The 2016 Chesapeake Executive Council Meeting is held at Blandy Experimental Farm in Boyce, Va., on Oct. 4, 2016. It was announced that Pennsylvania will get $28 million in the next year to combat agricultural pollution, with $12.7 million coming from the U.S. Department of Agriculture, $4 million from the U.S. Environmental Protection Agency and $11.8 coming mostly from shifts within the Pennsylvania budget. (Photo by Will Parson/Chesapeake Bay Program)

USAGE REQUEST INFORMATION

The Chesapeake Bay Program's photographic archive is available for media and non-commercial use at no charge.

To request permission, send an email briefly describing the proposed use to requests@chesapeakebay.net. Please do not attach jpegs. Instead, reference the corresponding Flickr URL of the image.

A photo credit mentioning the Chesapeake Bay Program is mandatory. The photograph may not be manipulated in any way or used in any way that suggests approval or endorsement of the Chesapeake Bay Program. Requestors should also respect the publicity rights of individuals photographed, and seek their consent if necessary.

Located at the end of a sleepy little cul-de-sac in the leafy north east Melburnian suburb of Fairy Hills is a beautiful pebbledash Arts and Crafts style bungalow. Quiet and unassuming amid its well kept gardens, this bungalow is quite significant historically as it is the creation and home of nationally renowned husband and wife artists Christian and Napier Waller, and is known as the Waller House. Together they designed the house and much of its interior decoration and furnishings. Napier Waller lived in their purpose designed home for some fifty years. What is especially significant about the house is that both it and its contents are quite intact. Napier Waller's studios, examples of his art, that of his two wives and his niece, famous studio potter Klytie Pate, and items connected with his work remain exactly as he left them. Architecturally the house design is innovative in its internal use of space, specifically in the organisation of the studio cum living room and displays a high degree of artistic creativity in the interior decoration.

The Waller House in Fairy Hills is so named because it was the residence of Mervyn Napier Waller, the acclaimed artist who gained National fame from his water colours, stained glass, mosaic works and murals and his wife Christian, who was a distinguished artist and designer of stained glass in her own right. In particular Napier Waller's works adorn the Melbourne Town Hall, the Myer Emporium Mural Hall, the Victorian State Library and the Australian War Memorial. The Waller House is a split level house designed by Napier and his first wife Christian who intended the house to be both a home and a workplace. For this the design was conceived to accommodate the tall studies and pieces of the artist's work.

The Waller house was built by Phillip Millsom in 1922 and the architectural style of the house is a mixture of Interwar Arts and Crafts, Interwar Old English and Interwar California Bungalow. The house is constructed from reinforced concrete walls with a rough cast pebbledash finish. The roof is steeply pitched with a prominent half timbered gable over the front entrance and has Marseilles pattern terracotta tiles. There are small paned casement windows. There have been several additions to the original design over the years but these have all been sympathetic to the original design.

The house is entered from a two sided verandah into an entrance hall, panelled in Tasmanian wood. This has stairs leading to the different levels of the house interior. In one direction the hall leads to a main living hall which was Napier Waller's original studio and later used as the main living room in the house. This room has a high ceiling with casement windows, a musicians’ gallery and a broad brick fireplace flanked by fire-dogs and bellows made by the sculptress Ola Cohn (1892 – 1964). Like many of the other rooms in the house the studio is panelled and floored with Tasmanian hardwood and contains some of the studies for Napier Waller's murals: “The Five Lamps of Learning; the Wise and Foolish Virgins” a mosaic for the University of Western Australia and, “Peace After Victory” a study painting for the State Library of Victoria. Above the panelling the plaster walls are painted in muted colours in wood grain effect. The raftered plaster ceiling has been painted in marble effect with gold leaf. Book shelves, still containing the Wallers’ beautiful books, are built into the panelled walls. Furniture in the room includes a settee with a painted back panel featuring jousting knights, painted by Christian Waller, a leather suite and black bean sideboards and cupboards. This furniture was designed in the nineteen thirties by Napier Waller and by Percy Meldrum and a noted cabinet maker called Goulman. The studio cum hall also contains many ceramic works created by studio potter Klytie Pate who was Christian Waller’s niece and protégée. The entrance hall leads in the other direction to a guest room, known as the “Blue Room”. This was the idea of Napier's wife Christian and has simple built-in glass topped furniture and Napier's murals of the “Labours of Hercules” which include a self portrait of the artist. An alcove section of the room was constructed out of an extension to the verandah. Stairs lead from the entrance hall to the musicians’ gallery which has a window and overlooks the studio cum living room. The kitchen near the studio/hall is panelled and raftered with built-in cupboards conforming to the panelling. The ceiling is stencilled in a fleur-de-lys design by Napier. The dining room lies to the right of the studio cum hall and contains shoulder high panelling and raftered ceilings. It has an angled brick corner fireplace and the walls and ceiling have the same painted treatment as the studio cum living room. The oak dining furniture was designed by Napier. A small den with high window, furnished with leather chairs, opens off the dining room. Opening off the hall to the left is a long rectangular room known as the glass studio. This was added to the house by builder C. Trinck of Hampton in about 1931 and contains Napier Waller's kiln, paintbrushes and stained-glass tools on the benches, and stained glass designs and racks which are still stacked with radiant streaked glass from his work with stained glass windows. A bedroom and bathroom with attic pitched rafter ceiling and casement windows is situated on the upper level of the house. Another bedroom in ship's cabin style with flared wall light fittings and built in bunks opens off this first bedroom.

The house backs onto a courtyard enclosed by a long bluestone garden wall. The house is set in a three and a half acre site with cypress hedges and gravelled paths. The garden drops away to a hillside slope with manna gum trees. Set on the slope is a flat roofed studio built in 1937. It has an undercroft beneath a studio room and this contains a lithographic press and a printing press of 1849 for woodcuts and linocuts. This was used by Napier and his first wife Christian to produce prints in the 1930s. Napier was widowed and married his stained glass studio assistant Lorna Reyburn in 1958.

The Waller House has recently become famous for yet another reason. The exterior has been used as a backdrop in the ABC/ITV co-production television series, “The Doctor Blake Mysteries” (2013). The house serves as the residence of the program’s lead character, Doctor Lucien Blake (played by Australian actor Craig McLachlan), and the doctor’s 1930s tourer is often seen driving up to or away from the Waller House throughout the series. The Waller House is the only regular backdrop not filmed in the provincial Victorian gold rush city of Ballarat, in which the series is based.

The Waller House is still a private residence, even though it was bequeathed to the people of Victoria by Napier Waller under the proviso that it would not revert to state ownership until after the death of his second wife, Lorna. The current leasee of the Waller House is a well known Melbourne antique dealer, who was friends with Lorna Reyburn, and who acts as a loving informal caretaker. He was approached by the Napier Waller Committee of Management and keeps the house neat and tidy, and maintains the garden beautifully. I am very grateful to him for his willingness to open the Waller House, and for allowing me the opportunity to comprehensively photograph this rarely seen gem of Melbourne art, architecture and history.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Klytie Pate (1912 – 2010) was an Australian Studio Potter who emerged as an innovator in the use of unusual glazes and the extensive incising, piercing and ornamentation of earthenware pottery. She was one of a small group of Melbourne art potters which included Marguerite Mahood and Reg Preston who were pioneers in the 1930‘s of ceramic art nationwide. Her early work was strongly influenced by her aunt, the artist and printmaker, Christian Waller. Klytie’s father remarried when she was 13, so Klytie went to live with her aunt, Christian Waller. Christian and her husband Napier Waller encouraged her interest in art and printmaking. She spent time at their studio in Fairy Hills, and thus her work reflected Art Deco, Art Nouveau, the Pre Raphaelites, Egyptian art, Greek mythology, and Theosophy. Klytie made several plaster masks that were displayed by the Wallers in their home and experimented with linocut, a medium used by Christian in her printmaking. Her aunt further encouraged Klytie by arranging for her to study modelling under Ola Cohn, the Melbourne sculptor. Klytie became renowned for her high quality, geometric Art Deco designed pottery which is eagerly sought after today by museums, art galleries, collectors and auction houses.

Fairy Hills is a small north eastern suburb of Melbourne. Leafy, with streets lined with banks of agapanthus, it is an area well known for its exclusivity, affluence and artistic connections. It was designed along the lines of London’s garden suburbs, such as Hampstead and Highgate, where houses and gardens blended together to create an informal, village like feel. Many of Fairy Hills’ houses have been designed by well known architects of the early Twentieth Century such as Walter Burley Griffin (1876 – 1937) and have gardens landscaped by designers like Edna Walling (1895 – 1973). Fairy Hills is the result of a subdivision of an 1840s farm called “Fairy Hills” which was commenced in the years just before the First World War (1914 – 1918). “Lucerne Farm”, a late 1830s farm associated with Governor La Trobe, was also nearby.

Located at the end of a sleepy little cul-de-sac in the leafy north east Melburnian suburb of Fairy Hills is a beautiful pebbledash Arts and Crafts style bungalow. Quiet and unassuming amid its well kept gardens, this bungalow is quite significant historically as it is the creation and home of nationally renowned husband and wife artists Christian and Napier Waller, and is known as the Waller House. Together they designed the house and much of its interior decoration and furnishings. Napier Waller lived in their purpose designed home for some fifty years. What is especially significant about the house is that both it and its contents are quite intact. Napier Waller's studios, examples of his art, that of his two wives and his niece, famous studio potter Klytie Pate, and items connected with his work remain exactly as he left them. Architecturally the house design is innovative in its internal use of space, specifically in the organisation of the studio cum living room and displays a high degree of artistic creativity in the interior decoration.

The Waller House in Fairy Hills is so named because it was the residence of Mervyn Napier Waller, the acclaimed artist who gained National fame from his water colours, stained glass, mosaic works and murals and his wife Christian, who was a distinguished artist and designer of stained glass in her own right. In particular Napier Waller's works adorn the Melbourne Town Hall, the Myer Emporium Mural Hall, the Victorian State Library and the Australian War Memorial. The Waller House is a split level house designed by Napier and his first wife Christian who intended the house to be both a home and a workplace. For this the design was conceived to accommodate the tall studies and pieces of the artist's work.

The Waller house was built by Phillip Millsom in 1922 and the architectural style of the house is a mixture of Interwar Arts and Crafts, Interwar Old English and Interwar California Bungalow. The house is constructed from reinforced concrete walls with a rough cast pebbledash finish. The roof is steeply pitched with a prominent half timbered gable over the front entrance and has Marseilles pattern terracotta tiles. There are small paned casement windows. There have been several additions to the original design over the years but these have all been sympathetic to the original design.

The house is entered from a two sided verandah into an entrance hall, panelled in Tasmanian wood. This has stairs leading to the different levels of the house interior. In one direction the hall leads to a main living hall which was Napier Waller's original studio and later used as the main living room in the house. This room has a high ceiling with casement windows, a musicians’ gallery and a broad brick fireplace flanked by fire-dogs and bellows made by the sculptress Ola Cohn (1892 – 1964). Like many of the other rooms in the house the studio is panelled and floored with Tasmanian hardwood and contains some of the studies for Napier Waller's murals: “The Five Lamps of Learning; the Wise and Foolish Virgins” a mosaic for the University of Western Australia and, “Peace After Victory” a study painting for the State Library of Victoria. Above the panelling the plaster walls are painted in muted colours in wood grain effect. The raftered plaster ceiling has been painted in marble effect with gold leaf. Book shelves, still containing the Wallers’ beautiful books, are built into the panelled walls. Furniture in the room includes a settee with a painted back panel featuring jousting knights, painted by Christian Waller, a leather suite and black bean sideboards and cupboards. This furniture was designed in the nineteen thirties by Napier Waller and by Percy Meldrum and a noted cabinet maker called Goulman. The studio cum hall also contains many ceramic works created by studio potter Klytie Pate who was Christian Waller’s niece and protégée. The entrance hall leads in the other direction to a guest room, known as the “Blue Room”. This was the idea of Napier's wife Christian and has simple built-in glass topped furniture and Napier's murals of the “Labours of Hercules” which include a self portrait of the artist. An alcove section of the room was constructed out of an extension to the verandah. Stairs lead from the entrance hall to the musicians’ gallery which has a window and overlooks the studio cum living room. The kitchen near the studio/hall is panelled and raftered with built-in cupboards conforming to the panelling. The ceiling is stencilled in a fleur-de-lys design by Napier. The dining room lies to the right of the studio cum hall and contains shoulder high panelling and raftered ceilings. It has an angled brick corner fireplace and the walls and ceiling have the same painted treatment as the studio cum living room. The oak dining furniture was designed by Napier. A small den with high window, furnished with leather chairs, opens off the dining room. Opening off the hall to the left is a long rectangular room known as the glass studio. This was added to the house by builder C. Trinck of Hampton in about 1931 and contains Napier Waller's kiln, paintbrushes and stained-glass tools on the benches, and stained glass designs and racks which are still stacked with radiant streaked glass from his work with stained glass windows. A bedroom and bathroom with attic pitched rafter ceiling and casement windows is situated on the upper level of the house. Another bedroom in ship's cabin style with flared wall light fittings and built in bunks opens off this first bedroom.

