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Malakoplakia, a condition often associated with immunodeficiency and characterized by abnormal macrophage function consists of sheets of large histiocytes in response to a bacterial infection. It represents a relatively ineffective inflammatory response because of persistence of bacteria and/or bacterial degradation products within the histiocytes. In the lungs it is almost always caused by infection with Rhodococcus equi but it may be caused by other bacteria. Malakoplakia is morphologically very similar to Mycobacterium avium complex infection in AIDS patients and to Whipples disease and lepromatous leprosy. The distinguishing and diagnostic feature of malakoplakia is the presence of small intracellular concentrically calcified structures called Michaelis-Gutman bodies (MG bodies). MG bodies also contain stainable iron. Intracytoplasmic calcifications not having the typical appearance of MG bodies may also be present.
The Prussian blue stain for iron strongly stains MG bodies and other intracytoplasmic bodies.
Very rare factory built 2 door sedan delivery. Completely restored and updated. Features late model small block Ford engine with power steering and ice cold air conditioning. Interior features power seat, power windows and great stereo with CD changer. Custom built hidden reciever hitch to pull the Kom-Pak travel trailer that goes with it. One of the best driving cars you will ever own. No problems of any kind at all. Everything works perfect including the ice cold AC. This is not a trailer queen, it was built to be driven and it performs like it.
1954 Kom-Pak Sportsman Travel Trailer:
Manufactured in Medford, OR in the early 50's there is believed to be only 16 of these trailers ever built and reportedly only 6 are left today. Designed in the same style as the 53/54 Fords, the most unique feature is the fully functional, removable 16' fishing boat which doubles as the trailers roof when not in use! Although these trailers were reproduced for a short time this is a authentic, real Kom-Pak travel trailer from the 1950's. Several vintage photos of this trailer before restoration as well as lots of other documentation are with the trailer. Completely restored to match the 1954 Ford that pulls it, everything on the trailer is fully functional and ready for a cross country trip or a weekend at the local lake. You will not see another like it.
Heading back to the hotel in Beaune, before we later returned to the centre of town for the wine cellars tour. The weather had got much better by this point!
Beaune (French pronunciation: ​[bon]) is the wine capital of Burgundy in the Côte d'Or department in eastern France. It is located between Paris and Geneva.
Beaune is one of the key wine centres in France and the annual wine auction of the Hospices de Beaune is the primary wine auction in France. The town is surrounded by some of the world's most famous wine villages, while the facilities and cellars of many producers, large and small, are situated in Beaune itself. With a rich historical and architectural heritage, Beaune is considered the "Capital of Burgundy wines".
It is an ancient and historic town on a plain by the hills of the CĂ´te d'Or, with features remaining from the pre-Roman and Roman eras, through the medieval and renaissance periods and up to recent history and modern times.
Beaune is a walled city, with about half of the battlements, ramparts, and the moat, having survived and in good condition, and the central "old town" is extensive. Historically Beaune is intimately connected with the Dukes of Burgundy.
Landmarks in Beaune include the old market (les Halles), the 15th-century Hospices, the Beffroi (clock tower), and the collegiate church of Notre Dame.
Boulevard Perpreuil
Porte Marie de Bourgogne - by late morning the weather had got much better. You would never know that it had rained an hour earlier!
The building is home to the Musée des beaux-arts de Beaune
Beaune Museum of Fine Arts.
This was the only fine arts museum that we didn't have a look at the art. This was just a stop on the walking tour, before we went into the centre of the town.
The Beaune Museum of Fine Arts (MBAB) is a museum located in Beaune , Porte Marie de Bourgogne, 6 Bd Perpreuil and 19 rue Poterne.
The history of this museum begins with the municipal library, located in the premises of the Town Hall and the passion of its conservative Jules Pautet for History. Many people make donations related to the history of the city.
Between 1800 and 1850, the model of the monument of Monge, given by Rude himself, is included in the collections. At that time there existed a museum of natural history which no longer exists today, but to which was associated the nascent museum of fine arts.
In 1871, the museum moved to the south wing of the building; He remained there until 2001. It was Hippolyte Michaud who commissioned the design of the great hall of the fine arts.
