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This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
Director Theophilus Raynsford Mann
~ a Taiwanese social reformer, philosopher, photographer, and film director
“Do Everything for My People”
馬天亮導演
~ 臺灣的社會改革者，哲學家，攝影師，和電影導演
《造福人民》
SUMMARY
Theophilus Raynsford Mann is a naturalist, occultist, Buddhist and Taoist. In 1982, Mann developed a technique for abstract photography, applied “Rayonism” into photographic works. Mann staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Mann’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Mann’s works have been quoted by the scholars many times, making Mann one of the highly cited technological, artistic, and managing public administrators in the academia. Mann was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.
Early Life and Record of Genealogy
Theophilus Raynsford Mann possesses both Taiwanese and German surnames from birth. Usually, whenever anyone asks Mann about where he comes from, he would reply “Formosa” as he grew up and was educated in the Far East and lives in Taiwanese and Japanese lifestyles. Moreover, he often teaches and educates younger generations based on the methods of the Far Eastern teaching he experienced when he was young, though he does not oppose the Western ways of teaching and thinking. Mann takes great pride in his roots, which go back 150 years (since 1864); Mann’s ancestry originates and creates generations, and prepares younger generations to succeed their personality and ethical standards and integrity.
Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa
In 1980, Mann obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.
In history, the Portuguese explorers discovered and called the island (Taiwan), “Formosa” (meaning “Beautiful Island”) in 1590. They are non-Chinese people; it was long a Chinese and Japanese pirate base. Fighting continued, between its original inhabitants of Taiwanese and the Chinese settlers, into the 19th century. In 1894-95 first Sino-Japanese War that ended in Manchus of the Qing (Ching) dynasty defeat, the late Manchu Qing Government forced to cede Formosa to Japan. This result was made by the Treaty of Shomonoseki in 1895 and remained under Japanese control until the end of the Second World War. Early on, Taiwan was conquered by the Qing in 1683 and for the first time became part of older China dynasty. However, today, the home country of Mann’s origin has around 165 institutions (93 universities) of higher education, which now has one of the best-educated populations in Asia. Among the major public (state) ones are the National Taiwan University (NTU) at Taipei, and National Sun Yat-Sen University (NSYSU) at Kaohsiung. NSYSU is also called National Chun-Shan University; according to Times Higher Education 2010-2011, NSYSU ranks as the 3rd university in Taiwan, 21st in Asia, and 163rd worldwide. National Taiwan University is ranked 51 to 60 ranks on Times Higher Education World University Rankings - Top Universities by Reputation 2013, the United Kingdom (see www.timeshighereducation.co.uk/world-university-rankings/...); King's College London (KCL) (21st in the world and 6th in Europe in the 2010, QS World University Rankings), the University of London, and University of Southern California (is one of the world's leading private research universities, located in the heart of Los Angeles), afterward.
Backing to Mann’s early school-time of Taiwan Provincial Kaohsiung Industrial Senior High School (Kaohsiung Municipal Kaohsiung Industrial High school), the professional technical education, which is equivalent to Advanced Level General Certificate of Education, commonly referred to as an A-level in the United Kingdom; China Electronic Engineering College, the distance learning programme, which is in equivalence as UK’s Diploma of Higher Education / Undergraduate Diploma (as an Associate Degree in the United States). An additional, his middle education was taught by the Kaohsiung Municipal Chihjh (Ci Sian) Junior High School; and Kaohsiung Municipal San Min Elementary School was his first school in Taiwan.
Early Career
In 1989, Mann instituted Mann’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.
Study Abroad and Immigration into the United Kingdom
In 1998, Mann studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan (Prifysgol Morgannwg) in Merthyr Tydfil, Pontypridd, Wales for a master of science in real estate appraisal. Until the summer of 2000, Mann completed an academic course on “Towns through the Ages” from Christ Church College at the University of Oxford (is ranked the 2nd place worldwide on The Times Higher Education, World University Rankings 2012-2013 www.timeshighereducation.co.uk/world-university-rankings/...) in England. Afterward, Mann immigrated into the United Kingdom in the early year of 2004.
PHILOSOPHICAL VIEWS
Mann is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand Theophilus Raynsford Mann. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.
Back in the 1990s when Mann just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.
During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Mann understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?
FAIRNESS and JUSTICE
As Theophilus Raynsford Mann’s saying are:
“Touching Fairness and Justice”
Feel good about themselves, but do not know the sufferings of the people...
Who can get easy life like them?
What is profile of modern society?
What type and style is truly solemn for this society identify?
Where “the characterization” is? Who can see? Did you see it?
《感動的公平與正義》
自我感覺良好, 不知民間疾苦...
誰能得到安逸的生活如同他們一樣？
這是個什麼樣子的社會？
這個社會認定什麼樣的類型和風格是真正莊重的?
「特徵」在那裡？誰可以看到？你看到了嗎？
Jurisprudence and Political Philosophy and Perspectives
Mann ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Mann will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.
According as Mann’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.
The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.
Mann had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.
Right now, Mann studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Mann would like to do “something beautiful for `the unknown`”.
In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.
In present world, Mann really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.
No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.
The knowledge Mann has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.
Since 30 July of 1988, Mann settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Mann was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.
Mann had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.
The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.
Developed a Technique for Abstract Photography and Abstractionist
In 1982, Mann developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Mann was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.
Photographic Exhibitions
Theophilus Raynsford Mann Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.
一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展
Theophilus Raynsford Mann Photographic Exhibition of Rayonism (32 individual exhibitions) 1983~1985.
馬天亮『光影』攝影特展（個人展32場）1983〜1985年.
Mann staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Mann was the first exhibitor around the country. All of the invited displays were by the Taiwan’s Government, cultural and artistic organisations, and sponsors. Mann’s earliest exhibition took place in the National Taiwan Arts Education Center (Museum) on 19 December 1983 when Mann was 25 years old; Mann was the youngest exhibitor in the history of the Center in any solo exhibitions. The Center that was opened in March 1957, kept a collection of Mann’s work. It is currently updating the Center’s internal organisation and strengthening co-operation with leading centers and museums around the world. Meanwhile, it widened the center’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.