The house backs onto a courtyard enclosed by a long bluestone garden wall. The house is set in a three and a half acre site with cypress hedges and gravelled paths. The garden drops away to a hillside slope with manna gum trees. Set on the slope is a flat roofed studio built in 1937. It has an undercroft beneath a studio room and this contains a lithographic press and a printing press of 1849 for woodcuts and linocuts. This was used by Napier and his first wife Christian to produce prints in the 1930s. Napier was widowed and married his stained glass studio assistant Lorna Reyburn in 1958.

The Waller House has recently become famous for yet another reason. The exterior has been used as a backdrop in the ABC/ITV co-production television series, “The Doctor Blake Mysteries” (2013). The house serves as the residence of the program’s lead character, Doctor Lucien Blake (played by Australian actor Craig McLachlan), and the doctor’s 1930s tourer is often seen driving up to or away from the Waller House throughout the series. The Waller House is the only regular backdrop not filmed in the provincial Victorian gold rush city of Ballarat, in which the series is based.

The Waller House is still a private residence, even though it was bequeathed to the people of Victoria by Napier Waller under the proviso that it would not revert to state ownership until after the death of his second wife, Lorna. The current leasee of the Waller House is a well known Melbourne antique dealer, who was friends with Lorna Reyburn, and who acts as a loving informal caretaker. He was approached by the Napier Waller Committee of Management and keeps the house neat and tidy, and maintains the garden beautifully. I am very grateful to him for his willingness to open the Waller House, and for allowing me the opportunity to comprehensively photograph this rarely seen gem of Melbourne art, architecture and history.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Klytie Pate (1912 – 2010) was an Australian Studio Potter who emerged as an innovator in the use of unusual glazes and the extensive incising, piercing and ornamentation of earthenware pottery. She was one of a small group of Melbourne art potters which included Marguerite Mahood and Reg Preston who were pioneers in the 1930‘s of ceramic art nationwide. Her early work was strongly influenced by her aunt, the artist and printmaker, Christian Waller. Klytie’s father remarried when she was 13, so Klytie went to live with her aunt, Christian Waller. Christian and her husband Napier Waller encouraged her interest in art and printmaking. She spent time at their studio in Fairy Hills, and thus her work reflected Art Deco, Art Nouveau, the Pre Raphaelites, Egyptian art, Greek mythology, and Theosophy. Klytie made several plaster masks that were displayed by the Wallers in their home and experimented with linocut, a medium used by Christian in her printmaking. Her aunt further encouraged Klytie by arranging for her to study modelling under Ola Cohn, the Melbourne sculptor. Klytie became renowned for her high quality, geometric Art Deco designed pottery which is eagerly sought after today by museums, art galleries, collectors and auction houses.

Fairy Hills is a small north eastern suburb of Melbourne. Leafy, with streets lined with banks of agapanthus, it is an area well known for its exclusivity, affluence and artistic connections. It was designed along the lines of London’s garden suburbs, such as Hampstead and Highgate, where houses and gardens blended together to create an informal, village like feel. Many of Fairy Hills’ houses have been designed by well known architects of the early Twentieth Century such as Walter Burley Griffin (1876 – 1937) and have gardens landscaped by designers like Edna Walling (1895 – 1973). Fairy Hills is the result of a subdivision of an 1840s farm called “Fairy Hills” which was commenced in the years just before the First World War (1914 – 1918). “Lucerne Farm”, a late 1830s farm associated with Governor La Trobe, was also nearby.

Wetlands are seen along the James River near the mouth of Johnson Creek, bottom, in Chesterfield County, Va., on Aug. 24, 2018. (Photo by Will Parson/Chesapeake Bay Program)

USAGE REQUEST INFORMATION

The Chesapeake Bay Program's photographic archive is available for media and non-commercial use at no charge.

To request permission, send an email briefly describing the proposed use to requests@chesapeakebay.net. Please do not attach jpegs. Instead, reference the corresponding Flickr URL of the image.

A photo credit mentioning the Chesapeake Bay Program is mandatory. The photograph may not be manipulated in any way or used in any way that suggests approval or endorsement of the Chesapeake Bay Program. Requestors should also respect the publicity rights of individuals photographed, and seek their consent if necessary.

Located at the end of a sleepy little cul-de-sac in the leafy north east Melburnian suburb of Fairy Hills is a beautiful pebbledash Arts and Crafts style bungalow. Quiet and unassuming amid its well kept gardens, this bungalow is quite significant historically as it is the creation and home of nationally renowned husband and wife artists Christian and Napier Waller, and is known as the Waller House. Together they designed the house and much of its interior decoration and furnishings. Napier Waller lived in their purpose designed home for some fifty years. What is especially significant about the house is that both it and its contents are quite intact. Napier Waller's studios, examples of his art, that of his two wives and his niece, famous studio potter Klytie Pate, and items connected with his work remain exactly as he left them. Architecturally the house design is innovative in its internal use of space, specifically in the organisation of the studio cum living room and displays a high degree of artistic creativity in the interior decoration.

The Waller House in Fairy Hills is so named because it was the residence of Mervyn Napier Waller, the acclaimed artist who gained National fame from his water colours, stained glass, mosaic works and murals and his wife Christian, who was a distinguished artist and designer of stained glass in her own right. In particular Napier Waller's works adorn the Melbourne Town Hall, the Myer Emporium Mural Hall, the Victorian State Library and the Australian War Memorial. The Waller House is a split level house designed by Napier and his first wife Christian who intended the house to be both a home and a workplace. For this the design was conceived to accommodate the tall studies and pieces of the artist's work.

The Waller house was built by Phillip Millsom in 1922 and the architectural style of the house is a mixture of Interwar Arts and Crafts, Interwar Old English and Interwar California Bungalow. The house is constructed from reinforced concrete walls with a rough cast pebbledash finish. The roof is steeply pitched with a prominent half timbered gable over the front entrance and has Marseilles pattern terracotta tiles. There are small paned casement windows. There have been several additions to the original design over the years but these have all been sympathetic to the original design.

The house is entered from a two sided verandah into an entrance hall, panelled in Tasmanian wood. This has stairs leading to the different levels of the house interior. In one direction the hall leads to a main living hall which was Napier Waller's original studio and later used as the main living room in the house. This room has a high ceiling with casement windows, a musicians’ gallery and a broad brick fireplace flanked by fire-dogs and bellows made by the sculptress Ola Cohn (1892 – 1964). Like many of the other rooms in the house the studio is panelled and floored with Tasmanian hardwood and contains some of the studies for Napier Waller's murals: “The Five Lamps of Learning; the Wise and Foolish Virgins” a mosaic for the University of Western Australia and, “Peace After Victory” a study painting for the State Library of Victoria. Above the panelling the plaster walls are painted in muted colours in wood grain effect. The raftered plaster ceiling has been painted in marble effect with gold leaf. Book shelves, still containing the Wallers’ beautiful books, are built into the panelled walls. Furniture in the room includes a settee with a painted back panel featuring jousting knights, painted by Christian Waller, a leather suite and black bean sideboards and cupboards. This furniture was designed in the nineteen thirties by Napier Waller and by Percy Meldrum and a noted cabinet maker called Goulman. The studio cum hall also contains many ceramic works created by studio potter Klytie Pate who was Christian Waller’s niece and protégée. The entrance hall leads in the other direction to a guest room, known as the “Blue Room”. This was the idea of Napier's wife Christian and has simple built-in glass topped furniture and Napier's murals of the “Labours of Hercules” which include a self portrait of the artist. An alcove section of the room was constructed out of an extension to the verandah. Stairs lead from the entrance hall to the musicians’ gallery which has a window and overlooks the studio cum living room. The kitchen near the studio/hall is panelled and raftered with built-in cupboards conforming to the panelling. The ceiling is stencilled in a fleur-de-lys design by Napier. The dining room lies to the right of the studio cum hall and contains shoulder high panelling and raftered ceilings. It has an angled brick corner fireplace and the walls and ceiling have the same painted treatment as the studio cum living room. The oak dining furniture was designed by Napier. A small den with high window, furnished with leather chairs, opens off the dining room. Opening off the hall to the left is a long rectangular room known as the glass studio. This was added to the house by builder C. Trinck of Hampton in about 1931 and contains Napier Waller's kiln, paintbrushes and stained-glass tools on the benches, and stained glass designs and racks which are still stacked with radiant streaked glass from his work with stained glass windows. A bedroom and bathroom with attic pitched rafter ceiling and casement windows is situated on the upper level of the house. Another bedroom in ship's cabin style with flared wall light fittings and built in bunks opens off this first bedroom.

The house backs onto a courtyard enclosed by a long bluestone garden wall. The house is set in a three and a half acre site with cypress hedges and gravelled paths. The garden drops away to a hillside slope with manna gum trees. Set on the slope is a flat roofed studio built in 1937. It has an undercroft beneath a studio room and this contains a lithographic press and a printing press of 1849 for woodcuts and linocuts. This was used by Napier and his first wife Christian to produce prints in the 1930s. Napier was widowed and married his stained glass studio assistant Lorna Reyburn in 1958.

The Waller House has recently become famous for yet another reason. The exterior has been used as a backdrop in the ABC/ITV co-production television series, “The Doctor Blake Mysteries” (2013). The house serves as the residence of the program’s lead character, Doctor Lucien Blake (played by Australian actor Craig McLachlan), and the doctor’s 1930s tourer is often seen driving up to or away from the Waller House throughout the series. The Waller House is the only regular backdrop not filmed in the provincial Victorian gold rush city of Ballarat, in which the series is based.

The Waller House is still a private residence, even though it was bequeathed to the people of Victoria by Napier Waller under the proviso that it would not revert to state ownership until after the death of his second wife, Lorna. The current leasee of the Waller House is a well known Melbourne antique dealer, who was friends with Lorna Reyburn, and who acts as a loving informal caretaker. He was approached by the Napier Waller Committee of Management and keeps the house neat and tidy, and maintains the garden beautifully. I am very grateful to him for his willingness to open the Waller House, and for allowing me the opportunity to comprehensively photograph this rarely seen gem of Melbourne art, architecture and history.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Klytie Pate (1912 – 2010) was an Australian Studio Potter who emerged as an innovator in the use of unusual glazes and the extensive incising, piercing and ornamentation of earthenware pottery. She was one of a small group of Melbourne art potters which included Marguerite Mahood and Reg Preston who were pioneers in the 1930‘s of ceramic art nationwide. Her early work was strongly influenced by her aunt, the artist and printmaker, Christian Waller. Klytie’s father remarried when she was 13, so Klytie went to live with her aunt, Christian Waller. Christian and her husband Napier Waller encouraged her interest in art and printmaking. She spent time at their studio in Fairy Hills, and thus her work reflected Art Deco, Art Nouveau, the Pre Raphaelites, Egyptian art, Greek mythology, and Theosophy. Klytie made several plaster masks that were displayed by the Wallers in their home and experimented with linocut, a medium used by Christian in her printmaking. Her aunt further encouraged Klytie by arranging for her to study modelling under Ola Cohn, the Melbourne sculptor. Klytie became renowned for her high quality, geometric Art Deco designed pottery which is eagerly sought after today by museums, art galleries, collectors and auction houses.

Fairy Hills is a small north eastern suburb of Melbourne. Leafy, with streets lined with banks of agapanthus, it is an area well known for its exclusivity, affluence and artistic connections. It was designed along the lines of London’s garden suburbs, such as Hampstead and Highgate, where houses and gardens blended together to create an informal, village like feel. Many of Fairy Hills’ houses have been designed by well known architects of the early Twentieth Century such as Walter Burley Griffin (1876 – 1937) and have gardens landscaped by designers like Edna Walling (1895 – 1973). Fairy Hills is the result of a subdivision of an 1840s farm called “Fairy Hills” which was commenced in the years just before the First World War (1914 – 1918). “Lucerne Farm”, a late 1830s farm associated with Governor La Trobe, was also nearby.

The West African Agricultural Productivity Program (WAAPP), sponsored by the World Bank and the government of Senegal, is providing one-time subsidies on the sale of 1,713 tons of maize seeds, 90 tons of millet seeds, and 122 tons of sorghum seeds in order to help ease the financial burden on Senegalese small holder farmers who have already lost this year’s sowing. Photo: Daniella Van Leggelo-Padilla / World Bank

Photo ID: 20140813-IMG_5168 Kaolack

Elementary school students attend the planting of a floating wetland at the 2010 Chesapeake Executive Council meeting at the Living Classrooms Foundation in Baltimore, Md., on June 3, 2010. (Photo by Alicia Pimental/Chesapeake Bay Program)

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The NMH Theater Program's production of Marian, or The True Tale of Robin Hood by Adam Szymkowiez, was performed in the Chiles Theater of the Rhodes Arts Center, March 31 - April 2, 2022. Photography by Glenn Minshall.

