing bars.
The Chapel was begun by Henry VI, completed under the direction of Henry VII, the great window glass scheme installed under the somewhat-disinterested Henry VIII. 'The heart and soul of early 20th Century Anglicanism' according to M R James, was the Festival of Nine Lessons and Carols which began here during the First World War and helped to invent the modern Christmas. The fan vaulting is spectacular, the proportions (300ft long, 40ft wide, 90ft high) almost shocking in their single-minded Perpendicular triumphalism. The Chapel vies with Ely and Peterborough Cathedrals as the best single medieval building in Cambridgeshire, but the vast scheme of early 16th Century glass in the main windows is undoubtedly the biggest and best of its kind anywhere in the British Isles.
The Postcard
A postally unused postcard bearing no publisher's name. Although the card was not posted, the divided back bears a name and address:
Miss E. Driscoll,
? Aldermary Road,
Bromley
There was also a message on the other side of the vertical line:
"Dear Eve,
Thank you so much for
the jam jars which I found
on my return from Ottery.
Have just had a week
there and very nice too.
Will try and call next time
I come to Bromley but
today have friends waiting
for me.
Do hope all is well with
you & look forward to
seeing you soon.
H."
Ottery St. Mary
Ottery St. Mary, known as "Ottery", is a town in Devon, on the River Otter, about 10 miles (16 km) east of Exeter. At the 2001 census, the parish had a population of 7,692.
The town has several independent shops, mainly in Mill Street, Silver Street and Yonder Street. An area known as 'The Square', is the heart of Ottery St Mary. There are pubs, restaurants, and coffee and tea rooms.
History of Ottery St. Mary
The town takes its name from the River Otter (named after the animal) on which it stands. The town belonged to the church of St. Mary in Rouen in 1086, hence 'St Mary'.
Archaeological excavations in 2014, in advance of a housing development at Island Farm, uncovered a medieval longhouse dating to AD.1250–1350.
Ottery's notable buildings include the Tumbling Weir and St. Mary's church.
The Chanter's House is a Grade II listed building. A report in June 2020 describes The Chanter's House as having ten bedrooms, 11 bathrooms and a library (built by Samuel Taylor Coleridge) with 22,000 books, purchased with the property in 2006.
The grounds include walled gardens, stables, a tennis court, a Victorian palm house and an aviary, as well as over 21 acres of gardens, woodland and streams, as well as a lodge and a coach house.
A news item states that the library includes diaries, notes and collections of poems, including The Rime of the Ancient Mariner by Samuel Taylor Coleridge.
St. Mary's Church
The parish church of St Mary's has been referred to as a miniature Exeter Cathedral. Like the cathedral, it is cruciform in plan, with transepts formed by towers.
Nikolaus Pevsner described the building as "lying large and low like a tired beast". It is 163 feet long, and the towers are 71 feet high. It was consecrated in 1260, at which time the manor and patronage of the church belonged to Rouen Cathedral, as it had from before the Norman invasion.
Pevsner assumed that the tower-transepts and the outer walls of the chancel date back to 1260, and that the towers were built in imitation of those at Exeter.
In 1335 John Grandisson, Bishop of Exeter, bought the manor and advowson from Rouen, and two years later converted the church into a collegiate foundation with forty members. He rebuilt much of the church, and the present nave, chancel, aisles and Lady chapel date from this time.
The church is noted for its painted ceiling and early 16th.-century fan vaulted aisle, the Dorset Aisle, designed and commissioned by Cecily Bonville, 7th. Baroness Harington, whose first husband was Thomas Grey, 1st Marquess of Dorset.
The building was restored in 1850 by architect William Butterfield. His alterations included lowering the floor level of the transepts, crossing and western part of the chancel to that of the nave, and making the east end, designed for the needs of the collegiate foundation, more suitable for parochial use.
The south transept (bell tower) houses the Ottery St. Mary Astronomical Clock, one of the oldest surviving mechanical clocks in the country. It is commonly attributed to Bishop John de Grandisson, who was Bishop of Exeter (1327–69) and adheres to Ptolemaic cosmology with the Earth at the centre of the solar system.
The church has ten misericords dating from the building of the church in 1350, five showing the arms of Bishop John de Grandisson. The church interior also has two medieval carved stone green men.
There is a small stone plaque commemorating the poet Samuel Taylor Coleridge, who was born here on the 21st. October 1772, in the south churchyard wall. Other interesting features include the tombs of Otho de Grandisson and his wife, the altar screen, sedilia, and a wooden eagle given by Bishop Grandisson.
The church is a Grade I listed building, one of 107 Listed sites in the area.
Local Traditions
-- Burning Tar Barrels
The town typically stages annual events around Guy Fawkes Night when, in a tradition dating from the 17th. century, barrels soaked in tar are set alight and carried aloft through parts of the town by residents.
The festivities begin in the early evening with children's, youths' and women's events, culminating in the men's event when a total of 17 barrels are lit outside each of the four public houses in the town. (Originally there were 12 public houses in the town).
The barrels, increasing in size up to 30 kg, are carried through the town centre, often packed with onlookers, in an exhilarating and risky spectacle. Only those born in the town, or who have lived there for most of their lives, may carry a barrel.
Generations of the same family have been known to compete across the years, and it is thought that the event may have originated as a means of warding off evil spirits, similar to other British fire festivals, around the time of Halloween.
In recent years the event has been jeopardised by the need for increasing public liability insurance coverage. Nevertheless, the event continues, and the town of 7,000 people increases to well over 10,000. During the event all roads in and out of Ottery are closed for safety reasons with diversions in place.
On the 30th. October 2008, the annual event was threatened by a severe hailstorm, which hit East Devon shortly after midnight, with the Fire Service describing the situation in the Ottery St. Mary area as "absolute chaos".
The storm led to serious flooding in the town, caused mainly by storm drains becoming clogged with hailstones. Roads became blocked, and the Coastguard service was required to airlift some people to safety. The flooding also caused problems on the Millennium Green, where the annual bonfire and fairground were being constructed in preparation for 5th. November celebrations.
One of the owners of the fairground said that the builders working there were "lucky to be alive". The clear-up operation was entirely successful, however, and both the carnival procession and the Tar Barrels and bonfire night celebrations went ahead as planned.
In 2009, the Factory Barrel was sabotaged by a visitor who threw an aerosol can into the barrel. The can exploded in the heat, and 12 spectators required treatment for burns. In an unrelated incident, the roof of the old fire station burned down on the night of the 2009 tar barrels.
In 2020, the tar barrel event was cancelled as a result of the Covid-19 pandemic.
-- Pixie Day
Pixie Day is an old tradition which takes place annually in June. The day commemorates a legend of pixies being banished from the town to local caves known as the 'Pixie's Parlour'.
The Pixie Day legend originates from the early days of Christianity, when a local bishop decided to build a church in Otteri (Ottery St. Mary), and commissioned a set of bells to come from Wales, and to be escorted by monks on their journey.
On hearing of this, the pixies were worried, as they knew that once the bells were installed it would be the death knell of their rule over the land. So they cast a spell over the monks to redirect them from the road to Otteri to the road leading them to the cliff's edge at Sidmouth.
Just as the monks were about to fall over the cliff, one of the monks stubbed his toe on a rock and said "God bless my soul" and the spell was said to be broken.
The bells were then brought to Otteri and installed. However, the pixies' spell was not completely broken; each year on a day in June the 'pixies' come out and capture the town's bell ringers and imprison them in Pixies' Parlour, to be rescued by the Vicar of Ottery St. Mary.
This legend is re-enacted each year by the Cub and Brownie groups of Ottery St. Mary, with a specially constructed Pixie's Parlour in the Town Square (the original Pixie's Parlour can be found along the banks of the River Otter).
-- The Old Ottregians Society
One Sunday afternoon in 1898, six young men from Ottery, who were then living in London, met on the steps of St. Paul's Cathedral, and resolved to form a Society to promote good fellowship among Ottery people wherever they may be.
So was founded the Old Ottregians Society, which took as its motto Floreat Ottregia ("May Ottery Flourish"). The Old Ottregians society still exists.
-- The Old Ottery Song
Another tradition in Ottery that continues today is the daily playing of the Old Ottery song. At eight o'clock, midday and four o'clock each day, the church of Ottery plays the Old Ottery song after the peal of the church bells.
Tradition has it that the funerals of Old Ottregians always take place at 12.00 noon, with the funeral service commencing immediately following the playing of the Old Ottery song.
