View allAll Photos Tagged database
One of the new Database pictures of my Dolls I'm working on at the moment. Finally I got Photoshop CS4 and still have to get used to it. It's quite different and also a little hard for me to work with it since I was using the old Photoshop 6.0 until now. So that's really a huge difference. ^^;;;
But it's getting better, I'll do my very best and I think this picture can be seen, too. XD *lol*
Country: SPAIN
Operator: RENFE
Item: STEAM
Class or Maker: RENFE/141F2101
Wheel Arrangement or Type: 2-8-2
Number: 141F2376
Place details: PORT BOU Station
Additional notes: 1674mm 15:10 train Port Bou to Barcelona
Original source material: Kodak 35mm slide
Photographer: Charles F Firminger
Copyright: Photographer
Library locator reference: CHFF.0008
30937 Transport Photograph Database
1961SEP17CHFF005cs
DATA BASE is an Oxford English Dictionary with the word "DATA BASE" cut into it with the laser cutter.
T703 - Ino [holding her son Melicertes] pursued by Phrixos [son of Athamas], is saved by Dionysos - Apollonides
Source:
beazley gem database
T272 – Dionysos teaching Oenopion, his son by Ariadne, the art of making wine - Apollonides
Source:
beazley gem database
Intaglio; carnelian; Crucifixion; centre, upon exergual line, nude figure of Christ, facing, head and feet turned right; behind is T-shaped cross, beneath which the arms extend without any means of attachment; on each side stand six small draped figures representing the twelve apostles; inscription damaged.
Source: British Museum, London BM 1895,1113.1 -
Intaglio Gem Crucifixion [3rdC-4thC] Late Roman
T36 - Zeus destroying the house of Lycaon, and changing him to a wolf -
Kromos; Cornelian -
plaster cast of a gem - Oxford; Beazley Gem database
www.beazley.ox.ac.uk/databases/gems.htm
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In Greek mythology, Lycaon was a king of Arcadia who, in the most popular version of the myth, tested Zeus' omniscience by serving him the roasted flesh of Lycaon's own son Nyctimus, in order to see whether Zeus was truly all-knowing.
In return for these gruesome deeds, Zeus transformed Lycaon into a wolf and killed his offspring; Nyctimus was restored to life.
wikipedia
plaster cast of a gem - Oxford; Beazley Gem database
www.beazley.ox.ac.uk/databases/gems.htm
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Country: ROMANIA
Operator: CFR or Caile Ferate Romane
Item: STEAM
Class or Maker: CFR.131 Built by Resita from 1939 to 1942 Class of 65 engines
Wheel Arrangement or Type: 2-6-2
Number: 131.063
Place details: BOUTARI Station
Additional notes: Std gauge On the line from Subcetate to Caransebes closed 1978
Original source material: Agfa 35 mm colour slide
Photographer: Robert W. Bridger
Copyright: Photographer
Library locator reference: RWBR_0115
30937 Transport Photograph Database
1971MAY11RWBR012cs
T573 - Jason supplicating Hera to convey him across the river Enipeus [Anaurus] – Pyrgoteles; Amethyst
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Beazley Archive Gems Search
www.beazley.ox.ac.uk/xdb/asp/gemsSearch.asp?LastMenuPageI...
T25 - Jason, a young man of great beauty, is being beloved by Ceres - Jupiter becomes jealous of him, and annhiliates him with lightning - Pyrgoteles,
Source:
Beazley gem database
T79 - Ceres escaping from the importunities of Neptune by changing herself into a mare - Apollonides
Source:
Beazley gem database
plaster cast of a gem - Oxford; Beazley Gem database
www.beazley.ox.ac.uk/databases/gems.htm
****************************************************************
T260 - Dionysos, enamoured of Erigone, daughter of Icarius, changes himself to a bunch of grapes to deceive her [changing her into a vine] - Pyrgoteles
Source:
beazley gem database
The Memorial service and dedication of the war memorial cross at St Matthew's Church Thorpe Hamlet, took place on the September 25th 1921, including roll of honour. I assume this was at the old St Matthews, down off Riverside Road, and that the Cross has subsequently been re-located.
The new church was built in 1982 to replace the old Victorian church (built 1851 and now converted to offices) on St Matthew's Rd and St Leonards 'Chapel of Ease' on Ketts Hill (built 1907, demolished in 1981)
www.thorpehamlet.free-online.co.uk/page_st_matthews.htm
*****Panel 3*****
H H Rose
Name: ROSE, HENRY HAMMOND
Rank: Private
Regiment: Norfolk Regiment
Unit Text: 10th Bn.
Age: 21
Date of Death: 09/03/1915
Service No: 16353
Additional information: Son of Henry Hammond Rose and Rosa Ann Rose, of 26, Kerrison Rd., Thorpe, Norwich.
