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Avant-garde, multi-instrumentalist Patrick Wolf performs in front of the Latitude crowd, Obelisk Arena 18/07. Read that Patrick Wolf claims he's the new Bowie? . . Make your own minds up
The very talented Artist/Photographer Patrick Winfield whose current work is on exhibit @ ImpossibleUSA gallery.
Polaroid 809 on Empire Estate #2 8x10 camera.
Photo by: Jan Bartos
Hi. I really appreciate that you liked my work and decided to follow me on Flickr. By the way I have a Facebook page too, and I want to grow up and expand my network so I can share our experience with other enthusiast. You can find my page here:
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Patrick Boyd
A scar from a double lung transplant. Last year Patrick was operated on. his condition was Cystic Fibrosis
Patrick Houssard
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Nikon D300S, 1/250
Tokina 10-24mm @10mm
Nikon SB600 Full pow via cactus V4, but useless??
Company A, 6th Kansas Cavalry
The Fort Scott Tribune and Monitor, Friday, February 23, 1923
PATRICK “PAT” GORMAN DEAD
______
Pioneer Resident Died At Mercy
Hospital Today
______
HE CAME HERE IN 1858
______
Taken Prisoner By General Price On His
Memorable Raid—Had Accumulated
Much Property
______
Patrick Gorman, a resident of this county for 65 years and a citizen very widely and favorable known, passed away at 1:15 this morning at the Mercy Hospital, following a short illness of pneumonia. Mr. Gorman had not been feeling well for some time and last Sunday was brought from his home, eight miles northwest of the city to Mercy Hospital where he lingered along until an early hour this morning when he passed peacefully away. Had he lived to May 12 he would have been 86 years of age.
The news of Mr. Gorman’s death will be a source of keen regret among a host of friends and acquaintances over the city and entire country. He came to this county before the Civil War and had done his share in helping to make it grow from a sparsely settled section to one of the most prosperous communities in the state. He was a successful farmer, an able politician and a kind neighbor. His death marks the passing of one of the real pioneers of the county.
Patrick Gorman, son of Thomas and Catherine Gleason Gorman, was born in the Parish of Oahir, Conlisch County, Limerick, Ireland, May 12, 1837. At the age of 16 he emigrated to America, bringing a sister five years younger with him and landing here in 1853. He went direct to Springfield, Illinois where he secured his first job at a salary of 50 cents a day.
It was a Springfield that he took the oath of allegiance to the United States. He always took great pride in the fact that Abraham Lincoln was present in the court house when he foreswore his mother country and embraced the constitution of America.
After leaving Springfield he came to Booneville, Missouri, for a time. He then started for California but on reaching Westport Landing, he ran out of funds. He then walked to Leavenworth but not finding anything to suit him at that place, he turned his footsteps toward Fort Scott, arriving here about 1858.
He took up a claim on Moore’s Branch south of Fort Scott. He often spoke of the hardships endured on this claim and finally relinquished same to the government. About that time he enlisted in the union forces joining the Sixth Kansas Cavalry, Company A, at Fort Scott.
While in the service of the government he was married to Miss Margaret Devereaux in this city. One week after his marriage, he was taken prisoner by General Price on his memorable raid thru Kansas being finally paroled as a prisoner of war at Fort Smith, Arkansas.
At the end of the war, Mr. and Mrs. Gorman settled on a farm 2 miles south of Fulton and he continued to reside there until his death. Mrs. Gorman died May 30, 1920.
Mr. Gorman, at the time of his death, owned 1, 520 acres of land in the northern part of the county besides some property in Fulton. He always prided himself in having accumulated his holdings thru the untiring industry of himself and wife.
The deceased is survived by four sons and two daughters; John, Patrick, Edward, Michael and Mary Shaffer, all of Fulton, and Margaret McKee of Bartlesville, Oklahoma. Twenty-eight grandchildren and one great grandchild also survive him. A son Thomas preceded him in death.
Mr. Gorman was a devout member of the Catholic church, a member of the Knights of Columbus Lodge and the G. A. R. He was one of the very few survivors of the Sixth Kansas Cavalry.
The funeral was held from St. Patrick’s church at Fulton, Monday morning, conducted by Father Tom Maher. Interment was made in St. Michaels cemetery.