-- John Coke's Ghost
Within St. Mary's Church, a colourful effigy of a soldier named John Coke can be found in a niche. He is said to have been murdered by a younger brother in 1632, and therefore tradition avers that his spirit steps down from the alcove and wanders about the church interior.
Ottery St. Mary Disasters
-- The Great Fire of 1866
On the 25th. May 1866 a great fire occurred in Ottery. A newspaper report from the Exeter and Plymouth Gazette dated Friday, 1st. June 1866, is summarized by historian J. Harris as follows:
"The fire started about noon and then raged through the homes and shops of about a quarter of the town, reducing everything to ashes. The fire started on Jesu Street where the charity schools formerly stood.
At first some people believed that the fire had been started by children playing with matches, but subsequent investigation has now proved this to be incorrect. It appears that the fire was started by a woman burning rubbish and papers in her cottage fireplace on Thursday.
The fire smouldered, and eventually burned through the wall to the school next door. It was eventually discovered at the top of the staircase in the schoolroom, near the cottage chimney around noon on Friday. It then spread very rapidly. Within hours one hundred houses had been destroyed, and 500 people rendered homeless.
A great part of the town extending westwards from the school to the silk factory in Mill Street was reduced to a heap of smouldering ruins.
-- The 1980 Air Crash
One evening in July 1980, a disaster was narrowly averted when an aircraft on approach to Exeter Airport crash-landed on the outskirts of the town, in a field immediately south of the Salston Hotel.
The aircraft, an Alidair Vickers Viscount turboprop, flying 62 passengers from Santander in Spain to Exeter was 11 miles short of the runway over a wooded area on East Hill, just before the town, when it ran out of fuel and all four engines stopped.
The pilot, who knew the area, was able to bank left and glide over the town's southern edge and make a wheels-up crash-landing in a field. The aircraft was put down at 19.53 hours, in daylight, near St Saviours' Bridge, in a small grassy valley studded with trees.
The 27-year-old aircraft was written off in the crash. The only casualties were two sheep.
The Air Accidents Investigation Branch concluded that the accident had been primarily caused by the crew's mistaken belief that there was sufficient fuel on board to complete the flight.
The aircraft's unreliable fuel gauges, the company's pilots' method of establishing total fuel quantity, and the imprecise company instructions regarding the use of dipsticks were also considered to be major contributory factors.
Meter indications on the refuelling vehicle at Santander, which could not have accurately reflected the quantity of fuel delivered, were also considered to have been a probable contributory factor.
The accident investigation report concluded, however, that the aircraft commander's handling of the emergency once the aircraft's four engines stopped had been skilful and assured. Had he not acted in the way he did, there could have been a considerable loss of life of both aircraft passengers and residents of the town. One of the propellers from the aircraft was later donated by the airline to the town to be auctioned for charity.
The town still lies under the flightpath for Exeter International Airport.
The Tumbling Weir
The Tumbling Weir is a circular weir that allows water from a leat or man-made stream to reach the River Otter.
It is a rare design in that the water enters through a circular opening at the top that is surrounded by the stream. The water then cascades down some more smaller rings until it enters a tunnel under the nearby path before sluicing down to the river a few metres away.
History of The Tumbling Weir
From medieval times the production of wool cloth was a major Devon industry. However, during the early part of the 18th. century, the industry began to decline in the face of competition from cotton and cheaper Yorkshire yarns.
Attempting to revive the local economy, Sir George Yonge and Sir John Duntze, Members of Parliament and joint Lords of the Manor, launched a scheme in 1788 to build a new manufactory at Ottery, for the carding and spinning of wool, using the recently invented water frame machinery.
At the same time, the original corn mill, which had stood there for 700 years, was demolished, and a new, much bigger one built.
The existing leat which supplied the old corn mill did not provide a sufficient head of water for the new mill, so the level of the water in the mill basin had to be raised by 2.4 metres.
This was achieved by reducing the fall along the leat. Then, as now, the water level was maintained by the circular 'tumbling weir', which discharged the overflow into the river through a short tunnel.
Water was conveyed from the mill basin to the 5.5 metre water wheel inside the factory (reported to be capable of producing 30 horsepower) by an overhead aqueduct - the factory launder. A second 3.6 metre overshot wheel powered the corn mill.
According to a notice in the Sherborne Mercury:
"The corn mill has three pairs of stones, a Bolting
Mill, Rubble Machine and Smut Machine, with
extensive Lofts; they are driven by a very powerful
stream affording a never-failing supply of water and
are capable of making at least one hundred sacks a
week."
In 1824 the enterprise was converted to the manufacture of silk, and up to 400 female workers were employed. In 1897 the factory was sold to the brush manufacturers Keetch & Co., the first of several subsequent owners.
The mill continued to operate until 1937; the factory launder was demolished in 1945. As noted below, the mill has since been turned into apartments.
Near the site is the Tumbling Weir Hotel, a converted 17th. century thatched house, now a popular hotel and restaurant.
Urban planning and its avatar the urbanism, a word invented by Iidefons Cerdã in Barcelona in 1880, at the same time as the criticism by Camillo Sitte against Hoffman’s hygienic cities.
The urbis is a form of satellite journey, this gives peripheral spaces hostages of the center and brings consecration to the perpendicular city with the horrible poem called "The right angle", and maybe its disastrous consequences today?
Critical? Almost illegal at present of the Grand Master Le Corbusier comes from raven [corbeau like corbu in French word that's joke with a play of sonority] first rank of the Mithra sect. Le Corbusier invent new module gold --Modulor or Mystery with transhumanism- Dream of the machine to live and then failure of the conditions of displacement and their relationship with an urban form that breaks the bonds. As in a living body, it is established through a morphology of red blood cells. The body of a city is only designed for the car without interactions, pedestrians become ants. You cannot stop in a metro corridor for example.
Form of people and formatting ... village in a circled encounter / chessboard and failure of the relations by the division of the soil that projects ways to move and access the properties, the culture of the vacuum of the modern street produces displacements without random encounters other than traffic accidents. The system of a grid city is imposed as a simple way to enlarge or create a city from a track, to the extreme case in which cities exist only on a track composed of boxes with parking lots to ease the access. Thus many districts resemble to chess boards with malls build on crop fields, agricultural production being managed at the regional or national level.
It will be better to study the city and the importance of its geometry, the journeys of city dwellers in a quadrangular city and the absence or the failures of businesses in these neighborhoods .... The linear path and the absence of landmarks . The weight of a past and the possibility of making evolve the city with its time. The fatality of being born or living in a linear neighborhood composed of parking lots and housing without shops or public facilities, the porosity of public facilities ... The true meaning of the word church ... we do not live only with trade and business .. Towards a Citizen Church? One must understand and try to stop glorifying architecture buildings too fashionable and fragile in the maintenance and financed with 100% public funding ... donations are never as well received as those that are a participatory mix and Plus a systematic right that is expensive in management ... one can make schools freer for those many who are in failure in the primary school and can run schools like startup companies already do in incubators. The form of cities is the main factor in the failure of poor neighborhoods. Urban planners were born in this convenience to reproduce in copy / pasted an eternal vision of car parks and blocks with well insulated facades using fragile materials. The architects follow modern fashion as a priesthood, the novelty of forms has become a dogma, the facades are like paintings with no link other than the geometry of the piece of land. Life could not have been born in these cities cloned with a grid, they have voluntarily erased all ties with history and regional anchoring, architectural globalization produces the same cities all over the World. This is an observation that nobody criticizes, it's a bit like a single party?
the creation of self sufficient small towns, really very nice towns if you were docile and had no plans of your own and did not mind spending your life with others with no plans of their own.
Trame urbaine et son avatar l'urbanisme, un mot inventé par Cerda à Barcelone en 1880, en même temps que la critique par Sitte des villes hygiéniques de Hoffmann.
L'urbis c'est une forme de trajet en satellite, cela donne des espaces périphériques otages du centre et la consécration depuis de la ville perpendiculaire avec l'horrible poème de "L'angle droit " et ses conséquences désastreuses aujourd'hui ?
Critique? Presque illégale actuellement du Grand Maître Le Corbusier vient de corbeau premier grades de la secte de Mithra. ...module or --Modulor-Mystère transhumanisme- Rêve de la machine à habiter puis échec actuellement des conditions de déplacement et de leurs relations avec une forme urbaine qui brise les liens. Comme dans un corps vivant, il s'établit à travers une morphologie des globules rouges .Le corps d'une ville est uniquement conçu pour la voiture sans interactions, entre des piétons devenus des fourmis. Impossible de s'arrêter dans un couloir de metro par exemple.
