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This photograph was published in the Illustrated Chronicle on the 13th of May 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 or have any stories or 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.
You might not be really interested to read my interview and what I have to say about shooting demonstrations BUT you surely want to have a look at this great professional website. Trust me, it won't be a waste of time.
Published on http://blogs.photopreneur.com/ - "Photographing a Demonstration".
See all my sold, published, and exhibited photos in this collection : [Sold - Published - Exhibited Works]
Published On October 18, 1979
First Lady -- Five-year-old Katie Greenfield tugs up tights before meeting first lady Rosalynn Carter at Portland Air Base..
Rosalynn Carter.
Jimmy Carter
This photograph was published in the Illustrated Chronicle on the 28th 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.
The Postcard
A postcard which was published by C. Richter Ltd. of London NW. The artwork was by Trow.
The card was posted on Monday the 18th. July 1960 to:
Lauren Ltd.,
9-11 Alie Street,
Aldgate,
London E1.
The message on the back was as follows:
"Dear All,
Hope you are all OK, we are
having a wonderful time here.
Weather is much better, but
still windy.
Hope you are all very busy
doing plenty of work.
See you all on Monday.
Regards to all,
Lettie & Harry".
Trow
"Trow" has been claimed as the pseudonym of Frank Eric Smith, who was born in Salisbury on the 2nd. March 1908, and who lived most of his life in Dorset and Wiltshire. He died on the 5th. October 1985.
According to Smith's family, he drew many seaside postcards in the late 40's and early 50's, and derived his pseudonym from 'Trowbridge', the county town of Wiltshire.
However, Smith claimed to have stopped drawing in 1952, whilst new cards signed "Trow" continued to appear in large numbers until the late 1960's.
It seems that the cards prosecuted by the DPP for indecency in the 1950's were in fact drawn by Thomas Trow (1909-1971) of Stoke on Trent, whose address appears on the reverse of surviving artwork, as the Greyfriars Art Studio.
Foster Reynolds
So what else happened on the day that Lettie and Harry posted the card?
Well, the 18th. July 1960 was not a good day for Foster Allen Reynolds, because he died on that day.
Foster, who was born on the 29th. December 1883, was an American brass instrument designer and manufacturer.
Foster Reynolds - The Early Years
Reynolds began as an apprentice with the Brass band instrument manufacturer J. W. York. There he learned brass band instrument design in a tradition that traced its lineage back through James York, the company’s founder to the company where he learned the craft, the Boston Musical Instrument Company.
In 1904, Reynolds left the York company to take a position with the H. N. White company, the maker of “King” instruments. There he transitioned from craftsman to shop superintendent. Reynolds worked for 30 years in Cleveland at King, rising high in the company.
F.A. Reynolds Company
In 1936, Reynolds founded the F. A. Reynolds Company to manufacture his own line of band instruments. Reynolds gained a reputation for superior workmanship and the acoustical properties of the instruments.
Reynolds spent 10 years with his company, developing successful lines of cornets, trumpets, baritone horns, French horns, and bass trombones among others.
The company realized significant sales of instruments to the United States Armed Forces during the Second World War. Reynolds sold the company to Scherl & Roth in 1946.
Retirement and F. E. Olds
The year after selling his company in order to retire, Reynolds was lured to F. E. Olds by Maurice Berlin, the president of Olds’ parent company Chicago Musical Instruments.
Reynolds moved to Los Angeles, California and took control of the Olds factory there.
By 1948 this involvement lead to the birth of the Olds Ambassador line of cornets, trumpets and trombones which Olds sold for decades. In 1953 Reynolds took on an apprentice, Zigmant Kanstul, who would serve as plant superintendent until 1970 after Reynolds’ death.
Reynolds died at work from a massive heart attack in the presence of Kanstul and others at the Olds plant in Fullerton, California.
Company Legacy
The F. E. Olds company continued under the management of one of the employees present with Reynolds at his death. The company finally closed its doors in 1979.
F. E. Olds and Son has since been reconstituted, and is selling Olds and Reynolds branded instruments with a headquarters in Westfield, New Jersey.
Personal Life of Foster Reynolds
Reynolds was married twice and had three children. His marriage to Frances Dean at the age of 19 lasted 31 years before ending in divorce.
