View allAll Photos Tagged Published
You can also find me on Instagram: tekapa_pictures
...
#Frankfurt#Germany#City#urban#cityphotography#urbanphotography#cityexplorer#exploringthecity#urbanexplorer#street#streetphotography#streetshot#blackandwhitephotography#blackandwhite#bw#bnw#blacknwhite#blackandwhitephoto#bwlover#bwlovers#tekapapics
©ALL RIGHTS RESERVED. My pictures may not be downloaded, copied, published, reproduced, uploaded, edited or used in any way without my written permission.
Many, many thanks to all who View, Comment, and or Favorite My Photos. It is greatly appreciated !!!
Cimino
Charles "The Flying Eagle Of Soul" Bradley
Secret Solstice Festival
June, 2015
Reykjavik, Iceland
© 2015 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
アサガオ ‘北京天壇’
ヒルガオ科 / サツマイモ属
Ipomoea nil (L.) Roth, 1797 ‘Tendan’
First published in Catal. Bot. 1: 36 (1797)
This species is accepted.
Confirmation Date: 08/25, 2023.
------------------------------------
Family: Convolvulaceae (APG IV)
------------------------------------
Authors:
Carl von Linnaeus (1707-1778)
Albrecht Wilhelm Roth (1757-1834)
-------------------------------------
Published In:
Catalecta Botanica 1: 36. 1797. (Catal. Bot.) Name publication detail
-------------------------------------
Annotation:as "Nil"
-------------------------------------
Distribution:Trop. & Subtrop. America
(13) grc (22) gha gui ivo nga sen sie (23) caf cmn con eqg ggi zai (24) cha eri eth soc sud (25) tan uga (26) zam zim (27) cpp nam nat (29) com mau mdg reu rod? sey (35) oma sau yem (36) chc chh chi chn chs cht (38) kor nns (40) ban ehm ind nep pak srl whm (41) cbd lao mya scs tha vie (42) jaw lsi mly mol phi sul sum xms (43) nwg (50) nta qld wau (60) nwc (76) cal (77) tex (78) ala fla lou nca 79 MXC MXE MXG MXN MXS MXT 80 BLZ COS ELS GUA HON NIC PAN 81 ARU BAH ber CUB DOM HAI JAM LEE NLA PUE TRT WIN 82 FRG GUY SUR VEN 83 BOL CLM ECU GAL PER 84 BZC BZE BZL BZN BZS 85 AGE AGW PAR URU
Lifeform:Cl. ther.
Original Compiler:George Staples
-------------------------------------
Homotypic Names:
Convolvulus nil L., Sp. Pl. ed. 2: 219 (1762).
Convolvuloides triloba Moench, Methodus: 452 (1794), nom. superfl.
Pharbitis nil (L.) Choisy, Mém. Soc. Phys. Genève 6: 439 (1833 publ. 1834)[Conv. Or.: 57]
-------------------------------------
Basionym/Replaced Synonym:
Convolvulus nil L., Sp. Pl. ed. 2: 219 (1762).
-------------------------------------
Heterotypic Synonyms:
Ipomoea hederacea Anon. in ?, non Jacq.
Convolvulus hederaceus L., Sp. Pl.: 154 (1753).
Ipomoea scabra Forssk., Fl. Aegypt.-Arab.: 44 (1775).
Convolvulus coelestis G.Forst., Fl. Ins. Austr.: 14 (1786).
Ipomoea scabra J.F.Gmel., Syst. Nat.: 345 (1791), nom. illeg.
Convolvulus dillenii Desr. in J.B.A.M.de Lamarck, Encycl. 3: 544 (1792).
Ipomoea bicolor Lam., Tabl. Encycl. 1: 465 (1793).
Convolvulus hederifolius Salisb., Prodr. Stirp. Chap. Allerton: 123 (1796), nom. superfl.
Ipomoea cuspidata Ruiz & Pav., Fl. Peruv. 2: 11 (1799).
Ipomoea caerulea Roxb. ex Ker-Gawl., Bot. Reg. 4: t. 276 (1818).
Ipomoea dillenii (Desr.) Roem. & Schult., Syst. Veg., ed. 15 bis 4: 227 (1819).
Convolvulus caeruleus (Roxb. ex Ker-Gawl.) Spreng., Syst. Veg., 1: 593 (1824).
Convolvulus peruvianus Spreng., Syst. Veg., 1: 593 (1824).
Ipomoea caerulea J.König ex Roxb., Fl. Ind. 2: 91 (1824), nom. illeg.
Ipomoea caerulescens Roxb., Fl. Ind. 2: 90 (1824).
Ipomoea setosa Blume, Bijdr.: 714 (1826), nom. illeg.
Convolvulus tomentosus Vell., Fl. Flumin.: 74 (1829), sensu auct.
Convolvulus scaber Colla, Herb. Pedem. 4: 204 (1835).
Pharbitis cuspidata (Ruiz & Pav.) G.Don, Gen. Hist. 4: 263 (1837).
Pharbitis dillenii (Desr.) G.Don, Gen. Hist. 4: 263 (1837).
Pharbitis forsskaolii G.Don, Gen. Hist. 4: 263 (1837).
Pharbitis purshii G.Don, Gen. Hist. 4: 163 (1837).
Pharbitis scabra (Colla) G.Don, Gen. Hist. 4: 263 (1837).
Pharbitis caerulea (Roxb. ex Ker-Gawl.) G.Don ex Sweet, Hort. Brit., ed. 3: 482 (1839).
Pharbitis caerulescens (Roxb.) Sweet, Hort. Brit., ed. 3: 482 (1839).
Convolvulus lindleyi Steud., Nomencl. Bot., ed. 2, 1: 409 (1840).
Convolvulus variifolius Steud., Nomencl. Bot., ed. 2, 1: 412 (1840).
Ipomoea trichocalyx Steud., Nomencl. Bot., ed. 2, 1: 819 (1840).
Pharbitis nil var. abbreviata Choisy in A.P.de Candolle, Prodr. 9: 343 (1845).
Pharbitis nil var. integrifolia Choisy in A.P.de Candolle, Prodr. 9: 343 (1845).
Pharbitis speciosa Choisy in A.P.de Candolle, Prodr. 9: 343 (1845).
Ipomoea githaginea Hochst. ex A.Rich., Tent. Fl. Abyss. 2: 65 (1850).
Pharbitis limbata Lindl., J. Hort. Soc. London 5: 33 (1850).
Ipomoea hederacea var. limbata (Lindl.) Benth., Fl. Austral. 4: 417 (1868).
