View allAll Photos Tagged Transactional
The Stratford-upon-Avon Canal travelling underneath the Old Warwick Road, west of Lapworth in Warwickshire.
The Stratford-upon-Avon Canal was conceived as part of a network of canals which would allow coal from the Dudley Canal and the Stourbridge Canal to reach Oxford and London, without having to use the Birmingham canals, the management of which was seen as high-handed. An Act was passed on 28 March 1793 for the construction of a canal from a junction with the Worcester and Birmingham Canal in Kings Norton to Stratford-upon-Avon. The Canal Company was empowered to raise £120,000 by issuing shares and an additional £60,000 if required. The route would take it close to Warwick and Birmingham Canal at Lapworth, but the act did not include any provision for a direct connection with it, or with the River Avon at Stratford. Negotiations started with the Warwick and Birmingham, and to second act was obtained on 19 May 1795, to allow a connecting link to be built, despite rather unfavourable terms imposed on through traffic by the other company.
Josiah Clowes was employed as the engineer, and construction began in November 1793, starting at the Kings Norton end. He was also working on the Dudley Canal's extension, and another four canal schemes at the same time, and was the first great tunnel engineer. He died in December of the following year, but work continued until the main line reached Hockley Heath in May 1796, one mile (1.6 km) short of the first lock at Lapworth. At this point, cutting ceased through lack of money, as the capital raised had all been spent. The Dudley Canal extension through the Lappal tunnel was opened in early 1798, and with progress being made on the Warwick and Birmingham Canal, the Company obtained a third act of Parliament on 21 June 1799, which allowed it to raise more money, and included a diversion of the route further to the east near Lapworth, so that the length of the connecting link to the Warwick and Birmingham was only about 200 yards (180 m). Work restarted in 1799 under a new engineer called Samuel Porter, a former assistant of Clowes. He continued as far as Kingswood Junction, which was formally opened on 24 May 1802, after which cutting again ceased.
Construction only recommenced in 1812, under the leadership of William James of Stratford. James, who had owned shares in the Company since 1793, had a wide interest in turnpike roads and railways, and following a tour of the north of England between 1802 and 1804, on which he investigated railways and canals, he expanded his business interests to include coal mining. He rose to become chairman of the Canal Company, and personally bought the Upper Avon Navigation in 1813. He wanted to create a through route between the River Severn and the Midlands, and so the Canal Company obtained a further act of Parliament on 12 May 1815, which authorised a connection between the canal and the Avon at Stratford, as well as enabling them to build reservoirs at Earlswood. The canal reached Stratford in June 1816 and a connection with the River Avon was made. The total cost of the canal had been around £297,000.
The southern section of the canal never realised James' ambitions, as the Upper Avon was too tortuous and prone to floods to be a reliable through route. He spent some £6,000 on improvements to the Upper Avon locks in 1822, but over-reached himself, and was declared bankrupt shortly afterwards. For a while the upper river was managed by a syndicate of seven people, all connected with the canal, and the Canal Company took out a lease of it from 1842 for five years. Trade was mainly coal, which was conveyed from Stratford to Evesham.
Traffic steadily built up, although tolls were low, to offset the costs imposed on goods passing through Kingswood Junction to the Warwick and Birmingham Canal. On the southern section, coal was taken to Stratford, from where it was sold, or passed along the Upper Avon or the Stratford and Moreton Tramway. Modest dividends were paid to shareholders from 1824, and the total traffic carried in 1838 was 181,708 tons, on which profits of £6,835 were made. In 1845, the company agreed to sell the canal to the Oxford, Worcester and Wolverhampton Railway, who were also keen to purchase the Stratford and Moreton Tramway. It was not until January 1856 that the transaction was finally completed, and another year before the railway company took over day-to-day running. Another change of ownership occurred in 1863, when the railway company was absorbed by the Great Western Railway. Traffic gradually decreased, but the fall in receipts was faster than the fall in tonnage, as the railway took the long-distance loads.
