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the geometric curves and lines of an old printing press at the Arcade Building in St. Louis, Missouri.
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LOH's Soap Dispensers Dispense More Than Soap!
Big discounts at the Coop Foodstores
Public Art at Jake's Coffee Company
Published 10/9/2010
Stevens linebacker Zach Knight, center, knocks St. Thomas quarterback
Jack MacNevin (12) off his feet last night in Claremont. Stevens lost,
28-7. (Valley News — Jennifer Hauck)
Upper Valley Takes Action
Against Global Warming
By Warren Johnston
Valley News Staff Writer
More than a dozen Upper Valley groups are joining an effort tomorrow
to raise awareness and energize millions of people worldwide in the
fight against global warming.
Upper Valley residents are joining others in all 50 states and 188
countries across the globe for work party events with activities
ranging from planting trees and raspberries, fixing bicycles, saving
energy, weatherizing houses and more. And there will be an equal
emphasis on the “party” as well as the “work” to get people actively
involved in preventing global warming, said Barbara Duncan, who heads
the Catamount Earth Institute, a community environmental action and
educational group.
“This is inspired by (author) Bill McKibben's 350 organization that is
designed to get people out doing something about climate change,
rather than just going to a rally in Washington, D.C.,” Duncan said.
Earlier this week, 6,848 events had been planned globally, and the
number was growing, according to the website 350.org.
Today, from 10 a.m. to 1 p.m., Sharon will be holding a farmers market
and planting trees on the grounds of Sharon Elementary School. There
also will be weeding, mulching, the building of a solar oven for
classroom use and writing postcards to elected officials seeking
action on global warning.
Here's some of what is going on tomorrow in the Upper Valley:
* As part of its eighth annual Pumpkin Festival, Cedar Circle Farm in
Thetford will hold a “bike-in” that includes bike check-ups and simple
repairs.
There also will be demonstrations of a bicycle-powered bean thrasher
and winter vegetable storage, as well as tours of the farm and of a
waste-recovery station.
There's free admission to the festival if you bike, walk or take The
White River Flyer train from White River Junction to the farm. The
event is from 11 a.m. to 4 p.m. Call 802-785-4737.
* Tunbridge is celebrating the Global Workday with events beginning at
1 p.m. and ending with a concert featuring Sarah Lee Guthrie and
Johnny Irion to benefit the Tunbridge Community Sustainability Fund.
From 1 to 3 p.m., there's a working tour of the town forest to
eradicate invasive species.
The Grease Van (powered by waste vegetable oil) will take attendees
from 3 to 5 p.m. to area sites and residences that are actively using
or planning to use such renewable power as solar, wind, microhydro
power and others. A sustainability panel discussion and potluck dinner
will be held from 5:30 to 7 p.m. The concert begins at 7:30. All the
events are held at the Town Hall and are free except the concert,
which is $20 in advance and $25 at the door. Call 802-431-3433.
* At noon, Transition Town Hartland is sponsoring a bike clinic, an
art show called Que Sera Hartland? at the Hartland Library, a wood-
fired pizza oven, a one-day 350-points meditation wheel and the
planting of 350 daffodils at the library. There's no admission charge.
Call 802-738-0255.
* “The Raspberry Revolution” is taking place in White River Junction.
The event includes raspberry planting on South and North Main streets
from 1 to 5 p.m.; a community-wide celebration at Lyman Point Park
from 5:30 to 8:30 p.m., with music, food, presentations and games and
from 8:30 to 11:30 p.m., the Revolution Fashion Show at the Tip Top
Café.
* VINS Nature Center in Quechee is holding a tree planting at 2:20 p.m.
* Smooth Power, an event from 11 a.m. to 3 p.m. on the green in
Woodstock, will include interactive activities for all ages to help
raise awareness and collaboration and engage people to work together
while having fun.
* COVER is sponsoring a home repair workday to help needy homeowners
in the Claremont area from 9 a.m. to 5 p.m. Lunch, materials, safety
gear and tools are provided. No prior experience is required. Call
802-296-7241, ext. 104.
