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Nilima Lambah, wife of Satinder Lambah, an Indian Foreign Service officer, gets candid and presents a cavalcade of interesting episodes, anecdotes and fascinating experiences culled from a life she lived in a host of countries for thirty years. From leading a life under the microscope of intelligence agencies in Pakistan, to hosting a dinner just a few hours after an earthquake shook their home in San Francisco - her accounts are not only witty, but also present a picture of the culture and society of the various places she visited. A Life Across Three Continents offers a glimpse into different aspects of a diplomat's life from the point of view of his wife - its glitter and glamour; its protocol and surprises; and coming to terms with foreign soil and diverse cultures. Written simply, these recollections of Nilima Lambah have something for people of all ages and from all walks of life. An amalgam of wit and humour, this is both informative and entertaining.
Recollection of the Indian Freedom Struggle and formation of the Indian National Army by Netaji Subhash Chandra Bose
This is a new scan of old print film. The photo shop's scans of this panel have been up on my web page forever (the last edit date for that page is 1998) and was used on the cover of a book a few years back. My scanner's better, but the film has faded quite a bit, so I'm not sure I've really done any better. The first version looked really green when viewed at lower resolutions so I replaced it, but I'm still not thrilled with the colors here, and I'll probably replace it again. Being faded print film the dynamic range is quite poor and I have no clue what the colors really should be, and the auto functions in the scanner make some strange choices.
My recollection is that this panel is somewhere along the road from Newspaper Rock to Canyonlands, I think near or in the park, high up so that you need binoculars to see it from the road. I'm not sure why I happened to notice it, in the more than a decade that this has been on my web page I've only heard from one other person who has seen this panel.
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Postcard Description
1908 postmarked postcard showing a huge crowd gathered in the public square at Shelbyville, Indiana. They were there to watch the circus parade. The date was September 6, 1907. This Forepaugh-Sells Circus had been in Fort Wayne on the 2nd. The circus wagon numbers were 91, 56, 52 and 43. Besides all the people and the circus wagons, there were numerous personal buggies and wagons as well. One of the wagons near the lower left-hand corner was a delivery wagon advertising FIVE POINTS GROCER. Most of the owner’s name, __ __LARK, can’t be seen. The 1909 Chadwick history² mentions a “Lester Clark, grocer,” but provides no further information.
This view is looking southwest. The two-story frame building at the left housed four businesses according to the 1905 and 1910 Sanborn™ fire insurance map sets for Shelbyville. Those businesses in 1905 were, from east to west, confectionery, barbershop, harness shop and saloon with pool and billiards in the back. By 1910, the confectionery business had been replaced by a moving pictures business and the saloon replaced by a drugstore. In this scene, the business sign on the left advertised CONFECTIONS, but the name at the top of that sign isn’t quite readable. A 1902 business directory¹ listed a confectioner by the name of A. L. Sparks at this location (43 Public Square). The next sign to the west advertised J. W. WORDEN’S HARNESS SHOP (39 Public Square). The LAW OFFICE sign upstairs includes a single name, but it’s not readable. The 1902 business directory included a listing for a saloon owned by Cheney and Doran next to the harness shop (37 Public Square).
Both map sets identified the store in the southwest corner (35 Public Square) as simply a general store and showed the K. of P. Lodge on the third floor. In this scene, the sign on the utility pole back in that corner advertised MONDAY SEP 2. The remainder is unreadable. The store with the HEADQUARTERS FOR SCHOOL BOOKS AND SUPPLIES banner was identified in both map sets as a clothing store (33 Public Square). Next door, (31 Public Square), the sign advertised JOHN HORST BOOTS & SHOES. Both map sets show a boots and shoes business at this location and the 1902 directory also listed the Horst business at this location. Both map sets show a bank on the corner at West Washington Street (27-29 Public Square). The sign on that building identified it as FIRST NATIONAL BANK. It wasn’t listed in the 1902 directory. Upstairs from the bank was a sign advertising OFFICE OF HOME ADDITION LOTS 2 DOWN ___ WEEK NO TAXES NO INTEREST NO MORTGAGE NO EXTRAS PAYMENTS MADE AT SHELBY NATIONAL BANK T. E. GOODRICH AGT.
At the back of the bank building on West Washington Street, a small sign just above the circus wagon advertised a LAW OFFICE. The name is unreadable, but that sign was at the entrance that probably led to the stairway to the upper floors of the bank building. The address of the two-story brick building west of the bank was 21 West Washington Street. The 1902 directory listed the “Downey & Major” law firm at that address. Two small frame buildings stood next door (23 and 25 West Washington Street). The 1905 map set showed an office and a wallpaper business at those locations, respectively. The 1910 map set showed a wallpaper and a fruit business at those respective locations. The PICTURE FRAMES and WALL PAPER & MOULDINGS signs were at the 25 W. Washington Street address in this scene. Another sign identified the proprietor as CHARLES B. CAGE. The 1902 business directory listed “Lange & Cage” in the wall paper business at that address.
1. Johnson’s Business and Professional Directory (Washington, D. C.: Johnson Publishing Co., 1902). Available online at archive.org/details/johnsonsbusiness190203wash.
2. Edward H. Chadwick, Chadwick’s History of Shelby County, Indiana (Indianapolis, IN: B. F. Bownen & Co., 1909). Available online at ia802704.us.archive.org/0/items/chadwickshistory01chad/ch....
From a private collection.
Copyright 2006-2016 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
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Indiana History Prints
I created my first Indiana History Prints in 2002. The early prints were digital collages based on authentic original antique postcards, advertisements, and other paper items. I have continued to make a few collage prints, but also began creating prints from a few individual postcards and advertisements. All of the prints have been based on items from the late 19th and early 20th centuries. That was the era when railroads already crisscrossed the state and provided the primary means of transporting passengers, freight and the mail. However, around the turn of the century, the interurban system arose and expanded rapidly. The interurban lines and the railroads were competing in some respects and, together, these two rail systems provided excellent service throughout much of the state. Their importance has been memorialized in hundreds of postcard scenes of trains, trolleys, bridges, stations and passengers. Then, just as the interurban system was becoming an integral part of Hoosiers’ lives, the automobile arrived and changed everything. Initially, it displaced the horse-drawn vehicles that were the primary means of local transportation. As roads were improved between communities to accommodate the automobiles, the interurban system began a fairly rapid decline followed by passenger service on the railroads. These changes were well documented by the photographers and postcard manufacturers and by the advertising from that era. The best examples of the postcards and photographs offer some amazing views of that era.
