View allAll Photos Tagged managed
Very few people have seen the Hingol National Park in the Balochistan province of Pakistan. Its nearest approach is from Karachi. Most visitors tend to go to the Hinglaj temple, an important sight for Hindu pilgrims but we managed to go deep into the national park with the Offroad pakistan who have made numerous visits there. Their website is worth a look :- offroadpakistan.com/
Hingol National Park or Hungol National Park (Urdu: ہنگول) is the largest of National Parks of Pakistan. It is on the Makran coast in Balochistan and is approximately 190 km from Karachi. The area was declared reserved in 1988.[1]
The park area covers parts of the three districts: Lasbela, Gwadar and Owaran of Balochistan province. It contains a variety of topographical features and vegetation, varying from arid sub tropical forest in the north to arid montane in the west. Large tracts of the NP are covered with drift sand and can be classified as coastal semi desert. The National Park includes the estuary of the Hingol river which supports a significant diversity of bird and fish species.
Currently, 20 staff members including 18 game watchers, two deputy rangers are responsible for the management of the Park under the guidance of the park Manager who reports to the Conservator and the Secretary Wildlife, Forest, Livestock, Environment and Tourism.
The shrine of Devi Hinglaj, the holiest among the 51 Shakti Peeths of Hinduism is situated in the park. It is a 15km trek from the main road. There is also a dirt track that leads to the site. Several thousand pilgrims visit the shrine each year.
Detailed inventories of wildlife were undertaken in 2006 and will be completed in the first half of 2007. Hingol is known to support at least 35 species of mammals, 65 species of amphibians and reptiles and 185 species of birds. Some 250 plant species were recorded in the initial surveys including 7 yet undescribed species. Many more species are yet to be collected.
The park forms an excellent habitat to wild Sindh Ibex, Afghan Urial and Chinkara Gazelle. Ibex is found in all steep mountain ranges and numerous in the Hinglaj and Rodani Kacho Mountain areas. Total population is estimated over 3000. The Urial populations are small and occur in isolated populations. The Machi and Upper Pachhri Mountains harbour the largest populations. Total population is less than 1000. The Chinkara occurs in good numbers along the great rivers (Nal-Hingol, Arra, Babro-Mar) in the Northern Plains and in the Harian and Maniji-Gurangatti valley areas. Elsewhere populations have been extirpated are very low. The total populations are preliminary estimated between 800-1200.
The Hingol River banks, estuary and mudflats forms an important habitat for migratory birds. About 40% of the bird species is related to water habitats. Migratory birds listed to visit Hingol include Dalmatian and Spot-billed Pelican, Sociable Plover, Spoonbills, Black Ibis, Black and White Stork. The Houbara Bustard (Chlamydotis undulata) visits the plains and valleys.
The River Hingol has been nurturing crocodiles for centuries. The Marsh Crocodile (Crocodylus palustris) occurs over large areas along the Hingol-Nal and some tributaries up to more than 100 km inland. The total population is about 50. There are several beaches along the more than 100 km coastline, however few tirtles visit the beaches nowadays. Historical records includes Olive Ridley (Lepidochelys olivacea) and Green Marine Turtles (Chelonia mydas). The vulnerable Spiny Tail Lizard (Uromastyx hardwickii) a mainly vegetarian lizard finds its most western distribution in Hingol.
Mammals in the park include Leopard, Jungle Cat, Caracal and Indian Desert Cat, Indian Fox, Bengal Fox and Sand Fox, Golden Jackal, Sindh Ibex, Afghan Urial, Chinkara Gazelle, Honey Badger, Indian Pangolin, Hedgehog (probably more than one species), Indian Crested Porcupine, Indian Grey Mongoose, Five striped Palm Squirrel, Wild Boar, Cape Hare and Desert Hare, Cairo Spiny mouse, Grey Spiny Mouse, Persian Jird, Indian Desert Jird and Libyian Jird, House Mouse, Roof Rat, and Mouse like Hamster. Wolf (Canis lupus pallipes) and Striped Hyena (Hyaena hyaena) are on the brink of extinction. The Leopard and Caracal populations are low.
The park has very few caves/ grottos, including one in the Dhrun Mountains with a bat population.
Birds in the park include Houbara Bustard, Dalmatian and Spot-billed Pelican, Bonnelli's eagle, Imperial eagle, Tawny eagle, Golden eagle, Eurasian griffon vulture, Egyptian vulture, Cinereous vulture, Lagger falcon, Red-headed merlin, Kestrel, Close-Barred sandgrouse, Grey partridge, See See partridge, Stone Curlew, Indian sand grouse, Coronetted sand grouse, Painted sand grouse, Eagle owl, Sind pied woodpecker, Hume's chat, Brown rock pipit, Striped buning, Finche larks, Hoopoe, Shrikes and Wheatears.
The Marsh Crocodile, Olive Ridley and Green Marine Turtles, Desert Monitor lizard, Yellow Monitor lizard, and different species of lizard and chameleon have been found in the park.
The government is all set to slice land off the Hingol National Park, the country’s largest, as the Pakistan Air Force and another defence-related organisation eye the prized real estate near the estuary whose value is likely to increase phenomenally once the Gwadar port starts functioning.
Sources in the Balochistan revenue department told Dawn that while the PAF has asked for around 80,000 acres (320 km²), including 23,000 acres (93 km²) in the national park, Pakistan Space and Upper Atmosphere Research Commission’s demand is for eight mauzas. [2]
Managed by a 3-5 man crew from the Casscocian Artillery Corps, the long-barreled 50 mm Anti-Tank Gun supplemented, and later replaced, the earlier 50 mm Anti-Tank Gun during the mid-to-late-war period. It fired a high velocity shell which superseded its predecessor in both speed and range. Originally fitted with a gun shield, it was removed by most crews to increase mobility during rapid advances which reclaimed lost territory late in the war.
This is probably my most detailed artillery piece yet. It's the same gun fitted into my Tank Turret. Check the next picture for all the neat bits! The only thing I wasn't able to accomplish was making the gun traverse-able.
I captured this while attending a ceremony. The kid was amazed with the camera and kept looking back and staring at it. I managed to snap this one right before his mother pulled him away..
