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jet's skyrocketing popularity has prompted her manager to formally request revision to her present talent retainer. negotiations continue. during this transitional period, both parties have expressed their hopes that a mutually beneficial agreement will be reached soon.
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BOC Transhield was created in 1969 when the British Oxygen Company acquired GL Baker, a food distribution company with major contracts with Marks & Spencer Ltd, which used liquid nitrogen in chilled containers. With 1,100 employees, the new company operated from five strategically-located depots in Barnsley, Bristol, Cumbernauld, Faversham and Kirkby. The company continued to expand throughout the 1970s, 1980s and 1990s, with additional depots at Hemel Hempstead and Crewe, before rebranding as Gist Ltd in 2001. The company was a significant user of the Bedford TM with examples of both the narrow and wide cabbed versions (28-Feb-21).
All rights reserved. Not to be posted on Facebook or anywhere else without my prior written permission. Please follow the link below for additional information about my Flickr images:
www.flickr.com/photos/northernblue109/6046035749/in/set-7...
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I was originally enrolled into the GETTY IMAGES collection as a contributor on April 9th 2012, and when links with FLICKR were terminated in March 2014, I was retained and fortunate enough to be signed up via a second contract, both of which have proved to be successful with sales of my photographs all over the world now handled exclusively by them.
On November 12th 2015 GETTY IMAGES unveiled plans for a new stills upload platform called ESP (Enterprise Submission Platform), to replace the existing 'Moment portal', and on November 13th I was invited to Beta test the new system prior to it being officially rolled out in December. (ESP went live on Tuesday December 15th 2015 and has smoothed out the upload process considerably).
With visits now in excess of 17.904 Million to my FLICKR site, used primarily these days as a fun platform to reach friends and family as I have now sold my professional gear and now take a more leisurely approach to my photographic exploits, I would like to say a huge and heartfelt 'THANK YOU' to FLICKR, GETTY IMAGES and everyone who drops by.
***** Selected for sale in the GETTY IMAGES COLLECTION on December 21st 2016
CREATIVE RF gty.im/626770260 MOMENT OPEN COLLECTION**
This photograph became my 2,361st frame to be selected for sale in the Getty Images collection and I am very grateful to them for this wonderful opportunity.
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Photograph taken at 18:21pm on Thursday 26th May 2016 off Lochside Drive below Cy Hampton Park on the shoreline in beautiful Sidney by the sea on Vancouver Island, British Columbia, Canada.
Named after the avid conservationist who lived opposite the park for over thirty years, it is a popular place for dog owners to walk their pets, and the adjacent shoreline is a wonderful place to explore.
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Nikon D800 24mm 1/640s f/2.8 iso100 RAW (14 bit) Handheld. AF-C Continuous focus mode with 3-D tracking. Manual exposure. Matrix metering. Auto white balance. Nikon Fine tune on (+9).
Nikkor AF-S 24-70mm f/2.8G ED IF. Jessops 77mm UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL batteries. Nikon DK-17M Magnifying Eyepiece. Nikon DK-19 soft rubber eyecup. Digi-Chip 64GB Class 10 UHS-1 SDXC. Lowepro Transporter camera strap. Lowepro Vertex 200 AW camera bag. Nikon MC-DC2 remote shutter release.
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RAW (TIFF) FILE SIZE: 103.00MB
PROCESSED (JPeg) SIZE: 32.23MB
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PROCESSING POWER:
Nikon D800 Firmware versions A 1.10 B 1.10 L 2.009 (Lens distortion control version 2)
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU processor. AMD Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.2.4 24/11/2016). Adobe photoshop Elements 8 Version 8.0 64bit.
A huge thank you to CAL FIRE and all the mutual aid providers who risked their lives to protect life and property during the Springs Fire. Your bravery and hard work is appreciated.
The California Department of Forestry and Fire Protection serves and safeguards the people and protects the property and resources of California.
The California Department of Forestry and Fire Protection (CAL FIRE) is an emergency response and resource protection department. CAL FIRE protects lives, property and natural resources from fire; responds to emergencies of all types, and protects and preserves timberlands, wildlands, and urban forests. The department’s varied programs work together using ongoing assessments of the condition of natural resources and challenges of an increasing population to plan protection strategies for California. Department personnel and equipment are a familiar sight throughout the state with responsibility for protecting over 31 million acres of California’s privately-owned wildlands, and providing emergency services of all kinds through local government agreements within 35 of California’s 58 counties.