Forme des gens et formatage ... village en cercle rencontre / échiquier et échec des relations par la division du sol qui projette des voies pour circuler et accéder au propriétés , la culture du vide de la rue moderne produit des déplacements sans rencontres aléatoires autres que des accidents de circulation. Le système d'une ville quadrillée c'est imposé comme un moyen simple d'agrandir ou de créer une ville à partir d'une voie, à l'extrême certaine villes n'existent que sur une voie composée de boites avec des parkings pour faciliter l'accès. Ainsi beaucoup de quartiers ressemblent à des échiquiers avec des zones commerciales sur les anciennes zones maraîchères, la production agricole étant gérée au niveau régional ou national.
Il faudra mieux étudier la ville et l'importance de sa géométrie, les trajets des citadins dans une ville quadrangulaire et l'absence ou l'échec des commerces dans ces quartiers.... Le trajet linéaire et l'absence de repères ... Le poids d'un passé et la possibilité de faire évoluer la ville avec son temps. La fatalité de naître ou de vivre dans un quartier linéaire composé de parking et de logements sans commerces ni équipements publics, la porosité des équipements publics... Le vrai sens du mot église... on ne vit pas avec du tout commerce ... Vers une église citoyenne? Il faut comprendre et essayer d'arrêter de glorifier les bâtiments d'architecture trop mode et fragile dans l'entretien et décidé avec Le financement 100% public... les dons ne sont jamais aussi bien reçu que ceux qui sont un mélange participatif et plus un droit systématique qui coûte cher en gestion... on peut faire des écoles plus libres pour ceux nombreux qui sont en échec dans Le primaire et faire tourner les écoles comme le font déjà les entreprises dans les incubateurs. La forme des villes est le principal facteur d'échec des quartiers pauvres. Les urbanistes sont nés dans cette facilité de reproduire en copie/collé une éternelle vision de parkings et de blocs maintenant biens isolés en façades avec des matériaux fragiles. Les architectes suivent la mode moderne comme un sacerdoce, la nouveauté des formes est devenue un dogme, les façades sont comme des tableaux sans lien autre que la géométrie du parcellaire. La vie n'as pas pu naître dans ces villes clonées avec une grille, elles ont volontairement effacé tout les liens avec l'histoire et l'ancrage régional, la globalisation architecturale produit les mêmes villes dans le Monde. C'est un constat que personne ne critique, c'est un peu comme un parti unique ? C’est un vœu de mes années étudiantes, créer un nouveau village et rendre hommage à mon coloriste préféré Vincent Van Gogh , un mystique qui ignorait la genèse scolaire pour vivre intensément dans l’intuition d’un Monde au-dessus et bien plus subtil que l’épreuve d’une vie terrienne, Vincent un extraterrestre 👽 mais bien sûr, salut 👋 les terriens
I raided the old Ramey unedited captures in a push to clean up; I have far too many unedited shots. More titles will be needed than I can invent. This late February scene showed the onset of March mud. Everywhere mud. I predicted a green spring if an early start has been ushered in by climate change. Fortunately the Teabaggers and the Koch Brothers have convinced the guileless to believe this is normal... I doubt it per the warmest year in history world wide. Florida needs to keep their collective chins up so they can gasp the air above water level. outh funnels will help.
Back then I walked around to search more shots of the Ramey farm after the floods. Some trees did not make it through. The afternoon light was direct and crisp and caused deep shadows I had headed out to the Ramey farm once again to inspect the farm and stone back house under this sky but I want to get back to see how old the oldest window glass was. Counting all windows, the house had two panes of pre-float glass. I decided to edit this image of the flood-torn pasture because of what happened last week. I moved around the house and shot this angle under the stark light and bare sky. I don't want to leave anything unshot. I like the deteriorating siding. The river streamed through the houses. The sheds were already rescued and the house reroofed before the floods and now they are hurting again. BoCo rescued the sheds before the flood. I have no idea why the county decided to prop the old buildings up by thowing in even more lumber. They claim they still want preservation. The out buildings are not so good after the river undercut them. This house is stark against the winter light. I think back to the working days of the farm and wonder how busy and productive the Ramey place might have been? The "hay days" mostly meant a lot of labor haying to lay in feed for the winter.
I have a Ramey PhotoSet filled with before flood shots and some that show the damage to the pasture on the north side and structures. One fissure shows in the bottom of this image. In fact walking across the pasture and through the structures involves tracking around all the fissures all over the place, or travel with a ladder. The Ramey photoset is under farms. A lot of the shots are at better times. I guess this is another loss to water diversions and gravel mining. The 61st street road has been rebuilt down to the 63rd Street bridge past the gate at Broley and I can now drive in. Apparently, the water streamed up to 4 feet high over Ramey. The pond south of Broley overflowed everywhere including Ramey after the floods cut through the gravel pits around Broley and sliced through 61st Street and rejoined the original St.Vrain. California can't seem to get a drop. What Climate Change? I guess America's biggest enemy will be the upcoming petroleum wars.
There are piles of detritus laying about in what was left of the pastures and through the buildings. Some folks are convinced the river ought to be moved back to some of its original, some places empty, course. Darwin should chime in on that idea; he allowed forebears to make a mess of it in the first place. Some work has been initiated rebuilding ditches before spring. Have at it guys. The bridge, roads and private holdings are still going to require some serious work.
It’s hard to find time for a shopping spree during Fashionweek but as usual I invent the time. Shopping in Milan is one if the best experiences when you know your way around and I love everything Italian!
On this sunny day I was sporting an entire look by Marc Jacobs. I wore my favorite new Brian Atwood shoes and some serious arm candy by Glamour in Rose which is an Italian brand with excellent Jewellery pieces.
Top and Skirt: Marc Jacobs
Bag: YSL
Sunglasses: Miumiu
Bracelets: Glamour In Rose
Shoes: Brian Atwood
Receitinha inventada por mim, não como carne vermelha e não sou muito fã de frango, então sempre estou inventando receitinhas e substituindo ingredientes, compartilhando uma que adoro e é super fácil.
Ingredientes:
Azeite
Alho amassado
Cebola (picadinha ou triturada)
Molho Shoyo
50g de cogumelos shitake desidratado (Um pacote, uso o da marca Campo verde)
1 lata de creme de leite
Em uma panela coloque o azeite e doure o alho e a cebola, acrescente o shitake cortado em cubinhos, mexa e deixe refogar, adicione o molho shoyo, o sal e a pimenta, deixe mais um pouco no fogo sempre mexendo e acrescente o creme de leite, apague antes de levantar fervura. Prontinho!
O cogumelo deve ser hidratado em água fervente por 20 minutos e depois de escorrer cortado em pedacinhos.
Serve duas pessoas bem.
O creme de leite pode ser substituído por molho branco ou bechamel, uso o creme de leite porque acho mais prático, mas quem não gosta do gosto do creme de leite muito acentuado, basta substituir.
This is the tail vane of a Samson galvanized steel windmill from the Stover Mfg Co in Freeport, IL. The company was formed in 1881, in Freeport, Illinois, USA, although its principal Daniel C. STOVER had been manufacturing and inventing various machinery from the 1860's. Beginning in the 1860s with a windmill and then a corn cultivator, Daniel C. Stover invented and manufactured machinery of various kinds under the name Stover Experimental Works. In 1879 or 1881 he incorporated as Stover Manufacturing Co. There was also the Stover Engine Works and the Stover Bicycle Co. D. C. Stover died in 1908. In 1916 the Stover companies amalgamated to form Stover Manufacturing & Engine Co. Another related company was Stover Novelty Works, which was also owned by Daniel C. Stover. The Novelty Works, which specialized in small drill presses, was puchased in 1896 by employee August G. Hoefer and renamed Hoefer Manufacturing Co. Stover Manufacturing Co. had a diversified product line that leaned towards farm-related products, such as windmills, drag saws, portable sawmills, water tanks, feed grinders, etc. They became a supplier to Sears, Roebuck & Co., most notably of gasoline engines and windmills. Under the banner of Stover Manufacturing & Engine Co. the business continued until it shut down in 1942. Windmills were not added to the company production list until 1883. Daniel STOVER together with his brother, had patented a windmill in 1872, but sold the manufacturing rights. The STOVER SOLID WHEEL windmill was also sold in Australia during the 1880's by 'Geo P. HARRIS SCARFE' and possibly others, under the name of the OLD RELIABLE FREEPORT windmill. Earlier STOVER MANUFACTURING & ENGINE COMPANY windmills, such as the all metal, and the metal & wood versions of the IDEAL windmill were also available in Australia. In 1899 a 20 ft model was developed and several prototypes were erected in Texas over 122 and 213 metre deep wells, using 100mm pump barrels. The first commercially made version became available in 1900. SAMSON windmills were available with 4.5, 6, 8, 10, 12, 14, 16, 18 and 20 foot wind wheels. 6, 8 and 10 foot models have so far been located in Western Australia. The Samson Windmill was also sold in South Africa as a wind pump. Windpumps—better known in the United States as windmills, or American-style windmills—are used extensively on farms and ranches in the central plains and southwestern United States and in Southern Africa and Australia.
