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Continuing to create a sample board of value and key-stoning for my online workshop - to be filmed next month.
In contrast to the chilly reception at West Peckham, Hadlow was a delight. Though it did involve a bit of a wait, as there was a wedding on. The poor couple we met outside had been invited to the wedding, but that week's updated advice meant guests inside the church had been cut from 30 to 15, so they lost out.
We talked as they waited, and told me some of the history of the town, the church and the castle next door. And of the Hop-picker's Memorial in the churchyard, which I went out to photograph.
There was no guarantee that we would be let in once the wedding was over, and once they did troop out, and the photographs taken, I thought that the west door would be locked and the hours wait wasted.
But it swung open, and the poor vicar was getting the chairs ready for the next day's service, and mentioned several years in seminary all to be a furniture mover.
I explained the project, and asked if I could take shots, explaining I would be quick and when he was done I would leave. But he was fine, let me take my time and showed me detail I would have otherwise missed.
It was hard to miss the wooden "throne" in the chancel, it looks very impressive, and I asked expecting it to be a Bishop's throne or chair, but it turns out to be not all what it seems. It is named Coverdale Chair, supposedly once owned by the Bishop who created the first translation of the Bible.
So far so good.
It was donated to Rochester Cathedral at one point, but returned, unwanted, when it became clear that some parts of the chair, especially the side panels, are younger than others.
Still, impressive from the front.
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The first record of a church in Hadlow was in 975.[2] This church would probably have been a wooden building. In 1018, the early church was replaced by a building of stone. In the 12th century, the church was rebuilt and extended by Richard de Clare, then lord of the Manor of Hadlow. De Clare granted the church to the Knights Hospitallers in 1166. The Knights Hospitallers later had a preceptory at nearby West Peckham, which was their local administrative base. From the Norman Conquest until the 18th century, Hadlow did not have a resident Lord of the Manor, being held under Tonbridge Castle.[3] It is thought that the tower was raised and the spire added in the 15th century.[4] Little money was spent on the maintenance of the church, although some 15th- and 16th-century bequests are recorded. Thomas Walter, Yeoman bequeathed 20s in 1448 "To make a window on the north side of the church by the altar of Our Lady". John Tatlyngbery bequeathed 10 marks "For repair of the great door of the church". In 1456, Richard Bealde bequeathed 13s 4d "For repair of the tower of Hadlow church".[5] In 1461, Dionysia Ippenbury left 3d for masses to be said each year for 12 years.[6] In 1465, William Palle, yeoman left a cow to the church. It was to be sold and "the profits therefrom to be devoted to the maintenance of a lamp in the chancel".[5] In 1509, Thomas Fisher, yeoman bequeathed £20 "for making a new rood loft". The rood screen may not have been in existence long, although it was mentioned in bequests dated 1510 and 1513.[7] The church remained under the ownership of the Knights Hospitallers until 1540, when the order was dissolved by Henry VIII.[3] In 1533, Henry Fane left two chalices valued at £4.[6]
The west door is inscribed "WB 1637 ES". The tower and steeple were repaired in that year. The churchwardens were Walter Barton and Essau Simmons.[7] In 1791, the clock was installed in the tower. It was made by John Thwaites of Clerkenwell.[8] At the beginning of the 19th century, the church was in disrepair. In 1847, the chancel was rebuilt and the vestry added. In 1853, the south porch was blocked up. The north aisle was added in this year at a cost of £470, which was raised by public subscription. A private gallery was erected by Walter Barton May, owner of Hadlow Castle. This had its own private access and was located at the west end of the nave. In 1885, an altar reredos was erected to the memory of Sir William Yardley and his wife Amelia. Yardley was a former judge in the High Court of Bombay, India. In 1936, the gallery was removed.[5] Work on the doorway at the west of the church in 1936 exposed some small crosses carved in the stonework. These are attributed to Nicholas de Hadloe and his son, who lived at Hadlow Place. They were carved to commemorate their safe return from the Third Crusade in 1189.[4] St Mary's was listed on 20 October 1954. It is currently Grade II* listed.
St Mary's is mostly constructed from ragstone, with some ashlar detail and quoins of Tunbridge Wells sandstone. The church is built in the Early English and Decorated style. The chancel roof is of slate, while the nave and aisle roofs are tiled. The spire is covered in shingles. The stained glass windows date from the 19th and 20th centuries,[9] the most recent of which is "The Visitation" created by Francis Skeat in 1956.
In 1919, the Coverdale Chair was presented to St Mary's by T E Foster MacGeagh of Hadlow Castle. The chair is so-named because it was owned by Miles Coverdale, Bishop of Exeter, who made the first translation of the Bible into English. In 1954, the chair was transferred to Rochester Cathedral, but it was returned to St Mary's in 1967.
en.wikipedia.org/wiki/St._Mary%27s_Church,_Hadlow
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The lowy of Tunbridge: Hadlow
HADLOW.
THE BOROUGH OF HARDLOW, within the lowy of Tunbridge, contains the parish of Hadlow, with the church, except a small district of the northern part of it, which is in the hundred of Littlefield.
THE PARISH of Hadlow is of large extent, joining to West Peckham northward, and to the river Medway, its boundary southward; to the west it extends to the Northfrith woods and the parish of Tunbridge. It is far from being a pleasant situation, being a flat low country, much covered with large and spreading oaks, and broad hedge rows; the soil is in general a stiff clay, much of which is very swampy and wet; towards the upper part of the parish it is but poor, being very panny, and in some places inclining to gravel; lower down it is much more fertile, and bears good corn, and is kindly for hops, of which there are many plantations, which have much increased of late years. Near the river the grass lands are very rich, and capable of fatting beasts of a large size. The rivulet called the Sheet, which flows from Plaxtool by Oxenhoath, crosses this parish, joining the river Medway, a little above Brandt bridge, near which at Hartlake bridge, at the east end of this parish, is what is here called a flowing bolt, being an ingenious contrivance to pen up the water to a certain height, by which means it is capable of being let out in dry seasons, to flow over and moisten the adjoining meadows, which is at that time of the greatest advantage to them. The high road from Maidstone through Mereworth to Tunbridge, crosses this parish over Hadlow common, at the northern boundary of it, whence it goes through the town or village of Hadlow, between which and the river is Fish-hall and Hadlow-place, and more eastward the small hamlets of Goldwell-green, Barnes, and Mill-street.
On the bank of the Medway, at the west end of the parish, is a wharf and landing place, called Hadlow-stairs, for the lading and unlading of timber, coals and other merechandize.
A fair is yearly held in Hadlow town on WhitMonday.
IT APPEARS from the survey of Domesday, that this place was part of those vast possessions with which William the Conqueror enriched his half-brother Odo, bishop of Baieux, whom he afterwards made earl of Kent, under the title of whose lands it is thus entered there.
Richard de Tonebridge holds of the bishop (of Baieux) Hastow. It was taxed at six sulings. The arable land is twelve carucates. In demesne there are three, and forty-seven villeins, with fifteen borderers, having fifteen carucates. There is a church and ten servants, and two mills of eleven shillings, and twelve fisheries of seven shillings and six-pence, and twelve acres of meadow, Wood for the pannage of sixty hogs. In the time of king Edward the Consessor, and afterwards, and now, it was and is worth thirty pounds. Eddeva held it of king Edward.
In the reign of king Henry III. the seignory of this manor was claimed by the archbishop of Canter dury, and an agreement was entered into in the 42d year of it, between archbishop Boniface and Richard de Clare, earl of Gloucester and Hertford, concerning the customs and services which the archbishop required of the earl, on account of the tenements which the latter held of him in Tunebregge, Hanlo, &c. that is, the manors of Tunebregge and Hanlo, together with the whole lowy of Tonebregge, whence the archbishop required of the earl that he should do him homage, the service of four knights fees, and suit to his court at Canterbury, and that he should be the high steward of him and his successors, at their great feast, whenever it should happen that the archbishop should be inthroned.
The above-mentioned Richard de Clare, earl of Gloucester and Hertford, dying at Eschemerfield, in this county, in the 46th year of the reign of king Henry III. anno 1261. Gilbert, earl of Gloucester and Hertford, his son, succeeded him in this manor, and whose son of the same name, earl of Gloucester and Hertford, dying in the 7th year of Edward II. anno 1313, without surviving issue, his three sisters became his coheirs. (fn. 1) Upon which the manor of Hadlow, with the adjoining manor and castle of Tunbridge, and others in these parts, seem to have been allotted to the share of Margaret, the second sister, wife of Hugh de Audley, who in her right became possessed of this manor, and in the 11th year of king Edward III. was, in respect of this marriage, in parliament created earl of Gloucester.
Margaret, countess of Cornwall and Gloucester, died in the 16th year of that reign, and her husband, earl Hugh, outliving her about five years, died then possessed of this manor by courtesy of the realm, and leaving by her an only daughter and heir Margaret, then the wife of Ralph Stafford, lord Stafford. He before the end of that year obtained a special possession of all the lands of her inheritance, and among them of this manor, and in his descendants, earls of Stafford, and afterwards, by creation, dukes of Buckingham, of high estimation for the great offices of state which they held in the different reigns in which they lived. This manor continued down to Edward, duke of Buckingham, who in the 13th year of Henry VIII. being accused of conspiring the king's death, was found guilty, and beheaded that year; and although there was an act passed for his attainder, yet another act passed likewise for the restitution in blood of Henry his eldest son, but not to his honors and lands, which remained forfeited to the crown, and the king in his 16th year, granted the manors of Hadlow and Northfrith, aud several messuages, tenements, parks, &c. in the parishes of Hadlow, Shipborne, and Tunbridge, late belonging to Edward, duke of Buckingham, attainted, to Sir Henry Guildford, comptroller of his household, to hold by knight's service.