Modernization in the Modern Abstract Arts of Taiwan
Mann’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.
In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Mann may sprout, grow and bloom. Mann aims to provide an educational stimulus for society by introducing his works - Mann can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Mann believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Mann should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.
Became an Author and a Scholar
In 1980, Theophilus Raynsford Mann completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Mann was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Mann’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Mann was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News Publication “Theophilus Raynsford Mann Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Mann’s writings.
Authorship
Mann’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Mann was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Mann one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Mann’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.
Became an Academic and Film Director
Today, Mann is a professor at Space Time Life Research Academy, and a photographer, film director, and computer engineer now live and work in London.
Director Works:
FILMS:
Experimental Film “New Image for the Spring” © 1982
Documentary Film “Rayonnisme” © 2011
“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)
FASHION SHOWS:
New Image for the Spring of Shapely Models International © 1982
High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982
ART EXHIBITIONS:
The Cadillac Club International Fine Arts Exhibition © 1981
The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981
Musician Work:
MUSIC COMPOSITION:
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.
PHOTOGRAPHIC ALBUMS:
Portrait and Landscape in France © 2000
Portrait and Landscape in Scotland © 2001
Portrait and Landscape in England © 2009
Portrait at Queen Mary, University of London © 2010
Rayonism of London © 2011
Portrait at The University of Nottingham, United Kingdom © 2011
Snowy London © 2012
Portrait at King's College London © 2013
BOOKS:
Scenario Original 「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.
“Album of the Cadillac Club International Fine Arts Exhibition” © 1981
“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981
“Album of New Image for the Spring of Shapely Models International” © 1982
“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982
“Romantic Carol” © 1982
Album of Academic Work for News Publication: “Theophilus Raynsford Mann Photographic Exhibitions of Rayonnisme” © May 1985
New version of scenario original “The Soul's Sentimentalizing” (to be published)
「曾經輝煌到頂天立地」(individual biography, to be published)
“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)
「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)
Research Interests:
University of Oxford
Research Studies in Archaeology:
Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.
National Taiwan University
Graduate Certificate,
Graduate Institute of Electrical Engineering:
Mann’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.
University of Glamorgan
M.Sc. Course,
Master of Science in Real Estate Appraisal:
Mann’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.
National Sun Yat-Sen University
Postgraduate Certificate,
Postgraduate Studies in Computing:
Mann’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.
Associations:
Member of The Kaohsiung Life Line Association since 11 January 1979, an association established in the USA.
Member of The Society of Youth Writers, Tien (Catholic) Educational Center, Taipei since 1980.
Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)
Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.
Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.
On 15 March 1989, Mann promoted and founded the Consortium Juridical Person Mr. Theophilus Raynsford Mann Social Benefit Foundation 財團法人馬天亮先生社會公益基金會籌備處 (Social Charity 社會慈善事業) in Taiwan.
near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...
Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.
Honours:
Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.
中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.
On 26 August 1985, Mann was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.
Careers:
Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:
Academia,
Teaching and Research:
business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and filmmaking.
教學與研究：
企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ，視覺藝術和製作影片。
Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:
consultants of immigration, translations, and legal services.
永生移民顧問翻譯服務社的移民諮詢顧問和翻譯：
移民事務，翻譯和法律服務。
Computer Hardware & Networking Engineer at Mann Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:
Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.
計算機工程和網絡服務。維修主機板，顯示器，電源供應器，光碟機/光盘驱动器，不斷電系統，硬碟/硬盘，硬盤數據恢復，基本輸入輸出系統編程，以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。
Film Director and Photographer at Shapely Studio of Creative and Cultural Industries, 2 April 2007 to present in London, United Kingdom:
1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.
Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:
Social Reform in Taiwan
www.facebook.com/twreform/info
《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。Theophilus Raynsford Mann (TianLiang Maa) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.
Website
mtltwp.pixnet.net/album/set/1265174
photo.roodo.com/photos/mtltwp/albums/small/100469.html
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Mann was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.
Website
mtltwp.pixnet.net/album/set/1265208
www.facebook.com/sonate1c/info
LINKS:
University of California, Berkeley
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University of Michigan
mirlyn.lib.umich.edu/Record/006237256
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WorldCat® Identities
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192.83.186.170/search*cht/a%E9%A6%AC%E5%A4%A9%E4%BA%AE
National Yang Ming University 國立陽明大學
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National Taiwan University of Science and Technology 國立臺灣科技大學
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Wikimedia Commons 維基共享資源
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國家圖書館 期刊文獻資訊網, 臺灣期刊論文索引
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聲音藝術的審美角度, 大學雜誌, 天然
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為文化中心把脈, 幼獅文藝
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科學家與守財奴, 中國地方自治
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Japan Photos and Pictures
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far-east-movement.blogcu.com/professor-tianliang-maa/1226...
A Story of Professor Theophilus Raynsford Mann
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Sports Wallpapers
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University of California, Berkeley period
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Point Precise uses photogrammetry and your iPhone’s device sensors to convert your scans into precise 3D point clouds.
Exercise PRECISE RESPONSE, is an annual chemical, biological, radiological, and nuclear (CBRN) exercise hosted by Defence Research and Development Canada at Canadian Forces Base Suffield where the Canadian Armed Forces along with NATO allies and partner Nations can practice essential CBRN defence skills in a multinational training environment.
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
When was the world's first railway laid? No one is quite confident on a precise date but simple rails have been used to guide vehicles for centuries, definitely as far back as the middle ages and possibly even in ancient Greece.
What is certain is that in the early 1600s a Nottinghamshire businessman called Huntingdon Beaumont came to Northumberland and laid rails from collieries near Blyth to a shipping point on the coast.
His waggonway used horses hauling wooden waggons on wooden wheels on wooden rails, however this was not a financial success. It did though provide the spark of progression from primitive wooden rails over short distances, to a railway network which would change Britain and the world forever.