Daniel C. Stover was born on May 8, 1840 at Greencastle, PA. He started a manufacturing business in 1862, most likely making machinery for local farmers. He moved to Freeport, IL, in 1866 and by 1872 was listed as a manufacturer of agricultural implements. The Stover Mfg. Co. was formed in 1879 and was incorporated in 1882. By 1887 the Stover Mfg. Co. had become the largest manufacturer of windmills in the world. See: vintagemachinery.org/MfgIndex/detail.aspx?id=1713
Risque o "s" da sua crise! ;)
CRISE: Momento crítico ou decisivo.
CRIAR: Dar existência, princípio, Deus o céu e a terra, dar origem, formar, gerar, imaginar, inventar, produzir, suscitar, estabelecer, fundar, instituir, começar, adquirir, fazer, gloriosa, amamentar, alimentar, sustentar, sacrifício, filhos, cultivar, educar, trabalho, prática, virtude, crescer, desenvolver-se, nascer, exercer, atividade, atuar, primeira vez, modo, brilho, desempenho, importante.
CRIE: Reinventar, se reinventar, necessidade, mudar, conhecimento, holístico, intuição, oportunidade, criatividade, capacidade, superar, crescer, ação, acreditar, futuro, rumo, chance, fazer, transformar, empreender, pilotar, comunicar, sonhar, determinar, agir, promover, voar, objetivo, positivo, visão, missão, paixão, amar.
O meu negócio é criar! ;)
Felipe Luiz Fatarelli
Criativo de Arte, Design e Ilustração.
"Quem não se comunica se trumbica" - José Abelardo Barbosa de Medeiros, ou simplesmente Chacrinha.
Dental hygienist Kara Hershey assiduously removes tartar from your correspondent's teeth while more than holding up her end of the conversation and guardedly discloses her ideas for inventions that could revolutionize dental care. watch video here
"Hay quienes aseguran que los hermanos Wright inventaron el avión, en estos días de fines de 1904, pero otros sostienen que Santos Dumont fue, un par de años después, el creador de primer aparato digno de ese nombre.
Lo único cierto de toda certeza es que trescientos millones de años antes, unas alitas despuntaron en el cuerpo de las libélulas, y las alitas fueron alas que siguieron creciendo, durante algunos millones de años más, por las puras ganas de viajar.
Las libélulas fueron las primeras pasajeras del aire."
Eduardo Galeano
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however, we are just a short distance from Cavendish Mews, in front of Mr. Willison’s grocers’ shop. Willison’s Grocers in Mayfair is where Lettice has an account, and it is from here that Edith, Lettice's maid, orders her groceries for the Cavendish Mews flat, except on special occasions, when professional London caterers are used. Mr. Willison prides himself in having a genteel, upper-class clientele including the households of many titled aristocrats who have houses and flats in the neighbourhood, and he makes sure that his shop is always tidy, his shelves well stocked with anything the cook of a duke or duchess may want, and staff who are polite and mannerly to all his important customers. The latter is not too difficult, for aside from himself, Mrs. Willison does his books, his daughter Henrietta helps on Saturdays and sometimes after she has finished school, which means Mr. Willison technically only employs one member of staff: Frank Leadbetter his delivery boy who carries orders about Mayfair on the bicycle provided for him by Mr. Willison. He also collects payments for accounts which are not settled in his Binney Street shop whilst on his rounds.
Edith, is stepping out with Frank, so as she nears the shop, she hopes that the errand she has to run for today will allow her to have a few stolen minutes with Frank under the guise of ordering a few provisions required immediately. As she crosses Binney Street, Edith is delighted to see Frank busily decorating the front window. Mr. Willison always has a splendid window display of tinned and canned goods, but as she approaches the window she can see that it is especially festive, draped with patriotic bunting of Union Jacks and blue and red flags. As Frank, crouched in the window, carefully places a jar of Golden Shred marmalade next to a box of Ty-Phoo tea and in front of a jar of Marmite where it glows in the light pouring through the plate glass, Edith taps gently, so as not to startle her beau.
Frank smiles broadly and waves enthusiastically as he looks up and sees his sweetheart on the other side of the glass and he beckons her in as he slips back into the shadowy confines of the grocer’s.
“Please come in, milady!” he says cheekily as he opens the plate glass shop door for her, bows and doffs an invisible cap as the bell tinkles prettily overhead. “Pray what may we get to you? Let Willison’s the Grocer’s satisfy your every whim.”
“Oh Frank!” Edith giggles as she steps across the threshold. “Get along with you!”
Stepping into the shop she immediately smells the mixture of comforting aromas of fresh fruits, vegetables and flour, permeated by the delicious scent of the brightly coloured boiled sweets coming from the large cork stoppered jars on the shop counter. The sounds of the busy street outside die away, muffled by shelves lined with any number of tinned goods and signs advertising everything from Lyon’s Tea* to Bovril**.
“Where is Mrs. Willison?” Edith continues warily, her eyes darting to the spot behind the end of the return counter near the door where the proprietor’s wife usually sits doing her husband’s accounts, looking imperiously down her nose at Edith through her gold framed pince-nez***.
“Luckily the old trout is out with Mr. Willison attending Miss Henrietta’s school.” Frank explains.
“Don’t tell me that impudent little minx is in trouble?” Edith asks with a cheeky spark of hope in her voice. She knows that it’s uncharitable, and unchristian of her to wish the young girl ill, but she is still riled over the last time Edith met Frank near the rear door of Mr. Willison’s grocers, where, as he stole a kiss from her, Henrietta spied upon them. Henrietta, who had seen the young couple from a lace framed upstairs window where she was often seen spying on the comings and goings of the neighbourhood, called out loudly to her disapproving mother downstairs in the shop that Edith and Frank were loitering in the back lane, which caused the woman with her old fashioned upswept hairstyle and her high necked starched shirtwaister**** blouse to come hurrying to the back door as fast as her equally old fashioned whale bone S-bend corset***** and button up boots would allow her, where she promptly berated both Edith and Frank with her acerbic tongue, accusing them of lowering the tone of Mr. Willison’s establishment by loitering with intent and fraternising shamelessly. Edith’s cheeks flush at the mere memory of that embarrassing moment with Mrs. Willison.
“No,” Frank goes on. “Miss Henrietta is receiving an award at school today for an essay she penned.”
“With poison, no doubt.” mutters Edith. She sighs heavily before continuing, “I hate how you call her ‘Miss Henrietta’. She’s no better than you, Frank. In fact she’s a darn sight lesser if you ask me.”
“Now, now, Edith. Calm down.” Frank places his slender hands on her forearms and wraps his long and elegant fingers around them comfortingly. “You may well be right, but she is my employer’s daughter.”
“And full of her own self-importance.” Edith interrupts.
Frank politely ignores her outburst as he continues, “So I must address her as such.”
“Well, it’s not right, Frank.” Edith sulks.
“That much is true too,” Frank agrees with a sad nod. “And you know I am a man who wants to right the wrongs dealt to hardworking fold like you and I, but this is one fight I can’t have yet, Edith. This bit of deference I need to keep up if I want to keep my job.”
“All the same, Frank. I don’t think it’s right.” Edith opines again.
“Anyway, let’s not let Henrietta Willison spoil this wonderfully rare moment where we find each other alone together, Edith.” Frank says, pulling her into an embrace. Quickly looking around the quiet shop interior filled with groceries to make sure no-one will see them, Frank gently kisses Edith lovingly on the lips.
After a few stolen moments, Frank reluctantly breaks their kiss.
“Oh Frank!” Edith exclaims, her head giddy with pleasure and voice heady with love.
“Now, Miss Watsford,” Frank asks in a mock businesslike tone. “What can I do for the maid of the Honourable Miss Chetwynd today?”
“Well, it’s a funny coincidence, but you happened to be putting what I need in your window display, just as I arrived, Frank.” Edith elucidates. “I need a jar of Golden Shred orange marmalade urgently.”
“Urgently?” Frank queries. “Gosh, that does sound extreme.”
“But I do, Frank. Miss Lettice has a potential new client coming up from Wiltshire today, and being a somewhat impromptu visit, I haven’t any cake to serve them. I was just about to make my Mum’s pantry chocolate cake when I realised that I’m out of orange marmalade.”
