View allAll Photos Tagged him
Leisure and Labor, 1858
Frank Blackwell Mayer
West Building, Main Floor — Gallery 71
Gazing down at a blacksmith stooped over his work, an elegantly dressed man leans against a post. His graceful greyhound and the broken plow at his feet underscore his idleness. The poster behind him, which shows a grim reaper–like figure above the (misspelled) text “Stop Theif!!,” reminds us not to waste precious time.
Painted just before the Civil War, the scene may represent Northern scorn toward wealthy Southern landowners who bred greyhounds for sport and show. In political satires of the time, the dogs sometimes symbolized the Confederacy.
Two men, a dog, and a horse gather at the wide opening to a barn-like building that fills this horizontal painting. A light-skinned, blond man in a tall, brimmed, straw hat leans with his ankles crossed and hands in pockets against the right side of the opening. His body faces us and he turns his gaze toward the man to our left, whose face is in profile. The blond man's knee-length, olive-green jacket has black lapels, and it hangs open to reveal a close-fitting, ivory-white vest over a white shirt with a sea-blue tie. His brown, calf-high boots have a band of brick red around the top. A slender, brown and white grayhound stands facing our left in profile with its front legs stiffly straight and its hindquarters pressing against the man’s right leg. The tanned, dark-haired man near the jamb to our left bends over to work on the underside of a horse’s hoof, which he holds between his knees with his left hand. He wears a loose red shirt with an open collar and rolled-up sleeves, over wrinkled brown pants. Short black locks emerge under the edges of his olive-green cap. A wooden box of tools, with a handle for carrying, sits on the dirt ground in front of him. The horse being shod, overlapped by the workman, faces into the barn and to our left, but its head, turning to our right, is silhouetted against a landscape visible through an open window at the back of the barn. The view is dotted with haystacks and framed by tree branches. A stirrup hangs on a strap flung over a saddle on the back of the horse, whose rump stands between the laborer and a woman, who is deep in shadow. Placing her right hand, on our left, on her hip, she appears in front of the grids of window panes. She seems to have pale skin and dark, loosely bound-up hair, and she looks toward the horse. Red flames flicker in a fireplace between her and the standing blond man. The front opening of the structure is protected by a shallow wooden portico, supported on the left by a slender, trimmed tree trunk with a ring hanging from a screw near the top. Curling red and yellow leaves are scattered on the long, narrow, wooden boards that form the porch roof. Sunlight dapples the barn wall to our left, and a square patch of light falls on the face of the wall to our right, near the ground. A broken plow lies on the ground to our right, with the wooden handle of a tool propped against it. A tuft of long dark hair, like a horse’s tail, hangs on the wall over the tools. Closer to the head of the standing man, a poster is printed with black on white paper. A running man carrying an hourglass and a scythe is enclosed in a thin circle, over the words, “STOP THEIF!!!” in capital letters, though “thief” is misspelled.
This painting, completed just three years before the Civil War began, may be an expression of northern antipathy toward the landed gentry of the south. Leisure and Labor is the culmination of Mayer's decade-long exploration of the blacksmith theme. The bifurcated canvas juxtaposes a well-dressed man leaning casually on the right—hands tucked in his pockets and legs crossed—with an industrious and productive blacksmith hard at work on the left. A broken plow and graceful greyhound further underscore his leisure. The dog evokes breeding of animals for sport and show, an idle pursuit of Southern aristocracy during this period. During the war, the greyhound was one of the symbols of the Confederacy in anti-Southern political satires. The moral lesson is further communicated by the white poster on the right which depicts a man (who resembles the Grim Reaper) running with scythe in hand above the misspelled text "Stop Theif!" reminding the viewer that time is precious and not to be wasted.
Mayer, a Maryland artist renowned for his historical subjects and genre scenes, remained publicly ambivalent about the Civil War. After its outbreak, he traveled to Paris, as did two of the most important American collectors of the 19th century: William T. Walters, who commissioned Leisure and Labor and who later founded the Walters Art Museum in Baltimore, and William Wilson Corcoran, who purchased the painting in 1859 and who later founded the Corcoran Gallery of Art in Washington, DC. Both collectors were known Southern sympathizers.
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.
He bolted. Jess let him off the leash and he just kept running. Then he stopped way off in the distance. And he didn't move. I think he freaked himself out by running away from us, and then froze because he didn't know what to do. I lured him back with some treats, but this photo makes him look like a little lost pup in the woods.
Jamaica State Park
Jamaica, Vermont.
Every time you're broken and bruised, reach out for the hand of your Father, for He will always be there. He will always grab hold and never forsake you.
Mommies have hands too. :) Thankfully sometimes they like holding mine!
