View allAll Photos Tagged RESTORATION+
Here it is: My first "full" restoration. This little gem is a Canadian Kodak Brownie Hawkeye from around 1949-1951. Not too many things with a "made in Canada" label these days, so this one is special.
This Kodak Brownie Hawkeye came in a little rough; dirty for the most part, but being my fourth KBH, I decided to finally try to do a full paint job. Overall, I'm happy with my first attempt, although I will need to touch up a few places I messed up on, such as a really bad scratch in the back when I was trying to put the handle back on (I won't take the handle out fully next time). Hopefully, I can take what I learned this time, including from mistakes, and do it better next time. It's fully working however, so I did manage to put it back together properly and it was fun and a bit frustrating at times too. I do love these Brownies though!
Mon, Sep. 21: Received camera
Tue, Sep. 22: Took camera apart, some cleaning
Wed., Sep. 23: More cleaning
Thu., Sep. 24: Sanding and masking
Fri., Sep. 25: 6 coats of white paint & 8 coats of blue paint
Sat., Sep. 26: Drying day
Sun., Sep. 27: 4 clear coats to seal and reassamble
Mon., Sep. 28: Photo shoot and debut
Image from SDASM's Restoration Department
Note: This material may be protected by Copyright Law (Title 17 U.S.C.)--Repository: San Diego Air and Space Museum
History
The house, set high on the South Downs, was built for Ford Grey (1655—1701), the first Earl of Tankerville, circa 1690, the architect is believed to have been William Talman. The estate was sold in 1747 to Sir Matthew Fetherstonhaugh and his wife Sarah. Matthew and Sarah redecorated the house extensively from 1750 to 1760 and introduced most of the existing collection of household items displayed today, much of it collected on their Grand Tour of 1749 to 1751. Their only son, Sir Harry Fetherstonhaugh, added to the collection and commissioned Humphry Repton to add a new pillared portico, dairy and landscaped garden. In the 19th century stables and kitchens were added as separate buildings, connected to the main building by tunnels.[2]
Influence on H. G. Wells
The 20 year-old H.G. Wells spent the winter of 1887/88 convalescing at Uppark, where his mother, Sarah, was housekeeper between 1880 and 1893.[3] She had previously been employed there between 1850 and 1855, as housemaid to Lady Fetherstonhaugh's sister, and Wells had paid many visits to her during his boyhood. Wells' father Joseph, a gardener, was employed at Uppark in 1851 and he and Sarah married in 1853.[4]
Fire
On 30 August 1989 the building was devastated by a fire caused by a workman's blowtorch whilst repairing lead flashing on the roof, just two days before the work was due to be completed.[5] The fire broke out during opening hours. Many works of art and pieces of furniture were carried out of the burning building by members of the Meade-Fetherstonehaugh family, National Trust staff and members of the public. Although the garret and first floors collapsed onto the lower floors and the garret and first floor contents were lost completely, the floors largely fell clear of the ground floor walls and much of the panelling and decoration survived. Much of the contents of the ground floor was crushed but not burned; metalwork was able to be straightened and cleaned, crystal chandeliers were able to be reassembled, and even the elaborate tassels on the chandelier ropes were able to be conserved. The decision to restore the house came after it was determined that restoration would be a cheaper insurance settlement than complete payout for a total loss.
Most of the pictures and furniture in the house were saved. The building has since been completely restored with many lost crafts relearned in the restoration process, and it re-opened its doors in 1995. wikipedia
Kissimmee River Restoration Project MacArthur Ditch backfill borrow site is where spoil is excavated and barged to the backfill site roughly 0.5 miles upstream.
BR Standard 7P pacific 70000 ''Britannia'' under restoration - in the open air - at the Severn Valley Railway, Bridgnorth, in September 1976.
70000 started life in 1951 on the GE mainline services from Liverpool Street, and was later withdrawn by BR in May 1966.
The loco had been selected for preservation, but then rejected as 'non-standard'.. It was then privately preserved, and restored, as seen here, but later spent many years in storage, from 1997..