* The Thetford Energy Committee is sponsoring a day-long event to
complete 350 energy saving activities. The purpose of the project is
to teach children basic energy efficiency and resource-saving
activities that can save energy at home and reduce carbon emissions.
* The Lyme Energy Committee is holding an expo on the town green from
9 a.m. to 2 p.m. recognizing energy savings realized by using local
businesses and working from home.
* There are free discussions, workshops and demonstrations titled
“Creating a Green Community: How Do We Do It?” at the White River
Craft Center at the end of Randolph Avenue in Randolph from 10 a.m. to
2 p.m. The demonstrations include how to make an energy efficient
window quilt and how to make a spindle from used CDs to spin yarn,
among others.
Back to the story index
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i have this really old Omega D2 enlarger, that i have realigned through trial and error. IT took me a few weekends to do that. but other than that it's pretty solid and i have almost all accessories for it, including a foot pedal that makes burning and dodging so so much easier...
I have about 5-6 prints to make for my group show in the Contact 2014 festival I hope I can finish the job by the end of April since it takes me one weekend to make a passable print.... I just wish I had had more practice.
Please send good karma my way folks.... thanks much!
16pt Goudy Franciscan (cast by the Printer in 2006 at the Dale Guild Type Foundry), hand set on 24 pica measure, 2pt leading, printed on dampened Arches Watercolor 300gsm cold press paper, work-and-twirl, on a Vandercook SP-15 test press. Stumptown Printers, Portland, OR.
DO YOU WANT TO KNOW MORE?
3D Printing at the College of San Mateo Makerspace + Family Science & Astronomy Festival Event 10/4/2014
For services like silk screen printing, digital printing and vinyl stickers visit us at million.com.sg/service/digital-printing/
Black A4 sized ledger with marbled edged paper. White label on front with 'Printing Order Book' typed on front.
Accession Number: SH.2009.370.2
This ledger records every order completed by a machineman at Holmes McDougall between 1941 and 1960. It details title of publication, number of pages and print run.
The Holmes McDougall Group were based at Allander House, 137 - 141 Leith Walk. They were primarily educational publishers concerned with the publication of high quality primary and secondary educational books for use in schools both in the UK and abroad. The company slogan was 'The Teachers' Publisher'.
The company had a magazine division based in Glasgow which published weekly and monthly titles including the Scottish Farmer, Climber and Rambler, The Great Outdoors, Business Scotland and the Scottish Field.
Edinburgh City of Print is a joint project between City of Edinburgh Museums and the Scottish Archive of Print and Publishing History Records (SAPPHIRE). The project aims to catalogue and make accessible the wealth of printing collections held by City of Edinburgh Museums. For more information about the project please visit www.edinburghcityofprint.org
Batik is a technique of wax-resist dyeing applied to whole cloth, or cloth made using this technique. Batik is made either by drawing dots and lines of the resist with a spouted tool called a canting (IPA: [ʈ͡ʂantiŋ], also spelled tjanting), or by printing the resist with a copper stamp called a cap (IPA: [ʈ͡ʂap], also spelled tjap). The applied wax resists dyes and therefore allows the artisan to color selectively by soaking the cloth in one color, removing the wax with boiling water, and repeating if multiple colors are desired.
A tradition of making batik is found in various countries, including Nigeria, China, India, Malaysia, Philippines and Sri Lanka; the batik of Indonesia, however, is the most well-known. Indonesian batik made in the island of Java has a long history of acculturation, with diverse patterns influenced by a variety of cultures, and is the most developed in terms of pattern, technique, and the quality of workmanship. On October 2009, UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity.
ETYMOLOGY
The word batik is Javanese in origin. It may either come from the Javanese word amba ('to write') and titik ('dot'), or may derive from a hypothetical Proto-Austronesian root *beCík ('to tattoo'). The word is first recorded in English in the Encyclopædia Britannica of 1880, in which it is spelled battik. It is attested in the Indonesian Archipelago during the Dutch colonial period in various forms: mbatek, mbatik, batek and batik.
