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Schmap Oxford Tenth Edition
Its great to be published.
www.schmap.com/oxford/sights_historic/p=160601/i=160601_1...
Self- Published at Carnmenellis, Redruth in the late 1980s but an account of a stay in the GDR by the author, whose husband had secured a post teaching english in Greifswald. Blanche Green who lived in Cornwall where she published this book , died in March 1999. Printed by Panther Print, Camborne.
these are my pictures from the photo walk on saturday.
to tell you the truth, since this was my first time as a leader, i was much more worried that everyone was having fun than shooting. but fun, they had, and shoot, i did... a few shots, at least.
thanks, Scott Kelby , thanks RC Concepcion
thanks, everyone who worked on the Scott Kelby Worldwide Photo Walk
and thanks everyone who came and made it wonderful!
i so want to do this again!
Photograph published 14th December 1918
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognize anyone in the images and have any stories and information to add please comment below.
[Published by] Otto Schmidt, Höchenschwand
Feldpost (military mail that required no postage), postmarked January 28, 1916
Published in Cell & Tissue Transplantation & Therapy www.la-press.com/stem-cells-targeting-inflammation-as-pot...
The Postcard
A postally unused postcard that was printed and published by Harvey Barton & Son Ltd. of Bristol. The image is a glossy real photograph.
Teignmouth
Teignmouth is a seaside town and fishing port in the English county of Devon. It lies on the north bank of the estuary mouth of the River Teign, about 12 miles (19 km) south of Exeter. The town had a population of 15,000 at the 2021 census.
From the 1800's onwards, the town grew rapidly in size from a fishing port associated with the Newfoundland cod industry to a fashionable resort of some note in Georgian times; there was further expansion after the opening of the South Devon Railway in 1846. Today, its port still operates, and the town remains a popular seaside and day-trip holiday location.
-- History of Teignmouth
During the 17th. century, in common with other Channel ports, Teignmouth ships suffered from raids from Dunkirkers, who were privateers from Flemish ports. It is possible that smuggling was the town's most significant trade at this time, though cod fishing in Newfoundland was also of great importance.
In July 1690, after the French Admiral Anne Hilarion de Tourville defeated an Anglo-Dutch fleet at the Battle of Beachy Head, the French fleet was anchored in Torbay, and some of the galley fleet travelled the short distance up the coast and attacked Teignmouth. A petition to the Lord Lieutenant from the inhabitants described the incident:
'On the 26th. day of July 1690 by Foure of the clocke in the morning, your poor petitioners were invaded
by the French to the number of 1,000 or thereabouts, who in the space of three hours tyme, burnt down
to the ground the dwelling houses of 240 persons of our parish and upwards, plundered and carried away
all our goods, defaced our churches, burnt ten of our ships in the harbour, besides fishing boats, netts and
other fishing craft.'
After examining 'creditable persons', the Justices of the Peace concluded that:
'By the late horrid invasion there were within the space of 12 houres burnt downe and consumed 116
dwelling houses ... and also 172 dwelling houses were rifled and plundered and two parish churches
much ruined, plundred and defaced, besides the burning of ten saile of shipps with the furniture thereof,
and the goods and merchandise therein.'
As a result, the Crown issued a church brief that authorised the collection of £11,000 for the aid of the town. Churches from as far afield as Yorkshire contributed, and the collections enabled the further development of the port. This was the last invasion of England, and French Street, with its museum, is named in memory of the occasion.
In the 1600's and 1700's, there are records of a windmill on the Den – an area that was then a large sand dune and is now a grassy public open space near the seafront. By 1759, this windmill had been demolished.
The Newfoundland fisheries continued to provide the town's main employment into the early 19th. century (e.g. Job Brothers & Co.) With the men in Newfoundland for most of the year, the women did the local fishing and rowed the ferries across the estuary. Early tourists, such as Fanny Burney, referred to the women as the "Amazonians" of Shaldon and Teignmouth, and wrote of their strength, health and tendency to wear trousers or hitch their skirts up to their knees in order to fish.
As the fisheries declined, tourism increased. A tea house was built on the Den in 1787 amongst the local fishermen's drying nets. By 1803, Teignmouth was called a "fashionable watering place," and the resort continued to develop during the 19th. century. Its two churches were rebuilt soon after 1815, and the first bridge across the estuary to Shaldon was built in 1827.
George Templer's New Quay opened at the port; and the esplanade, Den Crescent and the central Assembly Rooms (later the cinema) were laid out. The population in the 1841 census was 4,459 inhabitants. The railway arrived in 1846 and the pier was built 1865–7.
-- Teignmouth in the Great War and WWII
The Great War had a disruptive effect on Teignmouth; over 175 men from the town lost their lives. and many businesses did not survive. In the 1920's, as the economy started to recover, a golf course opened on Little Haldon; the Morgan Giles shipbuilding business was established, and charabancs took employees and their families for annual outings to Dartmoor and elsewhere. By the 1930's, the town was again thriving and, with the Haldon Aerodrome and School of Flying nearby, Teignmouth was advertised as the only south coast resort offering complete aviation facilities.
During the World War II, Teignmouth suffered badly from "tip and run" air raids. It was bombed 21 times between July 1940 and February 1944; 79 people were killed, 151 wounded, 228 houses were destroyed and over 2,000 damaged in the raids. Teignmouth's hospital was bombed during a raid on the 8th. May 1941, killing three nurses and seven patients. It was rebuilt and reopened in September 1954, making it the first complete general hospital in the country to be built after the formation of the National Health Service.
A US Navy plan was created, which proposed to dam the harbour and set up a seaplane base, but it was abandoned as the war turned in favour of the allies.
-- Teignmouth Port
The Old Quay was built in the mid-18th. century on land leased from Lord Clifford. The opening of the Stover Canal by James Templer in 1792 provided a boost to the port, due to the ease with which ball clay could be transported from the mines north of Newton Abbot. By 1820, this trade was supplemented by granite from the quarries near Haytor on Dartmoor, carried via the unique granite-tracked Haytor Granite Tramway which was linked to the Stover Canal. The granite to build the new London Bridge came via this route, and was sent from the New Quay, which had been built for this traffic in 1821–25 by George Templer, James's son.
The Old Quay was sold to George Hennet in 1850 and became the centre of his trading network. It had been connected to the South Devon Railway the previous year.
Teignmouth has a tradition of shipbuilding from the 17th. century. By the turn of the 19th. century, there were three shipyards in Teignmouth, with three in Shaldon and Ringmore on the opposite side of the estuary. The industry declined in the early 20th. century but, in 1921, Morgan Giles bought the last derelict shipbuilding yard and gave the industry a new stimulus. His shipyard became a major employer, building pleasure craft in peacetime and small craft such as torpedo boats during World War II. The business failed in 1968, not long after Donald Crowhurst's attempt to sail around the world.
The Shipwrecked Fishermen and Mariners' Royal Benevolent Society sent a lifeboat to Teignmouth in 1851, and kept it in a boathouse on the beach near the Custom House. In 1854, the society transferred its lifeboats to the Royal National Lifeboat Institution (RNLI). A new boathouse was provided on The Den with doors facing the harbour which was used until 1940. After a gap of fifty years, on the 3rd. November 1990, the RNLI re-opened Teignmouth Lifeboat Station with an Atlantic 21 inshore lifeboat.
Teignmouth Lighthouse was erected in 1845 to guide ships into the harbour.
-- Shaldon Bridge
The original bridge was owned by the Teignmouth and Shaldon Bridge Company. The first stone was laid on the 20th. September 1824, and it opened on the 8th. June 1827. It had 34 wooden arches, and was 1,671 feet (509 m) long, which made it the longest wooden bridge in England when built. It had abutment walls of a considerable length at either end, and a swing bridge at the Teignmouth end to allow sailing ships to pass up the estuary. It cost around £19,000 to build, but the overall expenditure was about £26,000 (equivalent to £2,843,100 in 2023), due to the costs of the necessary Act of Parliament and the purchase of the old ferry-rights. Toll houses were built at each end of the bridge, and the one on the Teignmouth side survives.
After eleven years, on the 27th. June 1838, the centre arches of the bridge collapsed; the timbers had been eaten through by shipworms. It was rebuilt in wood and re-opened on the 13th. April 1840, but it partially collapsed again in 1893.
