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Photo postcard from January 1912 showing male patients of the sanitorium celebrating the birthday of a young boy. It's hard to count the candles, but looks to be about 15 or so.
The postcard is addressed to: Mrs. Fred Abraham, Van Dyne Wisc. Box 11
Dear Della: I am feeling fine. We had quite a cold spell for some time and we had lots of fun sleeping out doors at twenty five below. I'm glad it's all over. How is ice boating this year? Hoping this will find you all well. I am as ever. Ed.
Maybe this was written by the birthday boy. Ruling out his being sarcastic, only a 15 year old would find it fun to sleep outdoors when it's 25 below!!
Tuberculosis undiscovered endangers you, circa 1940
resource.nlm.nih.gov/101453495 (Images from the History of Medicine)
Discharge report accompanying the file HOSP/STAN/07/01/02/2697, a patient at Stannington Sanatorium being treated for primary Pulmonary Tuberculosis after the introduction of antibiotics at the sanatorium. Read more about this file on the album description.
Date: 1952 -1954.
This image is part of our Stannington Sanatorium Flickr collection of albums of patient files, as part of our Stannington Sanatorium project. They are from our archive collections at Northumberland Archives. Feel free to share them within the spirit of the Commons. If you have any enquiries or would like copies please contact collections@woodhorn.org.uk for more information.
Los días 7 y 8 de mayo de 2014 la Fundación Ramón Areces organizó el Simposio Internacional 'Vacunas preventivas contra la tuberculosis: un nuevo horizonte', en colaboración con la Iniciativa Europea Vacuna Tuberculosis (TBVI) y la Universidad de Zaragoza. Durante estos dos días, reunió en Madrid a los principales científicos que luchan por erradicar una enfermedad que causa la muerte de más de un millón de personas cada año.
"A card is provided for each patient, on which the amount of exercise prescribed is recorded, and the patients must limit their exercise accordingly. Time not spent with prescribed activities must be spent resting in bed. The only deviation from the prescribed exercise permitted is upon the doctor's order.
Exercise in the form or useful labor, recreation, or mental diversion, is prescribed by the physician as the patient's condition warrants.
Walking is a prescribed exercise and should be taken as prescribed. Walking should be slow and deliberate and there should be no running or undue motion of the arms. Walking exercise is to be taken on the sidewalks and roadways in the front of the building and not outside of the ground, nor around the Nurses' Home or Annex, nor in the woods in back of the cottages." Excerpts from patient rule booklet 1927 & 1944 I'm hoping this was a younger girl at the time she took the "cure" at Statesan. Note the wights recorded; 61 pounds give or take.
Bobby belonged to John Gray, who worked for the Edinburgh City Police as a night watchman, and the two were inseparable for approximately two years. On 8 February 1858, Gray died of tuberculosis. He was buried in Greyfriars Kirkyard, the graveyard surrounding Greyfriars Kirk in the Old Town of Edinburgh. Bobby, who survived Gray by fourteen years, is said to have spent the rest of his life sitting on his master's grave. Another account has it that he spent a great deal of time at Gray's grave, but that he left regularly for meals at a restaurant beside the graveyard, and may have spent colder winters in nearby houses.
In 1867, when it was argued that a dog without an owner should be destroyed, the Lord Provost of Edinburgh, Sir William Chambers—who was also a director of the Scottish Society for the Prevention of Cruelty to Animals—paid for a renewal of Bobby's licence, making him the responsibility of the city council.
Bobby died in 1872 and could not be buried within the cemetery itself, since it was and remains consecrated ground. He was buried instead just inside the gate of Greyfriars Kirkyard, not far from John Gray's grave.
A lifesize statue of Greyfriars Bobby, was created by William Brodie in 1872, almost immediately after the dog's death. This was paid for by a local aristocrat, Baroness Burdett-Coutts. This stands in front of the "Greyfriars Bobby's Bar", which is located near the south (main) entrance to Greyfriars Kirkyard. The statue originally faced toward the graveyard and pub but has since been turned around, allegedly by a previous landlord of the pub so that the pub would appear in the background of the many photographs that are taken each year. The monument is Edinburgh's smallest listed building. It was restored in totality in 1985 when the entire red granite base was remodelled. Originally built as a drinking fountain, it very aptly had an upper fountain for humans and a lower fountain for dogs. This had the water supply cut off (as with all Edinburgh's drinking fountains) around 1975 amidst health scares. Both basin areas were infilled with concrete soon after. After being daubed with yellow paint, allegedly by students, on General Election night in 1979, and being hit by a car in 1984, restoration became critical.
A red granite stone was erected on Bobby's grave by The Dog Aid Society of Scotland, and unveiled by the Duke of Gloucester on 13 May 1981. Since around 2000 this has been utilised in a shrine-like manner, with sticks (for Bobby to fetch) frequently being left and occasionally dog toys, flowers etc.