In 1932, Émile Goussery, had the Félix Jules Naigeon room on the first floor of the town hall. During the war, the works were "collected" at Châteauneuf, the town hall serving as a stock of arms and coal. In 1944 the new curator René André, who is a professional, will proceed to the complete reorganization of the museum in 1946. Three sections are created: Fine Arts, Archeology and History of the City. During the works he will discover under a plaster, a painted ceiling of the nineteenth century.
The creation in 1955 of the Musée Marey on the first floor of the town hall will encroach on the rest of the collections. Many projects do not succeed. It was not until 2001/2002 that the two museums were installed in the premises of Porte Marie de Bourgogne .
Split air conditioner with fastest cooling technology in just 45 seconds www.mylloyd.com/air-conditioners/split-ac
Preloved in excellent condition.
The Universal Parent Bag.
A hip and sporty unisex nappy bag that comes complete with a changing mat, detachable mobile phone holder and lots of other great practical features.
The BurpTM nappy bag has lots of compartments inside and out to hold the many items needed for your baby, mum or dad. Three large front pockets are designed for wipes, food, bibs, sunglasses and wallet.
The main compartment contains two large mesh pockets to fit nappies and baby creams. It comes complete with its own changing mat and has lots of space to hold a change of clothes, wrap, extra bottles and food.
Two external bottle holders (not insulated) are conveniently located on the sides of the bag to access easily.
A large pocket is located on the back of the bag to hold a newspaper, magazine or books for your baby.
With a long shoulder strap, the BurpTM nappy bag can be worn across the chest or over the shoulder. The shoulder strap is also long enough to hang over both handles of a pram or stroller. It's so functional that you can easily access all baby needs when changing baby in small confined spaces, like airplane and shopping centre restrooms - just swing the bag to be positioned in front of the body for quick easy access.
It's also fantastic to use with a baby sling.
Most of all, the BurpTM nappy bag is form fitting to the body, comfortable, and affordable.
What's great about the BurpTM bag is that once baby has grown, you can use the bag as a sports or travelling bag.
So easy to clean! Just wash on gentle/delicate cycle in your washing machine and dry in the shade.
Dimensions: Approx: 35cm tall and 45cm wide
Fabric: Canvas-like poylester
Found years ago, in a dumpster, this German made bike was worth the rebuild. If someone had kept it indoors if would have stayed nice enough to keep. People simply don't understand that bikes have many delicate parts that need protection from the elements.
How you get this far off your mark I do not know!
I always like to try and save pieces like this if possible. this one was tough as the spread was far off between each grouping.
Canon EOS 5 & 55 being lined up for cleaning ahead of listing on ebay. In the end, I decided to keep them since, even in near mint condition, such cameras do not fetch good prices. The 28mm f/2.8 lens on the EOS 55 is worth more than the two camera bodies it seems! The EOS 5 sports a Sigma 24-70mm f/4-5.6 DC lens which actually performed very well but is not digital compatible.
From Wikipedia with additions from me:
The Canon EOS 50 (also known as the ELAN II in the USA and the EOS 55 in Japan) is an autofocus, auto-exposure 35mm SLR camera. It was aimed at the advanced amateur market, and featured a rear command dial, support for custom functions, and an optional BP-50 battery grip, with a dedicated portrait shutter release. The body was constructed of plastic, with the lens mount and top deck enclosed in an aluminium cover.
Three variants of the camera were produced, each of which was available with a quartz date imprint back. The basic model was the EOS 50. The EOS 50E variant introduced an enhanced version of the 3-zone eye-controlled autofocus system that was first seen on the EOS 5 camera. The Japan-only EOS 55 was available in an all-black version rather than the standard black and silver colour scheme and included a panorama option. Sliding the button at the bottom of the rear of the camera causes panels to mask off all of the negative except for a 13 mm x 36mm strip in the middle.
The EOS 50 was also the first camera to implement Canon's E-TTL flash system. Canon's previous TTL system metered light reflected from the film onto a sensor during the actual exposure. E-TTL on the other hand fires a low-intensity pre-flash before exposure, and meters the reflected light through the camera's normal metering system.