The bridge was completely rebuilt between 1928 and 1931, using steel for the piers and main girders, and concrete for most of the deck, except for the opening span which used timber. The overall length of the new bridge was 1,130 feet (340 m) carried on 22 spans, with an overall width of 28 feet 6 inches (8.69 m) providing a carriageway of 20 feet (6.1 m) and two footpaths 4 feet 3 inches (1.30 m) wide.
The new bridge allowed the lifting of the previous weight limit of 3 long tons (3,000 kg). A bascule span was provided in place of the previous opening span.
On the 28th. October 1948, Devon County Council bought the bridge from the Shaldon Bridge Company for £92,020 (equivalent to £4,230,000 in 2023), and tolls were abolished. The original paintwork was inadequate to deal with the environment, so repairs were required in 1960 and in 1980.
In 1998, it was discovered that the bridge had severe structural defects, and work to correct this continued until 2002; the bridge remaining open throughout. After this work was completed, residents nearby noticed that in certain wind conditions the bridge "whistles". As of 2007 the problem had not been solved.
-- The Atmospheric Railway
The line built by Isambard Kingdom Brunel runs along the South Devon Railway sea wall, which is a stone embankment between the sea and cliffs that runs for several miles between Teignmouth and Dawlish Warren. This line originally worked by the atmospheric system, with steam pump houses at regular intervals to create the vacuum. However it was not successful for a host of reasons, and was converted to normal steam locomotive working. Redundant sections of the atmospheric railway pipes were used as drains all over Teignmouth; one was set in the roadside in Woodway Lane, near Woodway House.
In December 1852, a large landslip from the cliffs east of the town caused the railway to close for four days; and, in 1855 and 1859, the sea broke through the line at Teignmouth. There have been many more closures since, caused both by landslips from the cliffs and breaches by the sea, especially in winter. In 1936, the Great Western Railway surveyed an inland deviation between Exminster and Bishopsteignton, with a shorter route starting near Dawlish Warren; however, the advent of World War II brought these projects to an end.
In 2010, the sea walls and adjoining estuaries were costing Network Rail around £500,000 per year to maintain.
-- The Estuary
The town is located on the north bank of the mouth of the estuary of the River Teign. The red sandstone headland on the Shaldon side, called The Ness, is the most recognisable symbol of the town from the seaward side.
In the harbour area was the Salty; a small flat island created through dredging operations but levelled, supposedly to improve natural scouring of the main channel for shipping, in recent years to leave a large tidal sand bank frequented by seabirds and cockle-collectors. Salmon nets are still employed by locals, especially near Shaldon Bridge.
The estuary seems disproportionately large for the size of the river flowing through it; this is especially apparent at low tide, because it is a drowned valley caused by a relative rise in sea level following the last Ice Age.
-- Notable Teignmouth Buildings
Den Crescent and its central Assembly Rooms, laid out in 1826 by Andrew Patey of Exeter, still survive relatively unchanged today. The Assembly Rooms were the hub of the town's social life in the 19th. century, and lavish balls took place in the 70 ft (21 m) long ballroom. In 1871, the building was taken over by the East Devon and Teignmouth Club which had an exclusive membership taken from the gentry and professional middle class.
Over the years, the building was used as a theatre, a dance hall, a conference centre and a billiards hall. In 1934 it was converted into the Riviera Cinema, in which guise it continued until 2000; part of the building has now been converted into flats. In 2016, the lease for the historic auditorium was taken over by the Mars Hill Church, with the intention of restoring it as both a cinema and a music and arts facility.
The town's parish church, dedicated to St. James, is unusual, being octagonal in shape. A story from Cornwall suggests why these churches are rounded, for the villagers of Veryan built several circular houses so that the Devil had no corners in which to lie in wait. The church of St. Michael the Archangel is in the east of the town. St. Scholastica's Abbey (now converted to flats), on the road to Dawlish, built in 1864 by Henry Woodyer is a notable Gothic Revival building, and the Roman Catholic Church, on the same road, is a late work by Joseph Hansom, the inventor of the hansom cab.
In 1894, there were 26 public houses in Teignmouth. Pubs today include the Blue Anchor Inn on Teign Street and the Devon Arms on Northumberland Place. The River Beach is home to a varied selection of seasonal and permanent beach huts, one of which (now removed to the town's museum) was a Georgian bathing machine, minus wheels. These huts have enjoyed the boom in popularity of such properties in recent years and now change hands for figures approaching £100,000.
Teignmouth and Shaldon museum was completed in 2011. It comprises an architecturally iconic extension of the existing 18th. century museum building, with a new roof terrace looking over the town, glass tower and community facility. Some of the exhibits include a restored bathing machine; artefacts from the Church Rock wreck, such as cannons; exhibits from the nearby Haldon aerodrome, plus film footage including The Beatles' visit to the town and the 2009 homecoming concerts by Muse.
The new build cost almost £1.1m; it was enabled by a major community fund-raising effort, in combination with Lottery and UK government funding and other sources. The Church Rock wreck was found when a Zuanne Alberghetti cannon was located on the site of a 16th. century wreck, followed by further discoveries.
The town's newest public building is the Pavilions Teignmouth, a community arts and enterprise centre on the Den, opened in April 2016.
-- Teignmouth Tourism
Although reduced from its heyday, Teignmouth still receives considerable numbers of holidaymakers, especially day-trippers. It is twinned with the French town Perros-Guirec.
The resort has a sea beach and Teignmouth Pier, with amusement arcade and rides. The beach wraps around the spit at the head of the river Teign, providing a river beach commonly known as the Back Beach on the estuary side; this overlooks the harbour with its moorings for many pleasure craft, and has views up the estuary to Dartmoor.
An 18-mile (29 km) long waymarked route, known as the Templer Way, has been created between Haytor on Dartmoor and Shaldon. It closely follows the route of George Templer's granite tramway, his father James's Stover Canal and finally the estuary to Teignmouth.
Teignmouth Carnival is held during the last week of July, with the procession on the last Thursday. Since 1999, the town has hosted a summer folk festival. In 2005, Fergus O'Byrne and Jim Payne from Newfoundland, were the headline artists at that year's festival which celebrated the town's links with that region.
Since 2018, Teignmouth has hosted the annual Teign Shanty Festival; it is a folk music festival with a focus on sea shanties, with over 40 groups performing in 2021.
The seafront benefits from Teignmouth Lido, a public open-air heated swimming pool. This is one of four outdoor pools operated by Teignbridge District Council. The others are at Buckfastleigh, Ashburton and Buckland.
Teignmouth is home to the River Teign Rowing club, the largest rowing club in the UK, with almost 400 members; it competes internationally in Cornish Pilot Gig rowing, locally racing Seine boats and nationally in Sea Skiffs and Sculls. Members have competed recently as far afield as Russia.
Teign Corinthian Yacht Club was founded in 1886; it organises racing and training for sailing dinghies, yachts and powerboats. It has two centres: a clubhouse on Teignmouth seafront built in 1995, and a dinghy park on the River Teign estuary at Coombe Cellars, with a new clubhouse being built there in 2020.
-- Notable People Associated With Teignmouth
Fanny Burney, the diarist and novelist, visited Teignmouth several times in the late 18th. century. She took her first dip in the sea here in 1773, as she recorded in her journal. Elias Parish Alvars, the harpist, was born in East Teignmouth in 1808. Three years later, Thomas Abel Brimage Spratt, vice-admiral, hydrographer and geologist, was born at Woodway House.
In spring 1818, the poet John Keats spent several weeks in Teignmouth, and completed his epic poem Endymion here. His arrival coincided with a period of wet weather, and he wrote to a friend of:
"... the abominable Devonshire Weather ... the truth is,
it is a splashy, rainy, misty, snowy, foggy, haily, floody,
muddy, slipshod county."
George O. May (born 1875), who made significant contributions to the field of accounting and rose to senior partner of Price Waterhouse's American firm in the early 20th. century, was born and raised in Teignmouth.
From 1812 until his death in 1833, Edward Pellew, 1st. Viscount Exmouth had his home at Bitton House, which was then called West Cliff House. Meanwhile, Thomas Luny, the painter of seascapes, lived in the town for thirty years until his death in 1837, and executed over 2,200 paintings while living here.