Pharbitis albomarginata Lindl. ex Hook.f., Bot. Mag. 94: t. 5720 (1868), not validly publ.
Pharbitis nil var. limbata (Lindl.) Hook., Bot. Mag. 94: t. 5720 (1868).
Ipomoea longicuspis Meisn. in C.F.P.von Martius & auct. suc. (eds.), Fl. Bras. 7: 227 (1869), nom. superfl.
Ipomoea longicuspis var. brevipes Meisn. in C.F.P.von Martius & auct. suc. (eds.), Fl. Bras. 7: 227 (1869).
Ipomoea nil var. limbata (Lindl.) Meisn. in C.F.P.von Martius & auct. suc. (eds.), Fl. Bras. 7: 228 (1869).
Pharbitis albomarginata Lindl. ex Meisn. in C.F.P.von Martius & auct. suc. (eds.), Fl. Bras. 7: 228 (1869).
Ipomoea hederacea var. himalaica C.B.Clarke in J.D.Hooker, Fl. Brit. India 4: 200 (1883).
Ipomoea hederacea var. integrifolia (Choisy) C.B.Clarke in J.D.Hooker, Fl. Brit. India 4: 200 (1883).
Ipomoea githaginea var. inaequalis Beck in P.V.Paulitschke, Harrar Leipzig, App.: 458 (1888).
Ipomoea nil var. japonica Hallier f., Bot. Jahrb. Syst. 18: 137 (1893).
Ipomoea limbata (Lindl.) Voss, Vilm. Blumengärtn. ed. 3, 1: 710 (1895).
Ipomoea speciosa (Choisy) Voss, Vilm. Blumengärtn. ed. 3, 1: 711 (1895), nom. illeg.
Convolvulus setosus Hallier f., Bull. Herb. Boissier 5: 1048 (1897), nom. illeg.
Ipomoea nil var. setosa Boerl., Handl. Fl. Ned. Ind. 2: 511 (1899).
Ipomoea hederacea var. inaequalis Baker & Rendle in D.Oliver & auct. suc. (eds.), Fl. Trop. Afr. 4(2): 160 (1905).
Ipomoea vaniotiana H.Lév., Repert. Spec. Nov. Regni Veg. 9: 453 (1911).
Pharbitis nil var. japonica (Hallier f.) H.Hara, Enum. Spermatophytarum Japon. 1: 167 (1949).
Ipomoea nil var. inaequalis (Beck) Cufod., Bull. Jard. Bot. Natl. Belg. 39(Suppl.): XXX (1969).
Ipomoea hederacea var. paichou J.R.Wu, J. Guiyang Tradit. Chin. Med. Coll. 1979(1): 97 (1979).
Ipomoea nil var. himalaica (C.B.Clarke) S.C.Johri, J. Econ. Taxon. Bot. 5: 432 (1984).
Pharbitis nil var. paichou (J.R.Wu) J.R.Wu, Fl. Guizhouensis 6: 348 (1989), without basionym page.
-------------------------------------
Accepted By:
AFPD. 2008. African Flowering Plants Database - Base de Donnees des Plantes a Fleurs D'Afrique.
Austin, D. F., G. W. Staples & R. Simão-Bianchini. 2015. A synopsis of Ipomoea (Convolvulaceae) in the Americas: Further corrections, changes, and additions. Taxon 64(3): 625–633.
Baksh-Comeau, Y. S., Maharaj, C. D. Adams, S. A. Harris, D. Filer & W. Hawthorne. 2016. An annotated checklist of the vascular plants of Trinidad and Tobago with analysis of vegetation types and botanical ‘hotspots’. Phytotaxa 250: 1–431.
CONABIO. 2009. Catálogo taxonómico de especies de México. 1. In Capital Nat. México. CONABIO, Mexico City.
Carnevali, G., J. L. Tapia-Muñoz, R. Duno de Stefano & I. M. Ramírez-Morillo. 2010. Fl. Ilustr. Peníns. Yucatán 1–326. Centro de Investigación Científica de Yucatán, Mérida.
Correa A., M. D., C. Galdames & M. Stapf. 2004. Cat. Pl. Vasc. Panamá 1–599. Smithsonian Tropical Research Institute, Panamá.
Davidse, G., M. Sousa Sánchez, S. Knapp & F. Chiang Cabrera. 2012. Rubiaceae a Verbenaceae. 4(2): i–xvi, 1–533. In G. Davidse, M. Sousa Sánchez, S. Knapp & F. Chiang Cabrera (eds.) Fl. Mesoamer.. Missouri Botanical Garden, St. Louis.
Flora of China Editorial Committee. 1995. Flora of China (Gentianaceae through Boraginaceae). 16: 1–479. In C. Y. Wu, P. H. Raven & D. Y. Hong (eds.) Fl. China. Science Press & Missouri Botanical Garden Press, Beijing & St. Louis.
Forzza, R. C. 2010. Lista de espécies Flora do Brasil floradobrasil.jbrj.gov.br/2010. Jardim Botânico do Rio de Janeiro, Rio de Janeiro.
Funk, V. A., T. H. Hollowell, P. E. Berry, C. L. Kelloff & S. Alexander. 2007. Checklist of the plants of the Guiana Shield (Venezuela: Amazonas, Bolivar, Delta Amacuro; Guyana, Surinam, French Guiana). Contr. U.S. Natl. Herb. 55: 1–584. View in Biodiversity Heritage Library
Hammel, B. E. 2010. Convolvulaceae. En: Manual de Plantas de Costa Rica. Vol. V. B.E. Hammel, M.H. Grayum, C. Herrera & N. Zamora (eds.). Monogr. Syst. Bot. Missouri Bot. Gard. 119: 72–126.
Hokche, O., P. E. Berry & O. Huber. (eds.) 2008. Nuevo Cat. Fl. Vasc. Venez. 1–859. Fundación Instituto Botánico de Venezuela, Caracas.
Idárraga-Piedrahita, A., R. D. C. Ortiz, R. Callejas Posada & M. Merello. (eds.) 2011. Fl. Antioquia: Cat. 2: 9–939. Universidad de Antioquia, Medellín.
Jørgensen, P. M., M. H. Nee & S. G. Beck. (eds.) 2014. Cat. Pl. Vasc. Bolivia, Monogr. Syst. Bot. Missouri Bot. Gard. 127(1–2): i–viii, 1–1744. Missouri Botanical Garden Press, St. Louis.
