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The Forty-Sixth Session of WIPO's Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications (SCT) took place in Geneva from November 21 to November 23, 2022 in hybrid form – with delegates and observers attending physically in Geneva, Switzerland, and via remote participation from around the world.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
The Thirty-Fifth Session of WIPO's Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications (SCT) took place in Geneva, Switzerland from April 25 to April 27, 2016.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
WIPO Director General Daren Tang opened on November 23, 2020 the 43rd session of the Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications
The SCT met in a hybrid format from November 23-26, 2020.
Link: Full opening remarks.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Original Caption: Coal Car Flower Planter in Front of the Town Hall, Is an Indication of the Importance of the Industry in the Southeastern Part of the State. 07/1974
U.S. National Archives’ Local Identifier: 412-DA-13133
Photographer: Calonius, Erik
Subjects:
Cadiz (Harrison county, Ohio, United States) inhabited place
Environmental Protection Agency
Project DOCUMERICA
Persistent URL: research.archives.gov/description/555585
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html
Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
This is a photograph from the 1st round of the 2015 Mullingar Road League which was held in Belvedere House and Gardens, Mullingar, Co. Westmeath, Ireland on Wednesday 6th May 2015 at 20:00. This year the 5KM was ran on a modified route based on the route from the last couple of years. Tonight the final 1KM stayed within the Belvedere Gardens bringing runners down to the lakeside for a second time and finishing along the aptly named Stream Of Life. The route modification meant that the race offered a slightly faster route than the hill finish of previous years.
The race is promoted by Mullingar Harriers for the Pat Finnerty Memorial Cup. Competitors need to run 3 races out of the 4 races in May (any order) to be considered in the overall placing in categories at the conclusion of the league. Over 350 people took part in tonight's event. The weather was perfect for running with sunshine with just a little breeze. The new finish area provided a nice space for runners to stay around and chat in the evening sunshine. The Mullingar Road League 2015 has started off successfully and looks to add to the success in the history of this great series.
The "Road League" is something of a misnomer but is an indication of the League's origins on the roads around Ladestown Mullingar prior to it's move into Belvedere in 2008. The Road League is the envy of many other races in the country as the Belvedere locations offers a completely traffic free 5KM route.
We have an extensive set of photographs from tonight in the following Flickr Album: www.flickr.com/photos/peterm7/16772614064/
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/results.aspx with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
Photographs from the last number of years of the Mullingar Road League are found at the bottom of this text
USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
Links to previous Mullingar Road League Photographs from over the years
Our photographs from Round 1 of the 2014 Road League on Flickr: www.flickr.com/photos/peterm7/sets/72157644508131856/
Our photographs from Round 2 of the 2014 Road League on Flickr: www.flickr.com/photos/peterm7/sets/72157644261638039/
Our photographs from Round 3 of the 2014 Road League on Flickr: www.flickr.com/photos/peterm7/sets/72157644769714481/
Our photographs from Round 4 of the 2014 Road League on Flickr: www.flickr.com/photos/peterm7/sets/72157644840050706/
Road League 2014 Facebook Page: www.facebook.com/patfinnertyroadleague?fref=ts (Requires Facebook logon)
YouTube Video for the Promotion of the 2014 Road League: www.youtube.com/watch?v=KfvVVwrkgTM
A Vimeo Video for the Promotion of the 2013 Road League: vimeo.com/64875578
Our photographs from Round 5 of the 2013 Road League on Flickr: www.flickr.com/photos/peterm7/sets/72157633794985503/
Our photographs from Round 4 of the 2013 Road League on Flickr: www.flickr.com/photos/peterm7/sets/72157633604656368/
Our photographs from Round 3 of the 2013 Road League on Flickr: www.flickr.com/photos/peterm7/sets/72157633470510535/
Our photographs from Round 2 of the 2013 Road League on Flickr: www.flickr.com/photos/peterm7/sets/72157633451422506/
Our photographs from Round 1 of the 2013 Road League on Flickr: www.flickr.com/photos/peterm7/sets/72157633397519242/
Belvedere House and Gardens on Google Street View: goo.gl/maps/WWTgD
Chip Timing Results from Precision Timing: www.precisiontiming.net/results.aspx
Belvedere House and Gardens Website: www.belvedere-house.ie/
Mullingar Harriers Facebook Group Page: www.facebook.com/groups/158535740855708/?fref=ts
Our Flickr Collection from Mullingar Road League 2012 (1,800 photographs) www.flickr.com/photos/peterm7/collections/72157629780992768/
Our Flickr Collection from Mullingar Road League 2011 (820 photographs) www.flickr.com/photos/peterm7/collections/72157626524444213/
Our Flickr Collection from Mullingar Road League 2010 (500 photographs) www.flickr.com/photos/peterm7/collections/72157624051668808/
Our Flickr Collection from Mullingar Road League 2009 (250 photographs) www.flickr.com/photos/peterm7/collections/72157617814884076/
Our Flickr Collection from Mullingar Road League 2008 (150 photographs) www.flickr.com/photos/peterm7/collections/72157605062152203/
This mother is going to have her hands full, if the expression on this little girl's face is any indication:) View Large On Black
A 'Grand Tour' and no mistake; with indications that this is to be a 'Farewell' for two D.R>S. class 20s, the dynamic duo of Autumn R.H.T.T. 'fame'. With an early in the day heading through this area with two D.R.S. blue class 57s, 57002, 'Rail Express' & 57003 in double-header format, but decided to wait for what I hoped would be a prompt return back south, as sunset is around 16:20 and the 20s would be on in-lieu of the 57s. With a member of the younger contingent in tow, the safest location I thought appropriate, was here at Chapeltown Station, on the Midland's Blackburn Valley line, north of Sheffield and it wasn't too long before some unlooked for traction appeared instead of the more mundane Northern class 144s and 158s. At left, on Platform 2 in matching livery, Casper asks 'is that it', shame to disappoint but have to say 'no, our special train has set off 20 mins late from Leeds, and wont be here quite yet'. Passing south along platform 1 towards Meadowhall and on to Sheffield is a Northern Rail, 'CAF, Construcciones y Auxiliar de Ferrocarriles, S.A.' class 195, 'Civity', 195012 on the semi-fast, 1Y23, from Leeds via Barnsley & Sheffield to Nottingham service; and a fine show it makes running through this station. This passenger service passed through at around the Charter was due, which has now picked up around 10 mins on its way from Leeds, Wakefield and on to Barnsley. Unfortunately this timing meant it would pass south along platform 1 as a Northern Rail 158 was due to make a stop on platform 2, so the 'team' decided to move quickly to the north end of platform 2, to be in front of the stopping service, and Casper was given the job of 'spotting the 158 coming around the corner behind us' job, so we could make a hasty move. In fact he alerted me it had appeared and it did arrive on platform 2 at the wrong time, disgorging what seemed like an endless 'crowd' of passengers, fortunately, the Charter appeared to have been slowed up slightly in the Elsecar/Wombwell area to the north of us, and the 158 cleared out of the way in good time; so, back to the south end of the platform for the arrival...