HISTORY
Wax resist dyeing of fabric is an ancient art form. It already existed in Egypt in the 4th century BC, where it was used to wrap mummies; linen was soaked in wax, and scratched using a stylus. In Asia, the technique was practiced in China during the Tang Dynasty (618-907 AD), and in India and Japan during the Nara Period (645-794 AD). In Africa it was originally practiced by the Yoruba tribe in Nigeria, Soninke and Wolof in Senegal. These African version however, uses cassava starch or rice paste, or mud as a resist instead of beeswax.
The art of batik is most highly developed in the island of Java in Indonesia. In Java, all the materials for the process are readily available - cotton and beeswax and plants from which different vegetable dyes are made. Indonesian batik predates written records: G. P. Rouffaer argues that the technique might have been introduced during the 6th or 7th century from India or Sri Lanka. On the other hand, the Dutch archaeologist J.L.A. Brandes and the Indonesian archaeologist F.A. Sutjipto believe Indonesian batik is a native tradition, since regions such as Toraja, Flores, Halmahera, and Papua, which were not directly influenced by Hinduism, have an age-old tradition of batik making.
Rouffaer reported that the gringsing pattern was already known by the 12th century in Kediri, East Java. He concluded that this delicate pattern could be created only by using the canting, an etching tool that holds a small reservoir of hot wax, and proposed that the canting was invented in Java around that time. The carving details of clothes worn by East Javanese Prajnaparamita statues from around the 13th century show intricate floral patterns within rounded margins, similar to today's traditional Javanese jlamprang or ceplok batik motif. The motif is thought to represent the lotus, a sacred flower in Hindu-Buddhist beliefs. This evidence suggests that intricate batik fabric patterns applied with the canting existed in 13th-century Java or even earlier.
In Europe, the technique was described for the first time in the History of Java, published in London in 1817 by Stamford Raffles, who had been a British governor for the island. In 1873 the Dutch merchant Van Rijckevorsel gave the pieces he collected during a trip to Indonesia to the ethnographic museum in Rotterdam. Today the Tropenmuseum houses the biggest collection of Indonesian batik in the Netherlands. The Dutch and Chinese colonists were active in developing batik, particularly coastal batik, in the late colonial era. They introduced new patterns as well as the use of the cap (copper block stamps) to mass-produce batiks. Displayed at the Exposition Universelle at Paris in 1900, the Indonesian batik impressed the public and artists.
In the 1920s, Javanese batik makers migrating to Malaya (now Malaysia) introduced the use of wax and copper blocks to its east coast.
In Subsaharan Africa, Javanese batik was introduced in the 19th century by Dutch and English traders. The local people there adapted the Javanese batik, making larger motifs with thicker lines and more colors. In the 1970s, batik was introduced to Australia, where aboriginal artists at Erna Bella have developed it as their own craft.
TECHNIQUE
Firstly, a cloth is washed, soaked and beaten with a large mallet. Patterns are drawn with pencil and later redrawn using hot wax, usually made from a mixture of paraffin or bees wax, sometimes mixed with plant resins, which functions as a dye-resist. The wax can be applied with a variety of tools. A pen-like instrument called a canting (IPA: [tʃantiŋ], sometimes spelled with old Dutch orthography tjanting) is the most common. A canting is made from a small copper reservoir with a spout on a wooden handle. The reservoir holds the resist which flows through the spout, creating dots and lines as it moves. For larger patterns, a stiff brush may be used. Alternatively, a copper block stamp called a cap (IPA: [tʃap]; old spelling tjap) is used to cover large areas more efficiently.
After the cloth is dry, the resist is removed by scraping or boiling the cloth. The areas treated with resist keep their original color; when the resist is removed the contrast between the dyed and undyed areas forms the pattern. This process is repeated as many times as the number of colors desired.
The most traditional type of batik, called batik tulis (written batik), is drawn using only the canting. The cloth need to be drawn on both sides and dipped in a dye bath three to four times. The whole process may take up to a year; it yields considerably finer patterns than stamped batik.