Shortly afterwards George Hennet, the railway engineer and contractor who was closely involved with Brunel's railway, moved to the town and took a close interest in local affairs. He died here in 1857.
Charles Babbage (1791–1871), the mathematician, philosopher, inventor and mechanical engineer, who originated the idea of a programmable computer, also lived here for some years, and was married in St. Michael's church in the town.
Sir John Smyth (1893–1983) was a recipient of the Victoria Cross and was made 1st. Baronet of Teignmouth in 1956.
The Belgium footballer Charles Vanden Wouwer was born in Teignmouth in 1916, while his parents were staying there as Great War refugees.
The Canadian Second World War pilot Roy Sydney Baker-Falkner settled in the Teignmouth area in 1930, his brother and sister studying in Teignmouth whilst he was a cadet at the Royal Naval College, Dartmouth. He went on to be one of the few naval pilots of the Battle of Britain.He was given the freedom of Teignmouth and Exeter after leading the audacious attack on the German battleship Tirpitz. He was lost in July 1944, and remembered on the Shaldon War Memorial and at the Teign Heritage – Teignmouth & Shaldon Museum.
During the Second World War, Clive Sinclair was evacuated to Teignmouth as a child and lived there for some years.
The businessman and musician Danny Thompson was born in the town in 1939, and the writer and environmentalist John Bainbridge (born 1953) spent his teens and early adulthood here, and was educated at West Lawn School.
The three members of rock band Muse (Matt Bellamy, Chris Wolstenholme and Dominic Howard) attended Teignmouth Community College in the early 1990's. They started the band in the town and based their song "Falling Down" on their teenage years living there. The band performed two homecoming concerts entitled A Seaside Rendezvous there in September 2009.
England rugby union and Exeter Chiefs player Sam Simmonds lives in Teignmouth, as does his brother and fellow first team player Joe Simmonds. Sam helped the Chiefs win the Aviva Premiership in 2017. He has currently scored two tries for England and has one Man of the Match award.
The triple jump world record holder, Jonathan Edwards, lived in Teignmouth in his early years. He went to school at the Inverteign Juniors site (now Mill Lane). His world record has stood since 1995.
Composer Laura Rossi grew up in Teignmouth and attended school in the town.
-- Teignmouth in the Media
.
Letitia Elizabeth Landon's poetical illustration A Legend of Teignmouth, in Fisher's Drawing Room Scrap Book of 1834, accompanies an engraving of a view of Teignmouth from the Ness by Thomas Allom.
The Norman Wisdom film, Press for Time, in which Norman becomes a reporter at the seaside town of Tinmouth, was shot largely on location in Teignmouth in 1966. A bus and bicycle chase shows many scenes of the town centre and sea front as it was at the time.
Singer-songwriter Patrick Wolf wrote a song called "Teignmouth" for his 2005 album Wind in the Wires, which focuses primarily on the view of the town and the River Teign when taking a train along the coastline.
Published in 1957 by The Children' Press, London. Found in a Charity Shop in Christchurch, New Zealand.
Pratham Books is a non-profit trust that publishes high quality books for children at affordable prices and in multiple Indian languages.
The images in this set are from our book 'Happy Maths 3'. You can read the entire book here : www.scribd.com/doc/8057747/Happy-Maths-3
Feel free to experiment with these images and create your own story. Do leave us a link so we can see what you came up with too.
Please attribute the images as follows:
Illustrated by Angie and Upesh, Book Copyright: Pratham Books.
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Slash feat. Myles Kennedy And The Conspirators fanno tappa al Fabrique di Milano con il Living The Dream Tour l'8 marzo 2019.
Hanno pubblicato il loro nuovo album in studio intitolato “Living The Dream” il 21 settembre su Snakepit Records, etichetta di Slash, in partnership con Roadrunner Records/Warner Music. Il 25 Luglio scorso è uscito il primo singolo dal titolo “Driving Rain” e in attesa di ascoltare il disco intero annunciamo la data italiana. A proposito di “Driving Rain”, Slash ha dichiarato che: “Questo riff mi ricorda i vecchi Aerosmith!”
Slash, pseudonimo di Saul Hudson, è un chitarrista, compositore e produttore discografico britannico naturalizzato statunitense, noto per la sua militanza nei Guns N' Roses (1985-1996 e nuovamente dal 2016) e per la sua carriera solista avviata nel 2010.
Il soprannome gli fu affibbiato da Seymour Cassel, padre di un suo amico d'infanzia. Si trova in 65ª posizione nella classifica dei 100 migliori chitarristi di tutti i tempi secondo la rivista Rolling Stone ed è annoverato fra le influenze primarie di Kenny Olson, Nashville Pussy, Hardliner, New American Shame, Jason Krause, Kenny Wayne Shepherd e altri ancora.
Myles Kennedy, nato Myles Richard Bass, è un cantautore e chitarrista statunitense, noto per essere il frontman del gruppo musicale hard rock Alter Bridge, nonché la voce del gruppo di Slash dal 2010.
È inoltre l'ex-cantante dei The Mayfield Four e del gruppo fusion Citizen Swing; ha anche suonato la chitarra per il gruppo strumentale jazz Cosmic Dust. Oltre a Slash, il cui omonimo album di debutto da solista contiene due brani scritti insieme a Kennedy e cantate da quest'ultimo, Kennedy ha collaborato con vari altri artisti, tra i quali Fozzy, Sevendust e gli ex-membri dei Led Zeppelin.
Slash - lead guitar
Myles Kennedy - lead vocals
Brent Fitz - drums
Todd Kerns - bass
Frank Sidoris - rhythm guitar
New work published in hacidMAG 11
Fotografia: Xavi Moya www.xavimoya.com/
Direccion de arte, estilismo: Bibian Blue
Peluqueria: Laura HandMade Studio
Maquillaje: Marta Prats
Modelo: Gemma y Rikke @ 5th Avenue Models
@2012 www.xavimoya.com
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John Gordon Hargrave (6 June 1894 – 21 November 1982), (woodcraft name 'White Fox'), was described in his obituary as an 'author, cartoonist, inventor, lexicographer, artist and psychic healer'. As Head Man of the Kibbo Kift, he was a prominent youth leader in Britain during the 1920s and 1930s. He was a Utopian thinker, a believer in both science and magic, and a figure-head for the Social Credit movement in British politics.
Born in Midhurst, Sussex, into an itinerant Quaker family, Hargrave was the son of painter Gordon Hargrave and his wife Babette Bing, of Jewish Hungarian descent. A bohemian childhood, spent partly in the Lake District, left him with a passion for Nature and a fierce propensity for self-education through reading books and observing the world around him. In 1908, the family moved to Latimer where, in 1909 Hargrave joined the First Chorleywood Scouts, a group of Baden Powell's Boy Scouts. In 1910 his career as a published book illustrator began when a few of his vignettes appeared in an edition of Gulliver in Liliiput, published by Thomas Nelson & Sons, a commission almost certainly arranged through the patronage of Lady Chesham. He was also given a year-long trial as a cartoonist on the Evening Times. He became a devotee of the naturalist Ernest Thompson Seton, and one of the leading Scout authorities on Woodcraft. His interests in scouting, nature and art combined to produce the book that made his name, or rather his scouting name of 'White Fox'. This was Lonecraft published by Constable in 1913 and introducing the characteristic 'White Fox' style of no-nonsense text, interspersed with pictures and diagrams. Rising up the Scout hierarchy, Hargrave produced a succession of scouting and woodcraft books for C. Arthur Pearson Ltd, who offered him a position of staff artist in 1914, his first salaried job.
When World War I broke out, Hargrave joined the Royal Army Medical Corps, and saw action at the Battle of Gallipoli. Hargrave's Quaker pacifism was reinforced by the horrors of war. The experience convinced him that modern civilisation had gone awry and he voiced his feelings in his angry polemic of 1919, The Great War Brings It Home. This was a call to action for all groups concerned with the health and character of future generations. Hargrave called for a new national scheme for character-building and physical training, and the result was the foundation of the Kindred of the Kibbo Kift in August 1920. Intended as a movement for all ages and genders, the Kibbo Kift provided a co-educational, and therefore progressive, alternative to the Boy Scouts. Hargrave was initially appointed 'Head Man' as a temporary measure, but by 1924 had succeeded in becoming the undisputed leader. As Head Man he imported into the Kindred his interest in ritual and art, along with his own views about self-education, science, magic, and healthy behaviour. He was a strong believer in Darwinian evolution, holding that Kibbo Kift training would produce morally upright and healthy individuals, through whom the human race as a whole would evolve into a better state. He believed that building better individuals was the way of building a better society, thus standing apart from those on the left and right who believed in the State as the main vehicle for social change. Hargrave's vision of the better society to come owed much to his Quaker roots: he saw a future society without war, poverty or wasted lives, all kept together by the self-discipline of enlightened individuals.