William Cutler wrote the following about this gentleman:
PATRICK GORMAN, farmer, Section 12, P. O. Fulton, native of County Limerick, Ireland; born in the Parish of Cahirconlish, in 1837, lived the life of a farm boy, and came to America in 1856. He at once went to farming in Illinois, where he stayed till 1859, then moving to Kansas, where he and H. McLaughlin entered a claim of 320 acres--160 each, on Moore's Branch. In 1861, he enlisted in Company A, Sixth Kansas Infantry, and served till 1865. He had sold his 160 acres to Mr. McLaughlin, and in 1864, while he was a prisoner with Price, a friend purchased the farm where he now lives for him. When he was taken prisoner, he had but just been married some three weeks to Miss Devereaux. When he returned he worked in the Quartermaster's Department till 1865, then taking his farm in hand, which he has carried on with entire success, not having missed raising a good crop every season. His stock and grain farm covering 480 acres in this township and 480 in Osage Township, corn being his principal grain crop. Their family of children consists of five boys and two girls--Thomas, now attending the Mission School; John, Patrick, Michael, Edward, Mary E. and Margaret
Patrick Stump in his new promo photo for his upcoming February release Soul Punk.
Spotlight (one man band - live): www.youtube.com/watch?v=cdP5GT_jHl4
U.S. Secretary of State John Kerry meets with Massachusetts Gov. Deval L. Patrick at the U.S. Department of State in Washington, D.C., February 7, 2013. [State Department photo/ Public Domain]
Captain Patrick Miller
West Building, Main Floor—Gallery 59
•Date: 1788/1789, Altered Later (Date Unknown)
•Medium: Oil on Canvas
•Dimensions:
oOverall: 167.2 × 132.8 cm (65 13/16 × 52 5/16 in.)
oFramed: 195.9 × 160 × 11.4 cm (77⅛ × 63 × 4½ in.)
•Credit Line: Gift of Pauline Sabin Davis
•Accession Number: 1948.19.1
•Artists/Makers:
oArtist: Sir Henry Raeburn, Scottish, 1756-1823
Provenance
(Wallis & Son, London), 1910; purchased by Sir Edgar Vincent, bt., later 1st viscount d’Abernon [1857-1941], Esher and Stoke d’Abernon, Surrey; sold c. 1917 to (Duveen Brothers, Inc., London, New York, and Paris);[1] purchased 1919 by Mr. [d. 1933] and Mrs. Charles H. Sabin, Southampton, Long Island, New York; Mrs. Sabin [née Pauline Morton], who married Dwight F. Davis, Washington, D.C., in 1936; gift 1948 to NGA.
[1]Duveen Brothers to Mrs. John Shapley, 5 August 1948, in NGA curatorial files.
Associated Names
•Davis, Dwight Filley, Mrs.
•Duveen Brothers, Inc.
•Duveen Brothers, Inc.
•Sabin, Charles H., Mr. and Mrs.
•Vincent, 1st Viscount D’Abernon, Edgar, Sir
•Wallis & Son, Henry
Exhibition History
•1910—Pictures by Sir Henry Rareburn, R.A., French Gallery (Wallis & Son), London, 1910, no. 18.
•1966—Loan for display with permanent collection, Museum of Fine Arts, St. Petersburg, Florida, 1966-1968.
•1969—Inaugural Exhibition: American Portraits, The Art Museum, Duke University, Durham, North Carolina, 1969-1970, no cat.
•1972— Styles in Portraiture, Northern Virginia Fine Arts Association, Alexandria, Virginia, 1972, no cat.
•1999—Masterpieces from the National Gallery of Art, Washington, Kyoto Municipal Museum of Art; Tokyo Metropolitan Art Museum, 1999, no. 85, repro.
Technical Summary
The heavy canvas is plain woven; it has been lined. The ground is white and contains white lead; it is possible that there are two layers, of which the white lead represents a priming over another, white chalk ground. The paint is applied in opaque layers, with thin, fluid washes, blended wet into wet in the darks, and with thick impasto in the lights; the final details are added crisply over dried lower layers. X-radiographs show that some minor changes were made in the frogging, notably at the sitter’s right shoulder above the armpit, where the V-shaped braid was originally filled with decorative trim, and that the necktie was originally higher and more elaborate; also, and this is visible to the naked eye, that the sitter originally held his hat (then adorned with a large rosette) in his left hand against the rump of his charger. The object he then held in his right hand is difficult to identify. Craquelure in the uniform reveals that its color was originally blue. The thinner washes are slightly abraded and the impasto has been flattened by lining.
Bibliography
•1911—Greig, James. Sir Henry Raeburn, R.A.: His Life and Works. London, 1911: 53.