An Express's Bell 205A-1 Helicopter maintains altitude and position, both critical, for veteran wildland firefighter rappellers to descend to a landing zone in the Perreau Creek area, during the U.S. Department of Agriculture (USDA), U.S. Forest Service (USFS) National Helicopter Rappel Program’s Rappel Academy at Salmon Air Base, in Salmon, Idaho, on Thursday, May 15, 2014. USDA Photo by Lance Cheung.

Located at the end of a sleepy little cul-de-sac in the leafy north east Melburnian suburb of Fairy Hills is a beautiful pebbledash Arts and Crafts style bungalow. Quiet and unassuming amid its well kept gardens, this bungalow is quite significant historically as it is the creation and home of nationally renowned husband and wife artists Christian and Napier Waller, and is known as the Waller House. Together they designed the house and much of its interior decoration and furnishings. Napier Waller lived in their purpose designed home for some fifty years. What is especially significant about the house is that both it and its contents are quite intact. Napier Waller's studios, examples of his art, that of his two wives and his niece, famous studio potter Klytie Pate, and items connected with his work remain exactly as he left them. Architecturally the house design is innovative in its internal use of space, specifically in the organisation of the studio cum living room and displays a high degree of artistic creativity in the interior decoration.

The Waller House in Fairy Hills is so named because it was the residence of Mervyn Napier Waller, the acclaimed artist who gained National fame from his water colours, stained glass, mosaic works and murals and his wife Christian, who was a distinguished artist and designer of stained glass in her own right. In particular Napier Waller's works adorn the Melbourne Town Hall, the Myer Emporium Mural Hall, the Victorian State Library and the Australian War Memorial. The Waller House is a split level house designed by Napier and his first wife Christian who intended the house to be both a home and a workplace. For this the design was conceived to accommodate the tall studies and pieces of the artist's work.

The Waller house was built by Phillip Millsom in 1922 and the architectural style of the house is a mixture of Interwar Arts and Crafts, Interwar Old English and Interwar California Bungalow. The house is constructed from reinforced concrete walls with a rough cast pebbledash finish. The roof is steeply pitched with a prominent half timbered gable over the front entrance and has Marseilles pattern terracotta tiles. There are small paned casement windows. There have been several additions to the original design over the years but these have all been sympathetic to the original design.

The house is entered from a two sided verandah into an entrance hall, panelled in Tasmanian wood. This has stairs leading to the different levels of the house interior. In one direction the hall leads to a main living hall which was Napier Waller's original studio and later used as the main living room in the house. This room has a high ceiling with casement windows, a musicians’ gallery and a broad brick fireplace flanked by fire-dogs and bellows made by the sculptress Ola Cohn (1892 – 1964). Like many of the other rooms in the house the studio is panelled and floored with Tasmanian hardwood and contains some of the studies for Napier Waller's murals: “The Five Lamps of Learning; the Wise and Foolish Virgins” a mosaic for the University of Western Australia and, “Peace After Victory” a study painting for the State Library of Victoria. Above the panelling the plaster walls are painted in muted colours in wood grain effect. The raftered plaster ceiling has been painted in marble effect with gold leaf. Book shelves, still containing the Wallers’ beautiful books, are built into the panelled walls. Furniture in the room includes a settee with a painted back panel featuring jousting knights, painted by Christian Waller, a leather suite and black bean sideboards and cupboards. This furniture was designed in the nineteen thirties by Napier Waller and by Percy Meldrum and a noted cabinet maker called Goulman. The studio cum hall also contains many ceramic works created by studio potter Klytie Pate who was Christian Waller’s niece and protégée. The entrance hall leads in the other direction to a guest room, known as the “Blue Room”. This was the idea of Napier's wife Christian and has simple built-in glass topped furniture and Napier's murals of the “Labours of Hercules” which include a self portrait of the artist. An alcove section of the room was constructed out of an extension to the verandah. Stairs lead from the entrance hall to the musicians’ gallery which has a window and overlooks the studio cum living room. The kitchen near the studio/hall is panelled and raftered with built-in cupboards conforming to the panelling. The ceiling is stencilled in a fleur-de-lys design by Napier. The dining room lies to the right of the studio cum hall and contains shoulder high panelling and raftered ceilings. It has an angled brick corner fireplace and the walls and ceiling have the same painted treatment as the studio cum living room. The oak dining furniture was designed by Napier. A small den with high window, furnished with leather chairs, opens off the dining room. Opening off the hall to the left is a long rectangular room known as the glass studio. This was added to the house by builder C. Trinck of Hampton in about 1931 and contains Napier Waller's kiln, paintbrushes and stained-glass tools on the benches, and stained glass designs and racks which are still stacked with radiant streaked glass from his work with stained glass windows. A bedroom and bathroom with attic pitched rafter ceiling and casement windows is situated on the upper level of the house. Another bedroom in ship's cabin style with flared wall light fittings and built in bunks opens off this first bedroom.

The house backs onto a courtyard enclosed by a long bluestone garden wall. The house is set in a three and a half acre site with cypress hedges and gravelled paths. The garden drops away to a hillside slope with manna gum trees. Set on the slope is a flat roofed studio built in 1937. It has an undercroft beneath a studio room and this contains a lithographic press and a printing press of 1849 for woodcuts and linocuts. This was used by Napier and his first wife Christian to produce prints in the 1930s. Napier was widowed and married his stained glass studio assistant Lorna Reyburn in 1958.

The Waller House has recently become famous for yet another reason. The exterior has been used as a backdrop in the ABC/ITV co-production television series, “The Doctor Blake Mysteries” (2013). The house serves as the residence of the program’s lead character, Doctor Lucien Blake (played by Australian actor Craig McLachlan), and the doctor’s 1930s tourer is often seen driving up to or away from the Waller House throughout the series. The Waller House is the only regular backdrop not filmed in the provincial Victorian gold rush city of Ballarat, in which the series is based.

The Waller House is still a private residence, even though it was bequeathed to the people of Victoria by Napier Waller under the proviso that it would not revert to state ownership until after the death of his second wife, Lorna. The current leasee of the Waller House is a well known Melbourne antique dealer, who was friends with Lorna Reyburn, and who acts as a loving informal caretaker. He was approached by the Napier Waller Committee of Management and keeps the house neat and tidy, and maintains the garden beautifully. I am very grateful to him for his willingness to open the Waller House, and for allowing me the opportunity to comprehensively photograph this rarely seen gem of Melbourne art, architecture and history.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Klytie Pate (1912 – 2010) was an Australian Studio Potter who emerged as an innovator in the use of unusual glazes and the extensive incising, piercing and ornamentation of earthenware pottery. She was one of a small group of Melbourne art potters which included Marguerite Mahood and Reg Preston who were pioneers in the 1930‘s of ceramic art nationwide. Her early work was strongly influenced by her aunt, the artist and printmaker, Christian Waller. Klytie’s father remarried when she was 13, so Klytie went to live with her aunt, Christian Waller. Christian and her husband Napier Waller encouraged her interest in art and printmaking. She spent time at their studio in Fairy Hills, and thus her work reflected Art Deco, Art Nouveau, the Pre Raphaelites, Egyptian art, Greek mythology, and Theosophy. Klytie made several plaster masks that were displayed by the Wallers in their home and experimented with linocut, a medium used by Christian in her printmaking. Her aunt further encouraged Klytie by arranging for her to study modelling under Ola Cohn, the Melbourne sculptor. Klytie became renowned for her high quality, geometric Art Deco designed pottery which is eagerly sought after today by museums, art galleries, collectors and auction houses.

Fairy Hills is a small north eastern suburb of Melbourne. Leafy, with streets lined with banks of agapanthus, it is an area well known for its exclusivity, affluence and artistic connections. It was designed along the lines of London’s garden suburbs, such as Hampstead and Highgate, where houses and gardens blended together to create an informal, village like feel. Many of Fairy Hills’ houses have been designed by well known architects of the early Twentieth Century such as Walter Burley Griffin (1876 – 1937) and have gardens landscaped by designers like Edna Walling (1895 – 1973). Fairy Hills is the result of a subdivision of an 1840s farm called “Fairy Hills” which was commenced in the years just before the First World War (1914 – 1918). “Lucerne Farm”, a late 1830s farm associated with Governor La Trobe, was also nearby.

Located at the end of a sleepy little cul-de-sac in the leafy north east Melburnian suburb of Fairy Hills is a beautiful pebbledash Arts and Crafts style bungalow. Quiet and unassuming amid its well kept gardens, this bungalow is quite significant historically as it is the creation and home of nationally renowned husband and wife artists Christian and Napier Waller, and is known as the Waller House. Together they designed the house and much of its interior decoration and furnishings. Napier Waller lived in their purpose designed home for some fifty years. What is especially significant about the house is that both it and its contents are quite intact. Napier Waller's studios, examples of his art, that of his two wives and his niece, famous studio potter Klytie Pate, and items connected with his work remain exactly as he left them. Architecturally the house design is innovative in its internal use of space, specifically in the organisation of the studio cum living room and displays a high degree of artistic creativity in the interior decoration.

The Waller House in Fairy Hills is so named because it was the residence of Mervyn Napier Waller, the acclaimed artist who gained National fame from his water colours, stained glass, mosaic works and murals and his wife Christian, who was a distinguished artist and designer of stained glass in her own right. In particular Napier Waller's works adorn the Melbourne Town Hall, the Myer Emporium Mural Hall, the Victorian State Library and the Australian War Memorial. The Waller House is a split level house designed by Napier and his first wife Christian who intended the house to be both a home and a workplace. For this the design was conceived to accommodate the tall studies and pieces of the artist's work.

The Waller house was built by Phillip Millsom in 1922 and the architectural style of the house is a mixture of Interwar Arts and Crafts, Interwar Old English and Interwar California Bungalow. The house is constructed from reinforced concrete walls with a rough cast pebbledash finish. The roof is steeply pitched with a prominent half timbered gable over the front entrance and has Marseilles pattern terracotta tiles. There are small paned casement windows. There have been several additions to the original design over the years but these have all been sympathetic to the original design.

The house is entered from a two sided verandah into an entrance hall, panelled in Tasmanian wood. This has stairs leading to the different levels of the house interior. In one direction the hall leads to a main living hall which was Napier Waller's original studio and later used as the main living room in the house. This room has a high ceiling with casement windows, a musicians’ gallery and a broad brick fireplace flanked by fire-dogs and bellows made by the sculptress Ola Cohn (1892 – 1964). Like many of the other rooms in the house the studio is panelled and floored with Tasmanian hardwood and contains some of the studies for Napier Waller's murals: “The Five Lamps of Learning; the Wise and Foolish Virgins” a mosaic for the University of Western Australia and, “Peace After Victory” a study painting for the State Library of Victoria. Above the panelling the plaster walls are painted in muted colours in wood grain effect. The raftered plaster ceiling has been painted in marble effect with gold leaf. Book shelves, still containing the Wallers’ beautiful books, are built into the panelled walls. Furniture in the room includes a settee with a painted back panel featuring jousting knights, painted by Christian Waller, a leather suite and black bean sideboards and cupboards. This furniture was designed in the nineteen thirties by Napier Waller and by Percy Meldrum and a noted cabinet maker called Goulman. The studio cum hall also contains many ceramic works created by studio potter Klytie Pate who was Christian Waller’s niece and protégée. The entrance hall leads in the other direction to a guest room, known as the “Blue Room”. This was the idea of Napier's wife Christian and has simple built-in glass topped furniture and Napier's murals of the “Labours of Hercules” which include a self portrait of the artist. An alcove section of the room was constructed out of an extension to the verandah. Stairs lead from the entrance hall to the musicians’ gallery which has a window and overlooks the studio cum living room. The kitchen near the studio/hall is panelled and raftered with built-in cupboards conforming to the panelling. The ceiling is stencilled in a fleur-de-lys design by Napier. The dining room lies to the right of the studio cum hall and contains shoulder high panelling and raftered ceilings. It has an angled brick corner fireplace and the walls and ceiling have the same painted treatment as the studio cum living room. The oak dining furniture was designed by Napier. A small den with high window, furnished with leather chairs, opens off the dining room. Opening off the hall to the left is a long rectangular room known as the glass studio. This was added to the house by builder C. Trinck of Hampton in about 1931 and contains Napier Waller's kiln, paintbrushes and stained-glass tools on the benches, and stained glass designs and racks which are still stacked with radiant streaked glass from his work with stained glass windows. A bedroom and bathroom with attic pitched rafter ceiling and casement windows is situated on the upper level of the house. Another bedroom in ship's cabin style with flared wall light fittings and built in bunks opens off this first bedroom.

