View allAll Photos Tagged fifield
This photograph was in an unmarked album of 128 photos. Few were dated: two photographs from 1924; eight from 1925; six from 1926; and three from 1932. The images all appear to be centered on Stuart Guy Fifield family and friends.
www.flickr.com/photos/30484128@N03/5466400985/in/set-7215...
I have been posting photos from Gram Fifield's photo album on Flickr.
Hester Ann Ellingwood Fifield and her husband Edward Fifield are buried in Willis Cemetery, Dummer, Coos County, New Hampshire.
Hester and her husband, Edward Fifield, were foster parents for my Great-grandmother Rose Ella Andrews after her father died in the Civil War and her mother died soon after. My maternal grandparents saw I was interested in old photos and gave me Gram Fifield's album in the 1960s..
Should be topped out next week. Spring 2013 occupancy for the apartments.
Get a fresh take on new homes, apartments, neighborhoods and the way life’s lived in Chicago at YoChicago.
Ellen Andrews (Lunn), born 1859
Ellen's father, Ethan Allen Andrews, died in the United States Civil War and her mother, Alvina Frost Andrews, died soon after. She was raised by Gram Fifield and her husband Edward in Dummer, Coos County, New Hampshire.
Ellen was my great-grandmother's sister..
(The back of this photo is blank.)
Detail of the north nave window at Burton Hastings, installed in 2001 and designed by local artist Roger Fifield (note his 'RF' signature and date bottom right).
Fifiled's work makes a very attractive contemporary adition to this ancient building, and is beautifully painted and stylised, echoing his earliest work from the 1960s, without looking backwards.
The subject appears to be a celebration of village life, with various landmark buildings and elements of the village featured without any obvious religious theme (beyond the small dove in the tracery light above).
This formula for stained glass seems to be popular with certain congregations, who prefer to commemorate 'down-to-earth' subjects of mainly local, secular relevance, than convey a spiritual message. The artist is then given a 'shopping list' of relevant features to include in the design at all cost!
Crisman School, Students and Teachers Group Photograph
Crisman, Indiana
Date: Circa 1920
Source Type: Photograph
Publisher, Printer, Photographer: Unknown
Postmark: Not Applicable
Collection: Steven R. Shook
Remark: This photograph includes identification of nearly all students and teachers, as follows.
Front Row (sitting on ground): Lester Sargent, Lewis Lenburg, Arren Briggs, Howard Nelson
Second Row (seated): Walter Crisman, Arval Fifield, Clarence Johnson, Ruth Sargent, Edna Johnson, Rose Lindquist, Nolia Fitzgerald, Florence Grinser, Vera Swanson, Lillian, Esther
Third Row (standing): Unidentified Teacher, Bennie Lute, Thelma Fitzgerald, Evelyn G., Eva Nicholson, Letty Badger, Edna Swanson, Margaret Ruhe, Elsie Sargent, Roselyn Barber, Elsie N. [Nicholson]
Back Row (standing): J. Milton (teacher), Mahns, Elmer Hedstrom, Wilbur Blair, Ralph Jannasch, Robert Scofield, Ted Kimmel, Garrett Slanger, Eddie Mahns, Ed Lutke, Raymond Lute, Ed Nicholson
Copyright 2013. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
Gram Fifield's nephew, born 1845, died 1864, The photographer's imprint says Photographed by O. H. Wilkinson of Medford, Massachusetts. Perhaps Mr. Wilkinson was an itinerant photographer who came up to Coos County, New Hampshire? The tax stamp[ says XX/ XX/ 1864.
Charles's father, Isaac Ellingwood, was a blacksmith in Dummer, Coos County, New Hampshire.
The photo is from Gram Fifield's photo album.
This tintype is from Hester Ann Ellingwood Fifield (1820-1895)'s Photo Album.
www.flickr.com/photos/30484128@N03/6050449493/
The back of the tintype is blank. There is no Civil War tax stamp, as would have been required from 1864 to 1866, .
Gram Fifield, and her husband, Edward, were foster parents for my Great-grandmother Rose Ella Andrews after her father died in the Civil War and her mother died soon after. My maternal grandparents saw I was interested in old photos and gave me Gram Fifield's album in the 1960s,
From Gram Fifield's Album.