Sir Henry Guildford had greatly signalized himself by his valour against the Moors in Spain, and being first knighted, afterwards created a knight banneret, and made master of the horse. In the 17th year of king Henry VIII. he was made one of the chamberlains of the exchequer, and next year was elected a knight of the garter, being only thirty-nine years of age at the time of his election. (fn. 2)
On his death in the 23d year of king Henry VIII. this manor seems to have reverted to the crown, where it remained till king Edward VI. in his 4th year, granted the manor and park of Hadlow to John Dudley, earl of Warwick, who was afterwards created duke of Northumberland, and he by indenture, in the 7th year of that reign, inrolled in the Augmentation-office, sold this manor, among other premises, to the king, in exchange for lands in several other counties. (fn. 3)
The manor of Hadlow remained in the crown till the accession of queen Elizabeth, who in her 1st year granted it, together with the park called Northfryth, to her kinsman, Henry Carey, lord Hunsdon, to hold in capite; and he seems to have given it before his death to his eldest son, Sir George Carey, who possessed it.
in the 25th year of that reign, and on his father's death in the 38th year of it, succeeded to the title of lord Hunsdon. He died in the 1st year of king James I. without male issue, upon which this manor came to his next brother John, who succeeded him likewise as lord Hunsdon, and died in the 15th year of James I. and his eldest son Henry, lord Hunsdon, soon afterwards conveyed this manor by sale to James Faircloth, M. D. of London, who alienated it to George Rivers, esq. of this parish, second son of Sir George Rivers, of Chafford, in this county, whose son Edward Rivers, esq. was of Fishall, in this parish, and dying possessed of this manor in 1660, was buried near his father in this church. His successor alienated it in the reign of king Charles II. to Jeffry Amherst, gent. and he in the year 1699 sold it to Mr. John France, who dying without male issue, his two daughters, Mary and Elizabeth, became his coheirs; the eldest of whom married Walter Barton, gent. and the youngest George Swayne, gent. On his death, the former by settlement succeeded to this manor, as did his son Mr. John Barton, (by the entail in the same settlement, on his father's decease) and his son Walter who has since taken the name of May, is the present proprietor of it.
This manor holds a court leet and court baron, which seems to be entirely independent of the court leet of the manor of Tunbridge, for in 1759 a constable of Tunbridge was chosen at the court leet of that manor, and as such claimed jurisdiction over the parish of Hadlow; but on a trial had on a suit concerning it, at the Lent assizes for this county in 1761, it was proved, that the courts leet of Tunbridge and Hadlow had no connection with each other, and a verdict was found accordingly.
HADLOW-PLACE is a seat and estate in this parish, which, in all probability, gave both name and residence to a family of no small note in antient time.
John de Hadloe, a descendant of Nicholas de Hadloe, was among those gentlemen of this county, who attended king Edward I. in his expedition into Scotland, in the 28th year of his reign, and for his remarkable service there, at the siege of Carlaverock, was made knight banneret by that prince. The Hadlows bore for their arms, three crescents, to which was afterwards added, seven cross-croslets, in token of some exploit or expedition against the Saracens in the holly land; a usual mark of honor in those times. This addition was most likely granted to Nicholas de Hadloe, who is in the list of those Kentish gentlemen, who were with king Richard I. at the siege of Acon, in Palestine.
How long Hadlow-place remained in the above mentioned family I do not find; but most likely till it was alienated to that of Vane, aliasFane. Henry Fane, the eldest son of John Fane, esq. of Tunbridge, was possessed of it in the reign of king Henry VII. and was sheriff in the 23d year of it. (fn. 4) He died in the 30th year of king Henry VIII. anno 1538, leaving no issue by Alice his wife, sister of John Fisher, gent. of this parish. By his will he gave this manor-place, in which he then dwelt, with all his lands in Hadloe and Capel, to his kinsman Ralph Fane, son of Henry, his father's youngest brother, in tail male, remainder to each of the sons of his youngest brother, John Fane, successively in like tail. (fn. 5)
¶Ralph Fane was afterwards knighted at the siege of Bulleyn in 1544, and for his gallant behaviour at the battle of Musselborough, in the 1st year of king Edward VI. was made a knight banneret; but in the 6th year of that reign, being found guilty of high treason, he was executed. He died without issue, and Hadlow-place, with the adjoining lands, by virtue of the above entail, came to Henry Fane, the eldest son of John Fane, deceased, the youngest brother of Henry, of Hadlow, before-mentioned, who was of Hadlow-place; being concerned in Sir Thomas Wyatt's insurrection, he was attainted, but the queen pardoned him on account of his youth, and his estates were restored to him; his son Henry, wrote himself, as his ancestors had formerly done, Vane, which his posterity have continued to do ever since. He removed his residence to Raby-castle, in the bishopric of Durham, and was afterwards knighted, from which time he acted a conspicuous part in public affairs, and was greatly favored by king Charles I. (fn. 6) But in the year 1642, the king being offended at his forwardness in the prosecution of the earl of Strafford, he was removed from his place of secretary of state, and from the privy council, and became one of the most malicious of the king's enemies, soon after whose death he alienated this seat, with the estate belonging to it in this parish, to Mr. Thomas Petley, of Filston, in Shoreham, who at his death gave it to his son, Ralph Petley, by his second wife Elizabeth, daughter of Ralph Cam, of London, and he removed from Shoreham to Riverhead, in Sevenoke, where he afterwards resided, and in his descendants resident there this estate continued down in like manner with that seat to Ralph Robert Carter Petley, esq. who died in 1788, leaving his wife, Mrs. Elizabeth Petley surviving, who is the present possessor of this estate. (fn. 7)
HADLOW is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and deanry of Malling.
The church, which stands on the east side of the town, in Hadlow borough, is dedicated to St. Mary. It is a small building with a low pointed steeple at the west end. There is a monument in it for Sir John Rivers and his lady. It was part of the possessions of the knights of St. John of Jerusalem, commonly called the knights hospitallers, so early as the reign of king John; for in the last year of it, anno 1216, Benedict, bishop of Rochester, at the presentation of the prior and brethren of that hospital, admitted and instituted Adam de Fontibus to this church, saving to the prior and brethren the antient pension of two shillings yearly paid to them from it; and the right likewise of the church of Rochester in all matters, and the right of those who were accustomed to take tithes in this parish, separated from the mother church.
Thomas de Inglethorpe, bishop of Rochester, in 1287, appropriated this church, then vacant, and of the patronage of the prior and brethren, to them and their house, for ever; reserving a competent vicarage in it, which he decreed should consist of all the small tithes, oblations, obventions, and all other matters belonging to the altarage, excepting the tithe of the hay of the parish; and he decreed, that the vicar should have one acre of land, where he might conveniently build a house, and two acres of meadow, fit to be mowed, of the demesne of the church; and that he should sustain the ordinary burthens of the church, viz. the procurations of the archdeacon, and should pay yearly to the rector of the church of Adintone, eighteen pence, which the rector of the church of Hadlo used to pay to it, time out of mind; and that the prior and brethren should pay to the prior and convent of Rochester five shillings yearly, as had been accustomed to be paid to them from this church from antient time.
On the establishment of the preceptory in the adjoining parish of West Peckham by those knights, this church was allotted as an appendage to it; in which state it continued till the general dissolution of their hospital in the 32d year of king Henry VIII. when that order was suppressed by an act specially passed for the purpose, and all their lands and revenues given by it to the king. At which time the parsonage or rectory of Hadlow, appears to have been esteemed a manor.
King Edward VI. July 16, in his first year, granted the rectory and advowson of Hadlow, to Sir Ralph Fane, and lady Elizabeth Fane his wife, to hold in capite by knights service. (fn. 10) On Sir Ralph Fane's death, lady Elizabeth Fane, his widow, became possessed of it, and soon afterwards alienated one part of it, by the description of the manor of the rectory of Hadlow, together with all houses, glebes, tithes, and other appurtenances, lying in Hadlow-ward in this parish, to Thomas Roydon, esq. of East Peckham, whose daughter and coheir Elizabeth, married William Twysden, of Chelmington, who became in her right possessed of this manor and rectory; and his descendant, Sir William Jarvis Twysden, bart. lately sold it to Mr. Walter Barton, who is the present pos sessor of this tithery, with the manor and appurtenances belonging to it.
¶The other two parts of the rectory of Hadlow, consisting of the tithes of this parish, in the tithe wards of Goldwell, alias Coldweld and Stair, as well as the advowson, remained (after the above-mentioned alienation to Roydon) in the possession of lady Eliz. Fane, who in the 1st and 2nd year of king Philip and queen Mary, alienated the remainder of the parsonage of Hadlow to Henry Fisher, and he, in the first year of queen Elizabeth passed it away to Richard Smithe, who next year alienated it to John Rivers; his son, Sir George Rivers, possessed this parsonage, as well as the advowson of the church, which seems to have passed with it from lady Fane, and his eldest son, John Rivers, esq. was created a baronet, and in the 21st year of king James I. procured an act of parliament to disgavel as well his lands as those of Sir George Rivers, his father, and to settle the inheritance of them upon himself and his heirs by dame Dorothy his wife, daughter of Thomas Potter, esq. of Westerham. His grandson and heir, Sir Thomas Rivers, bart. son of James Rivers, esq. who died in his life time, in 1657 conveyed that part of this parsonage, which consisted of the tithes arising within the ward of Stayer, to Edward Rivers, esq. son of George Rivers, esq. of this parish, next brother to Sir John Rivers, created a baronet as above-mentioned, and he died possessed of it in 1660, and was buried in this church. His son, George Rivers, esq. possessed it near seventy years, and then dying, by will gave it to his god-son, George Rivers, esq. of the Inner Temple, who in 1737, reserving to himself a life estate in this tithery, sold the reversion of it to Stephen Hervey, esq. of London, and he soon after Mr. Rivers's death, in 1777, conveyed the fee of it to Mr. Robert Simmons, of Hadlow, who gave it by will to his nephew Mr. William Simmons, the present possessor of this part of the parsonage of Hadlow.
