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Steam Yachts Transport
Built in 1944 as a Pool Tanker. It was restored by a previous owner in the mid-seventies. It was registered on 28/7/1944. Carters purchased it in 1983 from Bill McAlpine. An extensive restoration took place which included a new body, lighting sets fittted, painting and lining out. It was put into storage in 1991. The cab was rebuilt in the mid-nineties. It is currently in use hauling the steam yachts, having come out of storage in 2002.
Maybelle Addington Carter lived here up until the time of her marriage to Ezra J "Eck" Carter.
On March 13, 1926, Maybelle married Ezra J. Carter.
She moved to Poor Valley where she was living
when the Carter Family recorded the Virst music.
"Mother Maybelle" Carter (May 10, 1909 - October 23, 1978) was an American country musician.
She is best known as a member of the historic Carter Family act in the 1920s and 1930s
and also as a member of Mother Maybelle and the Carter Sisters.[1]
Maybelle Carter was born Maybelle Addington on May 10, 1909 near Nickelsville, Virginia,
the daughter of Hugh Jackson Addington and Margaret S. Kilgore. According to family lore,
the Addington family of Virginia is descended from former British prime minister Henry Addington, 1st Viscount Sidmouth.[2]
On March 13, 1926, Maybelle married Ezra J. Carter.
They had three daughters, Helen, Valerie June (better known as June Carter Cash), and Anita.[1]
She was a member of the original Carter Family, which was formed in 1927 by her brother-in-law, A. P. Carter,
who was married to her cousin, Sara, also a part of the trio. It was perhaps the first commercial rural Country music group. Maybelle was the guitarist and also played autoharp and banjo; she created a unique sound for the group with her innovative 'scratch' style of guitar playing, also called Carter Family picking, where she used her thumb to play melody on the bass and middle strings, and her index finger to fill out the rhythm.[1]
Maybelle Carter
Cartermaybelle.jpg
Born Maybelle Addington
May 10, 1909(1909-05-10)
near Nickelsville, Virginia, USA
Died October 23, 1978 (aged 69)
Nashville, Tennessee, USA
Occupation Musician
Carter Mountain Orchard, Charlottesville, VA.
Why hire seasonal labor? White people will pay for the privilege to pick fruit.
© Kevin Pazmino 2015
All Right Reserved
Please do not download, copy, edit, reproduce or publish any of my images. They are my own intellectual property and are not for use without my express written permission
Carter Mountain Orchard, Charlottesville, VA.
Why hire seasonal labor? White people will pay for the privilege to pick fruit.
Helena Bonham Carter gives a modest apologetic smile to Elfman for her singing of "Sally's Song" from The Nightmare Before Christmas
Carter Mountain Orchard, Charlottesville, VA.
Why hire seasonal labor? White people will pay for the privilege to pick fruit.
The community was named after Judge William A. Carter. The population was 8 at the 2000 census
texture by skeletalmess
Carter Mountain Orchard, Charlottesville, VA.
Why hire seasonal labor? White people will pay for the privilege to pick fruit.
Missouri State Senator Jill Carter at the 2022 Hazlitt Summit hosted by the Young Americans for Liberty Foundation at the DoubleTree by Hilton Orlando Airport in Orlando, Florida.
Please attribute to Gage Skidmore if used elsewhere.
Seen in Ipswich Buses Colours still.. awaiting to go in Paintshop to be painted into Carters Livery.
Simonds, Diss Depot, (07/05/09).
We helped out at Carter's 6th birthday party. I was an archaeologist and Breanne was a biologist. Thanks to Apurva for taking the photo.
One of the great things about Breckenridge, CO is that every time you think you have done it all, you turn the corner and find some other hidden gem. In this case, as we were on the shuttle from dinner the other night, the driver mentioned Carter Park - a park with the dedicated purpose of sledding. We weren't sure if there would be enough snow to be any fun, but today we bundled up, headed over and gave it a try.
When we got there, while I little icy in spots, there was still enough snow to get in some sledding fun. While Paige has been tubing, I don't recall her having gone sledding before, so we approached the hill with caution (despite Paige wanting to go straight to the top). After a few runs starting from gradually higher on the hill, we reached the top. A few more runs later, and Paige was already plotting the best launch points to hit all the jumps further down the hill.
