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Published by George Newnes
41/The Story of Alchemy by MM Pattinson Muir M.A. 1902
42/The Story of Our Army by Captain Owen Wheeler 1902
43/ The Story of Rapid Transit by Beckles Willson 1903
44/ The Story of The Atlantic Cable by Charles Bright F.R.S.E. 1903
Stringed White Dresses - An Installation
Paper, Cotton Strings, Ink and Oil on Paper, Wooden Frames
14" x 20" x 2"
Completed in 2013
Inventory # 4353.401.2013.03.002
© Matthew Felix Sun
Unexpected Successes of "Stringed White Dresses - An Installation"
I have been working on a series of paintings with "white dress(es)" motif for quite a while, and recently I extended my effort to include some installation/mixed-media endeavors. My most complete effort in this new field was a work titled "Stringed White Dresses - An Installation", completed in March 2013.
Using some rather square and unyielding origami white dresses, pasted onto twine, who was in turn attached to a wooden frame, I created a subtle contrast between order and disarray, manifested in the disordered formation of the white dresses. To enhance the contrast and drama, I affixed to the frame an ink drawing - mostly in black, with dashes of muted red. When I started to get excited about this project, I recorded part of the creation process on video. Below are the video clip and the finished piece.
Though I was happy with and proud of the resulting work, I didn't pin much hope on this piece, which was really an experiment. Yet, I was curious enough to see other people's reactions to it, so I submitted it for publication. In April, it was included in Pomona Valley Review, Issue 7, published by Cal Poly Pomona.
I was quite encouraged by this acceptance and entered it for the ArtSlant 4th 2013 Showcase competition, in the mixed-media category. Last week, I was informed, and then saw the result online, that it had won the award.
That made it the fourth win in ArtSlant's Showcase competitions. ArtSlant is the #1 Contemporary Art Network with worldwide arts calendars, artitsts, reviews, and online art sales of originals and prints.
I am quite pleased and more than a bit amused by its success. A new direction? Maybe. The "White Dress" series will continue, for sure.
Pomona Valley Review, Issue 7 Published with My Paintings and Installation
Hot on the heels of Four Paintings of Mine Published by Superstition Review's publication of my four paintings a day ago, Pomona Valley Review, Issue 7 was published by California State Polytechnic University Pomona, which also features two Paintings and an installation of mine. The seventh issue of the magazine - mine works can be seen on pages 10, 63 and 76, and page 150, one may read a short bio of mine.
Stringed White Dresses - The Process of a New Installation
Lately, I was inspired and several exciting ideas propelled me to work diligently to complete one installation last Friday. I documented the last stage of the process - painting background, wiring strings to the frames and final assembling, including the paper origami white dresses folded before. Below are several pictures and an edited, composite video of this final dash, all recorded on Friday, 22 March 2013.
YouTube Video: youtu.be/15RfK8_u3F0
San Francisco Museum of Modern Art is presenting an "Unauthorized SFMOMA Show", which allows people to upload images of artworks to SFMOMA website, and "all works are immediately accepted, each submission automatically constituting an Unauthorized SFMOMA Solo Show on view at SFMOMA via the same website ( sfmoma.show ). Each exhibition starts when a work is submitted and ends when a new work is submitted."
The last piece I posted in that May day was Stringed White Dresses — an Installation, the very first piece in my continuing series of installation or assemblage employing paper as main medium.
Using some rather square and unyielding origami white dresses, pasted onto twine, which was in turn attached to a wooden frame, I created a subtle contrast between order and disarray, manifested in the rather random formation of the white dresses. To enhance the contrast and drama, I affixed to the frame an abstract ink drawing - mostly in black, with dashes of muted red.
The location for my viewing was in the lobby, overlooking Alexander Calder's 1963 installation, Untitled, which also featuring a series of similar objects on wire or strings.
Talk about excited! I was stoked when Phil Massaro of Massaro Ballistic Laboratories told me he wanted me to shoot his mug for the cover if the internationally published Gun Digest magazine. But, was even more stoked when he called and said it was done and awaiting to be put on shelves. Emotional when I actually saw it, and man...it's an awesome feeling. Congrats to us. Haha!