Tyneside Roads
From the mid 1600 onwards waggonways and the Tyneside coal industry became linked so closely that they were known throughout the rest of Britain as 'Tyneside Roads'. A network of lines linked collieries on both sides of the Tyne to the river.
It is no coincidence that the North East was the area where waggonways took greatest hold, because canal building was impossible due to deep valleys and steep hills. What set the rail systems of Tyneside apart from all others was its use of the flanged wheel - a key element of the modern railway as we know it.
A revelation
When the Tanfield Railway - or waggonway as it was known at the time - was built in 1725, it was a revelation. Its massive engineering was unlike anything else in its era, or even since the Roman Empire. It was a triumph of engineering over nature, a clear signal that a new industrial age was upon the world, and that railways would play a massive part.
First laid down more than a quarter of a century before the first railway officially sanctioned by government, over 75 years before the first steam locomotive and a whole 100 years earlier than the Stockton and Darlington Railway, the Tanfield Railway is the world's oldest railway. We will be the first railway to celebrate our tricentenary in 2025.
Montage of a visualization of a model of temperature changes from 2014 to 2099. The left image is 2014 and the center is (gratuitously precise) 31 December 2099. The right image is the delta between the two images.
Original caption: On June 9, 2015, NASA released data showing how temperature and rainfall patterns worldwide may change through the year 2100 as a result of growing concentrations of greenhouse gases in Earth’s atmosphere. The 11-terabyte data set is freely available to the public and shows projected changes in response to different scenarios of increasing carbon dioxide. The high-resolution data—which can be viewed at the spatial scale of individual cities and towns, and at time scales down to a single day—will help scientists and civic planners conduct climate risk assessments to better understand the local effects of global change.
“NASA is in the business of taking what we’ve learned about our planet from space and creating new products that help us all safeguard our future,” said Ellen Stofan, NASA chief scientist. “With this new global data set, people around the world have a valuable new tool to use in planning how to cope with a warming planet.”
The maps above show model projections of maximum air temperatures near the ocean and land surface on the June solstice in 2014 and 2099. The maps were constructed from the NASA Earth Exchange Global Daily Downscaled Projections (NEX-GDDP) data set, which combines historical measurements with data from 21 general circulation model simulations in the Coupled Model Intercomparison Project Phase 5 (The CMIP5 model runs were developed in support of the Fifth Assessment Report of the Intergovernmental Panel on Climate Change.) Shades of red depict temperatures up to 48 degrees Celsius (118 degrees Fahrenheit) above zero, with blue shades representing temperatures down to 48°C below zero (-54°F). Turn on the image comparison tool and note how some regions are significantly warmer in 2099 than in 2014.
The new NEX-GDDP model projections show how global temperature (above) and precipitation (not shown) might change under different greenhouse gas emissions scenarios, including a “business as usual” scenario based on current trends and an extreme case with a significant increase in emissions. The projections provide a detailed view down to a resolution of 0.25 degrees (25 kilometers or 16 miles) and cover the time period from 1950 to 2100.
The new data set is a product of the NASA Earth Exchange (NEX), a big-data research platform within the NASA Advanced Supercomputing Center at the Ames Research Center. NEX pulls together state-of-the-art supercomputing, Earth system modeling, workflow management, and NASA remote-sensing data. NEX data and analysis tools are available to the public through the OpenNEX project on Amazon Web Services. OpenNEX is a partnership between NASA and Amazon, Inc., to enhance public access to climate data.
“This is a fundamental data set for climate research and assessment with a wide range of applications,” said Ramakrishna Nemani, NEX project scientist. “NASA continues to produce valuable community-based data products on the NEX platform to promote scientific collaboration, knowledge sharing, and research and development.”
NASA Earth Observatory maps by Joshua Stevens, using Global Daily Downscaled Climate Projections from the NASA Earth Exchange (NEX). Caption compiled by Mike Carlowicz from a NASA news release.
Instrument(s):
Model
Original images source: earthobservatory.nasa.gov/IOTD/view.php?id=86027
In West Houston. Kickerillo Street, to be precise. This neighborhood was one of the many designed by ____ Kickerillo (Houstonians? What's that guy's first name?). He was like our very own Donald Trump but with more of a naming mania. All the streets in his various subdivisions had names like Candywood and Cindywood and Marywood and Kellywood after the various women/offspring in his family.
Also, he had some weird obsession with England because some of the subdivisions had names like Nottingham Forest (ours) or Sherwood Forest or Wilcrest Forest. Then there was that one called Gaywood. Not sure what was up with that.
Aside from all that, they were actually really beautiful neighborhoods in that soullessly comfortable Houston way. This one was one of the oldest (maybe 20 years old) so it had big old trees covered in Spanish Moss. No sidewalks though because who walks? No one is who.
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This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
With precise attention to detail and using dimensions and specifications from the original rifle, the craftsmen at Turnbull Mfg. Co have re-created one of the most famous Winchester rifles ever produced. The production of this “TR Model 1876” will be limited to no more than 25 rifles. Each rifle will be individually numbered TR01-TR25 and will come in a custom display case. A portion of the proceeds from the sale of each rifle will benefit the Doug Turnbull Restoration Conservation Laboratory at the National Firearms Museum. Specifications: 45-75 caliber, button magazine, fancy pistol grip butt stock, 28" 1/2 round, 1/2 octagon barrel, steel grip cap, cheek piece stock, H-pattern checkering, checkered steel buttplate, Freund rear sight, sporting front sight, gold inlaid stock oval, color case hardened receiver.
The Colt SAA is featured on a black powder style frame, grips are one piece ivory carved with 'TR' monogram on right grip & carved buffalo on left grip. The engraving is a Nimschke style pattern based on the original gun. Engraving done by John Adams & Son. Gold plated hammer, cylinder & ejector rod housing, with the balance of gun in silver plate. 44-40, 7-1/2" barrel.