I found him when i got my stitches out haha in the parking lot...he had a broken wing so he coulnt fly and i was tight with him for like 24 hours till i left for school and he got eaten by a bird...hahaha oh well:D pictures in comments
5 in comments...some are from the cell phone and some from the camera...all are edited
P.S. on the first picture in comments...you can see my bandaid? haha well thats where i got my stitches in and out!
A Little History
The story of Bill Speidel’s Underground Tour begins in 1954. It really is the story of how Pioneer Square was saved, because the Underground Tour was the unanticipated product of this effort. By that year, Pioneer Square had fallen into such a state of disrepair few recognized it as the city’s birthplace. It occurred to Bill Speidel’s wife, Shirley, that Bill, a publicist, could do some pro bono work for an idea that had come to interest them both. “Why don’t you get Pioneer Square restored?” she asked him.
“I can do anything Shirley makes up her mind I can do,” Bill Speidel later recalled. He set about learning all he could about Pioneer Square, and plotted to reverse decades of deterioration and neglect.
Seattleites knew so little hometown history that the existence of “passageways beneath the city” was a local rumor sensible people didn’t repeat.
“I poked around and said things to the newspapers like, ‘Behold!’ and ‘we must do something.’ They printed this stuff,” Speidel said, prompting a letter to The Seattle Times newspaper inquiring about rumors that the ruins of early Seattle lay underneath its modern-day streets in Pioneer Square. Were there tours of the passageways?
In one of its popular columns, the newspaper referred the inquiry to Speidel. “We got 300 letters and a flock of telephone calls in the next two days,” from people who had read the column and wanted to take a tour, Speidel said.
“Well, there I was with 300 people dying to take an underground tour and no underground tours to offer,” he said. “And they weren’t just 300 people who dashed off a letter and forgot about it. They were 300 people who tried to call me every day.” So overwhelming was the response, he said, “it was easier to find out whether there was a buried city—which I sincerely doubted—than to stay in the office and take all that abuse.”
At about the same time, Speidel was struck by a little controversy that had cropped up at City Hall. “The Seattle City Council had voted ‘tops’ for topless go-go dancers because 25 protest letters were sent in. “I thought, what if I could get 300 letters sent in to the City Council demanding an ordinance designating Pioneer Square an historical site? Visitors on the tour could sign petitions. That would stop the ball-and-chain guys from knocking down more landmarks like the great old Seattle Hotel,” at First Avenue and Yesler Way, replaced now by what is known around the neighborhood as, “The Sinking Ship Garage.”
Speidel ultimately did find the remains of the city consumed in the Great Seattle Fire of 1889, a town founded on mostly soggy tideflats whose streets would, whenever the rains came, bloat deep enough with mud to consume dogs and small children.
After the fire, which destroyed some 25 square blocks of mostly wooden buildings in the heart of Seattle, it was unanimously decided that all new construction must be of stone or brick masonry. The city also decided to rise up from the muck in which its original streets lay.
It was this decision that created the Underground: The city built retaining walls, eight feet or higher, on either side of the old streets, filled in the space between the walls, and paved over the fill to effectively raise the streets, making them one story higher than the old sidewalks that still ran alongside them.
Building owners, eager to capitalize on an 1890s economic boom, quickly rebuilt on the old, low, muddy ground where they had been before, unmindful of the fact that their first floor display windows and lobbies soon would become basements. Eventually, sidewalks bridged the gap between the new streets and the second story of buildings, leaving hollow tunnels (as high as 35 feet in some places) between the old and new sidewalks, and creating the passageways of today’s Underground.
Eight years after the fire, in 1897, the Yukon Gold Rush brought 100,000 adventurers through Seattle en route to Alaska. The resultant financial boom brought to Pioneer Square all manner of entrepreneurs, including barmen and gamblers, con men and madams. When the rush was over 10 years later, these slippery people stayed on and gave the area a bad name. Reputable businesses moved uptown, and Pioneer Square was quickly forgotten.
The city’s birthplace lay virtually undisturbed, like the ruins of Pompeii, for nearly two-thirds of a century, before it occurred to anyone that it might be a good idea to preserve it.
“I guess about 600 people in all helped us establish the fact of the buried city,” Speidel recalled. Meanwhile, Speidel fed each discovery to the newspapers.
old photo of the Great Seattle Fire
Architectural flourish found in the Underground
“Well, the news media kept whooping it up and it got so letters were coming in from as far away as Cairo—Egypt, not Illinois. Even the City Council was impressed and took a tour of inspection. Not out of vulgar curiosity, mind you, but in the civic interest.
“I frankly told them they were the hunk of meat hanging in the tree that I was jumping for, and if 25 letters could kill off topless dancers, 300 could get the neighborhood designated an historic district. “They laughed and nodded and said pleasant things in unison.” But they didn’t exactly a-go-go.
