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We've been playing around with the Indian die forms and forging bangle bracelets with them for a while now. Getting a bit bored with it actually. So we decided to start playing with color too. This is the second set we made. This first set sold right of the bench before we got a chance to photograph them. That experience provided ample interest in jumping right back in and making another set.
Shortly after leaving Tanygrisiau station, the Ffestiniog Railway continues its climb, running along ledges, through narrow cuttings and skimming retaining walls. One picture I'd never had the opportunity to take before was this one ... though it might have been better with the train heading down-hill. A double Fairlie is seen competently digging into the climb along a ledge high above the village with the first coaches of a lengthy train in tow. Blaenau Ffestiniog and the slate mines the railway was built to serve, can be seen in the distance.
Forging ahead up the cobbles of the station bank in Beamish Museum (and making a fair cloud of smoke as it does so) is this 1921 Daimler CK22 flatbed truck, registered DM 3161, in the livery of Longthorne of Hebden.
The truck was at Beamish as part of the Great War Steam Fair of April 2018.
Copyright © 2018 Terry Pinnegar Photography. All Rights Reserved. THIS IMAGE IS NOT TO BE USED WITHOUT MY EXPRESS PERMISSION!
My daughter Rosy, forging the blade of a letter-opener. This shot was taken in very low light conditions in the forge, so it's not very sharp.
Akseli Gallen-Kallela (1865-1931)
Central Hall
National Museum of Finland
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About the Source
The Kalevala . . . is a 19th-century work of epic poetry compiled by Elias Lönnrot from Karelian and Finnish oral folklore and mythology.
The Kalevala is the great Finnish epic, which like the Iliad and the Odyssey, grew out of a rich oral tradition with prehistoric roots.
During the first millenium of our era, speakers of Uralic languages (those outside the Indo-European group) who had settled in the Baltic region of Karelia, that straddles the border of eastern Finland and north-west Russia, developed an oral poetry that was to last into the nineteenth century.
It is regarded as the national epic of Karelia and Finland and is one of the most significant works of Finnish literature. The Kalevala was instrumental in the development of the Finnish national identity, the intensification of Finland's language strife and the growing sense of nationality that ultimately led to Finland's independence from Russia in 1917.
en.wikipedia.org/wiki/Kalevala
smile.amazon.com/Kalevala-Oxford-Worlds-Classics-ebook/dp...
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About the Work
"Forging of the Sampo is Gallen-Kallela’s . . . depiction of this central event in the Kalevala, described in Song 10. Väinämöinen returns home, and urges Ilmarinen to go to court the Maiden of Pohjola, who can be won by forging a Sampo – a mysterious talisman whose nature remains undefined. When Ilmarinen refuses, Väinämöinen uses magic to transport him to Pohjola in a whirlwind. Once there, Ilmarinen forges the Sampo, but the Maiden of Pohjola declines his offer of marriage, leaving him to return home disconsolate."
eclecticlight.co/2016/05/15/the-story-in-paintings-kaleva...
About the Artist
Akseli Gallen-Kallela (26 April 1865 – 7 March 1931) was a Finnish painter who is best known for his illustrations of the Kalevala, the Finnish national epic.
His work is considered very important for the Finnish national identity. He changed his name from Gallen to Gallen-Kallela in 1907.
Gallen-Kallela was born Axel Waldemar Gallén in Pori, Finland in a Swedish-speaking family. His father Peter Gallén worked as police chief and lawyer.
At the age of 11 he was sent to Helsinki to study at a grammar school, because his father opposed his ambition to become a painter. After his father's death in 1879, Gallen-Kallela attended drawing classes at the Finnish Art Society (1881-4) and studied privately under Adolf von Becker.
In 1884 he moved to Paris, to study at the Académie Julian. In Paris he became friends with the Finnish painter Albert Edelfelt, the Norwegian painter Carl Dörnberger, and the Swedish writer August Strindberg.
On [his] . . . honeymoon to East Karelia, Gallen-Kallela started collecting material for his depictions of the Kalevala. This period is characterized by romantic paintings of the Kalevala, like the Aino Myth, and by several landscape paintings.
In December 1894, Gallen-Kallela moved to Berlin to oversee the joint exhibition of his works with the works of Norwegian painter Edvard Munch. Here he became acquainted with the Symbolists.
In March 1895, he received a telegram that his daughter Impi Marjatta had died from diphtheria. This would prove to be a turning point in his work. While his works had previously been romantic, after his daughter's death Gallen-Kallela painted more aggressive works like the Defense of the Sampo, Joukahainen's Revenge, Kullervo Cursing and Lemminkäinen's Mother.
On his return from Germany, Gallen studied print-making and visited London to deepen his knowledge, and in 1898 studied fresco-painting in Italy.
For the Paris World Fair in 1900, Gallen-Kallela painted frescoes for the Finnish Pavilion. In these frescoes, his political ideas became most apparent. One of the vipers in the fresco Ilmarinen Plowing the Field of Vipers is wearing the Romanov crown, and the process of removing the vipers from the field was a clear reference to his wish for an independent Finland.