The remaining part of the parsonage of Hadlow, consisting of the tithe within Goldwell, commonly called Colweld-ward, passed afterwards into the possession of Wm. Lea, gent. of Hadlow, whose granddaughter, Mrs. Eliz. Leavens, of Hadlow, in 1701, conveyed it to Mr. John Weekley, of Town Malling, who in 1738 gave it by will to his brother, Mr. George Weekley, late of Ware, in Hertfordshire, on whose death in 1777 it descended to his only daughter and heir, Miss Jane Weekley, since whose death this tithery has been sold by her devisees to Mr. Thomas Swayne, of Tunbridge, the present possessor of it.
THE ADVOWSON of the vicarage of Hadlow seems to have continued in the Rivers family, till the death of Sir George Rivers, in 1734, when, on disputes arising concerning the devise of his estates, they were put into chancery, and after several decrees and process at law, this advowson, among his other estates, was in 1743 ordered by the court to be sold, (fn. 11) and it was accordingly conveyed to the Rev. Arthur Spender, vicar of this parish, who died in 1750, and his son Arthur, dying unmarried, it came to his brother, Mr. John Spender, of Northamptonshire, who sold it not long since to Mr. Monypenny, who is the present patron of it.
It is valued in the king's books at 13l. and the yearly tenths at 1l. 6s.
The income of this vicarage greatly depends on the hop-plantations in this parish, which have been some years so advantageous as to increase the income of it to 240l. per annum.
In 1608 the communicants in this parish were in number three hundred and seventy-six.
Some unloved cans of Tesco's budget bitter, stranded in Victoria station. There's a lot of emotions there (mainly along the lines of, seriously, Tesco do a value bitter? And also, that alcohol percentage, who is their target market for this?)
Podium at the Values Voter Summit in Washington, DC.
Please attribute to Gage Skidmore if used elsewhere.
Don't knock it 'til you try it. Any port in a storm I say. Along with Tesco value chocolate digestives, these babies have kept my cocoa cravings bubbling under during many a lean period. Nothing special, with a chocolate coating measured in microns, it nevertheless does the job with room to spare. If it were an aircraft, it would be the De Havilland Mosquito - quick, light and made of tasty balsa wood.
The black used on the Moo template is CMYK value (0,0,0,100) which is more of a charcoal black. The browser sometimes displays this as a true black (100,100,100,100)
When using a custom logo graphic perhaps using transparency is the best option.
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Collection: Icelandic and Faroese Photographs of Frederick W.W. Howell, Cornell University Library
Title: Ísafjörður. [Unidentified hotel or rooming house]
Date: ca. 1900
Place: Ísafjörður (Iceland : Town)
Medium: collodion print
Repository: Fiske Icelandic Collection, Rare & Manuscript Collections, Cornell University Library
Accession: 1923.4.75
URL: http://cidc.library.cornell.edu/howell/intro.asp
Persistent URI: http://hdl.handle.net/1813.001/62cm
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell Univeristy Library which is making it freely available with the request that, when possible, the Library be credited as its source.
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VIP 尊貴客戶鑑賞 7 件藝術品
Seven valuable works of art for VIP valued customers to appreciate
Youtube:
2022 年 3 月份全球觀眾： 1,373 總觀看次數及1,588 總觀看時間 (分鐘)
Youtube:
Global audience in March 2022: 1,373 total views and 1,588 total watch time (minutes)
youtube.com/shorts/5gn_UiOEH6I?feature=share
Uploaded on April 12, 2022, the number of visitors on the first two days of upload was 127.
2022 年 4 月 12 日上傳，上傳首二日訪問人數為 127 人。
Facebook 臉書：
擁有 48,000 名全球會員的臉書公共社群網站 'Fine Art to sell'：
Facebook:
Facebook Public Group 'Fine Art to sell' that has 48,000 global members:
www.facebook.com/groups/fine.art.to.sell/permalink/317271...
m.facebook.com/groups/fine.art.to.sell/permalink/31678471...
www.facebook.com/groups/fine.art.to.sell/permalink/316883...
Flickr:
flickr.com/photos/myfatedata/51998680392/in/dateposted-pu...
Uploaded on April 12, 2022, the number of visitors on the first day of upload was 96.
2022 年 4 月 12 日上傳，上傳首日訪問人數為 96 人。
(1) 價格：新台幣八億八千萬元。
極為罕見稀少的外太空外星隕石鑽石 (一面形似人類腳底、一面形似人類腳背、它形似人類腳掌形狀)。
Youtube:
2022 年 3 月份全球觀眾： 1,373 總觀看次數及1,588 總觀看時間 (分鐘)
Facebook 臉書：
擁有 48,000 名全球會員的臉書公共社群網站 'Fine Art to sell'：
www.facebook.com/groups/fine.art.to.sell/permalink/316826...
重量：2,091 公克
國際上「隕石鑽石」價格為每顆至少新台幣7.5億元以上 (美金2,500萬元以上，請參閱「隕石鑽石 - 百度百科 baike.baidu.hk/item/%E9%9A%95%E7%9F%B3%E9%91%BD%E7%9F%B3/... 」)
全球目前「隕石鑽石」只發現三顆，一顆在中華人民共和國、二在美利堅合眾國、三「似乎也是最大一顆」則在中華民國的台灣。
「天然宇宙神韻」形狀
來自宇宙的天然迷人和令人驚嘆的藝術作品
極為罕見稀少的「外太空外星隕石鑽石 」(一面形似人類「腳底」、一面形似人類「腳背」、它形似人類「腳掌」形狀)。
在地球上，過去從未被發現，將來也不會被發現。
1、我們已經「專業研究隕石」數十多年，「貨真價實」。
2、我們有「隕石專業人員」會把「賣出隕石」預先「以手工特別盤整過一段時日」，使「賣出隕石」能夠讓購買者「更容易吸收」外太空外星隕石的「宇宙外太空外星微量元素及其能量」，而這些都是地球上所沒有具備的「微量元素及其能量」。
3、不是我們賣出的隕石，如果未經過我們的「隕石專業人員以手工特別盤整過一段時日」，可能會讓其購買者「完全無法、或是非常地不容易 ‘’吸收‘’ 外太空外星隕石的 '宇宙外太空外星微量元素及其能量'」；只能當作是「擺設用、收藏用、或是投資用隕石」，或只是「隕石擺件、或吊飾」使用而已。
這真是非常地可惜，如同浪費了「宇宙外太空中極為稀有、罕見、尤其珍貴」的外太空外星隕石之「宇宙外太空外星微量元素及其能量」。
千萬請勿浪費宇宙外太空外星隕石！
上開說法是有何憑據呢？
1、數千年來，西藏藏傳佛教喇嘛皆是採用「外太空外星隕石天鐵」與「外太空外星隕石天銅」製作「金剛法器」，如金剛杵、金剛降魔杵與金剛法鈴等等。
這就是西藏藏傳佛教喇嘛引用「外太空外星隕石之 ‘’宇宙外太空外星微量元素及其能量‘’」，並藉由西藏藏傳佛教喇嘛的「法會佛事活動、和藏傳佛教儀式」，達到讓人「更容易吸收」外太空外星隕石的「宇宙外太空外星微量元素及其能量」的千古年來如山鐵證。
2、「隕石的微量元素與健康」部分，請參閱文末之每日頭條新聞報導內容。
kknews.cc/news/9n55mkl.html#amp_tf=%E4%BE%86%E6%BA%90%EF%...