“Then in May, 1965, when the Junior Chamber of Commerce held its ‘Know Your Seattle Day,’ they persuaded us to conduct tours for one day at a buck a head.”
When Bill and Shirley arrived to give the first public tour, Pioneer Place Park, “was packed with people holding dollar bills. We took 500 people on tours that day.”
The Speidels soon scheduled public tours: The Underground Tour finally was opened to the public. Soon after, the mayor was presented with 100,000 names on a petition, and in May, 1970, the Seattle City Council adopted an ordinance naming 20 square blocks in Pioneer Square an Historic District. Later, Pioneer Square became the city’s first neighborhood to be so listed in the National Register of Historic Places.
Speidel always was sure who should get the credit: “A lot of other people worked making it possible, but all I can say is, thank God for the go-go girls!”
America in the 1950s was a land of contradictions, torn between the values that won World War II and futuristic visions of an ideal world. The downtown cores of many cities were in decay. Families moved to the suburbs in pastel-painted station wagons, and commuted to work and school in all sorts of futuristic Detroit dream machines with big fins. The automobile reigned supreme. Freeways were needed. And parking lots. Raze the old, start anew!
It was government sanctioned devastation, but the idea that you could bulldoze blight, start ever-so-fresh, and live happily, sanitarily ever after, had the same sort of post-war appeal that led to Formica dinette sets and polyester underwear.
At the same time, ironically, Congress enacted the National Historic Preservation Act, the very tool to reverse this trend. The Preservation Act and related ordinances at the state and local levels, were designed to preserve historic character and ensure sensitive restoration in old neighborhoods. At the time, building owners in Seattle’s old Pioneer Square district were loathe to put a dime into their holdings because the buildings adjacent theirs might never see improvement, or could be torn down without warning and turned into monstrous concrete parking garages by the Seattle Central Association, a sworn enemy of any and all historic preservation, and whose members’ vision, Speidel pointed out routinely, “extended not quite to the tips of their noses.”
A public relations campaign wasn’t about to change these guys’ views.
Designation of Pioneer Square as an Historic District, however, gave preservation the credibility it needed to capture the interest of bankers. Now, recalcitrant building owners began to listen.
The city kicked in funds for upgrading public right-of-ways and public spaces. The Feds came up with a nice little tax-credit program for historic buildings, and—along with adventuresome tenants such as artists, architects, gallery owners, nightclubs and the Underground Tour—the preservation of Pioneer Square was underway.
Today, Pioneer Square and the Pike Place Market, a few blocks north, are Seattle’s famous old downtown neighborhoods. It’s difficult now to imagine how underappreciated they once were, or how close we came to losing each of them.
Big trees everywhere. Plenty of underbrush. Cliffs and streams. And a whole lot of mud. That’s where the city of Seattle sat.
When the region’s early settlers looked around them, Puget Sound was the only horizontal surface they saw for miles, except for the tideflats, which you could smell long before you got close enough to see them, according to hop farmer Ezra Meeker, the area’s leading promoter at the time.
Even so, Arthur Denny, pioneer and the first Seattle developer, so to speak, was hooked on the deepwater harbor of Elliott Bay, which he’d been measuring for weeks with a horseshoe and bits of string. In the 1850s, a town needed a deep harbor to be on the freeway of maritime commerce.
Denny’s nemesis was one Dr. David Swinson Maynard. Where Denny was uptight and frugal, Maynard was free-wheeling and generous. Doc Maynard had a sense of humor, Denny didn’t.
These differences fueled a long-standing tension between the two. Yet, when the teetotalling Denny contracted malaria, it was Maynard who saved his life. But here’s how: with laudnaum—a concoction of opium dissolved in alcohol. Furthermore, as Denny sunk under the auspicies of the medicine, Maynard opened one-on-one negotiations for property owned by Denny’s brother-in-law, which really wasn’t for sale. Well, Denny lived. And the real estate Maynard acquired, because he thought it would make a perfect downtown core, comprises a portion of today’s historic Pioneer Square.
One thing both men shared was the absolute determination to get a city going here. Twenty-five years after Doc got here, of the 208 businesses in Seattle’s first business directory, 196 of them were in Maynardtown, which in time became known as Pioneer Square.
A lot of what Arthur Denny did well was to get rich: History remembered him. Doc Maynard was forgotten. Until 1978, when Bill Speidel wrote, “Doc Maynard: The Man Who Invented Seattle.”
Where the land was not soggy from Puget Sound seepage, it was saturated by rainfall. After trees were cut and wagons passed through, it was one muddy mess. That’s when the filling began.
Early fill came from Henry Yesler’s steam-powered sawmill, which repaired potholes with what they had the most of: sawdust. Typically, Henry had discovered a method of looking like he promoted the good of the city while conveniently dumping his mill’s waste into nearby streets. Later we made him mayor.