Personal and business communications were changing as well. The telephone was not yet widely available. The Post Office Department began selling the first postal cards at post offices in 1873, but businesses were the primary users. Picture postcards first appeared in Europe and eventually in the U.S. after the turn of the century. Those postcards quickly became a convenient method for personal communication, especially after the postal regulations changed in 1906 to allow messages on half of the back side of the postcard. The postcards were also collectible.
In those days, mail delivery within the state often took no more than a day. Post Office Department clerks processed some of the mail on specially designed rail cars as the trains traveled from one destination to the next. Several postcard scenes from that era show postal clerks standing on the railroad station platforms with mail pouches. A few postcards show the mail cars, but there are very few views of the interiors of those cars.
I am entirely responsible for the creation and production of the prints. They have been produced with care and each element used in the prints looks at least as good as the original. Each print is produced in very small quantities on 100% cotton rag watercolor paper (Hahnemühle Photo Rag®). The paper has a slight warm tone rather than being bright white, making it particularly suitable for printing historical objects. The prints will look good for decades, but need to be matted, framed and displayed behind glass to protect them from physical and environmental damage.
Print Description
1909 postmarked postcard view of Main Street in Milford, Indiana. The photographer was standing on the southeast corner at Emeline Street. He was looking northwest across that intersection. Several women and young girls were posing for the camera in the foreground while many other people had gathered in the background to celebrate a holiday or special event. Stands were set up along the street and several American flags were on display. Several businesses are identifiable in this scene.
For example, the brick building at the left edge of this scene was on the northwest corner at the Emeline Street intersection. The windows advertised B. C. STILWELL GENERAL MERCHANDISE. The MILFORD DRUG CO. store was located next door. The awning advertised DRUGS and JEWELRY. A sign on the front of the building advertised HINDO TOBACCO HABIT CURE. Free samples were available. The business north of the drugstore was a RESTAURANT. These business types are consistent with the information presented in the 1910 Sanborn™ fire insurance map set for Milford. That map set also shows a bank north of the restaurant, but that is not evident in this postcard scene.
The awnings north of the bank advertised a RESTAURANT and a DRY GOODS store, respectively. The 1910 map set shows a general store north of that restaurant, but that store also occupied the next building north, the building with the two bay windows. According to that map set, the next building north (with the small second-floor balcony) was the Milford Hotel. Another general store occupied the building north of the hotel. The small two-story wood frame building at the right edge of this scene was on the southwest corner at Catherine Street. It was vacant when the 1910 map set was being prepared.
Copyright 2005-2015 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.background at the far right.
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The small size of the above image doesn't do a very good job of presenting the print details. This link will take you to another Flickr page where a close-up section of this print gives a much clearer view of the detail.
www.flickr.com/photos/hoosier_recollections/4503407447/in...
An image of the postcard upon which this print is based can be seen here.
www.flickr.com/photos/hoosier_recollections/5267205221/in...
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Indiana History Prints
I created my first Indiana History Prints in 2002. The early prints were digital collages based on authentic original antique postcards, advertisements, and other paper items. I have continued to make a few collage prints, but also began creating prints from a few individual postcards and advertisements. All of the prints have been based on items from the late 19th and early 20th centuries. That was the era when railroads already crisscrossed the state and provided the primary means of transporting passengers, freight and the mail. However, around the turn of the century, the interurban system arose and expanded rapidly. The interurban lines and the railroads were competing in some respects and, together, these two rail systems provided excellent service throughout much of the state. Their importance has been memorialized in hundreds of postcard scenes of trains, trolleys, bridges, stations and passengers. Then, just as the interurban system was becoming an integral part of Hoosiers’ lives, the automobile arrived and changed everything. Initially, it displaced the horse-drawn vehicles that were the primary means of local transportation. As roads were improved between communities to accommodate the automobiles, the interurban system began a fairly rapid decline followed by passenger service on the railroads. These changes were well documented by the photographers and postcard manufacturers and by the advertising from that era. The best examples of the postcards and photographs offer some amazing views of that era.
Personal and business communications were changing as well. The telephone was not yet widely available. The Post Office Department began selling the first postal cards at post offices in 1873, but businesses were the primary users. Picture postcards first appeared in Europe and eventually in the U.S. after the turn of the century. Those postcards quickly became a convenient method for personal communication, especially after the postal regulations changed in 1906 to allow messages on half of the back side of the postcard. The postcards were also collectible.
In those days, mail delivery within the state often took no more than a day. Post Office Department clerks processed some of the mail on specially designed rail cars as the trains traveled from one destination to the next. Several postcard scenes from that era show postal clerks standing on the railroad station platforms with mail pouches. A few postcards show the mail cars, but there are very few views of the interiors of those cars.
I am entirely responsible for the creation and production of the prints. They have been produced with care and each element used in the prints looks at least as good as the original. Each print is produced in very small quantities on 100% cotton rag watercolor paper (Hahnemühle Photo Rag®). The paper has a slight warm tone rather than being bright white, making it particularly suitable for printing historical objects. The prints will look good for decades, but need to be matted, framed and displayed behind glass to protect them from physical and environmental damage.
Print Description
c1910 postcard view of an arriving train and waiting passengers at Union Depot in Muncie, Indiana. The depot was located west of Walnut Street on the south side of the L. E. & W. (Lake Erie & Western) Railroad and north of the C. C. C. & St. L. (Cleveland, Cincinnati, Chicago & St. Louis) Railroad. High Street ended on the north side of the L. E. & W. track behind the depot. The depot is now gone and the land is vacant. The L. E. & W. track is barely discernable in this scene, but the horse-drawn wagon approaching the depot from near the left edge of the postcard was on High Street north of that track. This view was looking northeast, probably from the two-story portion of the C. C. C. & St. L. Railroad freight house on the south side of the tracks. This freight house is shown in the 1902 and 1911 Sanborn™ fire insurance map sets for Muncie.
Baggage carts sat on the depot platform and a large group of waiting passengers watched the train approaching from the east. A pair of horse-drawn wagons waited on the back side of the depot.
The three-story building behind the depot on the east side of High Street is shown in both Sanborn™ map sets as the office for High Street Mills. The company’s elevator and warehouse were next door and hidden in this view by the depot. The business sign on the small building north of High Street Mills advertised F. H. JEROME. The remainder of the sign is unclear, but the 1905-1906 Emerson directory¹ listed Frank H. Jerome as a drayman with a storage business at 827 South Walnut Street.