•1957—Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 92.
•1965—Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 106.
•1968—European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 94, repro.
•1975—European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 278, repro.
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: no. 528, color repro.
•1985—European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 323, repro.
•1992—Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 188-191, color repro. 191.
From British Paintings of the Sixteenth through Nineteenth Centuries:
1948.19.1 (1024)
Captain Patrick Miller
•1788/1789, Altered Later (Date Unknown)
•Oil on Canvas, 167.2 × 132.8 (65⅞ × 52¼)
•Gift of Pauline Sabin Davis
Technical Notes
The heavy canvas is plain woven; it has been lined. The ground is white and contains white lead; it is possible that there are two layers, of which the white lead represents a priming over another, white chalk ground. The paint is applied in opaque layers, with thin, fluid washes, blended wet into wet in the darks, and with thick impasto in the lights; the final details are added crisply over dried lower layers. X-radiographs show that some minor changes were made in the frogging, notably at the sitter’s right shoulder above the armpit, where the V-shaped braid was originally filled with decorative trim, and that the necktie was originally higher and more elaborate; also, and this is visible to the naked eye, that the sitter originally held his hat (then adorned with a large rosette) in his left hand against the rump of his charger. The object he then held in his right hand is difficult to identify. Craquelure in the uniform reveals that its color was originally blue. The thinner washes are slightly abraded and the impasto has been flattened by lining.
Provenance
(Wallis & Son), London, 1910, from whom it was purchased by Sir Edgar Vincent, Bt., later Viscount d’Abernon [1857-1941], Esher Place, Surrey, who sold it c. 1917 to (Duveen Brothers), London,1 from whose New York branch it was purchased 1919 by Mr. [d. 1933] and Mrs. Charles H. Sabin, Southampton, Long Island, New York. (Mrs. Sabin [nee Pauline Morton] married Dwight F. Davis, Washington, in 1936.)
Exhibitions
Pictures by Sir Henry Raeburn, R.A,, French Gallery (Wallis & Son), London, 1910, no. 18. Inaugural Exhibition, Duke University Art Museum, Durham, North Carolina, 1969, no cat. Styles in Portraiture, Northern Virginia Fine Arts Association, Alexandria, 1972, no cat.
Patrick Miller was the eldest son of Patrick Miller of Dalswinton House in Dumfries, Scotland, friend of Robert Burns and James Nasmyth, a wealthy banker best known for his experiments in steam navigation. Young Miller was present with Burns at the trial on the Solway Firth of the first steamship in Great Britain. He appears as a boy of about fifteen in the center of the family group painted by Alexander Nasmyth in 1782. A regular army officer for seven years, he became M.P. for Dumfriesshire in 1790.
The question of the uniform in which Miller is depicted—brown with silver lace and yellow facings—has been a subject of inconclusive debate among historians of military uniforms and other experts.2 The recent technical examination revealing that the color beneath the present paint surface is blue to some extent clarifies the matter. The traditional identification with the Dumfries Yeomanry3 remains unacceptable, since research in the army lists has shown that Miller was not commissioned in that regiment.4 Miller served in the army from 1783 until 1790, when he resigned. He was successively an ensign in the Thirteenth Foot, a lieutenant in the Tenth Foot, a lieutenant in the Twelfth Light Dragoons, and a captain in the Fourteenth Light Dragoons.5 Both the latter regiments had blue uniforms with silver lace and yellow facings, primrose yellow in the case of the Twelfth and lemon yellow in the case of the Fourteenth; the Twelfth are known to have been unusual in retaining black horse furniture until 1792.6 The facings in Miller’s uniform are pale yellow, and the horse furniture black, so that the uniform as originally painted by Raeburn may be identified as that of the Twelfth Light Dragoons, in which Miller served as a lieutenant from February 1788 to May 1789.
This leaves unresolved the identification of the uniform in which Miller is actually depicted. Presumably the portrait was altered by Raeburn at a later date when Miller was serving in a different regiment as a more senior officer and wanted himself recorded in this new capacity. During the Revolutionary and Napoleonic Wars a considerable number of militia regiments were formed, the uniforms of which were often highly individual (officers in the same regiment sometimes wearing different uniforms) and are scantily recorded: it is likely that Miller served in one of these formations, though, as noted above, he was not an officer in the regiment he was most likely to have joined, the Dumfries-shire Yeomanry.