The house backs onto a courtyard enclosed by a long bluestone garden wall. The house is set in a three and a half acre site with cypress hedges and gravelled paths. The garden drops away to a hillside slope with manna gum trees. Set on the slope is a flat roofed studio built in 1937. It has an undercroft beneath a studio room and this contains a lithographic press and a printing press of 1849 for woodcuts and linocuts. This was used by Napier and his first wife Christian to produce prints in the 1930s. Napier was widowed and married his stained glass studio assistant Lorna Reyburn in 1958.

The Waller House has recently become famous for yet another reason. The exterior has been used as a backdrop in the ABC/ITV co-production television series, “The Doctor Blake Mysteries” (2013). The house serves as the residence of the program’s lead character, Doctor Lucien Blake (played by Australian actor Craig McLachlan), and the doctor’s 1930s tourer is often seen driving up to or away from the Waller House throughout the series. The Waller House is the only regular backdrop not filmed in the provincial Victorian gold rush city of Ballarat, in which the series is based.

The Waller House is still a private residence, even though it was bequeathed to the people of Victoria by Napier Waller under the proviso that it would not revert to state ownership until after the death of his second wife, Lorna. The current leasee of the Waller House is a well known Melbourne antique dealer, who was friends with Lorna Reyburn, and who acts as a loving informal caretaker. He was approached by the Napier Waller Committee of Management and keeps the house neat and tidy, and maintains the garden beautifully. I am very grateful to him for his willingness to open the Waller House, and for allowing me the opportunity to comprehensively photograph this rarely seen gem of Melbourne art, architecture and history.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Klytie Pate (1912 – 2010) was an Australian Studio Potter who emerged as an innovator in the use of unusual glazes and the extensive incising, piercing and ornamentation of earthenware pottery. She was one of a small group of Melbourne art potters which included Marguerite Mahood and Reg Preston who were pioneers in the 1930‘s of ceramic art nationwide. Her early work was strongly influenced by her aunt, the artist and printmaker, Christian Waller. Klytie’s father remarried when she was 13, so Klytie went to live with her aunt, Christian Waller. Christian and her husband Napier Waller encouraged her interest in art and printmaking. She spent time at their studio in Fairy Hills, and thus her work reflected Art Deco, Art Nouveau, the Pre Raphaelites, Egyptian art, Greek mythology, and Theosophy. Klytie made several plaster masks that were displayed by the Wallers in their home and experimented with linocut, a medium used by Christian in her printmaking. Her aunt further encouraged Klytie by arranging for her to study modelling under Ola Cohn, the Melbourne sculptor. Klytie became renowned for her high quality, geometric Art Deco designed pottery which is eagerly sought after today by museums, art galleries, collectors and auction houses.

Fairy Hills is a small north eastern suburb of Melbourne. Leafy, with streets lined with banks of agapanthus, it is an area well known for its exclusivity, affluence and artistic connections. It was designed along the lines of London’s garden suburbs, such as Hampstead and Highgate, where houses and gardens blended together to create an informal, village like feel. Many of Fairy Hills’ houses have been designed by well known architects of the early Twentieth Century such as Walter Burley Griffin (1876 – 1937) and have gardens landscaped by designers like Edna Walling (1895 – 1973). Fairy Hills is the result of a subdivision of an 1840s farm called “Fairy Hills” which was commenced in the years just before the First World War (1914 – 1918). “Lucerne Farm”, a late 1830s farm associated with Governor La Trobe, was also nearby.

TCA Past Chairman Josh Kaburick bestowed TCA's prestigious Past Chairmen’s Award upon long-time industry professional Ray Haight of Lambeth, Ontario, Canada on Monday morning. Haight has amassed more than 30 years of experience in the trucking industry. Most recently he joined Dunbar, Pennsylvania-based truckload carrier, JLE Industries, as its Executive Performance Impact Coach. This role spurs from his successful stint as TCA Profitability Program’s (TPP) Carrier Retention Coach.

These tanks contain several types of phytoplankton (algae) that feed the krill in the Australian Antarctic Program's long term study aquarium. Tequila sunrise or wicked witch anyone? www.antarctica.gov.au/science/conservation-and-management...

CONTACT: K. Alane Golden

Communications / S.M. Specialist, NARA, NW: Nak-Nu-Wit

503.224.1044, Xt. 264 / agolden@naranorthwest.org

The Portland, Oregon Based Native American Rehabilitation Association of the Northwest, Inc., NARA NW, Will Join More than 1,000 National Children's Mental Health Awareness Day Celebrations’ Nationwide.

PORTLAND, OR — On Wednesday, May 9th, 2012, NARA, NW will host a Family Day celebration at Concordia University (2811 NE Holman Portland 97211) from 3 – 7pm, joining more than 1,000 communities and 115 federal programs and national organizations across the country participating in events, youth demonstrations, and social networking campaigns to raise awareness about the importance of children’s mental health. The Substance Abuse and Mental Health Services Administration's (SAMHSA) National Children's Mental Health Awareness Day seeks to raise awareness about the importance of positive mental health from birth. This year, the Awareness Day national event will focus on young children from birth to 8 years old by emphasizing the need to build resilience in young children dealing with trauma.

For the past forty – two years, NARA, NW has provided culturally appropriate education, physical and mental health services and substance abuse treatment to American Indians, Alaska Natives and other vulnerable people in the greater Portland metro community. NARA’s unique wraparound child and family mental health services program, Nak Nu Wit, serves families, their young children and youth with mental health challenges, offering culturally-based services and supports needed to thrive at home, in school, and in the community. Research has shown when children as young as 18 months are exposed to traumatic life events, they can develop serious psychological problems later in life and have a greater risk for experiencing problems with substance abuse, depression and physical health. Integrating social-emotional and resilience-building skills into every environment can have a positive impact on a child's healthy development.

In conjunction with the Northwest Portland Area Indian Health Board and Concordia University, NARA, NW will celebrate Awareness Day locally by hosting a Family Day with the culturally-rooted theme: "Warriors Against Trauma", highlighting the strengths & adventure-based youth and family activities, to Elder storytelling, traditional drumming, dancing and singing, the event offers something for everyone - blending rich history and traditions of the past with modern day tribal urban culture. Attendees will enjoy complimentary face-painting, food and drinks, arts, crafts, ceremony, storytelling with Ed Edmo and a special performance by Emcee One and an array of mental health materials and resources aimed at reducing stigma. The event will focus attention on the importance of providing comprehensive, community-based mental health supports and services to enhance resilience and nurture strength-based skills in young children from birth. In the NARA community, Elders, family relations, community members, spiritual helpers and friends are invited to help the family. Nak Nu Wit is a Sahaptin phrase describing the program’s philosophy and mission:

“Everything / All things are being taken care of for the people, the people are the project, our responsibility, our work.” It is in this spirit that NARA welcomes all to attend this free event.

NARA, NW holds sacred the culture and traditions’ passed down from our ancestors and believes that when we recognize our “Warrior Self”, we can exhibit strength, without sacrificing tenderness. It is precisely because our ancestors called upon their inner warriors to be a source of strength to draw upon in times of great need that we exist today. The “Warriors Against Trauma” campaign honors our ancestors and asks today’s youth to thoughtfully deploy their “Warrior Spirits” to manifest as clarity, focus, determination, courage, constancy and an unflappable zest for life.

“Trauma Warriors” understand a true warrior views roadblocks as evolutionary opportunities, and isn't afraid to pursue a purpose to its finish – in the face of hardship, adversity, or strife. There is more than enough room in the existence of the warrior for softness and benevolence, and the warrior’s willingness to stand up for their beliefs can aid greatly in the healing process. As our youth strive to incorporate these ideals with today’s fast-paced world, they broaden their realities to internalize mindfulness while overcoming life’s challenges with an unwavering intensity of spirit. Can we get a W.A.T., W.A.T.?

"’Awareness Day is an opportunity for us to join with communities across the country in celebrating the positive impact we have on the lives of young people when we’re able to integrate culturally relevant positive mental health into every environment,’ says Terry Ellis, Child and Family Services Clinical Manager. ‘When we focus on building resilience and coping skills in young children from birth, especially if they have experienced a traumatic event, we can help young children, youth, and their families thrive.’"

Data released on May 3, 2011, by SAMHSA indicates that an estimated 26% of American children will witness, or experience a traumatic event, before the age of 4 years. According to the Centers for Disease Control and Prevention (CDC), almost 60% of American adults say they endured abuse, or other difficult family circumstances, during childhood. Research has shown exposure to traumatic events early in life can have many negative effects throughout childhood and adolescence, into adulthood. The Adverse Childhood Experiences (ACE) study found a strong relationship between traumatic events experienced in childhood as reported in adulthood, and chronic physical illness such as heart disease, and mental health problems which includes depression.

The annual financial burden to society of childhood abuse and trauma is estimated to be $103 billion. NARA, NW is committed not only to treatment aimed at reducing this financial burden, but, strives to address historical trauma through culturally-based mental health services. Through NARA’s child and family mental health programs, our families and youth are treated by nationally recognized trauma experts who aim to decrease the prevalence of exposure to traumatic events among children and youth to eliminate intergenerational trauma, the problems trauma causes, and offer available treatments that can help children and youth recover through resilience. It is a great honor to act as liaisons, standing side-by-side with family and community members helping ensure the complete mental health and well-being our youth so they may continue the traditions passed down from elders with strength, honor and dignity.

12 year old Mechoopta Maidu tribal member and Children’s Mental Health Awareness Day contributing artist reflects upon what a Warrior Against Trauma means to him, “I have very bad dreams that wake me up at night. With help from Amber, I learned to call my Warrior to make the bad things that happen to me when I sleep go away. He protects me by throwing a tomahawk at the bad things, making them disappear and helping me sleep better.” Michael, NARA Nak Nu Wit client.

For more information, join the conversation on Facebook and Follow us on Twitter @NCMHAD

Florence Shelly Preserve in Susquehanna County, Pa., on Aug. 2, 2016. The 357-acre preserve is owned by the Nature Conservancy and features forest, fields, a stream, and glacial pond surrounded by a floating bog. (Photo by Will Parson/Chesapeake Bay Program)

USAGE REQUEST INFORMATION

The Chesapeake Bay Program's photographic archive is available for media and non-commercial use at no charge. To request permission, send an email briefly describing the proposed use to requests@chesapeakebay.net. Please do not attach jpegs. Instead, reference the corresponding Flickr URL of the image.

A photo credit mentioning the Chesapeake Bay Program is mandatory. The photograph may not be manipulated in any way or used in any way that suggests approval or endorsement of the Chesapeake Bay Program. Requestors should also respect the publicity rights of individuals photographed, and seek their consent if necessary.

Cadets from Advanced Camp, 7th Regiment, donate blood at the Armed Services Blood Program’s blood drive at Smith Gym, Fort Knox, Ky., July 31, 2023. The Cadets blood donations will be sent to American Soldiers that are serving overseas. | Photo by Kate Koennecke, Ohio State University, CST Public Affairs Office

In scratching out a 64-61 win over Maryland Eastern Shore on Saturday evening at the HU Convocation Center, the Hampton University men's basketball team snapped its six-game losing streak.

The Pirates improved to 9-14 overall and 5-5 in the MEAC on the season.

Head coach Edward Joyner Jr. won his 91st career game in the process, becoming the program's all-time winningest Div. I coach – surpassing Steve Merfeld.

Guard Reginald Johnson registered his second straight 20-point game, leading all Pirate scorers with 21 points on 7-for-15 shooting. Guard/forward Dwight Meikle added 16 points and a team-high 11 rebounds for his fourth double-double of the season.

Guard Deron Powers added 11 points and four assists.

The Pirates shot 44.2 percent (23-for-52) from the floor – thanks in large part to a 14-for-25 effort (56.0 percent) in the second half. Hampton scored 25 points off of 16 UMES turnovers, and Hampton held a 26-22 edge in points in the paint.

A layup from Devin Martin with 2:14 left in the game tied the contest at 58-58, before Johnson answered with 1:11 left by converting an acrobatic 3-point play to put the Pirates up 61-58. Dominique Elliott cut that lead to 61-60 with a jumper with 55 seconds left.

But Meikle put his stamp on the game with 42 seconds left, finding space on the fast break before floating in the air, making it look as if he would finger-roll the ball into the hoop, before slamming the ball home with one hand to give the Pirates a 63-60 lead.

The two teams traded free throws down the stretch, but Martin missed both of his 3-pointers in the closing moments to hand the Pirates the hard-fought win.

The UMES led much of the night, though – particularly in the first half. The Hawks opened the game with six straight – thanks to back-to-back 3-pointers from Ryan Andino – before the Pirates cut the lead to 6-5 on a jumper in the paint from junior forward Jervon Pressley.

The Hawks opened the game back up, taking a 22-10 lead at the 8:37 mark after a 3-pointer from Martin. A dunk from Michael Myers and a layup from Devon Walker gave UMES a 29-16 lead with 2:39 left in the half.

But Hampton scored the last seven points of the frame – a jumper and 3-pointer from Meikle and a jumper from Powers – to cut UMES' lead to 29-23 at the break.