A sign near the right edge of the print appears to advertise FRED MILLER BREWING CO. Since the company’s Muncie office was at 501 Ebright Street per the 1905 directory, the sign was probably an advertisement. It appears to be on the side of the building shown in the 1911 Sanborn™ map set at 628 South Walnut Street. That building is still in use today on the north side of the railroad crossing.
1. Emerson Directory Company, Emerson’s Muncie Directory 1905-1906 (Cincinnati, OH: Williams Directory Co., 1905). Available online at libx.bsu.edu/cdm/compoundobject/collection/MunCityDirs/id....
Copyright 2008-2015 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
1908 postmarked postcard view of Berne, Indiana. This was Main Street looking west from just east of Behring Street. The quality of this photograph is poor. Consequently, there are few clear business signs. The first sign on the left is unreadable. The second advertised a RESTAURANT. The name at the top of the sign is unclear, but may be PEOPLE’S. The next sign west was on a small wood frame building two doors farther west. It advertised GROCERIES, NOTIONS, TOBACCOS & CIGARS. The name at the top of the sign appears to be J. CROSE or J. C. ROSE. However, the Tenth Anniversary Souvenir Edition, The Berne Witness (1906) included an entry describing John E. Rose and his store that sold groceries and a wide variety of other goods from “one of the oldest buildings still in use in town.” The 1907 Sanborn™ fire insurance map set for Berne shows a restaurant and a grocery in these locations east of Jefferson Street.
The building on the southwest corner of Jefferson and Main Streets was a bank, but the name is unreadable in this view. Farther west was a sign for THE BERNE NEWS. Neither the bank nor the newspaper office appears in the 1907 map set.
Across the street in the distance was a church steeple. This was probably the German Reformed Church. The most distant sign on the south side of the street isn’t quite legible, but may include the word HARDWARE. A hardware/tinware shop was located on the northwest corner of Main and Sprunger Streets according to the 1907 map set. Farther east, a pocket watch trade symbol advertised a jeweler’s shop. This business was located in a small single-story wood frame building just east of Jefferson Street. This jewelry shop is shown in the 1907 map set and also appears in another Main Street postcard that was based on a later photograph. At the right in this scene, the two signs below the balcony advertised a MEAT MARKET (probably) and F. M. ALLEN HARNESS ____. The 1907 map set shows a meat market and a harness business in that building with a barbershop located between them. The Tenth Anniversary Souvenir Edition, The Berne Witness (1906) included an entry describing Mr. Allen’s harness business in the Kuntz Building at Main and Behring Streets.
From a private collection.
Selected closeup sections of this postcard can be seen here, from left to right in the image.
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Print Description
This is a circa 1910 postmarked postcard view of Calhoun Street and the Allen County Courthouse in Fort Wayne, Indiana. The photographer was probably in (or on) a four-story building when he took this photograph. The most likely candidate was a building south of Jefferson Street at 1108-1112 South Calhoun Street. He was facing north and the nearest cross street in this scene was Washington Boulevard.
This postcard scene includes several identifiable business and advertising signs. In the shadows at the lower left was a SCHLITZ BEER sign. Two other signs in that same area advertised a TAILOR and TAILORS. A 1906 Polk business directory listed two tailors in that block, W. C. Cleary at 1026 South Calhoun Street (south of the alley) and Siebler Tailoring Co. at 1010-1012 South Calhoun (north of the alley). The remaining signs in this scene are on the east side of the street.
The courthouse is, of course, the most prominent landmark in this scene, standing between Berry Street on the south and Main Street on the north. Only three readable signs in this scene were located north of Main Street. The largest of the three advertised the H. G. SOMMERS pharmacy. The 1906 Polk directory listed a pharmacist by the name of Mrs. Mary Sommers at 627 South Calhoun Street; a 1911 directory of pharmacists listed Henry G. Sommers as the pharmacist at that address. The pharmacy was in the only four-story building in that block. (The taller five-story building seen in this view was actually north of Columbia Street.) Below the pharmacy sign was a CENTLIVRE advertisement. It may have been on top of the building on the corner. A large vertical CIGARS sign was displayed on that corner building. The 1906 and 1912 Polk directories listed a Riegel cigar shop at this location (631 South Calhoun Street).
The vertical CARPET sign was on the building at the southeast corner of Calhoun and Wayne Streets (901 Calhoun Street). Farther south, a sign advertised L. M. BECK JEWELER. The 1906 Polk directory listed that business address as 911 South Calhoun Street. Below the Beck sign was an ACME BOWLING ALLEYS sign. The 1906 directory listed the bowling address as 913 South Calhoun Street. The 1902 Sanborn™ fire insurance map set shows a bowling alley on the third floor of that building. A jeweler’s trade sign (a oversized pocket watch) was hanging on the front of the building south of the alley. The jeweler’s name, J. H. YOUNG, was on a separate sign. His business was listed in the 1906 directory at 921 South Calhoun Street. That directory also listed FOX, HITE, & CO. as furniture dealers at 923-927 South Calhoun Street (north of Washington Boulevard).
The first sign South of Washington Boulevard was BURSLEY’S HIGH GRADE COFFEE AND TEA. A Bursley's Coffee wagon was parked at the curb. The 1906 directory listed Bursley’s wholesale grocery business at 1011-1017 South Calhoun Street, but they had moved by the time the 1912 directory was published. South of the alley was an EDMUNDS sign. The 1906 directory listed an Edmunds Electric Construction Company with an address at 1019 South Calhoun Street. The remaining signs advertised SIGNS, PENNY ARCADE and SHOOTING gallery. These were all related to businesses north of Jefferson Street.
There were four bicyclists and five streetcars in the scene. The nearest streetcar was on the PONTIAC route. The time displayed on the courthouse tower clock was 1:45.
Copyright 2006-2015 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
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The following additional information is provided courtesy of David Enyart from his “Data Base of Indiana Court Houses.”
Allen County was organized in 1824 and Fort Wayne has been the only county seat. This is the fifth Allen County Court House.
Details: Castle style architecture; National Historic Place
270 x 134 feet
Cost: $817,553.19
Architect: Brentwood S. Tolan
Builder: James M. Stewart & Co.
Supt: Wm H. Goshorn
Cornerstone: 11/17/1897
Dedicated: 9/23/1902
The 1902 Courthouse was built between 1897 and 1902. The interior has been restored to its original magnificence and is one of the most beautiful in the country. It is one of thirty-seven Indiana Historic Landmarks (as of 2010) and is the only courthouse in Indiana so designated. The Courthouse Architect was Brentwood Tolan. The firm of Wing and Mahuran may have assisted with the project.