CAL FIRE covers the state with 21 operational units, 803 fire stations (228 state and 575 local government), 39 conservation camps, 13 air attack, and 9 helitack bases. The heart of CAL FIRE’s emergency response and resource protection capability is a force of nearly 4,700 full-time fire professionals, foresters, and administrative employees; 3,100 seasonal firefighters; 5,600 local government volunteer firefighters; 2,600 Volunteers In Prevention; and 4,300 inmates and wards. To transport and support these forces, CAL FIRE operates over 1,095 fire engines (336 state and 759 local government); 215 rescue squads; 63 paramedic units; 38 aerial ladder trucks; 58 bulldozers; 5 mobile communication centers; and 11 mobile kitchen units. The department funds, via contract, an additional 82 engines and 12 bulldozers in six counties – Kern, Los Angeles, Marin, Orange, Santa Barbara, and Ventura. From the air, CAL FIRE operates 23 1,200-gallon air tankers, 11 helicopters, and 13 air tactical planes.
Clare Welcome Center 634 at mile marker 160 on US 127 near Clare, Michigan. One reason I particularly like trucks is the wide variety of configurations and specialized purposes they are made for. While traveling North, we stopped at this rest area. I noticed this truck pull in with an odd looking load supported by a ton of wheels (fairly common in Michigan) and the "hot" sign in front. With a little research I later discovered that PK Contracting specializes in pavement marking (putting lines on our roads) using a hot process. I guess the white bags contain the raw material they use and the tanks are used for heating the material.
DSC_3501 - 12331 - SL14 LNX - Alexander Dennis E40H/Alexander Dennis Enviro400 - Stagecoach London - Stratford, Bus Station 23/07/20
Off to San Francisco to continue the Celebration!
Keith: I need to give Lauren a call to give her the good news! She'll be estactic!
Jason: Why don't you fly to New York & tell her in person? I can wind things up here, & meet up with you guys back home for the Holidays!
Keith: Excellent! I think I will!
I spotted this a few weeks back on a visit to Brooklands Museum. It's a contracting drum brake fitted to a 1930s racing car. Unlike most brakes instead of the wheel cylinder pushing the shoes out to contact the inside of the drum - this pulls the two ends of a brake band together to grip the outside. I suppose the advantages were it had a far greater self wrapping effect than shoes and a bigger area of friction material.
TK-Hotsauce: "So, if I finish the Jedi saga, I get a Handsome Reward??"
Yes, I proposed to TK-Hotsauce an offer he couldn't refuse. He agreed to finish out the Jedi saga with TC-Jedi, TC-Gangsta, and TC-Shocktrooper, Darth Vader, and the rest of the gang... However, he did make an alteration to the contract as he wants some creative control. He insisted that if he continues with the storyline, his lightsaber would be orange, he would get to be the one to defeat Sideous, and that his handsome reward be of the "spicy" variety.
I agreed to those terms.
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Kuroshitsuji II Shoot 2.0
Cosplayer: Gisella Guerrero as Ciel Phantomhive from Kuroshitsuji
Photography: Arturo Pozo
Edition: Arturo Pozo
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
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For our day out in Venice, Mike and I headed to Piazza San Marco. During our time there, we visited the Museo Correr, which is housed in the Procuratie buildings that once served as the Palazzo Reale (Royal Palace).
We began our self-guided tour of the museum in the Imperial Rooms, then continued through the Neoclassical Rooms. Here, you can see a view of the Sala da Cena (Dining Hall) and its centerpiece -- Dedalo e Icaro (Daedalus and Icarus), which was sculpted by Antonio Canova circa 1777.
An informational placard provided more details on the sculpture, while the museum's website provided a few details on the room's decoration. I've transcribed those descriptions below:
Canova and Venice: Daedalus and Icarus
This marble group of Daedalus and Icarus is one of Antonio Canova's earliest masterpieces. The work was commissioned by the procurator Pietro Vettor Pisani for his Palazzo Pisani Moretta overlooking the Grand Canal. Just 20 years old, with amazing genius, Canova achieved a suggestive contrast between the classical model (Icarus) and the characteristically Venetian 18th-century pictorial naturalism, inspired by Giambattista Piazzetta's ''heads'' (Daedalus).
This skillful composition links the two figures around an ''empty'' void, enclosed circularly by the thread that goes between Icarus's wing and Daedalus's hand. Expressing a form of emotional and dramatic communication, with his face contracted by doubt, the father Daedalus is attaching the wings -- made of feathers held together by wax -- to the arms of his young son Icarus, who is humoring him in all tranquility, looking forward to the joy of flight that will allow him to flee the labyrinth and the threat of the Minotaur.