652 managed to throw me off here, because it is displaying City Loop on the front but I hadn’t cottoned onto the fact it was going the other way. As such I ended up seeing it twice when I could’ve instead focused my efforts on searching for a different turquoise to photograph.
Here it climbs Melbourne Road on 27.3.25
YN65 XFL
If you manage to drive down to the bottom of the hill (see last photo) you will see the tiny sheltered beach at Murlough Bay. You are advised not to take you car along this little track, and believe me, you really shouldn't. I know. .Not only might your tyres be in shreds but your nerves as well as it is full of potholes and jutting out rocks. But what a view you have. Just leave your car at the bottom of the hill and walk the rest of the way.
Managed to get round to posting the interior view. Thought it was best positioned adjacent to the exterior view for better context. This church has a really special feel to it. The plaster ceiling in the nave was a replacement of the medieval timber one which was probably a ot less ornate. The replacement itself i pretty old too dating from the 1630's
With help from Hubby, we managed to get the "Studio" back in order (i.e. the decluttering clutter temporarily stored within over the Holidays is now where it belongs) just in time to get this picture before the topic (below) expires.
Enjoy taking pictures of your dog? Consider joining the Daily Dog Challenge, with a new topic every day, such as...
Daily Dog Challenge - #5496. 1/1 “Resolution(s)”
1. Take at least ONE picture in the "studio" per week*
2. Take at least ONE picture for every topic posted in this group. As I'm the one posting the topics, this should be easy but as I found out last year, it's not (although I was successful. Barely!)
*caveat - every week where the "studio" is available. How can an otherwise unused bedroom in my house, dedicated to shooting the dogs, not be available? Well, as we finish the whole house/storage shed declutter, we will probably turn next to the garage, and it's possible we'll need the space for sorting. PLUS in the middle of summer the room gets toasty. Yes, we have A/C, but the room's orientation makes it hotter than the rest of the house.
Anyway - we'll try!
365:2026 - #7
This year’s CEO VIP reception and gala were hosted at Metro Convention Centre, in Toronto | Learn more about Canada’s Best Managed Companies.
CEO VIP reception: An exclusive reception for the CEOs of Canada’s 50 Best Managed Companies and program sponsors, this event was an opportunity for the new winners to get together in a more intimate environment before they joined the gala.
Gala: The Best Managed gala dinner was hosted by Ben Mulroney who guided almost 1900 guests, winning CEOs, their senior management teams and families, through a celebration as we honoured the best. Great Big Sea set the stage with some of their high voltage hits throughout the night.
Manage to catch exactly the effect I was looking for with this one with a textbook image of a conversion being kicked.
Warbler shots from a few years ago. This was a good year for me. 2023 hasn't been as good, but I still managed to get quite a few which I hope to put together in a collage in the near future. This year the thru-migration seemed rather short, so limited sightings.
After us managing to take a wrong turn somewhere near Lake Pleasant Cinko helped us out by pointing out the way we wanted to go to get back onto the main road.
Sometimes he's more handy than having all the info supplied from an in-car navigation system.
From the Uglydoll blog at adventuresinuglyworld.blogspot.com/
Not an image that will set the world alight but this house caught my eye with the bench outside and the tree, the olde worlde atmosphere is spoilt by the waste bin and restricted parking sign, Burford in Oxfordshire.
Did anyone manage to catch last night`s Aurora, despite being on the alert and popping out every so often I sadly missed it.
I managed a ride today on ADL's 10,000th example of their Enviro400 MMC registered as YX67UZB. Whilst it was a nice bus to ride on with suspension absorbing bumps, great turn of speed, USB sockets and phone holders, it lacked WiFi enabling access to the internet and video streaming. I found the coach style leather seats extremely comfortable and wouldn't disappoint on long journeys. But what disappointed me was its colour combination of a light black tinted windows and the grey interior. It would have been much brighter with a lighter shade of black or no tint at all.
Managed to get out for an hour with the camera tonight. The weather wasn't playing ball but this Black Tailed Godwit looked quite nice over at Cley, Norfolk.
Still in very tatty green livery is class 40 40136 standing by the wall at Perth station it had been shunting stock so i managed to get a few pictures of it in action. 30 /08/1976.
image Kevin Connolly - All rights reserved so please do no use this without my explicit permission
Managed to get up at 4:30am this morning in readiness for the 45 minute drive to Redhead Beach for sunrise (first light at 5:30am)!!
I took this just as the sun broke through the clouds sitting on the horizon.
Hope you all are having a great weekend - thanks for any comment, viewing or favorite to this or any of my other images - much appreciated!!
Southern Memories - in this shot we see vintage 4-SUB unit 4719 arriving at the platform at Effingham Junction station on service '82' heading for Sutton. From my logbook notes, I jumped on after taking this shot and with my great friend Tim Proudman superb50002 managed to cadge a cab ride all the way to Epsom (in driving coach S12778S) transferring to the cushions where we continued on to Sutton :)
We used to keep very fit in those days - taking photos such as this, and then legging it down the stairs to board the train :)
And here are Tim's notes from the day:
We did various units in the morning before heading over to bash the Selsdon for the very last time.
Morning Highlights include -
4SUB 4719 cab ride Bookham to Epsom, where we alighted and continued on to Sutton....for
4EPB 5425 cab ride Sutton to Wimbledon ("Wall of Death")
and haulage behind 5763, 5725 on the Selsdon line.
We did - Elmers End to Bingham, Bingham to Elmers End, then to Coombe Road and Sanderstead, back to Elmers End, back to Selsdon to Elmers End, back to Sanderstead, and back to Elmers End. This was the last move / last train, formed 5720 and 5209.
4-SUB bashing! In the summer of 1983, whilst enjoying my first year as a Geography undergraduate at Kingston Polytechnic, me and my good friends Tim Proudman and the sadly late Llew Griffith spent many happy hours riding around the rails of the Southern Region! One of our top targets was to get some 4-SUB rides before the demise of the class in October 1983. This day was one of those occasions.