One of my favorite scenes from Andor, a show about the formation of the rebellion, is the introduction of Luthen Rael's gallery when Mon Mothma comes to discuss the difficulty of funding the rebellion due to heightened Imperial surveillance and her decision to add a new member to their circle to help with that under the pretenses of buying a gift for her husband. While Luthen's assistant Kleya distracts Mon's driver Kloris who was hired to spy on her, Rael leads Mothma from the bright and clean showroom to the dark and messy backroom. Just as he is talking about a two-faced divinity, he suddenly reveals his own true face as a spymaster as the camera cleverly pans around the two and they start discussing rebel business. It's an excellent scene filled with brilliant writing, acting, symbolism, and Easter eggs which I tried to recapture in this MOC. The gallery is filled with antiquities from LEGO Star Wars history. This scene is a great example of how some of the rebellion's most important members had to carefully meet in secret while hiding in plain sight to make the rebellion possible.
This was built for the Rebellion category of the Eurobricks May the 4th contest.
This was the most amazing transaction ever! Not only have I received my grail doll, a Unoa Lusis. She is in perfect, perfect condition and came with so many amazing optional parts! In addition, her seller, Seditionary was so helpful, thoughtful and just an all around amazing seller. All that combined = MOST AMAZING BOX OPENING EVER!
Contains oldest record of commercial transaction in City of London
en.wikipedia.org/wiki/London_Mithraeum
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Double click to look for fragments of Roman letters scratched through wax by enthusiastic writer(s)
P4111139 Anx2 Q90
Following on from my previous photo taken at Bradford Junction, here we see signalman Chris accepting the single line token from the driver of this diesel multiple unit, which has arrived from the direction of Melksham with an unrecorded service.
I note from my 1978 "Combined Volume" that vehicle No. 51530, a Class 102/1 Metropolitan-Cammell motor composite, was at that time allocated to the Scottish Region. Images on Flickr show her working as part of a two-piece unit on the Western Region, but on the occasion shown here, sometime in 1988, she was in a three-piece combination.
While running around with the "kids" last weekend, we were invited to stop by an open house held by the realtor helping with their transaction. It was the most amazingly restored mid-century modern house that I have been in locally (the architect was Paul Tay). Here's a link to some of the images I was able to shot around other visitors: Paul Tay Mid-century home. The house is a veritable museum of mid-century furniture, lighting, china...the list goes on and on. Elliot and Rachel, both fans of the period, would have loved moving in, but at 1.8 million USD, it is a little over their budget.
Took some artistic license with this killdeer. It wasn't as sharp as I would have liked, but I kept coming back to it, so applied one of the artistic filters in PS to give it a bit more definition.
© 2012 Maureen Sullivan
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Member of the Flickr Bird Brigade
Activists for birds and wildlife
The four Nails stand on the pavement outside the Corn Exchange in Corn Street, Bristol These round-topped pedestals were used by merchants when closing a sale. Money was placed on the surface of a Nail, signifying the bargain had been struck; hence the expression 'Paying on the nail.'
It is likely that small samples of wares were also displayed on the Nails during the transaction.
Before the Corn Exchange was built in the 18th Century, the Nails were located in the Tolzey Walk. This covered area was along the south wall of All Saints Church, which remains as a narrow lane giving access to commercial premises.
Copyright Ian Boulton 2015. All rights reserved
I would imagine every Flickr member received this email yesterday:
"If you haven’t heard, Yahoo plans to sell its operating business, including Flickr, to Verizon Communications Inc. We anticipate the completion of the transaction to occur in June 2017. Upon the completion of this proposed transaction, Yahoo products and services, including Flickr, will be provided by a new Verizon-owned company called Yahoo Holdings, Inc.
In connection with this proposed transaction, Yahoo is updating its Terms of Service. You can review the changes by visiting our Terms of Service
These updated terms will automatically be effective on June 8, 2017, unless you cancel your Yahoo account before then.
That’s it! We look forward to continuing to deliver your favorite products and services."
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Well, I'm certainly not getting on very well with my Trinidad photos at the moment : ) Other things keep popping up and they have offered, or will be offering, photo opportunities, too. This morning, I posted four more shots from my day out with four friends, driving the area SW of Calgary, on 20 May 2017.