The monument reads:
Greyfriars Bobby
Died 14th January 1872
Aged 16 years
Let his loyalty and devotion be a lesson to us all.
Guided tours of the Kirkyard are given by a number of groups, including the Greyfriars Bobby Walking Theatre and the Greyfriars Kirkyard Trust.
On 25 September 2009, the BBC reported that the statue had undergone a form of 'vandalism'. Protestors against Donald Trump building a golf course had visited statues in Edinburgh, Aberdeen, Glasgow and Stirling replacing the faces of the statues with that of Donald Trump, and in some cases, also attaching a set of toy golf clubs to the statue. The 'vandalism' to the statue of Greyfriars Bobby consisted of a face mask of Trump being placed over Bobby's face
Edvard Munch (1863-1944) was a turn-of-the-century Norwegian artist, best known for his extremely personal brand of Symbolism, which helped lay the foundations for and proved a lasting influence on the later Expressionist school of art.
Edvard Munch was born on December 12, 1863, in the small town of Loten, Norway, as the second of five children. His father was Christian Munch, a military doctor, and his mother Laura Cathrine Munch, née Bjolstad. Edvard had three sisters, Sophie, Laura and Inger, and one brother, Andreas. Although ostensibly middle class, the family had but modest means and often struggled financially.
In 1864, soon after Edvard's birth, the family moved to Kristiania, the capital of Norway (the city would be renamed to "Christiania" in 1878 and again to "Oslo," its present name, in 1924). In 1868, Edvard's mother died of consumption (tuberculosis) and her sister, Karen Bjolstad, took care for the children and the household upon herself. In 1877, Edvard's elder sister Sophie also succumbed to tuberculosis. These two deaths greatly affected the future painter and echoes of the pain and despair he felt at the time would appear frequently in his work.
Although Munch was interested in painting since he was a boy, his family was not in love with the idea and urged him to acquire a more prestigious and profitable profession. In 1879, at the age of 16, he entered the Oslo Technical College with the idea of becoming an engineer. He pursued this field of study for little more than a year before deciding that his true calling was art and dropping out of the college. Soon thereafter, he enrolled for evening classes at the Royal Drawing School in Oslo. By 1881, he was studying there full-time.
Edvard Munch was a quick and able student. At the Royal Drawing School, he was considered one of the most gifted young artists of his day. In addition to his normal classes, Munch also began taking private lessons with Christian Krohg, an established artist and good friend. He also attended the open-air summer school of Frits Thaulow at Modum.
In 1883, Munch exhibited at the Oslo Autumn Exhibition for the first time. Over the next few years, he would become a regular participant.
Munch was exposed to a wide range of artistic influence during his formative period, which lasted from about 1880 to 1889. The painter often visited Kristiania's (Oslo's) rather modest National Gallery, and had an avid interest in contemporary art magazines. Like most of Northern, Eastern and Central Europe, Norway was considered culturally to be a provincial backwater and, like many of his colleagues and contemporaries, Munch traveled extensively to learn from both the rich painting traditions and the latest artistic developments of Europe's enlightened West and South.
In 1885, the painter attended the World Exhibition at Antwerp and paid a brief visit to Paris, then considered the Mecca of contemporary art. Munch was certainly familiar with the work of the Impressionists, whose large exhibition in Paris he visited that year and again in 1888, when there was another such exhibition in Copenhagen. Certainly, a variety of influences can be seen in Munch's work of the time, such as Maridalen by Oslo (1881), Self-Portrait (1881), Aunt Karen in the Rocking Chair (1883) and At the Coffee Table (1883). Conservative tastes reigned in Oslo at the time, and much of the painter’s work was poorly received by critics.
At home in Norway, the artist was part of a group of radical young intellectuals, which included both painters and writers and espoused a variety of political views, from anarchism to socialism to Marxism. Their ideas certainly influenced Munch's own. However, the painter's artistic focus would always remain on himself and his own subjective experiences, almost notoriously so. Thus, he often re-visited the tragic episode of his beloved sister's sickness and death in such works as The Sick Child (1885-86) and Spring (1889).
This latter painting delighted the critics and paved the way, in 1889, for Munch's first solo exhibition at Kristiania. That same year, he received a scholarship from the Norwegian government to study abroad. The artist traveled to Paris, where he enrolled at the art school of Leon Bonnat. He also attended the major exhibitions, where he became familiar with the works of the Post-Impressionists. His own canvases of the time show considerable Impressionist influence: witness Rue Lafayette (1890) or Moonlight over Oslo Fjord (1891), painted during a brief return to Norway. On the other hand, Night in St. Cloud, a dramatic and highly emotional work, has all the characteristic traits of Naturalism.