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
Urbex Benelux -
There are no precise dates for the manufacture and processing of concrete pipelines. Most publications refer to the sewage system of the " Cloaca Maxima " in Rome, whereby the Romans used large natural stone blocks - later bricks - which they built up in layers with " opus caementitium " (Roman concrete). "Roman concrete" was also used for the drinking water supply and for the construction of aqueducts. Early sewage systems are also known from other cities, such as B. from Cologne, where in April 2005 the opening of the Roman sewer into the Roman Rhine port was found during the construction of the underground. They were built from blocks of tuff or from “opus caementitium” with a shell made of greywacke .
Precise harmony: “Dresden” as anthracite brown multiblend pavers and in an elegant grey as a wall cladding tile on the façade.
Read more about the project on our Architectum blog.
Planning, entrance and access area: Dörte Michaelis
Planning and implementation, annex to parking area and access: Architektengruppe Hamann
Photographer: Jens Krüger
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
Is there anyone who can help with a more precise ID
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An amusing sign in a Toronto art supply store. I liked the combination of creative illustration and humorous text. I assume it is the solution to customers entering the wrong door.
Rise of the Tomb Raider : la version PC se précise Disponible depuis le 13 novembre dernier sur Xbox One et Xbox 360, Rise of the Tomb Raider sortira très bientôt sur PC comme le confirme Steam.... via on.fb.me/1osNI0h
Duty called today, Duty 108 to be precise.
This began at 7.05am with 4½ times round the Lowca - Kells 1 service and was followed by the No.3 Mirehouse circular (X 8).
Importantly there was a one and a half hour meal break in between so having eaten my packed lunch in the George Street rest room in Whitehaven I had a bit of time to kill. As the sun was out I took the liberty of wandering across the road to Whitehaven Bransty station to see if owt was going on.
The first thing that happened (due to the fact that I was wearing my company uniform) was that a woman asked me what time the next train was arriving from Carlisle. I told her that, as a bus driver, I had absolutely no idea and that perhaps she should ask a member of Northern Rail’s staff or, failing that, look on the bloody great big timetables mounted on the wall in front of her.
Anyway; just as I was about to vacate the premises due to a lack of rail activity my spidey senses detected a sound from within the Bransty tunnel. As all signals were set “against” I presumed that whatever motive power exited the tunnel would be stopping within the station. I was right.
Turned out to be a brace of Class 66 locomotives in the livery of Direct Rail Services. The leading loco, 66419, one of DRS’ 2006 delivery of Class 66/4 heavy freight locomotives, idles at the platform as it awaits the road North to Carlisle.
Not the best of pictures as it was taken slightly into the sun, hence the bleached out sky.
Precise baiting is of paramount importance at my pond, for the carp are well educated as they seem to have studied all my fishing books with greatest interest, especially the sections on carp. So they know all my tricks and would reject a negligently baited hook within the blink of an eye! :-)
Riverside Cemetery, Kalamazoo, Michigan
Argus Anastigmat 50mm f/4.5 on Sony A7RM2.
Argus-Ilex-Precise I.R.C. f/4.5 Anastigmat (from the early Argus A camera series) on Sony A7RM2.
Converted to black-and-white in Lightroom CC; distortion, vignette and edge softness come with the lens.
Precise sizing of the holes and spacing on this prototype from Allan at Aerorpress, made in 2006.
Backstory: Allan had these made as prototypes, but had no intention of ever producing them. He was adamant that the increased oils these filters allowed to pass through were bad for your health and system. (I don't agree, but there you go).
I had it in mind to mass produce these myself, but after some false starts trying to find a photo-chemical etcher company that could produce these at a reasonable cost, it went severe-back burner. I never posted super detailed photos of it before, but now that Coava is producing a similar disk, here it is to compare and contrast. I'm actually quite happy Coava (or anyone, really) is producing a good metal filter for the aeropress. For me, it wasn't about making money in producing these things - it was about GETTING BETTER COFFEE out of the Aeropress. Paper just doesn't cut it.
I haven't been able to test Coava's disk against this one yet. I don't even know if the hole sizes and spacings are similar.
I actually have two disks from Alan - this one (my preferred one), and another that has 0.02 spacing and .01 holes (sizes are in inches).
Very precise sufficed the height of the bridge. Floods on the first weekend in June. Switzerland, June 2, 2013.
A Stylish February Morning in New York City
The morning light filtered through the sheer curtains of their chic hotel room, casting a soft glow over the elegant coats draped over the chairs—one in warm camel, another in crisp ivory, and the last in rich caramel brown. Clara, Sophie, and Elise were already buzzing with excitement, their voices overlapping as they prepared for a full day of sightseeing in Manhattan.
Clara, ever the perfectionist, sat at the vanity mirror, carefully plucking her eyebrows into neat arches. "Sophie, hand me the brow gel, will you?" she called, smoothing a delicate touch of highlighter onto her cheekbones. Sophie, adjusting the fit of her tailored skirt in the mirror, tossed the tube over with a playful grin. "Honestly, Clara, your brows are already perfect. Meanwhile, I am fighting for my life with this eyeliner," she groaned, steadying her hand as she traced a precise wing.
Elise, already flawless in her classic white blouse and beige coat, leaned against the vanity, slipping on her black leather gloves. "You two are impossible," she teased. "We have an entire city waiting for us, and you're both waging a war against your reflections!" But even as she joked, she reached for a lipstick—her signature deep red—carefully pressing the color onto her lips.
Once their makeup was in place—soft, Parisian-inspired for Clara, bold and striking for Sophie, and timeless elegance for Elise—they turned to the final touch: getting dressed. They slid into their sleek pencil skirts, the fabric hugging their legs perfectly, while the crisp white shirts buttoned up neatly beneath their tailored coats. Black sheer tights and classic black heels completed the ensemble, elongating their silhouettes with effortless grace.
With a final glance in the mirror and an approving nod from each other, they grabbed their handbags and stepped out into the crisp February air. The city hummed around them as they strolled through Central Park, their coats cinched at the waist, their gloves keeping the chill at bay. Pedestrians stole admiring glances at the trio—three sophisticated figures, effortlessly stylish, blending into the city’s timeless rhythm.
"Next stop?" Sophie asked, tucking a blonde strand beneath her beret.
"Fifth Avenue, of course," Elise answered with a wink.
