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Back in 2005, I found a great description of IA in an article by Peter Kantor. As far as I'm concerned, the 2 quotes together are the best description of IA I know.
Mia explains why it is so much fun to be in Ms. Cephus' class. "She is always funny, but you learn a lot!"
This is from my vacation in June 2008. I can not explain this place
This is from my vacation in June 2008. I can not explain this place. Who can describe the indescibable.
This is from my vacation in June 2008. I can not explain this place. Who can describe the indescibable.
vacation beautiful yosemite. How can one explain
vacation beautiful yosemite. How can one explain
vacation beautiful yosemite. How can one explain this place
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"...the highest enjoyment of timelessness... is when I stand among rare butterflies and their food plants. This is ecstasy, and behind the ecstasy is something else, which is hard to explain. It's like a momentary vacuum into which rushes all that I love. A sense of oneness with the sun and stone. A thrill of gratitude to whom it may concern..."
~ Vladimir Nabokov
Novelist and Lepidopterist
Yesterday we celebrated our anniversary by spending the day in the mountain meadows of the Alberta Rockies. It's one of our favourite things to do in the summer. We whiled away the hours chasing butterflies, enjoying the wildflowers, lying on our backs watching big white fluffy clouds go by, breathing in the delicious scented mountain air and quietly listening to the hypnotic harmonic hum of bees and the sound of the wild grasses swishing gently in the breeze.
As always, at this time of year, tons of bees and butterflies were happily buzzing and fluttering everywhere in the meadows, alighting on all the wildflowers. Mountain meadows are the best place to see butterflies: it was chock full of skippers, coppers, and gorgeous little blues, all of which were simply too fast for me to track. The fritillaries, checkerspots and swallowtails stay on flowers a bit longer, so they are my best bets for photographing. It was sunny and hot and there was a nice breeze blowing, which cooled us wonderfully but made it a bit difficult to photograph flowers and butterflies. But, as always, if I just keep clicking the shutter, I somehow manage to capture something in focus.
We ended the day sitting beside a cool burbling mountain stream in the dappled shade of aspen, birch and pines, where we devoured a delicious picnic I'd packed for us. It was an utterly perfect day.
Happy Anniversary, my Love! :)
Paul van Bijsterveldt, one of our friendly neighbours and co-founder of vanBijsterveldt&Daamen B.V. Training en Advies offered to give us a quick introduction course to various aspects of motorized chainsaws.
We covered aspects such as the safety features of a chainsaw, proper clothing and protection, care, field-stripping and maintenance.
We learned how to operate the machine in a safe manner, as well as refueling and oiling procedures, how to ensure proper chain tension and how to sharpen the chisels on the chain.
It was very educational and quite a lot of fun too.
Street candid taken of a young boy explaining something to his mum. Because he's so young and not so articulate he was was taking more with his hands than his mouth.
John explains citadel model that the prison now rests upon. The building was taken down to the top of the dry moat, and the Bureau of Prisons built the main cell block building on top.
"Someone's got some 'spainin' to do!!"
If you can think of a better caption, please leave a comment.
Alexis Corrand art work explained:
“I chose to reboot ‘The Ass in the School’, which depicts a teacher in the middle of a rather hectic class. I liked the reference because of its humorous side.
At first, I wanted to depict the tumultuous side with all the children. Later on, I preferred to focus on the most wacky and symbolic aspect of the reference work, namely the donkey that can be seen sticking its head through a window. I made this choice partly because of the size of the wall and its position, which I felt deserved a strong and visible element, rather than losing passing spectators in an overloaded composition. Moreover, I didn’t want to include certain elements of the original work which I thought would be questionable for a passing spectator, such as the teacher spanking a child.
As such, I focused on this central element and gave suitable attention to the details. In order to frame and enhance my work, I will put my donkey in a false perspective, by simulating wall edges on the back wall, so that you might have the impression that the donkey is coming out of the wall.”
More about the 11 Murals part of the Bruegel Street Art Tour here: www.brusselspictures.com
I'd like you to know there is little planning in my churchcrawling, I see there are one or two churches I had yet to visit, set the sat nav and set off, never sure if the church is open or redundant.