Jørgensen, P. M., M. H. Nee, S. G. Beck & A. F. Fuentes Claros. 2015 en adelante. Catalogo de las plantas vasculares de Bolivia (adiciones).
Nasir, E. & S. I. Ali (eds). 1980-2005. Fl. Pakistan Univ. of Karachi, Karachi.
Nelson, C. H. 2008. Cat. Pl. Vasc. Honduras i–xxix, 31–1576. Secretaría de Recursos Naturales y Ambiente, Tegucigalpa.
Pérez J., L. A., M. Sousa Sánchez, A. M. Hanan-Alipi, F. Chiang Cabrera & P. Tenorio L. 2005. Vegetación terrestre. Cap. 4: 65–110. In J. Bueno, F Álvarez & S. Santiago (eds.) Biodivers. Tabasco. CONABIO-UNAM, México.
Schatz, G. E., S. Andriambololonera, P.P. Lowry II, P.B. Phillipson, M. Rabarimanarivo, J. I. Raharilala, F. A. Rajaonary, N. Rakotonirina, R. H. Ramananjanahary, B. Ramandimbisoa, A. Randrianasolo, N. Ravololomanana, C. M. Taylor & J. C. Brinda. 2020. Catalogue of the Plants of Madagascar.
Standley, P. C. & L. O. Williams. 1970. Convolvulaceae. In Standley, P. C. & L. O. Williams (eds.), Flora of Guatemala - Part IX. Fieldiana, Bot. 24(9): 4–85. View in Biodiversity Heritage Library
Stevens, W. D., C. Ulloa Ulloa, A. Pool & O. M. Montiel Jarquín. 2001. Flora de Nicaragua. Monogr. Syst. Bot. Missouri Bot. Gard. 85: i–xlii,.
Ulloa Ulloa, C., P. Acevedo-Rodríguez, S. G. Beck, M. J. Belgrano, R. Bernal González, P. E. Berry, L. Brako, M. Celis, G. Davidse, S. R. Gradstein, O. Hokche, B. León, S. León-Yánez, R. E. Magill, D.A. Neill, M. H. Nee, P. H. Raven, H. Stimmel, M. T. Strong, J. L. Villaseñor Ríos, J. L. Zarucchi, F. O. Zuloaga & P. M. Jørgensen. 2017. An integrated assessment of vascular plants species of the Americas. Science 358: 1614–1617 [Online Suppl. Materials: 1–23 + 1–2497], f. 1–4 [f. S1–5].
Ulloa Ulloa, C., P. Acevedo-Rodríguez, S. G. Beck, M. J. Belgrano, R. Bernal González, P. E. Berry, L. Brako, M. Celis, G. Davidse, S. R. Gradstein, O. Hokche, B. León, S. León-Yánez, R. E. Magill, D.A. Neill, M. H. Nee, P. H. Raven, H. Stimmel, M. T. Strong, J. L. Villaseñor Ríos, J. L. Zarucchi, F. O. Zuloaga & P. M. Jørgensen. 2018 [Onwards]. An integrated Assessment of Vascular Plants Species of the Americas (Online Updates).
Villaseñor Ríos, J. L. 2016. Checklist of the native vascular plants of Mexico. Catálogo de las plantas vasculares nativas de México. Revista Mex. Biodivers. 87(3): 559–902. epublication
Wood, J. R. I., P. Muñoz Rodríguez, B. R. M. B.R.M. Williams & R. W. Scotland. 2020. A foundation monograph of Ipomoea (Convolvulaceae) in the New World. PhytoKeys 143: 1–823.
Zuloaga, F. O., O. Morrone, M. J. Belgrano, C. Marticorena & E. Marchesi. (eds.) 2008. Catálogo de las plantas vasculares del Cono Sur. Monogr. Syst. Bot. Missouri Bot. Gard. 107(1–3): i–xcvi, 1–3348.
Grisebach, A.H.R. (1862). Convolvulaceae. Flora of the British West Indian Isands: 466-476. Lovell Reeve.
Meisner, C.F. (1869). Convolvulaceae. Flora Brasiliensis 7: 199-370.
Gray, A. (1878). Convolvulaceae. Synoptical Flora of North America, edit. 1 2(2): 207-224, 394.
Eggers, H.F.A. (1879). Convolvulaceae. The flora of St Croix and the Virgin Islands: 70-73. US Government Printing Office.
Boldingh, I. (1909). Convolvulaceae. Flora of the Futch West Indian Islands, vol. I: St. Eustatius, Saba, and St. Martin 1: 161-163. E.J. Brill.
Britton, N. (1918). Flora of Bermuda: 1-585. Charles Scribner's Sons, New York.
Standley, P. C. (1938). Convolvulaceae. Publications of Field Museum of Natural History, Botanical Series 18(3): 960-974.
Ooststroom, S.J. van & R.D. Hoogland (1953). Convolvulaceae. Flora Malesiana 4: 388-512. Noordhoff-Kolff N.V., Djakarta.
Hill, A.W. & Sandwith, N. (1953). Fl. Trinidad & Tobago Convolvs.. Flora of Trinidad and Tobago 2(4): 210-240. Government Printing Office, Port-of-Spain.
Andrews, F.W. (1956). Convolvulaceae. The Flowering Plants of the Sudan 3: 102-125. T.Buncle & co., LTD., Arbroath, Scotland.
Leon, H. & Alain, H. (1957). Convolvulaceae. Flora de Cuba 4: 218-248. Cultural S. A., La Habana.
O'Donell, C.A. (1959). Convolvuloideas de Uruguay. Lilloa 29: 349-376. Universidad Nacional de Tucuman, Instituto 'Miguel Lillo'.
Heine, H. (1963). Convolvulaceae. Flora of West Tropical Africa, second edition 2: 335-352 + 496. Crown Agents for Oversea Governments and Administrations.
Gooding, E.G.B. & A.R. Loveless (1965). Convolvulaceae. Flora of Barbados: 332-344. Her Majesty's Stationery Office.
Standley, P.C. & Williams, L.O. (1970). Convolvulaceae. Fieldiana Botany New Series 24 (9: 1,2): 4-85. Field Museum of Natural History.
Shinners, L. (1970). Convolvulaceae. Manual of the vascular plants of Texas: 1241-1261. Texas Research Foundation.
Wiggins, I.L. (1971). Convolvulaceae. Flora of the Galápagos Islands: 367-383. Stanford University Press.
Adams, C.D. (1972). Flowering Plants of Jamaica: 601-614. University of the West Indies, Mona.