That momentum carried into the second half, as the Pirates cut UMES' lead to one on three separate occasions before taking their first lead of the night on a Johnson layup with 15:12 left – putting Hampton up 36-35.

Johnson then hit a trey to put the Pirates up 39-35 at the 13:32 mark.

Johnson added a layup with 13:14 remaining to give the Pirates a 41-37 lead, before UMES went on a 10-1 run to take a 47-42 lead with 10:39 left to play after a dunk from Elliott. Elliott later gave the UMES a 53-48 lead at the 6:29 mark with a free throw.

After a pair of Martin free throws gave the Hawks a 55-50 lead, the Pirates went on a 7-0 spurt, taking a 57-55 lead with 3:13 left to play after a jumper from Powers.

Red Weasel Media was sitting on the baseline to capture all of the high flying action. Go Pirates!

Idaho Helicopters, Inc., Assistant Chief Pilot JT Theis lands a Bell 205A-1 helicopter for veteran wildland firefighter rappellers to board for training at the U.S. Department of Agriculture (USDA) U.S. Forest Service (USFS) National Helicopter Rappel Program’s Rappel Academy at Salmon Air Base in Salmon, ID on Wednesday, May 14, 2014. From May 12, 2014, 72 veteran rappellers from all over the nation, 30 support staff, and three helicopters with flight crews attend the training at Salmon Air Base. Participants will rappel into the Perreau Creek area. The annual training is delivered in accordance with the National Rappel Operations Guide; strengthen leadership, teamwork, and communications within the rappel community, and produces quality aerial delivered firefighters for use in fire and aviation operations. The USDA Forest Service National Helicopter Rappel Program’s primary mission is initial attack. Rappel crews may be utilized for large fire support, all hazard incident operations, and resource management objectives. USDA Photo by Lance Cheung.

Chief Manifest Specialist Jessica Martin is in charge of ensuring the right veteran wildland firefighter rappeller is assigned with the helicopters, spotters and evaluators that they need to train and become recertified at the U.S. Department of Agriculture (USDA) U.S. Forest Service (USFS) National Helicopter Rappel Program’s Rappel Academy at Salmon Air Base in Salmon, ID on Wednesday, May 14, 2014. From May 12, 2014, 72 veteran rappellers from all over the nation, 30 support staff, and three helicopters with flight crews attend the training at Salmon Air Base. Participants will rappel into the Perreau Creek area. The annual training is delivered in accordance with the National Rappel Operations Guide; strengthen leadership, teamwork, and communications within the rappel community, and produces quality aerial delivered firefighters for use in fire and aviation operations. The USDA Forest Service National Helicopter Rappel Program’s primary mission is initial attack. Rappel crews may be utilized for large fire support, all hazard incident operations, and resource management objectives. USDA Photo by Lance Cheung.

Marcia Watson and Gene Scarpulla of Bowie, Md., participate in the National Audubon Society's 117th annual Christmas Bird Count in Anne Arundel County, Md., on Dec. 18, 2016. (Photo by Will Parson/Chesapeake Bay Program)

USAGE REQUEST INFORMATION

The Chesapeake Bay Program's photographic archive is available for media and non-commercial use at no charge. To request permission, send an email briefly describing the proposed use to requests@chesapeakebay.net. Please do not attach jpegs. Instead, reference the corresponding Flickr URL of the image.

A photo credit mentioning the Chesapeake Bay Program is mandatory. The photograph may not be manipulated in any way or used in any way that suggests approval or endorsement of the Chesapeake Bay Program. Requestors should also respect the publicity rights of individuals photographed, and seek their consent if necessary.

© all rights reserved

Ph.: Orarossa - Ascoli Piceno, Italy

Make: NIKON

Model: D810

Data Time: 07/02/2016 - 18:44

Shutter Speed: 1/100 sec

Exposure Program: S

F-Stop: f/1.4

ISO Speed Ratings: 3200

Focal Length: 85 mm

Flash: OFF

Third Thursday Wine Walk in Downtown Baker City Oregon

Enjoying beautiful evening for Third Thursday in historic downtown Baker City, Oregon.

The monthly Third Thursday Wine Walk is one of numerous events hosted by the Baker City Main Street Program, Baker City Downtown giving customers an opportunity to visit and explore downtown after hours.

Visitors to downtown will find numerous art galleries throughout Baker City’s historic downtown including the Crossroads Carnegie Art center in the restored Carnegie Library building as well as multiple restaurants and a variety of gourmet and artisan food and spirits.

For more information about Third Thursday Wine Walk or other downtown Baker City events visit the Baker City Main Street Program's website at www.bakercitydowntown.com

For more information about other community events in Baker County visit the Baker County Tourism website at www.travelbakercounty.com

Idaho Helicopters, Inc., Assistant Chief Pilot JT Theis keeps the Bell 205A-1 helicopter steady, while a spotter performs a walk-around inspection before take off at the U.S. Department of Agriculture (USDA U.S. Forest Service (USFS) National Helicopter Rappel Program’s Rappel Academy at Salmon Air Base in Salmon, ID on Wednesday, May 14, 2014. From May 12, 2014, 72 veteran rappellers from all over the nation, 30 support staff, and three helicopters with flight crews attend the training at Salmon Air Base. Participants will rappel into the Perreau Creek area. The annual training is delivered in accordance with the National Rappel Operations Guide; strengthen leadership, teamwork, and communications within the rappel community, and produces quality aerial delivered firefighters for use in fire and aviation operations. The USDA Forest Service National Helicopter Rappel Program’s primary mission is initial attack. Rappel crews may be utilized for large fire support, all hazard incident operations, and resource management objectives. USDA Photo by Lance Cheung.

Veteran wildland firefighters train at the U.S. Department of Agriculture (USDA) U.S. Forest Service (USFS) National Helicopter Rappel Program’s Rappel Academy at Salmon Air Base in Salmon, ID on Tuesday, May 14, 2014. This annual refresher training enables graduates to maintain proficiency in various forms of aerial delivery of fire fighters. Rappel crews may be utilized for large fire support, all hazard incident operations, and resource management objectives. USDA photo by Lance Cheung.

Read more about Sound Design's new gear on the VFS Blog.

Find out more about VFS's one-year Sound Design for Visual Media program at vfs.com/sounddesign.

The Bird River flows into the Gunpowder River in Baltimore County, Md., on June 27, 2016. The 26-square-mile Bird River watershed is about one-third forested land and one-fifth agricultural land. It received Baltimore County's first comprehensive watershed plan in 1995 to address water quality issues caused by unstable stream channels, impervious surfaces, pollutants, mining, agriculture and other threats. Today, completed stream restoration along the mainstem and tributaries of Bird River total five miles. (Photo by Will Parson/Chesapeake Bay Program with aerial support by LightHawk)

USAGE REQUEST INFORMATION

The Chesapeake Bay Program's photographic archive is available for media and non-commercial use at no charge. To request permission, send an email briefly describing the proposed use to requests@chesapeakebay.net. Please do not attach jpegs. Instead, reference the corresponding Flickr URL of the image.

A photo credit mentioning the Chesapeake Bay Program is mandatory. The photograph may not be manipulated in any way or used in any way that suggests approval or endorsement of the Chesapeake Bay Program. Requestors should also respect the publicity rights of individuals photographed, and seek their consent if necessary.

Gwinnett Technical College Horticulture Program's Learning Garden in Lawrenceville, GA, on Friday, Mar. 20, 2015. The field allows students to demonstrate a variety growing techniques. All the plants are edible produce and allows culinary students to learn the value of farm fresh produce resulting in future Farm to Table practices that emphasize the partnership between the two programs. Horticulture students will plan and schedule plantings to meet the needs of upcoming menus. Culinary students will harvest the produce they will prepare that day. USDA photo by Lance Cheung.

Kate Fritz olf the Alliance for the Chesapeake Bay holds Didymo, an invasive algae also known as rock not, growing in Gunpowder Falls in Baltimore County, Md., on March 22, 2022. Didymo coats the bottom of a river or stream, displacing wildlife and depriving trout and other fish of food sources. (Photo by Will Parson/Chesapeake Bay Program)

USAGE REQUEST INFORMATION

The Chesapeake Bay Program's photographic archive is available for media and non-commercial use at no charge. To request permission, send an email briefly describing the proposed use to requests@chesapeakebay.net. Please do not attach jpegs. Instead, reference the corresponding Flickr URL of the image.

A photo credit mentioning the Chesapeake Bay Program is mandatory. The photograph may not be manipulated in any way or used in any way that suggests approval or endorsement of the Chesapeake Bay Program. Requestors should also respect the publicity rights of individuals photographed, and seek their consent if necessary.

In scratching out a 64-61 win over Maryland Eastern Shore on Saturday evening at the HU Convocation Center, the Hampton University men's basketball team snapped its six-game losing streak.

The Pirates improved to 9-14 overall and 5-5 in the MEAC on the season.

Head coach Edward Joyner Jr. won his 91st career game in the process, becoming the program's all-time winningest Div. I coach – surpassing Steve Merfeld.

Guard Reginald Johnson registered his second straight 20-point game, leading all Pirate scorers with 21 points on 7-for-15 shooting. Guard/forward Dwight Meikle added 16 points and a team-high 11 rebounds for his fourth double-double of the season.

Guard Deron Powers added 11 points and four assists.

The Pirates shot 44.2 percent (23-for-52) from the floor – thanks in large part to a 14-for-25 effort (56.0 percent) in the second half. Hampton scored 25 points off of 16 UMES turnovers, and Hampton held a 26-22 edge in points in the paint.

A layup from Devin Martin with 2:14 left in the game tied the contest at 58-58, before Johnson answered with 1:11 left by converting an acrobatic 3-point play to put the Pirates up 61-58. Dominique Elliott cut that lead to 61-60 with a jumper with 55 seconds left.

But Meikle put his stamp on the game with 42 seconds left, finding space on the fast break before floating in the air, making it look as if he would finger-roll the ball into the hoop, before slamming the ball home with one hand to give the Pirates a 63-60 lead.

The two teams traded free throws down the stretch, but Martin missed both of his 3-pointers in the closing moments to hand the Pirates the hard-fought win.

The UMES led much of the night, though – particularly in the first half. The Hawks opened the game with six straight – thanks to back-to-back 3-pointers from Ryan Andino – before the Pirates cut the lead to 6-5 on a jumper in the paint from junior forward Jervon Pressley.

The Hawks opened the game back up, taking a 22-10 lead at the 8:37 mark after a 3-pointer from Martin. A dunk from Michael Myers and a layup from Devon Walker gave UMES a 29-16 lead with 2:39 left in the half.

But Hampton scored the last seven points of the frame – a jumper and 3-pointer from Meikle and a jumper from Powers – to cut UMES' lead to 29-23 at the break.

That momentum carried into the second half, as the Pirates cut UMES' lead to one on three separate occasions before taking their first lead of the night on a Johnson layup with 15:12 left – putting Hampton up 36-35.

Johnson then hit a trey to put the Pirates up 39-35 at the 13:32 mark.

Johnson added a layup with 13:14 remaining to give the Pirates a 41-37 lead, before UMES went on a 10-1 run to take a 47-42 lead with 10:39 left to play after a dunk from Elliott. Elliott later gave the UMES a 53-48 lead at the 6:29 mark with a free throw.

After a pair of Martin free throws gave the Hawks a 55-50 lead, the Pirates went on a 7-0 spurt, taking a 57-55 lead with 3:13 left to play after a jumper from Powers.

Red Weasel Media was sitting on the baseline to capture all of the high flying action. Go Pirates!

Opening Reception:

Thursday, December 7, 2017, 4pm - 8PM

Friday, December 8, 10am - 7pm

Saturday, December 9, 10am - 7pm

Sunday, December 10, 10am- 7pm

Location: 224 Western Ave, Allston, Massachusetts 02134 | Directions

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The Ceramics Program, Office for the Arts at Harvard will present its annual Holiday Show and Sale December 7-10, 2017 in its state-of-the art facility at 224 Western Avenue, Allston, Massachusetts.

Nearly seventy artists will present an extraordinary selection of ceramic work in this annual exhibition. From functional dinnerware to sculptural masterpieces, this popular exhibition has something for everyone and attracts several thousand visitors each year. Free cups made by the exhibiting artists will be given away on a first-come, first-served basis during the festive Opening Reception on Thursday, December 7, from 4:00 – 8:00 pm. The Show and Sale continues Friday, Saturday, and Sunday, December 8, 9, and 10, from 10:00 am – 7:00 pm.

Gallery 224, the Ceramics Program’s dedicated exhibition space, will showcase works from artists participating in the Holiday Show and Sale.

The Ceramics Program Show and Sale runs concurrently with the Allston-Brighton Winter Market next door at the Harvard Ed Portal. Artists’ studios nearby at 119 Braintree Street will also be open on Saturday and Sunday for Allston Open Studios.