“Well that does sound like a serious situation.” Frank agrees.
“Don’t tease me Frank! I’m serious.” Edith’s pretty pale blue eyes grow wide. “If I don’t provide something nice to eat for Miss Lettice’s potential new client, everything could go awry, and then I’d get into such trouble.”
“Well, I can’t have my best girl getting into trouble because she is missing the essential ingredient to her mum’s delicious chocolate cake, can I?” Frank says. “However I don’t understand why you have marmalade in a cake. It sounds a bit odd to me.”
“That’s because you aren’t a baker, Frank. Mum taught me this recipe for chocolate cake which is based on cheap everyday staples you have in the pantry, and that’s why she calls it a pantry chocolate cake.”
“Go on,” Frank says, placing his elbows on the counter and resting his smiling face in his hands. “You have my full attention.”
“Well, I use the marmalade to give the cake a nice citrus flavour in addition to the chocolate, and it keeps it moist, so it doesn’t dry out when baking. This way, I don’t have to worry about peeling or squeezing oranges either.”
“Fascinating!” Frank breathes, smiling broadly as he listens to Edith.
“And that’s why I need the marmalade, Frank.” Edith says nervously. “I’ll be lost without it.”
“Well, that is a problem, but it’s one I think I can remedy easily.” He smiles as he fossicks behind the counter and withdraws a jar of orange marmalade from somewhere unseen beneath it. Smiling proudly, as though he is a magician who has just conjured his best magic trick, he places it on the surface of counter.
“Oh you’re a brick, Frank!” Edith exclaims with eyes sparkling at the sight of the jar as she reaches out and takes it, placing it carefully into her basket.
“I’ll add that to Miss Lettice’s account, shall I?”
“If you would, Frank.”
As Frank writes the purchase on a scrap of lined paper to give to Mrs. Willison to enter into Mr. Willison’s ledger in her fine looping copperplate when she returns, he asks, “So do you like my window display then, Edith?”
“Oh yes!” gushes Edith. “Very much so, Frank. It’s wonderfully gay and patriotic.”
“I should hope it would be!” Frank replies, as he finishes scrawling Edith’s purchase on the paper with a slightly blunt pencil.
“Why, what’s it in aid of, Frank?”
“Edith!” Frank gasps. “I must have failed abysmally if you can’t tell.” He frowns, lines of concern furrowing his young brow. “Mr. Willison will never let me arrange the window again if you’re anything to go by.”
“Oh, get on with you, Frank!” Edith laughs.
However, Frank doesn’t join in her light hearted laughter and continues to look dourly at the back of the window display he has set up. “I’m serious, Edith. Mr. Willison finally let me arrange a window on my own because I implored him that I wanted to do it, and you can’t even identify what it’s promoting.”
“Well,” Edith defends, blushing as she does so. “To be fair, I was more concentrating on you, Frank.” When the worried look still doesn’t vanish from his face she adds. “Now that you aren’t standing in it, distracting me, I’ll go and take another look.”
She turns around and walks over to the window and peers through the side over the tops of a pyramid of Sunlight soap and a stack of Twinings tea varieties. An equally high pyramid of biscuit varieties, all in bright and colourful tins stands on the other side, whilst several more tins of biscuits appear at the back of the wide window ledge used for advertising. In front of them stand tins of golden syrup and black treacle, jars of marmalade, packets of tea and jelly crystals, containers of baking powder and cocoa, and at the very front of the window, almost flush against the glass, a cardboard cut out of a gollywog advertising Robertson’s marmalade and a little boy smiling as he promotes Rowntree’s clear gums, which Edith knows Mr. Willison keeps safely out of reach behind the shop counter and away from sticky little fingers. Edith gasps as she realises why Frank had hung bunting in the window, for at the back of the display, where usually there would be an advertisement for Lyon’s Tea or Bisto Gravy******, there is a poster promoting the British Empire Exhibition******* at Wembly********. A crowd of figures from British history and the nations of the British Empire crowd for space along several rows, many proudly waving the flags of Empire, whilst the exhibition name and dates are flanked by two very proud stylised Art Deco lions.
“The British Empire Exhibition!” Edith gasps, as Frank’s head appears next to a Huntley and Palmer********* biscuit tin on the opposite side of the display to her. “Now that you aren’t crouched in the window, I can see it clearly, Frank.”
“Mr. Willison gave me strict instructions to fill the window with only British made products.”
“And you’ve done a splendid job, Frank.” Edith replies, causing her beau to smile with pride and blush with embarrassment at her effusive compliment. As she looks at all the products again, she adds, “And I’m glad to see McVite and Price********** at the top of the pyramid of biscuits.
“Well, I couldn’t very well step out with the daughter of a McVitie and Price Line Manager and not have it on the top, could I, Edith?”
“Indeed no, Frank.” Edith smiles. “Dad will be pleased as punch when I tell him.”
“Well, I’m glad to hear that, Edith.” Franks says with a sigh.
“I think it will be quite a spectacle,” Edith muses, as she stares at the poster. “I’ve read in the newspapers that there will be fifty-six displays and pavilions from around the Empire! Imagine that! There will be palaces for industry, and art.”
“And housing and transport too***********, don’t forget.” adds Frank. “Each colony will be assigned its own distinctive pavilion to reflect local culture and architecture.”
“I would like to see the Queen’s Dolls’ House************.” Edith sighs. “I hear it is a whole world in miniature, and it even has electric lights.”
“Well, isn’t that fortunate?”
Edith pauses mid thought and looks quizzically at Frank. “I suppose it would be,” she considers. “If you were a doll living in the Queen’s Doll House.”
Frank starts laughing, quietly at first before growing into louder and louder guffaws.
“What, Frank?” Edith asks, blushing. “What have I said? What’s so funny?”
After a few moments, Frank manages to recover himself. “You do make me laugh, dear Edith.” He wipes the tears of mirth from the corners of his eyes. “Thank you.” He sighs. “I was really saying it’s fortunate because, I was going to ask you whether you would like to go and see the British Empire Exhibition. I’m just as keen to see all the marvellous wonders of Empire as you are.”
“Oh Frank!” Edith gasps, any discomfort and displeasure at her beau laughing at her forgotten as she runs around to his side of the window and throws her arms around his neck. “Frank, you’re such a brick! I’d love to!” And without another word, she places her lips against his and kisses him deeply.
*Lyons Tea was first produced by J. Lyons and Co., a catering empire created and built by the Salmons and Glucksteins, a German-Jewish immigrant family based in London. Starting in 1904, J. Lyons began selling packaged tea through its network of teashops. Soon after, they began selling their own brand Lyons Tea through retailers in Britain, Ireland and around the world. In 1918, Lyons purchased Hornimans and in 1921 they moved their tea factory to J. Lyons and Co., Greenford at that time, the largest tea factory in Europe. In 1962, J. Lyons and Company (Ireland) became Lyons Irish Holdings. After a merger with Allied Breweries in 1978, Lyons Irish Holdings became part of Allied Lyons (later Allied Domecq) who then sold the company to Unilever in 1996. Today, Lyons Tea is produced in England.
**Bovril is owned and distributed by Unilever UK. Its appearance is similar to Marmite and Vegemite. Bovril can be made into a drink ("beef tea") by diluting with hot water or, less commonly, with milk. It can be used as a flavouring for soups, broth, stews or porridge, or as a spread, especially on toast in a similar fashion to Marmite and Vegemite.
***Pince-nez is a style of glasses, popular in the late Nineteenth and early Twentieth Centuries, that are supported without earpieces, by pinching the bridge of the nose. The name comes from French pincer, "to pinch", and nez, "nose".
****A shirtwaister is a woman's dress with a seam at the waist, its bodice incorporating a collar and button fastening in the style of a shirt which gained popularity with women entering the workforce to do clerical work in the late Nineteenth and early Twentieth Centuries.
*****Created by a specific style of corset popular between the turn of the Twentieth Century and the outbreak of the Great War, the S-bend is characterized by a rounded, forward leaning torso with hips pushed back. This shape earned the silhouette its name; in profile, it looks similar to a tilted letter S.
******The first Bisto product, in 1908, was a meat-flavoured gravy powder, which rapidly became a bestseller in Britain. It was added to gravies to give a richer taste and aroma. Invented by Messrs Roberts and Patterson, it was named "Bisto" because it "Browns, Seasons and Thickens in One". Bisto Gravy is still a household name in Britain and Ireland today, and the brand is currently owned by Premier Foods.