CULTURE
INDONESIA
Many Indonesian batik patterns are symbolic. Infants are carried in batik slings decorated with symbols designed to bring the child luck, and certain batik designs are reserved for brides and bridegrooms, as well as their families. Some designs are reserved for royalties, and even banned to be worn by commoners. Consequently, a person's rank could be determined by the pattern of the batik he or she wore.
Batik garments play a central role in certain Javanese rituals, such as the ceremonial casting of royal batik into a volcano. In the Javanese naloni mitoni ceremony, the mother-to-be is wrapped in seven layers of batik, wishing her good things. Batik is also prominent in the tedak siten ceremony when a child touches the earth for the first time.
In October 2009, UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity. As part of the acknowledgment, UNESCO insisted that Indonesia preserve its heritage.
POPULARITY
The popularity of batik in Indonesia has varied. Historically, it was essential for ceremonial costumes and it was worn as part of a kebaya dress, commonly worn every day. The use of batik was already recorded in the 12th century, and the textile has become a strong source of identity for Indonesians crossing religious, racial and cultural boundaries.
The batik industry of Java flourished from the late 1800s to early 1900s, but declined during the Japanese occupation of Indonesia. It further declined after the Indonesian independence, as people chose western clothes, decimating the batik industry. However, batik has somewhat revived at the turn of the 21st century, through the efforts of Indonesian fashion designers to innovate batik by incorporating new colors, fabrics, and patterns. Batik has become a fashion item for many Indonesians, and may be seen on shirts, dresses, or scarves for casual wear; it is a preferred replacement for jacket-and-tie at certain receptions. Traditional batik sarongs are still used in many occasions.
After the UNESCO recognition for Indonesian batik on 2 October 2009, the Indonesian administration asked Indonesians to wear batik on Fridays, and wearing batik every Friday has been encouraged in government offices and private companies ever since. 2 October is also celebrated as National Batik Day in Indonesia. Batik had helped improve the small business local economy, batik sales in Indonesia had reached Rp 3.9 trillion (US$436.8 million) in 2010, an increase from Rp 2.5 trillion in 2006. The value of batik exports, meanwhile, increased from $14.3 million in 2006 to $22.3 million in 2010.
Batik is also popular in the neighboring countries of Singapore and Malaysia. It is produced in Malaysia with similar, but not identical, methods to those used in Indonesia. Prior to UNESCO's recognition and following the 2009 Pendet controversy, Indonesia and Malaysia disputed the ownership of batik culture. However, Dr Fiona Kerlogue of the Horniman museum argued that the Malaysian printed wax textiles, made for about a century, were quite a different tradition from the "very fine" traditional Indonesian batiks produced for many centuries.
Batik is featured in the national airline uniforms of the three countries, represented by batik prints worn by flight attendants of Singapore Airlines, Garuda Indonesia and Malaysian Airlines. The female uniform of Garuda Indonesia flight attendants is a modern interpretation of the Kartini style kebaya with parang gondosuli motifs.
TERMINOLOGY
Batik is traditionally sold in 2.25-metre lengths used for kain panjang or sarong. It is worn by wrapping it around the hip, or made into a hat known as blangkon. The cloth can be filled continuously with a single pattern or divided into several sections.
Certain patterns are only used in certain sections of the cloth. For example, a row of isosceles triangles, forming the pasung motif, as well as diagonal floral motifs called dhlorong, are commonly used for the head. However, pasung and dhlorong are occasionally found in the body. Other motifs such as buketan (flower bouquet) and birds are commonly used in either the head or the body.
The head is a rectangular section of the cloth which is worn at the front. The head section can be at the middle of the cloth, or placed at one or both ends. The papan inside of the head can be used to determined whether the cloth is kain panjang or sarong.
The body is the main part of the cloth, and is filled with a wide variety of patterns. The body can be divided into two alternating patterns and colors called pagi-sore ('dawn-dusk'). Brighter pattern are shown during the day, while darker pattern are shown in the evening. The alternating colors give the impression of two batik sets.
Margins are often plain, but floral and lace-like patterns, as well as wavy lines described as a dragon are common in the area beside seret.