And with that, they strode forward, their heels clicking in unison against the pavement, ready to conquer the day in style.
A Chic Stroll Down Fifth Avenue
As Clara, Sophie, and Elise left the serene paths of Central Park behind, the towering grandeur of Fifth Avenue stretched before them, its sidewalks bustling with shoppers and tourists wrapped in winter coats. The crisp February air carried the scent of roasted chestnuts from a nearby vendor, mingling with the refined notes of expensive perfumes wafting from the open doors of luxury boutiques.
Their polished heels clicked against the pavement in effortless rhythm, their tailored coats cinched elegantly at the waist, swaying ever so slightly with each step. Sophie, adjusting the tilt of her red beret, glanced at the grand display windows of Bergdorf Goodman, where mannequins stood adorned in the latest haute couture. "You know, if I step inside, I may never leave," she mused, her crimson lips curving into a smile.
Clara, always the planner, gave a playful sigh. "We promised ourselves a quick look, not an all-day shopping spree. But… a peek wouldn’t hurt," she conceded, smoothing the lapel of her ivory coat.
Elise, ever poised, tucked a gloved hand beneath Sophie’s arm. "Just a peek," she echoed, her breath forming a faint mist in the winter air. "But if I see something irresistible, well… resistance is overrated."
Inside the boutique, the warmth enveloped them instantly, contrasting against the chill of the streets. The soft hum of classical music played overhead as sales associates, impeccably dressed, greeted them with knowing smiles. The trio moved gracefully through the aisles, their black-gloved fingers trailing over the luxurious fabrics—silk blouses, cashmere sweaters, and exquisitely tailored coats.
Sophie gasped as she held up a pair of black suede heels with a delicate gold buckle. "These were made for me," she declared, slipping off her own pumps to try them on. She turned her foot slightly, admiring how the sleek heel elongated her legs beneath her sheer black tights.
Clara, meanwhile, stood before a mirror, draping an elegant cashmere scarf over her shoulders, its soft ivory hue blending seamlessly with her coat. "It’s perfect," Elise noted, adjusting the fabric slightly. "Classic, understated—very you."
"You mean practical," Clara teased.
"Practical is just another form of chic," Elise replied with a wink, adjusting the cuff of her beige coat.
After much deliberation, a few indulgent purchases, and some playful bargaining with themselves, they emerged onto Fifth Avenue once more, shopping bags in hand. The city seemed to sparkle around them—the golden accents of Tiffany & Co., the imposing beauty of St. Patrick’s Cathedral, the dazzling lights of the grand hotels lining the avenue.
"We should toast to our impeccable taste," Sophie declared.
"And our restraint," Clara added with a smirk.
Elise laughed, looping her arm through both of theirs. "Then I know just the place—The Plaza. A glass of champagne is in order."
With their coats buttoned against the February breeze and their elegance undeniable, the three friends continued their stroll, the city their playground, their laughter mingling with the sounds of New York.
An Elegant Afternoon at The Plaza
With their shopping bags swinging lightly at their sides, Clara, Sophie, and Elise stepped through the grand entrance of The Plaza Hotel, where the warmth of the gilded lobby embraced them instantly. The soft clinking of crystal, the faint murmur of conversation, and the delicate notes of a live pianist filled the air, wrapping the space in an ambiance of old-world sophistication.
Their heels clicked against the polished marble floors as they made their way toward The Palm Court, its iconic stained-glass ceiling casting a soft golden hue over the elegantly set tables. A maître d’ in a sharp black suit greeted them with a polite nod, his eyes sweeping over their perfectly tailored coats—the rich caramel of Sophie’s, the warm beige of Elise’s, and the crisp ivory of Clara’s.
“Ladies, welcome. May I take your coats?”
The three exchanged knowing glances. Removing their outerwear was always a moment of silent drama, a small but undeniable pleasure. As they slid out of their coats, revealing their crisp white blouses tucked into their fitted skirts, the maître d’ smiled approvingly. "Right this way," he said, leading them to a corner table draped in pristine white linen.
Once seated, Clara crossed her legs, smoothing the fabric of her skirt over her sheer black tights. “Now, this is how you properly recover from a shopping spree,” she mused, glancing around at the chandeliers glinting overhead.
Sophie, adjusting the sleeve of her blouse, leaned back with a sigh. “It’s practically a ritual at this point—Fifth Avenue, then a champagne toast at The Plaza. I don’t make the rules.”
Elise smirked, reaching for the menu. “No, darling. We just follow them flawlessly.”
A waiter appeared, dressed impeccably in a crisp white jacket. “May I bring you ladies something to drink?”
“Three glasses of champagne,” Elise answered smoothly, not bothering to look up from the menu. Then, after a pause, she added with a slight tilt of her head, “And perhaps some petits fours. We deserve a little something sweet.”
As they sipped their champagne, their conversation drifted effortlessly from fashion to travel, from Parisian cafes to dream vacations. Sophie traced the rim of her glass thoughtfully. “Imagine us here in twenty years. Still meeting at The Plaza, still in perfect coats, still shopping like our lives depend on it.”
Clara chuckled, taking a delicate sip of her drink. “If we’re lucky, yes.”
Elise leaned in slightly, her red lips curving into a smile. “No, darling. Not luck—just impeccable taste and unshakable friendship.”
With a clink of their glasses, the promise was sealed. The city was theirs, the moment was perfect, and in their world, elegance would always be a way of life.
An Afternoon of Art and Elegance at The MoMA
Refreshed from their champagne interlude at The Plaza, Clara, Sophie, and Elise emerged onto Fifth Avenue once more, the brisk February air sharp against their cheeks. With a renewed sense of purpose—and a few new treasures from their shopping spree—they hailed a cab to their next destination: The Museum of Modern Art.
As they stepped through the museum’s grand entrance, the shift in atmosphere was immediate. The air inside was hushed, reverent, filled with the soft echo of footsteps and the murmured admiration of art lovers. The trio strode confidently toward the cloakroom, where an attendant, barely concealing his intrigue, reached to take their impeccably tailored coats.