David has compiled additional information for this and the other 91 Indiana counties. Through David's generosity, all of that information can be found at the Allen County Public Library Genealogy Center. The web address is www.genealogycenter.info/search_incourthousehistories.php.
Titus, Lisa, and Michael Hall. Recollections of a Twentieth-Century Odalisque. New York, N.Y.: L. Titus, 1997.
See MCAD Library's catalog record for this book.
Recollections of the Bombing Range
© Mal Bell
During World War II an RAAF training school was based in Nhill and part of the training included aerial bombing practice on a range established on a Scrub Block south of Winiam. Bombs weighing 8 1/4 lbs (3.75 kg) were used on two ranges and a third range was used for a much larger bomb. The large bombs would rattle the windows of our home when they exploded.
The remains of two concrete shelters still exist on site. These shelters were fitted with observation decks on top of the heavy concrete base structure. Several other buildings were further to the south but everything that could be dismantled was auctioned shortly after the end of the war.
I have a recollection that someone, I think from Mildura, tendered for the scrap metal salvage rights and upon inspection of the sites denounced the locals as "A mob of thieving b—". I know that many locals managed to souvenir a few spent bombs and as they contained about four and a half pounds of lead they were very handy for making into fishing sinkers.
After the salvage man had declared there was nothing worth salvaging, my dad decided we should try our hand at finding some bombs. We had one of the early Land Rover four-wheel-drive utilities and would drive through the scrub behind Winiam East to the bombing range, fully equipped with some sandwiches, a water bag and a shovel each. We would dig up the bombs and load them on the ute until we had 100. This was twice the normal load limit and we reckoned it was enough for the old Land Rover. Dad would very carefully drive the ute home to be unloaded.
With this method we managed to locate a few thousand bombs and we were not the only ones collecting them at that time. The area has now been cleared for farming but I believe that a few bombs are still occasionally turned up as the paddocks are cultivated. Most of the bombs collected were smashed on an anvil with a sledge hammer, the lead, brass, cast iron and steel separated, bagged and sent to a scrap merchant. Several local people made good pocket money from this pastime.
During our fossicking expeditions we unearthed several 'live' bombs encrusted with rust and dirt. These bombs were treated with a certain amount of caution. After disassembling, cleaning and reassembling, a lengthy piece of binder twine thrown over a branch of a tall tree was used to haul the bombs skywards. We took refuge behind a near-by barn, released the twine and the bomb hurtled to the ground, erupting in a large cloud of yellow smoke and providing us with great amusement.
Several aircraft wrecks were dumped in various locations in the scrub and I believe used for navigational training. They also proved to be a bonanza for locals who stripped the aluminium sheeting, tubing and various other parts. Gas canisters still containing gas, live .303 ammunition and various other buried treasures were also found by locals.
I recall planes flying over the south scrub towing targets behind them on a long cable and a number of other planes firing at these targets. One of the targets became detached from the towing aircraft and a search in the scrub by the RAAF failed to find it. Some time later my father located it and the prized silken material went to make household goods.
Numerous other stories could be told about the history of the bombing range and its contribution to the war effort but for me the most important recollections are about those days when we went 'bomb' prospecting.
Extract from Westprint Friday Five May 6th 2011
Croome Court is a mid 18th century Neo-Palladian mansion surrounded by an extensive landscaped parkland at Croome D'Abitot, near Pershore in south Worcestershire. The mansion and park were designed by Lancelot "Capability" Brown for George Coventry, 6th Earl of Coventry, and was Brown's first landscape design and first major architectural project. Some of the internal rooms of the mansion were designed by Robert Adam.
The mansion house is owned by Croome Heritage Trust, and is leased to the National Trust who operate it, along with the surrounding parkland, as a tourist attraction. The National Trust own the surrounding parkland, which is also open to the public.
Location[edit]
Croome Court is located near to Croome D'Abitot, in Worcestershire,[1] near Pirton, Worcestershire.[2] The wider estate was established on lands that were once part of the royal forest of Horewell.[3] Traces of these older landscapes, such as unimproved commons and ancient woodlands, can be found across the former Croome Estate.[4]
House[edit]
Croome Court South Portico
History[edit]
The foundations and core of Croome Court, including the central chimney stack structure, date back to the early 1640s.[5] Substantial changes to this early house were made by Gilbert Coventry, 4th Earl of Coventry.[6]
In 1751, George Coventry, the 6th Earl, inherited the estate, along with the existing Jacobean house. He commissioned Lancelot "Capability" Brown, with the assistance of Sanderson Miller, to redesign the house and estate.[7][1] It was Brown's "first flight into the realms of architecture" and a "rare example of his architectural work",[8] and it is an important and seminal work.[9] It was built between 1751 and 1752, and it and Hagley Hall are considered to be the finest examples of Neo-Palladian architecture in Worcestershire. Notable Neo-Palladian features incorporated into Croome Court include the plain exterior and the corner towers with pyramidal roofs (a feature first used by Inigo Jones in the design of Wilton House in Wiltshire).[1] Robert Adam worked on the interior of the building from 1760 onwards.[10]
The house has been visited by George III,[2][11] as well as Queen Victoria[7] during summers when she was a child, and George V (then Duke of York).[11]
A jam factory was built by the 9th Earl of Coventry, near to Pershore railway station, in about 1880, to provide a market for Vale of Evesham fruit growers in times of surplus. Although the Croome connection with jam making had ceased, during the First World War, the building was leased by the Croome Estate Trust to the Huddersfield Fruit Preserving Company as a pulping station.[12]
The First World War deeply affected Croome, with many local casualties, although the house was not requisitioned for the war effort. This is possibly because it was the home of the Lord Lieutenant of the County, who needed a residence for his many official engagements.[13]
During the Second World War Croome Court was requisitioned by the Ministry of Works and leased for a year to the Dutch Government as a possible refuge for Queen Wilhelmina of the Netherlands; to escape the Nazi occupation of the Netherlands. However, evidence shows that they stayed two weeks at the most, perhaps because of the noise and fear created by the proximity of Defford Aerodrome. They later emigrated to Canada.[14]