Original Caption: "House of Coal" Erected by the Hanna Coal Company in Front of the Cadiz, Ohio, Town Hall, Is an Indication of the Importance of the Industry in the Southeastern Part of the State. 07/1974
U.S. National Archives’ Local Identifier: 412-DA-13148
Photographer: Calonius, Erik
Subjects:
Cadiz (Harrison county, Ohio, United States) inhabited place
Environmental Protection Agency
Project DOCUMERICA
Persistent URL: research.archives.gov/description/555600
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html
Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
Directions to the NAC entrance (on Albert Street towards Mackenzie King Bridge) / Indications vers l'entrée du CNA (sur la rue Albert en diretion du pont Mackenzie King)
The Thirty-Sixth Session of WIPO's Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications (SCT) took place in Geneva, Switzerland from October 17 to October 19, 2016.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
In its current incarnation as the Rendezvous Grand, the hotel on Melbourne's Flinders Street was once in fact, the Commercial Travellers Association Building.
The Commercial Travellers Association Building was designed by architect Harry Tompkins in 1912 and completed in 1913. It is one of the finest and most distinct expressions of the Edwardian Baroque style in Melbourne. This grand classical non-domestic style, featuring a combination of Beaux Arts Classicism with a revival of English Baroque sources, was adopted as the style of choice for department stores, emporiums and other large commercial establishments in Melbourne in the first two decades of the 20th Century. It was thus an eminently suitable style for the headquarters of the roving disciples of commerce, the Commercial Travellers Association. The building was the winning entry in a competition organised by the Association and judged by the well-respected Percy Oakden, an indication of the high regard in which the building was held by Harry Tompkins' architect peers.
The Commercial Travellers Association Building is of architectural significance for a number of innovations, such as the use of welded wire reinforcing mesh, perhaps the first use of such material in Victoria, and "Mack" slab cement partitions, the only known use of this technology in Victoria. It was also one of Australias earliest steel framed buildings. It comprises a basement and nine storeys. The ground floor is faced with granite. The facade above is partially rendered and partially faced with (formerly) cream glazed bricks. An unusual feature, the choice of such bricks was used to combat discolouration caused by pollution from the busy city thoroughfare and the nearby railway yards opposite. The rendered areas are treated in an ornate fashion, with exaggerated classical detailing including foliated swags, medallions and cartouches. It features a colonnade of the second floor (also known as a piano nobile), which is supported on massive, oversized consoles. Consoles also support the cornice surmounting the facade. Oriel windows rise through the second and third floors and are topped with balconettes. There are also balconettes on the eighth floor.
Leadlight is featured in some of the windows, mainly at the lower levels. The building is an early example of steel-framed construction, with reinforced concrete floors and a combination of terra cotta lumber and cement slab for non-structural internal walls. The building also boasted equipment such as a built-in vacuum cleaning plant, electrically heated service lifts, potato peeling machines, telephones in each room (the height of opulent luxury), a dish washing machine and large electric toaster. The building was also the tallest in Melbourne until the construction of the Manchester Unity Building, completed in 1932, and the first to be constrained to the new city height limit of one hundred and thirty two feet. The Commercial Travellers Association Building is of architectural significance as one of the most impressive buildings created by Harry Tompkins.
The building ceased functioning as the Commercial Travellers Association club in 1976 and fell into disrepair before being partially restored as the Duxton Hotel in the late 1990s. When commercial viability saw the Duxton close its doors, the Rendezvous Hospitality Group took on the project of meticulously restoring the hotel, retaining the elegant style of the early 1900s while providing guests with all the convenience of the 21st Century; what today is known as the Rendezvous Grand Hotel.
Harry Tompkins was one of Melbourne's best commercial architects during the first three decades of the 20th Century. He had a long relationship with the Commercial Travellers Association and also with Sydney Myer, for whom he designed the first Myer Emporium building. Harry Tompkins served two terms as President of the Royal Victorian Institute of Architects between 1914 and 1916, a reflection of his esteemed position in the architectural profession. Other well-known buildings for which he was responsible include Dimmeys Model Stores on Swan Street in Richmond, the London Stores on Bourke Street and the Centreway Arcade in Collins Street.
www.messersmith.name/wordpress/2010/11/16/making-pancakes/
I am amazed daily by how busy I am. This was not something which I expected - another indication which demonstrates that I was paying little attention to the mundane details of life. Eunie was so competent and took care of so many things so efficiently and transparently that she seldom seemed to be busy. Oh, what an illusion that was! As part of my self-reprogramming to appreciate once again the potential humour of life situations, I'm trying to understand how this highlights my basic lazy attitude when it comes to things which I perceive as "work" compared to things which I find more amusing, such as "play".
So, these days I wonder how she did it all, how she did it without seeming to be doing much of anything. I hope that I'll learn to manage my time better. I can't believe how much time I waste doing things which are not productive. In the meantime, while I'm absorbing this and readjusting my priorities, I'm making some moves in the direction of creating opportunities to combine work with play. My first target is cooking.
Last night, I came home from work an hour early because I had guests coming for dinner. I had been thinking about making pancakes, because it's safe. Some people think that it's strange to have pancakes for dinner, but I felt willing to take the risk. I'm making a concerted effort to have guests to dinner at least one night a week. It softens the loneliness and gives me opportunities for enjoyment instead of working all evening until I find that it's two o'clock in the morning and I haven't felt sleepy yet. Yes, there is something funny in that, when I stop to think about it. Funny-stupid. The work will be there in the morning, but the sleep can't be retrieved. It's better to lay down with a really bad book and allow myself to be bored into slumber.
The thing about making pancakes is that you can't use just any old recipe. Since I can't smell anything any more, I have to depend on recipes. I have to have something which tells me exactly what to add, because I can't judge seasoning, especially aromatic spices. Pancakes are dead easy if you have a good recipe. I have the finest on the planet.
This is Eunie's ancient, venerable Betty Crocker Cookbook. Of course, there never was a real Betty Crocker. She was a fictitious person made up by the marketing gurus at General Mills. Over the years Eunie had several editions of the Betty Crocker Cookbook on her cookbook shelf upon which rests, as I counted last night, eighteen volumes of cooking variety. It's too bad that I'm not very adventuresome. I couldn't appreciate most of it anyway:
I remember one Betty Crocker Cookbook which Eunie had years ago which was a giant three-ring binder with a similar cover to the one above. This book was widely known as "The Big Red."
On page thirty of the cookbook above you will find the best pancake recipe in the world:
I've reproduced it here with enough pixels that you can read it or print it out, if you want to try it.
Since there is a slim possibility that you are an even worse cook than I, here are some elementary instructions to help you along the road to pancake nirvana. First you have to gather your ingredients. I was making a double batch of batter. That explains the two eggs. I have already added the flour and milk to the mixing bowl. So far, the mess is minimal:
Very efficient, eh? Give it time. It will become progressively more messy.