Normally, I wouldn't be posting so many bird photos all close together. However, I so rarely see Rose-breasted Grosbeaks and Evening Grosbeaks, so wanted to make sure I didn't forget to post the somewhat better shots I took. I'm not a fan of taking feeder shots, but sometimes you take what you can get. This male Rose-breasted Grosbeak was happily cracking open a black sunflower seed - no problem for it with that chunky, solid beak!
Part of that morning was spent at our friend, Barb's, acreage, SW of Calgary, enjoying the variety of birds that visit her property. Thanks so much, Barb, as always, for letting us visit you. Such a joy to see birds like the handsome male Rose-breasted Grosbeak and the Evening Grosbeaks.
We then drove the various roads SW of the city, as far south as Turner Valley, hoping to see a few birds. Beautiful scenery in the whole area. In Turner Valley, we called in to see another mutual friend and watch the birds that visited her tiny, but beautifully and thoughtfully designed, back deck. Thanks so much for having us, Jackie - and for the most welcome coffee! - especially at such very short notice!
On my way home from this enjoyable day out, I drove a few backroads, looking for any Mountain Bluebirds. Not much luck, though I did see one pair close to their nest box.
This coming weekend, it is the annual May Species Count. This year (2017), I am only going to be doing the Sunday Count - no walking : )
"The count goes May 27-28: Calgary birders have been out in force every May since 1979, contributing to a broad census of the constantly changing patterns of bird distributions in North America. The count circle is the same as previous years, extending from Olds to Nanton, and from Exshaw to Standard, and includes a variety of environments." From NatureCalgary.
Bath Christmas Market
Original RAF file processed with newly-released DXO PureRAW 2, before creation of JPEG in Lightroom 6
The Flatiron Building, originally the Fuller Building, is a triangular 22-story, 285-foot-tall (86.9 m) steel-framed landmarked building located at 175 Fifth Avenue in the eponymous Flatiron District neighborhood of the borough of Manhattan, New York City. Designed by Daniel Burnham and Frederick Dinkelberg, it was one of the tallest buildings in the city upon its 1902 completion, at 20 floors high, and one of only two "skyscrapers" north of 14th Street – the other being the Metropolitan Life Insurance Company Tower, one block east. The building sits on a triangular block formed by Fifth Avenue, Broadway, and East 22nd Street – where the building's 87-foot (27 m) back end is located – with East 23rd Street grazing the triangle's northern (uptown) peak. As with numerous other wedge-shaped buildings, the name "Flatiron" derives from its resemblance to a cast-iron clothes iron.
The building, which has been called "one of the world's most iconic skyscrapers and a quintessential symbol of New York City", anchors the south (downtown) end of Madison Square and the north (uptown) end of the Ladies' Mile Historic District. The neighborhood around it is called the Flatiron District after its signature building, which has become an icon of New York City. The Flatiron Building was designated a New York City landmark in 1966, was added to the National Register of Historic Places in 1979, and was designated a National Historic Landmark in 1989.
In 1901, the Newhouse family sold "Eno's flatiron" for about $2 million to Cumberland Realty Company, an investment partnership created by Harry S. Black, CEO of the Fuller Company. The Fuller Company was the first true general contractor that dealt with all aspects of building construction except design, and they specialized in building skyscrapers. Black intended to construct a new headquarters building on the site, despite the recent deterioration of the surrounding neighborhood. Black engaged Burnham to design the building, which would be Burnham's first in New York City, would also be the first skyscraper north of 14th Street. It was to be named the Fuller Building after George A. Fuller, founder of the Fuller Company and "father of the skyscraper", who had died two years earlier. However, locals persisted in calling it "The Flatiron", a name which has since been made official.
Once construction of the building began, it proceeded at a very fast pace. The steel was so meticulously pre-cut that the frame went up at the rate of a floor each week. By February 1902 the frame was complete, and by mid-May the building was half-covered by terra-cotta tiling. The building was completed in June 1902, after a year of construction.
