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– Summer Training Workshops for Schools
– Corporate Workshops & Recreation Programs
COURSEWARE & STUDY MATERIAL
– Grade Books & Audio-Video CD
– Reference Book
– Certification
FEATURES OF TRAINING
• Organized & Structured Course
• Training Module for Faculty.
• 48 compositions/year (1 year Certificate Course)
• Tests Criterion
• Practice Rooms
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You can DOWNLOAD Basic Details at the link
www.4shared.com/file/43972043/261b47ff/Presentation_Impro...
Click Below to download Free songs gifts for you.
(FUSION - COUNTRY+CLASSICAL)
(INDIAN CLASSICAL) (YEAR 2005)
This is Ragas Ahir Bhairav Audio on Guitar - www.youtube.com/watch?v=APoKPBFF7Zk
(INDIAN CLASSICAL)
This is Raga Baageshree video :) (YEAR 2OO4) & THIS YOU WOULD LIKE as being different application on guitar, tell me about your opinion :)
www.youtube.com/watch?v=um9oPm-L30s
(WESTERN CLASSICAL, YEAR 2003)
Minuet in G; J.S. Bach
www.youtube.com/watch?v=nwjO3iKiWfc
Module – myspacetv.com/index.cfm?fuseaction=vids.individual&vi...
here's another one :)
congratulations
www.youtube.com/watch?v=g_ncVPgYezg
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www.orkut.com/Community.aspx?cmm=19511773
-----------------------------------
Guitar College (STATE AWARDED BY DELHI CHIEF MINISTER, SMT. SHIELA DIXIT)
We are EXPANDING OUR VENUES AT EVERY SECTOR IN NOIDA NOW..
VENUES –
• Krishna Nagar
• Noida
• C.R. Park (Under Process)
• Gurgaon (Under Process)
• Mayur Vihar (Under Process)
Guitar Lovers/LEARNERS contact us..regards
Email - guitarmonk@gmail.com | 9212696588, 9899140511
*(Mr. Kapil - Awarded the BEST -GUITAR -TRAINER STATE AWARD , BY SHEILA DIXIT, SEP 2007 @ DELHI SECRETRIAT)
*WATCH his TELEVISION VIDEO for ALBUM LADY CHATTERJEE BY Sa Re Ga Ma (HMV)
myspacetv.com/index.cfm?fuseaction=vids.individual&vi...
--> UPCOMING ALBUM DELHI UNDERGROUND BY Sa Re Ga Ma, HMV at APRIL 2008
-->Indian Guitaroo Album, GM Records
JOIN KAPIL's COMMUNITY - www.orkut.com/Community.aspx?cmm=47376201
JOIN GUITARMONK COMMUNITY - www.orkut.com/Community.aspx?cmm=43829254
----------------------------------------
GUITAR PROGRAMS
– 1 Year Certificate Course in Guitar (4 Grades to Study)
– Rudiments of Guitar (3-5 MONTHS) taught by Mr. Kapil
– Ragas on Guitar Strings (3-5 MONTHS) taught by Mr. Kapil
SPECIALIZED GUITAR PROGRAMS
– Summer Training Workshops for Schools
– Corporate Workshops & Recreation Programs
COURSEWARE & STUDY MATERIAL
– Grade Books & Audio-Video CD
– Reference Book
– Certification
FEATURES OF TRAINING
• Organized & Structured Course
• Training Module for Faculty.
• 48 compositions/year (1 year Certificate Course)
• Tests Criterion
• Practice Rooms
• Organized Class Rooms
• Availability of Music Instruments
PROFESSIONAL EXPOSURE & SCOPES
– Recording Exposure
– Performance Platform & Band Formation
– Album Production & PR
– Career Assistance - Absorption as a team member
Albania
Tirana
Just one short day in Tirana before going home.