The loco was comprehensively overhauled and restored - again - at the Crewe Heritage Centre, and returned to steam in 2011 in original 1951 black livery - unnamed:
www.flickr.com/photos/rgadsdon/6300583720
In 2012 it was repainted in early-BR green, with nameplate restored, and was seen here on the Mid-Hants line, in October 2013:
www.flickr.com/photos/rgadsdon/10537885654
Today (2017) the loco is in operation on UK mainline railtours, and preserved lines.
Restored from an under-exposed unfocussed grainy original..
Image from SDASM's Restoration Department
Note: This material may be protected by Copyright Law (Title 17 U.S.C.)--Repository: San Diego Air and Space Museum
Well recently my Dad who was adopted at a young age managed to track down a few of his brothers, this was a big moment for my Dad as he had never really considered searching for his family before. After keeping in touch for a fair while, they began discussing their family history and talked about their Dad (my Grandad).
He died a long time ago so unfortunately so my dad never really got the chance to meet him. All that is left is some photographs which my Dad asked me to touch up. His dad is second from the right of the bottom row. It is quite strange seeing pictures of someone I have no connection to apart from biological and wanting to find out so much more about them.
chriscockerilldesign.blogspot.co.uk/
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Source: en.wikipedia.org/wiki/St._Louis
St. Louis is the second-largest city in Missouri, United States. It sits near the confluence of the Mississippi and the Missouri Rivers, on the western bank of the latter. As of 2020, the city proper had a population of around 301,500, while the bi-state metropolitan area, which extends into Illinois, had an estimated population of over 2.8 million, making it the largest metropolitan area in Missouri, the second-largest in Illinois, the seventh-largest in the Great Lakes Megalopolis, and the 20th-largest in the United States.
Before European settlement, the area was a regional center of Native American Mississippian culture. St. Louis was founded on February 14, 1764, by French fur traders Gilbert Antoine de St. Maxent, Pierre Laclède and Auguste Chouteau, who named it for Louis IX of France. In 1764, following France's defeat in the Seven Years' War, the area was ceded to Spain. In 1800, it was retroceded to France, which sold it three years later to the United States as part of the Louisiana Purchase; the city was then the point of embarkation for the Corps of Discovery on the Lewis and Clark Expedition. In the 19th century, St. Louis became a major port on the Mississippi River; from 1870 until the 1920 census, it was the fourth-largest city in the country. It separated from St. Louis County in 1877, becoming an independent city and limiting its own political boundaries. St. Louis had a brief run as a world-class city in the early 20th century. In 1904, it hosted the Louisiana Purchase Exposition and the Summer Olympics.
A "Gamma" global city with a metropolitan GDP of more than $160 billion in 2017, metropolitan St. Louis has a diverse economy with strengths in the service, manufacturing, trade, transportation, and tourism industries. It is home to nine of the ten Fortune 500 companies based in Missouri. Major companies headquartered or with significant operations in the city include Ameren Corporation, Peabody Energy, Nestlé Purina PetCare, Anheuser-Busch, Wells Fargo Advisors, Stifel Financial, Spire, Inc., MilliporeSigma, FleishmanHillard, Square, Inc., U.S. Bank, Anthem BlueCross and Blue Shield, Federal Reserve Bank of St. Louis, U.S. Department of Agriculture, National Geospatial-Intelligence Agency, Centene Corporation, and Express Scripts.
Major research universities include Saint Louis University and Washington University in St. Louis. The Washington University Medical Center in the Central West End neighborhood hosts an agglomeration of medical and pharmaceutical institutions, including Barnes-Jewish Hospital.
St. Louis has three professional sports teams: the St. Louis Cardinals of Major League Baseball, the St. Louis Blues of the National Hockey League, and the St. Louis BattleHawks of the newly formed XFL. In 2019, the city was awarded a Major League Soccer franchise, St. Louis City SC, which is expected to begin play upon the completion of a 22,500-seat stadium in the city's Downtown West neighborhood in 2023. Among the city's notable sights is the 630-foot (192 m) Gateway Arch in the downtown area. St. Louis is also home to the St. Louis Zoo and the Missouri Botanical Garden, which has the second-largest herbarium in North America.