Cemetery: FELIXSTOWE (WALTON) CEMETERY
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=397225
The 7 year old Henry, born Trowse, is recorded on the 1901 census at 13 School Terrace, Trowse,
Norfolk. This is the household of his parents, Henry, (aged 40 and a Fitter in Electrical Works from Trowse) and Rosa, (aged 43 and from Eyke, Suffolk). Their other children are:-
Agnes……………aged 12.…………..born Yarmouth, Norfolk
Edward…………..aged 2.……………born Trowse
Ellen……………..aged 12.…………..born Yarmouth
Ethel……………..aged 9.……………born Trowse
Gladys……………aged 5.……………born Trowse
10th (Reserve) Battalion
Formed in Walton on the Naze in October 1914 as Service battalion, part of K4.
November 1914 : attached to 94th Brigade, original 31st Division.
10 April 1915 : became a Reserve battalion.
www.1914-1918.net/norfolks.htm
The death of Henry H., aged 21, was recorded in the Woodbridge, Suffolk District in the January to March 1915 quarter.
(see April 2017 comment below for update)
M Rowe
No obvious match on CWGC, Norlink or Military Genealogy.
Military Genealogy has two James Rowe’s who were born Norwich.
No obvious match on the 1901 or 1911 censuses.
A W Ryder
Military Genealogy has an Archibald Walter, born St Thomas’s Norwich.
Name: RYDER, ARCHIBALD WALTER
Rank: Private
Regiment: Norfolk Regiment
Unit Text: 9th Bn.
Date of Death: 26/09/1915
Service No: 3/10213
Grave/Memorial Reference: Panel 30 and 31. Memorial: LOOS MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1768339
Archibald can be seen here
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
Additional Norlink notes
Private Ryder was born in Norwich on 15th January 1893. He enlisted on 14th December 1914, and was killed on 26th September 1915
Archibald is recorded as aged 11 on the 1901 census, which doesn’t tie in with the Date of Birth given on Norlink, however he is the only Archibald shown with a Norwich connection. He was born Norwich, and recorded at 7 Cardiff Road, in the Parish of St Thomas’s. This is the household of his parents, Thomas (aged 63 and a Pensioner from Cambridge, noted as paralysed) and Ellen, aged 39 and a Laundress from Shemley Green, Surrey. Their other children are:-
Ernest C…………..aged 7.………….born Norwich
Frederick………….aged 17.………..born Norwich……Grocers Errand Boy
Mabel……………..aged 14.………..born Norwich
Rosa M……………aged 2.…………born Norwich
The 9th (Service) Battalion was formed at Norwich in September 1914 as part of K3, Kitcheners Third Army. In September 1914 it was attached to the 71st Brigade, 24th Division. The Battalion was assembled around Shoreham during September 1914 and it then spent 11 months in training after formation. Uniforms, equipment and blankets were slow in arriving and they initially wore emergency blue uniforms and carried dummy weapons. The battalion crossed to France between 28th August and 4th September 1915 where they joined X1 Corps and were sent up the line for the developing Battle of Loos. They disembarked at Boulogne almost 1000 strong, but 8 days later were reduced to 16 officers and 555 other ranks. The battalion lost a total of 1,019 men killed during the First World War. It marched from Montcarrel on the 21st September reaching Bethune on the 25th, before moving up to Lonely Tree Hill south of the La Basée Canal. They formed up for an attack in support of 11th Essex but were not engaged. At 03:30 on 26th September orders were received to assist 2nd Brigade on an attack on quarries west of Hulluch. At 05:30 the Battalion were in what had, the day before, been the German front trenches. The attack was launched at 06:45 under heavy fire, especially from snipers, after a full night of marching on empty stomachs and little or no progress was made before the Norfolks sought cover in the trenches. At 16:00 2nd Battalion of the Worcestershire Regiment passed through to attack. At 19:00 the Germans opened fire and the Norfolks were forced to fall back to trenches in the rear to take cover before being relieved by the Grenadier Guards whereupon they returned to Lonely Tree Hill. They had lost 5 officers killed and 9 wounded, with 39 other ranks killed, 122 wounded and 34 missing, a total of 209 casualties sustained in their first action
forum.planetalk.net/viewtopic.php?t=4844&sid=b3e7614b...
C E Ryder
Norlink has a picture of Charles Ernest Ryder, stated to be of the 1st/4th Northumberland Fusiliers.
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
His cap badge in the picture however appears to be that of the Norfolk Regiment.
The accompanying notes are that the picture was taken in 1916 and that Private Ryder was born in Norwich on 13th September 1895. He enlisted on 22nd August 1915, and was killed on 26th October 1917
The relevant individual on the CWGC database appears to be this one
Name: RYDER, CHARLES
Rank: Private
Regiment: Northumberland Fusiliers
Unit Text: 1st/4th Bn.
Date of Death: 26/10/1917
Service No: 202125
Grave/Memorial Reference: Panel 19 to 23 and 162. Memorial: TYNE COT MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=828511
Looking at the Census details, in the 1901 census there is no Charles recorded with a Norwich connection, but there is an Ernest - the brother of Archibald, born Norwich circa 1894. On the 1911 census there is a Charles, born circa 1894, but no Ernest. I only have access to a high-level search for the 1911 census, but that Charles is recorded as living in the same household as an “Archibold” Ryder and an Ellen Ryder.