Follow me on Twitter: @jfieldingphoto and on Facebook www.facebook.com/jfieldingphoto
© 2013. All Rights Reserved. Do not use, or copy this image without my consent.
This photograph was published in the Illustrated Chronicle on the 26th of September 1915.
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 recognise anyone in the images and have any stories and information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Dopo aver incantato durante il Black Cat World Tour oltre un milione di spettatori in tutto il mondo con 137 concerti in 5 continenti e aver realizzato il record di ben 22 show all’Arena di Verona in 12 mesi, Zucchero torna con il “Wanted Italian Tour 2018” nei palasport delle principali città italiane; il 2 marzo è al Mediolanum Forum di Assago a Milano.
Tra i maggiori interpreti del blues in Italia, Zucchero (all’anagrafe Adelmo Fornaciari) nella sua carriera ha venduto oltre 60 milioni di dischi, di cui 8 milioni con l’album “Oro, incenso & birra”. Oltre a essere il primo artista occidentale a essersi esibito al Cremlino dopo la caduta del muro di Berlino, Zucchero è anche l’unico artista italiano ad aver partecipato al Festival di Woodstock nel 1994, al Freddie Mercury Tribute nel 1992 e a tutti gli eventi del 46664 per Nelson Mandela. È, inoltre, uno dei pochi artisti italiani nominato ai Grammy, con Billy Preston ed Eric Clapton come best "R&B Traditional Vocal Collaboration”. Il suo concerto nel dicembre 2012 all'Istituto Superiore di Arte di L'Avana è stato ritenuto il più grande live mai tenuto da un cantante straniero a Cuba sotto embargo. La sua musica si è estesa oltre i confini nazionali grazie anche alle numerose collaborazioni con artisti internazionali del calibro di Bryan Adams, The Blues Brothers, Bono, Jeff Beck, Ray Charles, Eric Clapton, Joe Cocker, Elvis Costello, Miles Davis, Peter Gabriel, John Lee Hooker, B.B. King, Mark Knopfler, Brian May, Luciano Pavarotti, Iggy Pop, Alejandro Sanz, Sting e molti altri.
Con Zucchero sul palco ci sarà una super band internazionale composta da 14 elementi, tra vecchie conoscenze e new entry: Il leggendario chitarrista giapponese Tomoyasu Hotei, Polo Jones (direttore musicale, basso), Kat Dyson (chitarre, dobro, mandolino, bvs), Brian Auger (organo hammond C3), Doug Pettibone (chitarra pedal steel, dobro, lap steel, banjo, chitarra), Queen Cora Dunham (batteria), Nicola Peruch (tastiere), Adriano Molinari (batteria), Mario Schilirò (chitarre), Andrea Whitt (violino, mandolino, chitarra pedal steel), Tonya Boyd Cannon (cori), James Thompson (sax tenore, sax baritono, flauto, armonica), Lazaro Amauri Oviedo Dilout (tromba, flicorno, corno francese) e Carlos Minoso (trombone, tuba).
In May 1969 London Transport published this small folder, printed in full colour and priced at 1/- (one shilling = 5p) showing the twelve tile motifs on the first section of the Victoria line of the Lonodn Underground. This had opened in sections from Walthamstow Central to Victoria between September 1968 and March 1969. As the tube diagram reproduced in this folder shows the extension south to Brixton, and that completed the line, was under construction and opened in 1971/72. The motifs on this latter group of stations are not shown here.
The construction of the first new tube line to serve the central area of the network in sixty years had been a long time in coming; planning, approval and construction itself had taken from the mid-1940s until the mid-1960s. In engineering terms the new line largely followed the established pattern of London's existing deep-tube lines and stations - albeit with some advances in terms of tunnelling and, especially, operation. The stations were designed by the Design Research Unit under Misha Black. The DRU were amongst the most important industrial designers in post-war Britain. The design intention was very plain; at platform level the use of a muted palette of stainless steel with 6" x 6" ceramic tiles in various shades of grey. The roundels were on glass panels, back illuminated. The train exteriors were the now standard Underground plain aluminium bodies and the interiors were also muted with only the seating moquette standing out. The intention behind this cool, uncluttered look was that colour was added by passengers and advertising.