National Historical Museum was inaugurated on October 28, 1981. As the most important museum in Albania, National Historical Museum aims to provide knowledge and appreciation of Albania’s history to the local, national and international public. It also aims to encourage dialogue among citizens about the Albanian past, present and future. For this purpose, it preserves and studies material and immaterial evidence of Albania’s historical and cultural heritage, which are communicated and introduced in an environment that promotes education. It also organizes and enables activities that support its vision and mission. The building of National Historical Museum has a total area of 27,000 m2; it has an exhibition area of 18,000 m2 and a total volume of 81,000 m3. There are about 6,200 objects in the museum’s premises, which belong to a relatively long period of time, beginning back to the IV millennium BC until the second half of the 20th century. There are around 3100 exhibited objects. The rest of the objects are in funds. Currently, the National Historical Museum has seven pavilions: Antiquity, with 585 objects; The Middle Ages, with 217 objects; Iconography, with 90 objects (of which 70 are icons and 20 are liturgical church objects); National Renaissance, with 230 objects; Independence, with 142 objects and so on. A working group was dedicated to the design and content of the National Historical Museum, composed of the best specialists of museology, archaeology, history, ethnography, visual art and restoration. The working group is led by distinguished personalities, such as Gani Strazimiri, Koço Miho, Besim Daja, Skënder Luarasi, Valentina Pistoli, Sami Pashallari, Ilia Papanikolla, Robert Kota, Latif Lazimi, Guri Pani, Maksim Mitrojorgji, Magdalena Furxhiu, Odhise Paskali, Kristaq Rama, Shaban Hadëri, Foto Stamo, Fatmir Haxhiu, Guri Madhi, Ndreçi Plasari, Stefanaq Pollo, Kristo Frashëri, Selim Islami, Kleanthi Dede, Ballkize Haxhihyseni, Taqi Miho and many others. The National Historical Museum is a scientific research institution. In addition to the pavilions, the museum also has archive and laboratory environments, temporary exhibitions halls and conference rooms.
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Confocal scanning light microscopy (CSLM) uses laser to generate surface images of the target as compared to visible light used by conventional optical microscopes. NETL-Albany’s CSLM is unique because of a heating chamber attached to it, which enables real time high temperature observations in a controlled gas environment.
These images show the testing of Cu-Fe based materials that absorb/release oxygen by switching gases (between oxidizing and reducing) mimicking a chemical looping process. With the CSLM, researchers can observe how the materials change their size and surface morphology over the gas switch to study materials interactions and degradation.
NETL researcher Jinichiro Nakano is seen operating the Confocal scanning light microscope
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Some 300 children of all ages had gathered in the Tujisaidie School for Vacational Bible Stdies. They assembled in the classrooms in accordance with their age group and were provided with teachers and study materials, as well as a generous hot lunch.
MSMBAinUSA is an informative website which provides a guideline for students who desire to go to USA for higher education. Our idea behind this website is to help Indian students by giving complete information on higher education in USA through Profile Evaluation, Universities search, study materials and articles.
Students can find information on various USA Universities and look forward to get good guidance through forums and discussion with other students.
Aspiring students can download study material for various entrance exams like GRE, GMAT and TOEFL. Students can also find informative articles related to Exam Preparation, USA Universities, Visa, Budget management, Internships, American Culture etc. Students can participate in contests and can win exciting prizes and can share cartoons and pictures.
Confocal scanning light microscopy (CSLM) uses laser to generate surface images of the target as compared to visible light used by conventional optical microscopes. NETL-Albany’s CSLM is unique because of a heating chamber attached to it, which enables real time high temperature observations in a controlled gas environment.
These images show the testing of Cu-Fe based materials that absorb/release oxygen by switching gases (between oxidizing and reducing) mimicking a chemical looping process. With the CSLM, researchers can observe how the materials change their size and surface morphology over the gas switch to study materials interactions and degradation.
NETL researcher Jinichiro Nakano is seen operating the Confocal scanning light microscope
MSMBAinUSA is an informative website which provides a guideline for students who desire to go to USA for higher education. Our idea behind this website is to help Indian students by giving complete information on higher education in USA through Profile Evaluation, Universities search, study materials and articles.
