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There was a 2 paged letter/note left upstairs, telling a story about how someone was shot and killed upstairs
The man in the white pants and blue stocking cap has a sign around his neck that says 'TRAITOR'. The Confederate soldiers surrounding him are marching him to a place near the Galveston docks where they will execute him. This is part of the reenactment of the Battle of Galveston.
Automation solutions are in high demand in the market today. And warehouse execution software and warehouse robots are on the top of the list. Industry leaders are increasingly investing in these solutions to increase high efficiency and productivity within their facilities.
Chapter 1, "The Execution" from, "A Night of Violence: The Houston Riot of 1917" by Robert V. Haynes, Copyright 1976. Book about the Camp Logan Riot/Mutiny of 1917 in Houston, Texas.
Seniors Marina and Colleen's culminating fashion show as part of their senior seminar project. Dresses designed and sewn by Marina, show execution and marketing by Colleen. Willing friends as models.
Timothy Holt.
Title: Execution Instrument #1.
Medium: Hardboard, nails and white primer paint.
Dimension: Variable.
Location: Variable.
Date: 2010.
© Timothy Holt, 2010.
Clearly just another lazy, self entitled hipster that doesn't want to get a job and lives in her mother's basement. Get a job Hippie!
Execution Rocks Light is a lighthouse in the middle of Long Island Sound on the border between New Rochelle and Sands Point, New York. It stands 55 feet tall, with a white light flashing every 10 seconds. The granite tower is painted white with a brown band around the middle. It has an attached stone keeper's house which has not been inhabited since the light was automated in 1979.
It was added to the National Register of Historic Places in 2007 as Execution Rocks Light Station.
A frightening bit of history - there wer many of these illustrations as you climbed the stairs and many of them were positively horrific. Fun learning!
The tragic romance of Mary, Queen of Scots life inspired Victorian artist Robert Herdman. She is shown as a saintly figure. Her blood-red petticoat symbolises her martyrdom to the Catholic faith.
Robert Herdman was a Victorian artist specialising in portraiture and historical compositions - was born in Rottray near Blairgowrie in Perthshire. He lived mainly in Edinburgh and he died in 1888
This painting bequeathed by Adam Teacher, 1898 and is on display at the Glasgow Art Gallery & Museum in Scotland.
Photo by Bill Mneimneh.
Pawiak was a prison on Dzielna Street in Warsaw, which was built in 1835, when most of present day Poland was under Russian occupation. It was used to house Polish political prisoners and also as a transit camp for those awaiting deportation to Siberia. After Poland regained its independence in 1918, it became Warsaw's largest prison for male criminals.
Following the German invasion of Poland in 1939, Pawiak was taken over by the Gestapo and during the next five years over 100000 inmates passed through its gates, mostly members of the Polish resistance, political prisoners and civilians taken as hostages during street round-ups (known as "łapanki"). An estimated 37000 people were executed and 60000 sent to German concentration camps. Exact numbers are unknown, as the prison's archives were never found.
Pawiak became a symbol of the brutality of the German occupation, and graffiti reading "Pawiak Pomścimy" ("we will avenge Pawiak") appeared on walls, notice boards and even on the pavements of Warsaw. The prison was enclosed within the Warsaw ghetto from 1940-43 and was later destroyed by the Germans during the Warsaw Uprising of 1944, but half of the mangled gateway (complete with original barbed wire) and three detention cells survive, along with memoirs of the horrors suffered by the inmates.
The adjacent prison for women - known as Serbia - was also destroyed. During the post-war reconstruction of Warsaw the city planners created a major new road - now called Aleja Jana Pawła II, but originally named after Polish communist Julian Baltazar Marchlewski - whose route passed through the site of the women's prison, which is now commemorated by a single plaque located on the opposite side of Aleja Jana Pawła II from the Pawiak Prison Museum.
Presentato presso la sede di Luiss Business School il rapporto “Next Generation Italia – Execution” realizzato dal Centro Economia Digitale. Il Direttore Paolo Boccardelli: «La vera urgenza è un piano Marshall sul capitale umano»
Rick Carson at Make Believe Recordiing studio. This is taken off the side of the Sound Workshops series thirty recording conslole with an SSL nucleus mod.
The Rieme-Oostakker Place of Execution is the place in the Ghent district of Oostakker where 66 resistance fighters were executed by the Naxi occupation force between February 8, 1943 and August 24, 1944.
This memory is also kept alive the 20 resistance fighters who were killed on the execution site at Rieme . That site was destroyed in 1998 during the construction of the Kluizendok of Ghent Port.
The executions were carried out in secret and the victims were buried anonymously. Some of the resistance fighters killed in Rieme was found in a mass grave in Hechtel.
Moreover, there were German soldiers and Belgian criminals also shot. Because of these circumstances, it is still unclear how many people were killed. After the Liberation the mass grave was uncovered in Oostakker. The victims were identified and buried in their hometowns.
The crosses on the ground thus have a symbolic meaning. Nevertheless, the execution place is a cemetery since in 1952 the remains of 15 decapitated West Flemish political prisoners were moved here from their graves in Munich.
On the grounds is a railway carriage which carried hundreds of Belgians to concentration camps in Germany and Poland. In 1966 the execution place gained the status of a protected landscape.
This poor girl was caught eating eggs and so we either had to put it in solitary confinement or kill it, and as it was a table breed we decided to kill it.
Purchased in 2013, these six French percussion target pistols combine mechanical perfection with extraordinary artistic ingenuity and execution. Specifically designed for display at the great fairs of the second half of the nineteenth century, and yet absolutely functional, these firearms were not intended to be fired but shown and admired for their technological sophistication and their beauty. The acquisition of this group enables the Met to highlight a pivotal moment in the history of European and American gunmaking, when industrial and world fairs that attracted millions of visitors provided unprecedented opportunities for nations, firms, and individuals to showcase their achievements. In the eyes of British and other international commentators, these very pistols spectacularly confirmed that the French were then unsurpassed in their mastery of the gunmaker's art.
The group includes two pairs of pistols stocked in ebony, designed by the versatile ornamentalist and sculptor Michel Liénard (1810–1870), and made by the celebrated Parisian gunmaker Alfred Gauvain (1801–1889). Respectively created for the Exposition des Produits de l'Industrie in Paris in 1844, and for the Great Exhibition of the Industry of All Nations (also known as the "Crystal Palace exhibition") in London in 1851, these pistols, one pair in the Gothic Revival and the other in the Renaissance Revival style, were praised as works of modern art of impeccable taste and execution. The harmonious integration of the ambitious sculptural decoration of the metal parts and carving of the ebony stocks is unrivaled.
The third set of pistols, which are unique for their all-steel construction, and not an exact pair, were embossed in low relief and chiseled by the virtuoso sculptor and silversmith Antoine Vechte (1799–1868) for the renowned Parisian gunmaker Gilles Michel Louis Moutier-Le Page (1810–1887). Vechte, who immigrated to Great Britain around 1850, may have completed the chiseling of the last pistol in London. One, if not both, was exhibited at the Crystal Palace exhibition in 1851, and repeatedly illustrated in contemporary accounts of the fair, which drew six million visitors.