TYPES
As each region has its own traditional pattern, batiks are commonly distinguished by the region they originated in, such as batik Solo, Batik Pekalongan, and batik Madura. Batiks from Java can be distinguished by their general pattern and colors into batik pedalaman (inland batik) or batik pesisir (coastal batik). Batiks which do not fall neatly into one of these two categories are only referred to by their region.
JAVANESE BATIK
INLAND BATIK
Inland batik or batik kraton (Javanese court batik) is the oldest form of batik tradition known in Java. Inland batik has earthy color such as black, indigo, brown, and sogan (brown-yellow color made from the tree Peltophorum pterocarpum), sometimes against a white background, with symbolic patterns that are mostly free from outside influence. Certain patterns are reserved for royalty, while other are worn on specific occasions. At a Javanese wedding for example, the bride wears specific patterns at each stage of the ceremony. Noted inland batiks are produced in Solo and Jogjakarta, cities traditionally regarded as the center of Javanese culture. Batik Solo typically has sogan background and is preserved by the Susuhunan and Mangkunegaran Court. Batik Jogja typically has white background and is preserved by the Yogyakarta Sultanate and Pakualaman Court.
COASTAL BATIK
Coastal batik is produced in several areas of northern Java and Madura. In contrast to inland batik, coastal batiks have vibrant colors and patterns inspired by a wide range of cultures as a consequence of maritime trading. Recurring motifs include European flower bouquets, Chinese phoenix, and Persian peacocks. Noted coastal batiks are produced in Pekalongan, Cirebon, Lasem, Tuban, and Madura. Pekalongan has the most active batik industry.
A notable sub-type of coastal batik called Jawa Hokokai is not attributed to a particular region. During the Japanese occupation of Indonesia in early 1940, the batik industry greatly declined due to material shortages. The workshops funded by the Japanese however were able to produce extremely fine batiks called Jawa Hokokai. Common motifs of Hokokai includes Japanese cherry blossoms, butterflies, and chrysanthemums.
Another coastal batik called tiga negeri (batik of three lands) is attributed to three regions: Lasem, Pekalongan, and Solo, where the batik would be dipped in red, blue, and sogan dyes respectively. As of 1980, batik tiga negeri was only produced in one city.
SUNDANESE BATIK
Sundanese or Priangan Batik is the term for batik from the Priangan region of West Java and Banten. Although Priangan batiks can use a wide range of colors, a preference for indigo is seen in some of its variants. Natural indigo dye made from Indigofera is among the oldest known dyes in Java, and its local name tarum has lent its name to the Citarum river and the Tarumanagara kingdom, which suggests that ancient West Java was once a major producer of natural indigo. Noted Priangan batik is produced in Ciamis, Garut, and Tasikmalaya. Other traditions include Batik Kuningan influenced by batik Cirebon, batik Banten that developed quite independently, and an older tradition of batik Baduy.
Batik Banten employs bright pastel colors and represents a revival of a lost art from the Sultanate of Banten, rediscovered through archaeological work during 2002–2004. Twelve motifs from locations such as Surosowan and several other places have been identified.
Batik Baduy only employs indigo color in shades ranged from bluish black to deep blue. It is traditionally worn as iket, a type of Sundanese headress similar to Balinese udeng, by Outer Baduy people of Lebak Regency, Banten.
SUMATRAN BATIK
Trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century. Therefore, coastal batik from northern Java probably influenced Jambi. In 1875, Haji Mahibat from Central Java revived the declining batik industry in Jambi. The village of Mudung Laut in Pelayangan district is known for producing batik Jambi. Batik Jambi, as well as Javanese batik, influenced the Malaysian batik.
The Minangkabau people also produce batik called batiak tanah liek (clay batik), which use clay as dye for the fabric. The fabric is immersed in clay for more than 1 day and later designed with motifs of animal and flora. The Batik from Bengkulu, a city on west coast of Sumatra, is called Batik Besurek, which literary means "batik with letters" as they draw inspiration from Arabic calligraphy.