In 1948 the Croome Estate Trust sold the Court, along with 38 acres (15 ha) of land, to the Roman Catholic Archdiocese of Birmingham, and the mansion became St Joseph's Special School, which was run by nuns[15] from 1950[11] until 1979.[15]
The house was listed on 11 August 1952; it is currently Grade I listed.[10]
In 1979 the hall was taken over by the International Society for Krishna Consciousness (Hare Krishna movement), who used it as their UK headquarters and a training college[16] called Chaitanya College,[15] run by 25 members of the movement.[16] During their tenure they repainted the Dining Room.[17] In 1984 they had to leave the estate for financial reasons. They held a festival at the hall in 2011.[16]
From 1984 onwards various owners tried to use the property as a training centre; apartments; a restaurant and conference centre; and a hotel and golf course,[15] before once more becoming a private family home,[2][15] with outbuildings converted to private houses.[15]
The house was purchased by the Croome Heritage Trust, a registered charity,[18] in October 2007,[19] and it is now managed by the National Trust as a tourist attraction. It opened to the public in September 2009, at which point six of the rooms had restored, costing £400,000, including the Saloon. It was estimated that another £4 million[2][20] to £4.8 million would be needed to restore the entire building. Fundraising activities for the restoration included a 2011 raffle for a Morgan sports car organised by Lord and Lady Flight. After the restoration is complete, a 999-year lease on the building will be granted to the National Trust.[21] An oral history project to record recollections about Croome was funded by the Heritage Lottery Fund.[15] As of 2009, the service wing was empty and in need of substantial repair.[22]
Exterior[edit]
The mansion is faced with Bath stone,[7] limestone ashlar, and has both north and south facing fronts. It has a basement and two stories, with three stories in the end pavilions. A slate roof, with pyramid roofs over the corner towers, tops the building, along with three pair-linked chimneys along the axis of the house.[10]
Both fronts have 11 bays, split into three central sets of three each, and one additional bay each side. The north face has a pedimented centre, with two balustraded staircases leading to a Roman Doric doorcase. The south face has a projecting Ionic tetrastyle portico and Venetian windows. It has a broad staircase, with cast stone sphinxes on each side, leading to a south door topped with a cornice on consoles. The wings have modillion cornice and balustrade.[10]
A two-story L-shaped service wing is attached to the east side of the mansion. It is made of red brick and stone, with slate roofs.[10] It was designed by Capability Brown in 1751-2.[22] On the far side of the service wing, a wall connects it to a stable court.[10]
Interior[edit]
The interior of the house was designed partially by Capability Brown, with plasterwork by G. Vassalli, and partially by Robert Adam, with plasterwork by J. Rose Jr. It has a central spine corridor. A stone staircase, with iron balusters, is at the east end.[10]
The entrance hall is on the north side of the building, and has four fluted Doric columns, along with moulded doorcases. To the east of the entrance hall is the dining room, which has a plaster ceiling and cornice, while to the west is a billiard room, featuring fielded panelling, a plaster cornice, and a rococo fireplace. The three rooms were probably decorated around 1758-59 by Capability Brown.[10] The dining room was vibrantly repainted by the Hare Krishnas in the 1970s-80s.[17]
The central room on the south side is a saloon, probably by Brown and Vassalli. It has an elaborate ceiling, with three panels, deep coving, and a cornice, along with two Ionic fireplaces, and Palladian doorcases.[10] George III was entertained by George Coventry, the 6th Earl, in the house's Saloon.[2] A drawing room is to the west of the saloon, and features rococo plasterwork and a marble fireplace.[10]
To the east of the saloon is the Tapestry Room.[10] This was designed in 1763-71, based on a design by Robert Adam, and contained tapestries and furniture covers possibly designed by Jacques Germain Soufflot, and made by Manufacture Nationale des Gobelins.[23] Around 1902 the ninth Earl sold the tapestries and seating to a Parisian dealer. In 1949 the Samuel H. Kress Foundation purchased the ceiling, floor, mantlepiece, chair rails, doors and the door surrounds, which were donated to the Metropolitan Museum of Art, New York, in 1958. In 1959 the Kress Foundation also helped the Metropolitan Museum acquire the chair and sofa frames, which they recovered using the original tapestry seats.[7][23] A copy of the ceiling was installed in place of the original.[10] As of 2016, the room is displayed as it would have looked after the tapestries had been sold, with a jug and ewer on display as the only original decoration of the room that remains in it. The adjacent library room is used to explain what happened to the tapestry room;[17] the former library was designed by Adam, and was dismantled except for the marble fireplace.[10]
At the west side of the building is a long gallery,[10] which was designed by Robert Adam and installed between 1761 and 1766. It is the best preserved of the original interior (little of the rest has survived in situ).[1] It has an octagonal panelled ceiling, and plaster reliefs of griffins. A half-hexagonal bay faces the garden. The room also contains a marble caryatid fireplace designed by J Wilton.[10] As of 2016, modern sculptures are displayed in empty niches along the Long Gallery
wikipedia
This picture is #617 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
I used the second story parking lot by Whole Foods. Before walking down, I surveyed the food court area and saw a young couple enjoying themselves and each other. So, I wasted no time. Sure enough, they were very approachable and eager to participate.
Adam is a Sarasota native and attended local Riverview High School. He is now a freshman at Florida State University. As a University of Florida graduate, I am distressed at how many strangers go to rival FSU. Adam will major in Economics. My only recollection of Economics from business school is the development of a keen appreciation of why it is called The Dismal Science.
Mercedes is a senior at Pineview High, a school for the gifted. Her father is from Argentina where Mercedes is a common name. She will attend Case Western Reserve University, in Cleveland. She chose it because of the strong music program.
As we spoke, Mercedes' mother, Alison, came up. She was happy to be photographed too – a threefer! I chose her as the posted image only in that she is the matriarch of the group. She is from New Jersey and has NO accent. I told her that I left New York almost 60 years ago and that some people say that they can hear it in my voice (I cringed as I said this). She said that a New York accent isn't such a bad thing. That's her opinion.
I sent these images to Adam. I got a reply that included this quote, “We were all buzzing about meeting you and ecstatic while waiting for these photos! Thank you.” That sure makes it all worthwhile!
Thank you, Alison, Mercedes, and Adam, for allowing me to photograph you for the 100 Strangers Flickr group.
2011年三獎 2011Third Prize
林仲賢 / 台北市立兒童育樂中心
拍攝動機：
那天–看著手裡的氣球發呆，忽然想高舉著氣球奔跑，想起了小時候最喜歡的兒童樂園，那裡的摩天輪、旋轉木馬，到處奔跑的玩伴，時間晚了卻還是捨不得回家的心情...