However to distinguish each individual station and to add some sense of colour architecture behind each seating unit is a tiled panel; each was specifically designed for the station and often includes a pun or play on the origin of the name. The designers of these were important artists and designers in their own name and included Julia Black, Hans Unger, Edward Bawden, Tom Eckersley and Crosby/Fletcher/Forbes. Sveral of these artists and designers had produced publicity items for London Transport such as posters.
The panels are still in position although over time some slight amendments have been made notably in the PPP upgrade programme in the early 2000s. Two designs had been replaced; those at Oxford Circus and Green Park and we (I worked for LU's design team at the time) took the opportunity to reinstate the original designs seen here. At the former only the southbound platform has the tiled recesses as the northbound platform, badly damaged by fire many years ago, no longer has recesses. We also put a large version in the main ticket hall but when I recently went through I see some cretin has placed an a/c unit over it. The designs and panels, along with other elements of the DRU design are 'protected' under LU's own Design Policy for the line although this has allowed for the change to some of the field colours of tiles to better give colour contrast as now required under modern design codes.
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.
Special and sincere thanks go to Agha Waseem who not only offered me hospitality but also is kind enough to allow me to use some of his photos.
The Center for Disease Control (CDC) recently published results from Fulton County Jail’s (GA) demonstration project to integrate routine rapid HIV screening into the medical intake process.
From January 2011 through March 2012, Fulton County implemented this project. Without which, people diagnosed would likely be diagnosed later in the course of their infection, resulting in delayed access to care and treatment and possible transmission to their partners. Through these screenings, inmate patients also received referrals for community services upon release. Over 12,000 HIV tests were conducted during this time.
Fulton County Jail, a Corizon partner is one of the 50 largest jails in the nation, with an ADP of 2,269 detainees.
To learn more about our correctional healthcare services and job opportunities visit our website at www.corizonhealth.com
So I can now say I have one of my photos published! Of course it's on the front page of the Franklin County, Shippensburg Telephone Book, but I still count that :-)
I was contacted by a rep with Yellowbook who asked if they could potentially use one of three of the photos I had taken in the Greencastle, PA area. Of course, my photos were put into a pool of other peoples' photos, so I didn't figure I'd ultimately be picked. However I was later contacted with the cover photo here showing that they did in fact pick one of my photos of the Greencastle Town Square! I was and still am very excited and grateful that someone thought that much of my work that it's now on a book that many in the area will now see. The original photo is in my photostream at this link: www.flickr.com/photos/trainmann1/7826083460/
Encyclopedia of Home Decorating,1954. The photos in the book are from the mid-40s and come from a series of decorating booklets.
Published by Book Production Industries, Written by Helen Koues. Containing material from home decorating booklets previously published by Book Production Industries, Inc. 1945, 1946, and 1947.
Suspended Animation Classic #141
Originally published September 8, 1991 (#36)
Doc Savage
By R. A. Jones
From the 1920s till the early 1950s, when the paperback book became dominant, people found their appetite for literature satisfied in the pages of the pulp magazines. Originally selling for one thin dime, the pulps brought the world such enduring characters as Tarzan and The Shadow.
From 1933 to 1949, the pulps also carried the adventures of a bronze-skinned superman named Doc Savage. As with many such characters, Doc Savage has likewise been the star of several comic book series.
The newest of these – subtitled “The Monarch of Armageddon” – has just been released. The story is set in 1938. Doc Savage, having spent a decade fighting evil schemes hatched all over the world, has decided he needs a vacation of sorts, a chance to be a more or less normal man.
This alone wouldn’t make for a very dramatic story, of course, so you know something is going to interfere with his plans. Or in this case – someone. A villain named John Sunlight, whom Savage had fought and beaten before, has now launched a new plan to destroy the man of bronze. Aiding the evildoer is a band of American Nazis.
I had a few problems with the scripting of this book. At times it is a bit camp, employing rather lame attempts at humor. The character of Savage himself has also been altered slightly; he is not so coolly efficient as in the original stories.