Miller is shown resting his arm on his charger in a manner employed by both Reynolds and Gainsborough, and which Raeburn adopted for his equestrian portraits, but the relationship between the sitter and his mount has not been satisfactorily resolved and the horse is somewhat wooden, as in Hoppner’s rendering of the theme (John Curwen, painted 1782, delivered 1788). The relationship would have been even more awkward before Raeburn repositioned the hat, originally held against the horse’s rump, unsupported by Miller’s left hand.7 The sitter is strongly lit and set in the extreme foreground, thus making close contact with the spectator, with the landscape falling away behind him, as so often in Raeburn’s work. The loosely swept back hair with small side curls is characteristic of the 17808 and early 1790s.
Notes
1.Duveen Brothers to Mrs. John Shapley, 5 August 1948, in NGA curatorial files.
2.R. Gerard, Transvaal Museum, Pretoria, letters, 27 September, 23 October, 15, 16 December 1951, 17 January, 26 July 1952, in NGA curatorial files; R. G. Ball, Scottish United Services Museum, letter, 20 October 1969, in NGA curatorial files. Ball also stated that, according to a note in his museum’s files, a version or copy of the Washington portrait in which the uniform was said to be green (apparently at one time the color worn by the Dumfries-shire Yeomanry) was owned by Major A. B. Cree, Cape Town; the existence of such a work is not borne out by the correspondence (which suggests rather that Major Cree was simply interested in the Washington picture), but is given some credence by the discovery already noted that the color of the uniform in the National Gallery’s painting was originally blue and not brown (a discolored blue might appear to be green).
3.The portrait was captioned as such in exh. cat. London 1910, no.18.
4.R. Gerard, letter, 17 January 1952, citing research by Haswell Miller, in NGA curatorial files.
5.A. S. White, Society for Army Historical Research, letter, 26 June 1951, in NGA curatorial files.
6.R. G. Ball, letter, 20 October 1969, in NGA curatorial files.
7.Compare Raeburn’s more successful handling of the theme in later years in his full-length portraits of Harley Drummond (The Metropolitan Museum of Art) and Professor John Wilson (Royal Scottish Academy, Edinburgh; Greig 1911, pi. loa), in which the sitters are holding their hats against their mounts in a more sophisticated manner than in the original conception of the Washington picture.
References
•1911—Greig 1911: 53.
•1976—Walker 1976: no. 528, color repro.
Patrick Stewart speaking at the 2013 San Diego Comic Con International, for "X-Men: Days of Future Past", at the San Diego Convention Center in San Diego, California.
Please attribute to Gage Skidmore if used elsewhere.
Photo by: Lucia Humer Photography
Hi. I really appreciate that you liked my work and decided to follow me on Flickr. By the way I have a Facebook page too, and I want to grow up and expand my network so I can share our experience with other enthusiast. You can find my page here:
www.facebook.com/patrickboydofficial
and here is my Instagram page, where I upload my very best:
I have also a Tumblr blog here:
I'd love to see your page too, since I use a lot facebook with my private profile, so if you want to text back your page you're welcome.
With the hope that you will accept my invitation,
Greetings,
Patrick Boyd
Photo by: Dusha foto
MUA: Dea - Make Up Artist & Beauty Consultant
I really appreciate that you liked my work and decided to follow me on Facebook. By the way I have a Twitter page too, and I want to grow up and expand my network so I can share my experience with other enthusiast. You can find my page here:
and here is my Instagram page, where I upload my very best:
instagram.com/boydpatrick
I have also a Tumblr blog here:
patrickboyd.tumblr.com/
I'd love to see your page too, since I use a lot facebook with my private profile, so if you want to text back your page you're welcome.
With the hope that you will accept my invitation,
Greetings,
Croagh Patrick (Irish: Cruach Phádraig) is a 764 metres (2,507 ft) tall mountain and an important site of pilgrimage in County Mayo, Republic of Ireland. It is 8 kilometres from Westport, above the villages of Murrisk and Lecanvey. It is the third highest mountain in County Mayo. On "Reek Sunday", the last Sunday in July every year, over 15,000 pilgrims climb it.
Croagh Patrick has been a site of pilgrimage, especially at the summer solstice, since before the arrival of Celtic Christianity. Saint Patrick reputedly fasted on the summit of Croagh Patrick for forty days in the fifth century and built a church there. Popular legend says that at the end of Patrick's 40-day fast, he threw a silver bell down the side of the mountain, knocking the she-demon Corra from the sky and banishing all the snakes from Ireland.