*******The British Empire Exhibition was a colonial exhibition held at Wembley Park, London England from 23 April to 1 November 1924 and from 9 May to 31 October 1925. In 1920 the British Government decided to site the British Empire Exhibition at Wembley Park, on the site of the pleasure gardens created by Edward Watkin in the 1890s. A British Empire Exhibition had first been proposed in 1902, by the British Empire League, and again in 1913. The Russo-Japanese War had prevented the first plan from being developed and World War I put an end to the second, though there had been a Festival of Empire in 1911, held in part at Crystal Palace. One of the reasons for the suggestion was a sense that other powers, like America and Japan, were challenging Britain on the world stage. Despite victory in Great War, this was in some ways even truer in 1919. The country had economic problems and its naval supremacy was being challenged by two of its former allies, the United States and Japan. In 1917 Britain had committed itself eventually to leave India, which effectively signalled the end of the British Empire to anyone who thought about the consequences, while the Dominions had shown little interest in following British foreign policy since the war. It was hoped that the Exhibition would strengthen the bonds within the Empire, stimulate trade and demonstrate British greatness both abroad and at home, where the public was believed to be increasingly uninterested in Empire, preferring other distractions, such as the cinema.
********A purpose-built "great national sports ground", called the Empire Stadium, was built for the Exhibition at Wembley. This became Wembley Stadium. Wembley Urban District Council was opposed to the idea, as was The Times, which considered Wembley too far from Central London. The first turf for this stadium was cut, on the site of the old tower, on the 10th of January 1922. 250,000 tons of earth were then removed, and the new structure constructed within ten months, opening well before the rest of the Exhibition was ready. Designed by John William Simpson and Maxwell Ayrton, and built by Sir Robert McAlpine, it could hold 125,000 people, 30,000 of them seated. The building was an unusual mix of Roman imperial and Mughal architecture. Although it incorporated a football pitch, it was not solely intended as a football stadium. Its quarter mile running track, incorporating a 220 yard straight track (the longest in the country) were seen as being at least equally important. The only standard gauge locomotive involved in the construction of the Stadium has survived, and still runs on Sir William McAlpine's private Fawley Hill railway near Henley.
*********Huntley and Palmers is a British firm of biscuit makers originally based in Reading, Berkshire. The company created one of the world’s first global brands and ran what was once the world’s largest biscuit factory. Over the years, the company was also known as J. Huntley and Son and Huntley and Palmer. Huntley and Palmer were renown for their ‘superior reading biscuits’ which they promoted in different varieties for different occasions, including at breakfast time, morning and afternoon tea and reading time.
**********McVitie's (Originally McVitie and Price) is a British snack food brand owned by United Biscuits. The name derives from the original Scottish biscuit maker, McVitie and Price, Ltd., established in 1830 on Rose Street in Edinburgh, Scotland. The company moved to various sites in the city before completing the St. Andrews Biscuit Works factory on Robertson Avenue in the Gorgie district in 1888. The company also established one in Glasgow and two large manufacturing plants south of the border, in Heaton Chapel, Stockport, and Harlesden, London (where Edith’s father works). McVitie and Price's first major biscuit was the McVitie's Digestive, created in 1892 by a new young employee at the company named Alexander Grant, who later became the managing director of the company. The biscuit was given its name because it was thought that its high baking soda content served as an aid to food digestion. The McVitie's Chocolate Homewheat Digestive was created in 1925. Although not their core operation, McVitie's were commissioned in 1893 to create a wedding cake for the royal wedding between the Duke of York and Princess Mary, who subsequently became King George V and Queen Mary. This cake was over two metres high and cost one hundred and forty guineas. It was viewed by 14,000 and was a wonderful publicity for the company. They received many commissions for royal wedding cakes and christening cakes, including the wedding cake for Queen Elizabeth II and Prince Phillip and Prince William and Catherine Middleton. Under United Biscuits McVitie's holds a Royal Warrant from Queen Elizabeth II.
***********The Palace of Engineering was originally called the Palace of Housing and Transport when the British Empire Exhibition opened. It contained a crane capable of moving 25 tons (a practical necessity, not an exhibit) and contained displays on engineering, shipbuilding, electric power, motor vehicles, railways, including locomotives, metallurgy and telegraphs and wireless. In 1925 there seems to have been less emphasis on things that could also be classified as Industry, with instead more on housing and aircraft. The Palace of Industry was slightly smaller. It contained displays on the chemical industry, coal, metals, medicinal drugs, sewage disposal, food, drinks, tobacco, clothing, gramophones, gas and Nobel explosives.
************Queen Mary's Dolls' House is a dollhouse built in 1:12 scale in the early 1920s, completed in 1924, for Queen Mary, the wife of King George V. It was designed by architect Sir Edwin Lutyens, with contributions from many notable artists and craftsmen of the period, including a library of miniature books containing original stories written by authors including Sir Arthur Conan Doyle and A. A. Milne illustrated by famous illustrators of the time like Arthur Rackham and Edmund Dulac. The idea for building the dollhouse originally came from the Queen's cousin, Princess Marie Louise, who discussed her idea with one of the top architects of the time, Sir Edwin Lutyens, at the Royal Academy Summer Exhibition of 1921. Sir Edwin agreed to construct the dollhouse and began preparations. Princess Marie Louise had many connections in the arts and arranged for the top artists and craftsmen of the time to contribute their special abilities to the house. It was created as a gift to Queen Mary from the people, and to serve as a historical document on how a royal family might have lived during that period in England. It showcased the very finest and most modern goods of the period. Later the dollhouse was put on display to raise funds for the Queen's charities. It was originally exhibited at the British Empire Exhibition in 1924 and again in 1925, where more than 1.6 million people came to view it, and is now on display in Windsor Castle, at Windsor, as a tourist attraction.
This bright window display may look like it is full of real products from today and yesteryear, but just like Queen Mary’s Dolls’ House, these items are all 1:12 scale miniature pieces from my own collection.
Fun things to look for in this tableau include:
The window is full of wonderful British household brands, some of which like Robertson’s Golden Shred Marmalade, Marmite, Oxo stock cubes and Twinings tea we still know today. All these pieces have been made by various artisans including Little Things Dollhouse Miniatures in Lancashire and Beautifully Handmade Miniatures in Kettering, or supplied from various stockists of 1:12 miniatures including Kathleen Knight’s Dolls’ House Shop and Shephard’s Miniatures in the United Kingdom, or through various online stockists. I created the Union Jack bunting that is draped to either side of the display. I also recreated the British Empire Exhibition poster.
The two carboard displays at the very front for Rountree’s Gums and Golden Shred Marmalade are 1:12 size artisan miniatures made by the British miniature artisan Ken Blythe. The Golliwog advertising Robertson’s Golden Shred Marmalade in particular has some nostalgia for me, and takes me back to my own childhood. The famous Robertson's Golliwog symbol (not seen as racially charged at the time) appeared in 1910 after a trip to the United States to set up a plant in Boston. His son John bought a golliwog doll there. For some reason this started to appear first on their price lists and was then adopted as their trade mark. I have pins with the Robertson’s Golliwog on it that I collected as a child. Ken Blythe was famous in miniature collectors’ circles mostly for the miniature books that he made: all being authentically replicated 1:12 scale miniatures of real volumes. I have quite a large representation of Ken Blythe’s work in my collection. However, he did not make books exclusively. He also made other small pieces like these advertising pieces for miniature shops. What might amaze you, looking at these cardboard stand-ups is that they are just like their real life equivalents, both front and back! To create something so authentic to the original in such detail and so clearly, really does make this a real miniature artisan piece. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago and through his estate courtesy of the generosity of his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter.
Golden Shred orange marmalade and Silver Shred lime marmalade still exist today and are common household brands both in Britain and Australia. They are produced by Robertson’s. Robertson’s Golden Shred recipe perfected since 1874 is a clear and tangy orange marmalade, which according to their modern day jars is “perfect for Paddington’s marmalade sandwiches”. Robertson’s Silver Shred is a clear, tangy, lemon flavoured shredded marmalade. Robertson’s marmalade dates back to 1874 when Mrs. Robertson started making marmalade in the family grocery shop in Paisley, Scotland.
In 1859 Henry Tate went into partnership with John Wright, a sugar refiner based at Manesty Lane, Liverpool. Their partnership ended in 1869 and John’s two sons, Alfred and Edwin joined the business forming Henry Tate and Sons. A new refinery in Love Lane, Liverpool was opened in 1872. In 1921 Henry Tate and Sons and Abram Lyle and Sons merged, between them refining around fifty percent of the UK’s sugar. A tactical merger, this new company would then become a coherent force on the sugar market in anticipation of competition from foreign sugar returning to its pre-war strength. Tate and Lyle are perhaps best known for producing Lyle’s Golden Syrup and Lyle’s Golden Treacle.