An unidentified young boy likely in New Hampshire or Maine. The photo is from the album of Gram Fifield (1820-1895). The picture would seem to be from the 1870s.
Gram Fifield and her husband Edward were foster parents for my Great-grandmother Ellen Andrews after her father died in the Civil War and her mother soon after.
This photograph was in an unmarked album of 150 photos. Only five photographs were dated—three copies of the same image of Janice Dawe in a sled from 3 April 1920 (she would have been two weeks shy of one year old,) one from Bear Brook New Hampshire dated March 1922, and the last from Northwood New Hampshire on 22 May 1922. Excepting the 1920 picture, the images all appear to be from around 1922 and are centered on the Stuart Guy Fifield family.
St Peter and St Paul, Wing, Rutland
Another bike ride in England's smallest county. Sixteen churches altogether, which sounds a lot, but churches in Rutland are refreshingly close together, and generally open, although I did find two that said they were open and weren't, and one that said it wasn't, but was.
Part five.
I cycled out to the edge of Uppingham, and at a crossroads kissed lightly the tour I had made a fortnight before. That time I arrived at the crossroads from the south and turned east, today I arrived from the west and turned north. Across a narrow valley stood the village of Bisbrooke. To be honest, I had chickened out of Bisbrooke two weeks previously on the strength of the alarming dip between me and it, but with a bit more physical and mental energy now I hurtled down, and then puffed and panted up into a delightful and intensely rural little hilltop village. Just off of the main street, a narrow lane led to the church.
This is a 19th Century rebuilding of a medieval church, presumably on the same site but much larger, making it difficult to photograph and also making it seem far more imposing than it needs to be. Indeed, the battered gingerbread of the exterior makes it seem something of a fortress. The tower sits at the west end of a south aisle, and a nave with clerestories has been built beside it, so I wondered if the aisle was on the plan of the original church, the tower built on the foundations of the previous one. A painting inside the church shows it with a spire, but whether this was never built, or if it was taken down later, I don't know. Externally, it is all a bit forbidding, and I feared for the interior, but in the event I couldn't have been more wrong, for it is full of light and space. At some time towards the end of the 20th Century all the Victorian trappings were removed, the floor repaved in cool stone and the pews replaced by simple modern chairs. It is a clean, simple delight.
The east window, looking out to the valley below, has excellent glass of the Risen Christ, a central figure in opulent textured glass surrounded by clear glass, which creates a dramatic effect. I'd been led to believe that it was by Francis Skeat, but when I got home I noticed a corrigenda slip pasted into the front of my copy of Paul Sharpling's Stained Glass in Rutland Churches which includes the line p 33 Bisbrooke. Now thought not to be by F Skeat, so I'm left to wonder. It does seem to be in a Christopher Webb/Francis Skeat style, though not quite right for either of them, especially with that textured glass.
There is a simple WWI memorial chapel with two battlefield crosses to Lieutenant-Colonel the Hon Percy Evans-Freke, the original burial cross and the later gathered cemetery cross. The only 'old' things remaining in the church are the 19th Century font by the door and a small, unobtrusive window by Burlison & Gryls behind it, the only other coloured glass in the space. It makes you think what could be done with some other gloomy Victorian spaces.
From Bisbrooke it was a short distance back up to the A47, which this being Rutland has a cyclepath beside it here, which led into Glaston. I remembered the big Hall from regular journeys between Ipswich and Leicester, and in truth there isn't much more to the village than this other than a pub and the church up the back lane to the north of the road. Set back from the lane, it is a charming sight, the dumpy central tower above a narrow church with a fizzy mock-Dec window at the west end. There are no transepts. The windows around are eccentric, those to the south being assymetrical Dec. As Pevsner notes, if you take the south porch as their central axis, they become symmetrical with regard to each other. So they were conceived as a set, but this must often have been the case, so one wonders why it happened here and not elsewhere.