The Kindred of the Kibbo Kift took its name from an old Kentish term for a feat of strength[5] and it attracted support from a number of progressive thinkers, including: Patrick Geddes, Evelyn Sharp, H. G. Wells, and Emmeline Pethick-Lawrence. Membership remained fairly small (600-800) in the 1920s and included many teachers, art teachers and youth workers. Many developed an intense personal loyalty to Hargrave, remaining with him throughout the Kindred's transformation into the Green Shirts, and the Social Credit Party.
In the 1920s Hargrave's work as an artist was dominated by the designs, drawings and diagrams he produced for the Kibbo Kift. All express his fascination with 'symbology', the use of symbols or stylised representations to convey meaning. He controlled the visual style of the movement, designing the 'official' robes, badges, symbols, theatre sets and regalia himself: although individual members were encouraged to design and make their own personal totems. He had less success as an artist outside the movement, despite trying to establish himself as a portrait or landscape painter. In 1924 he exhibited a selection of his 'symbolic paintings' 'an attempt to express through the medium of paint Ideas rather than Objects in themselves'. During the late 1920s and 1930s, he worked as a freelance commercial artist in the advertising industry, producing layouts for Lever Brothers, whose advertising manager Colin Hurry was a friend; and for Carlton Studios, where he worked on campaigns for Watney's and Boot's the Chemist amongst others. He continued to sell illustrations to book publishers, including some cover work for Mills & Boon in 1922.
Hargrave enjoyed more public success as a novelist, publishing a best-seller Harbottle: a Modern Pilgrim's Progress from This world to That Which is to Come in 1924, and following this up with a succession of popular novels published by Duckworths. Many are stylised fables borrowing structures from books that Hargrave admired (Harbottle is based on John Bunyan, and Young Winkle (1926) is based on Rudyard Kipling's Kim). Entirely original, however is Hargrave's 1935 experimental modernist masterpiece Summer Time Ends. This symphonic text aspired to the condition of radio and film, weaving its characters' speech in and out of refrains and rhythms. The book was well received in America (John Steinbeck was a fan), and was praised by Ezra Pound, by this time a Hargrave admirer.
In 1924 Hargrave was introduced to the economic theory of Social Credit, the creation of C. H. Douglas. Hargrave took up the creed with fervour, attracted by its seemingly-scientific 'truth' and its sense of mission. Social Credit changed Hargrave's belief in the reformed individual as the key to a better society: the key was actually, he now believed, a reformed economic system. By the late 1920s he had re-purposed the Kindred to be a 'megaphone' for social credit, bringing the esoteric economic theory to the public at large.
The remaining Kibbo Kift members were transformed into a fighting force, still disciplined and healthy but now engaged in 'unarmed military technique'. Hargrave joined up with the Legion of the Unemployed in Coventry in 1930, and furnished them with green shirts and berets. By 1932, the Kibbo Kift were also in the green uniform, together forming the Green Shirt Movement for Social Credit. The Green Shirts soon became part of the street politics of the 1930s, engaging in battles with both Oswald Mosley's British Union of Fascists, the Black Shirts, and the Red Shirt supporters of the Communist Party of Great Britain.[3] Hargrave designed a striking new flag for his Social Credit movements, the green and black double K device, which he christened the 'Key Symbol'. He also introduced a strong element of theatricality into the Green Shirts' political protest, with ritual marches round the Bank of England, drumming, 'street chalking' and publicity stunts such as throwing a green brick into 11 Downing Street.
Initially staying out of parliamentary politics, Hargrave changed his mind in 1935, re-branding the Green Shirt movement as the Social Credit Party of Great Britain and Northern Ireland for the purposes of fighting the 1935 General Election. He was also impressed by the success of the Social Credit Party of Alberta (Canada). Douglas opposed the entry of the movement into parliamentary politics. Hargrave soon travelled to Alberta, frustrated at the lack of progress that the Social Credit government there was making. He was appointed an economic adviser to the Government of Alberta, and was disowned by Douglas. He left Canada in 1936, returning to find the Social Credit Party in disarray after the Public Order Act 1936 banned the wearing of uniforms by non-military personnel. Undeterred, Hargrave steered the Social Credit Party into a more evangelical mood, adopting quasi-religious slogans ('God's Providence is Mine Inheritance') and organising public 'Services of National Regeneration'. He broke with Ezra Pound, an episode which underlined his opposition to Fascism.
The Social Credit Party was mothballed during the war, although Hargrave tried to keep his ideas alive through a weekly newsletter,The Message from Hargrave. He was urged to stand for Parliament in the 1945 election, but did not: only returning to public politics in 1950 when he stood as a candidate in Hackney North and Stoke Newington in the 1950 general election. The 551 votes he received convinced Hargrave to give up, and by 1951 he had disbanded the Party.
In 1937 Hargrave became obsessed with solving the technological problems of using maps in moving aeroplanes. By 1938 a prototype of the Hargrave Automatic Navigator was ready to file with the Patent Office and articles of association had been prepared for 'Hargrave Aviation Ltd.'. The prototype was tested during the war, with government approval, but lack of capital meant that the invention was not developed further. The invention lay fallow until 1976 when Hargrave sued the British Government, claiming that the moving map display supplied by Britain to the supersonic Concorde, was in fact his Automatic Navigator. His claim was taken up by journalists, resulting eventually in a Public Enquiry. Hargrave insisted he was only asking for recognition, rather than any financial recompense, but the Public Enquiry found against him.
During the war, Hargrave had returned to his interest in science and magic (he always considered both as equally valid methods for harnessing the forces of nature). He became convinced of his own powers and set up as a healer, offering a variety of techniques. Chief among these were the use of 'Therapeutic Psychographs', abstract artworks created by Hargrave which were prescribed to his patients with instructions to stare at the artwork for a set period of time every day.
In the 1950s Hargrave earned a living as a cartoonist, working under the name of 'Spiv' or sometimes just 'H'. His work appeared in Cavalcade, The Sketch and Time and Tide. He was commissioned to write the entry on Paracelsus for the Encyclopædia Britannica (Hargrave had published The Life and Soul of Paracelsus in 1951). He submitted a stream of manuscripts, radio plays and film scripts to producers and publishers, always searching for opportunities to realise his ideas: he continued to believe that Social Credit was the solution to the world's economic problems. John Hargrave died on 21 November 1982, aged 88 at his home in Branch Hill Lodge, Hampstead.
Hargrave married Ruth Clark, the daughter of the engineer William Clark on 28 November 1919. Their marriage produced one son although the couple were divorced in 1952. He remarried in 1968, his new wife being the actress Gwendoline Florence Gray.
John Hargrave's personal papers, including his diaries and unpublished mss., are held at the British Library of Political and Economic Science. His artwork, including designs for the Kibbo Kift, work as a commercial artist and family photographs are held in the Museum of London (the Kibbo Kift Collection). Model III of Hargrave's Automatic Navigator is held in the Science Museum.
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Slash feat. Myles Kennedy And The Conspirators fanno tappa al Fabrique di Milano con il Living The Dream Tour l'8 marzo 2019.
Hanno pubblicato il loro nuovo album in studio intitolato “Living The Dream” il 21 settembre su Snakepit Records, etichetta di Slash, in partnership con Roadrunner Records/Warner Music. Il 25 Luglio scorso è uscito il primo singolo dal titolo “Driving Rain” e in attesa di ascoltare il disco intero annunciamo la data italiana. A proposito di “Driving Rain”, Slash ha dichiarato che: “Questo riff mi ricorda i vecchi Aerosmith!”
Slash, pseudonimo di Saul Hudson, è un chitarrista, compositore e produttore discografico britannico naturalizzato statunitense, noto per la sua militanza nei Guns N' Roses (1985-1996 e nuovamente dal 2016) e per la sua carriera solista avviata nel 2010.
