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The National Orchid Garden has the world's largest collection of orchids, and is part of Singapore Botanical Gardens' orchid breeding program, with a repository of one thousand species and two thousand hybrids.
I found this old framed photo in a junk shop in the Brecon Beacons. I had no clue as to where or when it was taken, but John Wilson soon solved the mystery! On the back it says it was framed by Fred Loversidge, at the Werneth Art Repository, Oldham. About 100 years old, I think. Wish I'd taken this shot.
Taken at Sunny's Photo Studio maps.secondlife.com/secondlife/Sunny%20Photo%20Studio/128...
Backdrop- "Casual Chair"
Fairchild Garden is a repository for endangered plants from Madagascar. Without the garden's help, these extraordinary beauties would disappear from the Earth.
To meet the needs of these strange spiny visitors, Fairchild gardeners have modified the soil and mounded up tons of small stones to enhance drainage here in the tropics where we get many times more rain than in their native land.
It's one of my favorite spots in the garden. Bizarre. Other worldly. Unique. Extremely photogenic! See my set, Fairchild Tropical Botanic Garden for many more exotics!
Euphorbia viguieri
Fairchild Tropical Botanic Gardens, Miami, FL
Xylocopa (Latreille, 1802) in my garden. La Ceja, Colombia.
The species of the genus Xylocopa are big bees, robust, hairy, with coloration from black to blue or metallic green in females and yellow in males of many species.
The name “carpenter bees” is mainly associated to Xylocopini, because they excavate their galleries within hard and usually dead wood, excepting the palearctic subgenus Proxylocopa.
They arepolilectic bees, that is, they visit a great variety of plants. Their provisions consist of a compact and dry mixture of pollen.
repository.humboldt.org.co/bitstream/handle/20.500.11761/...
Source: Scan of an original postcard.
Date: Unknown.
Postmark: Unused.
Publisher: Astors?
Repository: From the collection of Mr T. Midwinter.
Used here by his very kind permission.
Source: Scan of an original postcard.
Album: MID01.
Date: 1910s.
Postmark: 18th July 1914.
Photographer: William Hooper, Swindon.
(HOOPER COLLECTION COPYRIGHT P.A. Williams)
Repository: From the collection of Mr Tim Midwinter (MID01).
Local Studies at Swindon Central Library.
Source: Scan of an original postcard.
Set: MID01.
Date: 1920s.
Postmark: 19th April 1924.
Photographer/publisher: Unknown.
Repository: Mr T. Midwinter.
Local Studies at Swindon Central Library.
The northeastern community, established since the early Buddhist era, has created its own unique artistic style that is different from other types of indigenous architecture. The art became known as the art of Lan Chang.
Muang Boran has constructed this particular scripture repository and wihan in Lan Chang style in order to demonstrate the unique artistic features of Lan Chang art. The extraordinary architectural style and design of the buildings are worth studying. The local architecture is ordinarily made of wood, the material often used by northeastern craftsmen. These architectures can hardly be seen today.
Source: Scan of an original postcard.
Set: MID01.
Date: Unknown.
Postmark: Unused.
Repository: From the collection of Mr Tim Midwinter.
Local Studies at Swindon Central Library.
Kukulkaleidoscopes is a project of:
www.flickr.com/photos/cgkukulka/
DO NOT copy, reproduce or use my images/photos without my permission.
A lot of dilapidated country barns hold one man's junk and another man's treasure as evidenced by this failing structure that serves as a parking spot for an old pickup and a cream separator and if you dared to venture further there is probably more items inside. Older people hold memories of how things were in the past and the wise younger person quietly draws them out.
There are containers similar to this one dotted all over the country and this is where all your used Thoughts and forgotten Memories go when they leave your consciousness. They peel away from you and quickly find their way to one of these repositories, where they wait a while just-in-case you might need them again soon.
After a suitable amount of time, all of the Memories are separated out, labelled and sent to a nearby underground storage bunker, while the Thoughts are piped to smaller, porous containers where they are allowed to dissipate naturally into the aether. When appropriate, the stored Memories of the recently deceased are processed and released to join the Thoughts in said fifth element.
––
Usual caveats etc.
One of the notable landmarks in Washington DC is the Library of Congress, which is a vast repository of books and resources. The library is a great place for reading and research, with its impressive architecture and iconic dome.
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Xylocopa (Latreille, 1802) in my garden. La Ceja, Colombia.