A touchstone for the arts within Barry’s Corner, Allston, the Ceramics Program, Office for the Arts at Harvard provides a creative studio and laboratory study environment for Harvard students, staff, and faculty, as well as designers, artists, scholars, and scientists from the greater Boston, national and international arenas. Courses, workshops, master classes and special events are offered in the program's 15,000-square-foot studio at 224 Western Ave., near the Harvard Stadium in Allston.

Artists exhibiting this year include:

Alice Abrams

Natalie Andrew

Bruce Armitage

Pam Baker

Paul Bessette

Jenny Blicharz

Satomi Bol

Rosanna Bonnet

Darrah Bowden

Ann Boyajian

Summer (Min) Chen

Margaret Clark

Sarah de Besche

Angela DeVecchi

Holladay Dickerman

Richard Farrell

Darcie Flanigan

Stuart Gair

Justin Goedde

Pamela Gorgone

Tina Gram

Christine Gratto

Maurisse Gray

Louise Gutheil

Susan R. Hallstein

Marcia Halperin

Rachael Hamilton

Vicki L. Heller

Marek Jacisin

Madeline Johnson

Melinda Jordan

Judy Kanigel

Adria Katz

Mary Kenny

Gretchen Keyworth

Taeeun Kim

Joyce Lamensdorf

Laurie Leuchtenburg

Judy Levin

Gretchen Mamis

Joanna Mark

Cyndi Mason

Zachary Mickelson

Maeve Mueller

Steve Murphy

Julie Nussbaum

Stephanie Osser

Vicki Paret

Jennifer Howe Peace

Maxine Peck

Florence Pénault

Seth Rainville

Crystal Ribich

Carol Rissman

Judy Rosenstein

Mia Saporito

Lucy Scanlon

Gunnel Schmidt

Nancy Shotola

Kathi Tighe

Bernard Toale

Kyla Toomey

Emma Vesey

Lansing Wagner

Miriam Weil

Hiroko Williamson

Pao-Fei Yang Kuo

Trish Youens

Katherine Younger

Joseph Zina

The Studio is wheelchair accessible.

For more information or directions please call 617.495.8680 or visit www.ofa.fas.harvard.edu/ceramics

Red raspberries grow vertically on suspended vines at the Horticulture Program's Learning Garden at Gwinnett Technical College, in Lawrenceville, GA, on Friday, Mar. 20, 2015.

Gwinnett Technical College Horticulture Program's Learning Garden in Lawrenceville, GA, on Friday, Mar. 20, 2015. The field allows students to demonstrate a variety growing techniques. All the plants are edible produce and allows culinary students to learn the value of farm fresh produce resulting in future Farm to Table practices that emphasize the partnership between the two programs. Horticulture students will plan and schedule plantings to meet the needs of upcoming menus. Culinary students will harvest the produce they will prepare that day. USDA photo by Lance Cheung.

Restored wetlands cover the 124-acre site of a former golf course in New Berlin, N.Y., on Aug. 4, 2016. The property was purchased by the nonprofit Wetland Trust and is being restored as part of an in-lieu fee program. (Photo by Will Parson/Chesapeake Bay Program)

USAGE REQUEST INFORMATION

The Chesapeake Bay Program's photographic archive is available for media and non-commercial use at no charge. To request permission, send an email briefly describing the proposed use to requests@chesapeakebay.net. Please do not attach jpegs. Instead, reference the corresponding Flickr URL of the image.

A photo credit mentioning the Chesapeake Bay Program is mandatory. The photograph may not be manipulated in any way or used in any way that suggests approval or endorsement of the Chesapeake Bay Program. Requestors should also respect the publicity rights of individuals photographed, and seek their consent if necessary.

Rosin Creek, a tributary of the Chester River, is seen in Queen Anne's County, Md., on June 27, 2016. (Photo by Will Parson/Chesapeake Bay Program with aerial support by LightHawk)

USAGE REQUEST INFORMATION

The Chesapeake Bay Program's photographic archive is available for media and non-commercial use at no charge. To request permission, send an email briefly describing the proposed use to requests@chesapeakebay.net. Please do not attach jpegs. Instead, reference the corresponding Flickr URL of the image.

A photo credit mentioning the Chesapeake Bay Program is mandatory. The photograph may not be manipulated in any way or used in any way that suggests approval or endorsement of the Chesapeake Bay Program. Requestors should also respect the publicity rights of individuals photographed, and seek their consent if necessary.

Advertisement for Head Start, seen in Harlem

From Wikipedia: "Head Start is a program of the United States Department of Health and Human Services that provides comprehensive early childhood education, health, nutrition, and parent involvement services to low-income children and families. The program's services and resources are designed to foster stable family relationships, enhance children's physical and emotional well-being, and establish an environment to develop strong cognitive skills."

The 41 graduates of the WCC Police Academy represent the largest graduating class in the the program's history. More than 600 family members, friends and local law enforcement officials gathered to celebrate the class on Friday, Sept. 30. (Photos by JD Scott)

Veteran wildland firefighter rappeller Lacie England practices rappeling from a 40-foot rappel training tower at the U.S. Department of Agriculture (USDA) U.S. Forest Service (USFS) National Helicopter Rappel Program’s Rappel Academy at Salmon Air Base in Salmon, ID on Wednesday, May 14, 2014. From May 12, 2014, 72 veteran rappellers from all over the nation, 30 support staff, and three helicopters with flight crews attend the training at Salmon Air Base. Participants will rappel into the Perreau Creek area. The annual training is delivered in accordance with the National Rappel Operations Guide; strengthen leadership, teamwork, and communications within the rappel community, and produces quality aerial delivered firefighters for use in fire and aviation operations. The USDA Forest Service National Helicopter Rappel Program’s primary mission is initial attack. Rappel crews may be utilized for large fire support, all hazard incident operations, and resource management objectives. USDA Photo by Lance Cheung.

DXO offered some of us tenured customers a free permanent version of Filmpak 3 as part of their opening publicity for Filmpak 4. This program’s purpose is to take a digital picture and give it the same look that different films would have produced, had it been on those films. Although the freebie was more limited in film choices than their #4, it still gave a lot of the old favorites.

For space reasons, I reduced a snapshot taken with an EOS-M by 50%, then applied some of the various filters. Even jpegged, the file is pretty big. To see which films are represented and to get a good look at things like grain and the lines in Polachrome, you will need to see “all size” button, then open up as “original.” You can move the large view around on your screen and see the different color shades of the different iterations.

Paddlers navigate rapids on the James River in downtown Richmond, Va., on Aug. 13, 2019. Like many cities on the eastern seaboard, Richmond was established along the fall line, the area of geological transition between coastal plain and Piedmont, where rivers often have a steeper gradient and become too rocky for large vessels. Cities like Richmond became the terminus for ships carrying goods as far as they could upstream. (Photo by Will Parson/Chesapeake Bay Program)

USAGE REQUEST INFORMATION

The Chesapeake Bay Program's photographic archive is available for media and non-commercial use at no charge. To request permission, send an email briefly describing the proposed use to requests@chesapeakebay.net. Please do not attach jpegs. Instead, reference the corresponding Flickr URL of the image.

A photo credit mentioning the Chesapeake Bay Program is mandatory. The photograph may not be manipulated in any way or used in any way that suggests approval or endorsement of the Chesapeake Bay Program. Requestors should also respect the publicity rights of individuals photographed, and seek their consent if necessary.

Students in the College of DuPage Culinary program’s Cake Decorating Foundations 1174 class created custom gingerbread houses that were donated to Helping Hand Center, a nonprofit organization dedicated to improving the lives of children and adults with disabilities.

Portraits of Hope Teams with Gain

Photo: POH; Lighting proudly provided by: Photoflex

New York City: Laundry - Laundromat/Lavanderia Makeovers -- Bronx, East Harlem, Washington Heights Portraits of Hope's Laundromat Public Art and Civic Initiative

Conceived and developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope www.portraitsofhope.org

A select group of laundromats in New York City now beam colors and flowers throughout their interior settings -- on ceilings, walls, washing machines, dryers, floors, and tables -- as part of Portraits of Hope’s latest creative therapy, civic education, public art and community undertaking involving children in hospitals, schools, and social service programs.

This Portraits of Hope public art and civic initiative is a continuation of the program’s large-scale, national projects which have visually transformed and brightened public settings and symbols ranging from the NYC taxi fleet, blimps, planes, and buildings to LA’s coastal lifeguard towers, NASCAR race cars, and frontline fire and rescue vehicles.

Gain has partnered with Portraits of Hope to beautify and enhance the laundromat settings and experience through participatory community opportunities culminating in the public art makeovers.

Traditionally, Portraits of Hope selects iconic public settings and symbols for its visual makeovers that people routinely take for granted or expect will continue to be “the same as they've always been.” For this project, POH and Gain have picked a set of locations that are almost universally taken for granted: Laundromats/Lavanderias. These venues are necessities for millions of people -- and in urban areas, laundromats also do double-duty as mini-social centers or places where adults with their kids spend hours of time. POH and Gain decided to change the visual dynamic of that experience and add positive energy to those settings.

After visiting 170 NYC laundromats as potential sites for Portraits of Hope laundromat makeovers, POH narrowed it down and selected six; four in South Bronx and two in upper Manhattan: Washington Heights and Spanish Harlem.

Children and youth in the Bronx and Harlem, among others, have participated in Portraits of Hope art, creative therapy, and civic leadership sessions in schools and hospitals in which much of the art has been created. The vibrantly hued art is floral themed -- as the flower is the universal symbol of beauty, joy, life, renewal, and nature. The flower is a theme integral to Portraits of Hope.

For the Laundromat project, Ed Massey designed special exhibition elements including chandeliers, freestanding lamps, laundry baskets, carts, fountains, corn hole boards, and recycling containers to enliven the laundromat makeovers.

The 2D and 3D art and designs in the laundromats are everywhere -- whether looking up, down, forward, back, or side to side -- making these New York laundromats the most unique and festive anywhere.

Background:

Portraits of Hope conceives and develops high-profile motivational art projects that merge the production of dynamic public art works with creative therapy for hospitalized children and civic education for children of all ages.

Special Portraits of Hope brushes and methodologies have been developed for children and adults with illnesses and physical disabilities, including telescope brushes for those in wheel chairs or attached to IVs, shoe brushes for people unable to manipulate a brush with their hands, and fruit-flavored mouth brushes for kids and adults with limited or no movement in their limbs. For persons who are blind or visually impaired, Portraits of Hope utilizes special textured paints.

In schools, Portraits of Hope participants engage in interdisciplinary education sessions in which students assess, discuss and communicate their thoughts on social issues affecting their communities and the world, including: civic leadership, education, health care, the environment, foreign aid, and senior care. The larger art collaboration is a group effort to demonstrate tangibly the power of community teamwork and civic engagement.

Founded by brothers Ed Massey and Bernie Massey, Portraits of Hope has engaged tens of thousands of children and adults in huge civic collaborations - in the U.S. and abroad – and involved nearly 1,000 hospitals, schools, and social service programs in its projects.

The exhibition will run through Summer 2014 – or until a later date determined by the participating Laundromats.

Laundromat locations:

1. "Up All Night Laundromat," 1965 Amsterdam Ave., Washington Heights

2. "All Clean Laundromat," 2035 3rd Ave, East Harlem

3. "Happy Family Laundromat," 275 E. 163rd St, Bronx

4. "3rd Ave Laundromat," 3825 3rd Ave, Bronx

5. "Super Coin Laundromat," 938 E 163rd St, Bronx

6. "Clean Circle Laundromat," 1210 Webster Ave, Bronx

Portraits of Hope is extremely grateful to Proctor & Gamble and Gain for exemplifying civic spirit and generosity in making the project possible and for sharing in the project’s themes and goals which has allowed for the beautification of these community Laundromats.

Portraits of Hope gives bear hugs to: New York Cares and their teams of outstanding volunteers who participated in hospital and school sessions for another POH project; Hudson River Park and its staff which has been involved in 3 POH projects; MACtac which has provided top performing adhesive material for multiple POH national projects; and Laird Plastics, national materials suppliers, who provide great product know-how, recycling capabilities, and wonderful civic spirit.

Portraits of Hope gives a loud shout-out to the laundromats selected for the project and, of course, to the hundreds of children who had a chance to participate in its sessions and are the stars of the initiative. www.portraitsofhope.org

Portraits of Hope Teams with Gain

Photo: POH

New York City Laundromat/Lavanderia Makeovers -- Bronx, East Harlem, Washington Heights Portraits of Hope's Laundromat Public Art and Civic Initiative

Conceived and developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope www.portraitsofhope.org

A select group of laundromats in New York City now beam colors and flowers throughout their interior settings -- on ceilings, walls, washing machines, dryers, floors, and tables -- as part of Portraits of Hope’s latest creative therapy, civic education, public art and community undertaking involving children in hospitals, schools, and social service programs.

This Portraits of Hope public art and civic initiative is a continuation of the program’s large-scale, national projects which have visually transformed and brightened public settings and symbols ranging from the NYC taxi fleet, blimps, planes, and buildings to LA’s coastal lifeguard towers, NASCAR race cars, and frontline fire and rescue vehicles.