Il soprannome gli fu affibbiato da Seymour Cassel, padre di un suo amico d'infanzia. Si trova in 65ª posizione nella classifica dei 100 migliori chitarristi di tutti i tempi secondo la rivista Rolling Stone ed è annoverato fra le influenze primarie di Kenny Olson, Nashville Pussy, Hardliner, New American Shame, Jason Krause, Kenny Wayne Shepherd e altri ancora.
Myles Kennedy, nato Myles Richard Bass, è un cantautore e chitarrista statunitense, noto per essere il frontman del gruppo musicale hard rock Alter Bridge, nonché la voce del gruppo di Slash dal 2010.
È inoltre l'ex-cantante dei The Mayfield Four e del gruppo fusion Citizen Swing; ha anche suonato la chitarra per il gruppo strumentale jazz Cosmic Dust. Oltre a Slash, il cui omonimo album di debutto da solista contiene due brani scritti insieme a Kennedy e cantate da quest'ultimo, Kennedy ha collaborato con vari altri artisti, tra i quali Fozzy, Sevendust e gli ex-membri dei Led Zeppelin.
Slash - lead guitar
Myles Kennedy - lead vocals
Brent Fitz - drums
Todd Kerns - bass
Frank Sidoris - rhythm guitar
Published by Usborne books in 1979, The Detectives Handbook (also published as 3 separate books) was quite simply my favourite childhood book.
Usborne are always known for the wealth of their illustrations, and these were no different. Pages of Colin King's artwork that made me want to go out and copy it, and above all, I wanted that detectives office!
Suspended Animation Classic #210
Originally published January 3, 1993 (#1)
(Dates are approximate)
Venom: Lethal Protector and The Life of Christ
By R. A. Jones
Most people still don’t realize just how wide a range of subject matter is covered by the comic book field today. Even books published by the same company can be very different from each others. By way of examples, take two extremely contrasting new books released by Marvel Comics.
The first of these is “The Life of Christ”. I presume a detailed plot synopsis won’t be necessary. The first issue of this series recounts the story of Jesus’ birth in Bethlehem, and ends with Joseph and Mary taking their child to Egypt to escape the murderous wrath of King Herod.
Marvel is producing this series in conjunction with a publisher of religious books, and it presumably will also be available in Christian book stores. Both the writing and the artwork are fairly simple in style, so it can be read and appreciated by even young children.
In the same month, Marvel is also releasing the first issues of a mini-series entitled “Venom: Lethal Protector”. Believe it or not, the star of this book is actually a vicious, murderous villain!
As often happens in movies, in comics the bad guys are occasionally more interesting than the heroes, and gain their own fan following. So it was with Venom, an archfiend who periodically battles the Amazing Spider-Man.
Venom is Eddie Brock, a human who has been “possessed” by a black costume which is actually an alien life form. He thinks of himself as a hero, since the victims of his lethal rampages are usually criminals. A really ‘90s kind of guy.
The Prince of Peace and a Hero from Hell – both of them brought to you by the same comics publisher!
“The Life of Christ” ($2.99) and “Venom: Lethal Protector” ($2.95) are published by Marvel Comics, and are available in comic book specialty stores.
The Postcard
A postally unused carte postale published by Neurdein Frères.
Jean Armand de Maillé
Jean Armand de Maillé (né le 18 Octobre 1619 à Milly-le-Meugon - mort le 14 juin 1646 à la Bataille d'Orbetello), duc de Fronsac, marquis de Brézé, était un célèbre marin français du xviie siècle, disparu prématurément à l'âge de 27 ans.
Colonel à 15 ans, général des galères à 20 ans, grand-maître de la navigation à 24 ans, Maillé-Brézé participa à huit campagnes de guerre à la mer, au cours desquelles il remporta un nombre impressionnant de victoires, qui assurèrent, pour un temps, à la marine de Louis XIII la maîtrise de la Méditerranée occidentale.
Fils d'Urbain de Maillé, marquis de Brézé et Maréchal de France, Jean-Armand de Maillé, neveu de Richelieu par sa mère, Nicole du Plessis-Richelieu, sœur cadette du cardinal, fut élevé par l'Abbé d'Aubignac sous la surveillance et la protection de son oncle, et commença à servir dans l'armée avec son père dès l'âge de 15 ans.
Comme le lui permettaient les revenus de sa puissante famille, il leva un régiment d'infanterie à ses frais pour débuter dans la guerre de Quatre-Vingts Ans, entrant ainsi directement dans l'armée au grade de mestre de camp ou colonel.
En 1636, Richelieu lui fit donner en survivance sa charge de grand-maître de la navigation, créée pour le cardinal. Il remplaça, l'année suivante, le vice-amiral de Sourdis, relevé de son commandement, à la tête de la flotte du Ponant.
Nommé en 1639 général des galères, il opéra alors en Méditerranée, alla battre le 27 Juillet 1640, devant Cadix, la flotte Espagnole, s'empara de Villafranca et neutralisa les Génois.
L'année suivante, Maillé-Brézé est envoyé en ambassade au Portugal, alors en révolte contre l’Espagne.
En 1642, il reprit la mer avec 20 vaisseaux armés à Brest. Le 25 Mai, il arriva à Barcelone, où il concentra une escadre de 41 vaisseaux, 17 galères et treize brûlots. Le 30 Juin, il rejoignit la flotte Espagnole et engagea alors devant Barcelone une terrible bataille de quatre jours (1er-3 Juillet), au terme de laquelle il força l'ennemi à la retraite. Il assura ainsi le succès de l'armée de Catalogne et permit la prise de Perpignan et la conquête du Roussillon.
Devenu en Décembre 1642, à la mort de Richelieu, intendant et grand-maître de la navigation, gouverneur de l'Aunis et de La Rochelle, il hérita du cardinal le duché-pairie de Fronsac. L'année suivante, il remporta un nouvel et éclatant succès, le 3 Juillet 1643, en infligeant un véritable désastre à une flotte Espagnole au cap de Gate, près de Carthagène et s'assura ainsi la maîtrise presque absolue de la Méditerranée occidentale.
Cette même année 1643, Jean Armand de Maillé rendit à la reine sa charge de grand-maître, mais en conservant le commandement de la flotte. Il remporta de nouveau une double victoire les 9 Août et 4 Septembre lors de la bataille de Carthagène où l'ennemi perdit huit vaisseaux, dont le vaisseau Amiral de Naples et 3,000 marins. Deux médailles furent frappées en l'honneur de ces succès.
En 1646, après une campagne à Tarragone, il reprit la mer. La guerre s'étant transportée en Italie, d'où Mazarin cherchait à chasser les Espagnols, Maillé-Brézé était sur le point de remporter une brillante victoire au large d'Orbetello, le 14 Juin, lorsqu'il fut coupé en deux par un boulet.
Il eut sous ses ordres le très-controversé Saint-Germain Beaupré, dont il était, selon Tallemant, tout à fait entiché.
Son corps fut rapporté à l'église de Milly. Le 5 Juillet, un service solennel est célébré à Saint-Maurice d'Angers, et son éloge funèbre prononcé par le Père Bonichon, de l'Oratoire. Il avait porté l'esprit d'offensive à un tel degré que sa disparition prématurée laissa un temps la Marine royale, privée d'un chef exceptionnellement doué, désorientée, précipitant une décadence qui ne cessait de s'accélérer depuis la mort de Richelieu.
Par sa sœur Claire-Clémence, le duc de Fronsac était lié au premier prince du sang, qui hérita les qualités, titres et biens des Maillé-Brézé à la mort de son épouse.
Maillé-Brézé était parfois appelé, de son vivant, duc de Brézé6, bien qu'il semble que Brézé soit resté marquisat.
Jean Armand de Maillé, marquis de Brézé figure peint sur toile dans une salle du Château de Jalesne (commune de Vernantes), ainsi que dans la salle des amiraux au Château de Versailles, où trois toiles de Théodore Gudin représentent les combats du cap Saint-Vincent, de Carthagène et d'Orbitello.
Trois bâtiments de guerre ont déjà porté le nom de Maillé-Brézé:
Un vaisseau au xviie siècle.
Un contre-torpilleur de 2 400 tonnes lancé en 1930 et détruit accidentellement en 1940.