Source: en.wikipedia.org/wiki/Saint_Louis_Art_Museum
The Saint Louis Art Museum is one of the principal U.S. art museums, with paintings, sculptures, cultural objects, and ancient masterpieces from all corners of the world. Its three-story building stands in Forest Park in St. Louis, Missouri, where it is visited by up to a half million people every year. Admission is free through a subsidy from the cultural tax district for St. Louis City and County.
In addition to the featured exhibitions, the museum offers rotating exhibitions and installations. These include the Currents series, which features contemporary artists, as well as regular exhibitions of new media art and works on paper.
Source: en.wikipedia.org/wiki/Forest_Park_(St._Louis)
Forest Park is a public park in western St. Louis, Missouri. It is a prominent civic center and covers 1,326 acres (5.37 km2). Opened in 1876, more than a decade after its proposal, the park has hosted several significant events, including the Louisiana Purchase Exposition of 1904 and the 1904 Summer Olympics. Bounded by Washington University in St. Louis, Skinker Boulevard, Lindell Boulevard, Kingshighway Boulevard, and Oakland Avenue, it is known as the "Heart of St. Louis" and features a variety of attractions, including the St. Louis Zoo, the St. Louis Art Museum, the Missouri History Museum, and the St. Louis Science Center.
Since the early 2000s, it has carried out a $100 million restoration through a public-private partnership aided by its Master Plan. Changes have extended to improving landscaping and habitat as well. The park's acreage includes meadows and trees and a variety of ponds, manmade lakes, and freshwater streams. For several years, the park has been restoring prairie and wetlands areas of the park. It has reduced flooding and attracted a much greater variety of birds and wildlife, which have settled in the new natural habitats.
Coventry's Neoclassical Drapers Hall is being lovingly restored by Historic Coventry Trust. It will soon be open for hire as a meeting/music/events venue. It is a real gem.
Anita Miller - my first Kenner but the last to be finished. She's my dream Blythe, the one I've been craving since I first got Gina's This Is Blythe book in 2002.
A close up view of a 1953 Studebaker pickup mascot that appeared at the 2015 Ol' Marais River Run Car Show held in Ottawa Kansas.
Now I wouldn't normally advocate sand blasting a fibreglass cab, but this one was painted in a synthetic paint that wouldn't rub down, so on a very low pressure, and from a distance it was blasted off without even damaging the 'Jell coat' , this also did us a favour in opening up any air pockets or stress lines that were in the fibreglass.
repaint and shed all steel parts to lighter alloy comp.
fitted with vintage leather saddle
better stoping power with fresh brake pads the salmon Koolstops
totally rebuilt front/rear wheels with alloy rims and Stainless DT spokes.
Sealed bearing cartridge style Shimano bottom bracket spindle with alloy crankset and alloy pedals.
weighs significantly lighter than original stock.
The Restoration Man project great channal 4 program inspired me to take this shot of Thrum Mill today,
Construction of the MacArthur Ditch backfill project, part of the Kissimmee River Restoration Project, began in late June by the U.S. Army Corps of Engineers. The purpose is to fill the ditch, which extends to the north. The ditch is being filled because it drains water from the surrounding floodplain and is disrupting flow to the south. The work begins at the south end of the MacArthur Ditch (location B) where spoil is brought in by barges from an existing spoil pile along the C-38 canal (location A).
Image from SDASM's Restoration Department
Note: This material may be protected by Copyright Law (Title 17 U.S.C.)--Repository: San Diego Air and Space Museum
Continuing my Southern Arizona Adventure 2024 with a stop in Tumacacori National Historic Park. This is stage 4 of 9. I'm glad I visited. I think I got some decent photos. I don’t plan on revisiting anytime soon. Unlike Disneyland, once here is enough. Unless you come for some of the special Tribal events.
This is the side view looking west at the east wall.
en.wikipedia.org/wiki/Tumac%C3%A1cori_National_Historical...