但千萬注意，上開文中所介紹「將多類石隕石或泡水或煮水，就可以獲得富含微量元素的水。」者部分，則萬萬不可，因為外太空外星隕石的「宇宙外太空外星微量元素及其能量」是完全無法被溶入水份子中的。
而數千年來，也從未曾聽說過，有何西藏藏傳佛教喇嘛曾經將伊採用「外太空外星隕石天鐵」與「外太空外星隕石天銅」所製成的「金剛法器」，如金剛杵、金剛降魔杵與金剛法鈴等等，或泡水、或煮水，而讓信徒們飲用者情事。
天然宇宙神韻形狀
Natural Cosmic Charming Shape
天然宇宙神韻形狀
來自宇宙的天然迷人和令人驚嘆的藝術作品
極為罕見稀少的外太空外星隕石鑽石 (一面形似人類腳底、一面形似人類腳背、它形似人類腳掌形狀)。
在地球上，過去從未被發現，將來也不會被發現。
此隕石鑽石具備「球粒石隕石 Chondrite Aerolite (a stony meteorite)」應有的隕石氣印 (拇指印)、深黑色隕石熔殼、隕石熔流微細線、隕石的高比重密度 3.5、球粒石隕石會稍微吸引磁鐵的磁性、表面上可見些許鎳鐵球粒 (銀白色顆粒)、球粒石隕石具有的球粒、球粒石隕石斷面或表面上都能看到金屬銀白色的顆粒斑點，甚至於在隕石表面上尚具有隕石鑽石的非常微小鑽石晶體顆粒。
重量：2,091 grams 公克
尺寸：長 16.3 x 寬 8.9 x 厚 6.4 cm 公分
比重密度：3.5
地球普通岩石的密度為 2.5 - 3.0
鐵礦石的密度 4.0 - 6.0
鐵隕石的密度是 7.0 - 8.0
大多數隕石是由重礦物組成，密度為 3.0 - 8.0
石隕石密度 3 - 3.5
普通隕石的密度是 3.0 - 3.7
月球隕石的密度是 2.7 - 3.8
石隕石中的鐵鎳金屬含量小於等於30%；
石鐵隕石的鐵鎳金屬含量在30% - 65%之間；
鐵隕石的鐵鎳金屬含量大於等於95%。
玻璃隕石不含金屬成分。
「石隕石」分為「球粒隕石」 (占大部分) 與「非球粒隕石」兩個子類。
石隕石，是來自地球以外太陽系其他天體的碎片，絕大多數來自位於火星和木星之間的小行星。
球粒隕石 (Chondrite) 是行星母體未經過熔融或行星分化，而未被改變的石隕石。
球粒隕石是由原始太陽系中存在的塵埃和砂石粒子吸積形成的，並且在超過 45.5 億年前產生了小行星。這些球粒隕石的小行星母體是 (或曾經是) 中小型的小行星，它們是從未曾大到可以進行熔融和行星分化的太陽系小天體的一部分。
它們的特點之一是存在著由不同礦物形成圓形晶粒的隕石球粒，通常構成球粒隕石體積的20%至80%。它們的球粒直徑大小一般在0.5至1毫米之間。
球粒隕石中的金屬顆粒主要為鐵和鎳，而鎳的存在也是決定一顆石頭是否隕石的常用指標。
重量：2,091 公克
國際上「隕石鑽石」價格為每顆至少新台幣 7.5 億元以上 (美金 2,500 萬元以上，請參閱「隕石鑽石 - 百度百科
baike.baidu.hk/item/%E9%9A%95%E7%9F%B3%E9%91%BD%E7%9F%B3/... 」)
全球目前「隕石鑽石」只發現三顆，一顆在中華人民共和國、二在美利堅合眾國、三「也似乎是最大的一顆」則在中華民國的台灣。
Youtube:
2022 年 3 月份全球觀眾： 1,373 總觀看次數及1,588 總觀看時間 (分鐘)
Facebook 臉書：
擁有 48,000 名全球會員的臉書公共社群網站 'Fine Art to sell'：
m.facebook.com/groups/fine.art.to.sell/permalink/31649615...
Natural Cosmic Charming Shape
Natural Charming and Amazing Work of Art by the Universe
An extremely rare extraterrestrial Alien stone meteorite diamond of the outer space (one side resembles the sole of a human foot, the other resembles the instep of a human foot, and it resembles the footpalm shape of a human foot).
Youtube:
Global audience in March 2022: 1,373 total views and 1,588 total watch time (minutes)
Facebook:
Facebook Public Group 'Fine Art to sell' that has 48,000 global members:
www.facebook.com/groups/fine.art.to.sell/permalink/316826...
On Earth never has it been found in the past and will not be found in the future.
This meteorite diamond has the features of meteorite regmaglypts (thumbprints), dark black meteorite fusion crust, tiny meteorite fusion flow lines, high specific gravity density of meteorite 3.5, and the magnetic characteristic to attract magnet slightly by a chondrite meteorite. There are some nickel-iron chondrules (silver-white particles) on the surface, chondrules of chondrite stony meteorite, and metallic silver-white particle spots of chondrite stony meteorite being seen on the section or the surface, even on the surface of this meteorite, very tiny diamond crystal grains of a meteorite diamond being seen as well.
Weight: 2,091 grams
Dimensions: Length 16.3 x Width 8.9 x Depth 6.4 cm
Specific Gravity Density: 3.5
The average Specific Gravity Density of Earth's rock: 2.5 - 3.0
The Specific Gravity Density of iron ore: 4.0 - 6.0
The Specific Gravity Density of iron meteorite: 7.0 - 8.0
Most meteorites are composed of heavy minerals and have a Specific Gravity Density of 3.0 - 8.0
The Specific Gravity Density of Stone Meteorite: 3 - 3.5
The Specific Gravity Density of normal meteorites: 3.0 - 3.7
The Specific Gravity Density of lunar meteorites: 2.7 - 3.8
The iron-nickel metal content of stony meteorites is less than or equal to 30%;
The iron-nickel metal content of stony-iron meteorites is between 30% and 65%;
The iron-nickel metal content of iron meteorites is greater than or equal to 95%.
Glass meteorites do not contain metallic components.
"Stony meteorite" is divided into "chondrite" (mostly) and "achondrite", two sub-categories.
Stony meteorites are debris from other celestial bodies in the solar system other than Earth, most of which come from asteroids located between Mars and Jupiter.
Chondrites are stony meteorites whose celestial parent bodies have not been melted or differentiated, and without changing.
Chondrites were formed by the accretion of dust and sand particles that existed in the original solar system and produced asteroids more than 4.55 billion years ago. The asteroid parent bodies of these chondrites are (or were) small to medium-sized asteroids, that were part of small solar system bodies, that were never large enough to undergo melting and planetary differentiation.
One of their characteristics is the presence of chondrules, which are circular grains of different minerals, and typically make up 20 to 80 percent of the volume of the chondrite. Their spherulites are generally between 0.5 and 1 mm in diameter.
The metal particles in chondrites are mainly iron and nickel, and the presence of nickel is also a common indicator for determining whether a stone is a meteorite.
Weight: 2,091 grams
The international price of "meteorite diamonds" is at least NT$750 million per piece (more than US$ 25 million, please refer to "Meteorite Diamonds - Baidu Encyclopedia"
baike.baidu.hk/item/%E9%9A%95%E7%9F%B3%E9%91%BD%E7%9F%B3/... ”)
At present, only three "meteorite diamonds" have been found in the world, one in the People's Republic of China, two in the United States, and three "seems to be the largest" in Taiwan, the Republic of China.
Youtube:
Global audience in March 2022: 1,373 total views and 1,588 total watch time (minutes)
Facebook:
Facebook Public Group 'Fine Art to sell' that has 48,000 global members:
m.facebook.com/groups/fine.art.to.sell/permalink/31649615...
kknews.cc/news/9n55mkl.html#amp_tf=%E4%BE%86%E6%BA%90%EF%...
「每日頭條」新聞
隕石的微量元素與健康
時間＼2018-10-07
2018年2月17曰，我在新浪微博發表過一篇題為《養生保健7種隕石礦物元素》的文章，有興趣的新朋友可以百度「華北隕石」微博中看到，當時，讀者反映很不錯，好多人認真進行了嘗試，作用顯著。
這就是隕石走向大眾化可喜的發展結果。也有個別朋友詢問，如何獲得隕石微量元素？在此簡單述說，大家一定知道「礦泉水」，經過水質檢測部門進行水質分析，這種來自山石縫隙間的水富含多種礦物微量元素。同樣的道理，我們將多類石隕石或泡或煮，就可以獲得富含微量元素的水。
隕石養生是一門新的科學。儘管，隕石養生功效直接使人的睡眠改善，多種慢性疾病康復等等，仍然需要喜好隕石者認真嘗試，不斷深入探究。我們收藏隕石，不要首先考慮它能賣多少錢？
關鍵看它有沒有養生功效，能讓我們睡的好，吃的飽，身體少毛病，少不適感，這才是它最大價值。只要發現特具養生能量的隕石，就是好藏品！為了更完善，更全面的科學利用隕石，今天再來補充說明三種特別的隕石微量元素，以便大家有針對性的運用。
【1】隕石中的「鍶」元素
在隕石里發現多種礦物元素，據說有一百餘種，而更重要的是隕石里有些元素對於人體來說都是必需品。比如隕石中的「鍶」元素，就是人體骨骼及牙齒所生長的組成成分，它能夠促進骨骼的發育成長，維繫人體正常的生理功能，在經研究中發現，鍶與鈣、鎂、矽、鋰等元素一樣，也能防治心血管類的疾病，與長壽息息相關，其機理可能是鍶元素在腸道內會與鈉元素競爭，從而減少人體對於鈉元素本身的吸收，這對於平常飲食口重，攝取鹽分較多的人群，血粘稠患者簡直算是救星。
【2】隕石中的「鈷」元素、和【3】「鈦」元素
還有像隕石中的「鈷」元素和「鈦」元素，前者能夠增強人體甲狀腺的生理功能，要知道鈷元素可是合成腺素所必需的成分，因此對於甲狀腺腫大的症狀有著一定的療效，同時還能預防甲狀腺腫瘤，而後者的功效則更為強大，鈦元素能夠刺激吞噬細胞，使免疫力增強的這一效益已被證實，鈦由於有親生物特性，在人體內，可以抵抗分泌物的腐蝕，對任何殺菌方法都較為適應，另外鈦元素還是一種能通過放射一致的波長使得細胞電離，從而達到調節人體內電流元素的作用，這也直接解釋了，為什麼人長時間接觸過隕石後，可以對人體產生有益的生理作用。
各種礦物元素是存在於所有身體組織和體液中的無機物質，它們的存在對於生命所依賴的許多生理化學過程至關重要。
這些礦物元素可以廣義的分為基本元素，例如鈣、磷、鈉、氯和微量元素，例如鐵、銅、鈷、鉀、鎂、碘、鋅、錳、鉬、氟、鉻、硒和硫。
這些礦物元素是不同於蛋白質、脂肪、碳水化合物和維他命等的營養實體。儘管需求量不大，但它們是各種酶、激素和細胞的組成部分，它們之間的新陳代謝相互關聯，相互輔助，也影響到其它組織。
礦物元素對人體健康的重要性已經被人類意識到。這些元素的缺乏或紊亂會對新陳代謝和組織結構產生重要影響，從而導致多種疾病的產生。
不幸的是，大多數人並沒有從膳食中攝取到足夠的這些必要礦物元素。而且，隨著年齡的增長，人體對這些基本和微量元素的需求都會增加，同時某些藥物的服用也會導致這些礦物元素的流失。
因此，單從攝取膳食和水中的礦物元素很難補足，而有針對性的從隕石中獲得一些隕石礦物元素，也是一種可行的方法。但要記住一點，貴在長久堅持！
（2）價格： 新台幣十一億七千七百萬元。
北宋汝窯天青釉刻劃印花五爪龍吐珠十二梅花紋折沿盤
Youtube:
2022 年 3 月份全球觀眾： 1,373 總觀看次數及1,588 總觀看時間 (分鐘)
Facebook 臉書：
擁有 48,000 名全球會員的臉書公共社群網站 'Fine Art to sell'：
m.facebook.com/groups/fine.art.to.sell/permalink/31677981...
www.facebook.com/groups/fine.art.to.sell/permalink/317863...