Austin, D.F. (1975). Convolvulaceae. Annals of the Missouri Botanical Garden 62: 157-224.
Long, R. W. & O. Lakela (1976). Convolvulaceae. A flora of tropical Florida: 711-724. Banyan Books.
Verdcourt, B. (1978). Corrections and additions to the 'Flora of Tropical East Africa: Convolvulaceae': IV. Kew Bulletin 33: 159-168.
Austin, D.F. & S. Ghazanfar (1979). Convolvulaceae. Flora of West Pakistan 126: 1-64.
Powell, Dulcie A. (1979). The Convolvulaceae of the Lesser Antilles. Journal of the Arnold Arboretum 60: 219-271.
Austin, D.F. (1980). Rev. Handb. Fl. Ceylon Convolvulaceae. A Revised Handbook to the Flora of Ceylon 1: 288-363. Oxford & IBH Publishing Co. PVT. LTD., New Delhi, Calcutta.
Wiggins, I.L. (1980). Convolvulaceae. Flora of Baja California: 373-385. Stanford Univ. Press.
Austin, D. F. (1982). Flora of Ecuador 15: 3-99. Botanical Institute, University of Göteborg, Riksmuseum, Stockholm.
Austin, D.F. (1982). Convolvulaceae. Flora de Venezuela 8(3): 15-226. Fundación Educación Ambiental.
Austin, D.F. & Cavalcante, P.B. (1982). Convolvuláceas da Amazônia. Publicações Avulsas do Museo Goeldi 36: 1-134.
Austin, D.F. (1982). Convolvulaceae. Flora of the Bahama Archipelago: 1161-1190. J.Cramer, Vaduz.
Heine, H. (1984). Fl. Nouv. Caléd. & Dépend. Convolvulaceae. Flore de la Nouvelle-Calédonie et Dépendances 13: 1-91. Muséum National d'Histoire Naturelle, Paris.
Khan, M.S. (1985). Fl. Bangladesh Convolvulaceae. Flora of Bangladesh 30: 1-59. Bangladesh National Herbarium, Dhaka.
Gonçalves, M.L. (1987). Convolvulaceae. Flora Zambesiaca 8(1): 9-129. Royal Botanic Gardens, Kew.
Austin, D.F. (1990). Comments on southwestern United States Evolvulus and Ipomoea (Convolvulaceae). Madrono 37: 124-132.
Lejoly, J. & S. Lisowski (1992). Les genres Merremia et Ipomoea (Convolvulaceae) dans la Flore d'Afrique Centrale (Zaire, Rwanda, Burundi). Fragmenta Floristica et Geobotanica 37: 21-125.
Dempster, L. T. (1993). Convolvulaceae. The Jepson Manual, higher plants of Cilfornia: 516-522. Univ. California Press.
Barker, R.M. & Telford, I.R.H. (1993). Fl. Australia Oceanic Islds. Convolvs. Flora of Australia 50: 342-353. Australian Government Publishing Service, Canberra.
McPherson, G. [w/ D.F. Austin] (1993). Convolvulaceae. Catalogue of the Flowering Plants and Gymnosperms of Peru: 365-374. Missouri Botanical Garden, St. Louis.
Friedmann, F. (1994). Convolvulaceae. Flore des Seychelles Dicotylédones: 491-503. ORSTOM éditions.
Liogier, A.H. (1994). Convolvulaceae. La flora de la Española 6: 49-114. Universidad Central del Este.
Kartesz, J.T. (1994). Convolvulaceae. A synonymized checklist of the vascular flora of the United States, Canada, and Greenland: 217-221. Timber Press.
McDonald, Andrew (1994). Convolvulaceae. Flora de Veracruz 77: 1-133. Instituto Nacional de Investigaciones sobre Recursos Bióticos, Xalapa, Veracruz.
Fang, R.-Z. & Staples, G. (1995). Convolvulaceae. Flora of China 16: 271-325. Missouri Botanical Garden Press, St. Louis.
Austin, D.F. & Huáman, Z. (1996). A synopsis of Ipomoea (Convolvulaceae) in the Americas. Taxon 45: 3-38.
Austin, D.F. (1997). Convolvulaceae. Checklist of the Plants of the Guianas (Guyana, Surinam, Franch Guiana): 87-88. University of Guyana, Georgetown.
Wood, J.R.I. (1997). Handb. Yemen Fl. Convolvulaceae. A Handbook of the Yemen Flora: 230-236. The Board of Trustees of the Royal Botanic Gardens, Kew.
Austin, D.F. (1998). Convolvulaceae. Flora of the Venezuelan Guayana 4: 377-424. Missouri Botanical Garden, St. Louis.
Mill, R.R. (1999). Fl. Bhutan Convolvulaceae. Flora of Bhutan 2(2): 834-862. Royal Botanic Gardens, Edinburgh.
Balick, M.J., Nee, M.H. & Atha, D.E. (2000). Checklist of the Vascular Plants of Belize with Common Names an Uses: i-x, 1-246. New York Botanic Garden Press, New York.
Meeuse, A.D.J. & W.G. Welman (2000). Convolvulaceae. Flora of Southern Africa 28: 1-138. Botanical Research Institute, Department of Agriculture.
Bosser, J. & H. Heine (2000). Fl. Mascar. Convolvulaceae. Flore des Mascareignes 127: 1-63. IRD Éditions, MSIRI, RBG-Kew, Paris.
Liogier, H.A. & L.F. Martorell (2000). Convolvulaceae. Flora of Puerto Rico and Adjacent Islands: a Systematic Synopsis: 162-167. Editorial de la Universidad de Puerto Rico, San Juan.
Deroin, T. (2001). Convolvulaceae. Flore de Madagascar et des Comores (Plantes Vasculaires) 171: 11-287. Typographie Firmin-Didot et Cie., Paris.
Alfarhan, A. & Thomas, J. (2001). Saudi Arabian CNV + CUS. Flora of the Kingdom of Saudi Arabia 2(2): 156-222. Ministry of Agriculture & Water, Riyadh.
Austin, D.F. (2001). Convolvulaceae. Flora de Nicaragua 1: 653-679. Missouri Botanical Garden Press, St. Louis.
Subba Rao, G.V. & G.R. Rao (2002). Convolvulaceae. Flora of Visakhapatnam District, Andhra Pradesh 1: 549-574. Botanical Survey of India.
Lee, Yong No (2002). Convolvulaceae. Flora of Korea 1: 652-656. Kyo-Hak Publ. Co., Ltd..