His second marriage, to Myrtle Rozelle, lasted the remainder of his life. He entered the workforce in 1903, and died on the job on the 18th. July 1960.
88 opens fire
Collings Foundation 2008
2015 Published - Book by Scott Lee Thompson
German World War II Reenacting
The Wehrmacht In Living History
Publisher: Schiffer Publishing
www.schifferbooks.com/german-world-war-ii-reenacting-the-...
Scan from book published in 1904. FLIEGENDE BLATTER. This image is IN THE PUBLIC DOMAIN and you may use them as you like, though I'd love it if you left a comment when you do use them.
ALSO: I do not speak German and have not translated this, so I have no idea what it says. If you feel like translating, please do! I'd love to know what this says.
Published in 1934, this cookbook from Sunset magazine was meant to showcase the "truly Western 'home flavor' that is not to be found elsewhere". (Oh, Sunset, always with your California obsession!) The cookbook features recipes from Sunset readers.
There are recipes for entrees, jellies, pancakes, salads, desserts...everything. Best of all, though, are the lovely little illustrations of sweet-faced and graceful cooks by Ruth Taylor White. For each page of "Kitchen Cabinet" recipes there are illustrations featuring a different woman cooking one of the recipes given. They're all so cute!
Many of the recipes actually sound great, and this one in particular caught my eye for some reason. It's pretty easy; layer 1/4-inch thick sliced ham, apples, and brown sugar, squeeze half a lemon over the top, and bake. Here's the pie, ready for baking.
Published by The Buffalo News Company
Litho-Chrome
Postmark 1913
This card also has a Union News Company imprint, which indicates that it was sold in a train station.
i was very proud to participate in the inside-out | be the change project in athens, greece. on friday, june 21st, 2013, a group of young people plastered some portraits that i shot, along with extraordinary photographers, around klafthmonos square. this was one action of many, in which a new generation is being the change they want to see.
more information:
athens youth being the change they wish to see
Genealogy and the living members (pre WW2) of family on my father's side.
Written and published by my grandfather in 1941.
Yearly family reunions managed also by him in Budapest, Kárpátia Restaurant.
Photos of a 1940 family reunion in this book.
1941. Farkas Gedeon Könyvnyomdája, Szerencs
This photograph was published in the Illustrated Chronicle on the 23rd of February 1916.
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 or 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.
This photograph was published in the Illustrated Chronicle on the 15th 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 this photo without written permission and consent.
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Non enfatizziamo troppo il ruolo del disco nella società moderna. Alla fine un disco non è altro che un cerchio di plastica con un buco. I dischi si dividono in: dischi e cd. Il disco, detto anche vinile, è nero, è più grande, ha il buco più piccolo e si sente meglio; ma fruscia. Il disco in questione però è un cd, quindi più piccolo, col buco più grande e non fruscia. Si chiama "L'album biango" ed è stato registrato e prodotto agli inizi del XXI secolo dagli Elio e le Storie Tese, insieme a Max Costa.
Perché l'avete intitolato "L'album biango"? Così. C'è chi dice che ci siamo ispirati all'album bianco dei Beatles, chi ci trova dei riferimenti all'albume dell'uovo cotto (perché quello crudo è trasparente), ma la risposta esatta è: "Così." Una caratteristica dell'album biango è che se provi a scriverlo su un computer moderno diventa "L'album bianco". Tu credi di aver sbagliato, invece è stato il correttore automatico. Allora tu lo riscrivi e scopri che "biango" è sottolineato da una linea rossa tratteggiata come a dire: "OK se proprio insisti scriverò "biango", ma sappi che non mi è andata giù". Non mi è andata giù? Ma che cazzo vuoi, correttore automatico di merda che continui a correggermi parole che non voglio correggere unicamente per cercare di giustificare la tua esistenza, ringrazia Dio che non riesco a disattivarti.
Su questo "L'album bianco" c'è poco altro da dire, se non che è colmo di ospiti straordinari come Area, Eugenio Finardi, Nek, Vittorio Cosma, Fabio Treves e che è costato molta molta tanta fatica agli Elio e le Storie Tese i quali in più di un'occasione, mentre lo stavano registrando elettronicamente, si sono guardati e si sono domandati: "Ma cosa stiamo facendo?"