Sales of the EOS 50 began in September 1995, and ended after the introduction of the replacement model, the EOS 30 in October 2000.
The EOS 55 pictured was made available in the UK via Jessops and in very limited numbers. I bought it as I liked to play with the optional crop panorama feature which was switchable mid-roll. In my humble opinions, it remains a very beautiful camera for the era and was probably my favourite SLR film camera.
The Canon EOS 5 (sold as the EOS A2 and A2e in the USA) is a semi-professional autofocus, autoexposure 35 mm SLR film camera. It was sold from November 1992 onwards, and was replaced in late 1998 by the Canon EOS 3. As part of the EOS line of cameras, the EOS 5 utilised Canon's EF bayonet lens mount, first introduced in 1987.
The EOS 5 featured a built-in zoom flash, AF assist light, fast motor drives and several pre-set auto-exposure modes. Although marketed towards the "prosumer" user, the EOS 5 were popular among professional photographers. The camera was powered by a 6-volt lithium 2CR5 battery. The Canon VG-10 Vertical Grip (pictured) added a shutter release, control wheel, AE Lock button and Focus Point Selection button to the bottom of the camera for portrait orientation use and held 2x 2CR5 batteries but did not add AA batteries as a power source.
The camera had many operational modes available, selected by the dial on the left-hand side of the camera. These modes selected whether the exposure settings were set automatically, semi-automatically or fully manually. This dial also doubled as an on/off switch.
The Canon EOS 5 had three built-in metering modes: evaluative, centre-weighted average and spot. These were user-selectable by means of a button on the back of the camera and the command dial.
The EOS 5 featured eye-controlled focusing, which allowed the user to select from one of five focus points by looking at it through the viewfinder as well as activating depth-of-field preview by looking at a sixth point marked in the top-left corner of the viewfinder. At the time, this feature was unique to Canon. Although the EOS 5 had an optional vertical grip (pictured), the VG-10, the eye-controlled focusing feature only worked when the camera was held in horizontal orientation.
The EOS 5 has two dials to control exposure, one over the shutter button and one on the back of the camera. The dial above the shutter button will adjust the shutter speed in shutter priority TV/Time value mode, but in aperture priority Av/Aperture value mode this same dial will adjust the lens aperture. In full manual mode, the dial above the shutter reverts to adjusting the shutter speed, and the back dial controls the aperture.
Photographed with a Sony Cyber-shot DSC-HX9V, available fluorescent lighting.
Vasile Mardare si Adrian Bezna au creat o atmosfera de basm in Talcioc Cultural prin cantecele, poeziile si amintirile lor impartasite cu cei prezenti in sala.
How you get this far off your mark I do not know!
I always like to try and save pieces like this if possible. this one was tough as the spread was far off between each grouping.
Fitzpatrick, Jim, 1916-
Title devised by cataloguer.; Condition: Good.; Inscriptions: "U429/65. Really the Prince's highway - one of the two main roads linking Sydney and Melbourne - but for a few hundred yards it is still Main Street in the language of Drouin folk. It is busiest on Tuesday and Thursday afternoons (Market days). In foreground, service stationhand puts his car jack under horse-drawn tradesman's cart. ..." --Printed on label..; Part of the collection: Drouin town and rural life during World War II.; Also available in an electronic version via the Internet at: nla.gov.au/nla.pic-an24295048.
Persistent URL
52 photos taken by myself and the layout done by Alec C. Available at Anubis Warpus on Haight and Ashbury, Needles and Pens on 16th and Guerrero and online at www.blacksummer.com/zine
Each collective process in theater begins with an encounter, and so every circuit of relations between the authors, institutions and the public has the character of an outcome of an encounter – it could have not occurred, and yet it did. The principle of conditioning of an encounter is a permanent state of incompleteness, incompleteness not as state of un-done, but as a state of creation through disruption – that of a premiere, interpretive disruption, economic disruption… This principle does not start from the principle of necessity, the principle that elements of the theatrical process arise out of necessity, but become necessity themselves. All encounters, and their outcomes, are subject to chance thus their conditioning can only be determined by reverse engineering.