回憶著，手裡的海豚氣球就這樣奔跑了起來。
影心得：
這系列作品分兩次拍攝完成，第一次拍攝是看到氣球時當下所挑起的回憶，回憶起童年時光，其它的畫面也在想法中慢慢成形，醞釀一年之後，第二次再回到拍攝地點，把心裡所回憶起的心情由影像傳遞出來。
Lin Chung-hsien / Taipei Children’s Recreation Center
Why I Took These Pictures :
That day,I stood there staring at the balloon in my hand, all in a daze.Suddenly, I had the urge to lift the balloon above my head and run, just run.I recalled the amusement park that I loved more than anything as a kid.It had a Ferris wheel and a merry-go-round, and my friends and playmates where there, too.I distinctly remembered the feeling of not wanting to go home even though it was getting late.As I was lost in my reveries, the dolphin balloon—just like that—began to dash forward...
What I Learned :
The pictures in this series were made in two distinct phases.The first session was immediately after the balloon had set off various childhood memories,with the reminiscences still fresh in my mind.The other set of photos is the result of a gradual mental process that took about a year to complete,after which I returned to the original location to capture the mood of those recollections through the very images that first triggered them.
c1910 postcard view of Jefferson Street looking north in Martinsville, Indiana. The Morgan County court house square is on the left. The one readable business sign is the J. M. (or J. H.) Riggan Boots and Shoes sign. Two doors to the south of the Riggan store, the window appears to have "Groceries" painted on it.
From a private collection.
Titus, Lisa, and Michael Hall. Recollections of a Twentieth-Century Odalisque. New York, N.Y.: L. Titus, 1997.
See MCAD Library's catalog record for this book.
West Busselton Primary School Year 6 class have submitted their recollections of COVID-19, also known as Corona Virus.
1909 postmarked postcard view of the Montgomery County Courthouse in Crawfordsville, Indiana. There were a few wagons parked at the curb in front of the courthouse, and a crowd had gathered on both sides of Washington Street. The photographer was standing near the southwest corner at Washington and Main Streets when he took this photograph. This scene predates the erection of the Soldiers’ Monument in 1906 and shows two trees near the southwest corner of the courthouse. Two other postcards that are c1910 show only one tree at that corner. Perhaps it was necessary to remove one of the trees to make way for the monument.
From the collection of Thomas Keesling.
A close-up section of this postcard can be seen here.
www.flickr.com/photos/hoosier_recollections/5097209484/in...
Copyright 2006-2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
________________
The following additional information is provided courtesy of David Enyart from his “Data Base of Indiana Court Houses.”
The [1822] act forming the county established the county seat at Crawfordsville. County seats were not normally designated in the statute act, but were usually selected by a committee created by the county statute or organization act. In the case of Montgomery County however, Crawfordsville had been selected previously as the site of a major land office that made it the obvious and desirable location for a county seat. This was the third courthouse to serve Montgomery County and has done so since 1876.
Details: Castle style architecture; part of Crawfordsville Commercial Historic District
Cost: $150,000
Architect: George Bunting
Builder: McCormick & Sweeney
Cornerstone: 5/6/1875 (Gen. Lew Wallace - speaker) Dedicated: 11/20/1876
The front entrance tower of the 1876 Courthouse has been removed along with some other roofline features. The 1891 Romanesque courthouse in Wells County is probably very similar in basic construct to this courthouse.
A Liberty Monument was erected in 1906 on the courthouse grounds. This is the work of Rudolf Schwarz who worked extensively on Indianapolis’s monument circle and the Civil War monument in South Bend.
David has compiled additional information for this and the other 91 Indiana counties. Through David's generosity, all of that information can be found at the Allen County Public Library Genealogy Center. The web address is www.genealogycenter.info/search_incourthousehistories.php.
La he oscurecido a petición de Sara que no quería que se la viese mucho, así que juntándose con su pelo (moreno) no se ve apenas nada...
Uncle Walters recollections -
"That was in Berlin. The wagons weren’t always that clean! We were still working, we did a lot of work. That must have been just after the Victory Parade, the wagons have been painted.”
Uncle Walter would have just turned 20 here.
Croome Court is a mid 18th century Neo-Palladian mansion surrounded by an extensive landscaped parkland at Croome D'Abitot, near Pershore in south Worcestershire. The mansion and park were designed by Lancelot "Capability" Brown for George Coventry, 6th Earl of Coventry, and was Brown's first landscape design and first major architectural project. Some of the internal rooms of the mansion were designed by Robert Adam.
The mansion house is owned by Croome Heritage Trust, and is leased to the National Trust who operate it, along with the surrounding parkland, as a tourist attraction. The National Trust own the surrounding parkland, which is also open to the public.