St Mary and the Holy Cross is situated on a crossroads, I couldn't miss it, so parked up, got the cameras out and a lady in the car behind got out:
"can I help you?"
I have come to visit the church.
"what for?"
I explained the Kent Church Project, gave her a moo card, and she was happy enough.
She had come to clean and had a key for the door.
Which is handy.
Hard to get a good exterior shot due to trees on the south side and the bright sunlight, low at this time of year. I tried.
When you first enter, you see how tall and narrow, and long, the chancel is, compared to to the nave. Quite startling, and yet to the warden, it was normal.
Ahead of me was another fine chancel and altar, though not as fine as Ospringe, it goes without saying....
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A most satisfying church in a delightful setting. Originally Norman with plenty of stonework surviving, it was extended in the thirteenth century by the lengthening of the chancel and by the addition of north and south chapels that only run half the length of the chancel. A fifteenth century tower completes the ensemble. There followed years of decline and the chapels became ruinous until two restorations in the nineteenth century. The first was carried out by a local builder, but the second – in 1872- was by the renowned architect William Butterfield who created the character of the church as we see it today. He rebuilt the chapels and chancel windows. The nave windows he beautified by what are known as `Butterfield dumplings` created by cutting away the plaster like a pie crust to show the stonework underneath. Several of his contemporaries did similar things but here he carried it off to great effect. All the stalls and altar rails are his too – and of extremely high craftsmanship. The north chancel window is by Alexander Gibbs to Butterfield`s design. However the east window is a rarity. This is a Butterfield design to be made by the firm of Burlisson and Grylls – the only time it is thought they made a window to his design. A more typical window by the same firm is in the west wall of the church.
www.kentchurches.info/church.asp?p=Milstead
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MILSTED
IS the next adjoining parish south-eastward from Bredgar. It lies on high ground, obscurely among the hills, and surrounded by woods, there being no thoroughfare of any account through it; the situation is not much different from that of Bredgar adjoining to it. The parish is but small, containing about eight hundred acres of land, of which about fifty are wood. The soil in the upper or southern part is poor, consisting partly of chalk, and partly of a red cludgy earth, the whole of which is much covered with flints; in the centre and northern part it is something more sertile and kindly for tillage. The church stands nearly in the middle of the parish, having the mansion of Hogshaws almost adjoining the east end of the church-yard, at the west part of which the parsonage stands. At no great distance from hence northward, in the vale, is all that there is of a village in the parish; near the southeast boundary is Torry-hill, belonging to Mr. Osborne Tylden, who resides in it; near the western boundary is Broadoak forstall, and the hamlet called from it. On this forstall there stands a remarkable large juniper tree, being near fifteen feet high, and near eight feet before it has any branches,
THE MANOR OF MILTON claims paramount over the greatest part of this parish, subordinate to which is THE MANOR OF MILSTED, which in the beginning of the reign of Edward I. was in the possession of Thomas Abelyn, who died possessed of it in the 4th year of that reign, then holding it as one messuage, and one carucate and an half of land, in Milsted, and pasture for three hundred sheep in the marsh of Elmele, of the king, in capite, by knight's service. He was succeeded in it by Nicholas Abelyn, who died two years afterwards, holding it by the like service. Soon after which it appears to have come into the possession of the family of Savage; one of whom, John le Siuvage, obtained a grant of free-warren in the 23d year of the above reign, for his lands in Milsted and other places; but before the 20th year of king Edward III. this names seems to have been extinct here; for at the making the black prince a knight, the heirs of John Savage paid aid for this manor. Indeed, it seems from the beginning of that reign, to have been in the name of Mocking, (fn. 1) from which it passed into that of Hoggeshaw, and Elmeline, late the wife of Sir Thomas Hoggeshaw, died in the 50th year of it, possessed of the manor of Milsted, held of the king in capite, as one knight's see.