In 1892, Munch visited Berlin, where he had been invited to exhibit by the Berlin Artists' Association. The painter's work was received very poorly, and the exhibition was closed down after only a few days, as the critics howled in outrage. Undeterred, the painter toured through Cologne and Dusseldorf, before returning once again to Berlin. As so often happens, the initial scandal attracted a great deal of attention to the artist, and he quickly found supporters and patrons. Munch stayed in Berlin for over a year. Many of his paintings found customers and he was at last able to make a comfortable living.
In the following years, he traveled throughout Europe, exhibiting in Paris, Berlin, Copenhagen and Stockholm. In 1896, he exhibited at the Parisian Salon des Independents for the first time.
In 1888, Munch had discovered Asgardstrand, a seaside resort located about 50 miles away from Oslo, and rented a cottage there the following year. He would spend many summers there. In 1897, he finally purchased the house and established it as his home base, though he continued to travel extensively.
Munch's work of the period is concerned with human life, love and death. The paintings are more and more concerned with melancholy and the darker emotions. Some of the most notable products of this time include: Moonlight (1893), Puberty (1894), The Day After (1894-95), The Kiss (1897) and Man and Woman (1898). Contrast the picture Evening on Karl Johan Street (1892) with his earlier, brighter Spring Day on Karl Johan (1890). The famous Scream (1893) -- Munch produced several versions -- also belongs to this period. The painter gathered these works into an ensemble he titled The Frieze of Life, which he exhibited in a series of European cities. Like so much of Munch's previous work, this series of works had mixed reception among the critics and the public.
In 1903, the artist was commissioned by physician Dr. Max Linde to paint a number of decorative pieces for the children's room in the doctor's house. Munch produced eleven large canvases, depicting landscapes. Although Dr. Linde paid the artist in full, he was not completely satisfied with the results. The paintings, known as the Linde Frieze, stayed up for only eleven months before being taken down, stored and finally returned to the painter, from where they would find their way, separately, to a variety of museums and collections. Although the subjects of the paintings were quite tame, showing the beautiful Asgardstrand landscape, the doctor felt they were "unsuitable for children," perhaps because of the melancholy, brooding air that Munch seemed to unconsciously imbue his work with.
In 1906, Munch was commissioned by Max Reinhardt, the famous German theater director, to paint a decorative frieze for the Deutsches Theater. The painter had previously designed the stage set for Reinhardt's production of Ghosts, by Henryk Ibsen. The frieze was intended to decorate one of the rooms at the theater. For it, Munch chose to use the same theme as he had for the Linde frieze, but, unconstrained now, he peopled the landscape of Asgardstrand with vacationers and lovers. Works from the Reinhardt Frieze include: Asgardstrand, Two Girls, Couple on the Shore and, of particular note, The Lonely Ones. In total, the artist painted 12 canvases for this project.
While not rejected outright, the work was again received poorly although it is, arguably, some of Munch's best. After only a few years, the room was re-decorated and the paintings taken down. The artist himself complained about the project, claiming that it had been a large amount of work for meager pay.
In fact, Munch was in dire financial straits at this time, which were not helped by his nerves, frail health and heavy drinking. In 1908, he suffered a breakdown, as a consequence of which he retired to his cottage at Asgardstrand, there to live in relative isolation and solitude for the next several years.
In 1909, Munch entered a competition to design murals for the Festival Hall at the Oslo University. His designs were chosen out of a number of competitors, not without controversy, after the University of Jena, Germany, offered to purchase the painter's projects for themselves. The University of Oslo would not allow that and, in 1911, Munch was reluctantly given the job. The canvases, nine of them, 15 feet high each, with the largest spanning 38 feet in width, were finally unveiled in 1916 and easily rank among some of the artist's best work. The most notable painting in this group is probably The Sun, together with Alma Mater and History.
Around this time, Munch purchased the estate of Ekely in a quiet suburb of Oslo, which he would make his permanent home in the coming years.
After 1920, Munch grew increasingly withdrawn from public life, limiting social contacts and carefully guarding his privacy. He lived alone, without a servant or housekeeper, with only several dogs for company, and devoted his days to painting. It was during this period, ironically, that he at last began to gain the recognition that had been denied him previously by both critics and public.
As early as 1912, Munch's work had been exhibited alongside the works of such acclaimed Post-Impressionist painters as Cezanne, Gauguin and Van Gogh. The artist inspired great interest in Germany, which saw him as a vital link between the art world of Paris and the art world of Northern Europe.
Between 1920 and 1928, large exhibitions of his work were held in Berlin, Wiesbaden, Frankfurt, Dresden, Mannheim and Munich, as well as Copenhagen and Zurich. Works of this period include: Model by the Wicker Chair (1919-21), The Wave (1921), Model on the Couch (1924-28), The Wedding of the Bohemian (1925) and Red House and Spruces (1927).