The species of the genus Xylocopa are big bees, robust, hairy, with coloration from black to blue or metallic green in females and yellow in males of many species.
The name “carpenter bees” is mainly associated to Xylocopini, because they excavate their galleries within hard and usually dead wood, excepting the palearctic subgenus Proxylocopa.
They arepolilectic bees, that is, they visit a great variety of plants. Their provisions consist of a compact and dry mixture of pollen.
repository.humboldt.org.co/bitstream/handle/20.500.11761/...
The Library of Congress Ambridge Pennsylvania 1938
I claim no rights other than colorizing this image if you wish to use let me know and always give due credit to The Library of Congress. I have no commercial gain in publishing this image.
Title
Ambridge, Pennsylvania. Scene in the alley on the east side of town
Contributor Names
Rothstein, Arthur, 1915-1985, photographer
Created / Published
1938 July.
Subject Headings
- United States--Pennsylvania--Ambridge
Headings
Nitrate negatives.
Genre
Nitrate negatives
Notes
- Title and other information from file print.
- Transfer; United States. Office of War Information. Overseas Picture Division. Washington Division; 1944.
- More information about the FSA/OWI Collection is available at hdl.loc.gov/loc.pnp/pp.fsaowi
Medium
1 negative : nitrate ; 35 mm.
Call Number/Physical Location
LC-USF33- 002842-M3 [P&P] LOT 1339 (corresponding photographic print)
Source Collection
Farm Security Administration - Office of War Information Photograph Collection (Library of Congress)
Repository
Library of Congress Prints and Photographs Division Washington, DC 20540 USA hdl.loc.gov/loc.pnp/pp.print
Digital Id
fsa 8a10018 //hdl.loc.gov/loc.pnp/fsa.8a10018
Library of Congress Control Number
2017723819
Reproduction Number
LC-USF33-002842-M3 (b&w film nitrate neg.) LC-DIG-fsa-8a10018 (digital file from original neg.)
Rights Advisory
No known restrictions. For information, see U.S. Farm Security Administration/Office of War Information Black & White Photographs www.loc.gov/rr/print/res/071_fsab.html
Online Format
image
LCCN Permalink
The Library of Congress Miss C. Farwell (Between 1905-1945)
I claim no rights other than colorizing this image if you wish to use let me know and always give due credit to The Library of Congress. I have no commercial gain in publishing this image.
Title
FARWELL, C., MISS
Contributor Names
Harris & Ewing, photographer
Created / Published
[between 1905 and 1945]
Headings
Glass negatives.
Genre
Glass negatives
Notes
- Title from unverified caption data received with the Harris & Ewing Collection.
- Date span based on active dates of Harris & Ewing, Inc.
- Portrait series.
- Gift; Harris & Ewing, Inc. 1955.
- General information about the Harris & Ewing Collection is available at hdl.loc.gov/loc.pnp/pp.hec
- Temp. note: Batch four.
Medium
1 negative : glass ; 8 x 10 in. or smaller
Call Number/Physical Location
LC-H25- 68568-K [P&P]
Source Collection
Harris & Ewing photograph collection
Repository
Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA hdl.loc.gov/loc.pnp/pp.print
Digital Id
hec 19736 //hdl.loc.gov/loc.pnp/hec.19736
Library of Congress Control Number
2016860795
Reproduction Number
LC-DIG-hec-19736 (digital file from original negative)
Rights Advisory
No known restrictions on publication. For more information, see Harris & Ewing Photographs - Rights and Restrictions Information www.loc.gov/rr/print/res/140_harr.html
Online Format
image
LCCN Permalink
Fairchild Garden is a repository for endangered plants from Madagascar. Without the garden's help, these extraordinary beauties would disappear from the Earth.
To meet the needs of these strange spiny visitors, Fairchild gardeners have modified the soil and mounded up tons of small stones to enhance drainage here in the tropics where we get many times more rain than in their native land.
Euphorbia viguieri grows in a single column form covered with medium-sized thorns that are thick at the base and get finer toward the end. They are white and sometimes serrated, making this one of the most dangerous-looking Euphorbias. The column is broader toward the top and may spiral slightly as it grows. The body is five to six sided and may have leaf scars from previous seasons' foliage. It can grow nearly 3 feet tall.