My bashing friends and I spent some time clearing all the passenger routes on the Southern Region when we were at Kingston Polytechnic back in 1982-1985. During this period, we had many a ride on the old 4-SUB units which were finally withdrawn from service in 1983. We noticed a collection of the units withdrawn in the old Hither Green Continental Sidings, and managed to gain entrance for a good look around one day in the late autumn of 1983. ***I still have a full set of 4-SUB stencils in my garage - courtesy of Llew Griffith (FOR SALE if anyone's interested!) - and our raid on Hither Green sidings in November 1983 - see comments section below :)***
History of individual units
4621-4754 4-Sub 1949–1951 DMBTO+TT+TT+DMBTO Most cars had new bodies on old frames, though some were entirely new build. 4667-4754 included an Augmentation trailer from withdrawn units.
More information on the old 4-SUB units here: en.wikipedia.org/wiki/SR_Class_4Sub
Photos that were nearly lost to oblivion!
The original slide was rescued from a box of 'duds' that I could never quite bring myself to throw away - now I am glad that I kept them ;)
Taken with a Zenith TTL SLR camera and standard lens. Scanned from the original slide with minimal digital restoration
You can see a random selection of my railway photos here on Flickriver: www.flickriver.com/photos/themightyhood/random/
Burchell's Zebra and Waterbuck
Steppenzebras und Ellipsen-Wasserbock
iSimangaliso Wetland Park (previously known as the Greater St. Lucia Wetland Park) is situated on the east coast of KwaZulu-Natal, South Africa, about 275 kilometres north of Durban. It is South Africa's third-largest protected area, spanning 280 km of coastline, from the Mozambican border in the north to Mapelane south of the Lake St. Lucia estuary, and made up of around 3,280 km2 of natural ecosystems, managed by the iSimangaliso Authority. The park includes:
Lake St. Lucia
St. Lucia Game Reserve
False Bay Park
Kosi Bay
Lake Etrza Nature Reserve
Lake Sibhayi
St. Lucia Marine Reserve
St. Lucia Marine Sanctuary
Sodwana Bay National Park
Mapelane Nature Reserve
Maputaland Marine Reserve
Cape Vidal
Ozabeni
Mfabeni
Tewate Wilderness Area
Mkuze Game Reserve
The park was previously known as the Greater St. Lucia Wetland Park, but was renamed effective 1 November 2007. The word isimangaliso means "a miracle" or "something wondrous" in Zulu. The name came as a result of Shaka's subject having been sent to the land of the Tsonga. When he came back he described the beauty that he saw as a miracle.
The park is dueto be integrated into a transfrontier park, the Ponta do Ouro-Kosi Bay Transfrontier Conservation Area, straddling South Africa, Mozambique, and Eswatini. This is in turn planned to become a part of the greater Greater Lubombo Transfrontier Conservation Area.
Until 1895, the bay had been a home of the Tsonga people and their Tsonga fish kraal. This is the original and the natural home of the Tsonga people and they have lived here for more than 1000 years. Records from early Portuguese sailors rightfully point out this area to be occupied by the Tsonga people and further down south. The area was also known as Tembeland or Thongaland but the name fell into disuse around the early 1900s. The area was ruled by a Tsonga branch of the Vahlanganu (Tembe). The Swiss Missionary, Reverend Henri Alexandra Junod (Known as HA Junod), conducted a scientific and ethnographic study of the Tsonga people during the early 1890s and produced a detailed map, showing the occupation of the bay by the Tsonga Tembe people. The Swiss Missionary, Rev Junod, illustrated in his detailed map that the area was known as Tembeland and that the Tembe capital city was located in the St Lucia bay. Rev Junod's map showed that by 1906, the Tsonga people occupied the land from St Lucia up until Valdezia in the Spelenkon district of the Transvaal province, known today as Limpopo Province. St Lucia bay and Maputo bay are one land and they belong to the Tsonga people, Tsonga villages were built from St Lucia bay until Maputo and they were not separated by any natural division. Around St Lucia, the ruling chief was the Tembe Royal Family, while around Maputo, the ruling class was the Maputo royal family, who are all of the Vahlanganu branch of the Tsonga people. In and around Maputo and St Lucia bay (Tembeland), the language spoken is Ronga, which according to the Swiss Missionary, Rev HA Junod, is not an independent language but a dialect of Xitsonga. According to Rev Junod, Ronga language is so similar to Xitsonga that it cannot be regarded an independent language but is a dialect of a major language known today as Xitsonga.
The Tsonga people were forcefully removed from the park when Britain colonised the area in 1895 and turned the place into a wildlife reserve and established the holiday town of St Lucia. Because of colonisation, the southern part of the park was handed over to the Zulu nation, while the northern part was given to the Tsonga people. Before colonisation, the Tsonga controlled the entire St Lucia bay. Despite colonisation and annexation of land, the Tsonga people still live in the northern part of the park, at Kosi Bay. The Tembe Elephant Park, run by Chief Israel Tembe, is a living history that testify to the rich Tsonga history of this wetland park. Chief Israel Tembe is the custodian of this ancient Tsonga land that was taken away during colonisation. The Tembe kingdom, one of the most powerful kingdoms in Southern Africa before colonisation, was a ruling class for more than eight centuries.
St. Lucia was first named in 1554 Rio dos Medos do Ouro (alternatively Rio dos Médãos do Ouro — River of the Gold Dunes) by the survivors of the Portuguese ship Saint Benedict. At this stage, only the Tugela River mouth was known as St. Lucia. Later, in 1575, the Tugela River was named Tugela. On 13 December 1575, the day of the feast of Saint Lucy, Manuel Peresterello renamed the mouth area to Santa Lucia.
In 1822, St. Lucia was proclaimed by the British as a township.
In 1895, St. Lucia Game Reserve, 30 km north of the town was proclaimed.
In 1971, St. Lucia Lake and the turtle beaches and coral reefs of Maputaland have been listed by the Convention on Wetlands of International Importance (Ramsar Convention).
In December 1999, the park was declared a UNESCO World Heritage Site at an unveiling ceremony, where Nelson Mandela was the guest of honour.
The park was proclaimed a world heritage site because of the rich biodiversity, unique ecosystems and natural beauty occurring in a relatively small area. The reason for the huge diversity in fauna and flora is the great variety of different ecosystems on the park, ranging from coral reefs and sandy beaches to subtropical dune forests, savannas, and wetlands. Animals occurring on the park include elephant, African leopard, black and southern white rhino, buffalo, and in the ocean, whales, dolphins, and marine turtles including the leatherback and loggerhead turtle.