Un escorteur d'escadre admis au service actif le 4 Mars 1957, désarmé en 1988. Remorqué jusqu'à Nantes, il y est devenu le premier musée naval à flot de France.
Rouen
Rouen is a city on the River Seine in northern France, and is relatively close to the English Channel. Formerly one of the largest and most prosperous cities of medieval Europe, the population of the metropolitan area is 702,945 (2018). People from Rouen are known as Rouennais.
“Upon approaching Rouen one is sure to be struck
by the insolent daring of its situation. Lying on a
sloping plain beside the river, it seems to disdain the
well-nigh impregnable site afforded by the steep cliffs
which rise just to the northeast.
The history of the city bears out the audacity of its
location. Through all the centuries, its inhabitants
concerned themselves so continuously in conquering
other peoples that little time was left in which to
consider the security of their own homes.”
-- Charles Hitchcock Sherrill, Stained Glass Tours in France (1908).
Rouen was the seat of the Exchequer of Normandy during the Middle Ages. It was one of the capitals of the Anglo-Norman dynasties, which ruled both England and large parts of modern France from the 11th. to the 15th. centuries.
From the 13th. century onwards, the city experienced a remarkable economic boom, thanks in particular to the development of textile factories and river trade. Claimed by both the French and the English during the Hundred Years' War, it was in Rouen that Joan of Arc was tried and burned alive.
Severely damaged by a wave of bombing in 1944, Rouen nevertheless regained its economic dynamism in the post-war period thanks to its industrial sites and busy seaport, which is the fifth largest in France.
Endowed with a prestige established during the medieval era, and with a long architectural heritage in its historical monuments, Rouen is an important cultural capital. Several renowned establishments are located here, such as the Museum of Fine Arts, the Secq des Tournelles Museum, and Rouen Cathedral.
“Perhaps the most characteristic feature of Rouen
when viewed from a distance is the great number
of its spires that shoot up above the housetops,
earning for it the sobriquet of the City of Churches.”
-- Charles Hitchcock Sherrill, Stained Glass Tours in France (1908).
Sadly not all of those churches are still there because of the ravages of war.
Seat of an archdiocese, Rouen also hosts a court of appeal and a university. Every four to six years, Rouen becomes the showcase for a large gathering of sailing ships called "L'Armada"; this event makes the city an occasional capital of the maritime world.
Rouen Cathedral
Rouen Cathedral was commenced in the 12th. Century on the site of an earlier structure. It has a Roman crypt.
The Butter Tower dates from the 16th. century. The name of the Tour de Beurre comes from the fact that butter was banned during Lent, and those who wished to carry on eating it had to donate 6 Deniers Tournois towards the building of the tower. Practically everyone in Rouen must have carried on eating butter in order to fund a tower like that!
The Victorian cast-iron Lantern Tower in the centre of the building made the cathedral the tallest building in the world from 1876 until 1880, when it was overtaken by Cologne Cathedral.
The Lantern Tower was designed by the architect Jean-Antoine Alavoine who proposed the use of cast iron, a modern material for the time, because it was less combustible than wood, and lighter than stone. The Lantern Tower took 50 years to construct. The 151 metre height of the spire still makes Rouen Cathedral the tallest cathedral in France.
The presence of a lantern tower at the crossing of the transept is a frequent feature in churches in Normandy (St. Ouen in Rouen, and Bayeux) and in England (Gloucester, Salisbury, and Winchester).
The lantern is in a bulge in the ironwork near the top of the spire, which is surmounted by a weathercock.
The Cathedral holds the heart of Richard the Lionheart. His bowels were buried within the church of the Château de Châlus-Chabrol in the Limousin. The cathedral seems to have got the better end of that particular deal!
Claude Monet painted a series of studies of the cathedral's façade 1894. Roy Lichtenstein also made a series of pictures of the front of the building.
The Cathedral has had to put up with a lot of wilful destruction during its lifetime:
- The Calvinists damaged much of what they could easily reach during the religious wars of the 16th. Century - the furniture, tombs, stained glass and statuary.
- The French State nationalised the building in the 18th. Century, and sold some of its furniture and statues to make money. The chapel fences were melted down to make guns.
- In WW2 the Cathedral was first bombed in 1944, taking 7 bombs. The bombs narrowly missed destroying a key pillar of the Lantern Tower, but damaged most of the south aisle, and destroyed two medieval rose windows. One of the bombs was fortunately a dud and failed to explode.
- As a consequence of a subsequent WW II bombing, the north tower, on the left of the façade, was entirely burned. During the fire the stonework calcified and the bells melted, leaving molten metal on the floor. The cathedral is still being restored after the extensive damage incurred during World War II.
Also, during the violent storm of December 1999, a copper-clad wooden turret weighing 26 tons fell into the Cathedral and damaged the choir and the stalls. The three other turrets were removed for maintenance and safety purposes before being replaced in 2012.
The Execution of Jeanne d'Arc
Jeanne d'Arc was executed not far from the Cathedral in the Vieux-Marché on Wednesday the 30th. May 1431.
The famous depiction of 19 year old Joan of Arc's execution showing her on top of a pile of wood and straw is wrong.
The site for her execution comprised a stake at the centre of a large ring of wood, with a gap left for Joan to be led to the stake. Once she was tied to the stake and the gap closed, she was hidden from sight.
One authority has suggested that her body would have burnt in the following sequence: calves, thighs and hands, torso and forearms, breasts, upper chest and face.
However in all likelihood she would have died from heatstroke, loss of blood plasma and carbon dioxide poisoning before the fire attacked the upper parts of her body.
After Jeanne had expired, the English exposed her charred body so that no-one could claim that she had escaped alive, then burned her body twice more to reduce it to ashes in order to prevent the collection of relics.
They then cast her remains into the Seine.
A modern church now stands on the site of her execution.
Published in Modern Salon Magazine
Hair Mio Sota
Photography BABAK www.babak.ca
BABAKs Log Youtube >> www.youtube.com/user/PhotographyBABAK
2Roses was featured in the new book Jewelry From Found Objects, by Heather Skowood. Published by Stackpole Books.
Thank You Heather, and Thank You Stackpole.
Oor Wullie (English: Our Willie) is a Scottish comic strip published in the D.C. Thomson newspaper The Sunday Post.
It features a character called Wullie Russell .
Wullie is the familiar Scots nickname for boys named William.
His trademarks are spiky hair, dungarees and an upturned bucket, which he uses as a seat - most strips since early 1ii937 begin and end with a single panel of Wullie sitting on his bucket.
The earliest strips, with little dialogue, ended with Wullie complaining ("I nivver get ony fun roond here!").
The artistic style settled down by 1940 and has changed little since. A frequent tagline reads, "Oor Wullie! Your Wullie! A'body's Wullie!" (Our Willie! Your Willie! Everybody's Willie!).
Created by Thomson editor R. D. Low and drawn by cartoonist Dudley D. Watkins, the strip first appeared on 8 March 1936.
Watkins continued to draw Oor Wullie until his death in 1969, after which the Post recycled his work into the 1970s.
New strips were eventually commissioned from Tom Lavery, followed by Peter Davidson and Robert Nixon. Ken H. Harrison drew the strip from 1989 until 1997, when Davidson resumed duties.
Between January 2005 and 2006 storylines were written by broadcaster Tom Morton from his home in Shetland, and subsequently they were written by Dave Donaldson, managing director of Thomson's comics division.
The current writer is former Dandy editor Morris Heggie.
The Oor Wullie bucket Trail begins on the 17th June 2019 and is even bigger than the last one 3 years ago.
In 2016 Dundee held a bucket trail with over 50 sculptures all painted with different designs to celebrate 80 years of Oor Wullie.
This was a huge success with the sculptures raising over £800,000 at auction for the local childrens charity.
They have decided to bring it back this year but on a far bigger scale with 150 sculptures and this time you will be able to find them not only in Dundee, but Edinburgh, Glasgow, Aberdeen, Inverness and a few dotted in other towns and cities across the country.
At the end of the summer these will once again be auctioned off and the money will be split between 3 childrens charities.
Oor Wullie’s BIG Bucket Trail runs for 11 weeks from 17th June 2019 – 30th August 2019, culminating in a series of Farewell Events and nationwide auctions in each of the five host cities, Glasgow, Edinburgh, Dundee, Aberdeen and Inverness.