Internally, it is a bit gloomy but not without charm, as long, narrow churches often are. There is a north aisle, and the roof of it carries over from the nave, bringing the clerestory openings above the arcade inside the building. The interior had a pretty extensive going over in the late 19th Century, perhaps bankrolled by the Evans-Freke family of the Hall whose memorials are here and at Bisbrooke, with glass by a number of 19th Century workshops.
I was heading north again, back across that dreaded valley, but it was not so severe here and I soon reached the hilltop village of Wing, barely a hundred yards from where I had turned off for Preston and Uppingham an hour or two earlier. In the village street was the church, with a large 'church open' sign outside. The great star here is a fabulous Norman south arcade in a county where Norman arcades are by no means unusual. There is also some good 20th Century glass, and the feel of a well-used, well-loved church. None of the oddities perhaps that I had encountered previously on this journey, and if I visited it in isolation it would probably have been more memorable, but a nice church nonetheless.
And now, I headed east, scenting the train home from Stamford but with three more churches to visit before I got there.
To be continued.
New apartment complex set for occupancy March 1.
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Working on the Fifield creature frame - a very rough early shot of the completed articulation. Prometheus 1:18 scale. A shot of Fifield (Sean Harris) next to his CGI monster counterpart. Both works in progress. The frame for the creature will have max articulation. Need to be a little taller. The hands and feet will be sculpted (using parts for placement). Looks ridiculopus right now but as the sculpt progresses it will look less silly and more horrifying...I hope. #Prometheus #fifield #seanharris #cgi #fifieldcreature #alien #nostromo #sith_fire30
Detail of the west window at Bedworth, depicting a stylised St Luke seemingly merging with an otherwise totally abstract background.
This striking window is the work of local artist Roger Fifield and dates from 1965 (a more recent window by the same artist can be seen at Burton Hastings church).
The west end of Bedworth church was extensively reordered and subdivided in the 1990s, with the result that this window is now somewhat dificult to see from within the main body of the church. It is best to ascend the staircase at the west end of the north aisle and access what is now the ringers chamber beneath the old west tower to view this work.
Sculpt update on Kane: Burial Shroud. 1:18 scale, ALIEN 79. Some have asked where this is seen in the film - it isn't....not much anyway. The body is seen in the main airlock via the monitors Dallas and the rest of the crew are gathered around and the next time you see Kane is when the miniature prop appears to be shot out of the airlock into deep space.
The sculpt I am working on reflects mostly the 1:1 prop the production team created to shoot a scene where Kane's corpse would make a return later in the film - please read this excellent article that defines that scene....
alienseries.wordpress.com/2013/08/20/the-funeral/
Much more detail to be added and a variant head sculpt or two to be made. Happy to be creating a not so well known piece of ALIEN lore. #alien #nostromo #kane #burialshroud #deletedscene #observationdome #sculpt
North chancel window by Roger Fifield 1990, depicting Christ calling the children unto him.
St Mary's dominates the village of Newton Regis and serves the most northerly parish in Warwickshire.
The building itself is aisleless but with a later clerestorey and quite light inside, being mainly plain glazed except for the odd medieval fragment here and there and two recent windows by Warwickshire based artist Roger Fifield.
The outstanding medieval feature here however is on the north side of the sanctuary, a highly unusual 14th century priest's tomb in a recess with a slab in high relief portraying a praying bust of the deceased amidst canopywork (inhabited by angels) with two kneeling mourners below, a unique composition as far as I know, worn but still enjoyable.
For more see the church's entry on the Warwickshire Churches site:-
Hester Ann (Ellingwood) Fifield, 1820-1895, was foster mother to my Great-grandmother Rose Ella (Andrews) Griffin. Rose Ella's father died in the Civil War and her mother died soon after. Hester, and her husband Edward Fifield, raised Rose Ella and her brother and sister in Dummer, New Hampshire, where Edward listed his occupation as "river man."
We have Hester's photo album and parlor mirror in our apartment here in New York City.
(The back of this photo is blank.)
Monument to Henry (Norris or Norreys) 1st Baron Norris of Rycote (?1525-1601) and his wife Margaret.