The Paris Exposition secured Gallen-Kallela's stature as the leading Finnish artist.
In 1901 he was commissioned to paint the fresco, Kullervo Goes to War, for the concert hall of the Helsinki Student's Union.
Between 1901 and 1903 he painted the frescoes for the Jusélius Mausoleum in Pori, memorializing the 11-year-old daughter of the industrialist F.A. Jusélius. (The frescoes were soon damaged by dampness, and were completely destroyed by fire in December 1931. Jusélius assigned the artist's son Jorma to repaint them from the original sketches. The reconstruction was completed just before Jorma's death in 1939.)
Gallen-Kallela officially finnicized his name to the more Finnish-sounding Akseli Gallen-Kallela in 1907.
Kallela Museum
In 1909, Gallen-Kallela moved to Nairobi in Kenya with his family, and there he painted over 150 expressionist oil paintings and bought many east African artefacts.
But he returned to Finland after a couple of years, because he realized Finland was his main inspiration. Between 1911 and 1913 he designed and built a studio and house at Tarvaspää, about 10 km northwest of the centre of Helsinki.
In 1918, Gallen-Kallela and his son Jorma took part in the fighting at the front of the Finnish Civil War.
When the regent, General Mannerheim, later heard about this, he invited Gallen-Kallela to design the flags, official decorations and uniforms for the newly independent Finland. In 1919 he was appointed aide-de-camp to Mannerheim.
From December 1923 to May 1926, Gallen-Kallela lived in the United States, where an exhibition of his work toured several cities, and where he visited the Taos art-colony in New Mexico to study indigenous American art.
In 1925 he began the illustrations for his "Great Kalevala". This was still unfinished when he died of pneumonia in Stockholm on 7 March 1931, while returning from a lecture in Copenhagen, Denmark.
His studio and house at Tarvaspää was opened as the Gallen-Kallela Museum in 1961; it houses some of his works and research facilities on Gallen-Kallela himself.
Forging a leaf for Flora Medica, six stories of ironwork we made for the Association of American Medical Colleges headquarters in Washington DC.
... my interpretation of a skandinavian classic ... blade forged from steel made before 1900 ( Tannenstahl / Mühlenstahl ) . Handle Micarta.
Forging his own hybird country sound, Isbell songs are quite often sung in the first person as the songs he writes have a little bit of him in his songs' characters.
Forjando su propio sonido de country híbrido, las canciones de Isbell a menudo se cantan en primera persona, ya que las canciones que escribe tienen un poco de él en los personajes de sus canciones.
Time had stood still on the Wolsztyn-Leszno line, but modernisation was gradually catching up. As 'Ol49' class 2-6-2 No.69 made a spirited start from Nowa Wieś Mochy station heading the 09:46 Leszno-Wolsztyn service on Monday 13th January 2014, electrical engineers were busy wiring in the new station lamps which were replacing the old concrete structures. Very soon the character of the line around the station areas on the line would be totally transformed, just as has taken place on the Wolsztyn-Poznan line at most stations. New regulation height station platforms would probably follow before too long.
© Gordon Edgar - All rights reserved. Please do not use my images without my explicit permission
These are wooden panels from a church at Hillestad, Norway. Romaneque style.
Photoed from my personal copy of Teutonic Myth & Legend by Donald Mackenzie circa 1913.
An image of the forging and grinding shop of Howarth's in Sheffield, with assorted workmen producing one of the city's most famous products, cutlery.
Today I passed 2014's mileage of 7310, and turn my attention to 2013's 7690. An 8000 mile year is looking increasingly achievable.
Very nicely restored LMS 4F 0-6-0 44422 heads a freight train from Wansford towards Peterborough on the Nene Valley Railway. This maid-of-all work design originated with the Midland Railway and was built in large numbers until 1941. Similar locos would have worked on the NVR route during British Railways days.
August 2012
Rollei 35 camera
Fujichrome 100 film.
In the old fashioned blacksmith shop in the outdoor area of Burritt On The Mountain museum in Huntsville, Alabama.
Forging itself a custom base from NCT's 14, it's safe to say Yourbus' Y5 is doing much better than was first thought!! The one we caught into Nottingham at 1400 from Beeston took a fully seated load....
3017 leaves Friar Lane with a Y5 to Derby via Beeston and Long Eaton.
STANDARD FORGING CO. PLANT
IND. HARBOR, IND.
Production Date: Circa 1915
Source Type: Postcard
Printer, Publisher, Photographer: P. L. Huckins
Postmark: October 22, 1919, East Chicago, Indiana
Collection: Steven R. Shook
Remark: This photograph was taken facing northwest at the corner of Euclid Avenue and Michigan Michigan Avenue. Euclid Avenue is behind the photographer and Michigan Avenue is the road running from the lower left to the upper right.
The facility was apparently razed by October 1919 when this postcard was mailed. Writing on the front of the postcard suggests it was sent to by a soldier who was housed is the smaller two story building adjacent to Michigan Avenue.
Copyright 2017. 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.