26th Oct 1917
At 3am heavy rain began to fall again and at 4.05am the 4th Bn reported it was in position for the attack.
At zero hour, 5.40am, the barrage opened up and began to creep forward at a rate of one hundred yards every eight minutes. The fusiliers of the149th Bde rose to their feet to advance behind it, with the 4th & 5th Bn Loyal North Lancashires (57th Divn) on the right flank and the 35th Divn on the left. Had the 'going' been good, the troops who lay close up under the barrage (so close indeed that several casualties were suffered) waiting for the first "lift", would not have had a problem advancing at the rate of the creeping barrage.
'The rain had, however, done its deadly work, for all the gallant fellows could do was to drag themselves along through the thick clinging mud and water at a much slower pace than the barrage, which soon got ahead'. Then form "pill box" and shell hole murderous fire was poured upon them. Many fell dead; some of the wounded fell into the gaping holes of water and were drowned; fortunate were those who escaped, but on went the survivors' (Wyrell. p.244).
The allied barrage consisted entirely of shrapnel and was therefore quite useless against the first objective, which consisted of concrete huts. To make matters worse the rain continued to fall heavily and the condition of mud and water were perfectly appalling.
Bn HQ received a wire from the Bde Major at 8.50am stating that a wounded Forward Observation Officer had reported that the first objective had been taken and the men were advancing well to the second objective. This information proved incorrect because 2nd Lt Wood subsequently returned wounded and reported that casualties were heavy and the attack was held up in front of the Huts. The attack had actually ground to a halt about eighty yards west of the line of huts. The machine gun fire and sniping was so severe that any further advance was quite impossible and reporting the situation back to HQ extremely difficult. Two runners were sent to the front line to try and gather information but they both failed to return.
At 11am, 2nd Lt Burton was sent forward to reconnoitre and he confirmed that the attack was held up about one hundred yards short of the Huts. At 1pm Sgt Thompson returned from the front line and confirmed 2nd Lt Burtons’ report stating that casualties were very heavy. Similar news was brought down later by Capt J.V. Gregory. This information was relayed to Bde HQ by pigeon and signalled by Lucas Lamp. Several messages were sent during the afternoon. Two platoons from the Reserve Company, under the command of 2nd Lts Peddie and Scott, were sent forward at 6pm to consolidate the original line held before the attack.
The Bn was relieved about midnight by the 4th Bn East Yorks and proceeded, via the duckboard track known as Railway Street, to Rose Crossroads camp. The 6th Bn DLI organised straggler posts in likely places to round up men returning from the front line and to guide them to camp.
Roll call revealed the appalling casualties suffered by the 4th Bn. 2nd Lts D.A.Smith, and W.Ruddy had been killed in action with 2nd Lt R.A.A Simpson later dying of wounds. 2nd Lts G.R.Charlewood, A.W.P.Leary, H.B.Bell, J.R.Ruddock and R.Wood were wounded, and 2nd Lt R.G.Rayner and H Stobbs were missing. Thirty-six fusiliers had been killed, one hundred and fifty-six wounded and sixty four were still missing. A total of two hundred and fifty six, more than fifty percent of those that had gone into action.
Casualties
Records show that at least 100 fusiliers from the 4th Bn were actually killed in action or died of wounds between the 25th and 27th of Oct 1917.
© Neil Storey 2004.
www.4thbnnf.com/45_171024_171026_ 2nd_passchendaele.html
A C Savage
Name: SAVAGE, ALFRED CHARLES
Rank: Second Lieutenant
Regiment: Suffolk Regiment
Unit Text: 8th Bn.
Age: 24
Date of Death: 31/07/1917
Additional information: Son of William W. and Annie Savage, of 13, Chalk Hill Rd., Norwich.
Grave/Memorial Reference: Panel 21. Memorial: YPRES (MENIN GATE) MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=921423
Alfred Charles can be seen here
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
The picture was taken in 1917, so presumably shortly after he was commissioned in May, (it was taken at Coe’s Studios in Norwich) as he then travelled to France and was dead by July. Sobering thought.
Additional notes from Norlink
Second Lieutenant Savage was the son of William W. Savage of Norwich. On release from business he joined the 10th Norfolks in February 1916, held an Aldershot certificate as instructor and received his commission on May 1917. He was educated at Norwich Secondary School. Killed in action 31st July 1917 at Hooge.
The 8 year old Alfred C, born Norwich, is recorded on the 1901 census at 16 Ella Road, in the Parish of St Matthews. This is the household of his parents, William W, (aged 38 and a Shoe Manufacturer from Norwich) and Annie, (aged 33 and from Aldershot in Hampshire). Their other children are:-
Bertram J…………….aged 10.……………born Norwich
Donald J……………..aged 6.……………..born Norwich (see below)
Dorothy………………aged 1.……………..born Norwich
Wallace……………..aged 5.………………born Norwich
William H…………..aged 11.……………..born Norwich..(see below)
There is a likely Medal Index Card for a Alfred Savage which shows him as a Lance Sergeant (TR/A/263) in a Training Battalion before becoming a Lieutenant in the Suffolk Regiment .