Location[edit]
Croome Court is located near to Croome D'Abitot, in Worcestershire,[1] near Pirton, Worcestershire.[2] The wider estate was established on lands that were once part of the royal forest of Horewell.[3] Traces of these older landscapes, such as unimproved commons and ancient woodlands, can be found across the former Croome Estate.[4]
House[edit]
Croome Court South Portico
History[edit]
The foundations and core of Croome Court, including the central chimney stack structure, date back to the early 1640s.[5] Substantial changes to this early house were made by Gilbert Coventry, 4th Earl of Coventry.[6]
In 1751, George Coventry, the 6th Earl, inherited the estate, along with the existing Jacobean house. He commissioned Lancelot "Capability" Brown, with the assistance of Sanderson Miller, to redesign the house and estate.[7][1] It was Brown's "first flight into the realms of architecture" and a "rare example of his architectural work",[8] and it is an important and seminal work.[9] It was built between 1751 and 1752, and it and Hagley Hall are considered to be the finest examples of Neo-Palladian architecture in Worcestershire. Notable Neo-Palladian features incorporated into Croome Court include the plain exterior and the corner towers with pyramidal roofs (a feature first used by Inigo Jones in the design of Wilton House in Wiltshire).[1] Robert Adam worked on the interior of the building from 1760 onwards.[10]
The house has been visited by George III,[2][11] as well as Queen Victoria[7] during summers when she was a child, and George V (then Duke of York).[11]
A jam factory was built by the 9th Earl of Coventry, near to Pershore railway station, in about 1880, to provide a market for Vale of Evesham fruit growers in times of surplus. Although the Croome connection with jam making had ceased, during the First World War, the building was leased by the Croome Estate Trust to the Huddersfield Fruit Preserving Company as a pulping station.[12]
The First World War deeply affected Croome, with many local casualties, although the house was not requisitioned for the war effort. This is possibly because it was the home of the Lord Lieutenant of the County, who needed a residence for his many official engagements.[13]
During the Second World War Croome Court was requisitioned by the Ministry of Works and leased for a year to the Dutch Government as a possible refuge for Queen Wilhelmina of the Netherlands; to escape the Nazi occupation of the Netherlands. However, evidence shows that they stayed two weeks at the most, perhaps because of the noise and fear created by the proximity of Defford Aerodrome. They later emigrated to Canada.[14]
In 1948 the Croome Estate Trust sold the Court, along with 38 acres (15 ha) of land, to the Roman Catholic Archdiocese of Birmingham, and the mansion became St Joseph's Special School, which was run by nuns[15] from 1950[11] until 1979.[15]
The house was listed on 11 August 1952; it is currently Grade I listed.[10]
In 1979 the hall was taken over by the International Society for Krishna Consciousness (Hare Krishna movement), who used it as their UK headquarters and a training college[16] called Chaitanya College,[15] run by 25 members of the movement.[16] During their tenure they repainted the Dining Room.[17] In 1984 they had to leave the estate for financial reasons. They held a festival at the hall in 2011.[16]
From 1984 onwards various owners tried to use the property as a training centre; apartments; a restaurant and conference centre; and a hotel and golf course,[15] before once more becoming a private family home,[2][15] with outbuildings converted to private houses.[15]
The house was purchased by the Croome Heritage Trust, a registered charity,[18] in October 2007,[19] and it is now managed by the National Trust as a tourist attraction. It opened to the public in September 2009, at which point six of the rooms had restored, costing £400,000, including the Saloon. It was estimated that another £4 million[2][20] to £4.8 million would be needed to restore the entire building. Fundraising activities for the restoration included a 2011 raffle for a Morgan sports car organised by Lord and Lady Flight. After the restoration is complete, a 999-year lease on the building will be granted to the National Trust.[21] An oral history project to record recollections about Croome was funded by the Heritage Lottery Fund.[15] As of 2009, the service wing was empty and in need of substantial repair.[22]
Exterior[edit]
The mansion is faced with Bath stone,[7] limestone ashlar, and has both north and south facing fronts. It has a basement and two stories, with three stories in the end pavilions. A slate roof, with pyramid roofs over the corner towers, tops the building, along with three pair-linked chimneys along the axis of the house.[10]
Both fronts have 11 bays, split into three central sets of three each, and one additional bay each side. The north face has a pedimented centre, with two balustraded staircases leading to a Roman Doric doorcase. The south face has a projecting Ionic tetrastyle portico and Venetian windows. It has a broad staircase, with cast stone sphinxes on each side, leading to a south door topped with a cornice on consoles. The wings have modillion cornice and balustrade.[10]
A two-story L-shaped service wing is attached to the east side of the mansion. It is made of red brick and stone, with slate roofs.[10] It was designed by Capability Brown in 1751-2.[22] On the far side of the service wing, a wall connects it to a stable court.[10]
Interior[edit]
The interior of the house was designed partially by Capability Brown, with plasterwork by G. Vassalli, and partially by Robert Adam, with plasterwork by J. Rose Jr. It has a central spine corridor. A stone staircase, with iron balusters, is at the east end.[10]
The entrance hall is on the north side of the building, and has four fluted Doric columns, along with moulded doorcases. To the east of the entrance hall is the dining room, which has a plaster ceiling and cornice, while to the west is a billiard room, featuring fielded panelling, a plaster cornice, and a rococo fireplace. The three rooms were probably decorated around 1758-59 by Capability Brown.[10] The dining room was vibrantly repainted by the Hare Krishnas in the 1970s-80s.[17]
The central room on the south side is a saloon, probably by Brown and Vassalli. It has an elaborate ceiling, with three panels, deep coving, and a cornice, along with two Ionic fireplaces, and Palladian doorcases.[10] George III was entertained by George Coventry, the 6th Earl, in the house's Saloon.[2] A drawing room is to the west of the saloon, and features rococo plasterwork and a marble fireplace.[10]
To the east of the saloon is the Tapestry Room.[10] This was designed in 1763-71, based on a design by Robert Adam, and contained tapestries and furniture covers possibly designed by Jacques Germain Soufflot, and made by Manufacture Nationale des Gobelins.[23] Around 1902 the ninth Earl sold the tapestries and seating to a Parisian dealer. In 1949 the Samuel H. Kress Foundation purchased the ceiling, floor, mantlepiece, chair rails, doors and the door surrounds, which were donated to the Metropolitan Museum of Art, New York, in 1958. In 1959 the Kress Foundation also helped the Metropolitan Museum acquire the chair and sofa frames, which they recovered using the original tapestry seats.[7][23] A copy of the ceiling was installed in place of the original.[10] As of 2016, the room is displayed as it would have looked after the tapestries had been sold, with a jug and ewer on display as the only original decoration of the room that remains in it. The adjacent library room is used to explain what happened to the tapestry room;[17] the former library was designed by Adam, and was dismantled except for the marble fireplace.[10]
At the west side of the building is a long gallery,[10] which was designed by Robert Adam and installed between 1761 and 1766. It is the best preserved of the original interior (little of the rest has survived in situ).[1] It has an octagonal panelled ceiling, and plaster reliefs of griffins. A half-hexagonal bay faces the garden. The room also contains a marble caryatid fireplace designed by J Wilton.[10] As of 2016, modern sculptures are displayed in empty niches along the Long Gallery
wikipedia
1909 postmarked postcard view of a railroad depot in Hammond, Indiana. The label says this is the Lake Shore Depot. At least three other postcards with this same view from the c1910 era identify this as the Lake Shore and Nickel Plate Depot. Another postcard labels it simply the Nickel Plate Depot. The 1915 Sanborn™ fire insurance map set index lists this depot as the N. Y. C. & St. L. R. R. Passenger Depot. The map itself doesn’t name the depot, but uses the N. Y. C. & St. L. Railroad (Nickel Plate) designation for the adjacent tracks.
Whatever the correct name of the depot, it was located at the southwest corner of Oakley Avenue and Sibley Street. This view was looking east. The buildings in the background on the left were probably on the north side of Sibley Street. The building in the background to the right was the freight depot on the east side of Oakley Avenue. The Sanborn™ map set shows the C. & E. (Chicago & Eastern) Railroad and the C. I. & E. (Monon Route) passenger depots just a few hundred feet to the northwest (outside this view) across the two parallel tracks from one another. The C. & E. Railroad Depot was on the east side of the tracks and the Monon Depot was on the west side.