Students can find information on various USA Universities and look forward to get good guidance through forums and discussion with other students.
Aspiring students can download study material for various entrance exams like GRE, GMAT and TOEFL. Students can also find informative articles related to Exam Preparation, USA Universities, Visa, Budget management, Internships, American Culture etc. Students can participate in contests and can win exciting prizes and can share cartoons and pictures.
Confocal scanning light microscopy (CSLM) uses laser to generate surface images of the target as compared to visible light used by conventional optical microscopes. NETL-Albany’s CSLM is unique because of a heating chamber attached to it, which enables real time high temperature observations in a controlled gas environment.
These images show the testing of Cu-Fe based materials that absorb/release oxygen by switching gases (between oxidizing and reducing) mimicking a chemical looping process. With the CSLM, researchers can observe how the materials change their size and surface morphology over the gas switch to study materials interactions and degradation.
Team Stofwolk will drive this car from The Netherlands to Gambia. These two car mechanic students bought the car with the help of sponsors and fix it until it is ready to drive through the Sahara.
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Scientists at Pacific Northwest National Laboratory use high and ultrahigh-field nuclear magnetic resonance spectrometers, located in the Environmental Molecular Sciences Laboratory at Pacific Northwest National Laboratory (PNNL), to study materials for energy storage and production systems.
PNNL is one of several major U.S. research institutions and industrial firms that form the Joint Center for Energy Storage Research, a public-private partnership that aims to overcome critical scientific and technical barriers and create new breakthrough energy storage technologies.
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Liz Hoffman is an artist, curator, editor, educator, quilt historian, and writer. The proposal for her dissertation The Murder Quilt: A Methodological Study Exploring Selected Research Methods, Techniques, and Procedures Used to Study Material Culture won the Jane Grant Dissertation Fellowship Award from the Center for the Study of Women in Society at the University of Oregon. She has also taught at Oregon State University, University of Maine, and Humboldt State University where she was presented with their Meritorious Teaching Award. She developed the first totally on-line course (Art and Gender) at the University of Oregon using the Blackboard course management system.
She has worked as a Chautauqua speaker for the Oregon Council for the Humanities, served on One Percent for Art committees in Oregon and Maine; and continues research in her areas of interest that include: art of place; gender and appearance; transhuman culture, and textile culture and history.
Her fiber art has been shown at Maude Kerns Gallery in Eugene; The Memorial Union Concourse at Oregon State University; La Sells Stewart Center and The Arts Center in Corvallis; and The Gordon House in Silverton, OR. She belongs to a fiber arts study group called Loosely Bound www.looselybound.com
Artist Statement:
Fiber has held my curiosity and creative interest for most of my adult life. I enjoy learning about the cultural and historic aspects of textiles through written material as well as hands on activity. Lately I’ve been working with mixed media, blending traditional sewing skills with alternative art techniques. I also find myself drawing on my calligraphy training from many years ago. I’ve learned that life isn’t linear. It is cyclic experience with each cycle providing more depth and clarity.
Courses
AAD 252: Art and Gender on-line
Confocal scanning light microscopy (CSLM) uses laser to generate surface images of the target as compared to visible light used by conventional optical microscopes. NETL-Albany’s CSLM is unique because of a heating chamber attached to it, which enables real time high temperature observations in a controlled gas environment.
These images show the testing of Cu-Fe based materials that absorb/release oxygen by switching gases (between oxidizing and reducing) mimicking a chemical looping process. With the CSLM, researchers can observe how the materials change their size and surface morphology over the gas switch to study materials interactions and degradation.
MSMBAinUSA is an informative website which provides a guideline for students who desire to go to USA for higher education. Our idea behind this website is to help Indian students by giving complete information on higher education in USA through Profile Evaluation, Universities search, study materials and articles.
Students can find information on various USA Universities and look forward to get good guidance through forums and discussion with other students.