With each careful movement, they shed their outer layers, revealing the sculpted elegance of their attire beneath—crisp white blouses, perfectly pressed, each collar sharp and sophisticated against the smooth line of their necks. Their high-waisted pencil skirts hugged their forms with precise tailoring, accentuating the length of their legs beneath the sheer black stockings that glistened subtly under the gallery’s soft lighting. Their patent leather heels, tipped with gold accents, stood firmly against the polished floor, clicking softly as they stepped forward.
A few passing visitors—men and women alike—cast discreet glances in their direction. Not just at their beauty, but at their presence: poised, refined, effortlessly commanding. There was a subtle thrill in it, the awareness of being observed, admired. A touch of discomfort from the fitted waistbands, the structured collars pressing against their skin, the slight pinch of their heels after a full day of walking—yet none of it diminished their elegance. If anything, it heightened it.
Sophie tilted her chin ever so slightly, suppressing a knowing smile as she caught a stranger's lingering gaze. “You’d think we were part of the exhibition,” she murmured under her breath.
Elise smirked, adjusting the cuff of her blouse. “Perhaps we are.”
Clara, always the pragmatist, gestured toward the main hall. “Shall we?”
They moved through the museum with effortless grace, their tailored silhouettes gliding past walls adorned with masterpieces. The bold strokes of Van Gogh’s Starry Night swirled in luminous blues before them, the haunting abstraction of Picasso’s Les Demoiselles d’Avignon holding them momentarily captive.
Elise crossed her arms, the crisp fabric of her blouse tightening slightly across her shoulders. “You know,” she mused, “there’s something about walking through a place like this in heels and a fitted skirt that makes you stand a little taller. Like we belong among the masters.”
Sophie chuckled, shifting her weight subtly to ease the pressure on her arches. “Art is about composition, darling. And we are nothing if not perfectly composed.”
Clara smirked, trailing a gloved finger lightly along the museum guide in her hand. “Speaking of composition, let’s find the Rothkos. Nothing like a little color to contrast with all this monochrome sophistication.”
And so they continued, an elegant trio amidst the avant-garde, exuding a quiet power in the way they carried themselves—graceful, unshaken, beautifully refined. The discomfort of their attire, if anything, only deepened their allure, a reminder that elegance was not just about looking exquisite, but about mastering it.
A Glamorous Dinner at The Carlyle
As twilight descended upon Manhattan, Clara, Sophie, and Elise found themselves once again wrapped in the luxurious warmth of their coats, stepping out of The MoMA and into the soft glow of streetlights. Their heels clicked against the pavement as they made their way to their final destination of the evening: The Carlyle, an iconic Upper East Side hotel known for its timeless elegance, whispering jazz, and clientele who appreciated refinement as much as they did.
A doorman in a perfectly pressed uniform tipped his hat as he swung the grand doors open for them. Inside, The Carlyle’s gilded interiors shimmered beneath soft chandeliers, casting a warm glow over the impeccably dressed patrons who lounged in deep velvet chairs, sipping cocktails with quiet sophistication.
As they stepped toward the dining room, the maître d’s gaze flickered momentarily over their trio—taking in the sharp tailoring of their fitted skirts, the crisp precision of their white blouses, the gleam of their sheer stockings against the soft lighting. He straightened slightly, his demeanor shifting to something even more deferential. “Ladies, welcome. Your table is ready.”
They were led toward a coveted corner table near the grand piano, where the murmur of conversation blended seamlessly with the soft melodies of live jazz. Clara slid into her seat with effortless poise, adjusting the structured collar of her blouse as she crossed her legs. Sophie’s delicate fingers traced the stem of her wine glass before she even lifted it, while Elise, ever composed, removed her black leather gloves with a measured grace, placing them neatly beside her on the table.
Across the room, a well-dressed gentleman in his forties—sharp suit, silver cufflinks, the quiet confidence of old money—leaned toward his companion and murmured something. A moment later, he approached their table with the easy assurance of a man accustomed to admiration.
“Ladies,” he began smoothly, offering them a polite but appreciative smile. “I couldn’t help but notice—you carry yourselves with remarkable elegance. A rare sight these days.” His gaze flickered to their flawless attire, the way their blouses remained crisp despite the evening’s wear, the subtle sheen of their stockings catching the candlelight.
Elise, ever the diplomat, inclined her head slightly, accepting the compliment with practiced grace. “How kind of you to say. We do believe elegance is something worth preserving.”
Sophie, always playful, took a slow sip of her champagne before flashing a knowing smile. “And worth perfecting.”
The man chuckled, clearly charmed. “Well, whatever you’re doing, you’re doing it exquisitely.” With a final nod, he returned to his table, leaving them to bask in the quiet satisfaction of being noticed—not for anything loud or ostentatious, but for the silent, powerful presence they commanded.
As their entrées arrived—delicate plates of filet mignon, sea bass, and the finest winter vegetables—their conversation turned to art, travel, and, of course, fashion. The slight snugness of their tailored skirts, the firm yet delicate embrace of their stockings, and the structured crispness of their collars were ever-present reminders of their refinement. The minor discomfort only deepened their sense of control, of power, of knowing they were women who set the standard rather than followed it.
By the time dessert arrived—slices of dark chocolate torte accompanied by espresso—the night had taken on a dreamy quality, the candlelight flickering against the polished silverware, the music drifting softly around them.
Clara glanced at her watch, then at her friends. “Shall we make a night of it?”
Elise smirked, dabbing the corner of her lips with a linen napkin. “I thought you’d never ask.”
Sophie drained the last sip of her champagne before reaching for her gloves. “The night is young, and so are we.”
With that, they rose, buttoning their coats with quiet ceremony, their heels clicking once more as they stepped back into the city—elegant, powerful, and undeniably unforgettable.
A Night of Jazz and Elegance
Wrapped in the embrace of their perfectly tailored coats, Clara, Sophie, and Elise stepped into the night, their heels striking the pavement with measured precision as they made their way to The Django, an intimate jazz club nestled beneath the refined grandeur of Tribeca’s Roxy Hotel. The evening air was crisp, sharpening their senses, but beneath their polished exteriors, a quiet thrill pulsed through them. There was something intoxicating about moving through the city this way—pristine, poised, the embodiment of composed femininity.