Still, it is an engaging tale that moves at a good, rapid clip. It is further aided by solid artwork and coloring. You don’t have to be a fan of Doc Savage to enjoy this book – you only need a love for adventure.
“Doc Savage” is published by Millennium at a price of $2.50, and is available in comic book specialty stores.
Please check out some of my images from my trip to Mexico last year that are now published on this great website:
www.sacred-destinations.com/mexico/chichen-itza.htm
You can see all of my images from Mexico here: www.flickr.com/photos/ciaochessa/sets/72157594395460626/
The creator of the website, Holly, is a fellow flickrer. You can check out her stream here:
www.flickr.com/photos/sacred_destinations/
:)
This photograph was published in the Illustrated Chronicle on the 9th of October 1915.
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 recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
Crangon crangon
Published in:
Copejans, E.; Smits, M. (2011). De wetenschap van de zee: over een onbekende wereldoceaan. Acco: Leuven. 175 pp.
ISBN 9789033484124.
On page 72.
Published in:
Thiel, M. & Watling, L. (eds). (2015). Lifestyles and Feeding Biology. Oxford University Press. 584p.
ISBN: 9780199797028
Woo hoo! Just got a few copies of My Midwest Magazine (Midwest Airlines pubication) created by Ink Publishing out of Brooklyn NY. The photo I took of the Art Museum and posted on flickr last fall was found by them via TAGS. I was very surprised when they contacted me and asked permission and how much I would sell them usage of the photo for. So after a bit of conversation we came upon a fair price for publishing my photo. I have had photos published in the Press a number of times but I found that this magazine has a million circulation.
I feel like Grover on Sesame Street. "I am so excited!"
Anyways, back to the viewfinder.
And use your TAGS!
Strobist lighting info: SB800 as key behind white shoot-through umbrella to camera right at 1/4 power (set to have no glare on photo in background,) SB800 to camera left snooted at 1/64th power for fill and highlight. Both on Smith-Victor RS-8 Raven stands. Fired with ebay triggers and camera fired remotely with Nikon ML-L3 ir.
image DSC_1181
-Dan
Published in January 1894 by The Historical Publishing Company, author J. W. Buel, this book contains 300 photographs of every aspect of the fair.
The World's Fair: Columbian Exposition (also known as the Chicago World's Fair) was a world's fair held in Chicago in 1893 to celebrate the 400th anniversary of Christopher Columbus' arrival in the New World in 1492. At the core of the fair was an area that quickly became known as the White City for its buildings with white stucco siding and its streets illuminated by electric lights.
My photo of the sausage races in Milwaukee was published by Milwaukee Public Radio station WUWM. The photo is in the middle. The original photo can be seen here:
Clean Water: An Introduction to Water Quality and Water Pollution Control, Second Edition
By Kenneth M. Vigil, P.E.
Published by OSU Press
"Clean Water is a book for anyone concerned about this precious resource who wants to become better informed. In straightforward language, Kenneth Vigil provides a comprehensive introduction to the many scientific, regulatory, cultural, and geographic issues associated with water quality and water pollution control.
Most other books on water quality and pollution control are highly technical and very specific, and are aimed at engineers, scientists, or attorneys. Clean Water, on the other hand, is a comprehensive discussion of the subject intended for a wider audience of science students, educators, and the general public.
Vigil avoids the use of technical jargon and uses many photos and diagrams to illustrate and explain concepts. He provides sufficient detail to educate readers about many broad topics and includes additional references at the end of each chapter for exploring specific topics in more detail.
Clean Water summarizes the basic fundamentals of water chemistry and microbiology and outlines important water quality rules and regulations, all in concise, understandable prose. It describes the basic scientific principles behind water pollution control and the broader approach of addressing water pollution problems through watershed management. There are sections on drinking water and on citizen involvement in water pollution control efforts at home and in the community.
This is a thoroughly revised edition of Vigil's 1996 book, Clean Water: The Citizen's Complete Guide to Water Quality and Water Pollution Control, which was praised by reviewers and has been used as a textbook at colleges and high schools throughout the U.S."