Aspiring students can download study material for various entrance exams like GRE, GMAT and TOEFL. Students can also find informative articles related to Exam Preparation, USA Universities, Visa, Budget management, Internships, American Culture etc. Students can participate in contests and can win exciting prizes and can share cartoons and pictures.
Confocal scanning light microscopy (CSLM) uses laser to generate surface images of the target as compared to visible light used by conventional optical microscopes. NETL-Albany’s CSLM is unique because of a heating chamber attached to it, which enables real time high temperature observations in a controlled gas environment.
These images show the testing of Cu-Fe based materials that absorb/release oxygen by switching gases (between oxidizing and reducing) mimicking a chemical looping process. With the CSLM, researchers can observe how the materials change their size and surface morphology over the gas switch to study materials interactions and degradation.
Robert Liston
West Building, Main Floor—Gallery 60A
•Date: 1800
•Medium: Oil on Canvas
•Dimensions:
oOverall: 73.8 × 61 cm (29 1/16 × 24 in.)
oFramed: 90.5 × 78.1 × 6 cm (35⅝ × 30¾ × 2⅜ in.)
•Credit Line: Chester Dale Collection
•Accession Number: 1957.10.1
•Artists/Makers:
oPainter: Gilbert Stuart, American, 1755-1828
Inscription
•On Reverse, in A Later Hand: Sir Robert Liston--Died 1837 / G C B / Her Britannic Majesty’s / Ambassador to / the Sublime Porte / Painted by Raeburn
Provenance
The sitter’s grand-niece and heir, Henrietta Ramage Liston Foulis [d. 1850], Millburn Tower, County Edinburgh, Scotland;[1] her son, Sir James Liston Foulis, 9th baronet [1847-1895], Woodhall and Millburn Tower, County Edinburgh; his son, Sir William Liston Foulis, 10th baronet [1869-1918], Woodhall and Millburn Tower, County Edinburgh; (P. & D. Colnaghi & Obach, London, on joint account with M. Knoedler & Co., New York), 16 December 1919; sold April 1920 to Elbert H. Gary [1846-1927], New York;[2] sale of his estate (American Art Association, New York, 8 December 1934, no. 386);[3] bought by Helena Woolworth McCann [Mrs. Charles E. F. McCann, d. 1938], New York;[4] her children, Constance Woolworth Betts, Helena Woolworth Guest, and Frasier Winfield McCann;[5] (Parke-Bernet Galleries, New York, 21 February 1945, no. 48).[6] Booth Tarkington [1869-1946], Indianapolis, Indiana; his widow, Susannah Robinson Tarkington [d. 1966];[7] consigned November 1947 by (Daniel H. Farr) to (M. Knoedler & Co.); sold that month to Chester Dale [1883-1962], New York; gift 1957 to NGA.
[1]After Miss Liston married Sir William Foulis, 8th Baronet (1812-1858) in 1843, he assumed the name Liston. On the baronetcy see George Edward Cokayne Baronetage, Complete Baronetage, 6 vols., Exeter, England, 1900-1909, 2:401-403, and Burke’s Genealogical and Heraldic History of the Peerage, Baronetage and Knightage, 105th ed., London, 1970, 1043-1044.
[2]Melissa De Medeiros, librarian, M. Knoedler & Co, provided information about Knoedler’s ownership and subsequent sales in a letter dated 5 June 1992 (NGA curatorial file).
[3]American Art Association, Important Rugs, Paintings, Georgian Silver and English Furniture from the Estate of the Late Elbert H. Gary and from the Estate of the Late Emma T. Gary, New York, 1934, 80, repro.; see “When Genuine Raeburns Turn Out to Be Absolute Stuarts,” Art Digest 9, no. 5 (1 December 1934), 8, and “Active Bidding Marks Auction of Gary Estate,” Art News 33, no. 11 (15 December 1934), 3; on Gary see Dictionary of American Biography, 20 vols., New York, 1928-1936, reprinted in 10 vols. with 8 supplements, New York, 1944-1988, 7:175-176.