The Battle of Passchendaele
18th Division
53 Bde
53 Bde’s task was to leapfrog 30th Div once Glencorse Wood had been taken.
8th Bn, Suffolk Regt arrived in Jackdaw Trench at 8.10am to find Glencorse Wood stille in enemy hands despite reports to the contrary. They dug in near Clapham Junction. Meanwhile 6th Bn, Berkshire Regt bogged down on the Menin Road also under fire from Glencorse Wood. With the help of 79 Coy, RE they destroyed some pill boxes between road and wood. Five tanks sent to assist bogged down in mud and were destroyed by shell-fire. By 10am they had dug in at the cross roads north west of Glencorse Wood.
forum.irishmilitaryonline.com/showthread.php?t=11535
The Suffolks lost 59 dead on this day according to the entries on the CWGC database.
D J Savage
Name: SAVAGE Initials: D J
Rank: Private
Regiment: Norfolk Regiment
Unit Text: 1st/4th Bn.
Date of Death: 19/04/1917
Service No: 200425
Grave/Memorial Reference: XXIII. F. 2. Cemetery: GAZA WAR CEMETERY
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=651255
There is a picture of Donald John Savage of the 1st/4th Norfolks who was posted missing after the Battle of Gaza on the 19th April 1917, on Norlink.
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
Norlink notes Private Savage lived at 13, Chalk Hill Road, Norwich. He enlisted in September 1914, and was reported missing at Gaza on 19th April 1917
This would make him the brother of Alfred Charles listed above and William Harry below.
19th April 1917 During the 2nd Battle of Gaza,
Facing the Tank Redoubt was the 161st Brigade of the 54th Division. To their right were the two Australian battalions (1st and 3rd) of the Imperial Camel Corps Brigade who had dismounted about 4,000 yards from their objective. As the infantry went in to attack at 7.30am they were joined by a single tank called "The Nutty" which attracted a lot of shell fire. The tank followed a wayward path towards the redoubt on the summit of a knoll where it was fired on point blank by four field guns until it was stopped and set alight in the middle of the position.
The infantry and the 1st Camel Battalion, having suffered heavy casualties on their approach, now made a bayonet charge against the trenches. About 30 "Camels" and 20 of the British infantry (soldiers of the 5th (territorial Battalion of the Norfolk Regiment) reached the redoubt, then occupied by around 600 Turks who immediately broke and fled towards their second line of defences to the rear.
The British and Australians held on unsupported for about two hours by which time most had been wounded. With no reinforcements at hand and a Turkish counter-attack imminent, the survivors endeavoured to escape back to their own lines.
To the right (west) of Tank Redoubt, the 3rd Camel Battalion, advancing in the gap between two redoubts, actually made the furthest advance of the battle, crossing the Gaza-Beersheba Road and occupying a pair of low hills (dubbed "Jack" and "Jill"). As the advances on their flanks faltered, the "Camels" were forced to retreat to avoid being isolated.
en.wikipedia.org/wiki/Second_Battle_of_Gaza
More than a thousand one hundred of the men of the 54th posted killed wounded or missing were from the two Norfolk regiment battalions, equating to 75% of their strength. Eastern Daily Press "Sunday" section May 5, 2007
en.wikipedia.org/wiki/Second_Battle_of_Gaza
On 19th April the Norfolks took part in a disastrous attempt to take Gaza. In this action casualties for the battalion were 478 (55 killed, 323 wounded and 100 missing).
www.oldbuckenham-pri.norfolk.procms.co.uk/pages/viewpage....
W H Savage
Name: SAVAGE, WILLIAM HARRY
Rank: Serjeant
Regiment: South Staffordshire Regiment
Unit Text: 1st Bn.
Age: 28
Date of Death: 26/10/1917
Service No: 41669
Additional information: Son of William W. and Annie Savage, of 13, Chalk Hill Rd., Norwich.
Memorial Reference: Panel 90 to 92 and 162 to 162A. Memorial: TYNE COT MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=828742
There is a picture of William Harry here
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
The picture title includes the information that he was 10th “Royal” Norfolks before transferring to the 1st South Staffs.
Additional Norlink notes: Sergeant Savage lived at 13, Chalk Hill Road, Norwich. He enlisted in September 1914, and was killed in action or died of wounds on 26th October 1917
William was a brother of Alfred Charles and Donald John - see above.
Friday 26th October 1917 - Day 82
Rainfall 8 mm
Today marks the start of the Second Battle of Passchendaele. Zero Hour was 5.40 am.
91 Bde
91 Bde attacked with 1st Bn, South Staffordshire Regt, 21st Bn, Manchester Regt and 2nd Bn, Queen’s Regt with 20th Manchesters in Support.
The Queen’s attempted to take Lewis House but were driven bck to the Start Line by MG fire as were the Manchesters. The South Staffs started well as they were in dead ground and they took a mound southwest of Hamp Farm. From here D Coy attempted to take the farm itself and C Coy attacked Berry Cottage. Both attacks were unsuccessful with the two companies suffering heavily from MG fire.
forum.irishmilitaryonline.com/showthread.php?t=11535&...