圓盤直徑：17.9 ～ 18.0 cm 厘米
圈足直徑：9.1 ～ 9.2 cm 厘米
本瓷盤為滿釉支燒，五支釘痕，香灰胎，天青釉，冰裂紋片，潤之如玉，在器物底部可見細如芝麻狀的支釘痕五個，痕跡很淺，大小如芝麻。
瓷盤龍紋上有數處「黑點之古瓷瑕疵」，龍紋線條「皆是手工製作、亦顯左右不對稱」，十二梅花紋「大小、間隙、寬度、深度皆不相同，明顯是由手工刻劃形成」，底部圈足兩側壁緣有「瑪瑙入釉及聚釉痕跡」，折沿口緣內側邊線上有一個明顯之「棕眼之古瓷瑕疵」，滿釉有古代柴燒氣泡及冰裂開片紋，底部圈足略為外撇。
而此傳世北宋汝窯瓷器的胎體有三個特點：
第一點是輕薄。
第二點胎色為香灰色，胎骨輕薄，胎質看色粗松實則細密。汝瓷胎色呈淺灰、灰白，因其色調與香燃燒之後形成的香灰相似，因而俗稱「香灰胎」。
第三點是汝瓷胎質細膩滋潤，堅緻緊密，被譽為「銅骨」。另外，接觸過傳世汝瓷的人常有「扣聲如磬」的形容，這在一定程度上也說明了汝瓷胎的輕薄與緻密。
另外，器底於光線下呈現略為凹凸不平，是由於泥坯中間的部位水份未乾，成型泥胎在掙脫粘連的泥范（模）時，由北宋窯工左右輕微轉動脫模操作所形成。
現代博物館裡的專業人士、收藏家、鑑賞家、學者、專家等等，因為他們都不是北宋皇帝宋徽宗本人，所以顯然他們已經把自己作為平民老百姓的品味，當作是應該屬於北宋皇帝宋徽宗的最愛。他們普遍認為，市面上流傳下來的 80 餘件傳世汝窯瓷器，應該就是北宋皇帝宋徽宗的御用汝官窯瓷器。 你認為有可能嗎？
Northern Song Dynasty Ru Kiln Sky-green glazed inscribed and printed Five-clawed Dragon Spit Bead and Twelve Plum Patterns Folding Edge Plate
Youtube:
Global audience in March 2022: 1,373 total views and 1,588 total watch time (minutes)
Facebook:
Facebook Public Group 'Fine Art to sell' that has 48,000 global members:
m.facebook.com/groups/fine.art.to.sell/permalink/31677981...
www.facebook.com/groups/fine.art.to.sell/permalink/317863...
Plate diameter: 17.9 - 18.0 cm
Ring foot diameter: 9.1 - 9.2 cm
This porcelain plate was full-glazed and burned with supporting-nails, five supporting-nail marks, incense-ash-like-earth-yellow-greyish porcelain body, sky-green glaze, broken-ice-cracking-like cracking-patterns, jade-like smoothness, and five sesame-like supporting-nail marks can be seen on the bottom of the utensil, the marks are very shallow, their sizes are such as sesames.
The dragon pattern on the porcelain plate has several "black spots of ancient porcelain flaws", the dragon pattern lines "are all handmade and also show asymmetry between the left and right", and the twelve plum patterns "are different in size, gap, width, and depth, which were obviously formed by hand-carving", there are "marks of agate mixed in the glaze and polyglaze" on both side walls of the bottom ring foot, and an obvious "brown-eye-small-hole" which is an ancient porcelain flaw, on the inner edge line of the folding mouth edge. It was fully glazed with ancient wood-fired air bubbles and broken-ice-cracking-like cracking-patterns. The bottom ring foot is slightly slanted outward.
The porcelain body of this handed down Ru kiln porcelain in the Northern Song Dynasty has three characteristics:
The first is “light and thinness”.
The second is that the porcelain fetal color is incense-ash-like-earth-yellow-greyish, the porcelain fetal bone is light and thin, and the fetal quality seems to be rough but fine. The color of Ru porcelain body is light-gray and gray-white, because its color is similar to the incense ash formed after burning incense, so it is commonly known as "incense gray porcelain body".
The third is that the texture of Ru porcelain is delicate and smooth, firm and compact, and is known as "bronze bone". In addition, people who have come into contact with the handed down Ru porcelain often describe it as "sound like a chime (a musical stone)", which to a certain extent also shows the lightness and compactness of the Ru porcelain body.
In addition, the bottom of the utensil is slightly uneven under the light. Because when the water in the middle of the porcelain mud body was not dry yet and meanwhile the molded mud body was slightly turned left and right to be broken away from the sticking mud mold. So long as the porcelain kiln workers in the Northern Song Dynasty took the above procedure, then the uneven bottom would have been formed.
Professionals in the modern museums, collectors, connoisseurs, scholars, experts, and so on, because they are all not the Emperor Song Huizong of the Northern Song Dynasty himself, so obviously they have regarded their own taste of being the common people, as the same favorite that should belonged to the Emperor Song Huizong in the Northern Song Dynasty. They generally believed that more than 80 pieces of Ru kiln porcelain handed down on the market should be the personal royal Ru Imperial kiln porcelain wares of the Northern Song Emperor Song Huizong. Do you think it is possible?
來源：
屬擊敗蒙古元朝歐亞大帝國的明朝皇帝朱元璋所分封為軍事大元帥的「陳秀甫」(陳秀甫亦為明代開國功臣光祿大夫《光祿大夫為皇帝開國及軍事作戰的出糧出資金錢財主》) 家族傳世的祖傳傳世品。
Provenance:
The handed down collection from the family ancestor of Chen Xiufu, a military marshal who was assigned by the Ming Emperor Zhu Yuanzhang (Zhu Yuanzhang defeated the Eurasian Empire of the Mongolian Yuan Dynasty), (Chen Xiufu was also the founding hero of the Ming Dynasty, whose official name was Guangludafu, "Guangludafu was the rich and wealthy capitalist of food and money supplied for the emperor's nation-founding and military operations.").
（3）價格：新台幣三億元。
中國周朝周文王鈎首龍頭鈎身鈎尾狐狸紋青銅鎏金戰袍帶鈎
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重量：301 grams 公克
尺寸：長 22.8 x 寬 4.4 x 高 3.3 cm 公分
《山海經》裡記載青丘之山，有九尾狐。這個九尾狐，經學者研究，很可能是九個氏族，或者是當地氏族崇拜的圖騰。甚至周文王也曾給商紂王獻過九尾狐。周文王被商紂王關在羑里，西岐方面為了救他出來，就到處尋找珍禽異獸。散宜生弄到了一隻九尾狐，連同其他珍寶獻給了商紂王。商紂王一高興就把姬昌 (周文王) 給放了。原文是：
文王拘羑里，散宜生至西海之濱，取白狐青翰獻紂，紂大悅。（《尚書大傳》，青翰，青色的野雞）
散宜生至吳，得九尾狐，以獻紂也。 （《幽通賦》注）
因此，周文王因「九尾狐」而得救，致御用青銅鎏金戰袍帶鈎為鈎首龍頭鈎身鈎尾雕狐狸紋。
King Zhou Wenwang's gilt bronze war robe hook with dragon head, fox pattern hook body and hook tail, Zhou Dynasty, China
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Weight: 301 grams
Dimensions: Length 22.8 x Width 4.4 x Height 3.3 cm
The "Shan Hai Jing" records that there was nine-tailed fox on the mountain of Qingqiu. This nine-tailed fox, studied by scholars, was likely to be the nine clans, or a totem worshipped by the local clan. Even King Zhou Wenwang (周文王) presented a nine-tailed fox to King Shang Zhou (商紂王). King Zhou Wenwang (周文王) was imprisoned in Yuli by King Shang Zhou (商紂王), and in order to rescue him, the subjects in Kingdom Xiqi searched everywhere for rare birds and animals. San Yisheng obtained a nine-tailed fox and presented it to King Shang Zhou (商紂王) along with other treasures. When King Shang Zhou (商紂王) was pleased, he released Ji Chang [King Zhou Wenwang (周文王)]. The original text is:
King Zhou Wenwang (周文王) was detained in Yuli, San Yisheng went to the coast of the West Sea, and took the white fox and qinghan (green pheasant) to present to King Shang Zhou (商紂王), and King Shang Zhou (商紂王) was very pleased. ("The Great Biography of Shangshu", Qinghan, the green pheasant)
San Yisheng went to Wu and got a nine-tailed fox to offer King Shang Zhou (商紂王). (The Note of "You Tong Fu")
Therefore, King Zhou Wenwang (周文王) was saved because of the "nine-tailed fox", so he used a gilt bronze war robe hook, with dragon head, fox pattern hook body and hook tail.