The Flatiron Building was not the first building of its triangular ground-plan: aside from a possibly unique triangular Roman temple built on a similarly constricted site in the city of Verulamium, Britannia; Casa Saccabarozzi, Turin, Italy (1840); Bridge House, Leeds, England (1875); the Maryland Inn in Annapolis (1782); the Granger Block in Syracuse, New York (1869); I.O.O.F. Centennial Building (18760) in Alpena, Michigan; the Phelan Building in San Francisco (1881); the Gooderham Building of Toronto (1892); and the English-American Building in Atlanta (1897) predate it. All, however, are smaller than their New York counterpart.
Two features were added to the Flatiron Building following its completion. The "cowcatcher" retail space at the front of the building was added in order to maximize the use of the building's lot and produce some retail income. Harry Black had insisted on the space, despite objections from Burnham. Another addition to the building not in the original plan was the penthouse, which was constructed after the rest of the building had been completed to be used as artists' studios, and was quickly rented out to artists such as Louis Fancher, many of whom contributed to the pulp magazines which were produced in the offices below.
The Flatiron Building became an icon of New York City, and the public response to it was enthusiastic, but the critical response to it at the time was not completely positive, and what praise it garnered was often for the cleverness of the engineering involved. Montgomery Schuyler, editor of Architectural Record, said that its "awkwardness [is] entirely undisguised, and without even an attempt to disguise them, if they have not even been aggravated by the treatment. ... The treatment of the tip is an additional and it seems wanton aggravation of the inherent awkwardness of the situation." He praised the surface of the building, and the detailing of the terra-cotta work, but criticized the practicality of the large number of windows in the building: "[The tenant] can, perhaps, find wall space within for one roll top desk without overlapping the windows, with light close in front of him and close behind him and close on one side of him. But suppose he needed a bookcase? Undoubtedly he has a highly eligible place from which to view processions. But for the transaction of business?"
When the building was first constructed, it received mixed feedback. The most known criticism received was known as "Burnham's Folly". This criticism, focused on the structure of the building, was made on the grounds that the "combination of triangular shape and height would cause the building to fall down." Critics believed that the building created a dangerous wind-tunnel at the intersection of the two streets, and could possibly knock the building down. The building's shape was blamed for the 1903 death of a bicycle messenger, who was blown into the street and run over by a car. However, the building's structure was meant to accommodate four times the typical wind loads in order to stabilize and retain the building's iconic triangular shape.
The Flatiron was to attract the attention of numerous artists. It was the subject of one of Edward Steichen's atmospheric photographs, taken on a wet wintry late afternoon in 1904, as well as a memorable image by Alfred Stieglitz taken the year before, to which Steichen was paying homage. Stieglitz reflected on the dynamic symbolism of the building, noting upon seeing it one day during a snowstorm that "... it appeared to be moving toward me like the bow of a monster ocean steamer – a picture of a new America still in the making," and remarked that what the Parthenon was to Athens, the Flatiron was to New York. When Stieglitz's photograph was published in Camera Work, his friend Sadakichi Hartmann, a writer, painter and photographer, accompanied it with an essay on the building: "A curious creation, no doubt, but can it be called beautiful? Beauty is a very abstract idea ... Why should the time not arrive when the majority without hesitation will pronounce the 'Flat-iron' a thing of beauty?"
A 1919 image of the 165th Infantry Regiment passing through Madison Square's Victory Arch. The Flatiron Building is in the background.
After the end of World War I, the 165th Infantry Regiment passes through the Victory Arch in Madison Square, with the Flatiron Building in the background (1919).
Besides Stieglitz and Steichen, photographers such as Alvin Langdon Coburn, Jessie Tarbox Beals, painters of the Ashcan School like John Sloan, Everett Shinn and Ernest Lawson, as well as Paul Cornoyer and Childe Hassam, lithographer Joseph Pennell, illustrator John Edward Jackson as well the French Cubist Albert Gleizes all took the Flatiron as the subject of their work. But decades after it was completed, others still could not come to terms with the building. Sculptor William Ordway Partridge remarked that it was "a disgrace to our city, an outrage to our sense of the artistic, and a menace to life".
The Fuller Company originally took the 19th floor of the building for its headquarters. In 1910, Harry Black moved the company to Francis Kimball's Trinity Building at 111 Broadway, where its parent company, U.S. Realty, had its offices. U.S. Realty moved its offices back to the Flatiron in 1916, and left permanently for the Fuller Building on 57th Street in 1929.