The park is also home to 1,200 Nile crocodiles and 800 hippopotami.
In December 2013, after 44 years of absence, African lions were reintroduced to iSimangaliso.
There are large outcroppings of underwater reefs which are home to brightly coloured fish and corals. Some of the most spectacular coral diversity in the world is located in Sodwana Bay. The reefs are inhabited by colour-changing octopuses and squid ready to ambush unsuspecting prey. Occasionally gigantic whale sharks can be seen gliding through the water, mouth agape to scoop up tiny plankton.
Twenty-four species of bivalve molluscs are recorded in St. Lucia Lake, which constitutes a considerable portion of the park.
(Wikipedia)
Burchell's Zebra [Equus burchelli]
Appearance
Body stripes are less numerous and broader than that of the Cape Mountain Zebra, whereas body stripes extend around the belly. Leg striping is less prominent. Measures 1.3 to 1.4 metres at the shoulder and weighs 300-320 Kg. They have rounded ears approximately 160-170 mm long. Front portion of mane forms a black tuft between the ears. Diet: Predominantly a grazer, feeding in areas with short grass. Zebra have a strong sensitive upper lip with which it gathers herbage by collecting the grass between the lip and the lower incisors before plucking the harvest.
Breeding
Non seasonal breeder, foals may be born in any month. However, under optimal conditions more foals are born during summer. After a gestation period of 360-390 days, a single foal is born, which weighs 30-35 Kg. Foals are weaned at the age of 11 months.
Behaviour
The Burchell's Zebra lives in small family units, which typically consist of one stallion and one mare with their foals. Non-breeding stallions occur in bachelor groups. Herd stallions are between four to 12 years old. Water holes in conjunction with favoured grazing areas attract family groups which collectively congregate in large numbers. They are often seen in close association with Wildebeest, other plains Antelope and Baboons.
Habitat
Short grassland areas within savanna woodland and grassland plains constitute the preferred habitat. Their dependence on water restricts the Burchell's Zebra to wander further than ten to 12 km from water. Densely vegetated areas are avoided.
Where they are found
Unmistakably a member of the horse family. This species is the largest of the two distinct species inhabiting South Africa's wild life domain. The ranges of the Burchell's Zebra and the Cape Mountain Zebra are mutually exclusive. The Cape mountain Zebra is confined to the Cape mountainous regions, whereas that of the Burchell's Zebra coincides with woodland and grassy plains.
Field Notes
The Burchell's Zebra is the closest relative to the extinct Quagga which roamed the southern plains of South Africa until the 19th century, so close in fact that scientists are using DNA from chosen individual to attempt to bring the Quagga back.
Each individual Zebra has unique markings and act in similar fashion as fingerprints in humans. It is said that newborn Zebra stay close to the mother to imprint her patterns. The southern Burchell's Zebra has a distinctive shadow brown stripe in the white stripe, a characteristic which diminishes the further north they occur.
(krugerpark.co.za)
The waterbuck (Kobus ellipsiprymnus) is a large antelope found widely in sub-Saharan Africa. It is placed in the genus Kobus of the family Bovidae. It was first described by Irish naturalist William Ogilby in 1833. The thirteen subspecies are grouped under two varieties: the common or Ellisprymnus waterbuck and the Defassa waterbuck. The head-and-body length is typically between 177–235 cm (70–93 in) and the average height is between 120 and 136 cm (47 and 54 in). A sexually dimorphic antelope, males are taller as well as heavier than females. Males reach approximately 127 cm (50 in) at the shoulder, while females reach 119 cm (47 in). Males typically weigh 198–262 kg (437–578 lb) and females 161–214 kg (355–472 lb). The coat colour varies from brown to grey. The long, spiral horns, present only on males, curve backward, then forward and are 55–99 cm (22–39 in) long.
Waterbuck are rather sedentary in nature. A gregarious animal, the waterbuck may form herds consisting of six to 30 individuals. These groups are either nursery herds with females and their offspring or bachelor herds. Males start showing territorial behaviour from the age of five years, but are most dominant from the age of six to nine. The waterbuck cannot tolerate dehydration in hot weather, and thus inhabits areas close to sources of water. Predominantly a grazer, the waterbuck is mostly found on grassland. In equatorial regions, breeding takes place throughout the year, but births are at their peak in the rainy season. The gestational period lasts for seven to eight months, followed by the birth of a single calf.
Waterbuck inhabit scrub and savanna areas along rivers, lakes and valleys. Due to their requirement for grasslands as well as water, the waterbuck have a sparse ecotone distribution. The IUCN lists the waterbuck as being of Least Concern. More specifically, the common waterbuck is listed as of Least Concern while the defassa waterbuck is Near Threatened. The population trend for both the common and defassa waterbuck is downwards, especially that of the latter, with large populations being eliminated from certain habitats because of poaching and human disturbance.
The scientific name of the waterbuck is Kobus ellipsiprymnus. The waterbuck is one of the six species of the genus Kobus and belongs to the family Bovidae. It was first described by Irish naturalist William Ogilby in 1833. The generic name Kobus is a New Latin word, originating from an African name, koba. The specific name ellipsiprymnus refers to the white elliptical ring on the rump, from the Greek ellipes (ellipse) and prymnos (prumnos, hind part). The animal acquired the vernacular name "waterbuck" due to its heavy dependence on water as compared to other antelopes and its ability to enter into water for defence.
The type specimen of the waterbuck was collected by South African hunter-explorer Andrew Steedman in 1832. This specimen was named Antilope ellipsiprymnus by Ogilby in 1833. This species was transferred to the genus Kobus in 1840, becoming K. ellipsiprymnus. It is usually known as the common waterbuck. In 1835, German naturalist Eduard Rüppell collected another specimen, which differed from Steedman's specimen in having a prominent white ring on its rump. Considering it a separate species, Rüppell gave it the Amharic name "defassa" waterbuck and scientific name Antilope defassa. Modern taxonomists, however, consider the common waterbuck and the defassa waterbuck a single species, K. ellipsiprymnus, given the large number of instances of hybridisation between the two. Interbreeding between the two takes place in the Nairobi National Park owing to extensive overlapping of habitats.