La storica band comprende Elio (cantante, flautista), Vittorio Cosma (pianola) - che sostituisce nel tour Rocco Tanica -, Cesareo (chitarra alto), Faso (chitarra basso), Christian Meyer (batteria), Jantoman (ulteriori pianole), Paola Folli (cantante) e Mangoni.
From a massive catalog published by Type Specs Co., 1962
In the collection of The Letterform Archive
Paul Renner’s Steile Futura (known also as Bauer Topic) is one of my all-time favorites. Here is the metal version of Bauer Topic in 30, 36, and 48 pt. Steile Futura really has nothing to do with Renner’s Futura. The name was merely a marketing gimmick.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use this photo without written permission and consent.
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In apertura ai concerti di Dropkick Murphys, e Frank Turner & the Sleeping Souls.
Formatisi nel 1912, quando Robert the Bard era poco piu' di un sedicenne, i Dirty Bastards vagabondarono lungo un secolo per tutto il globo, suonando nelle strade, nei pub, nelle folk session e nelle peggiori bettole. Dalle Orkney fino a Dover per poi sbarcare da Holyhead a Dublino e attraversare tutta l’Irlanda, e giù ancora fino alla Trinacria e a risalire verso l’Insubria, dove sopravvivono ancor oggi, pur non senza difficoltà. Nel corso di un secolo di musica i Dirty Bastards hanno evoluto il proprio sound, inserendo strumenti ed un'attitudine rock, ma senza per questo scordare le proprie radici folk e la propria irresponsabile vocazione alcolica...
Ok, questa è la versione romantica della storia. Volete quella vera? Il progetto Dirty Bastards nasce il 28 giugno 2007 con l'intenzione di mettere in piedi uno show unico e rendere omaggio ad un caro amico scomparso, riunendo musicisti veterani dell’area tra Varese e Milano, in un concerto bislacco in cui si andavano ad unire le passioni comuni per la musica rock & heavy ed il folk irlandese, tra chitarre elettriche, mandolini, banjo e molto altro ancora. Da quello che sarebbe dovuto essere un unico concerto, trascinati dall’entusiasmo del pubblico e dalla passione per la musica, è nata un’avventura che si è deciso di portare avanti, con l’intento di riproporre un repertorio musicale ed artistico destinato altrimenti a scomparire e unendo l’energia vibrante di un concerto rock all’approccio genuino di una pub session d’altri tempi.
Weedo Domingo: vocals, acoustic guitar, bodhrán
Lorenzo Testa: tenor banjo, mandolin, vocals, spoons
Silvano "Piz" Ancellotti: electric & acoustic guitar, coarse vocals
Uncle Bard: bass guitar, lamenting vocals
Luca Crespi: tin whistle, uilleann pipes, Irish flute
Michela Paganini: fiddle, vocals
Francesco Fabris: drums & percussions
Occasionally on stage with us
Ul Marco Ruggeri: mandolin
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.
© 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.
Published on 29 February 2012
Full range of publicly-funded contemporary art degrees in Singapore
As part of its new partnership with Goldsmiths, University of London, LASALLE College of the Arts launched 14 publicly-funded undergraduate arts degree programmes today. The BA(Hons) programmes cover a full range of contemporary arts disciplines - from fine arts, media arts and performing arts to design and arts management. This partnership also marks Goldsmiths' first such collaboration in Asia, where degrees are also awarded in its name.
The Goldsmiths' undergraduate programmes at LASALLE are the latest addition to high-quality arts degree programmes funded by the Ministry of Education.
Prime Minister Lee Hsien Loong witnessed the official signing of the partnership agreement between LASALLE College of the Arts and Goldsmiths, University of London
Prime Minister Lee Hsien Loong witnessed the official signing of the partnership agreement at LASALLE's award-winning campus, between LASALLE Chairman Mr Peter Seah and the Chairman of Goldsmiths' College Council, Mr Christopher Jonas CBE. Under the agreement, besides validating LASALLE's undergraduate and postgraduate programmes, Goldsmiths, University of London and LASALLE will also foster joint research initiatives, and facilitate staff development and exchanges between the two institutions.
Mr Peter Seah said, "This partnership is the perfect marriage between two innovative arts colleges that are at the forefront of contemporary arts education in Asia and Europe. It will continue to energise our learning environment through academic exchanges on approaches in teaching as well as research. We have a mutual passion for nurturing thinking artists who will provide creative solutions to make the world a better place.