The treatment of the marble surface is vibrant and still a long way away from the polished purity that was to become a characteristic of Canova. An eloquent trademark of the sculptor, the mallet and chisel lying at the feet of the elderly architect place Canova in continuity with Daedalus.
Presented at the ''Fiera della Sensa'' (Ascension) in 1777 where it met with resounding success, young Canova earned 100 gold zecchins for this work, which he used to travel to Rome for the very first time. It was there that his experience of the ancient and the support of a variety of different people were to result in his decisive turn to the classical and his rise to international renown.
Sala da Cena (Dining Hall)
The Dining Hall of the palace has maintained its original neoclassical decor completely intact. The ceiling fresco depicts Olympus and is the work of Giovanni Carlo Bevilacqua; the tondi with stories of Cupid and Psyche are by Pietro Moro. On the walls, between grisaille decoration against a gold background, are small tondi with the months of the year and the signs of the zodiac. In the lower band of decoration are tondi with views of the capitals of the Lombardy-Veneto regions. Above the doors are pairs of putti by Sebastiano Santi; dating from 1824-25, they allude both to the seasons of the year and to the childhood of Apollo and Diana.
1578-1580 were out of contract in summer 2017 - runner 1590 was chopped up without being robbed in January 2018 while 1578 & 1579 have been left standing before finally it was finally decided to use them as parts donors rather than keep buying new parts - front has gone onto 150S Scania 1161 which ran into the back of Volvo 1338 in June
Belfast, November 2020.
Model: Erin McManus IG @hushful_sin
MUA: Alanna McGoldrick IG @alannas_aesthetic_art
Guidance from Alistair Prentice IG @portraitsofNI
Contract on KeyboardPlease feel free to use this image that I've created on your website or blog. If you do, I'd greatly appreciate a link back to my blog as the source: CreditDebitPro.com
Example: Photo by CreditDebitPro
Thanks!
Mike Lawrence
WALT DISNEY (Masonic order of ‘De Molay’) understood the ‘Contract of the ARCH’.
The Mickey Mouse keystone is a particular attention to detail.
Since its creation, Disney has put many millions of children under the fairytale spell of the Magic Kingdom.
The ARK of the COVENANT (CONTRACT of the ARCH……)
The ARCH is a word and a structure that features prominently over the millennia……
ARCHES are used in building powerful word constructs and social control structures as well as being used extensively in ARCHitecture and civil engineering.
These power structures are always hierARCHical, often with a single entity at the top known as a monARCH.
The MASONIC control structure has certainly adopted this ARCHitecture and even pretends to be borne out of the stone mason fraternities.
In Gnosticism, ARCHons are the builders of the physical universe. Among the ARCHontics, Ophites, Sethians and in the writings of Nag Hammadi library, the ARCHons are rulers, each related to one of seven planets; they prevent souls from leaving the material realm.
The ARCHers – a long running program through history – not just the BBC….
'SOVEREIGN' - literally means to reign from above.
This is why the MonARCH of a country is referred to as 'Your HIGHNESS'
Then we have
MatriARCHs - a system of society or government ruled by a woman or women
PatriARCHs - a system of society or government in which the father or eldest male is head of the family and descent is reckoned through the male line.
OligARCHs - government by the few, especially despotic power exercised by a small and privileged group for corrupt or selfish purposes.
In these long-running and ARCHaic societal control structures we also have:
ARCH dukes and ARCH duchesses
ARCH bishops
ARCH deacons
ARCH druids
ARCHangels
ARCHitects
SquireARCHies - landowners collectively, especially when considered as a class having political or social influence
mARCHioness - a noblewoman with the rank of marquess, or the wife of a marquess.
mARCHer lords - A Marcher Lord was a noble appointed by the King of England to guard the border between England and Wales. A Marcher Lord was the English equivalent of a margrave or a marquis before the introduction of the title of "marquess" in Britain
ARCHimandrite - the superior of a large monastery or group of monasteries in the Orthodox Church
ARCHaeology or archeology is the study of human activity through the recovery and analysis of material culture. Archaeology is often considered a branch of socio-cultural anthropology, but archaeologists also draw from biological, geological, and environmental systems through their study of the past
TrierARCH - the title of officers who commanded a trireme in the classical Greek world. In Classical Athens, the title was associated with the trierarchy, one of the public offices or liturgies, which were filled by wealthy citizens for a year
HagiARCHy - government by saints, holy men, or men in holy orders
AutARCHic - having and exercising complete political power and control: absolute, absolutistic, arbitrary, autarchical, autocratic, autocratical, despotic, dictatorial, monocratic, totalitarian, tyrannic, tyrannical, tyrannous
HeptARCHy - a collective name applied to the seven kingdoms of Anglo-Saxon England from the Anglo-Saxon settlement of Britain in the 5th century until the 8th century consolidation into the four kingdoms of Mercia, Northumbria, Wessex and East Anglia.