Not many fossils of the waterbuck have been found. Fossils were scarce in the Cradle of Humankind, occurring only in a few pockets of the Swartkrans. On the basis of Valerius Geist's theories about the relation of social evolution and dispersal in ungulates during the Pleistocene the ancestral home of the waterbuck is considered to be the eastern coast of Africa - with the Horn of Africa to the north and the East African Rift Valley to the west.
The waterbuck is the largest amongst the six species of Kobus. It is a sexually dimorphic antelope, with the males nearly 7 percent taller than females and around 8 percent longer. The head-and-body length is typically between 177–235 cm (70–93 in) and the average height is between 120 and 136 cm (47 and 54 in).[10] Males reach approximately 127 cm (50 in) at the shoulder, while females reach 119 cm (47 in). The waterbuck is one of the heaviest antelopes. a newborn typically weighs 13.6 kg (30 lb), and growth in weight is faster in males than in females. Males typically weigh 198–262 kg (437–578 lb) and females 161–214 kg (355–472 lb). The tail is 22–45 cm (8.7–17.7 in) long.
The waterbuck is of a robust build. The shaggy coat is reddish brown to grey, and becomes progressively darker with age. Males are darker than females. Though apparently thick, the hair is sparse on the coat. The hair on the neck is, however, long and shaggy. When sexually excited, the skin of the waterbuck secretes a greasy substance with the odour of musk, giving it the name "greasy kob". The odor of this is so unpleasant that it repels predators. This secretion also assists in water-proofing the body when the animal dives into water. The facial features include a white muzzle and light eyebrows and lighter insides of the ears. There is a cream-coloured patch (called "bib") on the throat. Waterbuck are characterised by a long neck and short, strong and black legs. Females have two nipples. Preorbital glands, foot glands and inguinal glands are absent.
The common waterbuck and the defassa waterbuck are remarkably different in their physical appearances. Measurements indicate greater tail length in the latter, whereas the common waterbuck stand taller than the defassa waterbuck. However, the principal differentiation between the two types is the white ring of hair surrounding the tail on the rump, which is a hollow circle in the common waterbuck but covered with white hair in the defassa waterbuck.
The long, spiral horns curve backward, then forward. Found only on males, the horns range from 55 to 99 cm (22 to 39 in) in length. To some extent, the length of the horns is related to the bull's age. A rudimentary horn in the form of a bone lump may be found on the skulls of females.
Waterbuck are rather sedentary in nature, though some migration may occur with the onset of monsoon. A gregarious animal, the waterbuck may form herds consisting of six to 30 individuals. The various groups are the nursery herds, bachelor herds and territorial males. Herd size increases in summer, whereas groups fragment in the winter months, probably under the influence of food availability. As soon as young males start developing horns (at around seven to nine months of age), they are chased out of the herd by territorial bulls. These males then form bachelor herds and may roam in female home ranges. Females have home ranges stretching over 200–600 hectares (0.77–2.32 sq mi; 490–1,480 acres). A few females may form spinster herds. Though females are seldom aggressive, minor tension may arise in herds.
Males start showing territorial behaviour from the age of five years, but are most dominant from the age of six to nine. Territorial males hold territories 4–146 hectares (0.015–0.564 sq mi; 9.9–360.8 acres) in size. Males are inclined to remain settled in their territories, though over time they may leave inferior territories for more spacious ones. Marking of territories includes no elaborate rituals - dung and urine are occasionally dropped. After the age of ten years, males lose their territorial nature and replaced by a younger bull, following which they recede to a small and unprotected area. There is another social group, that of the satellite males, which are mature bulls as yet without their own territories, who exploit resources, particularly mating opportunities, even in the presence of the dominant bull. The territorial male may allow a few satellite males into his territory, and they may contribute to its defence. However, gradually they may deprive the actual owner of his territory and seize the area for themselves. In a study in the Lake Nakuru National Park, only 7 percent of the adult males held territories, and only half of the territorial males tolerated one or more satellite males.
Territorial males may use several kinds of display. In one type of display, the white patch on the throat and between the eyes is clearly revealed, and other displays can demonstrate the thickness of the neck. These activities frighten trespassers. Lowering of the head and the body depict submission before the territorial male, who stands erect. Fights, which may last up to thirty minutes, involve threat displays typical of bovids accompanied by snorting. Fights may even become so violent that one of the opponents meets its death due to severe abdominal or thoracic wounds. A silent animal, the waterbuck makes use of flehmen response for visual communication and alarm snorts for vocal communication. Waterbuck often enter water to escape from predators which include lions, leopards, cheetahs, African wild dogs and Nile crocodiles (leopards and spotted hyenas prey on juveniles). However, it has been observed that the waterbuck does not particularly like being in water. Waterbuck may run into cover when alarmed, and males often attack predators.
Waterbuck are susceptible to ulcers, lungworm infection and kidney stones. Other diseases from which these animals suffer are foot-and-mouth disease, sindbis fever, yellow fever, bluetongue, bovine virus diarrhoea, brucellosis and anthrax. The waterbuck is more resistant to rinderpest than are other antelopes. They are unaffected by tsetse flies but ticks may introduce parasitic protozoa such as Theileria parva, Anaplasma marginale and Baberia bigemina. 27 species of ixodid tick have been found on waterbuck - a healthy waterbuck may carry a total of over 4000 ticks in their larval or nymphal stages, the most common among them being Amblyomma cohaerens and Rhipicephalus tricuspis. Internal parasites found in waterbuck include tapeworms, liverflukes, stomachflukes and several helminths.
The waterbuck exhibits great dependence on water. It can not tolerate dehydration in hot weather, and thus inhabits areas close to sources of water. However, it has been observed that unlike the other members of its genus (such as the kob and puku), the waterbuck ranges farther into the woodlands while maintaining its proximity to water. With grasses constituting a substantial 70 to 95 percent of the diet, the waterbuck is predominantly a grazer frequenting grasslands. Reeds and rushes like Typha and Phragmites may also be preferred.A study found regular consumption of three grass species round the year: Panicum anabaptistum, Echinochloa stagnina and Andropogon gayanus. Hyparrhenia involucrata, Acroceras amplectens and Oryza barthii along with annual species were the main preference in the early rainy season, while long life grasses and forage from trees constituted three-fourths of the diet in the dry season.