[4]Although Knoedler is listed as the purchaser in Helen Comstock, “The Connoisseur in America: A Recapitulation of Portraits Recovered for Gilbert Stuart,” Connoisseur 95, no. 402 (February 1935), 99-100, which was confirmed by A. Rugo of Parke-Bernet Galleries in a letter dated 18 September 1964 (NGA curatorial file), Knoedler was acting as the bidder on behalf of Mrs. McCann, according to Knoedler librarian Melissa De Medeiros.
[5]Letter of 8 October 1964 from her son Frasier Winfield McCann, president of the Winfield Foundation, to whom the painting was lent by her estate (NGA curatorial file); her death date and her children’s names are found in the biography of her husband Charles Edward Francis McCann in The National Cyclopaedia of American Biography, 63 vols., Clifton, New Jersey, 31:100-101.
[6]Notable Paintings by Old Masters, Works by XIX Century Artists From the Collection of the Late Mr. & Mrs. Charles E. F. McCann…, New York, 1945, 44, repro.
[7]On Booth Tarkington see Dictionary of Literary Biography, vol. 9, part 3: American Novelists, 1910-1945, Detroit, 1981, 90-96, and Dictionary of American Biography, Supplement Four, 1946-1950, 815-817; his wife’s obituary is in The New York Times for 13 January 1966, 25.
Associated Names
•American Art Association
•Betts, Constance Woolworth
•Colnaghi & Co., Ltd., P. & D.
•Dale, Chester
•Farr Co., Daniel H.
•Foulis, 10th Bt., William Liston, Sir
•Foulis, 9th Bt., James Liston, Sir
•Foulis, Henrietta Ramage Liston
•Gary, Elbert Henry
•Guest, Helena Woolworth
•Knoedler & Company, M.
•Knoedler & Company, M.
•McCann, Frasier Winfield
•McCann, Helena Woolworth
•Parke-Bernet Galleries, Inc.
•Tarkington, Booth
•Tarkington, Susannah Robinson
Exhibition History
•1884—Scottish National Portraits, Edinburgh, 1884, no. 280, as by Sir Henry Raeburn
•1942—Dallas Museum of Fine Arts, 1942-1944 (on loan from the Winfield Foundation)
•1965—The Chester Dale Bequest, National Gallery of Art, Washington, D.C., 1965, unnumbered checklist.
Bibliography
•1843—Cunningham, Allan. The Life of Sir David Wilkie; with his Journals, Tours, and Critical Remarks on Works of Art; and a Selection from his Correspondence. 3 vols. London, 1843: 2:119.
•1879—Mason, George C. The Life and Works of Gilbert Stuart. New York, 1879: 215.
•1880—“Portraits Painted by Stuart…taken from Mason’s Life and Works of Gilbert Stuart.” In Exhibition of Portraits Painted by Gilbert Stuart. Exh. cat. Museum of Fine Arts, Boston, 1880: 46, no. 369.
•1901—Armstrong, Sir Walter. Sir Henry Raeburn. London, 1901: 106.
•1904—Pinnington, Edward. Sir Henry Raeburn, R.A.. London, 1904: 238.
•1911—Greig, James. Sir Henry Raeburn, R.A., London, 1911: 51.
•1926—Park 1926, 478-479, no. 493, repro.
•1932—Whitley 1932, 117.
•1934—“When Genuine Raeburns Turn Out to Be Absolute Gilbert Stuarts.” Art Digest 9, no. 5 (1 December 1934): 8.
•1935—Comstock, Helen. “A Recapitulation of Portraits Recovered for Gilbert Stuart.” The Connoisseur 95 (February 1935): 99-100, repro.
•1954—Perkins, Bradford. “A Diplomat’s Wife in Philadelphia: Letters of Henrietta Liston, 1796-1800.” William and Mary Quarterly 11, no. 4 (January 1954): 592-632, repro.
•1961—Wright, Esmond. “Robert Liston, Second British Minister to the United States.” History Today 11, no. 2 (February 1961): 118-127, repro.
•1964—Mount 1964, 224, 370.