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Uno spettacolo teatrale frizzante, ironico e sensuale con le star neo-burlesque
Direttamente dai palchi del West End a Londra, "An Evening of Burlesque" arriva in Italia con uno spettacolo frizzante e di gusto e con un cast di eleganti showgirl che incarnano lo charme parigino e il glamour di Las Vegas in una combinazione di sensualità, arguzia, magia, ballo e favolosi costumi in stile retrò.
An Evening of Burlesque è uno spettacolo frizzante e di gusto che, in una combinazione di commedia, malizia e talento vocale, porta sul palco del Teatro Smeraldo l'affascinante arte del burlesque con un cast di eleganti showgirl che incarnano lo charme parigino e il glamour di Las Vegas in una combinazione di sensualità, arguzia, magia, ballo e favolosi costumi in stile retrò. Protagoniste dello spettacolo alcune delle star più luminose del neo burlesque britannico come Chrys Columbine, Amber Topaz, Kiki Kaboom, Miss Hotcake Kitty e Ginger Blush.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Uno spettacolo teatrale frizzante, ironico e sensuale con le star neo-burlesque
Direttamente dai palchi del West End a Londra, "An Evening of Burlesque" arriva in Italia con uno spettacolo frizzante e di gusto e con un cast di eleganti showgirl che incarnano lo charme parigino e il glamour di Las Vegas in una combinazione di sensualità, arguzia, magia, ballo e favolosi costumi in stile retrò.
An Evening of Burlesque è uno spettacolo frizzante e di gusto che, in una combinazione di commedia, malizia e talento vocale, porta sul palco del Teatro Smeraldo l'affascinante arte del burlesque con un cast di eleganti showgirl che incarnano lo charme parigino e il glamour di Las Vegas in una combinazione di sensualità, arguzia, magia, ballo e favolosi costumi in stile retrò. Protagoniste dello spettacolo alcune delle star più luminose del neo burlesque britannico come Chrys Columbine, Amber Topaz, Kiki Kaboom, Miss Hotcake Kitty e Ginger Blush.
Description: Program published for the 1987 Ingleside Invaders baseball team. The programs were self-produced by the team under direction of their head coach Dan Harrington, with help from assistant coaches and other community members. Mr. Harrington has given his approval to the San Francisco Public Library for these publications to be reproduced here on Flickr in digital format. Mr. Harrington has written a description of these publications and the Ingleside Invaders baseball team..
"The last of the Sandlot League teams in San Francisco is the Ingleside Invaders, the only team to sign up in 1990 for the 18-and-under division of SF Rec-Park Baseball, the direct descendent of the Sandlot League known in the 1980s as the Neighborhood League. (I don't know when the Sandlot League started, but it is thought to have its origins before 1900).
"The Invaders ball club was a successful representative of the neighborhood, with players from many public, private and parochial high schools chipping in small amounts of money (no more than $25), getting to keep full uniforms; businesses donated funds (except for the Marines who still owe me fifty bucks!) while receiving ad-space for the team's self-produced publications showing stories about "the Greater Ingleside" history and contemporary times to the rest of San Francisco. The Invaders made some life-long friendships and fielded some good baseball teams!
"My recently passed father Richard Harrington took many of the photos, while my brother Richard Jr, who passed away in 1998, compiled some stats and kept book for many of the games. The 1986 paper stock was provided by the Coca-Cola bottlers on Bayshore Blvd. and printed by the team, complete with a team picture in the relatively new light rail vehicle (LRV) "streetcar" yard off Ocean Ave.
"Ingleside finished second in 1986, 87, and 88. Ingleside was surprised in a playoff game in 1989. But it did give the best example of multiple schools represented on the same summer team and a model to use for the RBI Baseball and Softball program run independently by Dan Harrington (calling in lots of favors for help) in 1997 at Crocker-Amazon and Balboa Park, and in conjunction with City College baseball courses (John Vanoncini) and Columbia Park and San Francisco Boys and Girls Clubs from 1998 to 2010."
--Dan Harrington, May 2014
Collection: Ingleside Branch Archives
Repository: San Francisco Public Library - Ingleside Branch