來源：
屬擊敗蒙古元朝歐亞大帝國的明朝皇帝朱元璋所分封為軍事大元帥的「陳秀甫」(陳秀甫亦為明代開國功臣光祿大夫《光祿大夫為皇帝開國及軍事作戰的出糧出資金錢財主》) 家族傳世的祖傳傳世品。
Provenance:
The handed down collection from the family ancestor of Chen Xiufu, a military marshal who was assigned by the Ming Emperor Zhu Yuanzhang (Zhu Yuanzhang defeated the Eurasian Empire of the Mongolian Yuan Dynasty), (Chen Xiufu was also the founding hero of the Ming Dynasty, whose official name was Guangludafu, "Guangludafu was the rich and wealthy capitalist of food and money supplied for the emperor's nation-founding and military operations.").
（4）價格：新台幣三千萬元。
白堊紀早期美洲大陸最高大的恐龍波塞東龍幼龍化石板
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化石板重量：591 grams 公克
化石板尺寸：長 18.0 x 寬 14.2 x 厚 0.9 cm 公分
波塞東龍（Sauroposeidon）（意思為希臘神“波塞東”的“蜥蜴地震神”）是一種蜥腳類恐龍，係從幾個不完整的標本中得知，包括在美國奧克拉荷馬州、懷俄明州、德州發現的骨床化石和足跡化石。
波塞東龍（Sauroposeidon），生存於白堊紀早期。波塞東龍是目前已知最高的恐龍，經估計有17公尺高；而身長接近30到34公尺，體重被估計為50到60公噸之間。
目前已發現數個標本，正模標本由4個頸椎構成，在1994年發現於美國奧克拉荷馬州，之後在懷俄明州、德州也發現化石與足跡化石，地質年代屬於白堊紀早期，該地區過去是史前墨西哥灣的三角洲。由於之前很少發現該時代的北美洲巨型蜥腳類化石，這些化石曾一度被認為是矽化木。
出版著錄：
《Dinosaurs and Meteorites 恐龍與隕石 恐龙与陨石 恐竜と隕石》由美國谷歌圖書出版並在全球七十九國家發行：
Google Books:
books.google.com/books/about/Dinosaurs_and_Meteorites_%E6...
Google Play:
play.google.com/store/books/details/Orion_Hsu_Dinosaurs_a...
The tallest dinosaur Sauroposeidon baby fossil stone plate in the American Continent in the early Cretaceous
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Fossil stone plate weight: 591 grams
Fossil stone plate size: length 18.0 x width 14.2 x thickness 0.9 cm
Sauroposeidon (meaning "lizard earthquake god" after the Greek god Poseidon) is a genus of sauropod dinosaur known from several incomplete specimens including a bone bed fossil and fossilized trackways that have been found in the U.S. states of Oklahoma, Wyoming, and Texas.
Sauroposeidon was living in the early Cretaceous. Sauroposeidon was the tallest known dinosaur, at an estimated height of 17 meters; its body length was nearly 30 to 34 meters, and its weight was estimated to be between 50 and 60 metric tons.
Several specimens have been found so far. The holotype is composed of 4 cervical vertebrae. It was discovered in Oklahoma, USA in 1994. Fossils and footprint fossils were also found in Wyoming and Texas. The geological age belongs to the early Cretaceous period. It used to be the delta of the prehistoric Gulf of Mexico. The fossils were once thought to be petrified wood because few giant sauropod fossils from this era have been found before.
Published bibliography:
《Dinosaurs and Meteorites 恐龍與隕石 恐龙与陨石 恐竜と隕石》Published by Google Books USA and distributed in 79 countries around the world:
Google Books:
books.google.com/books/about/Dinosaurs_and_Meteorites_%E6...
Google Play:
play.google.com/store/books/details/Orion_Hsu_Dinosaurs_a...
（5）價格：新台幣三千萬元。
唐朝皇室和闐白玉圓雕七隻豬 (代表無限財富) 紙鎮
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重量：390 grams 公克
尺寸：長 16.7 x 高 5.6 x 厚 5.1 cm 公分
玉石與眾不同的色澤和光彩，使人愛不惜手。古代由於數量少，加工困難，成為難得的奢侈品。它必定是社會地位極高的人物所擁有，玉石器就成了權力的象徵物，這又使它漸漸演變成為禮器、祭器。玉石器從原來僅僅是一種特殊的石頭轉化為代表權力、地位、財富、神權的象徵。
古代豬是財富的象徵，在漢唐時代如果說羊代表了吉祥，那麼豬就是財富的象徵。在漢唐時代豬已經是財富的重要表徵，豬也是一個富足家庭中所必備的家畜。因此在漢字中「家」中「豕」就是豬的象形文字，可見在古代漢朝與唐朝，豬確實是漢朝與唐朝皇室與人民重要的財產，也是財富的象徵之一。
由七隻豬 (代表無限財富) 紙鎮之材質和闐白玉石的皮層表面已經包漿氧化成為皮殼，而玉石皮表面的鐵元素亦氧化成為紅色，但無漢朝皇室玉雕品的圖騰紋飾，可確認此七隻豬 (代表無限財富) 紙鎮為唐朝 (618 - 907) 之皇室工藝和闐白玉圓雕巧作。
Tang Dynasty (618 - 907) Hetian White Jade circular carving imperial workshop carved Jade Seven Pigs (representing infinite wealth) paperweight
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Global audience in March 2022: 1,373 total views and 1,588 total watch time (minutes)
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Weight: 390 grams
Dimensions: total length 16.7 cm x height 5.6 cm x depth 5.1 cm
The distinctive color and brilliance of jade make people love it at all costs. In ancient times, due to the small quantity and difficulty in processing, it became a rare luxury. It must be owned by a person of extremely high social status, and the jade carved artifact had become a symbol of power, which has gradually evolved it into a ritual tool and a sacrificial tool. The jade carved artifact was transformed from a special kind of stone into a symbol of power, status, wealth, and theocracy.
In ancient times, the pig was a symbol of wealth. In the Han Dynasty and Tang Dynasty, if the sheep represented auspiciousness, then the pig was a symbol of wealth. In these Dynasties, the pig was an important symbol of wealth, and the pig was also a must-have domestic animal in a wealthy family. Therefore within the Chinese character of "home", "hog" is the hieroglyph of the pig. It can be seen that in the ancient Han Dynasty and Tang Dynasty, the pig was indeed an important property of the imperial family and the people of these Dynasties, and it was one of the symbols of wealth.
The material of the jade Seven Pigs (representing infinite wealth) paperweight and the cortical surface of the white jade have been slurried and oxidized into a jade shell, and the iron element on the surface of the jade stone skin has also been oxidized to red. However, no patterns’ decoration of the imperial jade carvings of the Han Dynasty was carved on it. It can be confirmed that this jade Seven Pigs (representing infinite wealth) paperweight is a royal craftsmanship of the Tang Dynasty (618 - 907) and a skillful circular carving of white jade.
來源：
屬擊敗蒙古元朝歐亞大帝國的明朝皇帝朱元璋所分封為軍事大元帥的「陳秀甫」(陳秀甫亦為明代開國功臣光祿大夫《光祿大夫為皇帝開國及軍事作戰的出糧出資金錢財主》) 家族傳世的祖傳傳世品。
Provenance:
The handed down collection from the family ancestor of Chen Xiufu, a military marshal who was assigned by the Ming Emperor Zhu Yuanzhang (Zhu Yuanzhang defeated the Eurasian Empire of the Mongolian Yuan Dynasty), (Chen Xiufu was also the founding hero of the Ming Dynasty, whose official name was Guangludafu, "Guangludafu was the rich and wealthy capitalist of food and money supplied for the emperor's nation-founding and military operations.").
（6）價格：新台幣五千萬元。
唐朝 (618 - 907) 皇室工藝和闐白玉圓雕玉佛像
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重量：601 公克
尺寸：全高 19.6 厘米 x 寬 6.5 厘米 x 厚 5.8 厘米
盛唐時代可以說是佛造像的黃金時代，此時期的造像比例舒展勻稱，結構合理，已完全擺脫了隋和初唐時期的佛頭偏大，體態略僵板的感覺，動態極為自由活潑。頭部為螺髮型，大耳下垂，神情莊重而又不失慈祥。身材比例勻稱，結構合理，體態自然舒展，臉龐圓潤，曲眉豐頸，五官秀美。服飾華美，帔帛 (帔帛是美麗女式唐裝的點綴，就是我們看到畫裏唐代婦女肩上或手臂上搭着一條長長的條帶，走路隨風擺動，顯得瀟灑自然，這就是帔帛) 環繞，瓔珞 (瓔珞是一種掛於項頸，垂於胸前的飾品，用多種小巧的花朵穿串而成。 ) 小巧精緻，衣服紋線流暢自然。右手持寶珠。
由玉佛像之材質和闐白玉石的皮層表面已經包漿氧化成為皮殼，而玉石皮表面的鐵元素亦氧化成為紅色，頭部為螺髮且大耳下垂，身材比例勻稱，結構合理，披唐代帔帛，且右手持寶珠，可確認此玉佛像為唐朝 (618 - 907) 之皇室工藝和闐白玉圓雕巧作。
Tang Dynasty (618 - 907) Hetian White Jade circular carving imperial workshop carved Jade Buddha Statue
Youtube:
Global audience in March 2022: 1,373 total views and 1,588 total watch time (minutes)
Facebook:
Facebook Public Group 'Fine Art to sell' that has 48,000 global members:
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Weight: 601 grams
Dimensions: total height 19.6 cm x width 6.5 cm x depth 5.8 cm
The prosperous Tang Dynasty can be said to be the golden age of Buddha statues. The statues in this period are well-proportioned in proportion and reasonable in structure. They have completely gotten rid of the large head and slightly rigid body of the Buddha in the Sui and early Tang Dynasties, and the dynamics are extremely free and lively. He has a spiral hair on his head, large drooping ears, and a dignified yet kind expression. The body is well-proportioned, the structure is reasonable, the body is naturally stretched, the face is round, the eyebrows are plumply curved and the neck is full, and the facial features are beautiful. The apparels are gorgeous, shawl (shawl is the embellishment of beautiful women's Tang suits, that is, we see a long strip on the shoulders or arms of the women in the Tang Dynasty in the painting, walking with the wind swinging, looking elegant and natural, this is the shawl) is around the body. Wreath (wreath is a kind of decorations hanging on the neck and the chest, made of a variety of small flowers.) is small and delicate, the clothes' lines are smooth and natural. The right hand holds a treasure orb.