Early entrepreneurs such as Yesler did lucrative business with folks in places such as San Francisco, who were willing to pay big for the trees we were trying to clear off our land. Ships coming to load timber had to carry weight, ballast, on the way up, usually in the form of rocks or land fill. Vessels were charged for dumping ballast off at the foot of Washington Street. So it was that the city got a little something on the side while helping early realtors make their own land from scratch. (And that, too, is how a good portion of Telegraph Hill, San Francisco, ended up in Puget Sound.)
The town’s proximity to sea level caused a new problem, literally, to rise up. In 1851, the same year the Denny party arrived, a fancy new device was introduced at the White House. It was called a “water closet,” and, boy, did these things take off in popularity. Even in the tiny frontier town of Seattle, indoor toilets became the rage.
By 1882, the city health commissioner, in his annual report, highlighted the fact that our sewers were operating at full blast, but it wasn’t a one-way river. Twice a day when the tides came in, the sewers flowed with it—backwards. Toilets became fountains!
With sawdust in the streets, buildings on stilts and toilets turning into geysers on a daily basis, Seattle was badly in need of remodeling.
The perfect chance came on June 6, 1889, when Jon Back, a young Swedish carpenter’s apprentice in a shop at Front and Madison streets, let his glue boil over onto wood chips. The fire he started tore through downtown, devouring wood-planked streets and ticky-tacky wood buildings.
old photo of the Great Seattle FireOld photograph of the Great Seattle Fire
Firefighters were thwarted when the private water system—owned by three of the city’s leading citizens—proved to have not enough pressure to make the hoses effective. Desperate for another source of water, firefighters scrambled to the nearby shores of Puget Sound— and found the tide was out. The tide had them coming and going in those days.
By the time the fire was through, some 25 blocks of the central business district was gone.
Nevertheless, we think our fire was great. That’s why we call it The Great Seattle Fire.
“It was the biggest fire any city in the Pacific Northwest ever had,” Speidel would enthuse, “and the timing was right. “In a fire, timing is everything. If Tacoma (Seattle’s neighbor city just down the road) had had a fire, they’d probably have goofed up the timing. As it was, ours was just right. It was big news all over the world. It brought in about $120,000 in relief money and glory, because we were a brave little frontier town that had been wiped out and was manfully trying to rebuild itself.”
Along with financial relief, Seattle gained 17,000 new residents in her race with Tacoma for dominance of the region. In one fell swoop, the city rid itself of 30 years of ramshackle construction and poor planning—urban renewal before its time.
This is Jedidiah. We call him Xixi (sisi) and he's the shortest student in our Kindermusik classes. You can tell a lot about someone by looking at them but at the same time there's so much you don't see that really matter.
This little guy used to be a problem in class since he couldn't speak anything but Chinese and he was just so tiny and seemed... well baby-ish. He turns out to be really happy and playful while being thoughtful and gentle with those around him. And, his father happens to be a pastor.
We had a little game of truth or dare at our OWG fellowship and we learned a lot of things about each other that we possibly wouldn't have known otherwise. It doesn't matter how long you've known someone, there's always something new.
Praise God!
The Heydt Wedding in March 2011.
Leesburg, VA
I was fortunate enough to shoot a Steampunk themed wedding, in a period victorian house. Everyone in attendance was encouraged to dress in costume, and surprisingly, everyone did.
Joe Fox Comedian Headshot Session
Guess how I made this one?
Manly Glamour Light!
See him perform at www.joethecomedian.com!
Ghost Bear just learned there is no getting away from Mutt's dog Junkyard. And tries to hold the animal off t'ill his master will catch up and arrest him.
HIM, Birmingham o2 Academy, 19/3/2010, Copyright 616 Photography, AlternativeVision.co.uk, DO NOT USE WITHOUT WRITTEN PERMISSION!
Liam Gallagher said the new M&S Stevenage store is outrageously good I agree with him Marks and Spencer Roaring Meg Retail Park Stevenage Hertfordshire
A police general responsible for the referendum sexual harrasements to female activists
Photo taken by Nora Younis and poster co-produced by Nora Younis
Both gone, sadly - Mum died of a heart attack in that house, 13th December 2004.
Alfie was put to sleep 15th June 2013 - lest he died of a heart attack, "Within the week" (according to the emergency vet).
His VIDEO at Google [ In the shadows but what can you do....]
video.google.com/videoplay?docid=3357692214474717806
Right outside our window by the bird feeder!!
Took his time... 30 min
Have never been able to film him actually feeding on his catch!
He hangs around here all the time hunting the birds we feed.
Think he is a 'Pigeon Hawk' He's been a hard one to figure out.
We welcome any help if anyone knows differently.
Took these shots Aug 20th but couldn't get them up here till now.