TetrARCHy - term adopted to describe the system of government of the ancient Roman Empire instituted by Roman Emperor Diocletian in 293, marking the end of the Crisis of the Third Century and the recovery of the Roman Empire
TheARCHy - rule by a god or gods
GynARCHy - rule by women or a woman.
ExARCHate - a Byzantine province governed by an exARCH
AnARCHy - a state of disorder due to lack of social structure
All this history was documented by ARCHivists – with old records being kept on pARCHment
At school we are not taught the true meaning of the ARCHway….
By passing through the ARCHway we may be unaware that we are entering into an agreement or contract where we are to be ruled over.
The ‘CONTRACT of the ARCH’ perhaps……
ARCANUM and ARCANA - mysterious or specialized knowledge, language, or information accessible or possessed only by the initiate.
ARCHES in Modern Culture….
The ARCHERS - a British BBC radio soap opera broadcast since 1951. Having aired over 19,300 episodes, it is the world's longest-running drama.
The ARCHERS is set in the fictional village of AmBRIDGE
The POPE – PONTIFEX MAXIMUS – The GREATEST BRIDGE BUILDER
A pontiff (bridge builder from Latin pontifex) was, in Roman antiquity, a member of the most illustrious of the colleges of priests of the Roman religion, the College of Pontiffs.
Pope Francis (@Pontifex) • Twitter
More famous ARCHes…
ARCHimedes (c. 287 – c. 212 BC)
Considered to be the greatest mathematician of ancient history, and one of the greatest of all time.
The Fields Medal for outstanding achievement in mathematics carries a portrait of ARCHimedes, along with a carving illustrating his proof on the sphere and the cylinder.
The inscription around the head of ARCHimedes is a quote attributed to him which reads in Latin: Transire suum pectus mundoque potiri.
'RISE ABOVE ONESELF AND GRASP THE WORLD’.
ARCHimedes, Freemasonry and the Moderns Grand Lodge Constitutions
Frontispiece to the 1723 Edition:
The 1723 edition is well-known for its elaborate frontispiece engraved by John Pine in 1723. It features a classical arcade of John Montagu, the Second Duke of Montagu (Knight of the Garter #532), and the Grand Master of the Grand Lodge of England (1721-1723), passing the scroll of the "Constitutions" to his 1723 successor, Philip Warton, First Duke of Wharton. Both are attended by their officers. Apollo, god of the sun, charges above in his chariot, symbolizing the meridian height. Behind the gathering is a passageway framed by walls of water - evocative of the parting of the Red Sea.
The 47th proposition of Euclid, the traditional symbol of a past masters of a Masonic lodge, appears in the foreground. Below it, in Greek, is ARCHhimedes' famous exclamation: “Eureka!” (“I have found it!”)
eureka (English) - εύρηκα (Greek)
For more hidden knowledge see
In Abrahamic Religions, NOAH features as the tenth and last of the pre-Flood patriARCHs.
The story is all about the signs of the Zodiac - the Royal ARCH or ARK….
‘NOAH’S ARK of the COVENANT’ PDF Document Download Link:
pubastrology.files.wordpress.com/2021/10/noahs-ark-of-the...
_https://pubastrology.files.wordpress.com/2021/10/noahs-ark-of-the-covenant-revision-6.pdf
61 cm x 61 cm
24" x 24"
2016 - 2019
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
Purchase inquiries to bruceriley@bruce-riley.com
Overbite is painted on a 1 1/2" hollow core panel panel . The paint layer is 1/8 " thick.
Overbite was originally a commission from a car company to make several films of my paint spreading on two foot panels. The films were to be used as source material for touch screens in driverless cars. They wanted the human touch. I suggested setting me up with a studio in Paris for a year would yield some good source material. I've not heard back, The films can be seen on my website. www.bruce-riley
I got to keep all but one of the paintings per contract. This painting sat around for several years until 2019 when I reworked it. The paint layer is built up from the original commission with a loose, accidental hand. On top of the dried paint I applied a thin coat of resin with the intention of starting another paint layer. I however found I liked the painting as it is so I left it alone.