•1965—Paintings other than French in the Chester Dale Collection. National Gallery of Art, Washington, 1965: 29, repro.
•1970—American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 104, repro.
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: 382, color repro.
•1980—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 231, repro.
•1984—Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 378, no. 533, color repro.
•1986—McLanathan 1986, 99-100, color repro.
•1992—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 351, repro.
•1995—Miles, Ellen G. American Paintings of the Eighteenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1995: 221-224, color repro. 223.
•2000—Kirsh, Andrea, and Rustin S. Levenson. Seeing Through Paintings: Physical Examination in Art Historical Studies. Materials and Meaning in the Fine Arts 1. New Haven, 2000: 262.
From American Paintings of the Eighteenth Century:
1957.10.1 (1487)
Robert Liston
•1800
•Oil on Canvas, 73.8 × 61 (29 × 24)
•Chester Dale Collection
•Inscriptions:
oInscribed on the Reverse, in Black, in A Later Hand: Sir Robert Liston — Died 1837 / G G B / Her Britannic Majesty’s / Ambassador to / the Sublime Porte / Painted by Raeburn
Technical Notes
The twill-weave fabric retains its original tacking edges and what appear to be the original dome-headed, square-shanked tacks. It is on its original four-member, yellow poplar stretcher with mortise-and-tenon joints. The strainer has been modified by the addition of keys in each corner. The painting has never been lined. The canvas has strong cusping at the top, mild cusping at the bottom, and none at the sides.
The ground is white, moderately thick, and smoothly applied. The entire fabric, including the tacking margins, is covered with ground. A stamp on the fabric verso is evidence that the fabric was commercially prepared. The paint is worked in fluid pastes, with impasto present primarily in the whites. The face was worked up first, followed by the rest of the figure, and then the background. Infrared reflectography reveals the use of a dark area of paint around the head. The uppermost part of the sky and throughout the curtain were underpainted with a beige color. The painting was completed before it was attached to the stretcher, as shown by the dark red paint on the right side, which continues under the tacks, and by the paint along the bottom edge, which ends just short of the tacking edge turnover.
The paint is lightly abraded, with paint missing in tiny areas in the tops of the weave texture. Retouching is limited to the sitter’s chin. The toned varnish is very slightly discolored.
Provenance
The sitter’s grand-niece and heir Henrietta Ramage Liston Foulis [d. 1850], Millburn Tower, County Edinburgh, Scotland;1 her son Sir James Liston Foulis, 9th baronet [1847-1895], Woodhall and Millburn Tower, County Edinburgh; his son Sir William Liston Foulis, loth baronet [1869-1918], Woodhall and Millburn Tower, County Edinburgh; (P. & D. Colnaghi and Obach, London, on joint account with M. Knoedler & Co., New York), 16 December 1919; sold April 1920 to Elbert H. Gary [1846-1927], New York;2 sale of his estate (American Art Association, New York, 8 December 1934, no. 386);3 bought by Helena Woolworth McCann [Mrs. Charles E.F. McCann, d. 1938], New York;4 her children, Constance Woolworth Betts, Helena Woolworth Guest, and Frasier Winfield McCann;5 (Parke-Bernet Galleries, New York, 21 February 1945, no. 48).6 Booth Tarkington [1869-1946], Indianapolis; his widow Susannah Robinson Tarkington [d. 1966];7 consigned by (Daniel H. Farr) to (M. Knoedler & Co.), November 1947; sold that month to Chester Dale, New York [1883-1962].