Though the defassa waterbuck were found to have a much greater requirement for protein than the African buffalo and the Beisa oryx, the waterbuck was found to spend much less time on browsing (eating leaves, small shoots and fruits) in comparison to the other grazers. In the dry season about 32 percent of the 24-hour day was spent in browsing, whereas no time was spent on it during the wet season. The choice of grasses varies with location rather than availability; for instance, in western Uganda, while Sporobolus pyramidalis was favoured in some places, Themeda triandra was the main choice elsewhere. The common waterbuck and the defassa waterbuck in the same area may differ in their choices; it has been observed that while the former preferred Heteropogon contortus and Cynodon dactylon, the latter showed less preference for these grasses.
Waterbuck are slower than other antelopes in terms of the rate of maturity. While males become sexually mature at the age of six years, females reach maturity within two to three years. Females may conceive by the age of two-and-a-half years, and remain reproductive for another ten years. In equatorial regions, breeding takes place throughout the year, and births are at their peak in the rainy season. However, breeding is seasonal in the Sudan (south of Sahara), with the mating season lasting four months. The season extends for even longer periods in some areas of southern Africa. Oestrus lasts for a day or less.
Mating begins after the male confirms that the female is in oestrus, which he does by sniffing her vulva and urine. A resistive female would try to bite or even fight off an advancing male. The male exhibits flehmen, and often licks the neck of the female and rubs his face and the base of his horns against her back. There are several attempts at mounting before the actual copulation. The female shifts her tail to one side, while the male clasps her sides with his forelegs and rests on her back during copulation, which may occur as many as ten times.
The gestational period lasts for seven to eight months, followed by the birth of a single calf. Twins are rare. Pregnant females isolate themselves in thickets as parturition approaches. Newborn calves can stand on their feet within a half-hour of birth. The mother eats the afterbirth. She communicates with the calf by bleating or snorting. Calves are kept hidden from two to three weeks up to two months. At about three to four weeks, the calf begins following its mother, who signals it to do so by raising her tail. Though bereft of horns, mothers will fiercely defend their offspring from predators. Calves are weaned at eight months, following which time they join groups of calves of their own age. Young females remain with their mothers in nursery herds, or may also join bachelor herds. The waterbuck lives to 18 years in the wild and 30 years in captivity.
The waterbuck is native to southern and eastern Africa (including countries such as Angola, Botswana, The Democratic Republic of Congo, Ethiopia, Kenya, Namibia, South Africa, Tanzania and Uganda) besides a few countries of western and northern Africa such as Chad, Côte d'Ivoire, Ghana, Mali, Niger, Nigeria and Senegal. Though formerly widespread in sub-Saharan Africa, its numbers have now decreased in most areas.
The common waterbuck is found east of the Eastern African Rift. Its southern range extends to the Hluhluwe-Umfolozi Game Reserve (KwaZulu Natal) and to central Namibia. By contrast, the defassa waterbuck inhabits western and central Africa. The defassa waterbuck occurs west of the Albertine Rift and ranges from Eritrea to Guinea Bissau in the southern Sahel, its most northerly point of distribution being in southern Mali. Its range also stretches east of the Congo basin through Zambia into Angola, while another branch extends to the Zaire River west of the Congo basin. While the common waterbuck is now extinct in Ethiopia, the defassa waterbuck has become extinct in Gambia.
Waterbuck inhabit scrub and savanna areas alongside rivers, lakes and valleys. Due to their requirement for grasslands as well as water, the waterbuck have a sparse distribution across ecotones (areas of interface between two different ecosystems). A study in the Ruwenzori Range showed that the mean density of waterbuck was 5.5 per square mile, and estimates in the Maasai Mara were as low as 1.3 per square mile. It has been observed that territorial size depends on the quality of the habitat, the age and health of the animal and the population density. The greater the age of the animal or the denser the populations, the smaller are the territories. In Queen Elizabeth National Park, females had home ranges 21–61 hectares (0.081–0.236 sq mi; 52–151 acres) in area whereas home ranges for bachelor males averaged between 24–38 hectares (0.093–0.147 sq mi; 59–94 acres). The oldest female (around 18 years old) had the smallest home range.
The International Union for the Conservation of Nature and Natural Resources (IUCN) lists the waterbuck as of least concern (LC). More specifically, the common waterbuck is listed as of Least Concern while the defassa waterbuck is near threatened (NT). The population trend for both the common and defassa waterbuck is decreasing, especially that of the latter, with large populations being eliminated from their habitats due to poaching and human settlement. Their own sedentary nature too is responsible for this to some extent. Numbers have fallen in Queen Elizabeth National Park, Murchison Falls National Park, Akagera National Park, Lake Nakuru National Park, and Comoé National Park. Population decrease in the Lake Nakuru National Park has been attributed to heavy metal poisoning. While cadmium and lead levels were dangerously high in the kidney and the liver, deficiencies of copper, calcium and phosphorus were noted.
Over 60 percent of the defassa waterbuck populations thrive in protected areas, most notably in Niokolo-Koba, Comoe, Mole, Bui, Pendjari, Manovo-Gounda St. Floris, Moukalaba-Doudou, Garamba, Virunga, Omo, Mago, Murchison Falls, Serengeti, and Katavi, Kafue and Queen Elizabeth National Parks, the national parks and hunting zones of North Province (Cameroon), Ugalla River Forest Reserve, Nazinga Game Ranch, Rukwa Valley, Awash Valley, Murule and Arly-Singou. The common waterbuck occurs in Tsavo, Tarangire, Mikumi, Kruger and Lake Nakuru National Parks, Laikipia, Kajiado, Luangwa Valley, Selous and Hluhluwe-Umfolozi game reserves and private lands in South Africa.
(Wikipedia)
Der iSimangaliso Wetland Park (bis Oktober 2007 Greater St. Lucia Wetland Park, danach iSimangaliso Wetland Park) ist ein Nationalpark an der Ostküste der südafrikanischen Provinz KwaZulu-Natal. Der Eingang zum Park befindet sich nahe der Kleinstadt St. Lucia.
Der Nationalpark umfasst die Feucht- und Küstengebiete von Mapelane im Süden bis hinauf zur Sodwana-Bucht im Norden und besteht aus vielen kleinen Schutzgebieten mit subtropischer bis tropischer Vegetation. Im Norden liegen die Mkuze-Sümpfe, während sich im Westen trockene Dornensavannen befinden.