A Semmence
Name: SEMMENCE, ALBERT DAVEY
Rank: Regimental Serjeant Major
Regiment: Norfolk Regiment
Unit Text: 2nd Bn.
Age: 40
Date of Death: 14/04/1915
Service No: 3326
Additional information: Son of Mr. and Mrs. George Semmence, of Wymondham, Norfolk; husband of Daisy Gillies Semmence, of 6, Belsize Rd., Norwich.
Grave/Memorial Reference: III. E. 7. Cemetery: BASRA WAR CEMETERY
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=631465
Albert can be seen here
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
The additional Norlink notes are:
Regimental Sergeant Major Semmence was born in Wymondham on 29th November 1874, and educated at Wymondham Grammar School. He enlisted as a Private on 3rd October 1892, and was killed in action at Shaiba, Mesopotamia, on 14th April 1915
Albert is also remembered on the Wymondham Town War Memorial.
In due course the Turks initiated their offensive with simultaneous preliminary bombardments of Shaiba and Qurna on 11 April 1915. In the latter case the bombardment of the British 6th (Poona) Division progressed for three days while periodic attempts at piercing the town's defences were unsuccessfully attempted; eventually a counter-attack by the 2nd Dorsets and 24th Punjabis routed the Turks with heavy losses.
However the Turks' main effort was launched at Shaiba.
On 13 April, two days after the bombardment of the town started, Turkish troops attempted to outflank the British across the floods that separated Shaiba from Basra, while Turk cavalry prepared for a frontal assault.
However the timely intervention of two British Infantry battalions served to rapidly disperse the Turk cavalry, resulting in a full withdrawal by the latter into woods nearby. Possession of these were in turn secured by the British following an infantry battle throughout 14 April.
Casualties during the woodland battle were heavy: the Turks incurred around 2,400 casualties, and the British around half that number. Some 5,000 troops on each side were involved in the fighting in all.
www.firstworldwar.com/battles/shaiba.htm
On April 12th 1915 after some days of probing assaults a force of some 12,000 Turks and 10,000 Arabs attacked Shaiba where the Norfolks were located. They did not take the town but retired to dig in about 1500 yards from our lines to continue their assaults. Reinforcements were sent for from Basra but the floods hindered them. The following is from the Hunts Post dated 28th May 1915 and it tells a little of the action at Shaiba during those few days in April.
"Sgt and Mrs Dighton of Spaldwick have received several interesting letters from their eldest son Pte Whit Dighton of the 2nd Norfolks who has been on active service in the Persian Gulf since last November and is possibly the only representative from the Huntingdon district out there, .......... Pte Dighton says the country in which he is now located is a desert, miles away from any town, with blinding sandstorms which are far worse than rain. After four days terrific fighting against a superior body of Turks, "suddenly we received the order to charge. We fixed bayonets and put all the strength into it we could. The Turks were completely taken by surprise, and we were upon them in a flash. Their confusion was indescribable. They ran for their lives, thousands of them, and we quickly occupied their trenches, and simply potted them over like ninepins. As they ran some threw away their arms and surrendered. Our artillery completed their rout. Their losses totalled some thousands ....... I cannot speak too highly of our officers; they are bricks - every one of them. One gave me his last drop of water from his bottle, or I don't think I should have been left to tell the tale."
On the 13th April the Norfolks had broken out to rush the Turkish front line trenches and took them at bayonet point. They did not immediately pursue the enemy to the second line but rested up. They had been under harassment for some days and directly under arms for 36 hours continuously. On the 14th April an attack on the Turkish second line entrenchments began at noon with White 18th Brigade on the right of the line and the 16th Brigade on the left. This developed into a stationary firefight, in the heat of the midday sun. At 4 pm a last British effort was made and the Turkish rear lines fell.
www.roll-of-honour.com/Huntingdonshire/SpaldwickDighton.html
E M Sendall
Name: SENDALL, EDMUND MATHIAS
Rank: Private
Regiment: Norfolk Regiment
Unit Text: 1st/4th Bn.
Age: 28
Date of Death: 19/08/1915
Service No: 4368
Additional information: Husband of the late Ellen E. Sendall.
Memorial Reference: Panel 42 to 44. Memorial: HELLES MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=682013
No match on Norlink
The 11 year Edmund, born Norwich, is recorded on the 1901 census at 40 Carrow Road, in the Parish of St Matthews. This is the household of his parents, Alfred, (aged 53 and a Boot Maker from Norwich) and Mary A. (aged 48 and from Norwich). Their other children are:-
Alfred………..aged 18.………born Norwich….General Labourer
Charles……….aged 16.………born Norwich…..Houseboy Domestic
Ethel………….aged 7.………..born Norwich
Mary A……….aged 9.………..born Norwich
Sarah A……….aged 17.………born Norwich…..Bootmaker
An Edmund M Sendall married an Eleanor R Palmer in the April to June 1915 quarter in the Wayland District of Norfolk.