Exhibited
Scottish National Portraits, Edinburgh, 1884, no. 280, as by Sir Henry Raeburn.8 Dallas Museum of Fine Arts, on long-term loan, 1942-1944, from the Winfield Foundation, New York.9
Robert Liston (1742-1836) was born in Overtoun, Scotland, and attended the University of Edinburgh. He served as minister plenipotentiary in Madrid, as envoy in Stockholm, and ambassador in Constantinople (Istanbul) before he was appointed ambassador to the United States in February 1796. Liston served in this post until 1801, during which time he became a close friend of George Washington.10 In the portrait he wears a black suit and stands with his arms crossed in front of him, looking at the viewer. Behind him hangs a red curtain, with blue sky to the left. The composition is identical to that of Stuart’s portrait of Colonel John Chesnut (1800, Denver Art Museum).11 Stuart had used successful variants of this crossed-arms pose earlier in England and Ireland. Having developed it for his full-length of The Skater (Portrait of William Grant) (1782, [1950.18.1]), he employed it for the head and shoulder portraits of English actor John Philip Kemble (c. 1785-1787, National Portrait Gallery, London] and of Dubliner Luke White (c. 1787, [1942.8.28]). According to Mrs. Liston’s letters to her uncle in Glasgow, Stuart painted the Listons between May and October 1800 (see 1960.10.1). Many years later, in 1824, the portraits were on display in the Listons’ home, Millburn Tower, near Edinburgh, when painter Sir David Wilkie wrote his sister on 15 September, “I go on Saturday morning … to visit Sir Robert Liston. I want Newton [Stuart’s nephew Gilbert Stuart Newton] to go with me to see the portraits there by his uncle in America.”12
The portrait’s fabric support is on its original stretcher and has never been trimmed or lined. A rectangular tax stamp on the reverse of the fabric indicates that the canvas was commercially prepared. It is similar to the tax stamps that appear on canvases prepared by James Poole of 163 High Holborn, London, a supplier of artists’ materials who was in business from 1780 to 1800, and those of his successor Thomas Brown, whose business was at the same location until the 18508.13 A similar tax stamp, together with the stamp of Poole’s firm, appears on the canvas of Mother and Child in White [1980.62.39] by an unidentified American artist, painted around 1790.14 There is also a tax stamp, accompanied by a stamp with Poole’s name and address, on the reverse of one of Gilbert Stuart’s early portraits of George Washington [1940.1.6], which was painted in Philadelphia in 1795. Similar stamps have been found on other English canvases of the late eighteenth and early nineteenth century. They indicate the payment of the taxes that were levied after 1712 on all fabrics painted, printed, stained, or dyed in Britain. The tax continued until 1831 and included commercially prepared artists’ canvases after about 1785. The numbers seem to indicate the firm that sold the canvas, the amount of duty paid, and perhaps the year it was paid, although the markings have not been fully decoded. Excise officers often marked the materials or canvases while they were on stretching frames, prior to being printed or primed.15 The pronounced cusping along one edge of the fabric support appears to be additional evidence that this canvas was commercially prepared. It indicates that this piece of fabric was part of a larger piece when it was stretched and primed. Similar cusping along one side is found on the portraits of Mrs. Liston [1960.2.1] and of John and Abigail Adams [1954. 7.1 and 1954.7.2].
EGM
Notes
1.After Miss Liston married Sir William Foulis, 8th Baronet (1812-1858) in 1843, ne assumed the name Liston. On the baronetcy see Cokayne 1900, 2:401-403, and Burke 1970,1043-1044.
2.Melissa De Medeiros, librarian, M. Knoedler & Co., provided information about Knoedler’s ownership and subsequent sales in a letter dated 5 June 1992 (NGA).
3.Gary 1934, 80, repro.; see “Absolute Stuarts” 1934, 8, and “Gary Estate” 1934, 3; on Gary see DAB 7:175-176.
4.Although Knoedler is listed as the purchaser in Gomstock 1935,99-100, which was confirmed by A. Rugo of Parke-Bernet Galleries in a letter dated 18 September 1964 (NGA), Knoedler was acting as the bidder on behalf of Mrs. McCann, according to Knoedler librarian Melissa De Medeiros.
5.Letter of 8 October 1964 from her son Frasier Winfield McCann, president of the Winfield Foundation, to whom the painting was lent by her estate (NGA); her death date and her children’s names are found in the biography of her husband Charles Edward Francis McCann in NCAB 31:100-101.
6.McCann 1945, 44, repro.