The tubular flowers are spectacular sunset colors in hues of orange, yellow and scarlet. Blooms are produced after a rainy period and are small flowers, measuring less than 1 inch. The flowers do not last long but do attract several pollinating insects with their sweet nectar. Euphorbia viguieri doesn't produce branches, so the flowers spring right from the body of the plant. The flowers open when the heat of the day is over or first thing in the morning and then close when the sun is at its peak.
Euphorbia viguieri goes dormant in the winter and loses its leaves. It will produce a new set in late spring and flower in summer. Many Euphorbia species only have spines and no leaves, but E. viguieri produces both. The leaves are lightly veined and simple, oval in shape and a lighter green than the body. The leaves can grow from 1 to 7 inches long. Extreme drought will also cause the plant to lose its leaves as a protective measure to prevent moisture loss.
Euphorbia viguieri thrives in nutrient-poor areas and is one of the few Euphorbia that may be found in mountainous regions where it tolerates excesses of water. It is also found in scrubland and open woodlands in western to southern Madagascar. The plant does best in an unglazed clay container as a house plant or can be part of a xeriscape garden.
Euphorbia viguieri
Fairchild Tropical Botanic Gardens, Miami, FL
Source: Scan of an original photograph.
Image: P...
Date: November 1985.
Copyright: © 1985 SBC.
Repository: Local Studies, Swindon Central Library.
Bradshaw or Gwon Gwon Rock and Cave Art of the Kimberley.
The Bradshaws are not just a very beautiful form of rock art, but actually represent, using a stylised human form, an early form of rock artwork very similar to that of the East Africans and Egyptians. The style of the painting suggests a high degree of fine motor skill and artistic appreciation of line and form. This is not generally found in the more repetitive and symbolic representations that have been daubed on rock since. The figures are very reminiscent of the nomadic tribes that still occupy Africa and have in the past wandered through Asia before returning to Africa. the Zulu, the Maasi, The Rendilli to name but a few of the linked Nomads. There are theories that the original artists may have been blown in having travelled in raft like ships across the Indian Ocean. The Baob trees in East Africa may have supplied their main travelling diet hence the predominance of one species only of Boab in The North West.
The study of the pre-history of man is an extremely sensitive issue with far reaching political consequences for today, both in Australia and worldwide. The British who have dominated the study of archaeology and anthropology worldwide for the last several centuries, including that of our continent, maintain that man descended from the apes, and that this alleged descent happened “yesterday”, in the scale of pre-history — that man had no speech before about 40,000 BP, was incapable of hunting animals before that time, had no maritime capability etc. Walsh on the other hand, has demonstrated that the people who painted the Bradshaw figures had a maritime culture, which arrived in Australia fully formed, with a very high degree of sophistication, perhaps as early as 40,000 BP, and possibly even earlier. This blows a giant hole in the normal British accounts of pre-history, and most importantly, in what the British have been trying to claim about mankind: that man is just another form of ape.
The question I have to ask every time I examine this art work is why, unlike other forms of rock art, would they represent women enjoying themselves? (Dancing with the men and children) In our culture it seems to me that this only happened when our civilisation achieved a point where they were equal and less encumbered by so called “female” duties. I ask the question, just based on the content of the images as well as the artistic level of composition, are we seeing the work of a civilisation that is equal to our in the way it treated its women? If so why did it die out?
The Bradshaw peoples were obviously so advanced that they had time to spend in pursuits other than survival mode. What is more to the point is why did they die out. There are apparently over a million images out there…thats a lot of people over a lot of time with lots of opportunity to create high levels of art forms.
As to where di we come from take any theory from the thousands out there then just find ways of proving or disproving them.
Robin Hutton
“BRADSHAW ART and later
Because of the unique geological and climatological conditions which existed there tens of thousands of years ago, the Kimberley are the oldest known repository of rock art in the world. The art in itself indicates that a people have been in the Kimberley, for the last 50,000 years. It is difficult to link the more recent rock art with the highly sophisticated Bradshaw work. (the present day Aboriginals themselves refer to the Bradshaw paintings as “rubbish paintings: before our time”), but it opens up extraordinary avenues of research on the pre-history of mankind going back at least 40,000 BP, and perhaps to 100,000 BP. or even earlier.