Okay , now it starts to get serious. I've added the eggs, baking powder, oil, salt and sugar. The table is getting cluttered and blobs of egg white and puffs of flour are already attracting my herd of ants. My bare feet are sticking to the floor. Sheba is standing in the kitchen door whining. She knows there are tasty spots to be licked:
My dad taught me that one secret of making pancakes is to not over mix the batter. He always told me to leave a few lumps. So, that's the way I have always done it. I don't know if it really makes any difference. I do cheat a little also on the recipe. I put in twice as much sugar and twice as much salt. I use a whisk instead of an electric mixer because I'm far too lazy to get the thing out and plug it into the wall:
Okay, we're all mixed up now and it's time to cook up some pancakes. Here is my stove ready for a serious session of cooking:
I like Teflon skillets, because I don't have to wash them. I just put them under the spigot, rinse and wipe and then dry. As you can see, I'm also making scrambled eggs. I have onions, tomatoes and Colby cheese cubes ready to add. I'll fry the onions a little first, then add the eggs, milk, salt and pepper mixture. When the eggs are almost cooked, I'll put in the tomatoes and cheese and give it a final stir.
So, the pancakes and scrambled eggs are cooked now and it's time to sit down and (hopefully) enjoy the meal. I've even managed to enjoy the cooking experience, since I waited until my guests arrived and allowed my new friends from the highlands to help out as they wished. But, wait! Pancakes are not so fine without some sort of syrup, eh? Maple syrup is my favourite, but I can't abide an artificial taste - ugh! One can occasionally find Real Maple Syrup here in Madang, but it is far too pricey to fit into my new austerity budget, a necessary concession to my enormous, recently incurred debt load. Well, that will go away with time. I refuse to fret about it any longer. It's such a waste of valuable time. I tell myself twenty times a day, "Stop thinking about that. Money is not your security."
So, what to do about syrup? I pulled out another trick from my hazy memories of youth, most of which I'd rather not revisit. I cooked up a batch of home-made syrup before my guests arrived. One can make a very tasty caramel syrup so easily and inexpensively that I can't imagine why anyone buys the stuff. Here is an example:
I hope this doesn't bore anyone, but I'm forging on nevertheless. I have come this far. I may as well finish it.
Put a cup or two or three of plain sugar into a saucepan and turn up the heat. After a while, you will notice that it is melting. Amazing! Sugar melts all by itself. Now comes the tricky part. You have to stir and stir and stir while it's melting until the whole mess turns into a very hot amber liquid. This is the part when you want to be very careful. It will burn you until the tears flow if you get any on you, especially on your tummy if you cook as I do as bare as is appropriate considering the sensibilities of my guests. I find this necessary to tolerate the mini-hell of my kitchen in the tropical heat.
So, being careful, you allow the sugar to go all gooey until it's mostly melted, possibly allowing for a few stubborn lumps. Do not, please, allow it to become too dark. If you do it will quickly acquire a burnt taste which is not at all pleasant. You will have to feed it to the pigs. Once it is sufficiently melted and has the darkish amber colour which is desirable you add some water. How much is anybody's guess. Add enough to turn it all into a syrup. If you add too much you will have to boil it down, which takes too much time. Be very careful adding the water as it is going to boil up like crazy because the melted sugar is blazing hot. I recommend that you stand back.
Keep stirring until all of the hard-candy like sugar is melted into the water. You should end up with something like a thin syrup while it is still hot. You can test the viscosity of it by putting some in a spoon and then carefully holding the bottom of the spoon barely touching some cold water. The contents of the spoon will thicken and give you an idea of how syrupy the final concoction will be.
At this stage it is very sugary and has no flavour except the caramel. I usually like to add some flavouring after it cools. I happened to have some home-made vanilla extract. It worked a treat. It is a blessing that we are able to get vanilla beans here at a very modest price. Soaking them in vodka for a few weeks makes an excellent vanilla flavouring. We have another advantage here in PNG because the quality of our sugar is very poor. It's more like raw sugar - very strongly tasting of molasses. It actually makes a better syrup than completely refined sugar.
I didn't take a picture of the finished meal, because I was too busy enjoying it and the fine company. I was hungry, too.
Bon appétit.
No indications of its former identity, and again seen unexpectedly at the side of the road, on a day when i was working on something that meant I had no time to investigate further. Looking a bit battered around the roof but still driveable.
History of Kraków
First indications of the existence of Krakow approximately stem from the 7th century. In the next following centuries the tribe of Vistulans (Wislanie) populated Krakow, after they centuries ago in the as "Lesser Poland" or Malopolska known region had settled down. From the year 965 stems the first document from Krakow, as Abraham ben Jacob of Cordova, a Jewish merchant, in his book referred to the trading center of Krakow.
In 1000, the Diocese of Krakow was founded and in 1038 declared capital of the Piast dynasty. The Wawel castle and several churches were built in the 11th century and thus the town rapidly grew. 1241 the Mongols invaded the city and burned down Krakow without exception. 1138 Krakow became the seat of the senior prince. 1257 Kraków was awarded its town charter and a city map was drawn up, which remained until today. This one included the arrangement of the checkerboard street configuration with a centrally located market. On the market following the seat of the city government was built. From the historical trading functions until today only the Cloth Halls remained. But on the market not only trade agreements were closed but also courtly and urban festivities celebrated. Furthermore, the urban center served for executions. The defensive walls were built, which surrounded the city and linked it to the Wawel. In the south of Wawel Castle in 1335 the city of Kazimierz was created. By Royal command it was surrounded by defense walls and the churches of St. Catherine, of Corpus Christi and the "Na Skalce" were built. End of the 15th century, Jews settled the later Cracow district. 1364 the Cracow Academy of King Kazimierz Wielki was founded, the famous Polish Jagellonen-University.
With the last king of Jagellonian dynasty, Krakow flourished. The Wawel castle was rebuilt in Renaissance style, the well known Zygmunt chapel was built and the Cloth Halls as well as the patrician houses have been restored. During the reign of King Sigismund III. Vasa the baroque style received introduction in Krakow. The Baroque University Church of St. Anne and the Church of Saints Peter and Paul were built in this period. In 1607 Warsaw was declared headquarters of the King, but Krakow retained its title of the Royal capital. Furthermore, it remained the place of coronations and funerals. Middle of the 17th century, the city was devastated by the Swedes, what at the beginning of the 18th century was produced again.
After the first partition of Poland, Krakow became a frontier town. Austria declared the settlement Podgorze separated city. After the second division in 1794, began the Polish national uprising. After its decline and the third partition of Poland the town fell to the Austrians, which on Wawel Hill caused numerous devastations and adapted buildings to the wishes and needs of the Army. 1809 Cracow was affiliated to the Grand Duchy of Warsaw. After the defeat of Napoleon, Krakow in the Vienna Convention of 1815 was declared Free City of Kraków. Then the remains of folk hero Tadeusz Kosciuszko and of Prince Jozef Poniatowski were brought back to the city. 1820-1823 on the rise of St. Bronislava a hill in honor of the leader of the popular uprising was built. Instead of the city walls, which were largely destroyed, they laid out supporting beams. 1846 Krakow lost its independence and the Austrians erected again on the Wawel barracks and they surrounded the Wawel with fortification complexes. However, Austria but has proved less tyrannical and so the city enjoyed a certain degree of growing cultural and political freedom. 1918 Krakow became the independence back.
Before the outbreak of the Second World War, in Krakow lived about 260,000 inhabitants, of which 65,000 belonged to the Jewish religion. During the war, also Krakow became witness of German war crimes. The for the greater part Jewish district of Kazimierz was eradicated. The Jews from now on lived in ghettos where they either were deported from there to Auschwitz or immediately shot. In spite of the plundering of the Nazis, Krakow became no scene for military combat operations and thus the only large Polish town escaping this fate. Therefore, its old architecture still almost completely is intact.