Peter Leech and Sons was a grocers that operated out of Lowther Street in Whitehaven from the 1880s. They had a large range of tinned goods that they sold including coffee, tea, tinned salmon and golden syrup. They were admired for their particularly attractive labelling. I do not know exactly when they ceased production, but I believe it may have happened just before the Second World War.
Founded by Henry Isaac Rowntree in Castlegate in York in 1862, Rowntree's developed strong associations with Quaker philanthropy. Throughout much of the Nineteenth and Twentieth centuries, it was one of the big three confectionery manufacturers in the United Kingdom, alongside Cadbury and Fry, both also founded by Quakers. In 1981, Rowntree's received the Queen's Award for Enterprise for outstanding contribution to international trade. In 1988, when the company was acquired by Nestlé, it was the fourth-largest confectionery manufacturer in the world. The Rowntree brand continues to be used to market Nestlé's jelly sweet brands, such as Fruit Pastilles and Fruit Gums, and is still based in York.
Twinings is a British marketer of tea and other beverages, including coffee, hot chocolate and malt drinks, based in Andover, Hampshire. The brand is owned by Associated British Foods. It holds the world's oldest continually used company logo, and is London's longest-standing ratepayer, having occupied the same premises on the Strand since 1706. Twinings tea varieties include black tea, green tea and herbal teas, along with fruit-based cold infusions. Twinings was founded by Thomas Twining, who opened Britain's first known tea room, at No. 216 Strand, London, in 1706; it still operates today. Holder of a royal warrant, Twinings was acquired by Associated British Foods in 1964. The company is associated with Earl Grey tea, a tea infused with bergamot, though it is unclear when this association began, and how important the company's involvement with the tea has been. Competitor Jacksons of Piccadilly – acquired by Twinings during the 1990s – also had associations with the bergamot blend. In April 2008, Twinings announced their decision to close its Belfast Nambarrie plant, a tea company in trade for over 140 years. Citing an "efficiency drive", Twinings moved most of its production to China and Poland in late 2011, while retaining its Andover, Hampshire factory with a reduced workforce. In 2023, Twinings ceased production of lapsang souchong, replacing it with a product called "Distinctively Smoky", widely considered to be inferior quality.
In 1863, William Sumner published A Popular Treatise on Tea as a by-product of the first trade missions to China from London. In 1870, William and his son John Sumner founded a pharmacy/grocery business in Birmingham. William's grandson, John Sumner Jr. (born in 1856), took over the running of the business in the 1900s. Following comments from his sister on the calming effects of tea fannings, in 1903, John Jr. decided to create a new tea that he could sell in his shop. He set his own criteria for the new brand. The name had to be distinctive and unlike others, it had to be a name that would trip off the tongue and it had to be one that would be protected by registration. The name Typhoo comes from the Mandarin Chinese word for “doctor”. Typhoo began making tea bags in 1967. In 1978, production was moved from Birmingham to Moreton on the Wirral Peninsula, in Merseyside. The Moreton site is also the location of Burton's Foods and Manor Bakeries factories. Typhoo has been owned since July 2021 by British private-equity firm Zetland Capital. It was previously owned by Apeejay Surrendra Group of India.
Bird’s were best known for making custard and Bird’s Custard is still a common household name, although they produced other desserts beyond custard, including the blancmange. They also made Bird’s Golden Raising Powder – their brand of baking powder. Bird’s Custard was first formulated and first cooked by Alfred Bird in 1837 at his chemist shop in Birmingham. He developed the recipe because his wife was allergic to eggs, the key ingredient used to thicken traditional custard. The Birds continued to serve real custard to dinner guests, until one evening when the egg-free custard was served instead, either by accident or design. The dessert was so well received by the other diners that Alfred Bird put the recipe into wider production. John Monkhouse (1862–1938) was a prosperous Methodist businessman who co-founded Monk and Glass, which made custard powder and jelly. Monk and Glass custard was made in Clerkenwell and sold in the home market, and exported to the Empire and to America. They acquired by its rival Bird’s Custard in the early Twentieth Century.
Marmite is a food spread made from yeast extract which although considered remarkably English, was in fact invented by German scientist Justus von Liebig although it was originally made in the United Kingdom. It is a by-product of beer brewing and is currently produced by British company Unilever. The product is notable as a vegan source of B vitamins, including supplemental vitamin B. Marmite is a sticky, dark brown paste with a distinctive, salty, powerful flavour. This distinctive taste is represented in the marketing slogan: "Love it or hate it." Such is its prominence in British popular culture that the product's name is often used as a metaphor for something that is an acquired taste or tends to polarise opinion.
Oxo is a brand of food products, including stock cubes, herbs and spices, dried gravy, and yeast extract. The original product was the beef stock cube, and the company now also markets chicken and other flavour cubes, including versions with Chinese and Indian spices. The cubes are broken up and used as flavouring in meals or gravy or dissolved into boiling water to produce a bouillon. Oxo produced their first cubes in 1910 and further increased Oxo's popularity.
Bournville is a brand of dark chocolate produced by Cadbury. It is named after the model village of the same name in Birmingham, England and was first sold in 1908. Bournville Cocoa was one of the products sold by Cadbury. The label on the canister is a transitional one used after the First World War and shared both the old fashioned Edwardian letter B and more modern 1920s lettering for the remainder of the name. The red of the lettering is pre-war whilst the orange and white a post-war change.
Peek Freans is the name of a former biscuit making company based in Bermondsey, which is now a global brand of biscuits and related confectionery owned by various food businesses. De Beauvoir Biscuit Company owns but does not market in the United Kingdom, Europe and United States; Mondelēz International owns the brand in Canada; and English Biscuit Manufacturers owns the brand in Pakistan. Peek, Frean & Co. Ltd was registered in 1857 by James Peek (1800–1879) and his nephew-in-law George Hender Frean. The business was based in a disused sugar refinery on Mill Street in Dockhead, South East London, in the west of Bermondsey. With a quickly expanding business, in 1860, Peek engaged his friend John Carr, the apprenticed son of the Carlisle-based Scottish milling and biscuit-making family, Carr's. From 1861, Peek, Frean & Co. Ltd started exporting biscuits to Australia, but outgrew their premises from 1870 after agreeing to fulfil an order from the French Army for 460 long tons of biscuits for the ration packs supplied to soldiers fighting the Franco-Prussian War. After hostilities ended, the French Government ordered a further 16,000 long tons (11 million) sweet "Pearl" biscuits in celebration of the end of the Siege of Paris, and further flour supplies for Paris in 1871 and 1872, with financing undertaken by their bankers the Rothschilds. The consequential consumer demands of emigrating French expatriate soldiers, allowed the company to start exporting directly to Ontario, Canada from the mid-1870s. On 23 April 1873, the old Dockhead factory burnt down in a spectacular fire,[1] which brought the Prince of Wales (later Edward VII) out on a London Fire Brigade horse-drawn water pump to view the resulting explosions. In 1906, the Peek, Frean and Co. factory in Bermondsey was the subject of one of the earliest documentary films shot by Cricks and Sharp. This was in part to celebrate an expansion of the company's cake business, which later made the wedding cakes for both Princess Elizabeth and Philip Mountbatten (later Queen Elizabeth II and the Duke of Edinburgh) and Charles, Prince of Wales (later King Charles III), and Lady Diana Spencer. In 1924, the company established their first factory outside the UK, in Dum Dum in India. In 1931, five personnel from the Bermondsey factory went to Australia to train the staff in the new factory in Camperdown, in Sydney. In 1949, they established their first bakery in Canada, located on Bermondsey Road in East York, Ontario, which still today produces Peek Freans branded products. After 126 years, the London factory was closed by then owner BSN on Wednesday 26 May 1989.