The relatively fast pace of production of performances, the focus of the artists primarily on future life and distribution of new works, and the subsequent chronic lack of time for consideration of past work and public traces of the work, all provoke the need for a look back, a slowing down, an interruption as an artistic gesture which, in turn, allows for a creation of conditions for new beginnings. This installation is one such pulling of a brake with a desire to: Re-think things. See how it works. Hear the sound interruption.
The performative installation Broken Performances is a writing “on the margin” of our primary artistic production and is named after his own formation process – it was necessary to tear apart the performance into a series of notes, impressions, experiences, perceptions, so that we would be able to look at it again not through an interpretation of meaning it produces, but through the way it produces, the encounters that could have happened, its weak power to determine something.
The choreography that we have subjected to this analytical process is Fleshdance (2004), a work conceived as a problematic study of the triptych paintings by Francis Bacon.
The installation results from a collaboration of performance collective BADco. with cinematographer Ivan Slipčević – Slipke, editor Bojan Perić and visual artist Igor Pauška. Texts resulting from analysis by Goran Sergej Pristaš and Zrinka Užbinec, with textual fragments by Marcel Proust, Samuel Beckett and J. G. Ballard. Music, costumes and video used in the instalation are part of the original choreography.
The installation uses ALVES – Algorithmic Live Video Editing System software by Daniel Turing. Video scripting (ALVES): Tomislav Medak. Technical associate: Anton Koch.
Authors’ team of Fleshdance are Nikolina Pristaš (choreography and performance), Pravdan Devlahović, Ana Kreitmeyer, Zrinka Užbinec (performance), Ivana Ivković and Goran Sergej Pristaš (dramaturgy), Silvio Vujičić (costumes), Helge Hinteregger (music), Oliver Imfeld (video).
Measurements: 8.25" tall x 6.5" wide
Condition: Excellent condition. No chips or cracks. Please refer to all photos for this great hand crafted studio art glass vase. Used only for private display.
Manufactured: 2005 Stonington Connecticut
Description: This is a beautifully hand crafted Signed 2005 Jeffrey P'an Prescient Studios Art Glass Crystalis Vase Vessel. Jeffrey's work is a clever reinvention of old world techniques into a modern form. The beautiful patchwork of this vase is the result of his handmade tiles being carefully fused to the surface of a vessel that is then dipped in molten glass. This technique results in a smooth exterior surface, yet lends a distinctive texture on the inside. This texture provides a record of how the piece was made and enhances the color play of light through the piece. Because chemical properties of glass can dramatically influence how texture, color, pattern and form interact, careful planning of a piece is essential. This is a very difficult technique to master.
Perfect for any collector or for practical use.
Information:
P'an follows neither the Venetian style or the Swedish style of glass blowing. Having studied in Venice Italy, he admits that the colored mosaics he uses are a hallmark of the Venetian tradition but instead he prefers to develop his own style, creating something more modern and contemporary. P'an's focus is on clarity and design.
Prescient Studio is on 44 Meadow Ave in Stonington Connecticut.
Artist Statement:
“My work is based on the re-invention of old-world techniques in the design of modern objects. It is important to me to maintain the transparency of the glass, the property that makes it so unique. As the light passes through the vessel blending the colors, patterns and textures from all sides, it highlights the space inside, the essence of the vessel form. Included are examples of production, limited edition and one-of-a-kind work.
I specialize in fusing and blowing glass mosaic into vessel forms. I hand make all of the elements of these designs, the canes, murrines, blocks, tiles and bands that are fused to form the core of the vessels, or to the surface of the vessel. This technique imparts distinctive textures to the glass that add to the color effects by catching or diffusing light in ways that are directly related to the patterns underneath. The texture is also a record of how the vase was made, texture on the inside is a result of a mosaic being fused and then dipped in the molten glass, leaving a smooth finish, while external textures result from the mosaic being fused to the surface. The chemical properties of the glass can also influence how texture, color, pattern and form interact. The tiles used to make the 'Resolution' vase for instance are all the same size and shape when I begin, the different colors react differently to the heat and to each other, so careful planning of the mosaic is crucial.”
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