The material of the jade Buddha statue and the cortical surface of the white jade have been slurried and oxidized into a jade shell, and the iron element on the surface of the jade stone skin has also been oxidized to red. The head is spiral hair and the big ears are drooping. The body is well-proportioned, the structure is reasonable, wearing in Tang Dynasty shawl, and holding a treasure orb in the right hand. It can be confirmed that this jade Buddha statue is a royal craftsmanship of the Tang Dynasty (618 - 907) and a skillful circular carving of white jade.
來源：
屬擊敗蒙古元朝歐亞大帝國的明朝皇帝朱元璋所分封為軍事大元帥的「陳秀甫」(陳秀甫亦為明代開國功臣光祿大夫《光祿大夫為皇帝開國及軍事作戰的出糧出資金錢財主》) 家族傳世的祖傳傳世品。
Provenance:
The handed down collection from the family ancestor of Chen Xiufu, a military marshal who was assigned by the Ming Emperor Zhu Yuanzhang (Zhu Yuanzhang defeated the Eurasian Empire of the Mongolian Yuan Dynasty), (Chen Xiufu was also the founding hero of the Ming Dynasty, whose official name was Guangludafu, "Guangludafu was the rich and wealthy capitalist of food and money supplied for the emperor's nation-founding and military operations.").
（7）價格：新台幣十一億七千七百萬元
唐朝皇室和闐白玉圓雕觀世音菩薩蓮花底座造像
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2022 年 3 月份全球觀眾： 1,373 總觀看次數及1,588 總觀看時間 (分鐘)
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重量：1,627 grams 公克
尺寸：高 19.9 x 寬 9.8 x 厚 8.8 cm 公分
玉石與眾不同的色澤和光彩，使人愛不惜手。古代由於數量少，加工困難，成為難得的奢侈品。它必定是社會地位極高的人物所擁有，玉石器就成了權力的象徵物，這又使它漸漸演變成為禮器、祭器。玉石器從原來僅僅是一種特殊的石頭轉化為代表權力、地位、財富、神權的象徵。
盛唐時代可以說是佛造像的黃金時代，此時期的造像比例舒展勻稱，結構合理，已完全擺脫了隋和初唐時期的佛頭偏大，體態略僵板的感覺，動態極為自由活潑。頭部大耳下垂，神情莊重而又不失慈祥。身材比例勻稱，結構合理，體態自然舒展，臉龐圓潤，曲眉豐頸，五官秀美。服飾華美，帔帛 (帔帛是美麗女式唐裝的點綴，就是我們看到畫裏唐代婦女肩上或手臂上搭着一條長長的條帶，走路隨風擺動，顯得瀟灑自然，這就是帔帛) 環繞，瓔珞 (瓔珞是一種掛於項頸，垂於胸前的飾品，用多種小巧的花朵穿串而成。 ) 小巧精緻，衣服紋線流暢自然。觀世音菩薩雙手捧持淨水瓶。
由觀世音菩薩玉佛像之材質和闐白玉石的皮層表面已經包漿氧化成為皮殼，而玉石皮表面的鐵元素亦氧化成為紅色，頭部為大耳下垂，身材比例勻稱，結構合理，披唐代帔帛，且雙手捧持淨水瓶，可確認此觀世音菩薩玉佛像為唐朝 (618 - 907) 之皇室工藝和闐白玉圓雕巧作。
Tang Dynasty (618 - 907) Hetian White Jade circular carving imperial workshop carved Jade Avalokitesvara Bodhisattva lotus pedestal statue
Youtube:
Global audience in March 2022: 1,373 total views and 1,588 total watch time (minutes)
Facebook:
Facebook Public Group 'Fine Art to sell' that has 48,000 global members:
www.facebook.com/groups/fine.art.to.sell/permalink/316780...
Weight: 1,627 grams
Dimensions: total height 19.9 cm x width 9.8 cm x depth 8.8 cm
The distinctive color and brilliance of jade make people love it at all costs. In ancient times, due to the small quantity and difficulty in processing, it became a rare luxury. It must be owned by a person of extremely high social status, and the jade carved artifact had become a symbol of power, which has gradually evolved it into a ritual tool and a sacrificial tool. The jade carved artifact was transformed from a special kind of stone into a symbol of power, status, wealth, and theocracy.
The prosperous Tang Dynasty can be said to be the golden age of Buddha statues. The statues in this period are well-proportioned in proportion and reasonable in structure. They have completely gotten rid of the large head and slightly rigid body of the Buddha in the Sui and early Tang Dynasties, and the dynamics are extremely free and lively. She has large drooping ears, and a dignified yet kind expression. The body is well-proportioned, the structure is reasonable, the body is naturally stretched, the face is round, the eyebrows are plumply curved and the neck is full, and the facial features are beautiful. The apparels are gorgeous, shawl (shawl is the embellishment of beautiful women's Tang suits, that is, we see a long strip on the shoulders or arms of the women in the Tang Dynasty in the painting, walking with the wind swinging, looking elegant and natural, this is the shawl) is around the body. Wreath (wreath is a kind of decorations hanging on the neck and the chest, made of a variety of small flowers.) is small and delicate, the clothes' lines are smooth and natural. The two hands of Avalokitesvara Bodhisattva hold a clean water bottle.
The material of the jade Avalokitesvara Bodhisattva lotus pedestal statue and the cortical surface of the white jade have been slurried and oxidized into a jade shell, and the iron element on the surface of the jade stone skin has also been oxidized to red. The head's big ears are drooping. The body is well-proportioned, the structure is reasonable, wearing in Tang Dynasty shawl, and the two hands of Avalokitesvara Bodhisattva hold a clean water bottle. It can be confirmed that this jade Avalokitesvara Bodhisattva lotus pedestal statue is a royal craftsmanship of the Tang Dynasty (618 - 907) and a skillful circular carving of white jade.
來源：
屬擊敗蒙古元朝歐亞大帝國的明朝皇帝朱元璋所分封為軍事大元帥的「陳秀甫」(陳秀甫亦為明代開國功臣光祿大夫《光祿大夫為皇帝開國及軍事作戰的出糧出資金錢財主》) 家族傳世的祖傳傳世品。
Provenance:
The handed down collection from the family ancestor of Chen Xiufu, a military marshal who was assigned by the Ming Emperor Zhu Yuanzhang (Zhu Yuanzhang defeated the Eurasian Empire of the Mongolian Yuan Dynasty), (Chen Xiufu was also the founding hero of the Ming Dynasty, whose official name was Guangludafu, "Guangludafu was the rich and wealthy capitalist of food and money supplied for the emperor's nation-founding and military operations.").
...
Collection: Icelandic and Faroese Photographs of Frederick W.W. Howell, Cornell University Library
Title: Litli Botn, and Hvalfell. Hvalfjörður.
Date: ca. 1900
Place: Hvalfell (Iceland)
Medium: collodion print
Repository: Fiske Icelandic Collection, Rare & Manuscript Collections, Cornell University Library
Accession: 1923.5.07
URL: http://cidc.library.cornell.edu/howell/intro.asp
Persistent URI: http://hdl.handle.net/1813.001/6299
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I bought a used 50mm f1.8 lens for 80 Euros. Very good value. Fantastic DoF and nice bokeh. Amazing how good it works in low-light conditions! I really love my Sigma 17-70mm, but this one will get some attention :-)
And it is very lightweight. I could not believe that there was a lens inside the box :-)
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Mike Cohen
I found all this at Value Village, all told for $72 No sets are complete, all are missing at least 1 or two minifigs, smaller items in the set, and a couple cases had some glue on them, most notable the TIE advanced. Still one heck of a deal.
新北市汐止區Xizhi District, New Taipei City
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That's about 2,500 people, from within ECB and other colleges in Rajasthan. Delivered a short talk to them, in Hindi, on the value of creative-commons, free culture, FOSS, and digital freedom, in the land of Meera Bai, the royal Rajput-warriors, and in the rich culture of Rajasthan. Then formally launched the Linux Users Group -Bikaner, with its founding members, on-stage.
Invited to deliver talks at Rajasthan’s largest and most prestigious engineering college which is spread across 337 acres: the Engineering College of Bikaner (ECB) www.ecb.ac.in/.
ECB has around 6,000 students enrolled on its campus, out of which around 2,500 alone are in IT and Computer Science courses.
Delivered two talks on Linux and Free & Open Source Software (FOSS): ‘How to Avoid the Axe Effect’; and ‘How to Make a Dent in the Universe’. The talks were delivered at the ‘FOSS GN09 event’ which was cleverly dove-tailed with the college’s yearly techfest mega-event, called ‘Sakshama’. An ancient Sanskrit word, ‘Sakshama’ means ‘skilled; competent; adept’. The 2009 incarnation of the event, held from 28th to 31st October, was called ‘Sakshama GN09’, to highlight ‘Generation Next’. www.sakshama.org.