The monument of alabaster and marbles, by sculptor Isaac James (original surname Haastregt), has no inscription and Henry and Margaret are both buried at Rycote chapel in Oxfordshire, in the grounds of their house. The date of erection of the monument is not clear but it was after 1606.
Either side of their recumbent effigies kneel their six sons in armour. Only their third son Sir Edward Norris, M.P. and Governor of Ostend, survived his father. He married Elizabeth Webb (heir of Sir John Norris of Fifield). They had no children and he died in 1603 and was buried at Englefield in Berkshire. He is shown kneeling and looking upwards (not visible in the picture), whereas the other sons have bowed heads and praying hands to indicate they were deceased.
These were William (d.1579), Marshal of Berwick; Sir John (?1547-1597), a celebrated military commander known as 'Black Jack' who died unmarried at Norris Castle, Mallow, co.Cork in Ireland, the home of Sir Thomas; Henry (1554-1599); Maximilian who died in 1591 and was buried in St Helier town church, Jersey; and Sir Thomas (1556-1599) who married Bridget Kingsmill. They had a daughter Elizabeth who married Sir John Jephson. Sir Thomas died at his home in Ireland and was returned to Rycote for burial.
The carved shield on the top section of the monument includes the coat of arms of Norris of Rycote, supported by two monkeys. The square pedestal depicts military scenes on all sides and is surmounted by a small statue of Fame. The carved scene on the south is of cavalry in the field and can be seen from the chapel. The northern scene depicts infantry. A painted scene with military emblems can be glimpsed on the west side from the north transept. These reliefs could be by de Floris, a notable sculptor from the Low Countries.
[Westminster Abbey]
In the chapel of St Andrew, Westminster Abbey
Westminster Abbey (The Collegiate Church of St Peter)
In the 1040s King Edward (later St Edward the Confessor) established his royal palace by the banks of the river Thames on land known as Thorney Island. Close by was a small Benedictine monastery founded under the patronage of King Edgar and St Dunstan around 960A.D. This monastery Edward chose to re-endow and greatly enlarge, building a large stone church in honour of St Peter the Apostle. This church became known as the "west minster" to distinguish it from St Paul's Cathedral (the east minster) in the City of London. Unfortunately, when the new church was consecrated on 28th December 1065 the King was too ill to attend and died a few days later. His mortal remains were entombed in front of the High Altar.
The only traces of Edward's monastery to be seen today are in the round arches and massive supporting columns of the undercroft and the Pyx Chamber in the cloisters. The undercroft was originally part of the domestic quarters of the monks. Among the most significant ceremonies that occurred in the Abbey at this period was the coronation of William the Conqueror on Christmas day 1066, and the "translation" or moving of King Edward's body to a new tomb a few years after his canonisation in 1161.
Edward's Abbey survived for two centuries until the middle of the 13th century when King Henry III decided to rebuild it in the new Gothic style of architecture. It was a great age for cathedrals: in France it saw the construction of Amiens, Evreux and Chartres and in England Canterbury, Winchester and Salisbury, to mention a few. Under the decree of the King of England, Westminster Abbey was designed to be not only a great monastery and place of worship, but also a place for the coronation and burial of monarchs. This church was consecrated on 13th October 1269. Unfortunately the king died before the nave could be completed so the older structure stood attached to the Gothic building for many years.
Every monarch since William the Conqueror has been crowned in the Abbey, with the exception of Edward V and Edward VIII (who abdicated) who were never crowned. The ancient Coronation Chair can still be seen in the church.
It was natural that Henry III should wish to translate the body of the saintly Edward the Confessor into a more magnificent tomb behind the High Altar in his new church. This shrine survives and around it are buried a cluster of medieval kings and their consorts including Henry III, Edward I and Eleanor of Castile, Edward III and Philippa of Hainault, Richard II and Anne of Bohemia and Henry V.
There are around 3,300 burials in the church and cloisters and many more memorials. The Abbey also contains over 600 monuments, and wall tablets – the most important collection of monumental sculpture anywhere in the country. Notable among the burials is the Unknown Warrior, whose grave, close to the west door, has become a place of pilgrimage. Heads of State who are visiting the country invariably come to lay a wreath at this grave.