Carr's is a British biscuit and cracker manufacturer, currently owned by Pladis Global through its subsidiary United Biscuits. The company was founded in 1831 by Jonathan Dodgson Carr and is marketed in the United States by Kellogg's. In 1831, Carr formed a small bakery and biscuit factory in the English city of Carlisle in Cumberland; he received a royal warrant in 1841. Within fifteen years of being founded, it had become Britain's largest baking business. Carr's business was both a mill and a bakery, an early example of vertical integration, and produced bread by night and biscuits by day. The biscuits were loosely based on dry biscuits used on long voyages by sailors. They could be kept crisp and fresh in tins, and despite their fragility could easily be transported to other parts of the country by canal and railway. Carr died in 1884, but by 1885, the company was making 128 varieties of biscuit and employing 1000 workers. In 1894 the company was registered as Carr and Co. Ltd. but reverted to being a private company in 1908. Carrs Flour Mills Limited was incorporated after acquiring the flour-milling assets. It became part of Cavenham Foods in 1964 until 1972, when it was sold to United Biscuits group, along with Cavenham's other biscuit brands Wright's Biscuits and Kemps for $10 million. United Biscuits was sold by its private equity owners to the Turkish-based multinational Yıldız Holding in 2014; in 2016 all UB brands including Carr's were combined with Yildiz's other snack brands to form Pladis Global.
Macfarlane Lang and Company began as Lang’s bakery in 1817, before becoming MacFarlane Lang in 1841. The first biscuit factory opened in 1886 and changed its name to MacFarlane Lang & Co. in the same year. The business then opened a factory in Fulham, London in 1903, and in 1904 became MacFarlane Lang & Co. Ltd. In 1948 it formed United Biscuits Ltd. along with McVitie and Price.
A co-operative wholesale society, or CWS, is a form of co-operative federation (that is, a co-operative in which all the members are co-operatives), in this case, the members are usually consumer cooperatives. The best historical examples of this are the English CWS and the Scottish CWS, which are the predecessors of the 21st Century Co-operative Group. Indeed, in Britain, the terms Co-operative Wholesale Society and CWS are used to refer to this specific organisation rather than the organisational form. They sold things like tea, cocoa and biscuits.
Sunlight Soap was first introduced in 1884 by William Hesketh Lever (1st Viscount Leverhulme) and introduced to the market in 1904. It was produced at Port Sunlight in Wirrel, Merseyside, a model village built by Lever Brothers for the workers of their factories which produced the popular soap brands Lux, Lifebuoy and Sunlight.
Before the invention of aerosol spray starch, the product of choice in many homes of all classes was Robin starch. Robin Starch was a stiff white powder like cornflour to which water had to be added. When you made up the solution, it was gloopy, sticky with powdery lumps, just like wallpaper paste or grout. The garment was immersed evenly in that mixture and then it had to be smoothed out. All the stubborn starchy lumps had to be dissolved until they were eliminated – a metal spoon was good for bashing at the lumps to break them down. Robins Starch was produced by Reckitt and Sons who were a leading British manufacturer of household products, notably starch, black lead, laundry blue, and household polish. They also produced Jumbo Blue, which was a whitener added to a wash to help delay the yellowing effect of older cotton. Rekitt and Sons were based in Kingston upon Hull. Isaac Reckitt began business in Hull in 1840, and his business became a private company Isaac Reckitt and Sons in 1879, and a public company in 1888. The company expanded through the late Nineteenth and early Twentieth Centuries. It merged with a major competitor in the starch market J. and J. Colman in 1938 to form Reckitt and Colman.
Minha amiga linda veio fazer as unhas comigo e inventamos de fazer cerejeiras (sakuras) mas eu acho que ficaram mais parecidas com ipês rosas..
Não sei se deu pra perceber mas também fiz umas "nuvens" atras com a esponjinha :}
Luna Rossa
Cette oeuvre d'inspiration asiatique est une des plus remarquables de celles exposées par la fondation Berengo en complément de l'exposition de Vanmechelen.
Oeuvre d'Andrea Anastasio
giustinistagetti.com/andrea-anastasio-biography/
Fondation Berengo Art Space, Murano / Venise
Deux matrices culturelles, industrielle et artisanale, coexistent et se confondent dans une image qui évoque la vue d'Hokusai sur la cascade d'Amida et dont le titre rappelle la célèbre chanson napolitaine. Luna Rossa est un objet primitif fait de technologie et d'artisanat archétypal, une apparition qui s'appuie sur la dimension mystérieuse de l'émotion visuelle pour aborder les aspects conflictuels qui caractérisent le contemporain. Extrait du cartel de l'oeuvre
Pour mémoire : "La cascade d'Amida dans les montagnes de Kiso"
Oeuvre d'Hokusai (1760-1849)
période d'Edo, Japon
Estampe polychrome
Musée d'art asiatique, Humboldt Forum, Berlin
recherche.smb.museum/detail/978423/Der%20Amida-Wasserfall...
"Luna Rossa" sur le site de Wonderglass
wonderglass.com/art/luna-rossa/
-------------------
Berengo Studio a été fondé en 1989 par Adriano Berengo, qui a entrepris de tracer une nouvelle voie pour l'art du verre en testant les frontières de la verrerie contemporaine avec son approche innovante et inventive. Inspiré par le travail collaboratif de Peggy Guggenheim et Egidio Costantini dans les années 1960 qui invitaient des maîtres tels que Picasso et Chagall à produire de l'art en verre, Berengo a décidé de poursuivre cette vision créative et de donner une nouvelle vie au monde de l'art contemporain grâce à l'utilisation du verre.... Extrait du site de la Fondation Berengo
An Egg Cream is a famous and delicious drink that was invented in the Jewish neighborhoods of Brooklyn, New York. In the early twentieth century. In those days a tall glass of plain seltzer water was called a "Two Cent Plain." I think an Egg Cream was three cents or a nickel. I don't remember...
The name Egg Cream is a misnomer since it has no eggs and no cream. It was originally made in a tall glass, with a little milk, Fox's U-Bet chocolate syrup, and seltzer added last to make the lasting foam.
I was out of tall glasses so I used a highball glass. I am trying to not have milk to help me lose weight, so I added spices that I know from experience will produce a nice, long lasting foam on the top.
I started with about an inch (2.5 centimeters) of coffee.
Then I added the Vanilla extract and the ground spices: Cinnamon, Allspice, Nutmeg, Ginger, and Cloves.
I poured in the seltzer last. Pour it in quickly enough that it makes a rich foam but not too fast so the foam doesn't overflow the glass. It's okay if a little overflows, but then you have to wipe the glass and put it on a coaster. Using cold seltzer in a warm glass adds to the foaming effect.
Remembering back to my childhood, it always overflowed in drugstores and ice cream fountains. (:-)
As you can see, Chic's Egg Cream requires no sweetener and no milk or cream.
Please use a tall glass, if you have one available. The egg cream lasts much longer!!!
Invented around 1800 by two brothers Henry & Sealey Fourdrinier this machine was to revolutionise papermaking the world over.
Location : Frogmore Papermill, Apsley, Hertfordshire,UK. www.thepapertrail.org.uk
© 2016 PJR-Images.
Jack Williamson is credited with inventing the terms “terraforming” and “genetic engineering.” His novel “Dragon’s Island,” first published in 1951, is the first novel to use the term “genetic engineering.” It’s a fast-paced adventure story in which a young scientist seeks the whereabouts of a missing geneticist. He is whisked away to a secret location called Dragon’s Island, where strange creatures and a mutant race that is faster, smarter and stronger than humans seem to have been created.
The paperback publisher Popular Library put out "Dragon's Island" a few months later, in August 1952, and it had another great cover by Earle Bergey: www.flickr.com/photos/57440551@N03/14408479633/in/set-721...
Born in Arizona and raised on a New Mexico farm, Jack Williamson (1908-2006) acquired degrees in English from Eastern New Mexico University. He became a member of the faculty in 1960 and remained with the University the rest of his life. He sold his first story at twenty and had a long and successful writing career well into his nineties, winning a Hugo at 93 and a Nebula at 94. He was named a Grand Master of Science Fiction by the Science Fiction Writers Association.
Pretty brunette swimsuit bikni model goddess modeling the Nikon D800-based 45WindSurfer!
Shooting photographic stills & video @ same time with Nikon D800 & 70-200 mm VR2 Nikkor Lens bracketed to a camcorder--the awsome Panasonic HDC-TM900 32GB Flash Memory HD Camcorder ! It shoots stabilized 60P video for super-smooth slow-mo when I slow it down in post!
I call it the 45WindSurfer Bracket, as you can catch video's constant wind and still photography's intermittent waves!
Just as windsurding was invented by combining two sports--surfing and sailing--so too was 45windsurfing born by combining two art forms!
When you get to work with pretty swimsuit bikni models, you want to make the most of everyone's time & shoot stills photorgaphy and motion pictures / video @ the same time!
Shooting (45WindSurfing) on El Matador Beach in Malbu!
The 45WindSurfer bracket allows one to attach any two cameras! Can hardly wait to attch a 4K Sony or JVC!
Modeling the Gold 45 Revolver Gold'N'Virtue bikini!
All the best on your journey!