Kress, W.J., R.A. DeFilipps, E. Farr, & Y.Y. Kyi (2003). Cklist. Myanmar Convolvulaceae. Checklist of the Trees, Shrubs, Herbs, and Climbers of Myanmar: 197-201. National Museum of Natural History, Washington DC..
Miller, A.G. & M. Morris (2004). Ethnofl. Soqotra Archipel. Convolvulaceae + Cuscutaceae. Ethnoflora of the Soqotra Archipelago: 516-524. Royal Botanic Garden Edinburgh.
Hedberg, I., Kelbessa, E., Edwards, S., Demissew, S. & Persson, E. (eds.) (2006). Flora of Ethiopia and Eritrea 5: 1-690. The National Herbarium, Addis Ababa University, Ethiopia & The Department of Systematic Botany, Upps.
Staples, G. & Jarvis, C.E. (2006). Typification of Linnaean plant names in Convolvulaceae. Taxon 55: 1019-1024.
Jarvis, C.E. (2007). Convolvulaceae. Order out of Chaos. Linnean Soc. London & Nat. Hist. Museum.
Carranza, E. (2007). Convolvulaceae I, in Fl. Bajío. Flora del Bajío y de regiones adyacentes 151: 1-129.
Austin, D. F. & M. Costea (2008). Convolvulaceae. Catálogo de las plantas vascualres del Cono Sur 2: 1936-1966. Missouri Bot. Garden.
Lisowski, S. (2009). Convolvulaceae. Flore (Angiospermes) de la République de Guinée: 136-145. Jardin Botanique National de Belgique.
Staples, G. (with P. Traiperm) (2010). Convolvulaceae. Flora of Thailand 10: 330-468. The Forest Herbarium, National Park, Wildlife and Plant Conservation Department, Bangkok.
Bianchini, R.S., Ferreira, P.P.A. (2010). Convolvulaceae. Lista de Espécies da Flora do Brasil. Jardim Botânico do Rio de Janeiro.
Idárraga-Piedrahita, A., Ortiz, R.D.C., Callejas Posada, R. & Merello, M. (eds.) (2011). Flora de Antioquia: Catálogo de las Plantas Vasculares 2: 1-939. Universidad de Antioquia, Medellín.
Bhellum, B.L. & Magotra, R. (2011). Flora of Jammu and Kashmir state (family Convolvulaceae): a census. Journal of Economic and Taxonomic Botany 35: 732-736.
Garcia-Mendoza, A.J. & Meave, J.A. (eds.) (2012). Diversidad florística de Oaxaca: de musgos a angiospermas (colecciones y listas de especies) , ed. 2: 1-351. Instituto de Biología, Universidad Nacional Autónoma de México.
Acevedo-Rodríguez, P. & Strong, M.T. (2012). Catalogue of seed plants of the West Indies. Smithsonian Contributions to Botany 98: 1-1192.
Johnson, R.W. (2012). Convolvulaceae. Australian Plant Census. Council of Heads of Australian Herbaria.
Press, J.R., K.K. Shrestha, & D.A. Sutton (2012). Nepal Cklist. Convolvulaceae. Annotated Checklist of the Flowering Plants of Nepal - online. Natural History Museum et al..
Spaulding, D. (2013). Convolvulaceae. Checklist of Alabama's vascular flora: 137-139.
Brundu, G. & Camarda, I. (2013). The Flora of Chad: a checklist and brief analysis. PhytoKeys 23: 1-18.
Chang, C.S., Kim, H. & Chang, K.S. (2014). Provisional checklist of vascular plants for the Korea peninsula flora (KPF): 1-660. DESIGNPOST.
Velayos, M., Barberá, P., Cabezas, F.J., de la Estrella, M., Fero, M. & Aedo, C. (2014). Checklist of the vascular plants of Annobón (Equatorial Guinea). Phytotaxa 171: 1-78.
Carranza, E. (2015). Flora del Valle de Tehuacán-Cuicatlán 135: 1-128. Instituto de Biología, Universidad Nacional Autónoma de México.
Darbyshire, I., Kordofani, M., Farag, I., Candiga, R. & Pickering, H. (eds.) (2015). The Plants of Sudan and South Sudan: 1-400. Kew publishing, Royal Botanic Gardens, Kew.
Wood, J.R.I., Carine, M.A., Harris, D., Wilkin, P., Williams, B. & Scotland, R.W. (2015). Ipomoea (Convolvulaceae) in Bolivia. Kew Bulletin 70(31): 1-124.
Vladimirov, V. & al. (2016). New floristic records in the Balkans: 29. Phytologia Balcanica 22: 93-123.
Staples, G. (2018). Flore du Cambodge du Laos et du Viêt-Nam 36: 1-406. Muséum National d'Histoire Naturelle, Paris.
Balkrishna, A. (2018). Flora of Morni Hills (Research & Possibilities): 1-581. Divya Yoga Mandir Trust.
Wood, J.R.I., Muñoz-Rodríguez P., Williams, B.R.M., Scotland, R.W. (2020). A foundation monograph of Ipomoea (Convolvulaceae) in the New World. PhytoKeys 143: 1-823.
-------------------------------------
The diameter of the flower is about φ4 cm and it is a very cute flower.
花の直径はφ4cm ほどの大変可愛らしい花です。
SONY α7 ILCE-7
Minolta AF MACRO 100mm F2.8
Charles "The Flying Eagle Of Soul" Bradley
Secret Solstice Festival
June, 2015
Reykjavik, Iceland
© 2015 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
Found out today that I have an image in narrow gauge world as a centre spread.
First lockdown steam and an image published, happy with that.
Hopefully many more to come
Last night the Deleteme Uncensored group on Flickr published our first group book together, Save 10, The Lightbox Collection. The 80 page 8x10 landscape format photography book features 75 photographic plates by 40 different DMU photographers. All of the photographs included in the book were voted by the group into the Lightbox and include a wide range of photographic subjects, genres and styles. Two of my own photographs are included in the book. This is the first time that I've published any of my own work in a book before.
The book is self published through Blurb publishing company. We are selling the book at cost to anyone who would like to buy a copy. Soft cover copies are $24.95 and hardcovers are $35.99 and $37.99 depending on whether or not you want a dust jacket cover or an image wrapped cover. You can see a preview of some of the pages of the book as well as order a copy of the book here.
This project was personally exciting for me to be involved in for a number of reasons. DMU is where I consider my home on Flickr. The photographs included in the group were first culled out by the group through the voting process and then further refined down to choices made by the photographers themselves. Most significantly though, I like the new democratic direction in general that fine art photography is taking with self publishing. 10 years ago an effort of this scope would have involved a large outlay of money up front in order to see the project completed. I'm also excited about being able to self publish future volumes of work like this in the future. This is the first volume of what I hope will be others to follow.