After the surrender of Germany and the Polish liberation, hastened the Communist government to inspire the traditional life and the city with a large steel plant in Nowa Huta. But the intensive rebuilding of the economy and industry rather promoted an ecological disaster. Buildings that had survived the war undamaged were now devoured and destroyed by acid rain and toxic gases. Carbon dioxide emissions grew so powerful that this has remained a serious and grave problem of the city. After the fall of the Communists and the fall of the Iron Curtain Krakow has benefited greatly from tourism and has adapted itself to a large extent to the Western culture.
Mes chères petites mains là se sont lâchées !
Je suppose que les cartes étaient peintes suivant des indications détaillées, précises. Qui a eu l'idée pour la chemise blanche du vieil homme a la jambe cassée de cette explosion de taches rouges et vertes ?
Un peu comme le détourage des tableaux au centre qui finit dans un mélange de fleurs et d'une horloge que l'on a bien du mal à apprécier les formes dans ce cafouillis.
Cela nous donne l'effet d'une troisième fenêtre, centrale de plus ! Et cela gêne, détonne de l'ensemble qui avec les robes très sobres des deux jeunes femmes et de celle qui sert un bon remède chaud à notre blessé !
L'horloge donne le top départ du chaos, plus on s'en éloigne plus la simplicité visuelle gagne... Même pas de tapis à motif géométrique sur le sol. J'ai dû dissimuler les motifs de la chemise, car en anaglyphe cela donnait le vertige...
J'aimerais bien voir en diorama, si les couleurs n'ont pas été un peu plus accommodées.
Attribué à Alexis et Charles Gaudin, studio Anglais.
On the other hand my dear little hands there have let loose! I suppose the maps were painted according to detailed, precise indications. Whose idea was it for the old man’s white shirt with the broken leg of that explosion of red and green spots?
A bit like the clipping of the paintings in the center that ends in a mixture of flowers and a clock that one has a hard time appreciating the shapes in this mess. This gives us the effect of a third window, central more!
And it bothers, detonates from the whole that with the very sober dresses of the two young women and of the one that serves a good hot remedy to our wounded!
The clock gives the start of chaos, the further away you get from it the more visual simplicity wins...
Even no geometric carpet on the floor . I had to hide the patterns of the shirt because in anaglyph it gave vertigo... I would like to see in diorama, if the colors have not been a little more accommodated.
Red-crowned Barbet (Psilopogon Rafflesii)
The red-crowned barbet belongs to the order Piciformes (woodpeckers and relatives), family Capitonidae (barbets), subfamily Megalaimatinae (typical Asian barbets) (Shorts & Horne, 2002). According to Shorts & Horne (2002), there are currently three subspecies of Megalaima rafflesii recognised. Megalaima rafflesii malayensis occurs from southern Myannmar to the Malay Peninsula, Megalaima rafflesii billitonis from the Belitung and Mendanau Islands, Megalaima rafflesii borneensis from Borneo but made not indication of the range of the nominate subspecies Megalaima rafflesii rafflesi. Subspecies of this barbet have been rejected on the basis that variations in body size, and tone of blue parts were found to be age- rather than geographically linked (Wells, 1999).
The red-crowned barbet has a smaller, yellow malar-patch, and has a blood-red cap stretching from the bill to the nape. It also has a blood-red spot below the eye, and two larger spots at the side of the throat. There are also bright light blue markings on the chin, throat as well as a long supercilium with black lores and ear-coverts. The remainder of the bird such as the mantle, back, rump, uppertail coverts, tail feathers, and the wing are generally bright leaf-green. The legs are a dull ash-grey.
The red-crowned barbet, is a lowland species always found below 600 m altitude (Shorts & Horne, 2002) and usually found in the canopy of lowland evergreen rain forest including peat swamp forest as well as mature secondary forest and younger regenerated forest after disturbance (Wells, 1999). In comparison the brown barbet, and the blue-eared barbet are only found in pristine primary forest or in areas were disturbed forest have regenerated and reaching its climax (Wells, 1999) and as such have been extirpated from Singapore (Jeyarajasingam & Pearson, 1999). Today, the red-crowned barbet has nearly been eradicated from Thailand owing to forest clearance, and in Singapore, only persists because of its tolerance for secondary growth (Wells, 1999).
The red-crowned barbet usually feeds in the canopy on fruits from trees as well as vines. The red-crowned barbet was seen feeding from a fruiting canopy-height vine at Pasoh Forest in Negri Sembilan, Peninsular Malaysia. Canopy-level strangler fig trees’s syconia such as those of the Malayan banyan (Ficus microcarpa) are the favourite food menu of this species, so often seen at mass-fruiting Malayan banyan trees in Taman Negara, although none were seen at a fruiting grey fig (Ficus virens) tree, where other Megalaima species were observed. The red-crowned barbet has also been recorded taking animal food such as borer grubs excavated with its strong bill from rotting wood and has also been recorded feeding on an arboreal snail (Amphidromus species) in the Central Catchment forest of Singapore. The red-crowned barbet has also been known to follow mixed-species foraging flocks of mainly insectivorous passerines searching the canopy foliage for insects and fruit. This ability to interact with other species, and to exploit other food sources other than fruit on a regular basis could also be the reason why this species has been able to survive in Singapore, when the other two forest barbets have gone extinct (Shorts & Horne, 2002). The blue-eared barbet, like red-crowned barbet, is reportedly a strict canopy feeder, visiting only fig tree crowns in the main canopy and not visiting lower fig plants. The blue-eared barbet has been observed to take syconia in the diameter range for 5.4–27.7 mm, with utilisation increasing towards the lower end, with most activity observed at the diameter of 11.6 mm. The blue-eared barbet is more territorial with respect to food sources and are observed to defend patches of fruit in a crown, chasing away even larger frugivorous species. This behaviour could be the reason why this species went extinct, owing to over-competition, and lack of a suitable number of fruiting fig plants at any point of time. The brown barbet has similar preferences to both red-crowned barbet and blue-eared barbet with respect to fig size, and seems to be as flexible as red-crowned barbet with respect to exploiting animal foods. We have observed brown barbet at Bukit Tinggi, Malay Peninsular searching foliage and the surface and crevices of bark on branches and trunks for animal foods as well as eating flowers of trees or vines.
Like other barbet species, a prerequisite for the red-crowned barbet habitat seems to be the presence of trees with sufficient dead wood in their branches, which is suitable for excavating cavities, which are required for nesting (Shorts & Horne, 2002). Previously, very little was known about the breeding habits of red-crowned barbet, except for the fact that they prefers to nest in rot-softened wood (Fig. 4) including entire dead trees usually around 5–8 m up with broods of one to two fledglings and clutch size that is undescribed (Wells, 1999). Excavation of the nest holes are reportedly done by both members of the pair and usually with more than one hole being constructed. No other information is available on the courtship behaviour of this species. The blue-eared barbet, on the other hand, tends to nest higher, also in dead tree trunks but between 3–25 m up, with a nest hole of around 3 cm in diameter. A clutch size of 2–4 eggs is reportedly common (Shorts & Horne, 2002). Courtship of this species includes incessant singing by both members in the pair, with much head bobbing, and side to side movements of the tail with courtship feeding observed. The brown barbet, unlike th red-crowned barbet and blue-eared barbet, are communal nesters, with three or more pairs nesting together in dead tree trunks and branches, but also in arboreal termitaria, 1–20 m up (Wells, 1999), and in the bottom of a bird’s nest fern (Asplenium nidus). The brown barbet usually has a clutch size of 2–3 eggs with broods of two or three nestlings (Wells, 1999; Shorts & Horne, 2002).