1/4th Battalion
August 1914 : in Norwich. Part of Norfolk and Suffolk Brigade, East Anglian Division.
May 1915 : the formation was retitled as 163rd Brigade, 54th (East Anglian) Division.
29 July 1915 : embarked at Liverpool and moved to Gallipoli via Mudros. Landed at Suvla Bay on 10 August 1915.
www.1914-1918.net/norfolks.htm
Between the 10th and the 19th, the 1st/4ths were continuously losing men, including a number on the 12th when the 1st/5th advanced into the scrub and pretty much “disappeared”, leaving the 1st/4ths covering the line and providing covering fire for the few stragglers that returned. Many of the wounded and sick were treated offshore on Hospital Ships. Unable to leave position and overwhelmed by the numbers, many of the dead were simply “buried at sea” and subsequently commemorated on the Helles Memorial.
Captain Montgomerie's diary of events in the 1/4th Battalion whilst in the neighbourhood of Jephson's Post on this day is as follows
19th. - All. quiet during day. Worked hard all night fetching food, water, etc., and improving the trenches.
user.online.be/~snelders/sand.htm
A Senior
Military Genealogy has an Alfred born Thorpe Hamlet, but there is no obvious match from the 12 possibles on the CWGC database and there is no match on Norlink. CWGC does have an Lance Corporal A Senior from the 7th Battalion, Norfolk Regiment, but there is no age of any other additional information that might connect him.
www.cwgc.org/search/casualty_details.aspx?casualty=250638
However the Great War Roll of Honour does confirm he was an Alfred.
The 1901 census has a 9 year old Alfred R, born Norwich, who is recorded at 87 Quebec Road East, in the Parish of St Matthews. This is the household of his parents, Alfred N. (aged 48 and a Wheelwright from Gloucester) and Kate G, (aged 47 and from Norwich). Their other children are:-
Arthur E…………..aged 18.………………..born Norwich………….Gardener (Domestic) - see below
Ernest M………….aged 6.…………………born Norwich - see below
Eva A……………..aged 23.………………..born Norwich…………Tailoress
Frank W…………..aged 14.……………….born Norwich………Blacksmith (Beer Making)
Horace W…………aged 16.……………….born Norwich………Wheelwright
Nellie M…………..aged 21.……………….born Norwich…….Drapers Shop Assistant
Richard P………….aged 20.……………….born Norwich……Engine Fitter
Stanley G………….aged 11.……………….born Norwich
Like his brother Arthur, Alfred was awarded the Military Medal.
A E Senior
Military Genealogy has an Arthur Ernest born and resident Norwich. The most likely possible is
Name: SENIOR, ARTHUR ERNEST
Rank: Serjeant
Regiment: Rifle Brigade
Unit Text: 1st Bn.
Date of Death: 23/10/1916
Service No: 750
Awards: M M
Memorial Reference: Pier and Face 16 B and 16 C. Memorial: THIEPVAL MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=812024
No match on Norlink
The only Arthur listed on the 1901 census with a Norwich connection is the brother of Alfred above and Ernest below. (See Alfred for family details).
26th October 1916
Lesboeufs
4th Div attacked here with two brigades, 12 Bde on the left and 11 Bde on the right.
In 11 Bde, 1st Hampshires were halted by fire from Boritska Trench, as were the French on their right flank. 1st Rifle Brigade came up in support but were only able to establish posts short of the objective.
forum.irishmilitaryonline.com/showthread.php?t=9058&p...
E M Senior
Name: SENIOR, ERNEST MONTAGUE
Rank: Lance Corporal
Regiment: The Queen's (Royal West Surrey Regiment)
Unit Text: 6th Bn.
Age: 22
Date of Death: 10/04/1917
Service No: 40097 Additional information: Son of Alfred Henry and Kate Gertrude Senior; husband of Hannah Maria Senior, of 63, Cohens Rd., Thorpe, Norwich.
Grave/Memorial Reference: I. P. 8. Cemetery: DUISANS BRITISH CEMETERY, ETRUN
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=41199
I suspect that should be Cozens Road.
No match on Norlink.
See brother Alfred above for family details.
The 12th Division, of which the 6th The Queens were part, (as was the 7th Norfolks) were heavily engaged in the opening two days of the Battle of Arras, and were part of the initial Allied success.
J Sexton
Name: SEXTON, JAMES HORACE
Rank: Private
Regiment: The Queen's (Royal West Surrey Regiment)
Unit Text: 6th Bn.
Age: 19
Date of Death: 04/07/1918
Service No: 63691
Additional information: Son of Herbert and Jane Sexton, of 7, St. Matthew's Rd., Thorpe Hamlet, Norwich.