A remarkable new addition to the Abbey was the glorious Lady chapel built by King Henry VII, first of the Tudor monarchs, which now bears his name. This has a spectacular fan-vaulted roof and the craftsmanship of Italian sculptor Pietro Torrigiano can be seen in Henry's fine tomb. The chapel was consecrated on 19th February 1516. Since 1725 it has been associated with the Most Honourable Order of the Bath and the banners of the current Knights Grand Cross surround the walls. The Battle of Britain memorial window by Hugh Easton can be seen at the east end in the Royal Air Force chapel. A new stained glass window above this, by Alan Younger, and two flanking windows with a design in blue by Hughie O'Donoghue, give colour to this chapel.
Two centuries later a further addition was made to the Abbey when the western towers (left unfinished from medieval times) were completed in 1745, to a design by Nicholas Hawksmoor.
Little remains of the original medieval stained glass, once one of the Abbey's chief glories. Some 13th century panels can be seen in the Queen's Diamond Jubilee Galleries. The great west window and the rose window in the north transept date from the early 18th century but the remainder of the glass is from the 19th century onwards. The newest stained glass is in The Queen Elizabeth II window, designed by David Hockney.
History did not cease with the dissolution of the medieval monastery on 16th January 1540. The same year Henry VIII erected Westminster into a cathedral church with a bishop (Thomas Thirlby), a dean and twelve prebendaries (now known as Canons). The bishopric was surrendered on 29th March 1550 and the diocese was re-united with London, Westminster being made by Act of Parliament a cathedral church in the diocese of London. Mary I restored the Benedictine monastery in 1556 under Abbot John Feckenham.
But on the accession of Elizabeth I the religious houses revived by Mary were given by Parliament to the Crown and the Abbot and monks were removed in July 1559. Queen Elizabeth I, buried in the north aisle of Henry VII's chapel, refounded the Abbey by a charter dated 21 May 1560 as a Collegiate Church exempt from the jurisdiction of archbishops and bishops and with the Sovereign as its Visitor. Its Royal Peculiar status from 1534 was re-affirmed by the Queen and In place of the monastic community a collegiate body of a dean and prebendaries, minor canons and a lay staff was established and charged with the task of continuing the tradition of daily worship (for which a musical foundation of choristers, singing men and organist was provided) and with the education of forty Scholars who formed the nucleus of what is now Westminster School (one of the country's leading independent schools). In addition the Dean and Chapter were responsible for much of the civil government of Westminster, a role which was only fully relinquished in the early 20th century.
[Westminster Abbey]
WIN AN ORIGINAL WORK OF ART AT “ABRACADABRA”
ON FRIDAY, MARCH 14
FOR IMMEDIATE RELEASE
Jan. 7, 2014
Contact: Charmain Yobbi, Manager, Public Relations and Community Partnerships
954.921.3274 x235
Win an Original Work of Art at the Seventh Annual “Abracadabra”
Fundraiser on Friday, March 14
Hollywood, Fla. – Go home with a piece of contemporary art that might by worth thousands of dollars on Friday, March 14 at the Art and Culture Center of Hollywood’s Seventh Annual “Abracadabra” Exhibition and Fundraiser.
The opening reception for this exhibition and four more shows takes place on Friday, Jan. 24, from 6 to 9 p.m. at the Center, 1650 Harrison Street. All non-members will be charged $10 for the opening night reception. Members, donating artists, and all “Abracadabra” ticket buyers are admitted for free to the artists’ reception.
Now in its seventh year, this exhibition and fundraiser is comprised of more than 120 donated works in all media by artists who have been invited to participate. “Abracadabra” culminates with a live drawing of these original works on Friday, March 14 for ticket buyers in the Center’s main gallery.
“Artists and art collectors come together at this annual, exciting event to support a good cause,” says Center Executive Director Joy Satterlee. “’Abracadabra’ not only showcases wonderful artists, it also raises crucial funds for the Center.”