The red-crowned barbet call consists of a sequence of 10–15, even-toned, mellow hoots delivered at a steady rate of three per second except for a noticeably longer pause after the second, or first and second notes: “hoop, hoop, hoophoop-hoop-hoop……..” usually from a high perch in deep foliage (Wells, 1999).
NATURE IN SINGAPORE 2009
PAST AND PRESENT RECORDS
In Singapore, the red-crowned barbet is an uncommon resident and is only observed in the Bukit Timah Nature Reserve (BTNR) and the Central Catchment Nature Reserve (CCNR) in mature secondary and primary forest, and because of its restricted range in Singapore, was listed as nationally rare in the 1st edition of the Singapore Red Data Book and nationally-near threatened (Wang & Hails, 2007). In the latest (2nd) edition of the Singapore Red Data Book, this species has not been of conservation concern, so unlisted. However, we feel that because it is solely restricted to the BTNR and CCNR, and has almost disappeared altogether in Thailand owing to lack of a good forest habitat, it should be conferred at least a status of nationally vulnerable. We have observed the red-crowned barbet taking a variety of foods including the usual fig syconia from a regularly fruiting Malayan banyan trees at the summit of Bukit Timah and the Upper Seletar Reservoir Park. Others included fruits from oil fruit (Elaeocarpus species), MacArthur’s palm (Ptychosperma macarthurii) (Fig. 5), fishtail palm (Caryota mitis), turn-in-the-wind (Mallotus paniculatus), wild cinnamon (Cinnamomum iners), salam (Syzygium polyanthum) (Chan & Chan, 2006; Wee, 2006b; our observations). Insects are also eaten quite regularly with a mantis observed being brought back to the nest (Chan & Chan, 2006) as well as moths and katydids caught in the foliage of trees. The red-crowned barbet has also been recorded feeding on arboreal snails (Amphidromus species) in the Central Catchment Nature Reserve forest (Wee, 2006a). The blue-eared barbet, on the other hand, was formerly only found in small numbers from the BTNR and Pulau Ubin with young birds collected on Pulau Ubin (Wang & Hails, 2007). The brown barbet, like the blue-eared barbet, is also now extinct and was previously recorded from the Woodlands area and Pulau Ubin in small populations in freshwater swamp forest and swampy coastal forest.
Nesting records of the red-crowned barbet in Singapore are rare and was first recorded in 1979 at Peirce Reservoir (Wells, 1984). A more recent nesting was observed by a few people from the CCNR. On 12 May 2006, a red-crowned barbet was spotted in the CCNR forest at Track 7 near the Upper Seletar Reservoir Park, picking fruits from a tree and was tracked back to a hole in a dead tree trunk. Both the male and female were observed entering the nest with fruits in their beaks and exiting the nest with faecal waste material, indicating that the eggs have hatched and the chick(s) have began to feed. Both adults were seen at the nest together only once, thereafter were observed taking turns entering the nest regularly with fruits (oil fruit, and salam) in their beaks, and exiting the nest with faecal waste in their beaks. The returning parents would perch on a nearby branch to survey the surroundings for a period of time, presumably to look out for predators before flying into the nest. This same nest was also observed by Chan & Chan (2006), and Wee (2006b), who observed a variety of fruits being brought back to the nest including fruits of sendudok (Melastoma malabathricum), wild cinnamon, oil fruit, and salam which were carried back in twos or threes as well as the occasional insect which included a mantis. The larger fruits such as the fruits of oil fruit, which were too large for the chicks, were observed to be crushed and regurgitated for the young (Wee, 2006b). This routine was observed for a period of 16 days. On the 17th day, the chick began to pop its head out frequently and feeding was performed outside the nest entrance. On the 26th day after the start of the observations, a chick was observed to have fledged, and flew to a nearby branch, after which one of the parents continued to feed the chick until it finally flew off, and was never seen again. No definitive breeding records are available for both blue-eared barbet and brown barbet for Singapore, except for the fact that young birds were collected from Pulau Ubin, suggesting breeding there, without a single nest reported (Wang & Hails, 2007).
CONCLUSIONS
Although the red-crowned barbet was reported to only feed on main canopy crown fruiting trees as mentioned earlier, this species has shown great adaptability in Singapore, by learning to exploit other food sources such as sub-canopy fruiting palms (both native and exotic species) such as the fishtail palm, and MacArthur’s palm, as well as animal foods such as insects and molluscs, and as such has been able to escape extinction, unlike the blue-eared barbet and brown barbet. The future of this species is intrinsically linked to the health of the forest at both the BTNR and CCNR. It has so far not been observed anywhere else such as the Bukit Batok Nature Park, which is only short distance from the BTNR. We therefore suggest that this species should at least be conferred the status of nationally vulnerable.
ACKNOWLEDGEMENTS
We would also like to thank Mark Chua, Johnny Wee and Lee Tiah Kee for providing photographs of this beautiful forest barbet species.
LITERATURE CITED
Chan, M. & Y. M. Chan, 2006. red-crowned barbet: Feeding of nestlings. besgroup.talfrynature.com/2006/07/19/red-crowned-barbet-f.... (Accessed 19 Dec. 2008).
[Credit: lkcnhm.nus.edu.sg]
So this show ( called RESIST ) was really a show of light and dark - playful stuff started it off and then a strong mood change to very dark - an indication of what will happen unless we wise up. Lots of collaboration projects with Prince Charles, Team GB ( fencing and sailing ) . We used a bag of Camilla's horse hair, nettles, recycled plastic, our own grown linen and latex and lots of recycled collaborations. 66 models and 86 looks - Models included - Former Mr Universe - Team GB Olympians - Jo Wood - Jonathan Ross's daughter Honey, Roger Taylor's daughter Lola, ( nice ) CEO's of nice large corps and lots of friends - some first timers. Backstage photography Khalid Kobe Ikram
This indication of the year of the erection of this school building is part of the official first stone. The figures are carved in hard stone (Granite?).
The first stone was laid by Johanna Frederika Beumer, state inspector of the Ministry of National Education on September 9, 1938.
The school building has red brick walls and is made in a very sober architecture. All ornamentation or decorative elements are lacking, as if there were no sufficient financial sources in that period.
The surface of the stone is very damaged by erosion and effected by acid rain after more than eighty years of exposure.
About the history of the use of year stones in architecture:
English: en.wikipedia.org/wiki/Anchor_plate
Dutch: nl.wikipedia.org/wiki/Muuranker
And: nl.wikipedia.org/wiki/Jaartallen_op_gebouwen
Amsterdam-Noord, Meeuwenlaan, May 22, 2015.