And what a Generation Next! They also sought my help and mentoring in launching their own on-campus Linux Users Group (LUG), www.lugb.in. Am quite impressed with their active mailing-lists and outreach activities. These guys and gals are rocking! Together with its founders, we launched LUG-Bikaner at the ‘Sakshama GN09’ event-night, on an outdoor stage in front of an audience of over 2,500.
ECB has around 1,200 computers on-campus, and with the personal laptops and desktops of students, totals at around 4,000 PCs. Till date, LUG-Bikaner has migrated over 500 computers to Linux, and still counting. Plus, they also reach out to other colleges and institutions within Rajasthan to spread the awareness of this ‘muft and mukt’ vision of computing. After all, who can understand freedom better than the royal state of Rajasthan in India?
The history of the Austrian Museum of Applied Arts/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.
1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .
1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.
1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .
1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director .
1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the new director .
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the Directorate Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director .
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as Director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria
1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .
2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.
2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.
Cabot, Arkansas
Cabot Martial Arts and Karate
Karate for Kids Testimonial and Review
When my eight-year-old son first asked me if I would let him take Karate for Kids, I was a little worried. Karate seems so dangerous and I was concerned that my boy would end up injured. After talking with my husband, we agreed to give the program a chance and now we are so glad that we did.
First of all, I would like to state that Master Babin is wonderful with the children. While I was apprehensive that the Karate class would be all about fighting, I was relieved to learn that the focus was more on self-defense and moral values. Now my son is healthier than ever, doing an activity that he truly loves.
I would encourage every parent out there looking for a fun exercise-based activity for his or her child to participate in their Karate for Kids program a chance. My son is constantly talking about what he learned in his past karate lessons and practicing his blocks and punches in the living room. He is even playing his video games less.
After my initial reservations, I now cannot imagine my son participating in any other karate program. Consider this my highest recommendation.
David S
Reviews on Karate for Kids
When my son started karate instruction with Karate for Kids, he was timid, had few friends and had trouble paying attention in school. I didn't agree with the doctor who tried to tell me he had Attention Deficit Hyperactivity Disorder and that I should put him on medication to control it. To me, my son just needed some loving guidance, not to be medicated.
That is when I asked my good friend about her children's experiences with the local martial arts Instructor. Like my son, her children did not have a father figure in their lives and suffered greatly as the result. When they were approaching their teenage years, she decided to enroll them in karate at Karate For Kids Within a matter of weeks, I saw her pre-teen son and daughter become more confident, focused and goal-oriented and knew I wanted the same for my child.
After his very first lesson, my son, then aged nine, was already a changed child. He overflowed with enthusiasm as he explained how the karate for kids program pushed him to reach goals, but was "really nice" about it. To this mom, that means that my son finally got the caring, personal instruction that he deserves.
Thank you for such a fantastic Karate For Kids Program
Samantha W
Testimonial and Review on Martial Arts For Men
I am a forty-eight year old man and, until about four months ago, I had really let myself go. Between work-related stress and the other pressures of my day-to-day existence, I made little time for exercise and gave almost no thought to a healthy diet. In short, I was a mess.
One day, a colleague at my office took me aside and recommended that I sign up for the martial arts program offered locally. He had recently signed up for a class and loved it. After some convincing, I agreed to accompany him to his next class.
Fast-forward to today and I now love my martial arts training. Martial Arts for men workouts feels less like training and more like fun. I have been losing weight and now have a new energy when facing the daily grind. I have gone from one class a week to two, and am thinking of adding a third.
If you are looking for a fun way to get in shape, I would advise you to come on down our Martial Arts for Men Academy. You will not regret it.
Getting younger…
Lisa F
Testimonial and Review on Martial Arts For Women
I never would have thought that taking up martial arts, would change me so much as a person and in so many ways. I still use every occasion to thank my friends, for recommending me the Martial Art courses for women taught by a martial arts school that teaches quality skill sets for women
I used to be a very shy person, and had become quite fearful after having my purse stolen one evening. Now, that is no longer the case. Since participating in the martial arts courses, I have felt more empowered than ever. I enjoyed the friendly and encouraging atmosphere right from the start, and did not feel ashamed of my initial clumsiness.
Now, I can actually impress my friends with some of the moves I learned. Also, I am fully aware that martial arts represent a life style just as much as anything else. My Instructor simply amazed all of us throughout the entire program, with his dedication and willingness to teach us. In fact, we could hardly wait for the next session.
I truly recommend anyone to make the same change I made in my life. Looking back, I really cannot see my weekly schedule without my martial arts training sessions.
C McCrae
Martial Arts For Women in Cabot, Arkansas
Taking a martial arts class was not something I had given much consideration prior to turning 30. Wanting to preserve my strength and flexibility for years to come finally enticed me to take the plunge. The immediate results were stunning and I found myself feeling more energetic and confident in just a few sessions.
Not only are his martial arts skills top-notch, but I find his enthusiasm and enjoyment of the sport to be infectious. Considering that this entire venture was foreign to me, I felt right at home during my very first class. In addition to training in martial arts my instructor has a great deal of patience and warmth, the other karate students in the session were just as receptive to me. They really know how to make new members feel welcome.
Learning the forms and methods involved in martial arts is a great experience, but what makes these classes truly exceptional is that we learn how to incorporate the philosophy and principals behind this art form into our everyday lives. I look forward to my sessions with my instructor, and find his classes to be a great way to invest in myself, while having some fun at the same time. It is more than just kicking and punching it’s a well rounded martial arts program.
With Great Thanks,
Jackie W
The St. Louis Cardinals, a professional baseball franchise based in St. Louis, Missouri, compete in the National League (NL) of Major League Baseball (MLB). The new Busch Stadium has served as their home park since 2006. The Cardinals' roots commence from an earlier local team of the NL from whom they took their original name, Brown Stockings. St. Louis established themselves in 1882 as a charter member of the American Association (AA), shortened their name to Browns the next season, then joined the NL in 1892. They were also known as the Perfectos before adopting Cardinals as their official name in 1900.
As one of the most decorated and successful franchises in MLB history, the Cardinals have won eleven World Series championships, 19 National League pennants, and 10 division titles. Their 11 World Series championships are second only to the New York Yankees' 27. St. Louis also dominated the AA with four league championships, one pre-World Series championship, and tied another against the NL. Other notable achievements include Branch Rickey's pioneering of the farm system, Rogers Hornsby's two Triple Crowns, Joe Medwick's one Triple Crown, Dizzy Dean's 30-win season, Stan Musial's 17 Major League and 29 NL records, Bob Gibson's 1.12 ERA season, Whitey Herzog's Whiteyball, Mark McGwire breaking the single-season home run record, and the 2011 championship team's unprecedented comebacks. The Cardinals have won 105 or more games in four different seasons and won 100 or more a total of eight times. Cardinals players have won 20 league MVPs, four batting Triple Crowns, and three Cy Young Awards. Baseball Hall of Fame inductees include Lou Brock, Dizzy Dean, Gibson, Herzog, Hornsby, Joe Medwick, Stan Musial, Rickey, Red Schoendienst, Ozzie Smith, Bruce Sutter, and Tony La Russa. Their historic rivalry with the Chicago Cubs is one of the most storied in professional sports.
An investment group headed by William DeWitt, Jr., the chairman and managing partner, has owned the Cardinals since 1995. John Mozeliak is the general manager and Mike Matheny is the manager. Renowned for strong support from fans despite being in one of the sport's middle markets, the Cardinals routinely see attendances among the league's highest, and are consistently among the top three in MLB in local television ratings. As of 2014, Forbes valued the Cardinals at $820 million, making them the eighth-most valuable franchise in MLB.
en.wikipedia.org/wiki/St._Louis_Cardinals
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These are two apartments in a labor camp in Maryland that houses migrant farm workers. They come from Florida and Texas mostly to pick tomatoes for one of the largest tomato growers in the country --a company called 6Ls. (They supply tomatoes to fast food restaurants)
The camp was originally built by WPA workers to house WPA workers during the Depression. During WWII it became a prison camp for German POWs. After the war it began to be used to house migrant farmworkers. The company used to charge people $10/day to live in these barracks --which had latrines instead of toilets and no laundry facilities-- until a local legal aid organization sued them. A company cannot charge their workers more than the retail value of the housing. The court determined that the retail value of the barracks was $0.00.
Gentlepersons:
The Kodachrome Pictures:
These recently uploaded Kodachrome pictures have no artistic value. They were just uploaded to be representative of consumer Kodachrome picture recording during about 70 of the 75 years that Kodachrome was commercially available to the public. Unlike in today’s digital world it took time, money and effort to make a Kodachrome slide. We took fewer pictures, trying to stretch resources, but some sere still frivolous.
I'm 97 (2106). In between health downturns, I fear this will be my last chance to post much. The ratio of today’s digital pictures that are kept for any length of time and/or printed is much less than the film photos taken in days past. History will be lost. Meanwhile you get to be bored by some old Kodachromes.
The Camera:
Most of these pictures are not very sharp. They were taken with an Argus AF 35mm miniature Bakelite camera bought in 1938 at the USNA by saving much of my small student stipend for about six months. It had a Cooke style three element lens of marginal quality for its day of laughable quality compared with any of today’s SLR lenses. It had slightly better resolving ability than today’s ever more scarce disposable film cameras. The AF was an Argus upgrade which enabled the camera to focus at different lengths from about 1.5 feet to infinity. Most consumer cameras of that day were what we call medium format today. Most of the cheaper consumer grade cameras were little more than box- cameras with single element non-focusing meniscus lenses. The larger film hid much of the softness. The then newer miniature cameras had to do better because of the smaller film exposure size.
This one was taken by an Instamatic.