Tumacácori National Historical Park is located in the upper Santa Cruz River Valley in Santa Cruz County, southern Arizona. The park consists of 360 acres (1.5 km2) in three separate units.[4] The park protects the ruins of three Spanish mission communities, two of which are National Historic Landmark sites. It also contains the landmark 1937 Tumacácori Museum building, also a National Historic Landmark.
Tumacácori National Historical Park is located in the upper Santa Cruz River Valley in Santa Cruz County, southern Arizona. The park consists of 360 acres (1.5 km2) in three separate units.[4] The park protects the ruins of three Spanish mission communities, two of which are National Historic Landmark sites. It also contains the landmark 1937 Tumacácori Museum building, also a National Historic Landmark.
After the Pima rebellion of 1751, the mission was moved to the present site on the west side of the Santa Cruz River and renamed San José de Tumacácori.[6] By 1848, the mission was abandoned and began falling into severe disrepair. In 1854 it became a part of the U.S. Arizona Territory, after the Gadsden Purchase.
Restoration and stabilization efforts began in 1908 when the site was declared Tumacácori National Monument by President Theodore Roosevelt. In 1990 it became part of the new Tumacácori National Historical Park.[6]
home.nps.gov/tuma/learn/historyculture/tumacacori.htm
The meaning of the name "Tumacácori" is lost in history; however, there are some things that are known about the word. It's the English version of a Spanish version of an O'odham word or words which were what the O'odham residents told Kino that they called this place when he arrived and attempted to record it, but we don't know what they actually were trying to say to him. Visit the Frequently Asked Questions for more depth on this subject.
Father Kino established Tumacacori as a mission in January 1691, one day before Guevavi, making it the oldest mission site in what is now Arizona. For many years it was a visita or visiting station of the mission headquarters at Guevavi. During most of those years, it was located on the east side of the Santa Cruz River and was called San Cayetano de Tumacacori. Services were held in a small adobe structure built by the Pima inhabitants of the village. After the Pima rebellion of 1751, the mission was moved to the present site on the west side of the river and renamed San Jose de Tumacacori. Here the first actual church edifice was built.
Haiku thoughts:
Ruins in the sun,
Mission whispers of the past,
Heritage preserved.
Southern Arizona Adventure 2024
Image from SDASM's Restoration Department
Note: This material may be protected by Copyright Law (Title 17 U.S.C.)--Repository: San Diego Air and Space Museum
St Peter, Nowton, Suffolk
To stand at Nowton church, or the almshouses where the friendly keyholder is, you would not think that we could be so close to Bury St Edmunds. Here, in rolling west Suffolk, woods and copses hide the next parish in any direction, creating an intimacy that is not belied by the occasional hazy distant view from a ridge or hilltop. Nowton church sits on one particular hill, a long track leading up from the nearest road into the silence of its tree-shrouded churchyard, an oasis of lush botanical green in the agricultural expanses.
A mile or so off in the Bury suburbs is Nowton Country Park, one of the main recreational areas of the town, and the former grounds of Nowton Hall. The Hall was the home of the fabulously wealthy Oakes family, and in 1811 Elizabeth Frances Oakes, wife of Orbell Ray Oakes and Lady of the Manor, died at the age of 42. She was buried in Nowton church, which must have been a very plain and ramshackle structure in those Georgian days. However, over the next ten years something extraordinary happened here, as we will see.
Essentially, the church in which Elizabeth Oakes was buried was a 14th century building with surviving Norman details, before the Victorians went to work on it. Walking around it, the graveyard is a strikingly beautiful adornment, still with an air of the early 19th century, with the kind of trees that Lords of the Manor and Rectors-of-leisure liked to plant in those days, including a glorious cedar. Stepping inside, this is a pleasant, shipshape little church. All around are memorials to the Oakes family in the 19th and 20th Centuries, but it probably won't be them that catches your eye, because Nowton is home to one of the largest and best collection of continental glass in England.