Gain has partnered with Portraits of Hope to beautify and enhance the laundromat settings and experience through participatory community opportunities culminating in the public art makeovers.

Traditionally, Portraits of Hope selects iconic public settings and symbols for its visual makeovers that people routinely take for granted or expect will continue to be “the same as they've always been.” For this project, POH and Gain have picked a set of locations that are almost universally taken for granted: Laundromats/Lavanderias. These venues are necessities for millions of people -- and in urban areas, laundromats also do double-duty as mini-social centers or places where adults with their kids spend hours of time. POH and Gain decided to change the visual dynamic of that experience and add positive energy to those settings.

After visiting 170 NYC laundromats as potential sites for Portraits of Hope laundromat makeovers, POH narrowed it down and selected six; four in South Bronx and two in upper Manhattan: Washington Heights and Spanish Harlem.

Children and youth in the Bronx and Harlem, among others, have participated in Portraits of Hope art, creative therapy, and civic leadership sessions in schools and hospitals in which much of the art has been created. The vibrantly hued art is floral themed -- as the flower is the universal symbol of beauty, joy, life, renewal, and nature. The flower is a theme integral to Portraits of Hope.

For the Laundromat project, Ed Massey designed special exhibition elements including chandeliers, freestanding lamps, laundry baskets, carts, fountains, corn hole boards, and recycling containers to enliven the laundromat makeovers.

The 2D and 3D art and designs in the laundromats are everywhere -- whether looking up, down, forward, back, or side to side -- making these New York laundromats the most unique and festive anywhere.

Background:

Portraits of Hope conceives and develops high-profile motivational art projects that merge the production of dynamic public art works with creative therapy for hospitalized children and civic education for children of all ages.

Special Portraits of Hope brushes and methodologies have been developed for children and adults with illnesses and physical disabilities, including telescope brushes for those in wheel chairs or attached to IVs, shoe brushes for people unable to manipulate a brush with their hands, and fruit-flavored mouth brushes for kids and adults with limited or no movement in their limbs. For persons who are blind or visually impaired, Portraits of Hope utilizes special textured paints.

In schools, Portraits of Hope participants engage in interdisciplinary education sessions in which students assess, discuss and communicate their thoughts on social issues affecting their communities and the world, including: civic leadership, education, health care, the environment, foreign aid, and senior care. The larger art collaboration is a group effort to demonstrate tangibly the power of community teamwork and civic engagement.

Founded by brothers Ed Massey and Bernie Massey, Portraits of Hope has engaged tens of thousands of children and adults in huge civic collaborations - in the U.S. and abroad – and involved nearly 1,000 hospitals, schools, and social service programs in its projects.

The exhibition will run through Summer 2014 – or until a later date determined by the participating Laundromats.

Laundromat locations:

1. "Up All Night Laundromat," 1965 Amsterdam Ave., Washington Heights

2. "All Clean Laundromat," 2035 3rd Ave, East Harlem

3. "Happy Family Laundromat," 275 E. 163rd St, Bronx

4. "3rd Ave Laundromat," 3825 3rd Ave, Bronx

5. "Super Coin Laundromat," 938 E 163rd St, Bronx

6. "Clean Circle Laundromat," 1210 Webster Ave, Bronx

Portraits of Hope is extremely grateful to Proctor & Gamble and Gain for exemplifying civic spirit and generosity in making the project possible and for sharing in the project’s themes and goals which has allowed for the beautification of these community Laundromats.

Portraits of Hope gives bear hugs to: New York Cares and their teams of outstanding volunteers who participated in hospital and school sessions for another POH project; Hudson River Park and its staff which has been involved in 3 POH projects; MACtac which has provided top performing adhesive material for multiple POH national projects; and Laird Plastics, national materials suppliers, who provide great product know-how, recycling capabilities, and wonderful civic spirit.

Portraits of Hope gives a loud shout-out to the laundromats selected for the project and, of course, to the hundreds of children who had a chance to participate in its sessions and are the stars of the initiative. www.portraitsofhope.org

In scratching out a 64-61 win over Maryland Eastern Shore on Saturday evening at the HU Convocation Center, the Hampton University men's basketball team snapped its six-game losing streak.

The Pirates improved to 9-14 overall and 5-5 in the MEAC on the season.

Head coach Edward Joyner Jr. won his 91st career game in the process, becoming the program's all-time winningest Div. I coach – surpassing Steve Merfeld.

Guard Reginald Johnson registered his second straight 20-point game, leading all Pirate scorers with 21 points on 7-for-15 shooting. Guard/forward Dwight Meikle added 16 points and a team-high 11 rebounds for his fourth double-double of the season.

Guard Deron Powers added 11 points and four assists.

The Pirates shot 44.2 percent (23-for-52) from the floor – thanks in large part to a 14-for-25 effort (56.0 percent) in the second half. Hampton scored 25 points off of 16 UMES turnovers, and Hampton held a 26-22 edge in points in the paint.

A layup from Devin Martin with 2:14 left in the game tied the contest at 58-58, before Johnson answered with 1:11 left by converting an acrobatic 3-point play to put the Pirates up 61-58. Dominique Elliott cut that lead to 61-60 with a jumper with 55 seconds left.

But Meikle put his stamp on the game with 42 seconds left, finding space on the fast break before floating in the air, making it look as if he would finger-roll the ball into the hoop, before slamming the ball home with one hand to give the Pirates a 63-60 lead.

The two teams traded free throws down the stretch, but Martin missed both of his 3-pointers in the closing moments to hand the Pirates the hard-fought win.

The UMES led much of the night, though – particularly in the first half. The Hawks opened the game with six straight – thanks to back-to-back 3-pointers from Ryan Andino – before the Pirates cut the lead to 6-5 on a jumper in the paint from junior forward Jervon Pressley.

The Hawks opened the game back up, taking a 22-10 lead at the 8:37 mark after a 3-pointer from Martin. A dunk from Michael Myers and a layup from Devon Walker gave UMES a 29-16 lead with 2:39 left in the half.

But Hampton scored the last seven points of the frame – a jumper and 3-pointer from Meikle and a jumper from Powers – to cut UMES' lead to 29-23 at the break.

That momentum carried into the second half, as the Pirates cut UMES' lead to one on three separate occasions before taking their first lead of the night on a Johnson layup with 15:12 left – putting Hampton up 36-35.

Johnson then hit a trey to put the Pirates up 39-35 at the 13:32 mark.

Johnson added a layup with 13:14 remaining to give the Pirates a 41-37 lead, before UMES went on a 10-1 run to take a 47-42 lead with 10:39 left to play after a dunk from Elliott. Elliott later gave the UMES a 53-48 lead at the 6:29 mark with a free throw.

After a pair of Martin free throws gave the Hawks a 55-50 lead, the Pirates went on a 7-0 spurt, taking a 57-55 lead with 3:13 left to play after a jumper from Powers.

Red Weasel Media was sitting on the baseline to capture all of the high flying action. Go Pirates!

S.C. Army National Guard Soldiers and fire department/EMS rescuers with the S.C. Helicopter Aquatic Rescue Team (SC-HART) program, S.C. Urban Search and Rescue Task Force 1 (SC-TF1), conduct training-rescue operations during their first, 2018, quarterly rescue-training event Table Rock, Pickens County, Jan. 18, 2018. The three-day training event includes both day and night operations, with focus on land and water-based rescue, along with incorporating a variety of additional challenges for crews and rescuers, such as extraction of survivors from mountain-wooded areas and other “constricted” scenarios. (U.S. Army National Guard Photo by Staff Sgt. Roberto Di Giovine)

Maren Gimpel of Washington College holds a red-winged blackbird at the Foreman's Branch Bird Observatory at Washington College Center for Environment and Society's Chester River Field Research Station in Chestertown, Md., on April 13, 2016. The bird was caught with one of the observatory's mist nets, which staff use in order to tag thousands of birds every year. (Photo by Will Parson/Chesapeake Bay Program)

USAGE REQUEST INFORMATION

The Chesapeake Bay Program's photographic archive is available for media and non-commercial use at no charge. To request permission, send an email briefly describing the proposed use to requests@chesapeakebay.net. Please do not attach jpegs. Instead, reference the corresponding Flickr URL of the image.

A photo credit mentioning the Chesapeake Bay Program is mandatory. The photograph may not be manipulated in any way or used in any way that suggests approval or endorsement of the Chesapeake Bay Program. Requestors should also respect the publicity rights of individuals photographed, and seek their consent if necessary.

Opening Reception:

Thursday, December 7, 2017, 4pm - 8PM

Friday, December 8, 10am - 7pm

Saturday, December 9, 10am - 7pm

Sunday, December 10, 10am- 7pm

Location: 224 Western Ave, Allston, Massachusetts 02134 | Directions

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The Ceramics Program, Office for the Arts at Harvard will present its annual Holiday Show and Sale December 7-10, 2017 in its state-of-the art facility at 224 Western Avenue, Allston, Massachusetts.

Nearly seventy artists will present an extraordinary selection of ceramic work in this annual exhibition. From functional dinnerware to sculptural masterpieces, this popular exhibition has something for everyone and attracts several thousand visitors each year. Free cups made by the exhibiting artists will be given away on a first-come, first-served basis during the festive Opening Reception on Thursday, December 7, from 4:00 – 8:00 pm. The Show and Sale continues Friday, Saturday, and Sunday, December 8, 9, and 10, from 10:00 am – 7:00 pm.

Gallery 224, the Ceramics Program’s dedicated exhibition space, will showcase works from artists participating in the Holiday Show and Sale.

The Ceramics Program Show and Sale runs concurrently with the Allston-Brighton Winter Market next door at the Harvard Ed Portal. Artists’ studios nearby at 119 Braintree Street will also be open on Saturday and Sunday for Allston Open Studios.

A touchstone for the arts within Barry’s Corner, Allston, the Ceramics Program, Office for the Arts at Harvard provides a creative studio and laboratory study environment for Harvard students, staff, and faculty, as well as designers, artists, scholars, and scientists from the greater Boston, national and international arenas. Courses, workshops, master classes and special events are offered in the program's 15,000-square-foot studio at 224 Western Ave., near the Harvard Stadium in Allston.

Artists exhibiting this year include:

Alice Abrams

Natalie Andrew

Bruce Armitage

Pam Baker

Paul Bessette

Jenny Blicharz

Satomi Bol

Rosanna Bonnet

Darrah Bowden

Ann Boyajian

Summer (Min) Chen

Margaret Clark

Sarah de Besche

Angela DeVecchi

Holladay Dickerman

Richard Farrell

Darcie Flanigan

Stuart Gair

Justin Goedde

Pamela Gorgone

Tina Gram

Christine Gratto

Maurisse Gray

Louise Gutheil

Susan R. Hallstein

Marcia Halperin

Rachael Hamilton

Vicki L. Heller

Marek Jacisin

Madeline Johnson

Melinda Jordan

Judy Kanigel

Adria Katz

Mary Kenny

Gretchen Keyworth

Taeeun Kim

Joyce Lamensdorf

Laurie Leuchtenburg

Judy Levin

Gretchen Mamis

Joanna Mark

Cyndi Mason

Zachary Mickelson

Maeve Mueller

Steve Murphy

Julie Nussbaum

Stephanie Osser

Vicki Paret

Jennifer Howe Peace

Maxine Peck

Florence Pénault

Seth Rainville

Crystal Ribich

Carol Rissman

Judy Rosenstein

Mia Saporito

Lucy Scanlon

Gunnel Schmidt

Nancy Shotola

Kathi Tighe

Bernard Toale

Kyla Toomey

Emma Vesey

Lansing Wagner

Miriam Weil

Hiroko Williamson

Pao-Fei Yang Kuo

Trish Youens

Katherine Younger

Joseph Zina

The Studio is wheelchair accessible.

For more information or directions please call 617.495.8680 or visit www.ofa.fas.harvard.edu/ceramics

Portraits of Hope Teams with Gain

Photo: Robin Erler

New York City Laundromat/Lavanderia Makeovers -- Bronx, East Harlem, Washington Heights Portraits of Hope's Laundromat Public Art and Civic Initiative

Conceived and developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope www.portraitsofhope.org

A select group of laundromats in New York City now beam colors and flowers throughout their interior settings -- on ceilings, walls, washing machines, dryers, floors, and tables -- as part of Portraits of Hope’s latest creative therapy, civic education, public art and community undertaking involving children in hospitals, schools, and social service programs.

This Portraits of Hope public art and civic initiative is a continuation of the program’s large-scale, national projects which have visually transformed and brightened public settings and symbols ranging from the NYC taxi fleet, blimps, planes, and buildings to LA’s coastal lifeguard towers, NASCAR race cars, and frontline fire and rescue vehicles.

Gain has partnered with Portraits of Hope to beautify and enhance the laundromat settings and experience through participatory community opportunities culminating in the public art makeovers.