From the collection of Thomas Keesling.
Copyright 2012-2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
My recollection is my wife and I were at Euston to travel up to Wolverhampton for a funeral.
With about 20 minutes to kill at Euston the camera came out to capture these pictures.
Here we see 87013 John O'Gaunt at the head of our train to Wolverhampton.
“Reminiscences, even extensive ones, do not always amount to an autobiography. For autobiography has to do with time, with sequence and what makes up the continuous flow of life. Here, I am talking of a space, of moments and discontinuities. For even if months and years appear here, it is in the form they have in the moment of recollection. This strange form -- it may be called fleeting or eternal -- is in neither case the stuff that life is made of.”
- Walter Benjamin
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This link will take you to the Flickr page showing the full print.
www.flickr.com/photos/hoosier_recollections/4270275115/in...
________________________________________________
Print Description
1914 postmarked postcard view of State Street in Pendleton, Indiana. There were a few pedestrians in this scene and a handful of horse-drawn buggies and wagons. One vehicle in the distance may be an automobile. The photographer was standing west of Main Street and facing east when he took the photograph. The Main Street intersection is in the foreground.
Although this postcard has a postmark from 1914, the photograph was taken prior to 1910. The K. of P. (Knights of Pythias) Building at 16-18 West State Street (using the old street address system) was built in 1910. That building did not yet exist when this photograph was taken.
The hand water pump on the northeast corner of the Main Street intersection is shown in the 1914 Sanborn™ fire insurance map set for Pendleton, but not in the 1908 map set. The sign above the awning on that corner advertised DRY GOODS, SELZ SHOES and GROCERIES. Both map sets show this type of business at that location (40 West State Street). The Redmen’s Hall was on the second floor of that building. The 1908 map set shows the small wood frame building with the barber’s pole, but the building had been replaced by a single-story brick structure by the time the 1914 map set was being prepared. The 1908 and the 1914 map sets both identify the next building east (single-story brick construction) as the Pendleton Post Office (36 West State Street). Beyond the post office, the single-story wood frame building was a 5c theatre according to the 1908 map set. However, that building had also been replaced by a single-story brick structure (34 West State Street) by 1914.
Farther east, very few business signs were visible. The name on the _______ OFFICE sign east of the 5c theatre isn’t quite readable. Both map sets show a millinery shop and a grocery store in that building (30 West State Street) with a stairway between the two businesses. The sign was probably hanging above the stairway entrance and advertising a professional office on the second floor. The only other visible sign on the north side of the street is the RESTAURANT sign. The 1908 map set shows a restaurant in a single-story wood frame building west of the IOOF (Independent Order of Odd Fellows) Building. The distinctive IOOF façade is easy to identify in this photograph. However, the four small wood frame buildings to the west of it are difficult to see in this scene. The K. of P. Building and a bank replaced those small buildings and businesses in 1910.
The railroad crossing arms in the background identify the location of the C. C. C. & St. L. (Cleveland, Cincinnati, Chicago & St. Louis) Railway crossing. The crossing is between Pendleton Avenue and Broadway Street. The location of the HARNESS sign on the south side of State Street matches a harness and implements business at 11 East State Street in the 1908 map set. The DENTIST sign may have been on the building at the southwest corner of Pendleton Avenue or possibly above the bank on the southeast corner. The 1908 map set shows two saloons in the building on the southwest corner (1 and 3 West State Street). A Third saloon was located at 11 West State Street, but none of the three was identifiable in this photograph. The CIGAR STORE sign advertised a store located at 5 West State Street when the 1908 map set was published. That building and several other wood frame buildings (5 West State to 15 West State) were gone by the time the 1914 map set was being prepared.
The large barber’s pole in this scene stood in front of the two-story brick building at 25 West State Street. A cigar store was located in that building when the 1908 map set was being prepared, but the 1914 map set shows a barbershop. It is unclear on which building the PENDLETON LAUNDRY sign is posted. Neither map set lists a laundry business in that vicinity. The name on the ______ OFFICE UP STAIRS sign is not quite readable. The three-story building (27-29 West State Street) housed a furniture store in 1908. The K. of P. Hall was on the second floor and the Masonic Hall was on the third floor. The small wood frame building next door (31 West State Street) was occupied by a confectionery business when both map sets were published. The word HAIR was painted on the next building west (35 West State Street). However, both map sets show a photo gallery in that building. The sign next door (37 West State Street) advertised a cobbler’s business that is shown in the 1908 map set, but was gone by the time the 1914 set was being prepared. The business sign used images of a boot and a shoe as part of the sign. A tailoring business occupied the building on the southeast corner at Main Street. The building also served as a dwelling.
Copyright 2010-2015 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
everything seemed to be going downhill; i was literally down to my last three quarters. i even contemplated going to outside sources for help. i had to fix the situation. but then,
BAM!
i remembered there was a pouch of toll-booth quarters in the car from the last trip home. i was once again free to wash the laundry! TAKE THAT, DIRTY TOWELS! TAKE IT AND SUCK IT! yeeeeah, i'll show YOU unscented tide with baking soda! i need 6 quarters to wash a single pile of laundry, and as 3 quarters and no clean clothes left equals hippie time, i was understandably worried. but now all is well. until next time.
on a funny note, tonight's laundry event has nothing to do with this photo, which is from thursday. the shot just seemed like a kind of "but wait..." moment. this also started as a color then went to a b&w then a different b&w and then a color again and then a texture and now a sepia with texture. i still can't decide.
spinnnnn!
330/365
From Josephine Neill's scrapbook.
There so many things (flowers, corsage ribbons, cigarettes) with Bud's name on them in Josephine's scrapbook, so the romance between Bud and Josephine during their college days must have been quite a serious one. Wish I knew what happened to their little love affair. Was she too flirty with other boys? Was he too quiet? Did they get bored with each other, argue too much? Whatever happened, neither of them married during college, I know that. Bud went off to New Mexico, and I don't know when he got married. Josephine didn't marry until long after college when she was 27 (in 1935).
“Portobello ReCollection” is a six month arts project in Notting Hill launching this Autumn 2010. We begin with transforming the 100 metre long Portobello North Wall on the Portobello Road into “Wall of Sound”, a giant shelf of records with the titles reproduced on 2 metre high album cover spines, creating an explosion of colour and type design. The celebration of the rich musical heritage of Notting Hill in this wall of sound, will emphasize the connection between the place, its people and its music; as if the wall was Notting Hill’s own private record collection.
Portobello Road. Chelsea, London.