The Flatiron's other original tenants included publishers (magazine publishing pioneer Frank Munsey, American Architect and Building News and a vanity publisher), an insurance company (the Equitable Life Assurance Society), small businesses (a patent medicine company, Western Specialty Manufacturing Company and Whitehead & Hoag, who made celluloid novelties), music publishers (overflow from "Tin Pan Alley" up on 28th Street), a landscape architect, the Imperial Russian Consulate, the Bohemian Guides Society, the Roebling Construction Company, owned by the sons of Tammany Hall boss Richard Croker, and the crime syndicate, Murder, Inc.
The retail space in the building's "cowcatcher" at the "prow" was leased by United Cigar Stores, and the building's vast cellar, which extended into the vaults that went more than 20 feet (6.1 m) under the surrounding streets, was occupied by the Flatiron Restaurant, which could seat 1,500 patrons and was open from breakfast through late supper for those taking in a performance at one of the many theatres which lined Broadway between 14th and 23rd Streets.
In 1911, the building introduced a restaurant/club in the basement. It was among the first of its kind that allowed a black jazz band to perform, thus introducing ragtime to affluent New Yorkers.
Even before construction on the Flatiron Building had begun, the area around Madison Square had started to deteriorate somewhat. After U.S. Realty constructed the New York Hippodrome, Madison Square Garden was no longer the venue of choice, and survived largely by staging boxing matches. The base of the Flatiron became a cruising spot for gay men, including some male prostitutes. Nonetheless, in 1911 the Flatiron Restaurant was bought by Louis Bustanoby, of the well-known Café des Beaux-Arts, and converted into a trendy 400-seat French restaurant, Taverne Louis. As an innovation to attract customers away from another restaurant opened by his brothers, Bustanoby hired a black musical group, Louis Mitchell and his Southern Symphony Quintette, to play dance tunes at the Taverne and the Café. Irving Berlin heard the group at the Taverne and suggested that they should try to get work in London, which they did. The Taverne's openness was also indicated by its welcoming a gay clientele, unusual for a restaurant of its type at the time. The Taverne was forced to close due to the effects of Prohibition on the restaurant business.
In October 1925, Harry S. Black, in need of cash for his U.S. Realty Company, sold the Flatiron Building to a syndicate set up by Lewis Rosenbaum, who also owned assorted other notable buildings around the U.S. The price was $2 million, which equaled Black's cost for buying the lot and erecting the Flatiron. The syndicate defaulted on its mortgage in 1933, and was taken over by the lender, Equitable Life Assurance Company after failing to sell it at auction. To attract tenants, Equitable did some modernization of the building, including replacing the original cast-iron birdcage elevators, which had cabs covered in rubber tiling and were originally built by Hecla Iron Works, but the hydraulic power system was not replaced. By the mid-1940s, the building was fully rented.
When the U.S. entered World War I, the Federal government instituted a "Wake Up America!" campaign, and the United Cigar store in the Flatiron's cowcatcher donated its space to the U.S. Navy for use as a recruiting center. Liberty Bonds were sold outside on sidewalk stands. By the mid-1940s, the cigar store had been replaced with a Walgreens drug store. During the 1940s, the building was dominated by clothing and toy companies.
Equitable sold the building in 1946 to the Flatiron Associates, an investor group headed by Harry Helmsley, whose firm, Dwight-Helmsley (which would later become Helmsley-Spear) managed the property. The new owners made some superficial changes, such as adding a dropped ceiling to the lobby, and, later, replacing the original mahogany-panelled entrances with revolving doors.
In 1959, St. Martin's Press moved into the building, and gradually its parent company, Macmillan, rented other offices as they became available, until by 2004, all 21 floors of the Flatiron Building's office space was rented by Macmillan. During its tenancy, Macmillan renovated some of the Flatiron Building's floors. for its imprints such as Tor/Forge, Picador and Henry Holt and Company. Macmillan, which is owned by Verlagsgruppe Georg von Holtzbrinck of Stuttgart, Germany, wrote about the building:
The Flatiron's interior is known for having its strangely-shaped offices with walls that cut through at an angle on their way to the skyscraper's famous point. These "point" offices are the most coveted and feature amazing northern views that look directly upon another famous Manhattan landmark, the Empire State Building.