Scotland’s first ever national public art trail aims to unite the country as it raises awareness and vital funds for Scotland’s children’s hospital charities.
Funds raised through the trail will support Glasgow Children’s Hospital Charity,Edinburgh Children’s Hospital Charity,and the ARCHIE Foundation, helping children in hospital across the country.
Oor Wullie’s BIG Bucket Trail is a Wild in Art event, and would not be possible without the support of DC Thomson Media.
I have taken a keen interest in this event and intend to capture all of the sculptures across the city, posting some of my favourite shots here on Flickr.
Without the sun the astonishing colour of the clear waters of Nellie Lake isn’t evident, but it’s still a beautiful lake.
© This photograph is copyrighted. Under no circumstances can it be reproduced, distributed, modified, copied, posted to websites or printed or published in media or other medium or used for commercial or other uses without the prior written consent and permission of the photographer.
::
Woohoo! I've been published! See that on the bottom, the blue rock? That's a picture of my Labradorite. The book they promised me finally arrived. Truth be told, I'd forgotten all about it. But there it is, AND my name is in the photo credits. I'm published!
Well, I'm published four times a month if you count the magazines I work for... and all those CD covers and software packages I've designed... and web interfaces and retouched photos I've done... and all those catalogs I've done...
Well, let me rephrase, I've been published for a job I didn't get paid for!
uh...
yay?
:::
Hello everyone, another photo published. We are very delighted they took the
time and effort to ask us. For our flickr friends, what is ours, is yours - always
will be - enjoy our photos as we enjoy yours !
Magazine: die biene (German)
Title: die biene
Date: July 2007
Congratulations to Paul Miller and Doug Vaughn for front page photos and
details. This is our photo - page 13 ... Thanks ...
Our Original Photo that appeared in this magazine:: Orchards in Bloom
Wow! see credit Debra Lewis (center bottom) exciting! I can't save bees but I can save turtles - one at a time.
The most fascinating combination of the incredibly ugly and strangely compelling architecture. Also, an argument that photos of conrete buildings shouldn't be done in colour.
Published in Francis Ching, Mark Jarzombek, and Vikramaditya Prakash (2007) "A Global History of Architecture." Hoboken: John Wiley and Sons, p. 742.
The Postcard
A postally unused postcard published in 2001 by BBC Homes & Antiques Magazine. The photography was by Lee Miller.
Lee Miller
Elizabeth "Lee" Miller, Lady Penrose, who was born on the 23rd. April 1907, was an American photographer and photojournalist. She was a fashion model in New York City in the 1920's before going to Paris, where she became a fashion and fine art photographer.
During the Second World War, she was a war correspondent for Vogue, covering events such as the London Blitz, the liberation of Paris, and the concentration camps at Buchenwald and Dachau.
-- Lee Miller - The Early Years
Lee Miller was born in Poughkeepsie, New York. Her parents were Theodore and Florence Miller (née MacDonald). Her father was of German descent, and her mother was of Scottish and Irish descent.
She had a younger brother named Erik, and her older brother was the aviator Johnny Miller. Theodore always favored Lee, and he often used her as a model for his amateur photography.
When she was seven years old, Lee was raped while staying with a family friend in Brooklyn, and was infected with gonorrhea. In her childhood, Miller experienced issues in her formal education, being expelled from almost every school she attended whilst living in the Poughkeepsie area.
In 1925, at the age of eighteen, Miller moved to Paris where she studied lighting, costume and design at the Ladislas Medgyes' School of Stagecraft. She returned to New York in 1926 and joined an experimental drama programme at Vassar College, taught by Hallie Flanagan, a pioneer of "experimental theatre".
Soon after, Miller left home at the age of 19 to enroll in the Art Students League of New York in Manhattan to study life drawing and painting.
-- Lee Miller's Modeling Career
Miller's father introduced her and her brothers to photography at an early age. She was his model - he took many stereoscopic photographs of his nude teenage daughter - and he also showed her technical aspects of the art.
At the age of 19 Lee nearly stepped in front of a car on a Manhattan street, but was prevented by Condé Nast, the publisher of Vogue. This incident helped launch her modeling career; she appeared in a blue hat and pearls in a drawing by George Lepape on the cover of Vogue on the 15th. March 1927.
Miller's look was exactly what Vogue's then editor-in-chief Edna Woolman Chase was looking for to represent the emerging idea of the "modern girl."
For the next two years, Miller was one of the most sought-after models in New York, being photographed by leading fashion photographers. A photograph of Miller was used to advertise Kotex menstrual pads without her consent, effectively ending her career as a fashion model.
Lee was hired by a fashion designer in 1929 to make drawings of fashion details in Renaissance paintings, but in time grew tired of this and found photography more efficient.
-- Lee Miller's Photographic Career
In 1929, Miller traveled to Paris with the intention of apprenticing herself to the surrealist artist and photographer Man Ray. Although, at first, he insisted that he did not take students, Miller soon became his model and collaborator (announcing to him: "I'm your new student"), as well as his lover and muse.
While Lee was in Paris, she began her own photographic studio, often taking over Ray's fashion assignments to enable him to concentrate on his painting. So closely did they collaborate that photographs taken by Miller during this period are credited to Ray. Together with Ray, she rediscovered the photographic technique of solarisation through an accident - one of Miller's accounts involved a mouse running over her foot, causing her to switch on the light in mid-development.
The couple made the technique a distinctive visual signature, with examples being Ray's solarised portrait of Miller taken in Paris circa 1930, and Miller's portraits of fellow Surrealist Meret Oppenheim (1930), Miller's friend Dorothy Hill (1933), and the silent film star Lilian Harvey (1933).
Not only does solarisation fit the Surrealist principle of unconscious accident being integral to art, it evokes the style's appeal to the irrational or paradoxical in combining polar opposites of positive and negative; Mark Haworth-Booth describes solarisation as:
"A perfect Surrealist medium in which
positive and negative occur simultaneously,
as if in a dream".
Amongst Miller's circle of friends were Pablo Picasso and fellow Surrealists Paul Éluard and Jean Cocteau, the latter of whom was so mesmerized by Miller's beauty that he coated her in butter and transformed her into a plaster cast of a classical statue for his film, The Blood of a Poet (1930).
During a dispute with Ray, regarding the attribution of their co-produced work, Ray is said to have slashed an image of Miller's neck with a razor.
After leaving Ray and Paris in 1932, Lee returned to NYC and established a portrait and commercial photography studio with her brother Erik as her darkroom assistant.
Miller rented two apartments in a building one block from Radio City Music Hall. One of the apartments became her home while the other became the Lee Miller Studio. Clients of the Lee Miller Studio included BBDO, Henry Sell, Elizabeth Arden, Helena Rubinstein, Saks Fifth Avenue, I. Magnin and Co., and Jay Thorpe.
During 1932 Miller was included in the Modern European Photography exhibition at the Julien Levy Gallery in New York. In response to the exhibition, Katherine Grant Sterne wrote a review in Parnassus in March 1932, noting that:
"Miller has retained more of her American character
in the Paris milieu. The very beautiful Bird Cages at
Brooklyn; the study of a pink-nailed hand embedded
in curly blond hair which is included in both the Brooklyn
and the Julien Levy show; and the brilliant print of a
white statue against a black drop, illumine the fact
rather than distort it."
In 1933, Julien Levy gave Miller the only solo exhibition of her life. Among her portrait clients were the surrealist artist Joseph Cornell, actresses Lilian Harvey and Gertrude Lawrence, and the African-American cast of the Virgil Thomson-Gertrude Stein opera Four Saints in Three Acts (1934).
In 1934, Miller abandoned her studio to marry the Egyptian businessman and engineer Aziz Eloui Bey, who had come to NYC to buy equipment for the Egyptian National Railways. Although she did not work as a professional photographer during this period, the photographs she took while living in Egypt with Eloui, including Portrait of Space, are regarded as some of her most striking surrealist images.
In Cairo, Miller took a photograph of the desert near Siwa that Magritte saw and used as inspiration for his 1938 painting "Le Baiser." Miller also contributed an object to the Surrealist Objects and Poems exhibition at the London Gallery in 1934.
By 1937, Miller had grown bored with her life in Cairo. She returned to Paris, where she met the British surrealist painter and curator Sir Roland Algernon Penrose (1900-1984).