7.On Booth Tarkington see DLB 9 (part 3):90-96, and DAB, Supplement Four, 1946-1950, 815-817; his wife’s obituary is in the New York Times for 13 January 1966, 25.
8.Scottish Portraits 1884, unpaginated.
9.Letter from John Lunsford, associate curator, Dallas Museum of Fine Arts, 15 June 1964 (NGA).
10.DNB 33:356-357; Liston later served as ambassador at The Hague and again at Constantinople. He was made a Knight of the Grand Cross of the Bath in 1816.
11.Park 1926, 210-211, no. 151, illus.
12.Quoted in Cunningham 1843, 119, and in Whitley 1932, 117.
13.Katlan 1992, 456-458, 461-462, 480.
14.Chotner 1992, 550-552.
15.Cundall 1932, 397-398; Leach 1973, 2-4; Butlin 1981, 43-45; Katlan 1987, 7-8; letter of 15 November 1989 from Norman E. Mufler, conservator, Princeton University Art Museum (NGA).
References
•1843—Cunningham: 2:119.
•1879—Mason: 215.
•1880—MFA:46, no. 369.
•1901—Armstrong: 106.
•1904—Pinnington: 238.
•1911—Greig: 51.
•1926—Park: 478-479, no. 493, repro.
•1932—Whitley: 117.
•1934—“Absolute Stuarts”: 8.
•1935—Comstock: 99-100, repro.
•1954—Perkins: 592-632, repro.
•1961—Wright: 118-127, repro.
•1964—Mount: 224, 370.
•1965—Dale Collection: 29, no. 1487, repro.
•1984—Walker: 378, no. 533, color repro.
•1986—McLanathan: 99-100, color repro.
Confocal scanning light microscopy (CSLM) uses laser to generate surface images of the target as compared to visible light used by conventional optical microscopes. NETL-Albany’s CSLM is unique because of a heating chamber attached to it, which enables real time high temperature observations in a controlled gas environment.
These images show the testing of Cu-Fe based materials that absorb/release oxygen by switching gases (between oxidizing and reducing) mimicking a chemical looping process. With the CSLM, researchers can observe how the materials change their size and surface morphology over the gas switch to study materials interactions and degradation.
NETL researcher Jinichiro Nakano is seen operating the Confocal scanning light microscope
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Confocal scanning light microscopy (CSLM) uses laser to generate surface images of the target as compared to visible light used by conventional optical microscopes. NETL-Albany’s CSLM is unique because of a heating chamber attached to it, which enables real time high temperature observations in a controlled gas environment.
These images show the testing of Cu-Fe based materials that absorb/release oxygen by switching gases (between oxidizing and reducing) mimicking a chemical looping process. With the CSLM, researchers can observe how the materials change their size and surface morphology over the gas switch to study materials interactions and degradation.
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Confocal scanning light microscopy (CSLM) uses laser to generate surface images of the target as compared to visible light used by conventional optical microscopes. NETL-Albany’s CSLM is unique because of a heating chamber attached to it, which enables real time high temperature observations in a controlled gas environment.
These images show the testing of Cu-Fe based materials that absorb/release oxygen by switching gases (between oxidizing and reducing) mimicking a chemical looping process. With the CSLM, researchers can observe how the materials change their size and surface morphology over the gas switch to study materials interactions and degradation.
NETL researcher Jinichiro Nakano is seen operating the Confocal scanning light microscope
Confocal scanning light microscopy (CSLM) uses laser to generate surface images of the target as compared to visible light used by conventional optical microscopes. NETL-Albany’s CSLM is unique because of a heating chamber attached to it, which enables real time high temperature observations in a controlled gas environment.
These images show the testing of Cu-Fe based materials that absorb/release oxygen by switching gases (between oxidizing and reducing) mimicking a chemical looping process. With the CSLM, researchers can observe how the materials change their size and surface morphology over the gas switch to study materials interactions and degradation.
NETL researcher Anna Nakano is seen operating the Confocal scanning light microscope
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