From 6 to 9 p.m. on Friday, March 14, ticket holders enjoy an open bar and delectable hors d’oeuvres while being treated to live magic and determining which work(s) of art they like best. At 8 p.m., ticket holders’ names will be randomly drawn, one by one. When an individual’s name is called, he or she can choose any work of art that has not yet been selected. Each ticket purchased will guarantee the bearer to receive a work of art. Everyone goes home a winner! Last year this event sold out before the drawing, so get your tickets early! Tickets are available in advance and at the door while they last. Prices are $375 for one ticket and admission for two to the event, $700 buys two tickets and admission for four, $1,000 is good for three tickets and admission for six people. Anyone wishing to attend the event but not receive a work of art will pay a $35 general admission fee. To purchase tickets, call 954.921.3274 or visit ArtAndCultureCenter.org/abracadabra. Proxy bidding is also available to those people wishing to purchase tickets, but who cannot attend the event.
“Abracadabra” is supported in part by I’ve Been Framed, Magician Jack Maxwell, MBI Fine Art Services, and Michael’s Catering. Participating galleries for “Abracadabra” include David Castillo Gallery, Diana Lowenstein Fine Art, Dina Mitrani Gallery, Dot Fiftyone, Emerson Dorsch Gallery, Gallery 2014, Gallery Diet, Gavlak Gallery, GUCCIVUITTON, Carol Jazzar Contemporary Art, Primary Projects, Fredric Snitzer Gallery, Spinello Projects, and Swampspace. Call 954.921.3274 for details.
Also on exhibit during “Abracadabra” are “Virginia Fifield: Them/Us,” “Johnny Laderer: Fast Fade,” “Kristen Thiele: Smoke and Mirrors,” and “Aline Kominsky-Crumb: Hair Magic and More.”
“Them/Us” is an exhibition of large-scale drawings in charcoal by Hollywood-based artist Virginia Fifield. Her work in high realism presents selectively edited drawings of animal subjects in the form of portraiture. Chosen images are “re-presented” in a stark, over-scale format, deliberately devoid of color and context to strip away all sentimental and stylized stereotypical associations. This process initiates a deeper contemplation and internal dialogue about the natural world and the relationship in which we coexist.
Through documentation and faithful, yet slightly imagined recreation, Johnny Laderer shows in “Fast Fade” how the mundane, glanced-over and left-by-the-wayside are rife with meaning. Drawing from a local history and current Miami-micro cultures, Laderer chooses objects that are significant and humorous through object-combination or wordplay, and appeal to a collective memory of a place that has been exoticized and romanticized.
Kristen Thiele’s imagery in “Smoke and Mirrors” is derived from the motion pictures of the 1930s through the ‘50s. She is particularly interested in how this era of film aligns with the concept of artifice via opulent and escapist themes. The subjects of Thiele’s paintings are about the fleeting, the missing, and the unattainable; however as paintings they become the very antithesis of the ephemeral.
Famed cartoonist Aline Kominsky-Crumb was inspired to do this series of portraits and related video on view, “The Hair Magic Reality Show,” by her mother’s beautician, “Cookie.” For years, when Aline visited her mother in Aventura, she would go with her to Cookie’s beauty parlor, “Hair Magic,” in North Miami Beach. Aline thought of drawing a comic about Cookie and her customers. Aline had to find a way to hang out and observe. Aline talked to her cousin Ilana, who often spends family visits while Aline is in Florida, and they came up with the idea of Ilana filming Aline getting a “Cookie makeover.” The artist is known for her work, as much as for her collaborations with her husband of several decades, legendary cartoonist R. Crumb.
Gallery hours are Tuesday-Friday, 10 a.m. to 5 p.m. and Saturday-Sunday, 12 to 4 p.m. Free parking is available at the Center, which is located at 1650 Harrison St. General admission is $7 for adults; $4 for students, seniors, and children ages 4 to 13; and free to Center members and children 3 and under. For more information, call the Center at 954.921.3274 or visit ArtandCultureCenter.org.
The Art and Culture Center of Hollywood presents contemporary gallery exhibitions, live stage performances and high-quality education programs for adults and children. The Center fosters a creative environment where new and challenging work can flourish through programs that reflect the highest standards of artistry and diversity.