In 1930, a blood vessel in the painter's eye burst, seriously impairing his vision. As a result, Munch was forced to paint much less than before. In 1933, major exhibitions were held in honor of the painter's 70th birthday.
In 1936, the painter's eye problems grew worse, and he was forced to abandon work on decorative friezes and murals. That year, Munch had his first exhibition in England, which had thus far not shared the enthusiasm with which the painter was greeted in Central and Northern Europe. Ironically, the attitude towards the painter in Germany, where the painter had first gained widespread recognition had changed for the worse. With the rise to power of the Nazis in 1933, artistic innovations began to be regarded negatively. In 1937, eighty-two of Munch's paintings were declared "degenerate" and removed from museums. Many of these works found their way to the private collections of prominent Nazis, indicating that their personal views on Munch's art were rather different from the official party line.
In 1940, Germany occupied Norway. The artist refused to be associated in any way with the Nazis and the Quisling puppet-government they set up in Norway, isolating himself in his country home. His dramatic self-portrait By the Window (1940) dates to this period. In the painting, a balding and aging Munch stares defiantly upwards at something beyond the canvas. In the window behind him, a tangled winter landscape contrasts sharply with the warm, ruddy colors of the interior and the painter's face.
Following the USA's entry into the Second World War in 1942, the painter's anti-Nazi stance gained him recognition there as well. That year saw his first -- and only -- exhibition in the Americas, less than one and a half years before the artist's death.
Edvard Munch died on January 23, 1944, at his estate in Ekely. He bequeathed all of his property, which included over 1,000 paintings and close to 20,000 sketches, woodcuts and lithographs, to the city of Oslo. The Munch Museum was subsequently opened there to mark the painter's centenary, in 1963.
Biography by Yuri Mataev.
FROM: Mouth hygiene, a course of instruction for dental hygienists; a text-book containing the fundamentals for prophylactic operators, comp. by Alfred C. Fones / 1916
Postcard of Sealyham Tuberculosis Hospital, send by a relative in 1940. The house is now home to the Sealyham Activity Centre:
Nikon d7000
Tamron 17-50
Ospedale abbandonato per malati di tubercolosi - Sierra Espuña - Region de Murcia - España
es.wikipedia.org/wiki/Antiguo_Sanatorio_de_Tuberculosos_d...
Many of the patients arrived via train at the Wales depot, were picked up and transported to the sanatorium. This is an early scene at Wales taken around 1910. The block home to the left still stands and is owned by a co-worker. I haven't checked on the other three (I should do that one of these days).
It was a humid day, thought we'd check the place out because of demolition plans in the future. I had been several months ago but did not bring a camera.
The former Physical Therapy / Entertainment building for the Tuberculosis Sanatarium known as Statesan. Picture taken about 2004
On April 3rd, 2012, Mr. Douglas Williams, Canada's Head of Aid in Afghanistan, participated in World Tuberculosis (TB) Day in the company of Dr. Suraya Dalil, Afghanistan's Minister of Public Health (MoPH), Dr. Sima Samar, Chair of Stop TB Partnership, and representatives from the World Health Organization (WHO), Afghan Red Crescent Society, and international community. In his remarks, Mr. Williams stressed the remarkable achievements made by the Ministry of Public Health, in partnership with the WHO, to reduce the incidence of tuberculosis in Afghanistan. He also underlined Canada's continued support for control and prevention, particularly among Afghan women and children. Since 2008, the Canadian International Development Agency (CIDA) has provided almost $8 million to the National Tuberculosis Control Program in Afghanistan, making Canada one of the largest bilateral donors to TB control in the country.
Le 3 avril 2012, M. Douglas Williams, chef de l'aide canadienne en Afghanistan, a participé à la Journée mondiale de lutte contre la tuberculose en compagnie du Dr Suraya Dalil, ministre afghan de la Santé publique (MSP), du Dr Sima Samar, présidente du Partenariat Halte à la tuberculose, et des représentants de l'Organisation mondiale de la Santé (OMS), du Croissant-Rouge afghan, et la communauté internationale. Dans ses remarques, M. Williams a souligné les réalisations remarquables faites par le ministère de la Santé Publique, en partenariat avec l'OMS, afin de réduire l'incidence de la tuberculose en Afghanistan. Il a également souligné le soutien continu du Canada pour le contrôle et la prévention, en particulier chez les femmes et les enfants afghans. Depuis 2008, l'Agence canadienne de développement international (ACDI) a fourni près de 8 millions de dollars au Programme national de lutte antituberculeuse en Afghanistan, faisant du Canada l'un des principaux bailleurs de fonds bilatéraux dans la lutte antituberculeuse en Afghanistan.