BALINESE BATIK
Batik making in the island of Bali is relatively new, but a fast-growing industry. Many patterns are inspired by local designs, which are favored by the local Balinese and domestic tourists. Objects from nature such as frangipani and hibiscus flowers, birds or fishes, and daily activities such as Balinese dancer and ngaben processions or religious and mythological creatures such as barong, kala and winged lion are common. Modern batik artists express themselves freely in a wide range of subjects.
Contemporary batik is not limited to traditional or ritual wearing in Bali. Some designers promote batik Bali as elegant fabric that can be used to make casual or formal cloth. Using high class batik, like hand made batik tulis, can show social status.
MALAYSIA
Batik was mentioned in the 17th century Malay Annals. The legend goes when Laksamana Hang Nadim was ordered by Malacca King, Sultan Mahmud, to sail to India to buy 140 pieces of serasah cloth (batik) with 40 types of flowers depicted on each. Unable to find any that fulfilled the requirements explained to him, he made up his own. On his return unfortunately his ship sank and he only managed to bring four pieces, earning displeasure from the Sultan.
The method of Malaysian batik making is different from those of Indonesian Javanese batik, the pattern being larger and simpler with only occasional use of the canting to create intricate patterns. It relies heavily on brush painting to apply colors to fabrics. The colors also tend to be lighter and more vibrant than deep colored Javanese batik. The most popular motifs are leaves and flowers. Malaysian batik often displays plants and flowers to avoid the interpretation of human and animal images as idolatry, in accordance with local Islamic doctrine. However, the butterfly theme is a common exception.
INDIA
Indians are known to use resist method of printing designs on cotton fabrics, which can be traced back 2000 years. Initially, wax and even rice starch were used for printing on fabrics. Until recently batik was made only for dresses and tailored garments, but modern batik is applied in numerous items, such as murals, wall hangings, paintings, household linen, and scarves, with livelier and brighter patterns. Contemporary batik making in India is also done by the Deaf women of Delhi, these women are fluent in Indian Sign Language and also work in other vocational programs.
SRI LANKA
Over the past century, batik making in Sri Lanka has become firmly established. The Sri Lankan batik industry is a small scale industry which can employ individual design talent and mainly deals with foreign customers for profit. It is now the most visible of the island's crafts with galleries and factories, large and small, having sprung up in many tourist areas. Rows of small stalls selling batiks can be found all along Hikkaduwa's Galle Road strip. Mahawewa, on the other hand, is famous for its batik factories.
CHINA
Batik is done by the ethnic people in Guizhou Province, in the South-West of China. The Miao, Bouyei and Gejia people use a dye resist method for their traditional costumes. The traditional costumes are made up of decorative fabrics, which they achieve by pattern weaving and wax resist. Almost all the Miao decorate hemp and cotton by applying hot wax then dipping the cloth in an indigo dye. The cloth is then used for skirts, panels on jackets, aprons and baby carriers. Like the Javanese, their traditional patterns also contain symbolism, the patterns include the dragon, phoenix, and flowers.
AFRIKA
In Africa, paste made from starch or mud is used as a resist instead of wax. The most developed resist-dyeing skills are to be found in Nigeria where the Yoruba make adire cloths. Two methods of resist are used adire eleso which involves tied and stitched and adire eleko that uses starch paste. The paste is most often made from cassava starch, rice, and other ingredients boiled together to produce a smooth thick paste. The Yoruba of West Africa use cassava paste as a resist while the Soninke and Wolof people in Senegal uses rice paste. The Bamana people of Mali use mud as a resist.
WIKIPEDIA
Spent the weekend playing around with albumen printing. Just wanted to go through the process once end-to-end using my equipment and chemistry. Went reasonably well: at least I got results. Lots of room for improvement, but...another tool to add to the toolbox.
Have to find the right paper, though. Of the 3-4 that I tried, only the bristol board recommended by the Eastman crew for salt printing worked well. The other papers ranged from mediocre to awful. Interestingly, the only other paper to be even OK was from a pad of writing paper I was given as a gift a while back: it was recycled from a bunch of obsolete topographical maps. The school photo above (from a found glass plate negative) has a bit of the Davis Strait and the Labrador Sea on the back...