The Art and Culture Center of Hollywood is a 501(c)(3) non-profit organization supported in part by its members, admissions, private entities, the City of Hollywood, the Broward County Board of County Commissioners as recommended by the Broward Cultural Council; the State of Florida, Department of State, Division of Cultural Affairs, the Florida Council on Arts and Culture; and The Kresge Foundation. We welcome donations from all members of the community who wish to support our work.
Caption: Jose Alvarez, Solaris 2013, unique digital print, 30 x 20 inches.
- 30 -
A mirror that had belonged to Gram Fifield (Hester Ellingwood Fifield, 1820-1895).
A similar mirror was at the Farmers' Museum. Cooperstown, New York in a house furnished as it would have been in 1840.
The whole memorial can be seen here www.flickr.com/photos/36928008@N08/6015205467/in/photostr...
FLETCHER E ADAMS
RICHARD A ANDERSON
GEORGE P BARRETT
CORLYS A BEDFORD
ALFRED W BIERWEILER
JAMES L BLANCHARD
LOUIS BOUDREAUX
KIRBY M BROWN
JAMES W BROWNING
MARION E BURNETT
CHARLES O CAMPBELL
DARWIN J CARROLL
HAROLD D CHANDLER
JOHN K CHILDS
JAMES E COLBURN
FRANK J CONNAGHAN
WALTER E CORBY
WARREN B CORWIN
MATHEW CRAWFORD
HERMAN R DELARGER
JOHN H DENASHA
WARREN J DORANSKI
HUBERT I EGENES
RALPH E EISERT
ROBERT J FANDRAY
DONALD J FERRON
ROBERT S FIFIELD
DANIEL L FINLEY
SAM C FULLER
MORRIS E GALLANT
WILLIAM W GAMBILL
LAWRENCE P GIARRIZZO
JACOB F GIEL
WILLIAM T GILBERT
KENNETH F GRAEFF
SANTIAGO GUTIERREZ
WENDELL D HELWIG
ROGER A HILSTED
EDWIN W HIRO
ROBERT R HOFFMAN
PAUL E HOLMBERG
LLOYD M HUBBARD
Sculpt progress on "Sleep Chamber" Kane - Static sculpt - ALIEN - 1:18 scale. Completed the "sleeping" Kane sculpt. One of seven figures that will fit into the sleep chamber diorama. All the limbs were pinned into position, glued in spots, then sculpted over using FIXIT. Then refined...which I still have a little more to do. I like this shot because it gives you an idea of scale...more to come! #alien #nostromo #sleepchamber #kane #johnhurt #sculpting
Linda Fifield
Heaven and Earth#9
1998
wood and glass beads
4 x 3 1/2
Artist's Biography
"Artistic commitment is for me a way of life, a continuation of a family's history. An invaluable part of my Appalachian heritage is our family's tradition of craftsmanship. Generations of women in my family have made handwork an integral part of the daily rhythm of life. Twenty years of experimentation with various on and off loom bead weaving techniques has allowed my skills to mature. I've developed a distinctive individual style. Working with glass 'seed' beads, using an ancient netting stitch, I create beaded basket/vessels, the primary focus of my work. These vessels have increased in size and complexity over the past eight years. Working on a lathe, I turn wooden vessels to be covered with precise, intricate stitches incorporating miniscule glass beads. The completed works are visually rich, enticingly tactile and a pleasure to contemplate. The skill, patience and commitment necessary to create these beaded /vessel forms is the sustenance of my creative life."
"Un engagement artistique est pour moi un mode de vie, la suite d'une histoire familiale. Une inestimable partie de mon héritage appalachien est une tradition de notre famille quant à la dextérité manuelle. Des générations de femmes dans ma famille ont fait des travaux manuels une partie intégrale de leur rythme de vie quotidien. Vingt ans d'expérience avec diverses techniques de tissage m'ont permis d'améliorer mes habiletés. J'ai développé un style individuel bien distinctif. Travaillant avec des "grains" de perles de verre, utilisant une ancienne méthode de couture, j'ai confectionné des paniers perlés/navires, le premier point dans mon travail. Ces navires ont augmenté en grosseur et complexité depuis les huit dernières années. Travaillant sur un touret à polir, je transforme des navires de bois pour qu'ils soient recouverts avec des coutures précises et complexes, ajoutant de minuscules perles de verre. Les oeuvres complétées sont visuellement riches, attrayantes et tactiles et sont un plaisir à regarder. L'habileté, la patience et le dévouement nécessaire pour créer ces formes perlées/navires est la subsistance même de ma vie créative."