Not far from Nowton is Rushbrooke, which in the early 19th Century was the home of the eccentric Colonel Rushbrooke, an avid antiquarian and carpenter who I am afraid was not above the odd spot of forgery. He refurnished Rushbrooke church in the manner of the Cambridge college chapel of his youth, giving it a Henry VIII royal arms into the bargain. Items that he collected can be found in several churches in the eastern counties, for Colonel Rushbrooke spent many happy months in the first decade of the 19th century trawling around the Low Countries and buying up wooden panels and painted glass from monasteries. Many of these monasteries had been closed and ruined in the aftermath of the French Revolution and the following Napoleonic Wars, and their treasures were easily acquired for the right price.
At this time, Orbell Ray Oakes was struggling with a way to make Nowton church into a more fitting and beautiful last resting place for his wife. His solution was to purchase perhaps as many as eighty continental panels from Rushbrooke. They were installed between about 1816 and 1820 by the Norwich stained glass artist Samuel Yarington, who was an expert in these matters, working with the Norwich antiquities dealer Christopher Hampp to supply and install continental glass, mostly depicting scriptural and allegorical subjects, to English churches, mainly in the Norwich area. In those days before the great revival of church art later in the century, most English churches were very plain, especially in puritan East Anglia, and in any case coloured glass of English manufacture was not easily come by. The installation of panels of continental glass would be an easy solution, and even a few panels would be an adornment to a simple church. The Nowton scheme, of course, goes much further than this.
The panels are to be found in every window except the west window. The panels in the east window are set in nine groups of five, the larger panel in the centre of each group and four smaller panels orbiting around it in a sea of Yarington's patterned glass. There is no obvious sequential order or theological structure, and so it must be assumed that Oakes' intention was purely decorative, to beautiful his wife's last resting place. The panels were reordered on two occasions later in the century as Nowton church was restored and extended, but the original configuration of the east window in particular was not altered much. There are slightly odd panels depicting knights on brasses by John Sell Cotman set at the base of someof the aisle windows. When the glass was restored in 1970, some panels from the demolished Dagnams Hall in Essex were added at the bottom of the east window to replace glass of Yarington's that had perished.
At the west end of the south aisle is the elegant memorial to Elizabeth Oakes by John Bacon Jr. It shows her praying against an angled tombchest on the other side of which are a cross and an open book reading Thy Will Be Done. Under the tower, a brass plaque tells us that this church was embellished & decorated with painted glass collected from the Monasteries at Brussels, an Organ erected with a Peal of Six Bells, at the Expense & Gift of Orbell Ray Oakes Esq. The inhabitants inscribe this tablet as a memorial of his liberality, 1820.
Orbell Ray Oakes died in 1837 as the Victorian era began, and his son Henry James Oakes, the new Lord of the Manor, bankrolled a considerable restoration of the church under the architect Anthony Salvin. The construction of a neo-Norman north aisle necessitated the moving of some of the panels, and possibly the acquisition of some more. The nave and chancel were essentially rebuilt and the building was reroofed. The elegant remains of the medieval screen were retained, and all in all this must have been a very shipshape little building by the end of the 1870s. The Oakes family continued to live in the parish at Nowton Court, built in the 1830s. In the 20th Century, Nowton Park was acquired by St Edmundsbury District Council. The last of the Oakes family is still alive today, in her nineties, but after her the dynasty will be no more.
Around the walls of the church, memorials recall members of the Oakes family, some dying out in the Empire, some of the younger ones falling on the battlefields of France in the First World War. But having said all this, I do think this building escapes being merely a mausoleum to the Oakes family. Perhaps it is the simplicity of their memorials, or the sense of life in the building, despite its remoteness. Even so, the overwhelming feeling is of the century that rebuilt it and adorned it, which is just as it should be.
The Granary, Tollesbury, Essex, as featured in the BBC's 2006 Restoration series where communities around the country made a pitch for funds to restore a local building and viewers voted for which project should get the money. The Granary wasn't successful but the local community are continuing to look for ways to restore this wonderful old building located on the Blackwater estuary Satellite map
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