Students of LASALLE College of the Arts gave a rousing welcome to Guest-of-Honour, Prime Minister Lee Hsien Loong.
He added, "Singapore needs to continually enhance our education system. We are glad that the government is giving the best possible opportunities for local talent who want to excel in art and design. Partnering with Goldsmiths, University of London is not only in the best interests of the college but also in the best interests of Singapore in developing the next generation of arts and cultural leaders."
Mr Christopher Jonas CBE, Chairman of Goldsmiths' College Council said, "We are delighted and honoured to be partnering with an institution as prestigious as LASALLE College of the Arts. At the heart of both institutions is a belief in providing an innovative educational experience through creative and intellectually rigorous thinking and practice. This partnership will build on these shared values and promote the exchange of academic excellence between the two institutions, in turn benefitting the creative economies of both Singapore and the UK."
Part of the world-renowned University of London for more than 100 years, Goldsmiths offers undergraduate, postgraduate, teacher training and return-to-study opportunities in subjects covering the arts, social sciences, humanities and computing. It is ranked ninth in the UK for world-leading (4 star) research and is a member of the prestigious 1994 Group that brings together 19 internationally renowned, research-intensive universities. Goldsmiths has also educated some of the art world's most famous names, from Turner Prize winner Damien Hirst, to fashion doyenne Dame Vivienne Westwood DBE, to well-known musician Damon Albarn.
14 funded degrees for Singaporeans and Singapore PRs at LASALLE
The LASALLE-Goldsmiths collaboration will chart new pathways for world-class arts education at the tertiary level. Validated by Goldsmiths, University of London, the 14 undergraduate arts degree programmes are held to the rigorous standards that Goldsmiths maintain. Diploma graduates with relevant background in the arts may apply to Year 2 of the three-year degree programmes. The funding will take effect for the August 2012 intake.
Singapore Citizens with relevant arts qualifications (e.g. Diploma or A-level or its equivalent with relevant arts studies backgrounds) are welcome to apply. For AY2012, subsidised fees for Singapore Citizens are S$10,000 per annum, subject to meeting the criteria. Singapore Permanent Residents will pay S$13,200 per annum.
Applications for places in the Academic Year beginning August 2012 may be made online. The application deadline is 30 April 2012.
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.
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/
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.
All material in my photo stream may NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission.
Big Thunder Mountain Railroad (also Big Thunder Mountain) is a relatively mild indoor/outdoor mine train roller coaster common in "magic kingdom"-style Disney theme parks worldwide. Big Thunder Mountain Railroad is also the name of the fictional rail line depicted in the attraction.
Though the details of the backstory vary from park to park, all follow the same general story arcs. Some time in the late 1800s, gold was discovered on Big Thunder Mountain in the American southwest. Overnight, the small mining town of Tumbleweed was established and the Tumbleweed Mining Company staked their claim. (At Disneyland Paris the town is called Thunder Mesa) Mining was prosperous and an extensive line of mine trains were set up to transport the ore. Unbeknownst to the settlers, the Mountain was a sacred spot to local Native Americans and was cursed. Before long, the settlers' desecration of the mountain caused a great tragedy, (terrible earthquake or flash flood, depending on the park) which befell the mines and town and they were abandoned. Some time later, the locomotives were found to be racing around the mountain on their own, without engineers or a crew. The Big Thunder Mountain Railroad was founded in the old mining camp to allow tourists to take rides on the possessed trains.
Big Thunder Mountain Railroad was designed by Imagineer Tony Baxter and ride design engineer Bill Watkins.
This piece was published by First Team Press to promote the "Batman Returns" movie. The lithograph was done in 1992 and features the Danny DeVito Penguin and the Michael Keaton Batman. Entitled, "The Penguin's Revenge", it's part of the Gold Signature Edition and each piece is signed by Bob Kane
Bashford Dean published around 175 scientific books and papers (not involving armor), including the exciting "... The Egg of the Hag-Fish". The three volume A Bibliography of Fishes , published in 1923, is considered his magnum opus. In recognition of the value of the work, the National Academy of Sciences awarded Dean the Daniel Giraud Elliot Medal.
I published a shot of the Deneysville motorbike museum before, here is a better view of the "back" part of the informal museum.
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/
:)