The famous Lascaux cave paintings of France, by contrast, are only 17,000 BP while the excellent epigraphic work by Barry Fell and his colleagues which goes back only to around 4,000 BP. (i.e. 2,000 BC)”
Text from Grahame Walsh’s description of Bradshaw works
Gwion Gwion (Bradshaw) Figures web link
Original Caption: The Control Room of the Coal Cleaning Plant at the Virginia-Pocahontas Coal Company Mine #4 near Richlands, Virginia the Equipment Monitors the Conveyor Belts Carrying the Coal and the Screens Used to Separate It Into Different Categories 04/1974
U.S. National Archives’ Local Identifier: 412-DA-13932
Photographer: Corn, Jack, 1929-
Subjects:
Richlands (Tazewell county, Virginia, United States) inhabited place
Environmental Protection Agency
Project DOCUMERICA
Persistent URL: catalog.archives.gov/id/556384
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html
Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
Repository: Duke University Archives. Durham, North Carolina, USA. library.duke.edu/uarchives
Trying to locate this ticket at the Duke University Archives? You’ll find it in the Artifacts and Relics Collection, box 42.
37 612 and 37 606 head 7C20 07.56 Sellafield to Drigg Low Level Waste Repository Sidings having just left Sellafield. Certainly wasn't sure I had chosen the correct spot for this working and as, the much longer than usual, train approached I did wonder if it was going to fit. Thankfully it did with a little extra room for perspective correction. I did breathe a sigh of relief.
Original Caption: Watering the Shrubbery at Noon in Fountain Square 06/1973
U.S. National Archives’ Local Identifier: 412-DA-10757
Photographer: Hubbard, Tom, 1931-
Subjects:
Cincinnati (Hamilton county, Ohio, United States) inhabited place
Environmental Protection Agency
Project DOCUMERICA
Persistent URL: catalog.archives.gov/id/553211
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html
Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
Source: Scan of an original photograph.
Image: P30289.
Date: 1950s?
Repository: Local Studies at Swindon Central Library.
Source: Scan of a photograph from our image collection.
Image: P30091.
Date: 1962.
Repository: Local Studies, Swindon Central Library.
Source: Scan of a postcard from our image collection.
Image: P40347.
Date: 1901-1925.
Inscription: None.
Repository: Local Studies, Swindon Central Library.
Source: Scan from our image collection.
Image: P30124.
Date: 1957.
Copyright: SBC.
Repository: Local Studies at Swindon Central Library.
Source: Scan of an original postcard.
Image: RSR61.
Date: c1910.
Postmark: unposted.
Repository: (Richard S. Radway Collection).
Local Studies at Swindon Central Library.
Source: Scan of original postcard from our image collection.
Image: P30536.
Caption: Fleet Street, Swindon.
Size: 136 x 84mm.
Date: c. 1906.
Repository: Local Studies, at Swindon Central Library.
Source: Scan of an OS RP photograph.
Grid: SU1683.
Date: January 1953.
Copyright: OS-Crown.
Used here by very kind permission.
Repository: Local Studies at Swindon Central Library.
Source: Scan of a b&w photograph.
Image: P30129.
Date: 1954.
Donated by Mrs Beechey.
Repository: Local Studies, Swindon Central Library.
Repository for those papery things with words innit. Soon to be closed I reckon to help the council pay for 'other things'.
Anywise, this was a late afternoon grab shot in the current foggy gloom.
Source: Scan of an OS RP photograph.
Grid: SU1683.
Date: January 1953.
Copyright: OS-Crown.
Used here by very kind permission.
Repository: Local Studies at Swindon Central Library.
Source: Digital image.
Date: c1900.
Photographer: William Hooper.
HOOPER COLLECTION COPYRIGHT P.A. Williams.
Repository: From the collection of Mr P. Williams.
Used here by his very kind permission.
Source: Scan of an original photograph.
Set: VAN01.
Photographer: © 1973 Mr C. Vance.
Repository: Copied from the collection of Mr C. Vance.
Used here by his very kind permission.
Local Studies at Swindon Central LIbrary.
Source: Scan of OS Revision Point photograph.
Copyright: Ordnance Survey-Crown.
Used by permission.
Date: January 1953.
Grid: SU1584.
Repository: Local Studies at Swindon Central Library.
Source; Scan of original photograph.
Set: HUL01.
Date: 1980's.
Photographer: John Hulford.
Repository: From the collection of Mr John Hulford.
Local Studies at Swindon Central Library.
www.swindon.gov.uk/localstudies
This mural was painted in 1977 to celebrate the Jubilee.
Funded by Hambro Life (which became Allied Dunbar and is now Zurich Financial Services).
Repainted in 1987.
(Source : Thamesdown Art Trails leaflet)