Because the Helmsley/Flatiron Associates ownership structure was a tenancy-in-common, in which all partners have to agree on any action, as opposed to a straightforward partnership, it was difficult to get permission for necessary repairs and improvements to be done, and the building declined during the Helmsley/Flatiron Associates era. The facade of the Flatiron Building was restored in 1991 by the firm of Hurley & Farinella. Helmsley-Spear stopped managing the building in 1997, when some of the investors sold their 52% of the building to Newmark Knight-Frank, a large real estate firm, which took over management of the property. Shortly afterwards, Helmsley's widow, Leona Helmsley, sold her share as well. Newmark made significant improvements to the property, including installing new electric elevators, replacing the antiquated hydraulic ones, which were the last hydraulic elevators in New York City.
During a 2005 restoration of the Flatiron Building a 15-story vertical advertising banner covered the facade of the building. The advertisement elicited protests from many New York City residents, prompting the New York City Department of Buildings to step in and force the building's owners to remove it.
In January 2009, Italian real estate investment firm Sorgente Group, based in Rome, bought a majority stake in the Flatiron Building, with plans to turn it into a luxury hotel. The firm's Historic and Trophy Buildings Fund owns a number of prestigious buildings in France and Italy, and was involved in buying, and then selling, a stake in the Chrysler Building in Midtown New York. The value of the 22-story Flatiron Building, which is already zoned by the city to allow it to become a hotel, was estimated to be $190 million.
In July 2017, Macmillan announced it was consolidating its New York offices to the Equitable Building at 120 Broadway. By June 2019, Macmillan had left the building, and all 21 office floors were vacant. Following Macmillan's departure, the owners of the Flatiron Building, the family-owned GFP Real Estate, planned to use the absence of tenants to upgrade the interior of the building. GFP planned to install a central air and heating system, strip away all interior partitions – leaving triangular open floors – put in a new sprinkler system and a second staircase, and upgrade the elevators. The lobby would also be renovated. The cost would be $60–80 million and the project was estimated to take a year. The owners were interested in renting the entire building to a single tenant, hiring a high-profile real estate agency to find a suitable tenant. The executive director of the ownership company said: "The building was born as a commercial property, and we want to keep it as such." As of November 2020, the building is empty, and the full renovation is expected to take at least until 2022.
I bravely offered to make the most fabo Gala Daling writer and blogger of Icing glittery cupcakes for her birthday as she too is from Melbourne, and deserves to be spoilt. She accepted so I arranged a safe handover place with her and completed the transaction yesterday, kids in tow. Believe me she is gorgeous - pink hair, I love NY T, tall, stunning, she stops traffic.
So I came up with light and tasty coconut cupcakes, topped with super soft marshmallow in blue, pink or purple, styled with stars or hearts and metalic sugar balls. I didn't sample these but the batter was scrummy and the marshmallow frosting is super soft and sweet but doesn't hit you straight away. So I have to wait to find out what she thought.
If you get a chance check out her site galadarling.com/ and you will be forever addicted to her outlook on life.
It's always something interesting going on at flea market, a little details with create atmosphere and makes place authentic;
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Tech:
Canon EOS 1Ds mk2
Canon TS-E 24mm f/3.5L
Tilted up near max
#kodachrome 'ish by self developed color grading preset.
Tiffanys : Treasure Set
Available at Shop Tiffanys
√ Legacy √ Ebody Reborn √ Kupra Available in Red
transaction Shop Tiffany’s Landmark : maps.secondlife.com/secondlife/Brontolo/32/186/1514
I noticed Josephine amongst a group of friends due to her colourful headscarf. Josephine's portrait was more a collaboration than a one sided transaction in her agreeing to be part of my project as she was in the midst of conducting a survey. Interviewing passersby about their using the Barbican and the surrounding area. I agreed to take the survey in exchange for my making Josephine's portrait.
Josephine is originally from Tanzania but is now living and working in London. I got the impression quite early on from our conversation that Josephine is very much a free spirit who has travelled extensively around the world.