Their son Edmund Hoggeshaw, succeeded to the possession of it, which had now, from their continuing owners of it, acquired the name of Milsted, alias Hoggeshaws, by which it has been known ever since. He died in the 12th year of king Richard II. s. p. upon which Joane, one of his sisters and coheirs, entitled her husband, Thomas Lovel, esq. to it, whose son Thomas, in the 12th year of king Henry IV. held a court for this manor; one of his decendants sold it to Robert Greaves, who died in the 9th year of king Henry VII. holding it in manner as above mentioned, Katherine, wife of George Sole, being his daughter and next heir. Soon after which, it became the property of Roger Wake, who died in the 19th year of king Henry VII. when this manor, with the advowson of the church of Milsted passed by his will to Margaret his daughter, whose husband, John Barnard, esq. entered into the possession of it. At length his grandson of the same name, dying an insant in the 14th year of king Henry VIII. it became vested, by the limitations in the will of Roger Wake above-mentioned, in his right heirs, who conveyed their interest in it to Sir Thomas Nevyle, and he passed it away by sale to Sir Robert Southwell, who in the 4th year of Edward VI. passed away, by fine then levied, the manor of Hoggeshaws, alias Milsted, and the advowson of the church of Milsted, then held of the king in capite, to Thomas Henman, senior, and his heirs. His son, Alan Henman, of Lenham, in the 12th year of that reign, sold it to Thomas Thomson, of Sandwich, jurat, for the use of Agnes, his daughter, who entitled her husband, John Toke, gent. of Goddington, to the possession of it. She survived her husband, and by her will in 1629, devised it to her eldest son Nicholas Toke, esq. of Great Chart, who in 1631, anno 7 Charles I. passed away both manor and advowson to Edward Chute, esq. of Bethersden, whose son George had married Eleanor Toke, his eldest daughter, and he anno 9 Charles I. conveyed it by fine then levied to Richard Tylden, gent. of Great Chart, and William Tylden, then an insant, his son. The family of Tylden had antiently possessions in the parishes of Brenchley, Otterden, Kennington, and Tilmanstone, in this county; one of them William Tylden, paid aid for lands in this county, in the 20th year of king Edward III. In the reign of queen Elizabeth, a branch of them was settled in the parish of Wormsell, one of whom, William Tylden, died there in 1613. His direct descendant, Richard Tylden, esq. of Great Chart, who bore for his arms, Azure, a saltier, ermine, between four phoens, or, purchased this manor and advowson as above-mentioned, whose eldest son William Tylden, gent. was of Hoggeshaws, as was his son Richard, who dying in 1763, was buried with his ancestors in the Tylden chancel, in this church. By Elizabeth his wife, daughter of Thomas Osborne, esq. of Hartlip, he left one son RichardOsborne, and three daughters, Hannah married to Edward Belcher, of Ulcomb; Mary to Thomas Bland, clerk, and Philippa, who died unmarried. Richard Osborne Tylden, esq. succeeded his father in this estate, and left his widow surviving (who re-married the Rev. Edward Smith, rector of Milsted, and died in 1776) and by her four sons, Richard, of whom hereafter; Osborne, of Torry-hill, esq. in this parish, who married the only daughter of John Withins, esq. of Surry; the Rev. Richard Cooke, rector of Milsted and Frinsted, and Manby May; and one daughter Elizabeth married to Mr. Valyer Baker, Surgeon, of Sittingborne. Richard Tylden, esq. succeeded on his mother's death to the possession of this manor, and now resides here; he married Miss Catherine Rolse, of Ashford, who died in 1783.
The last court held for this manor, being a courtbaron, was in the year 1632.
HIGHAM-COURT, now usually called Great Higham, is a manor in this parish, which was antiently the property of a family of the name of Nottingham, whence it acquired, as appears by antient writings, the name of Nottingham-court.
They resided at Bayford, in Sittingborne, so early as the reign of king Edward I. Robert de Nottingham, owner of this estate in the reign of Edward III. was sheriff in the 48th year of it, and kept his shrievalty at Bayford, in which year he died, and was found at his death to hold lands in Doddington, Tenham, Milsted, Tong, Bredgar, and Sittingborne, all which descended to his only son John Nottingham, who died s. p. leaving his daughter his sole heir, who marrying Simon Cheney, of Cralle, in Sussex, second son of Sir Richard Cheney, of Shurland, he became entitled to this manor. The Nottinghams bore for their arms, as Philipott says, Gules, two pales wavy, argent; which coat, impaled with Cheney, was in one of the windows of Milsted church. On the roof of the cloysters of Canterbury cathedral, are carved the arms of Nottingham, Gules, on a bend, argent, three escallops, azure; but of what kindred to these of Milsted, I have not found. In his descendants this manor continued down till Richard Cheney, esq. and his son John, in the year 1676, joined in the conveyance of it to Mr. Thomas Lushington, of Sittingborne, whose great-grandson, the Rev. Mr. James Stephen Lushington, is the present owner of this manor. (fn. 2)
Charities.