Thanks to all of the DMU photographers who participated in this book and a special thanks to Ivan Makarov, who did most of the work on putting the book together.
The third year I have had a photo highly commended in the British Wildlife Photography Awards (BWPA) appearing in both the exhibition and book.
A female red deer (hind) in Bushy Park during a previous rutting season.
I like the Zoom Compression here.
This view has triple focal range, the foreground, the mid-foreground where the treeline is standing against a stark contrast of the third and final focal range, the background with the bluish haze at the horizon over the snowy hills. Shot from the side of the road, Handheld with a CPL.
Image here is in 4K resolution. This image is also available in 8K resolution.
Winter 2018.
Lopatcong, New Jersey
Nikon D850, f/9, 1/400, ISO 160, 210.0 mm
© Norman Zeb Photography - All rights reserved
This image may not be copied or used in any manner, reproduced, published or distributed in any medium without the express written permission of the copyright holder.
Copyright (c) 2018 Norman Zeb
Published in Penguin Books 1962.
Reprinted 1963,1965.
This reprint published in Penguin in 1966.
Cover design by Alan Aldridge/Dennis Rolfe.
Published in 1983, this book by Von Arx, teaching alongside Wolfgang Weingart and Armin Hofmann at the Basel School of design, instructs on the use of design in film.
Published in American Home Magazine. Karpen advertised their furniture in House Beautiful, American Home, and other shelter magazines during the 1920s. This eclectic living room has some decidedly Deco elements like the streamlined furniture shapes and especially the upholstery of the chair in the foreground. This is very "modern" for Karpen which generally tended to show more traditional furnishings. It uses a tetrad of muted red, purple, yellow, and green ... a very sophisticated color scheme.
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
My letter to the editor ("Cleverland Rocks, right side of the image) was published by the Globe and Mail today! :D
It's become a national sport (or complaint) in recent months to talk about the crazily exuberant housing market in Canada (and many countries around the world). To give you an example, the very home that I'm writing this from now, the price in 2021 is six to seven times that of 1999. Yep, in just 22 years. A 20% downpayment in 2021 is more money than the entire house back in 1999. Despite that, I, for one, is no fan of this real estate craze. But I digress. The other day, a business news columnist has suggested that Canadians look to the U.S. for affordable homes.
I've been saying that many American cities not far from Toronto are actually quite attractive places to live. Of course, for Canadians moving to the U.S. isn't anything like a Frenchman moving to Italy or a Spaniard moving to Denmark. The Canada-USA-Mexico free trade agreement doesn't allow free movement of people and there is no open border. A formal immigration application and approval is required; finding a job in the USA as a Canadian is not easy; and the lack of state-funded healthcare in the U.S. is a major deterrent to any Canadian not used to having to "pay" for a visit to the doctor.
Published on the number of November 2008 of the Italian magazine "Fotografare".
Pubblicata sul numero di novembre della rivista "Fotografare".
Stonecutter's Bridge, Hong Kong
My first magazine published pics! This image is the poster picture in the March issue of Maxi-Tuning. Special thanks to the owner for supplying the car and my friend Cano for making it happen.
A few days ago IMPOSTOR (SLIDE #2) by Jill Hathaway was published with my photo on the cover, AND she sent me the book! Things like these make me feel like I'm living a dream!
Check it out on Goodreads:
www.goodreads.com/book/show/13423265-impostor
Also, a thousand apologies for the lack of updates, I'm working on getting my portfolio together, finding an internship abroad at a creative agency or magazine and I'm editing some images right now! Expect more activity from now on! Hope everyone is doing well, and thank you so much for all the support. I miss you ♥
Me han publicado una foto en esta revista.... (página 19)
One of my shots has been published in a magazine... (page 19)
Published in Whim Online Magazine! You can see our images on pages 6-15 with an interview on pages 16-17! issuu.com/whimonlinemagazine/docs/whim_issue_9
See more in my blog here: clickedbytom.tumblr.com/post/111300415549/dryad | thomascolesimmondsphotography.blogspot.co.uk/2015/02/drya...
See the full set on my website at www.tomsimmonds.com/book1 | www.tomsimmonds.com/dryad
Model/Make-up: Bethan Wright @ Leni's Model Management
Photography/Styling: Thomas Cole Simmonds
-----
© Thomas Cole Simmonds. All rights reserved. My images may not be used without my permission.
My Website: www.tomsimmonds.com/
Facebook: www.facebook.com/pages/ThomasColeSimmonds
Flickr: www.flickr.com/photos/tomsimmonds/
Twitter: twitter.com/tom_simmonds
Léontine is a published novelist ...
Léontine was scrapping by, working as a Ghost Writer for others when Lillian 'discovered' her and invited her to come live in BlytheTowers. (Lillian had only recently established BlytheTowers as a sort of 'artist's community' - where talented Blythe dolls can be supported while they establish their careers).
Her first novel was a great success but Léontine suffered from a dose of 'writer's block' when she started on her 2nd novel. No sign of any problems now that 2nd novel is at the publishers' - indeed Léontine is overflowing with great ideas for her next book.
September 2019
© All Rights Reserved. This image may not be copied, reproduced, published or distributed in any medium without the expressed written permission of the copyright holder.
PLEASE DO NOT USE MY PHOTOS ON BLOGS, PINTEREST OR IN ANY OTHER WAY
Hi,was going to up-load these when Springwatch was on the TV,but a local lightning strike in one of the storms took out my router! :-(..............................I had gone too one of my regular Buzzard spotting places,luckly for me there were two flying at low level for a short time.I was under a tree for cover!
I created a series of flower characters for a book titled Blossom Buddies, published by teNeues in 2009. The book includes 100 blossom buddies.
All photographs in my gallery may not be reproduced, copied, edited, published, transmitted or uploaded in any way without my written permission.
Photo published in April 2012 Best Magazine Shoot, two males vying for a female, while a dragonfly hovers over them.
Foto publicada na edição de Abril de 2012 da Revista Fotografe Melhor, dois machos disputam uma fêmea, enquanto uma libélula paira sobre eles.
The Postcard
A postally unused postcard that was published by the Smith Novelty Co. of 460, 9th. Street, San Francisco, California.
The card was printed by the Dexter Press of West Nyack, New York.
On the divided back of the card is printed the following:
'Double Exposure.