Im Zentrum des Parks befindet sich der St.-Lucia-See, nach dem der Park benannt wurde. Mit einer Länge von 40 Kilometern und einer Breite von bis zu 21 Kilometern beträgt seine Fläche rund 300 km²; damit ist er der größte See Südafrikas. In dem 200 Kilometer langen Küstenstreifen finden sich die zweithöchsten bewaldeten Sanddünen der Welt.
In den Feuchtgebieten leben die größten Krokodil- und Flusspferdbestände Südafrikas. In den Savannen im Westen leben Meerkatzen, Nashörner, Büffel und Leoparden. Zwischen den Seen und Sümpfen brüten Reiher, Pelikane und Störche. Der Park verfügt über die höchste Dichte an Amphibien, darunter viele geschützte Arten. Außerdem kann man auf der Meeresseite Buckelwale sehen.
In der Nähe des Nationalparks befindet sich der Ort St. Lucia, in dem es Übernachtungs-, Freizeit- und Einkaufsmöglichkeiten gibt. St. Lucia ist zudem Ausgangspunkt für Walbeobachtungen und Fahrten auf dem St.-Lucia-See zu den Flusspferden.
Der iSimangaliso Wetland Park wurde 1999 in die Liste des Weltnaturerbes der UNESCO aufgenommen.
2004 wurde die Mündung des Feuchtgebietes durch eine Sanddüne gesperrt, um eine Ölpest nach der Havarie des Frachters Jolly Rubino abzuwehren. Seitdem ist der Wasserspiegel erheblich unter Meeresniveau gesunken, so dass die Maßnahme noch nicht rückgängig gemacht werden konnte.
Bis 2007 hieß der Nationalpark Greater St. Lucia Wetland Park. Seit November 2007 wird er iSimangaliso Wetland Park genannt. isimangaliso bedeutet „Wunder“ und verweist auf ein Zulu-Sprichwort über Ujeqe, einem Hofbeamten des Zulu-König Shaka: Ubone isimanga esabonwa uJeqe kwelama Thonga. – „Wenn Du Wunder gesehen hast, dann hast Du dasselbe gesehen wie Ujeqe in Thonga.“ Thonga oder Tongaland ist ein historischer Name für die Region Maputaland, zu der der Park gehört.
(Wikipedia)
Das Steppenzebra (Equus quagga) oder Pferdezebra ist ein Zebra aus der Familie der Pferde (Equidae) und gehört zur Ordnung der Unpaarhufer (Perissodactyla). Es stellt heute die häufigste Zebra-Art in Afrika dar und ist vom Nordosten bis in den Süden des Kontinents verbreitet. Es lebt gesellig in kleinen Herdenverbänden und ernährt sich hauptsächlich von Gräsern. Im Gegensatz zu den anderen heutigen Pferdearten kommt es auch in teilweise geschlossenen Landschaften vor. Der Bestand, dessen größte Population heute in der Serengeti lebt, gilt als nicht gefährdet. Es werden sechs rezente Unterarten unterschieden, die sich meistens deutlich in der Streifenzeichnung voneinander abheben.
(Wikipedia)
Als Wasserbock werden zwei Arten afrikanischer Antilopen aus der Gattung der Wasserböcke (Kobus) bezeichnet. Man unterscheidet den Ellipsen-Wasserbock (Kobus ellipsiprymnus) und den Defassa-Wasserbock (Kobus defassa). Beide wurden ursprünglich in einer Art zusammengefasst und zur Unterscheidung von den anderen Arten der Gattung Kobus auch unter dem Namen Gemeiner Wasserbock geführt, heute gelten sie als eigenständig.
Der Ellipsen-Wasserbock (Kobus ellipsiprymnus) ist eine große, kräftige, bis zu 270 kg schwere Antilope mit zotteligem, graubraunem Fell und einem weißen Ring um den Schwanzansatz (die namengebende Ellipse). Auch das Gesicht ist teilweise weiß, und ein weißer Streifen zieht sich von der Kehle bis zum Ohrenansatz. Nur die männlichen Tiere tragen lange, stark geringelte, weit geschwungene und nach vorne gerichtete Hörner. Die Schulterhöhe beträgt 1,30 m.
Das Verbreitungsgebiet reicht von Südafrika und Nordost-Namibia über Botswana und Mosambik und die Savannen Ostafrikas bis nach Äthiopien und Somalia.
Diese Antilopenart ist an Dauergewässer gebunden, in deren Nähe sich Wälder oder offenes Grasgelände mit Dickicht und Schilf bewachsene Gebiete befinden. Junge Männchen bilden eigene Herden, Weibchen und Jungtiere leben in Gruppen von 5 bis 10 Tieren zusammen.
Die beiden Wasserbock-Arten sind weniger stark ans Wasser gebunden als andere Vertreter ihrer Gattung. Sie können sich durchaus vom Wasser entfernen und sind dann in der offenen Savanne oder in Wäldern zu finden. Die weiblichen Wasserböcke leben in Herden von etwa fünf, in seltenen Fällen bis zu siebzig Tieren. Ebenfalls Herden bilden junge Männchen. Dagegen werden ältere Männchen zu Einzelgängern, die ein Revier gegen Artgenossen verteidigen und jedes durchziehende Weibchen für sich beanspruchen.
Wasserböcke gehören zu den häufigsten Großsäugetieren Afrikas. Schätzungsweise gibt es etwa 95.000 Defassa-Wasserböcke und 105.000 Ellipsen-Wasserböcke, von denen mehr als die Hälfte in Schutzgebieten lebt. Beide Arten werden seitens der IUCN als gering gefährdet (near threatened) klassifiziert. Die Bestände außerhalb von Schutzgebieten sind durch Jagd und Habitatzerstörung rückläufig.
(Wikipedia)
Right... You can forget the weird colour balance in these Woodpecker shots. Every one was taken into the sun and was totally fogged out, the tree was almost a complete silhouette and I'm surprised I managed to get any detail at all... I'd like to get out again in the morning, but junior was very excitable and I expect they'll be gone.
Managed to get a couple of shots of this grass snake as it crossed the track. Moved quickly and disappeared into the long grass.