JOHN WIATT, of Milsted, by will in 1722, gave a moiety of several pieces of land in Milsted, Frinsted, and Wormesell, containing about twenty acres, towards the teaching of four poor children of this parish to read and write, vested in the minister and churchwardens, and of the annual produce of 2l. 4s.
There are five alms-houses belonging to this parish, on the eastern side of it, next to Kingsdown.
The poor constantly relieved are about nine; casually forty.
MILSTED is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.
¶The church, which is dedicated to St. Mary and the Holy Cross is but small, and consists of one isle and one chancel, with a low square tower at the west end of it, in which hang three bells. On the north side is another small chancel, belonging to the Tyldens, in which many of them lie buried. On the south side there was another chancel, belonging to Higham-court, which was pulled down, by the mutual consent of the proprietor and parishioners in 1672.
In the church-yard, near the south porch, there is a very antient tomb-stone, having on it a cross botony, fuchee, carved in relief.
The church of Milsted was given by king John to Wydon the clerk, who held it, as appears by the Testa de Nevill, in the next reign of king Henry III. Whether he was lord likewise of Milsted manor I have not found; but from the next reign of king Edward I. to the present time, this church seems to have had the same possessors, and as such, the advowson of it is now the property of Richard Tylden, esq. of Hoggeshaws.
In 1578 there were fifty-five communicants. In 1640 eighty-seven, when it was valued at fifty pounds per annum.
It is a discharged living in the king's books, of the clear yearly certified value of forty four pounds, the yearly tenths being 17s. 6d. The glebe land consists of only three acres.
Eric Fischl Painting at The Centro Cultural de Belém, Lisbon, Portugal
Contax G1
Carl Zeiss Biogon 28
Kodak Max 800@640
This is from my vacation in June 2008. I can not explain this place
This is from my vacation in June 2008. I can not explain this place. Who can describe the indescibable.
This is from my vacation in June 2008. I can not explain this place. Who can describe the indescibable.
vacation beautiful yosemite. How can one explain
vacation beautiful yosemite. How can one explain
vacation beautiful yosemite. How can one explain this place
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A rare & candid photograph of Virgil “Gus” Grissom, in an unidentified Apollo Command Module mockup. I’m almost certain this photograph was taken during his July 10, 1962 visit to North American Aviation (NAA) Space & Information Systems Division in Downey, CA. Grissom, accompanied by Robert R. Gilruth, Director, MSC and Charles W. Frick, Apollo Program Manager, MSC, were at NAA to conduct the first Apollo spacecraft mockup review/inspection.
If so, and if the following is also correct, the tragic irony is heartbreaking to this day.
An interesting & informative extract from a discussion at “The Space Review” website, by user “oldengg”. While not authoritative, he/she is refreshingly articulate & seemingly very knowledgeable:
“ Sure, NAA had a lot of explaining to do regarding the inferior workmanship and the flammable clutter in the AS-204 CM. But there's a lot of history that needs to be understood to make sense of what happened that day.
In the 1961 Apollo Command and Service Module (CSM) Request for Proposal, NASA baselined an oxygen/nitrogen cabin atmosphere and North American Aviation (NAA) had complied with that requirement in its CSM proposal to NASA. NASA awarded the CSM contract to NAA on that basis and later directed NAA to use a 100% oxygen atmosphere.
In the early CSM preliminary design period, NAA had proposed a single, outward-opening explosive hatch for the Command Module (CM) main entry, one similar to the Mercury hatch design. Again NASA changed the design and directed NAA to develop the inward-opening, dual-hatch system that was used on AS-204.