A panoramic view of San
Francisco's principal tourist
attractions, from a painting
by San Francisco artist
Homer Ansley.'
Coit Memorial Tower
Note the tower on the right.
Coit Tower (also known as the Coit Memorial Tower) is a 210-foot (64 m) tower in the Telegraph Hill neighborhood of San Francisco, overlooking the city and San Francisco Bay.
The tower, in the city's Pioneer Park, was built between 1932 and 1933 using Lillie Hitchcock Coit's bequest to beautify the city of San Francisco. It was added to the National Register of Historic Places on January 29, 2008.
The Art Deco tower, built of unpainted reinforced concrete, was designed by architects Arthur Brown Jr. and Henry Temple Howard. The interior features fresco murals in the American Social Realism style, painted by 25 different onsite artists and their numerous assistants, plus two additional paintings installed after creation offsite.
The structure was dedicated to the volunteer firemen who had died in San Francisco's five major fires. A concrete relief of a phoenix by sculptor Robert Boardman Howard is placed above the main entrance. It was commissioned by the architect and cast as part of the building.
Although an apocryphal story claims that the tower was designed to resemble a fire hose nozzle due to Coit's affinity with the San Francisco firefighters of the day, the resemblance is coincidental.
The San Francisco Cable Car System
The iconic San Francisco cable car system is the world's last manually operated cable car system. Of the 23 lines established between 1873 and 1890, only three remain: two routes from downtown near Union Square to Fisherman's Wharf, and a third route along California Street.
While the cable cars are used to a certain extent by commuters, the vast majority of their seven million annual passengers are tourists, and as a result, the wait to get on can often reach two hours or more.
The San Francisco Cable Car System is owned by the San Francisco Municipal Transportation Agency whose headquarters are at the San Francisco Cable Car Museum.
The system serves the areas of Chinatown, the Financial District, Fisherman's Wharf, Nob Hill, Russian Hill, and Union Square. The track gauge is 3 ft 6 in (1,067 mm), and the cars' top speed is 9.5 mph (15.3 km/h).
The system has 62 stations with a daily ridership (1914) of 20,100 and an annual ridership (1914) of 7,409,400.
There are three lines:
-- Line 59 - Powell-Mason
The Powell-Mason Line (shown in the artwork) began operation in 1888. It is 1.6 mi (2.6 km) long.
-- Line 60 - Powell-Hyde
The Powell-Hyde Line began operation in 1957. It is 2.1 mi (3.4 km) long. Powell-Mason/Hyde lines run 28 single-ended cars.
-- Line 61 - California Street
The California Street Line began operation in 1878. It is 1.4 mi (2.3 km) long, and runs 12 double-ended cars.
The Early Beginnings of the System
In 1869, Andrew Smith Hallidie had the idea for a cable car system in San Francisco, reportedly after witnessing an accident in which a streetcar drawn by horses over wet cobblestones slid backwards, killing the horses.
The first successful cable-operated street running train was the Clay Street Hill Railroad, which opened on the 2nd. August 1873. The promoter of the line was Hallidie, and the engineer was William Eppelsheimer. The line involved the use of grip cars, which carried the grip that engaged with the cable. The term 'grip' became synonymous with the operator.
The line started regular service on the 1st. September 1873, and its success led it to become the template for other cable car systems. It was a financial success, and Hallidie's patents were enforced on other cable car promoters, making him wealthy.
Expansion of the System
The next cable car line to open was the Sutter Street Railway, which converted from horse operation in 1877. This line introduced the side grip and lever operation, both designed by Henry Casebolt and his assistant Asa Hovey, and patented by Casebolt. This idea came about because Casebolt did not want to pay Hallidie royalties of $50,000 a year for the use of his patent. The side grip allowed cable cars to cross at intersections.
In 1878, Leland Stanford opened his California Street Cable Railroad (Cal Cable). This company's first line was on California Street and is the oldest cable car line still in operation. In 1880, the Geary Street, Park & Ocean Railway began operation. The Presidio and Ferries Railway followed two years later, and was the first cable company to include curves on its routes. The curves were "let-go" curves, in which the car drops the cable and coasts around the curve on its own momentum.
In 1883, the Market Street Cable Railway opened its first line. This company was controlled by the Southern Pacific Railroad and grew to become San Francisco's largest cable car operator. At its peak, it operated five lines, all of which converged on Market Street to a common terminus at the Ferry Building. During rush hours, cars left that terminus every 15 seconds.
In 1888, the Ferries and Cliff House Railway opened its initial two-line system. The Powell–Mason line is still operated on the same route today; their other route was the Powell–Washington–Jackson line, stretches of which are used by today's Powell–Hyde line.
The Ferries & Cliff House Railway was also responsible for the building of a car barn and powerhouse at Washington and Mason, and this site is still in use today. In the same year, it also purchased the original Clay Street Hill Railway, which it incorporated into a new Sacramento–Clay line in 1892.
In 1889, the Omnibus Railroad and Cable Company became the last new cable car operator in San Francisco. The following year the California Street Cable Railroad opened two new lines, these being the last entirely new cable car lines built in the city. One of them was the O'Farrell–Jones–Hyde line, the Hyde section of which still remains in operation as part of the current Powell–Hyde line.
In all, twenty-three lines were established between 1873 and 1890.
The Decline of the System
The first electric streetcars in San Francisco began operation in 1892 under the auspices of the San Francisco and San Mateo Electric Railway. At that time, it was estimated that it cost twice as much to build and six times as much to operate a line with cable cars as with electric streetcars.
By the beginning of 1906 many of San Francisco's remaining cable cars were under the control of the United Railroads of San Francisco (URR). URR was pressing to convert many of its cable lines to overhead electric traction, but this was met with resistance from opponents who objected to what they saw as ugly overhead lines on the major thoroughfares of the city centre.
Those objections disappeared after the 1906 San Francisco earthquake. The quake and resulting fire destroyed the power houses and car barns of both the Cal Cable and the URR's Powell Street lines, together with the 117 cable cars stored within them. The subsequent race to rebuild the city allowed the URR to replace most of its cable car lines with electric streetcar lines. At the same time the independent Geary Street line was replaced by a municipally owned electric streetcar line – the first line of the San Francisco Municipal Railway (Muni).
By 1912, only eight cable car lines remained, all with steep gradients impassable to electric streetcars. In the 1920's and 1930's, these remaining lines came under pressure from the much improved buses of the era, which could now climb steeper hills than the electric streetcar. By 1944, the only cable cars remaining were the two Powell Street lines – by then under municipal ownership, as part of Muni – and the three lines owned by the still-independent Cal Cable.