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
-----
وینسVenetsiya
art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
--------key words
headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography
#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2024 #artformat
Managed to grab a couple of shots over the weekend :-) Better on Black
Off to work now - catch up with you all later
Eve Livesey Online: Official Site | deviantART Art Account | Getty Images | deviantART Stock Account | Twitter | Tumblr | 500px | SurrealPSD | Behance | Fluidr
This shot was taken on a very foggy day. And I mean VERY foggy day. I have managed to come around it and make some beautiful foggy shots (I love foggy weather) and some HDRs that unveiled the mist. And I love the result! The mist behind the island and the clearness of the island itself are just what I wanted them to be. Oh, and did I mention I love foggy weather?
Please, do comment and/or fave <3
I managed to buy a SeiRei Yugiri body for Mimique, the problem is its tad pink compare to the head. So I need to wipe his face-up and change his color scheme (from greys/ browns = pink/purple). The style is almost the same as the old one, but I removed the silver eye liner & beauty mark and lighten his brows... I think I like this one better, watchathink? ;p
Mischief Managed is having a Summercamp and I went back to take a look with my now third year character. I wanted to try mixing and matching some windlights and take shots of the place. It feels utterly egoistic of me to love this place, but I really do… I can't believe I built it, let alone it taking just 2 months. Lots of crazy nostalgic moments, but it was a dream building this.
Always thank you for J.K. Rowling for giving me this beautiful childhood memory.
[Reposts] We are now in the middle of Summer 2026 and I have run out of photos to upload. Until I manage to procure new material, I hope you will be happy to see (again?) some oldies I have been compiling for a large and ambitious book project that I have recently undertaken on Romanesque churches and art.
For that future book, I have selected over 2,400 photos from my collection. That number is daunting. Of course, most of them will not make it into the actual book, however thick it may end up being, but keep in mind also that I am not through at all yet with shooting... Aside from the many still unknown churches in France, foreign lands beckon such as Bavaria, Armenia, all the parts of Spain I haven’t visited —not to mention all of Central and Eastern Europe that I was supposed to cover for the à la Zodiaque book project that is still on hold...
Conques is a small Mediæval village in the département of Aveyron (central southern France). Located on the path to Compostela, it features a magnificent Romanesque abbey church built between the 10th and the 11th centuries. I have visited the village several times and it is always a great joy to be there again.
These photos are from August 2017.
The apse of the church with Merovingian sarcophagi excavated from times even before the current church was built. There was an earlier church as a monastery existed here around Year 800.
I managed to get a few photos of a female hummingbird at the feeder outside the window the other evening at dusk. We only have the Ruby Throated Hummingbirds in Ohio and the females don't have the brilliant ruby red markings. One of these days I'll catch a male. But they usually spend their time sitting in a tree or shrub nearby so they can chase off the other hummers that come to feed. It's not very often that they perch at the feeder for very long.
Managed to see the hairstreak up close several days after I'd seen it up high and far. Yard lifer.
The flash really highlighted some color!
Do NOT use this photo for ANYTHING without my written permission!!! The use of ANY of my photos, of any file size, for any purpose, is subject to approval by me. Contact me for permission. My email address is available at my Flickr profile page. Larger file sizes of my images are available upon request.
Managed to capture this one doing the classic upside down pollen capture trick. I was having a better day today getting them in focus. The extra sunlight was a big help.
Explore Aug 14th 2008 #471
Managed to catch up with the Yellowhammers again on Friday though the wind made them a little skittish
Managed a few shots of this Stunner before she flew into the woods, Nip of the wing short of perfect day :-)
I manage to snap these photos of my Aunt's sexy feet! She was a bit nervous at first. she told me she has ugly feet! I convinced her to take her tennis shoes and socks and show me her feet. Enjoy!!! I actually tasted them later!
managed to get over to donna nook yesterday to see my wonderful little friends!
this is dedicated to the wonderful work done by the lincolnshire wildlife trust and all the wardens and volunteers - the reserve looks brilliant with all the new fences following the devastating surge last year
and although iv still had a few reports of ‘naughty photographers’ – there seems to be fewer this year – please can everyone keep up the vigilance if they see people posting shots from the restricted areas!
Floating in one of my ornamental tubs. Hopefully Frans will confirm the ids. The D. ornata look huge by comparison. Have never seen Sminthurinus niger species before, these are really tiny. I did manage to rescue all of them and most were still alive.
Only managed to buy four different coloured bottles so far with the amethyst being the oldest and rarest 1865/1875
Mrs. Susan A. Allen, the wife of a New York City dentist, first introduced her product in 1840, and by 1854, was selling the formula from her husband’s Broome Street practice, which served as the “Manufactory and Depot.” An 1876 advertisement declared Mrs. S.A. Allen’s World’s Hair restorer “The only Preparation that will certainly revive, renew and restore the original or natural colour of grey or faded hair, stop its falling out and induce a luxuriant growth. ”The ad further claimed that “Forty years of trial and success is the basis for this unqualified statement,” during which time, “it has been used by thousands of persons, and it has never failed to satisfy the expectations of a rationale purchaser.”
The recipe for this “Great Unequaled Preparation” was said to contain a mixture of “sulphur, acetate of lead, glycerin, and flavored water” – hardly a concoction likely to enhance the beauty of one’s hair. Yet with establishments in New York, London and Paris, the hair restorer enjoyed a global market and was “Sold by all Chemists and perfumers throughout the World.”
Thank you for taking the time to view or comment on my Photostream, it is appreciated.
Managing Editor of Natural Bridge Literary Magazine at a Renaissance book fair...
(The stack of books her hand rests on? I have 3 photos in the latest edition...just saying...)
Managed to grab a picture of this fantastic steam locomotive approaching Ryhope Grange, Sunderland. I understand it was on a special day trip from Carnforth in Lancashire. For the train enthusiasts out there, I am informed it is an ex BR locomotive 2-6-0 Class K4 No. 61994 'THE GREAT MARQUESS'. It was built in 1938 at Darlington Locomotive Works to a design by Gresley for the West Highland Line.
The company which owns the train, West Coast Railways in Carnforth, also run the popular Fort William to Mallaig steam train service, otherwise known as the Hogwarts Express. I was lucky enough to travel on this train a couple of years back and what a brilliant line it is too... fantastic scenery.