"I don't know where I will end up in the future. I'm an adventurer, when I see something/somewhere, I will go for it. I love to create. I studied architecture, not from the point of view that I love buildings, more that I have a wish to be creative and that was an outlet for my creativity.
I would love to have a family one day, a couple of probably feral kids who I hope they would have the same sense of adventure and free spirit as I have."
Josephine and I spoke at some length about the 100 strangers project and could draw parallels with the survey Josephine was conducting. About how one can get a sense of a person and gauge if they are approachable or not.
A thoroughly enjoyable interaction it was for me and glad that Josephine is part of my project.
Thank you Josephine and good luck for wherever your travels take you!
This is included in the group 100 strangers:
www.flickr.com/groups/100strangers/pool/
This is included in the Human Family Group. To view more street portraits and stories visit
Firefly waits for his part of the deal to be complete before transfering over important information to the white crimson guard on base. This information will give cobra and extensive enterprises a jump on gi joe and there allies.
© Daniel Alexander | www.FramesMedia.com
Short Version:
The winner of the auction donates directly to a legitimate charitable organization. Upon seeing the proof of donation, I send the winner the print. I pay for printing and shipping.
Long Version:
I am auctioning this print to help the people of Japan following the earthquake and tsunami in March 2011.
Print Details: 8 x 10 inch print, Kodak Endura Metallic (Pearlescent Finish) mounted on a Single Weight Matboard. Please note that frame will not be included, but it is recommended that the print be framed.
I would like you to start the bidding at US$ 50.00
Please leave a comment with your offer, please only comment if you wish to bid, thanks.
The highest bidder at the time the auction ends will donate that amount directly (you won’t be sending a penny to me) to a trusted charity helping with the relief effort in Japan, such as:
American Red Cross:
Save the Children:
World Vision:
Japanese Red Cross Society
Donate - 2000 yen is approximately 25 US dollars. Your card will be charged in JPY and a foreign transaction fee may apply.
NOTE ON LINKS:
Sometimes these links become broken when copying. Either the HTML doesn't transfer or if I just do links, Flickr shortens the URLs and they don't work.
If that is the case, you can copy the straight links from my tumblr post here.
WANT TO BID - BUT YOU DON'T HAVE A FLICKR ACCOUNT OR IS FLICKR BLOCKED IN THE COUNTRY YOU LIVE?
Please just email me with a bid and I will place the bid in the comments on your behalf: your@emailaddress.com
Should you wish to be anonymous on the Flickr comments section, please let me know when you place your bid via email. If there are more than one person who wishes to be anonymous, you will be named Anonymous 1, Anonymous 2 etc. Also, if you want to be known only by first name, let me know that via email.
The bidding will end on April 14, 2011 at 11:59PM Eastern Standard Time (-4 GMT)
Note: Since the deadline is over, the print will go to the first person that bids US$ 50.00 or more.
At this time, I will contact the the person who wrote/commented or emailed the highest amount and have him or her direct the fund to a legitimate charity involved in the effort for aid for the people of Japan (preferably to one of the organizations listed above).
On proof of donation (either an email from the organization or a screen print – which you will email me at framesmedia [at] gmail.com), I will arrange for the print to made and shipped to you.
I will pay for the print to be produced and pay for shipping, so all of your donation goes straight to the cause.
Thank you for your interest.
For more information on this:
CPA - CHARITY PRINT AUCTIONS - JAPAN
Chicago - The Transaction. ©Copyright 2017 Karlton Huber Photography - all rights reserved.
Thanks for stopping by and for your comments.
You can also find me at:
Last weekend for Hairfair 2016.
Every transaction made at Hair Fair will donate a portion to Wigs for Kids, the charity of choice for Hair Fair 2016. Don´t miss it!
Bandana Day is 31th of July where we remove our hair to show we care. All bandanas sold at hair fair have been created by Residents all over SL and 100% of sales of those go to Wigs for Kids, and are only available for sale during this event, and destroyed after it ends. They will be transfer, so you can gift them.
I wear a Bandana from Baiastice. A must have for every Fashionata!