The Fight to Remain Open
In 1947, Mayor Roger Lapham proposed the closure of the two municipally owned lines. In response, a joint meeting of 27 women's civic groups, led by Friedel Klussmann, formed the Citizens' Committee to Save the Cable Cars.
In a famous battle of wills, the Citizens' Committee eventually forced a referendum on an amendment to the city charter, compelling the city to continue operating the Powell Street lines. This passed overwhelmingly, by 166,989 votes to 51,457.
In 1951, the three Cal Cable lines were shut down when the company was unable to afford insurance. The city purchased and reopened the lines in 1952, but the amendment to the city charter did not protect them, and the city proceeded with plans to replace them with buses. Again Klussmann came to the rescue, but with less success.
The result was a compromise that formed the current system: a protected system made up of the California Street line from Cal Cable, the Powell-Mason line already in municipal ownership, and a third hybrid line formed by grafting the Hyde Street section of Cal Cable's O'Farrell-Jones-Hyde line onto a truncated Powell-Washington-Jackson line, now known as the Powell-Hyde line.
Rebuilding the System
By 1979, the cable car system had become unsafe, and it needed to be closed for seven months for urgently needed repairs. A subsequent engineering evaluation concluded that it needed comprehensive rebuilding at a cost of $60 million.
Mayor Dianne Feinstein took charge of the effort, and helped win federal funding for the bulk of the rebuilding job. In 1982 the cable car system was closed again for a complete rebuild. This involved the complete replacement of 69 city blocks' worth of tracks and cable channels, the complete rebuilding of the car barn and powerhouse within the original outer brick walls, new propulsion equipment, and the repair or rebuild of 37 cable cars.
The system reopened on the 21st. June 1984, in time to benefit from the publicity that accompanied San Francisco's hosting of that year's Democratic National Convention.
Recent History of the System
Since 1984, Muni has continued to upgrade the system. Work has included rebuilding of another historical car, the building of nine brand new replacement cars, the building of a new terminal and turntable at the Hyde and Beach terminus, and a new turntable at the Powell and Market terminus.
The cable cars are principally used by tourists rather than commuters. The two lines on Powell Street (Powell-Hyde and Powell-Mason) both serve only residential and tourist/shopping districts (Union Square, Chinatown, North Beach, Nob Hill, Aquatic Park and Fisherman's Wharf), with the 'downtown' end of both lines a substantial distance from the Financial District. The California Street Line is used more by commuters, due to its terminus in the Financial District.
Fraud
In 2006, the then-mayor Gavin Newsom reported that he had observed several conductors pocketing cash fares from riders without receipt. The following year, the San Francisco auditor's office reported that the city was not receiving the expected revenue from the cable cars, with an estimated 40% of cable car riders riding for free.
Muni's management disputed this figure, and pointed out that safe operation, rather than revenue collection, is the primary duty of conductors. In 2017, after an audit showing that some conductors were consistently turning in low amounts of cash and a sting operation, one conductor was arrested on charges of felony embezzlement.
Safety
Among US mass transportation systems, the cable cars have the most accidents per year and per vehicle mile, with 126 accidents and 151 injuries reported in the 10 years ending in 2013. In the three years ending in 2013 the city paid some $8 million to settle four dozen cable car accident claims.
During the COVID-19 pandemic, the system was shut down to protect operators from infection, as cable cars do not offer a compartment separating them from passengers.
Cables and Grip
The cable cars are pulled by a cable running below the street, held by a grip that extends from the car through a slit in the street surface, between the rails. Each cable is 1.25 inches (3.2 cm) in diameter, running at a constant speed of 9.5 miles per hour (15.3 km/h), and driven by a 510 horsepower (380 kW) electric motor located in the central power house.
Each cable has six steel strands, with each strand containing 19 wires, wrapped around a sisal rope core (to allow easier gripping). The cables are coated with a tar-like material which serves as a sacrificial lubricant - much like a pencil eraser erodes away rather than the paper.
To start and stop the movement of the car, the gripman closes and opens the grip around the cable. The grip's jaws exert a pressure of up to 30,000 pounds per square inch (210,000 kPa) on the cable. Due to wear and tear, a grip's dies have to be replaced after three days of usage.
There are four separate cables: one 16,000-foot (4,900 m) length and one 10,300-foot (3,100 m) length for the Hyde and Mason segments, a 9,300-foot (2,800 m) length for their common Powell section, and one 21,000-foot (6,400 m) length for the California Street line.
Brakes
Apart from the cable itself (which exerts a braking force when going downhill), the cable cars use three separate braking systems:
- Metal brake shoes on the wheels, which the gripman operates via a pedal. (On the Powell-Mason line, they can also be activated by the conductor, via a lever at the back of the car.)
- Wooden brake blocks pressed against the track when the gripman pulls a lever. The four blocks are made of Douglas fir (pine) and can produce a smell of burning wood when in operation. They have to be replaced after just a few days.
- An emergency brake consisting of a piece of steel, around 1.5 inches thick and 18 inches long, suspended beneath the car and pushed into the track slot when the gripman pulls a lever. It wedges tightly into the slot and often has to be removed with a welding torch.
The Network
The Powell-Hyde and Powell-Mason lines use single-ended cars, which must be looped or turned around like a bus at the end of the line; the single-ended cable cars use manual non-powered turntables to rotate the car. In the photograph you can see the conductor pulling the end of car in order to rotate it.
There are three street turntables to do this, one at the end of each of the three terminals: at Market & Powell Streets, Taylor & Bay Streets, and Hyde & Beach Streets, with a fourth turntable located inside the car barn on Washington and Jackson Streets.
The California street cable-cars use double-ended cars with grip levers at both ends which are operated in each direction without the cars needing to be turned at the ends of the line.
The system starts operating at 5:32 am each day and shuts down at 1:30 am.
Fares and Revenues
As of the 1st. January 2020, riding a cable car costs $8 for a single ride, except for seniors riding before 7am or after 9pm when the senior fare is $4. In the 1960's, the fare for a single ride was 15 cents.
By 2017, the San Francisco Chronicle described the cable cars as a 'cash cow' for Muni, yielding a yearly revenue of around $30 million.
Published today at the Philippine Daily Inquirer Lifestyle page is the launching of ManilaArt2011.
My friend/contact Mr. Elmer Borlongan's Batang Edsa is the official artwork to this event.
Best known as emong in the Flickr World.
Congratulations po!