Grave/Memorial Reference: I. N. 22. Cemetery: GEZAINCOURT COMMUNAL CEMETERY EXTENSION
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=35619
No match on Norlink
The 2 year old James, born Norwich, was recorded on the 1901 census at 7 St Matthews Road, in the Parish of St Matthews. This was the household of his parents, Herbert J. (aged 34 and a Wheelwright from Norwich) and Jane, (aged 31 and from Thornham, Norfolk). Their other children are:-
Gladys J………….aged 3.…………..born Norwich
Herbert…………..aged 11.………….born Norwich
Montague………..aged 8.…………..born Norwich
The Battalion had been engaged in a successful attack on the 30th June, but they and fellow Brigade unit’s the Bedfords and the Royal West Kents, were subject to repeated counter-attacks on the 1st. Contact was lost with the Bedfords and the West Surreys were forced back to what had been the old German Front line trench. They were relieved about 5 am on the 2nd and moved back to the Reserve line. The 3rd was reported as very quiet, and on the 4th they were pulled out of the line altogether.
J R Shingles
Name: SHINGLES, JOHN
Rank: Private
Regiment: Essex Regiment
Unit Text: 1st Bn.
Secondary Regiment: Norfolk Regiment
Secondary Unit Text: formerly (16864),
Age: 28
Date of Death: 12/10/1916
Service No: 20977
Additional information: Son of George and Sarah Anne Shingles, of 167 Albert Rd., Quebec Rd., Norwich.
Memorial Reference: Pier and Face 10 D. Memorial: THIEPVAL MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1552573
No match on Norlink
The Great War Roll of Honour has John down as serving in the Essex Regiment at his time of death., Private 20977. Strangely his Medal Index Card, (which only lists him as J.Shingles) appears to have no reference to him being in the Norfolks.
The 11 year old John, born Norwich, is recorded on the 1901 census at 12 Albert Place, Gas Hill in the Parish of St Matthews. This is the household of his parents, George, (aged 49 and a Carter from Burlingham, Norfolk) and Sarah A, (aged 45 and from Burlingham) Their other children are:-
Alice…………..aged 16.………..born Thorpe St.Andrews…………General Domestic Servant
George…………aged 19.……….born Great Plumstead
Gerty………….aged 10.…………born Norwich
Kate …………..aged 14.………..born Thorpe St Andrews………….General Domestic Servant
Mabel…………aged 3.………….born Norwich
May……………aged 7.…………born Norwich
Samuel………..aged 22.…………born Great Plumstead……………Road Labourer
Stephen……….aged 6.…………..born Norwich
After having spent 10 weeks in the Ypres Salient the 88th Brigade, the brigade in which the Royal Newfoundland Regiment was serving, was temporarily attached to the British 12th Division, which was holding Gueudecourt. By nightfall on October 10, the regiment was manning a 450-metre section of the trench on the northern outskirts of the village.
The attack began at 2:05 pm on 12 October 1916. The regiment advanced in line with the 1st Essex Battalion on their left. The men kept so close to the supporting artillery barrage that several became casualties from the shrapnel of their own supporting guns. Likewise, the Germans were compelled by the shelling to remain under cover and as a result were quickly engaged in hand-to-hand fighting. By 2:30 p.m. both assaulting battalions of the 88th Brigade had secured their initial objective, Hilt Trench in the German front line.
As the Newfoundlanders advanced to their final objective, Grease Trench some 750 metres from their starting line, heavy machine-gun fire coming from the front and the right flank forced the regiment back to Hilt Trench. On their left flank, a German counter-attack drove the 1st Essex Battalion back to the outskirts of Gueudecourt, leaving the Newfoundlanders with an open flank. Newfoundland bombing parties cleared and secured the vacated portion of Hilt Trench and as a result doubled the length of the regiment's front line. All ranks began digging in the hard chalk to construct a new firing step and parapet and reverse the former German position.
en.wikipedia.org/wiki/Gueudecourt_(Newfoundland)_Memorial
A R Shreeve
Name: SHREEVE, ALAN ROBERT
Rank: Lance Serjeant
Regiment: Gloucestershire Regiment
Unit Text: 2nd/6th Bn.
Age: 23
Date of Death: 19/07/1916
Service No: 367208
Additional information: Son of Charles Robert and Alice Shreeve, of 36, Plumstead Rd., Norwich.
Memorial Reference: Panel 60 to 64. Memorial: LOOS MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1768924
Alan can be seen here
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
Norlink notes include that he was formerly of the 1st/6th Norfolks.
19 July 1916
Whilst the Battle of the Somme was raging, the British Commander in Chief General Sir Douglas Haig decided to open a more modest battle in the area of Armentières near the Belgian border.
Part of his reasoning was that the German Army was moving men south away from this area in an effort to shore up their defences on the Somme. An attack here towards Lille would put them in a dilemma as to whether or not they could thin out this sector any further.
Fromelles is a small village on the Aubers Ridge to the south of Armentières. Most of the area that was held by the Allies is very flat with a number of water features and streams.
Behind Fromelles and Aubers lies the ridge which easily overlooks the battlefield.
The Battle
The objectives of the Australian 5th Division and the British 61st Division on their right were to capture the village and the ridge.
The attack was centred around a point known as the Sugarloaf and at 1100 hours on 19 July 1916 the British artillery put down a bombardment on the German front line as the infantry made their way up to their jumping off points.