Get a fresh take on new homes, apartments, neighborhoods and the way life’s lived in Chicago at YoChicago.
Although it had no identification on it, I am certain this loco is Andrew Barclay 0-4-0DM, Works No 342, built in 1941, at the Rutland Railway Museum, Cottesmore. (Now "Rocks by Rail"). 9th August 1987. Despite what looks like catastrophic damage to the coupling rods on this side, the loco still survives at a private railway at Fifield, in working order. see link, flic.kr/p/WhSoAs
Sculpt progress on the command pilot station to the Prometheus space craft - 1:18 scale. Prometheus. Using monster clay to come up with the rough sculpt. Not worried about the base at this time. Some additional work is needed before mold/cast/refine. Getting there #sith_fire30 #monsterclay #Prometheus #alien
Front row, L to R: Ellen Liu, Selina Zhang, Lisa Li, Karis Tse, Angela Li, Eunice Liu, Jasmine Li, Zhang Xiao Dong, Winnie Feng, Hu Chao
Back row L to R: Hal Wu, Jiang Lei, Elithabeth Kuan, Nicole Zhou, Mike Lim, George Fifield, Kitty Bai, Gao Jin, Elaine Huang, Rao Jing, Gao Bing Xun
Fifield Furniture, 500 East Coolbaugh Street, Red Oak, Iowa. This building was originally a National Guard Armory. Built in 1896 at a cost of $6,000, the original building was only one story high. In 1905, Pratt and Pratt, a Red Oak Contractor, used screw jacks and blocks to raise the entire roof, and a second floor was added. The building was used as a theatre and civic meeting house in addition to the headquarters for Iowa National Guard, Company M. The National Guard eventually moved elsewhere and the building became a furniture store in 1960s. Fifield Furniture is now permanently closed.
Paint progress on "The Beast" - ALIEN 79 - 1:18 scale.Close mouthed "lipped" version - Dome removed. Old bone when dry, is mostly white...living bone has a more aged white, richness to it. So the skull is more off white this time around with darker hues surrounding it. Still have some detailing to add. #alien #nodome #bigchap #painting #nostromo #giger
Mystery Woman with Dangling Earrings, New Hampshire or Maine? late 1860s?
Gem photo, "Potters Patent, March 7, 1865." This is a photo from Hester Ann Ellingwood Fifield (1820-1895)'s Album.
"R.W. Potter of New York patented his picture card frame on March 7, 1865 and it is his patented card mount which is most commonly encountered amongst those with any patent markings printed on them.... The form of tintype (also referred to as ferrotype or sometimes melainotype) known as a 'gem'; is a small photographic image usually anywhere from 3/4" to 1" wide and 1¼" high made possible by the use of a multi-lens camera with repeating back which therefore could produce multiple exposures on a single photographic plate. In terms of quantity, the gem was the most prolifically produced form of photograph in the 1860s in America...." -- Marcel Safier, Brisbane, Australia via an Internet Search.
The back of the card is blank.
Gram Fifield, and her husband, Edward, were foster parents for my Great-grandmother Rose Ella Andrews after her father died in the Civil War and her mother died soon after. My maternal grandparents saw I was interested in old photos and gave me Gram Fifield's album in the 1960s.
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This photograph was in an unmarked album of 150 photos. Only five photographs were dated—three copies of the same image of Janice Dawe in a sled from 3 April 1920 (she would have been two weeks shy of one year old,) one from Bear Brook New Hampshire dated March 1922, and the last from Northwood New Hampshire on 22 May 1922. Excepting the 1920 picture, the images all appear to be from around 1922 and are centered on the Stuart Guy Fifield family.