© 2015 Sander Toonen Amsterdam/Halfweg | All Rights Reserved
An event co-organized by WIPO and the Indian Government on the sidelines of the WIPO Assemblies of Member States themed “Make in India” on October 6, 2015 featured an exhibition on India’s varied geographical indications, a recital of traditional Indian music and Indian artisans demonstrating their handiwork.
The event began with the screening of a WIPO-produced film on a capacity building project sponsored by WIPO’s Accessible Books Consortium in India and a keynote address by India’s Permanent Representative to the United Nations in Geneva, Ambassador Ajit Kumar, followed by a screening of a film on the “Make in India” initiative.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
A colon polyp is a small clump of cells that forms on the lining of the colon. Most colon polyps are harmless. But over time, some colon polyps can develop into colon cancer.
Polyps in the colon may present anywhere. It may be ascending colon, transverse colon, descending colon, or sigmoid colon, rectum or anal canal.
It is necessary to remove all these polyps. At SMILES, Video Colonoscopy is performed to find the polyp, to remove the polyp & send it for histopathological examination to find out if it is a benign one or a cancerous one.
For more info on Colonoscopy: bit.ly/2GhcFKw
#ColonCancer #Colonoscopy #SmilesBangalore
This picture has two signs I cannot read. I will put notes where I think they are. There is another indication that this was taken somewhere in the vicinity of Turk and Buchanan. There was a plumbing Co. there, and I am not sure if their sign was advertising another site which was near Turk and Buchanan, or if that building was the actual business site of the plumbing company.
As far as I know this is a scan I did of an original photo from 100 years ago. If anyone is a real expert at comparing details and would like to tell me, for example, which church that was, it would be really nice. Also, these photos that I have have never been published according to family legend, but if you can prove that not to be true, please tell me. If anyone has any clue as the the photographer's identity, that would be nice also. Whoever he was he had a studio in 1906 in either San Francisco or Oakland, California. After such time as I may do a book, I am thinking of donating them to the museum in the San Francisco Bay Area that is most likely to take care of them and appreciate them.
I was only about 2 or 3 when we moved from Texas to San Francisco Bay Area. Right around 1950. My very first memories of life are in San Fancisco. We lived in a home down the peninsula in Belmont, later on, when I was about seven years old, and the home was huge, and still had some cracks in some walls from surviving the earthquake. My mother showed them to me. It was always with great respect that they spoke of the Great Earthquake and Fire of 1906. As young children, the small earthquakes we had and felt were sort of laughed at. There is a picture of me and my brothers eating watermelon outside on tv trays, and the earth was shaking and my Mom took the picture anyway. I'll have to double check, but I think I already posted in on my flickr site some time ago.
Everytime San Francisco would have a 2 to 3 point earthquake, my favorite Aunt Dorothy (who I was named for) would call from Houston, Texas to be sure we were all OK. My mother thought she was silly. But everytime they had a tornado near Houston, my parents would call her to see if she was OK. I guess people just get used to shrugging off certain dangers, but remaining scared of others that are less familiar.
I feel this addresses My Life As the family archivist, who has taken care of special photos for most of my life. I have had these over a quarter of a century, waiting for the 100th Anniversary. The My Story part is finding Flickr, learning about scanners, and having fun learning about the photos I have and those that others have. If These Walls Could Talk group is pretty obvious, but I would say if what is *left* of these walls could talk, wouldn't they have some stories to tell? And for the I've Kept it All these Years group, the photo itself and others that I will be uploading are the items kept for over a quarter of a century, and they were old when I got them. Delina
The Forty-Second Session of WIPO's Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications (SCT) took place in Geneva, Switzerland from November 4 to November 7, 2019. Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Gordana and Dragan Dulovic, Cheese Producers from Lipovo, Montenegro, make Kolasin Lisnati sir (layered cheese) and also offer a farm stay experience on their Dulovic Farm
In northern Montenegro, FAO and EBRD, with funding from Luxembourg, helped farmers like Gordana and Dragan Dulovic get international recognition - Geographical Indication (GI) status - for some of their foods thanks to their high quality and unique production process.
Crnogorska Goveđa pršuta (Montenegrin dried beef meat) and Crnogorska Stelja (Montenegrin dried and smoked sheep meat) received GI status in 2018.
Inspired by the project, five additional products have been registered as GI, including Kolasin Lisnati sir (layered cheese), which is produced mainly by women.
To get the GI certification, the project staff worked with farmers, food processors and local authorities to help them upgrade their products’ food safety and quality standards. This included helping producers develop and agree on a code of practice that they must respect in order to sell their products under the GI label – for example, the food must come from the designated areas, and high quality and hygiene standards must be upheld. The project has also supported policy dialogue and development of appropriate food safety standards in the meat sector at the national level, and raised producers’ and consumers’ awareness about the new standards.
The GI-labelled dried beef, for example, must be made from the best cuts of fresh beef fed mostly on grass, salted with sea salt, beechwood-smoked and dried in the mountain air. This gives the meat its distinctive dark plum colour, consistency and texture and prevents any bitter taste.
By supporting local traditions to build better livelihoods and empower communities, FAO and the EBRD are working toward a world free of poverty and hunger.
A westbound NS manifest freight passes beneath the home signal for westbound trains approaching the crossing with the CSX Mt. Victory Subdivision in Marion, Ohio. The signal showed an approach indication.
No indication of where this was taken, although it did come from Wisconsin. I didn't find anything about this traveling photographer.
The Thirty-Sixth Session of WIPO's Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications (SCT) took place in Geneva, Switzerland from October 17 to October 19, 2016.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
The Thirty-Fourth Session of WIPO's Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications (SCT) took place in Geneva, Switzerland from November 16 to November 18, 2015.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
The Thirty-Fifth Session of WIPO's Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications (SCT) took place in Geneva, Switzerland from April 25 to April 27, 2016.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Leica MP
Leica Elmarit 28mm f/2.8 III
Fuji Neopan 400 @ 800 ISO
Acufine 1+0
6 min 20°C
Scan from negative film
Durand Jones & The Indications performing at the AT&T Center in San Antonio, Texas on November 5, 2022.
Michelangelo Merisi, called Caravaggio (1571-1610), active, among others, in Rome, Naples, Malta, Sicily
Crowning with thorns, around 1603
Christ is after the interrogation at Pilate a crown of thorns set up by the soldiers. He is thus mocked as king of the Jews. Formerly regarded as a Roman or Neapolitan variation of a lost image of Caravaggio, documentary finds now have confirmed the authenticity. The technical features of the painter, such as the contour lines engraved with a brush handle on the head of Christ and on the shoulder, chest, and hands of the two myrmidons, also until now have been a clear indication.
Michelangelo Merisi, genannt Caravaggio (1571-1610), tätig, unter anderen, in Rom, Neapel, Malta, Sizilien
Dornenkrönung, um 1603
Christus wird nach dem Verhör bei Pilatus von den Soldaten eine Dornenkrone aufgesetzt. Er wird somit als König der Juden verspottet. Früher als römische oder neapolitanische Variation eines verlorenen Bildes von Caravaggio angesehen, haben Dokumentenfunde nunmehr die Eigenhändigkeit bestätigt. Dafür sprachen auch schon bisher technische Eigenheiten des Malers, wie die mit dem Pinselstiel eingravierten Konturlinien am Kopf Christi und an Schulter, Brust und Händen der beiden Schergen.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
The Postcard
A postally unused postcard with a divided back. There are no indications as to the identity of the girl or the exact date of the photograph.