Paige was sad to leave, but bribed with hot chocolate, we made our way back to Main Street, and caught the shuttle back to our room. The week is still young though, so we will keep our hopes up for more snow, and another chance for more sledding.
Carter Mountain Orchard, Charlottesville, VA.
Why hire seasonal labor? White people will pay for the privilege to pick fruit.
Sara A. Carter speaking with attendees at the 2018 Student Action Summit hosted by Turning Point USA at the Palm Beach County Convention Center in West Palm Beach, Florida.
Please attribute to Gage Skidmore if used elsewhere.
Carter Mountain Orchard, Charlottesville, VA.
Why hire seasonal labor? White people will pay for the privilege to pick fruit.
President Jimmy Carter accepts the LBJ Liberty & Justice For All Award at The Carter Center in Atlanta. L to R: Lynda Johnson Robb, Pres. Jimmy Carter, Luci Baines Johnson, Rosalynn Carter. Photo by Michael A. Schwarz/LBJ Library January 13, 2016. Atlanta, GA.
Carter Mountain Orchard, Charlottesville, VA.
Why hire seasonal labor? White people will pay for the privilege to pick fruit.
Carter, working in Poole, were the driving force in tile design in the 1950's to 1970's in the UK, this one is designed by Peggy Angus and dated 1972. Not to be reproduced without permission.
Only a "meh" photo, but it shows one of their lovely trucks and the sharpness of the Minolta beast.
Loads of better photos on the flickr: www.flickr.com/search/?q=scammell%20victorious
Keith Carter, a Texas native with a modest background, became a world-class artistic photographer. Many years later, he has not forgotten his roots; Carter still lives with his wife in Beaumont, Texas. He transforms the mundane details of small-town life into the sublime, revealing mystical, quirky, and difficult facets of human (and animal) nature.
Carter grew up watching his single mother scrape by as a child portrait photographer, but he never considered photography as a possible career for himself until college. At age twenty-one, the light in one of his mother’s prints caught his eye and inspired him to begin photographing his own pictures. For 15 years afterwards, he assisted his mother’s business around the state.
With no formal photography training, Carter learned to make art from a mentor and his own investigations. A local sculptor let him borrow from a private library of art books and literature. Carter would try to match the tonal range of famous photographs in his own prints. When he was twenty-five, he went to New York with special access granted to the archived prints at the Museum of Modern Art. He spent three weeks examining the work of great photographers first-hand.
Despite the lack of an artistic photography community in Texas at the time he began his work, Carter decided to make his home state the center of his artistic world. According to Carter, he “started looking at where I lived as an exotic land, almost as an allegory.” (Keith Carter Photographs, Introduction)
Carter is a husband and teacher. He is a professor at Lamar University and also teaches workshops. His work is represented around the world and in the permanent collections of many leading art museums.
Carter creates his images on the large, square negatives of a single-lens reflex Hasselblad camera. This camera allows him to make better quality large prints (even life-size), and the heavy machine is still small enough to operate as a hand-held device.
Blurring and limited depth of field are often incorporated into Carter’s work. This contributes to the mystery of his photographs, strongly emphasizes the area in-focus, and creates the sense that time and movement have just barely been captured for the viewer.
Keith Carter has published nine monographs, including Bones, Ezeikel's Horse, Mojo, and Holding Venus. People, especially children, and animals are frequently the subject matter of his pictures.
He says of his art, “These days I treat everything as a portrait, whether it’s a safety pin hanging from a string in a woman’s bedroom, or a man witching for water in a field. They’re the same.” (Keith Carter Photography, Fragments) Carter’s eye for unique portraiture is apparent in the way his work interacts with his subjects, often making the viewer ask questions. He draws on the emotional life of his subjects.
In addition to his portrait work and his fascination with the Texas landscape, Carter has a series entitled “Talbot’s Shadow”. These works, in which he places objects on sensitized paper and creates an image without a camera, have the same unsettling, beautiful quality as his photographs created in the camera.