The moment they descended the dimly lit staircase into the club’s moody, underground world, the warmth of candlelight flickered across the plush leather booths, and the rich, velvety tones of a saxophone curled through the air. The scent of aged whiskey and perfume lingered, mixing with the sultry hum of conversation.
A doorman took their coats, revealing them once more in their exquisite evening wear. Their white blouses—still impeccably crisp despite the long day—gleamed softly in the dim light, the stiff collars a perfect contrast to the fluid notes of the music. Their pencil skirts, fitted with precision, sculpted their silhouettes, hugging their hips just enough to remind them of their own refined restraint. The sheer black stockings theyathed their legs in a whisper of silk, catching the flicker of candlelight with every movement, while their patent leather heels added a commanding rhythm to their steps.
Heads turned. Not in a loud, obvious way, but with that subtle, lingering intrigue reserved for women who exuded an effortless kind of power.
Sophie leaned toward Elise as they reached the bar, her red lips curving into a smirk. “You’d think people had never seen three women properly dressed before.”
Elise, smoothing an invisible wrinkle from the sleeve of her blouse, let out a soft chuckle. “Perhaps they haven’t.”
Clara simply ordered their drinks—classic martinis, as sharp and refined as they were—before leading them to a table near the stage, where a jazz singer, clad in deep emerald satin, crooned into the microphone, her voice dripping like honey over the notes of the piano.
As they settled into their seats, Clara shifted slightly, feeling the structured fabric of her skirt pull just enough to remind her of its tailored perfection. There was a certain pleasure in it—the way their clothes demanded composure, the way their fitted blouses restricted unnecessary movement, the way the sheen of their stockings added just the right amount of elegance to each crossed leg.
Sophie lifted her martini, the crisp collar of her blouse brushing against her jaw as she took a slow sip. “I do believe dressing well changes the way the world reacts to you.”
Elise, running a fingertip along the rim of her glass, nodded. “It’s not just about being seen. It’s about being remembered.”
And they would be. Even as the night deepened, as the music swelled, as the lights cast golden reflections against their polished heels, they knew they weren’t just part of the atmosphere—they were the atmosphere. The kind of women who brought elegance wherever they went.
As the bass thrummed softly beneath them, Clara leaned back, a slow, knowing smile playing on her lips. “To refinement,” she murmured, raising her glass.
“To power,” Elise added.
“To us,” Sophie finished, her voice rich with satisfaction.
Their glasses clinked, their lipstick prints left delicate stains on the rim—an unspoken signature of their presence. The night was theirs, wrapped in silk and sophistication, and they intended to make every second of it unforgettable.
A Nightcap in Silk and Shadow
The city glowed beneath them as their taxi wove through the quiet streets of Manhattan, the golden lights of skyscrapers reflecting off the rain-slicked pavement. The hum of jazz still played softly in their minds, mingling with the warmth of expertly mixed martinis and the lingering thrill of admiration. Clara, Sophie, and Elise sat in elegant repose, their bodies still held in the refined embrace of their attire, their minds savoring the final moments of the evening.
As they stepped into the grand marble lobby of their five-star hotel, the hush of the hour wrapped around them like velvet. The gleaming floors reflected the soft shimmer of their sheer stockings and the sharp elegance of their patent heels. A courteous nod from the night concierge, a whispered greeting, and then the quiet click of the elevator doors enclosing them in polished brass and plush carpeting.
Their suite was bathed in the warm glow of city lights filtering through floor-to-ceiling windows, casting elongated silhouettes onto the smooth surfaces of glass and leather. The air smelled faintly of fresh flowers and the delicate traces of their own perfumes, lingering from the morning’s first spritz.
Elise exhaled slowly, reaching up to unclip her earrings, the tiny motion sending a whisper of relief down her spine. Sophie let out a contented hum, slipping off her black leather gloves one finger at a time, placing them on the sleek vanity with a quiet finality.
Clara walked to the minibar, her movements still precise, controlled. “One last toast?” she murmured, pouring amber liquid into crystal tumblers. The sound of the ice clinking was almost hypnotic.
They gathered near the window, standing in elegant repose—heels still on, blouses still crisp, skirts still perfectly fitted. The glow of the skyline made their reflections gleam, three silhouettes of polished sophistication.
Slowly, deliberately, Sophie unfastened the top button of her blouse, the crisp fabric parting just slightly, releasing a breath of tension from her frame. Elise followed, rolling her shoulders as she loosened her own collar, feeling the subtle thrill of restraint giving way to ease. Clara, ever composed, ran a manicured hand over the smooth curve of her skirt before reaching up to undo the cuff of her sleeve.
There was something indulgent in the ritual of undressing—a pleasure in reversing the careful process of the morning, peeling away the layers of structured refinement. The soft rustle of fabric as skirts slid down, the quiet sigh of silk stockings as they were eased from long legs, the final click of heels being slipped off and set aside—all of it was as exquisite as the dressing itself.
Elise smoothed her fingers over the faint indentations left by the seams of her blouse, a quiet reminder of the discipline of elegance. Sophie stretched, reveling in the sensation of freedom, yet knowing she would welcome the embrace of a perfectly tailored outfit once more in the morning. Clara, watching them both, took another slow sip of her drink, her lips curving into a satisfied smile.
The evening had been everything they had wanted—refined, poised, unforgettable. And as they settled into the opulence of their suite, wrapped in silk robes and quiet laughter, they knew that elegance was not just about how they dressed, but how they carried themselves—always with grace, always with power, and always leaving an impression that lingered long after they had departed.
Clara’s Reflection: A Dream in Silk and Light
As the night deepened, the city outside their window pulsed with quiet life, the glow of distant headlights weaving through the streets like golden threads in a vast, shimmering tapestry. The suite had settled into a luxurious hush—Sophie reclining with a book in hand, Elise gazing at the skyline, lost in thought. And Clara, wrapped in the weightless embrace of a silk robe, let herself sink into the cool sheets of her bed, her body still humming with the echoes of the evening.