Unusually the name of the studio has been hand-written in pencil on the front of the card:
"Shaw & Co
Hastings".
Sidney H. Shaw operated from 51, Robertson Street, Hastings from 1903 until 1913. It was his only studio, therefore the photograph was taken prior to the Great War.
Hastings
Hastings is a large seaside town in East Sussex on the south coast, 24 miles (39 km) east of the county town of Lewes, and 53 mi (85 km) south east of London.
The town gives its name to the Battle of Hastings.
In the 19th. century, Hastings was a popular seaside resort, as the railway allowed tourists and visitors to reach the town.
Today, Hastings is a fishing port with the UK's largest beach-based fishing fleet. The fleet has been based on the same beach, below the cliffs, for at least 400, and possibly up to 600, years. Its longevity is attributed to the prolific fishing ground of Rye Bay nearby.
The town had a population of 92,855 in 2018.
Hastings in Pre-History
Evidence of prehistoric settlements has been found at the town site, including flint arrowheads and Bronze Age artefacts.
Iron Age forts have been excavated on both the East and West Hills. The settlement was already based on the port when the Romans arrived in Britain for the first time in 55 BC. They began to exploit the iron (Wealden rocks provide a plentiful supply of the ore), and shipped it out by boat.
Iron was worked locally at Beauport Park, to the north of the town. It employed up to a thousand men, and is thought to have been the third-largest mine in the Roman Empire.
With the departure of the Romans, the town suffered setbacks. The Beauport site was abandoned, and the town suffered attacks from nature and early adversaries.
The Sussex coast has always suffered from occasional violent storms, and with the additional hazard of longshore drift (the eastward movement of shingle along the coast), the coastline has been frequently changing. The original Roman port is probably now under the sea.
Medieval Hastings
The Battle of Hastings heralded the start of the Norman Conquest. The battle was fought on the 14th. October 1066, although it actually took place 8 miles (13 km) to the north at Senlac Hill, and William had landed on the coast between Hastings and Eastbourne at Pevensey.
Muslim scholar Muhammad al-Idrisi, writing circa 1153, described Hastings as:
"A town of large extent and many inhabitants,
flourishing and handsome, having markets,
workpeople and rich merchants".
Hastings and the Sea
By the end of the Saxon period, the port of Hastings had moved eastward to near the present town centre in the Priory Stream valley, whose entrance was protected by the White Rock headland (since demolished).
It was to be a short stay: Danish attacks and huge floods in 1011 and 1014 motivated the townspeople to relocate to the New Burgh.
In the Middle Ages Hastings became one of the Cinque Ports.
Much of the town and half of Hastings Castle was washed away in the South England flood of February 1287.
During a naval campaign of 1339, and again in 1377, the town was raided and burnt by the French, and seems then to have gone into a decline. As a port, Hastings' days were finished.
Hastings had suffered over the years from the lack of a natural harbour. Attempts were made to build a stone harbour during the reign of Elizabeth I, but the foundations were destroyed by the sea in terrible storms. Accordingly the town's fishing boats are still stored on, and launched from, the beach.
Hastings was then just a small fishing settlement, but it was soon discovered that the new taxes on luxury goods could be made profitable by smuggling; the town was ideally located for that purpose.
Near the castle ruins, on the West Hill, are St. Clement's Caves, partly natural, but mainly excavated by hand by smugglers from the soft sandstone.
Their trade came to an end with the period following the Napoleonic Wars, for the town became one of the most fashionable resorts in Britain, brought about by the so-called health-giving properties of seawater, as well as the local springs and Roman baths.
The double decker promenade that runs from Hastings Pier beyond Marine Court, with a break at Warrior Square, was built by the borough engineer Sidney Little.
The building of Pelham Crescent necessitated cutting away of the Castle Hill cliffs. Once that move away from the old town had begun, it led to the further expansion along the coast, eventually linking up with the new St. Leonards.
Judges Postcards
Between 1902 and 1919, Fred Judge FRPS photographed many of the town's events and disasters. These included storms, the first tram, the visit of the Lord Mayor of London, Hastings Marathon Race, and the pier fire of 1917.
Many of these images were produced as picture postcards by the firm he founded which is now known as Judges Postcards.
Hastings' Bathing Pool
In the 1930's, an Olympic-sized bathing pool was erected. Regarded in its day as one of the best open-air swimming and diving complexes in Europe, it later became a holiday camp before closing in 1986. It was demolished, but the area is still known by locals as "The Old Bathing Pool".
Hastings' Sunshine
Hastings, tied with Eastbourne, recorded the highest duration of sunshine of any month anywhere in the United Kingdom - 384 hours - in 1911.
A new record temperature of 34.7 °C (94.5 °F) was recorded for the town on the 19th. July 2022.
St. Leonards
The original part St. Leonards was bought by James Burton and laid out by his son, the architect Decimus Burton, in the early 19th. century as a new town: a place of elegant houses designed for the well-off.
It also included a central public garden, a hotel, an archery, assembly rooms and a church. Today's St. Leonards has extended well beyond that original design, although the original town still exists within it.
Priory Meadow Shopping Centre
Hastings' main shopping centre is the Priory Meadow Shopping Centre. It was built on the site of the old Central Recreation Ground which had played host to some Sussex CCC first-class fixtures, and famous cricketers such as Dr. W. G. Grace and Sir Don Bradman.
The Central Recreation Ground was one of England's oldest, most scenic and most famous cricket grounds. The first match was played there in 1864, and the last in 1989, after which the site was redeveloped into the shopping centre. The centre houses 56 stores, and covers around 420,000 square feet.
Marine Court
On the seafront at St. Leonards is Marine Court, a 1938 block of flats in the Art Deco style that was originally called 'The Ship' due to its style being based upon the ocean liner RMS Queen Mary.
Marine Court can be seen from 20 miles (32 km) away on a clear day from Eastbourne.
The Memorial
An important former landmark was the Memorial, a clock tower commemorating Albert the Prince Consort which stood for many years at the traffic junction in the town centre, but was demolished following an arson attack in the 1970's.
The Hastings Miniature Railway
The Hastings Miniature Railway operates along the beach from Rock-a-Nore to Marine Parade, and has provided tourist transport since 1948. The railway was considerably restored and re-opened in 2010.
Hastings' Tram Network
Hastings had a network of trams from 1905 to 1929. The trams ran as far as Bexhill, and were worked by overhead electric wires.
Notable People
Many notable figures were born, raised, or lived in Hastings, including computer scientist Alan Turing, poet Fiona Pitt-Kethley, actress Gwen Watford, comedian Jo Brand and Madness singer Suggs.
Additionally :
-- John Logie Baird lived in Hastings in the 1920's where he carried out experiments that led to the transmission of the first television image.
-- Robert Tressell wrote 'The Ragged-Trousered Philanthropists' in Hastings between 1906 and 1910.
-- Gareth Barry, who holds the record number of appearances in the Premier League, was born in Hastings.
-- The author who worked as Grey Owl was born In Hastings and lived there for several years.