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This weird Adana is no longer in my possession but I took a photo before passing it on. The platen stays still and as you turn the handle the whole bed assembly goes back and forth to print. The curved back to the bed is the ink plate and the rollers go round and round over the top and back underneath. This is similar to the principle of the T/P 48.
I can't imagine how you would operate it with only two hands without keep stopping and starting and I'm not at all surprised that there were three different designs in the two years it was on sale.
The Postcard
A postally unused postcard that was published by the B. S. Reynolds Co. of 1202, D. Street Northwest, Washington, D.C. The card was produced by C. T. American Art Colored of Chicago.
The card has a divided back. In the space for the stamp it states:
'Place One Cent
Stamp Here.'
Also printed on the back of the card is the following:
'The Printing Press.
By John W. Alexander.
Mural Painting in the
Library of Congress
in Washington, D.C.
Gutenberg, the inventor of
printing, is reading a proof
which has just come from
the press.'
The man on the right seems to have adopted a very peculiar stance - unless he is bracing his feet against a wall on the right, he is about to fall over.
The Evolution of the Book
The Evolution of the Book is a series of six murals painted circa 1896 by John W. Alexander in the Library of Congress Thomas Jefferson Building.
John White Alexander
John White Alexander was born in Allegheny, Pennsylvania on the 7th. October 1856. He was an American portrait, figure, and decorative painter and illustrator.
John White Alexander - The Early Years
John was orphaned in infancy, and was reared by his grandparents. At the age of 12, he became a telegraph boy in Pittsburgh.
Edward J. Allen became an early supporter and patron of John, adopting him while he worked at the Pacific and Atlantic Telegraph Co. as a young man.
Allen brought Alexander to the Allen home at "Edgehill" where Alexander painted various members of the Allen family, including Colonel Allen.
John moved to New York City at the age of 18 and worked in an office at Harper's Weekly, where he was an illustrator and political cartoonist at the same time that Abbey, Pennell, Pyle, and other celebrated illustrators worked there.
After an apprenticeship of three years, he traveled to Munich for his first formal training. Owing to a lack of funds, he moved to the village of Polling, Bavaria, and worked with Frank Duveneck. They traveled to Venice, where he profited by the advice of Whistler, and then he continued his studies in Florence, Italy; the Netherlands; and Paris.
John White Alexander's Career
In 1881, John returned to New York City and speedily achieved great success in portraiture, numbering among his sitters Oliver Wendell Holmes, John Burroughs, Henry G. Marquand, R.A.L. Stevenson, and president McCosh of Princeton University.
John's first exhibition in the Paris Salon of 1893 was a brilliant success, and was followed by his immediate election to the Société Nationale des Beaux Arts.
Many additional honors were bestowed on him. In 1889 he painted for Mrs. Jeremiah Milbank a well-received portrait of Walt Whitman and one of her husband.
In 1901, he was named Chevalier of the Legion of Honor, and in 1902, he became a member of the National Academy of Design, where he served as president from 1909 to 1915. He was a member of the American Academy of Arts and Letters.
Among the gold medals received by him were those of the Paris Exposition (1900) and the World's Fair in St. Louis, Missouri (1904). He served as President of the National Society of Mural Painters from 1914 to 1915.
John White Alexander's Personal Life and Death
Alexander was married to Elizabeth Alexander, to whom he was introduced in part because of their shared last name. Elizabeth was the daughter of James Waddell Alexander, President of the Equitable Life Assurance Society at the time of the Hyde Ball scandal. The Alexanders had one child, the mathematician James Waddell Alexander II.
Alexander died at the age of 58 in New York on the 31st. May 1915.
John White Alexander's Works
Many of John's paintings are in museums and public places in the United States and in Europe, including the Metropolitan Museum of Art, the Brooklyn Art Museum, the Los Angeles County Museum of Art, the Museum of Fine Arts, Boston, the Butler Institute, and the Library of Congress in Washington D.C.