From Lee Atwood's viewpoint, NAA had done as its customer, NASA, had directed and was now, during his congressional testimony, was being pilloried unfairly for NASA engineering decisions over which NAA had no control. Ironically, AS-204 Commander Gus Grissom was present when the NAA hatch design was discussed at the 10 July 1962 CM mockup review at NAA's Downey plant. Grissom agreed with the NASA Manned Spacecraft Center (now Johnson Space Center, Houston) engineers that the NAA single-piece, outwardly-opening, explosive hatch design should be changed to the presumably safer, inward-opening, dual-hatch configuration. Liberty Bell 7 hangs over AS-204 like a spectre.
And as far as the messy condition of the AS-204 CM, that was clearly NASA's responsibility because NASA had formally taken delivery of that vehicle from NAA in 1966. Many people who were not employed by NAA were involved in preparing the spacecraft for that ill-fated test. NAA had no control over those people or over any flammable material that they might have left in the spacecraft.”
At/From:
www.thespacereview.com/article/3904/1
Also:
apolloproject.com/sp-4009/asc-v1-p013.htm
Credit: “APOLLOPROJECT.COM” website
www.astronautix.com/g/grissom.html
Credit: Astronautix website
Last, but NOT least:
www.facebook.com/photo/?fbid=770226892127511&set=gm.1...
Credit: Mitchell Rothman/"Manned Space History" FB group
You never know what you might see a heron munching. If it moves and can fit down a heron's throat, it's a potential meal.
Many birds get their feather color from the food they eat. As you can see, this green heron has been eating his fair share of katydids, mantids, and female pondhawk dragonflies. And I'm sure he'd like a yummy green anole or rough (or smooth!) green snake if he could get one.
Not that I need to explain.but…I just love this horse.
From the Georgia High School Rodeo Association event in the Northeast Alabama Agri-Business Center, Rainsville, Alabama.
Nikon D7200 — Nikon 80-200mm F2.8
200mm
F2.8@1/320th
ISO 5,000
White Balance on Flash
Cropped
ROD_9870.JPG
©Don Brown 2023
Here I am, futilely explaining to Nate the 'rules' before heading out to dinner while at the beach. Miss Amy, the babysitter and owner of a day care facility, said that Liam and Nate were a "challenge" and that she had to use time-out for the first time ever in her babysitting career. Ever.
We tipped Miss Amy very, very well.
~Jill
My wife wanted a down day so she sent me out wandering. First stop was the Museum Puri Lukisan, very close to our villa. What an amazing collection of Balinese art and sculptures. I'm fascinated by the colors and details of the paintings. We noticed early on that topless women paintings are very common on Bali. I read some of the painting notes - I found them interesting in that they explained different stories about Hindu beliefs. Definitely worth a stop!
I know I'll see you again
Whether far or soon.
But I need you to know that I care
And, I miss You.
______________________________
Expect lots of selfportraits =)
Lately i've been thinking a lot and i see things differently in some way.
I just sometimes wish people that left my side would be here with me.
I miss them.
Fractured Stone, Desert Plants. Capitol Reef National Park, Utah. October 21, 2014. © Copyright 2014 G Dan Mitchell - all rights reserved.
Sparse desert plants grow among fractured sandstone slabs
Though the title of this photograph mentions plants, there are small and rather hard to see. In terrain like this that should probably not be surprising, since I made the photograph in a place that was very rocky and rugged. I had walked out a bit into the landscape to get a view into a nearby gully that marked the beginning of a much larger canyon when I looked down and noticed these patterned rocks.
Here the rocks are almost entirely in layers, or strata, as is typical in this part of the Southwest. We most easily notice the huge, think layers than make up cliffs like those found elsewhere in this national park. But there are also some very thin layers, and these rocks comprise on such layer that happened to be exposed at this particular spot. If I recall correctly, I first noticed this as I can to the edge of a drop-off and noticed that these were the rocks at its edge. They are apparently are hard enough to resist erosion a bit more than the underlying material. This also explains why, a moment later, I stepped back from this edge — the harder rocks actually extended out over the drop-off a bit where the underlying ground had eroded!
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more.
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Text, photographs, and other media are © Copyright G Dan Mitchell (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from G Dan Mitchell.