-- Harry H. Corbett (Steptoe & Son) lived in Hastings up until his death in 1982.
-- Anna Brassey, a collector and feminist pioneer of early photography, was based in Hastings until her death in 1887.
Anna Brassey
Baroness Anna "Annie" Brassey was born in London on the 7th. October 1839. Annie was an English traveller and writer. Her bestselling book 'A Voyage in the Sunbeam, our Home on the Ocean for Eleven Months' (1878) describes a voyage around the world.
Anna Brassey - The Early Years
Annie Brassey was born Anna Allnutt. As a child, she faced serious health problems. In his preface to Annie's book 'The Last Voyage', her husband recalled that she suffered from an inherited "weakness of the chest", apparently a form of chronic bronchitis.
As a young woman, she also suffered severe burns when she stood too close to a fireplace and her skirt caught fire. It took six months for her to recover from them.
Annie's Marriage to Lord Brassey
In 1860, she married the English Member of Parliament Thomas Brassey (knighted in 1881, becoming Earl Brassey in 1886), with whom she lived near his Hastings constituency. Thomas was born in 1836 and died in 1918.
The couple had five children together before they travelled aboard their luxury yacht Sunbeam. The yacht was said to have been named after their daughter - Lady Constance Alberta - who was nicknamed Sunbeam; she died of scarlet fever, aged four, on the 24th. January 1873.
The golden figurehead of the yacht depicting Constance is at the National Maritime Museum, Greenwich, London.
Annie's Travels and Publications
'A Voyage in the Sunbeam', describing their journey round the world in 1876–1877 with a complement of 43, including family, friends and crew, ran through many English editions, and was translated into at least five languages.
Her accounts of later voyages include 'Sunshine and Storm in the East' (1880); 'In the Trades, the Tropics, and the Roaring Forties' (1885); and 'The Last Voyage' (1889, published posthumously).
Annie had published privately earlier works including 'A Flight of the Meteor', detailing two cruises in the Mediterranean on their earlier yacht Meteor, and 'A Voyage in the Eothen', a description of their travels to Canada and the United States in 1872.
In July 1881, King Kalākaua of Hawaii, who had been greatly pleased with her description of his kingdom, was entertained at Normanhurst Castle, and invested Lady Brassey with the Royal Order of Kapiolani.
Annie was also involved with the publication of Colonel Henry Stuart-Wortley's 'Tahiti, a Series of Photographs' (1882).
The Death and Legacy of Lady Brassey
Lady Brassey's last voyage on the Sunbeam was to India and Australia, undertaken in November 1886 in order to improve her health. On the way to Mauritius, Annie died of malaria at the age of 47 on the 14th. September 1887, and was buried at sea.
At home in England, she had performed charitable work, largely for the St. John Ambulance Association. Her collection of ethnographic and natural history material was shown in a museum at her husband's London house until it was moved to Hastings Museum in 1919. There are also several photograph albums and other ephemera held at Hastings Library.
However, the vast majority of her photograph albums are now housed in the Huntington Library, San Marino, California. The collection of 70 albums, each containing 72 to 80 thick board pages, contains pre-eminent examples of historical travel.
The albums contain works by Annie and others she collected, including those of commercial photographers. Annie herself was an accomplished photographer. She joined the Royal Photographic Society in 1873 and remained a member until her death. She exhibited some of her work in its exhibitions in 1873 and 1886.
Lady Brassey was survived by four of her five children:
-- Thomas Brassey, 2nd Earl Brassey
-- Lady Mabelle Brassey
-- Muriel Sackville, Countess De La Warr
-- Marie Freeman-Thomas, Marchioness of Willingdon.
Photo of the “IP Key Role for the Post Pandemic Recovery: Appellations of Origin and Geographical Indications” exhibition and cultural event, co-organized by WIPO and the Government of Mexico.
Held on the sidelines of the Assemblies of the Member States of WIPO, the event included a traditional musical performance, and an exhibition showcasing Mexico’s appellations of origin and geographical indications.
The Assemblies of WIPO Member States took place in Geneva, Switzerland, from July 14-22, 2022.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution 4.0 International License.
The Thirty-Fourth Session of WIPO's Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications (SCT) took place in Geneva, Switzerland from November 16 to November 18, 2015.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
The Thirty-Ninth Session of WIPO's Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications (SCT) took place in Geneva, Switzerland from April 23 to April 26, 2018.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
The Thirty-Fourth Session of WIPO's Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications (SCT) took place in Geneva, Switzerland from November 16 to November 18, 2015.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
The Fortieth Session of WIPO's Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications (SCT) took place in Geneva, Switzerland from November 12 to November 16, 2018.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
The Thirty-Eighth Session of WIPO's Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications (SCT) took place in Geneva, Switzerland from October 30 to November 2, 2017.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
The Thirty-Fourth Session of WIPO's Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications (SCT) took place in Geneva, Switzerland from November 16 to November 18, 2015.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
The Forty-First Session of WIPO's Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications (SCT) took place in Geneva, Switzerland from April 8 to April 11, 2019.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
The Forty-Sixth Session of WIPO's Standing Committee on the Law of Trademarks, Industrial Designs and Geographical Indications (SCT) took place in Geneva from November 21 to November 23, 2022 in hybrid form – with delegates and observers attending physically in Geneva, Switzerland, and via remote participation from around the world.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
CTV Regional Contact gave me 3 minutes on the local CTV News here: www.youtube.com/watch?v=3C2U_01ajdw
Mikey G Ottawa's 100 most interesting images as per Flickriver HERE: www.flickriver.com/photos/mikeygottawa/popular-interesting/
See Mikey G Ottawa's most popular Flickr Photo Albums HERE:
www.flickr.com/photos/mikeygottawa/albums
I'm Not Shy to promote my Flickr work. CBC Radio 1 gave me almost eight minutes. Listen here: www.youtube.com/watch?v=253iqLH82oA
Rogers Cable TV gave me 10 minutes on Camera Talk HERE:
CSX new rebuilt yard with the installation of additional welded ribbon rail, new automatic switch machines, & new block signals, along with an internal building yard remote control switch machine panel at Erwin, Tennessee, 4-12-2009. Someone told me that the new block signals were also solar powered, but I can't say that is true! Also I believe that live video monitoring of the yard was provided for the switching machine operations crew, almost like the tower operators of old. The old manual hand thrown switch machines have been replaced with the new automated remotely controlled switch machines for the main line connecting tracks that are situated in the yard. However, certain hand controlled manual switch machines are still in place for sidings, etc. Construction was also started on a few new buildings to be built for a yard efficiency up-grade. You may also notice that jointed section rail is often used on sidings and also where main line switches connect with welded ribbon rail. This photo was a nearly a night scene that was lightened to show the newly installed components and equipment. As a point of interest you may notice that there is an associated colored metal signal indication flag that presents the same color as the signal indicator light and it is mounted to the base of the signal. Perhaps someone out there can shed additional light on the "Radiant Brand" block signals. The following link may explain the situation at Erwin Yard.
www.railcomm.com/solutions/yard-automation/remote-control...
What a difference a year can make, because back in 2008, the yard was for the most part manual switching location.
This yard was a former Clinchfield Railroad property, however, it is now out of service mainly due to a downturn in the coal business.