In addition, in the entrance hall to the Art Museum of the Carnegie Institute in Pittsburgh, Pennsylvania, a series of Alexander's murals titled "Apotheosis of Pittsburgh" (1905–1907) covers the walls of the three-story atrium area.
Alexander's artist's proof of his portrait of Whitman, signed by the artist in April 1911, is in the Walt Whitman Collection at the University of Pennsylvania.
The Hyde Ball Scandal
James Hazen Hyde (June 6, 1876 — July 26, 1959) was the son of Henry Baldwin Hyde, the founder of The Equitable Life Assurance Society of the United States.
James Hazen Hyde was twenty-three in 1899 when he inherited the majority shares in the billion-dollar Society. Five years later, at the pinnacle of social and financial success, efforts to remove him from The Equitable set in motion the first great Wall Street scandal of the 20th. century, which resulted in his resignation from The Equitable and relocation to France.
James Hazen Hyde's Career
James was appointed a vice president of The Equitable after graduating from college. In addition, he served on the boards of directors of more than 40 other companies, including the Wabash Railroad and Western Union.
His homes included a large estate on Long Island, where he maintained horses, stables, roads, and trails to engage in coach racing. He also took part in horse shows and horse racing. Hyde accumulated a collection of coaches and carriages, which he later donated to the Shelburne Museum.
Removal from The Equitable
Following his father's death, Hyde was the majority shareholder and in effective control of The Equitable. By the terms of his father's will, he was scheduled to assume the presidency of the company in 1906.
Members of the board of directors, including E. H. Harriman, Henry Clay Frick, J.P. Morgan, and company President James Waddell Alexander attempted to wrest control from Hyde through a variety of means, including an unsuccessful attempt to have him appointed as Ambassador to France.
On the last night of January 1905, Hyde hosted a highly publicized Versailles-themed costume ball. Falsely accused through a coordinated smear campaign initiated by his opponents at The Equitable of charging the $200,000 party ($6,032,000 today) to the company, Hyde soon found himself drawn into a maelstrom of allegations of corporate malfeasance.
The allegations almost caused a Wall Street panic, and eventually led to a state investigation of New York's entire insurance industry which resulted in laws to regulate activities between insurance companies, banks and other corporations.
Hyde's personal net worth in 1905 was about $20 million ($603,200,000 today). After the negative press generated by the efforts to remove him from The Equitable, Hyde resigned from the company later that same year, gave up most of his other business activities, and moved to France.
Our calendar printing service gives you calendars printed in full colour on 300gsm gloss art board. Supplied flat, simply fold twice to sit neatly on a desk. Other run lengths are possible.
Old buildings in West Bromwich.
This is on High Street in West Bromwich.
This building dating from 1883 was the Offices Of Kenrick And Jefferson Limited. It is Grade II listed.
Offices. 1883. Red brick and red terra cotta with hipped tile roof.
A symmetrical composition of two storeys with attic, with upper and lower
cornices, and balustrade with urns. At each end are quoin strips on the
ground floor and paired pilasters above. The centre of the facade has
similar emphasis, with an oriel window above the doorway and an elaborate
attic dormer with broken pediment. The lower part of the oriel is
inscribed "1883". Each half of the facade has an emphasised centre with
triple windows (the outer ones narrower) and pedimented attic dormer, and
has two windows to each side. These windows have architraves. On the
ground floor they have broken pediments with terra cotta decoration. Built
as the printing and publishing offices of the Free Press Co. Illustrated
in VCH, P 73.
Offices Of Kenrick And Jefferson Limited, High Street, West Bromwich - Heritage Gateway
The building is currently for sale by Bond Wolfe.
In the windows it says that it is a Development of MCD.
Here are some exciting images of the first test piece of my current development for 3D printing... but can anyone guess what it is?
Went to Denmark’s Industrial Museum in Horsens. There was a great display about printing including these beauties.
Lino printing, our last task at art lesson for the second term.
Theme : A person with a tank, which presents her/his personality.
My idea of this :)
Had a difficult time with this, especially if you had cut your finger ... believe me, it sucked ! D:
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