From their vantage point and on a bright summers day the Germans could see the attack preparing and launched a counter bombardment onto the communication trenches as the men were making their way to the front.
The German bombardment wreaked havoc on the Australian's lines. As men were trying to get forward, wounded were trying to push their way back to the Aid Posts adding to the chaos.
The two bombardments continued until at 1800 hours the infantry finally launched their assault.
On the left of the Australian line, the 8th and 14th Brigades swiftly took the German front line and started to consolidate their positions. The 15th Brigade next to the British in the centre however was struggling across wide open ground in the teeth of fierce machine gun fire.
On the right of Sugar Loaf the 61st Division had also been halted by uncut wire. In a scene familiar to those on the Somme not three weeks earlier, the Allied bombardment had failed in its objective of cutting the wire and destroying the German positions.
An attempt to organise a truce with the Germans to bring in the wounded was refused by the Allied Commanders, despite having been agreed to by the German Commander.
The battle had been a complete disaster.
www.webmatters.net/france/ww1_fromelles.htm
Alan is also remembered on the Roll of Honour at The United Reform Church at Princes Street in the City
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Country: SPAIN
Operator: MINAS EN EL VALLE DE ALLER
Item: STEAM
Class or Maker: Corpet
Wheel Arrangement or Type: 0-6-0T
Number: 4
Place details: UJO narrow gauge coal mine train
Additional notes: 600mm (SHE) Minas en el Valle de Aller
Original source material: Kodak 35mm slide
Photographer: Les Dench
Copyright: Photographer
Library locator reference: LESD.0003
30937 Transport Photograph Database
1965MAY21LESD001cs
Country: SPAIN
Operator: ASLAND
Item: INFRASTRUCTURE
Class or Maker: OK
Wheel Arrangement or Type: 0-4-0T
Number: 12
Place details: POBLA DE LILLET Quarry
Additional notes: 600mm Ferrocarril Secundario de Guardiola a Castellar d'en Huch (ASLAND)
Original source material: Kodak 35mm slide
Photographer: Les Dench
Copyright: Photographer
Library locator reference: LESD.0001
30937 Transport Photograph Database
1962MAY20LESD007cs
Strangely this one failed an MOT in late 2018 and has seemingly been off the road since. Also somewhat strangely, some databases have this number plate registered as a ' Lamborghini Sián FKP 37' which is an as yet to be released hybrid Aventador.
Country: PORTUGAL
Operator: CP
Item: STEAM
Class or Maker: CP/E207
Wheel Arrangement or Type: 2-4-6-0T
Number: E215
Place details: AVIERO Station yard
Additional notes: 1000mm 19:55 to Sernada
Original source material: AGFA 35mm slide
Photographer: Graham T.V. Stacey
Copyright: Photographer
Library locator reference: GTVS.0080
30937 Transport Photograph Database
1971APR08GTVS033cs
All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
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20250226_Batman_BatmanInABox_2
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All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
For licensing and commission requests: info{at}elkevogelsang.com -
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© Elke Vogelsang
20200502_Noodles_OffToNatureWithNoodles
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Écrit sur un scrabble : database
Réutilisation libre contre un simple lien vers www.tyseo.net (licence CC BY 2.0)
Carnegie Fellow and Inter-American Dialogue member Moisés Naím; Matthew Burrows, director of the Atlantic Council's Strategic Foresight Initiative; and Dialogue Senior Fellow Sergio Bitar at the launch of the Global Trends and Future Scenarios Database of Reports.
© All Rights Reserved - Black Diamond Images
Family : Euphorbiaceae
Common name: Brush Bloodwood, Ivory Birch, Scrub Bloodwood
plantnet.rbgsyd.nsw.gov.au/cgi-bin/NSWfl.pl?page=nswfl&am...
IDENTIFYING AUSTRALIAN RAINFOREST PLANTS,TREES & FUNGI DATABASE INDEX
plaster cast of a gem - Oxford; Beazley Gem database
www.beazley.ox.ac.uk/databases/gems.htm
****************************************************************
plaster cast of a gem - Oxford; Beazley Gem database
www.beazley.ox.ac.uk/databases/gems.htm
****************************************************************
plaster cast of a gem - Oxford; Beazley Gem database
www.beazley.ox.ac.uk/databases/gems.htm
****************************************************************
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Yes, you can build a PC case out of LEGO. Just make sure that you get everything grounded. Having lots of windows and light on the inside? That's just over the top.
Country: SPAIN
Operator: RENFE
Item: STEAM
Class or Maker: RENFE/030-0230
Wheel Arrangement or Type: 0-6-0T
Number: 030-0230
Place details: BURGOS loco name 'Baracaldo'
Additional notes: 1674mm
Original source material: Kodak 35mm slide
Photographer: James M Jarvis
Copyright: Photographer's estate
Library locator reference: JMJA.0007
30937 Transport Photograph Database
1968APR12JMJA013cs
plaster cast of a gem - Oxford; Beazley Gem database
www.beazley.ox.ac.uk/databases/gems.htm
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