Traditionally, Portraits of Hope selects iconic public settings and symbols for its visual makeovers that people routinely take for granted or expect will continue to be “the same as they've always been.” For this project, POH and Gain have picked a set of locations that are almost universally taken for granted: Laundromats/Lavanderias. These venues are necessities for millions of people -- and in urban areas, laundromats also do double-duty as mini-social centers or places where adults with their kids spend hours of time. POH and Gain decided to change the visual dynamic of that experience and add positive energy to those settings.

After visiting 170 NYC laundromats as potential sites for Portraits of Hope laundromat makeovers, POH narrowed it down and selected six; four in South Bronx and two in upper Manhattan: Washington Heights and Spanish Harlem.

Children and youth in the Bronx and Harlem, among others, have participated in Portraits of Hope art, creative therapy, and civic leadership sessions in schools and hospitals in which much of the art has been created. The vibrantly hued art is floral themed -- as the flower is the universal symbol of beauty, joy, life, renewal, and nature. The flower is a theme integral to Portraits of Hope.

For the Laundromat project, Ed Massey designed special exhibition elements including chandeliers, freestanding lamps, laundry baskets, carts, fountains, corn hole boards, and recycling containers to enliven the laundromat makeovers.

The 2D and 3D art and designs in the laundromats are everywhere -- whether looking up, down, forward, back, or side to side -- making these New York laundromats the most unique and festive anywhere.

Background:

Portraits of Hope conceives and develops high-profile motivational art projects that merge the production of dynamic public art works with creative therapy for hospitalized children and civic education for children of all ages.

Special Portraits of Hope brushes and methodologies have been developed for children and adults with illnesses and physical disabilities, including telescope brushes for those in wheel chairs or attached to IVs, shoe brushes for people unable to manipulate a brush with their hands, and fruit-flavored mouth brushes for kids and adults with limited or no movement in their limbs. For persons who are blind or visually impaired, Portraits of Hope utilizes special textured paints.

In schools, Portraits of Hope participants engage in interdisciplinary education sessions in which students assess, discuss and communicate their thoughts on social issues affecting their communities and the world, including: civic leadership, education, health care, the environment, foreign aid, and senior care. The larger art collaboration is a group effort to demonstrate tangibly the power of community teamwork and civic engagement.

Founded by brothers Ed Massey and Bernie Massey, Portraits of Hope has engaged tens of thousands of children and adults in huge civic collaborations - in the U.S. and abroad – and involved nearly 1,000 hospitals, schools, and social service programs in its projects.

The exhibition will run through Summer 2014 – or until a later date determined by the participating Laundromats.

Laundromat locations:

1. "Up All Night Laundromat," 1965 Amsterdam Ave., Washington Heights

2. "All Clean Laundromat," 2035 3rd Ave, East Harlem

3. "Happy Family Laundromat," 275 E. 163rd St, Bronx

4. "3rd Ave Laundromat," 3825 3rd Ave, Bronx

5. "Super Coin Laundromat," 938 E 163rd St, Bronx

6. "Clean Circle Laundromat," 1210 Webster Ave, Bronx

Portraits of Hope is extremely grateful to Proctor & Gamble and Gain for exemplifying civic spirit and generosity in making the project possible and for sharing in the project’s themes and goals which has allowed for the beautification of these community Laundromats.

Portraits of Hope gives bear hugs to: New York Cares and their teams of outstanding volunteers who participated in hospital and school sessions for another POH project; Hudson River Park and its staff which has been involved in 3 POH projects; MACtac which has provided top performing adhesive material for multiple POH national projects; and Laird Plastics, national materials suppliers, who provide great product know-how, recycling capabilities, and wonderful civic spirit.

Portraits of Hope gives a loud shout-out to the laundromats selected for the project and, of course, to the hundreds of children who had a chance to participate in its sessions and are the stars of the initiative. www.portraitsofhope.org

Vintage postcard.

Yesterday, 8 July 2018, Hollywood heartthrob Tab Hunter passed away. With his blond, tanned, surfer-boy good looks, he was one of Hollywood’s hottest teen idols of the 1950s era. The American actor, singer, and author portrayed boy-next-door marines, cowboys and swoon-bait sweethearts in many films, and had a huge hit with the song Young Love (1957). He hid his homosexuality and his relationship with actor Anthony Perkins. When his career faded during the 1960s, he starred in Italy in Spaghetti Westerns. In the 1980s Hunter returned opposite Divine in the camp classics Polyester (1981) and Lust in the Dust (1985). Tab Hunter was 86.

Tab Hunter was born Arthur Andrew Kelm in New York City, in 1931. He was the son of Gertrude (Gelien) and Charles Kelm. Hunter's father was an abusive man and within a few years of his birth, his parents divorced and his mother moved with her two sons to California. Tab’s older brother Walter John Gelien (1930) would die in Vietnam in 1965 leaving seven children. As a teenager, Hunter was a figure skater, competing in both singles and pairs. He joined the U.S. Coast Guard at the age of 15, lying about his age to enlist. While in the Coast Guard, he gained the nickname ‘Hollywood’ for his penchant for watching movies rather than going to bars while on liberty. He was eventually discharged when the age deception was revealed. Returning home, his life-long passion for horseback riding led to a job with a riding academy. He was given the stage name Tab Hunter by his first agent, Henry Willson. With no previous experience Tab made his first, albeit minor, film debut in the racially trenchant drama The Lawless (Joseph Losey, 1950) starring Gail Russell. His fetching handsomeness and trim, athletic physique landed him a role in the British production Saturday Island (Stuart Heisler, 1952) opposite Linda Darnell. His shirt remained off for a good portion of the film, which certainly did not go unnoticed, and he was signed by Warner Bros. The Hollywood studio system artificially groomed him and nicknamed him ‘The Sigh Guy’. His co-starring role as young Marine Danny in the World War II drama Battle Cry (Raoul Walsh, 1955), made him one of Hollywood's top young romantic leads. In the film based on the Leon Uris novel, Hunter has an affair with an older woman (Dorothy Malone), but ends up marrying the girl next door (Mona Freeman).

In September 1955, the tabloid magazine Confidential reported Tab Hunter's 1950 arrest following an L.A. raid on a ‘pajama party’ in Walnut Park. Tab was eventually fined $50 for a reduced ‘disorderly conduct’ charge after originally being charged with ‘idle, lewd or dissolute conduct.’ The article, and a second one focusing on Rory Calhoun's prison record, were the result of a deal Henry Willson had brokered with Confidential in exchange for not revealing his client Rock Hudson's sexual orientation. Surprisingly this article had no negative effect on Hunter's career. His hit films of these years include The Burning Hills (Stuart Heisler, 1955) with Natalie Wood, The Girl He Left Behind (David Butler, 1956), and Gunman’s Walk (Phil Karlson, 1957) with Van Heflin. Hunter, James Dean, and Natalie Wood were the last of the actors placed under exclusive studio contract to Warner Bros. In 1957, Hunter had a hit record with the song Young Love, which was #1 on the Billboard Hot 100 chart for six weeks and became one of the larger hits of the Rock & Roll era. Another hit record was Ninety-Nine Ways, which peaked at #11. His success prompted Jack L. Warner to enforce the actor's contract with the Warner Bros. studio by banning Dot Records, the label for which Hunter had recorded the single (and which was owned by rival Paramount Pictures), from releasing a follow-up album he had recorded for them. He established Warner Bros. Records specifically for Hunter.

In 1958, Hunter starred in the musical film Damn Yankees (George Abbott, Stanley Donen, 1958), in which he played Joe Hardy of Washington DC's American League baseball club. Another success was That Kind of Woman (Sidney Lumet, 1959) with Sophia Loren. Hunter was Warner Bros.' top money-grossing star from 1955 through 1959.

Tab Hunter's failure to win the role of Tony in the film adaptation of West Side Story (Jerome Robbins, Robert Wise, 1961) prompted him to agree to star in a weekly television sitcom. In 1960, prior to the program's debut, he was arrested by the police for allegedly beating his dog Fritz. His 11-day trial started in mid-October, a month after The Tab Hunter Show debuted on on NBC. The neighbour who initiated the charges had done so for spite when Hunter declined her repeated invitations to dinner, and he was acquitted by the jury. The Tab Hunter Show had moderate ratings and was cancelled after one season. Following the film comedy The Pleasure of His Company (George Seaton, 1961) opposite Debbie Reynolds, the quality of his films fell off drastically during the 1960s. In Italy he made the fantasy L'arciere delle mille e una notte/The Golden Arrow (Antonio Margheriti, 1962) with Rossana Podestà. In Great Britain he starred in The City Under the Sea (Jacques Tourneur, 1965) with Vincent Price. For a short time in the late 1960s, after several seasons of starring in summer stock and dinner theatre in shows such as Bye Bye Birdie, The Tender Trap and Under the Yum Yum Tree. Hunter settled in the south of France, and acted in Spaghetti Westerns like El dedo del destino/The Cups of San Sebastian (Richard Rush, 1967) and La vendetta è il mio perdono/Shotgun (Roberto Mauri, 1968). During the 1970 he worked mainly for TV but also starred in the horror film Sweet Kill (Curtis Hanson, 1972) and appeared in the Western The Life and Times of Judge Roy Bean (John Huston, 1972). His career was revived in the 1980s, when he spoofed his old clean-cut image by appearing opposite Divine in the camp classics Polyester (John Waters, 1981) and Lust in the Dust (Paul Bartel, 1985), which Hunter also co-produced. He then played Mr. Stewart, the substitute teacher in Grease 2 (Patricia Birch, 1982), who sang Reproduction. Hunter had a major role in the horror film Cameron's Closet (Armand Mastroianni, 1988). He also wrote, co-produced and starred in Dark Horse (David Hemmings, 1992). Hunter's autobiography, Tab Hunter Confidential: The Making of a Movie Star (2006), co-written with Eddie Muller, became a New York Times best-seller as did the paperback edition in 2007. In the book, he acknowledged that he was gay, confirming rumours that had circulated since the height of his fame. According to William L. Hamilton of The New York Times, detailed reports about Hunter's alleged romances with close friends Debbie Reynolds and Natalie Wood, were strictly the fodder of studio publicity departments. Hunter had a long-term relationship with actor Anthony Perkins and shorter flings with dancer Rudolf Nureyev and champion figure skater Ronnie Robertson, before settling down with his partner of over 30 years, Allan Glaser. In 2015 Glaser produced the documentary Tab Hunter Confidential (Jeffrey Schwarz, 2015), based on Hunter’s autobiography, which re-entered the New York Times Best Seller list during the release of the documentary.

Sources: Gary Brumburgh (IMDb), BBC, Wikipedia, and IMDb.

U.S. Attorney General Eric Holder met with members of the North Charleston Police Department, Charleston Farms Community, and a program participant in the department's innovative program S.T.A.N.D. (Stop and Take A New Direction).

Attorney General Holder heard first hand how the program, which focused on not just arresting low level narcotics dealers with little or no prior criminal history but to go a step further and help those involved in the activity change their lives for the better, has changed the lives of several participants and improved the quality of life in the neighborhood. AG Holder praised the department for "thinking outside of the box" in crime reduction strategies and for its community involvement.

Of the original eight (8) participants accepted in to the program, four completed the program, maintain full time employment and continue to be productive citizens. The project was broadcast nationwide last year on Dateline NBC.

Photo by Ryan Johnson

The DOT Urban Art Program presented artist Chang-Jin Lee's work "Comfort Women Wanted" on one of the DOT Urban Art Program's art display structures in a temporary plaza located at 14th Street and 9th Avenue in Manhattan for one month starting on May 6, 2013. Based on the artist's interaction with comfort women survivors and a former Japanese solider from WWII, "Comfort Women Wanted" sheds light on one of the largest cases of female trafficking in the 20th century.

During WWII, young women from Asia and the Netherlands were kidnapped, imprisoned and forced to cater to the needs of the Japanese Imperial Army. By some estimates, only 30% of these women survived the "comfort stations." For the project "Comfort Women Wanted," ad-like posters depict black & white portraits of Asian comfort women survivors. The title and text reference Asian newspapers' comfort women advertisements that were circulated during the war. The project promotes awareness of the comfort women, some of whom are still alive today, and examines a history that has been largely forgotten.

To further explore the complexities of this project, visit Lee's one day screening at Hauser & Wirth Gallery on May 29th.

NYCDOT Urban Art Program, Art Display Structure

Comfort Women Wanted by Chang-Jin Lee

14th Street and 9th Avenue, Manhattan

nyc.gov/urbanart

changjinlee.net

Following a test flight of the SpaceX Crew Dragon's escape system at Cape Canaveral Air Force Station, astronauts Mike Good, now deputy manager of the Commercial Crew Program’s Mission Management and Integration Office, and Eric Boe watch recovery operations on a television monitor in the Hangar AE control center. Data from the test will be used during development as Dragon continues on the path to certification.

Photo credit: NASA/Gianni Woods