Provenance:
I purchased this painting on Ebay in March 2022, in which the seller purchased from the estate of Joella Pickering Smith September 3-6, 2020 in Victoria, TX.
Here is the obituary for Joella Pickering Smith, which may explain how her grandmother, Shelly Jordan, may have acquired the painting in the 1920s:
"Born on January 27, 1949 in San Antonio, Texas and expired there on December 10, 2018. She was the daughter of Dr. John M. Smith, Jr. and Jane Jordan Smith, both of whom predeceased her. She is survived by her three brothers, Dr. J. Marvin Smith, III (wife Jill), Dr. Paxton Jordan Smith (wife Day) and Robert Burleson Smith (wife Janette). Additional survivors include six nieces, three nephews and nine great nieces and a great nephew. Joella was a graduate of Alamo Heights High School and attended Marjorie Webster College in Washington, DC and the University of Texas at Austin. In earlier years, she was an avid horseback rider and was a lifetime member of the San Antonio Livestock Exposition (San Antonio Stock Show & Rodeo). She was proud of her heritage and was a member of the Daughters of the Republic of Texas and Daughters of the American Revolution (DRT and DAR, respectively) following in the footsteps of her grandmother Shelly Jordan of Victoria who was a founding member of the Guadalupe Victoria Chapter of DAR. This sense of heritage was manifested by her participation in numerous educational events commemorating reenactment of the Texas frontier in the early 1800's. Joella served for a number of years in the Altar Guild at St. Mark's Episcopal Church in San Antonio. Her life was celebrated by a family memorial service at St. Mark's Church where an inurnment will be held later. A resident of Victoria during the recent past, she attended Trinity Episcopal Church. Family would suggest donations in memory of Joella be forwarded to Trinity Church in Victoria, St. Mark's Church in San Antonio, or the Alzheimer's Association.
Both Ben and Florence Shelley Jordan were actively involved in numerous projects for Victoria's civic, historical, and cultural development. Ben T. Jordan was mayor of Victoria from 1933-1947. The list of Florence Jordan's memberships in local, state, and national organizations is impressive. Locally, she co-founded the Morning Study Club, was an active member of the Bronte Club, and founded The University Forum, which first met in 1941. She was a member of The La Salle Chapter of the Daughters of the American Colonists, the James W. Fannin Chapter of the Daughters of the Republic of Texas, the William P. Rogers Chapter of the United Daughters of the Confederacy, the Indianola Association, and founded, in 1934, the Guadalupe Victoria Chapter of the Daughters of the American Revolution. She served as chairman of the Victoria County Historical Survey Committee and was named a lifetime honorary president of the McNamara-O'Connor Historical and Fine Arts Museum Association and received numerous awards for distinguished service.
Florence Shelley Chilton Jordan Papers, Victoria Regional History Center, Victoria College/University of Houston-Victoria Library"
Here is the information from the Ebay seller's page (John52276 of Sinton, Texas) when purchased in March 2022:
"Here is an oil painting by renowned Texas artist Dollie Nabinger, (1905-1988). It is a springtime woodland landscape showing beautiful trees and flowering bushes with a wooden picket fence in the background. It is oil on canvas board and the board itself measures 10 1/2" x 14". To the outside of the frame, it measures 13 1/2" x 17". The painting is in excellent condition. There is some craquelure especially in the sky areas. The frame looks to be from the period and it too is in good condition except for a small amount of old termite damage to one corner (only visible from the back). I think this is an early painting for her because she signed it "Dollie Spidle". She changed her name to Nabinger in the 1920's. She was raised in Victoria Texas, (which is where this painting was purchased from a collector's estate). She also attended the Art Student's League in New York and later studied in San Antonio under Jose Arpa and Harry Anthony De Young. She was one of Texas' favorite landscape artists.
I have recently come to realize that this painting has been lined (or perhaps the term is re-lined). At some point there was some restoration performed on it. The original painting was oil on canvas; and that canvas was on a regular stretcher. Somewhere along the line, someone has removed the canvas from that stretcher and applied it to this canvas board, which itself looks old and hand-made. I suspect the termite damage may have involved the stretcher as well as the frame, and this necessitated the restoration."