Four of her photographs ("Egypt" (1939), "Romania" (1938), "Libya" (1939), and "Sinai" (1939)) were displayed at the 1940 exhibition Surrealism To-Day at the Zwemmer Gallery in London.
More of her work was included in the Museum of Modern Art (MoMA) exhibition Britain at War in New York City in 1941. Her photographs would not be included in another exhibition until 1955, when she was included in the renowned The Family of Man exhibition curated by Edward Steichen, director of the MoMA Department of Photography.
-- Lee Miller in World War II
At the outbreak of World War II, Miller was living in Hampstead in London with Penrose when the bombing of the city began. Ignoring pleas from friends and family to return to the US, Miller embarked on a new career in photojournalism as the official war photographer for Vogue, documenting the Blitz.
Lee was accredited with the U.S. Army as a war correspondent for Condé Nast Publications from December 1942. She teamed up with the American photographer David E. Scherman, a Life correspondent on many assignments. She traveled to France less than a month after D-Day, and recorded the first use of napalm at the siege of St. Malo, as well as the liberation of Paris, the Battle of Alsace, and the horror of the Nazi concentration camps at Buchenwald and Dachau.
Scherman's photograph of Miller in the bathtub of Adolf Hitler's apartment in Munich, with its shower hose looped in the center behind her head and the dust of Dachau on her boots deliberately dirtying Hitler's bathroom, is one of the most iconic images from the Miller-Scherman partnership, and occurred on the 30th. April 1945, coincidentally the same day as Hitler's suicide.
Being one of the first to arrive at Hitler's secret apartments, Miller admits:
"I had his address in
my pocket for years."
After taking the bathtub picture, Miller took a bath in the tub, and slept in Hitler's bed.
During this period, Miller photographed dying children in a Vienna hospital, peasant life in post-war Hungary, corpses of Nazi officers and their families, and finally, the execution of Prime Minister László Bárdossy.
During Miller's work with Vogue in World War II, it became her goal to "document war as historical evidence." The effect of her work was to provide "context for events." Her work was very specific and, like her previous publications and modelling with Vogue, Surrealist.
She spent time composing her photographs, famously framing them from inside the cattle trains. Miller's work with Vogue during wartime was often a combination of journalism and art, often manipulated to evoke emotion.
At the end of the war, Miller's work as a wartime photojournalist continued as she sent telegrams back to the British Vogue editor, Audrey Withers, urging her to publish photographs from the camps.
She did this following a CBS broadcast from Buchenwald by Edward R. Murrow and Richard Dimbleby's BBC broadcast from inside Bergen-Belsen. This was a consequence of people's disbelief at such atrocities. These broadcasters used photographers to show the public what they saw. During World War II, Miller's work was used predominantly to "provide an eye-witness account" of the casualties of war.
-- Lee Miller's Life in Great Britain
After returning to Great Britain from central Europe, Miller started to suffer from severe episodes of clinical depression and what later became known as post traumatic stress disorder (PTSD). She began to drink heavily, and became uncertain about her future.
In November 1946 she was commissioned by British Vogue to illustrate the article, "When James Joyce Lived in Dublin" by Joyce's old friend and confidant Constantine Curran. Following a list given to her by Curran, Miller photographed numerous places and people in Dublin, many with a connection to Joyce.
The article and photographs appeared in American Vogue in May 1947 and British Vogue in 1950. The pictures provide a remarkable record, not just of Joyce's home town, but of Dublin during that time.
In 1946, she travelled with Penrose to the United States, where she visited Man Ray in California. After she discovered she was pregnant by Penrose with her only son, she divorced Aziz Bey and, on the 3rd. May 1947, married Penrose. Their son, Antony Penrose, was born in September 1947.
In 1949, the couple bought Farley Farm House in Chiddingly, East Sussex. During the 1950's and 1960's, Farley Farm became a sort of artistic Mecca for visiting artists such as Picasso, Ray, Henry Moore, Eileen Agar, Jean Dubuffet, Dorothea Tanning, and Max Ernst.
While Miller continued to do the occasional photo shoot for Vogue, she soon discarded the darkroom for the kitchen, becoming a gourmet cook. According to her housekeeper Patsy, she specialized in "historical food" like roast suckling pig as well as treats such as marshmallows in a cola sauce (especially made to annoy English critic Cyril Connolly who told her Americans didn't know how to cook).
She also provided photographs for her husband's biographies on Picasso and Antoni Tàpies. However, images from the war, especially the concentration camps, continued to haunt her, and she started on what her son later described as a "downward spiral". Her depression may have been accelerated by her husband's long affair with the trapeze artist Diane Deriaz.
Miller was investigated by the British security service MI5 during the 1940's and 1950's, on suspicion of being a Soviet spy.
In October 1969, Miller was asked in an interview with a New York Times reporter what it was that drew her to photography. Her response was:
"It's a matter of getting out on
a damn limb and sawing it off
behind you."
-- The Death of Lee Miller
Lee died of cancer at Farley Farm House in 1977, aged 70. She was cremated, and her ashes were spread through her herb garden at Farley.
-- Lee Miller's Legacy
Miller's work has served as inspiration for Gucci's Frida Giannini and Alexander McQueen. Playwright David Hare comments:
"Today, when the mark of a successful iconographer
is to offer craven worship of wealth, or yet more craven
worship of power and celebrity, it is impossible to
imagine an artist of Lee's subtlety and humanity
commanding the resources of a mass-market
magazine."
Mark Haworth-Booth, curator of The Art of Lee Miller, has said:
"Her photographs shocked people out of their
comfort zone. She had a chip of ice in her heart.
She got very close to things.
Margaret Bourke-White was far away from the
fighting, but Lee was close. That's what makes
the difference - Lee was prepared to shock."
In 1932, for the Poughkeepsie Evening Star, Miller stated that:
"Photography is perfectly suited to women as a
profession. It seems to me that women have a
bigger chance at success in photography than
men.
Women are quicker and more adaptable than
men. And I think they have an intuition that helps
them understand personalities more quickly than
men."
Throughout her life, Miller did very little to promote her own photographic work. That Miller's work is known today is mainly due to the efforts of her son, Antony Penrose, who has been studying, conserving and promoting his mother's work since the early 1980's.
He discovered sixty thousand or so photographs, negatives, documents, journals, cameras, love letters and souvenirs in cardboard boxes and trunks in Farley Farm's attic after his mother's death. He owns the house, and offers tours of the works of Miller and Penrose.
The house is home to the private collections of Miller and Penrose, their own work and some of their favourite pieces of art. In the dining room, the fireplace was decorated in vivid colours by Penrose. Lee's pictures are accessible at the Lee Miller Archive.
In 1985, Penrose published the first biography of Miller, entitled The Lives of Lee Miller. Since then, a number of books, mostly accompanying exhibitions of her photographs, have been written by art historians and writers such as Jane Livingstone, Richard Calvocoressi, and Haworth-Booth.
Penrose and David Scherman collaborated in 1992 on the book Lee Miller's War: Photographer and Correspondent With the Allies in Europe 1944–45.
Interviews with Penrose form the core of the 1995 documentary Lee Miller: Through the Mirror, made with Scherman and writer-director Sylvain Roumette. The audio-book Surrealism Reviewed was published in 2002, and a 1946 radio interview with Miller can be heard on it.
In 2005, Miller's life story was turned into a musical, Six Pictures Of Lee Miller, with music and lyrics by British composer Jason Carr. It was premiered at the Chichester Festival Theatre, West Sussex. Also in 2005, Carolyn Burke's substantial biography, Lee Miller, A Life, was published.
In 2007, Traces of Lee Miller: Echoes from St. Malo, an interactive CD and DVD about Miller's war photography in St. Malo, was released with the support of Hand Productions and Sussex University.
In 2015, an exhibition of Miller's photographs at the Scottish National Portrait Gallery, Lee Miller and Picasso, focussed on the relationship between Lee Miller, Roland Penrose and Pablo Picasso.
In the same year, a work of historical fiction, The Woman in the Photograph, by Dana Gynther, was published. It builds its story around Miller's affair with Ray in Paris circa 1930.
In 2019, a work of historical fiction, The Age of Light, by Whitney Scharer, was published. It tells the story of Miller's life and work, and her relationship with Man Ray.