About: Dollie Elizabeth Spidle Nabinger (1905-1988)
Landscape artist Dollie Elizabeth Spidle Nabinger was born in Commerce, Texas in 1905 and reared in Victoria, Texas, when her family moved there in 1917. Even as a young girl, Dollie wanted to be an artist. Dollie credited her success as a female artist to her parents’ loving support from the very start. They enrolled her in a Catholic school due to public schools not teaching art at the time. Her father even stretched her first canvases.
When Dollie was 13, her talent was already evident. Dollie began taking lessons in Victoria from James Ferdinand McCan. McCan, was a well-known and popular Texas artist who immigrated to America from Ireland in 1887, and later arrived in Texas in 1895. McCan accepted Dollie as his apprentice and she remained his mentee and studied with him for seven years until his death in 1925. Dollie studied two years at the Art Students' League in New York and later began instructing lessons in San Antonio and spending a lot of time painting the Texas Hill Country, basing out of Kerrville, Texas. Dollie also studied with other well-known Texas artists such as Jose Arpa and Harry Anthony DeYoung.
Dollie was married to Jack E. Nabinger, on December 18th, 1924. Jack worked for the Southern Pacific Lines and he handmade and carved many of her frames. Two years later, the couple had their first of two daughters, Jean Elizabeth, was born November 14, 1926 (She married WWII veteran Jesse James King, Jr of Nacogdoches, TX on June 1, 1968).
The Victoria Advocate ran an article on January 28th, 1928 stating that the couple was moving to Skidmore, Texas the next week and the Bronte Club and Art Club of Victoria was giving a farewell reception. Then the newspaper ran another article on December 7th, 1928 that, “Mrs. Dollie Spidle Nabinger, understudy of the late J. Ferdinand McCan, distinguished, Victoria artist, and who is herself attaining fame as a painter” was exhibiting a collection of oil and pastel paintings for the Victoria Art League at the Chamber of Commerce Hall. The article referenced her as a “Victoria girl” at the age of 25. According to the Victoria Advocate, Dollie had another exhibition of her work in Cuero in early December 1929. The paper stated that “her work has been highly commended by art critics of national reputation” and that “her paintings are always in great demand because of their striking similarity to those of Mr. [James Ferdinand} McCan. Dollie and Jack had another daughter, Virginia E., on November 6, 1930 (She married Belton b. Muller).
When famed artist Robert William Wood moved to California in 1940 from Texas, George Allen of Allen Art Galleries in downtown Houston on the 4th floor of Stowers Furniture store was avidly seeking a landscape painter (after Wood left his gallery). Allen reviewed many artists before he selected Dollie Nabinger as Wood’s replacement. She exhibited at Allen Art Galleries with renowned artists, A.D. Greer, George Phippen, Frederic Remington, V.A. Richardson and Chauncey Ryder.
The Nabingers moved to East Texas and resided in Nacogdoches during the 1950S and had a summer cottage on Lone Star Lake near Daingerfield, where Dollie often painted piney woods landscapes. In 1955, she spent a summer at the Academie Julian in Paris, France.
The Nabingers retired and moved to Fredericksburg, Texas around 1962 where Dollie could continue to paint the Texas Hill Country and Jack could follow his hobbies of photography and woodcarving. Jack died in 1972. Dollie later moved to Carrollton and died in 1988. They are both interred at Greenwood Cemetery in Fredericksburg, Texas.
Today she is best known for her Texas Hill Country, especially those with the state's signature bluebonnets, East Texas piney woods, and beach landscapes, but also some paintings from Colorado and other locales are known.
Dollie is listed in "Fredericksburg Texas, 150 Years of Paintings and Drawings" by Jack Maguire; "An Encyclopedia of Women Artists of the American West", 1998, University of Texas Press, Austin; "Artists of Texas, 1800-1945, Texas A&M Press, 1999; "Texas Painters, Sculptors & Graphic Artists, a biographical Dictionary of Artists in Texas before 1942, Woodmont Books, 2000.
Our teacher was explaining Korean money, with real 1000, 5000 and 10000 won notes. She went out for a moment, and I changed her real notes with fake notes. When she came back we all laughed out loud!
For the story go to hannahgalli.com/category/all/
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