She traced a fingertip along her wrist, feeling the faint imprint left by the cuffs of her blouse, a lingering whisper of elegance. Even now, she could still sense the crisp collar against her skin, the sculpting embrace of her skirt, the way her sheer stockings had clung to her legs with polished perfection. The memory of it thrilled her—not just the attire itself, but what it represented.
Refinement. Power. Control.
There was something intoxicating about it all—the quiet mastery of dressing with precision, the knowledge that every movement was shaped by the exquisite structure of their clothes. The way heads turned, the way admiration lingered in the air around them like a fine perfume.
As her mind drifted, she thought of the jazz club, the way the candlelight had flickered against the polished surface of their heels. She thought of the glances, the murmured compliments, the weight of eyes following them as they moved through the city. But more than that, she thought of the feeling—that deep, unshakable sense of purpose, of being exactly as they had intended to be: poised, elegant, unforgettable.
A soft exhale. A stretch of silk against skin.
Clara closed her eyes, a satisfied smile curving at the corner of her lips.
Tomorrow, they would do it all over again.
And she wouldn’t change a single thing.
If anyone can give a more precise dating for this badge I’d be grateful to hear from you. Thank you.
Imperial Chemical Industries (ICI) was a large British chemical company established in 1926 from the merger of four companies namely Brunner Mond, Nobel Explosives, United Alkali Company and the British Dyestuffs Corporation. ICI produced a diverse range of products in paints, dyes, pharmaceuticals, specialist plastics, adhesives, explosives and agrochemicals. In 2007 AzkoNobel acquired the ICI conglomerate who restructured them and sold off parts of ICI.
The ‘Imperial Lion’ and ICI monogram depicted on this badge was introduced in the 1920’s and was used by the company into the 1930’s until the more familiar ICI roundel logo superseded it completely. However, the ‘Imperial Lion’ logo remained popular with the work force who continued to use it much longer for their social and sports clubs.
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References:
en.wikipedia.org/wiki/Imperial_Chemical_Industries
www.flickr.com/photos/77499774@N08/9232264327/ (Some information relating to the Imperial Lion ICI logo).
en.wikipedia.org/wiki/AkzoNobel (AzkoNobel NV company).
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Enamels: 1 (red).
Finish: Gilt.
Material: Brass.
Fixer: Pin.
Size: 15/16” x 15/16” (24mm x 24mm).
Process: Die stamped.
Imprint: No maker’s name or mark.
Tirta Wana Dander
Next south of Bojonegoro city about 13 km, there is nature tourism object and artificial tourism object, precise in Dander village, Dander district, that famous with Tirtawana, Tirta meaning Water and Wana meaning that the Forest. It’s mean that there is water in the forest. Tirta Wana Dander is a tourism object that has full of nature panorama that very beautiful, because there are many big trees and shady also tropical plants that made the air becomes cool and fresh. Here has built very wide swimming pool, that consisted of two parts, west side is for the women and child then east side is for the adult. Because of its beauty of nature and its coolness air, then in the holiday, the tourists often visit Tirtawana Dander.
Tirtawana Dander also equipped with a place to play, to camp, provided by golf-course for who have hobby to played golf. The visitors come to this tourism object are to relax, swimming, or play golf.
This place has its unique geographical because its fresh nature. The pool is taken from the natural water source that very clean and clear so that we will feel fresh if we take a bath in this poll.
There is some support equipments, such as; toilet, float, jump board, playground, shelter, kiosks, meeting room, golf field, camping ground, etc.
More info visit: www.eastjava.com
This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.
Overall Length w/o Platform: 22' 6"
Overall Length w/ Platform: 24' 6"
Overall Length w/ Platform & Trailer: 27' 2"
Width (Beam): 100"
Overall Width w/ Trailer: 102"
Draft: 26"
Weight - Boat only: 4,300 lbs
Weight - Boat and Trailer: 5,600 lbs
Capacity - Passenger: 10
Capacity - Weight: 1,400 lbs
Capacity - Fuel: 50 gals
Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.
Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550
An 1900 sculpture representing Bartholdi
As an officer, he took part in the defense of Colmar , On September 13, 1870, Auguste Bartholdi was appointed Adjutant Major of the 1st Battalion. The Haut-Rhin prefect's orders were precise:
"You are to take up arms at three o'clock in the morning, quietly and without alarm. You will move along the road to Horbourg, about one kilometer from the town. If the enemy forces are too numerous, you will fall back on Colmar" [1].
Leading a squad, Bartholdi rushed to meet them. The battle began on the Horbourg bridge, quickly turning against the French, who suffered several casualties. "Bartholdi wrote in his diary: "The Badeners, victors over one hundred and fifty francs-tireurs and a hundred national guards, triumphantly occupied the town of Colmar with a whole army corps. The sculptor will build the funeral monument for the three fallen francs-tireurs. In October 1870, Bartholdi was appointed aide-de-camp to Garibaldi, commander of the Vosges army of volunteer francs-tireurs.
"The two men struck up a genuine friendship. They talked politics, philosophy and religion. They discovered their shared convictions" [2].
On February 13, 1871, at the Assembly in Bordeaux, Victor Hugo defended the "only general who fought for France and was not defeated". Bartholdi was to accompany the fighter in the red shirt until his return to Italy. On February 15, 1871, he wrote in his diary:
"A moving farewell. Garibaldi embraces us.
Bartholdi was born in Colmar, France, 2 August 1834.[4] He was born to a family of Alsatian Protestant heritage, with his family name adopted from Barthold.[5] His parents were Jean Charles Bartholdi (1791–1836) and Augusta Charlotte Bartholdi (née Beysser; 1801–1891). Frédéric Auguste Bartholdi was the youngest of their four children, and one of only two to survive infancy, along with the oldest brother, Jean-Charles, who became a lawyer and editor.[citation needed]
Bartholdi's father, a property owner and counselor to the prefecture, died when Bartholdi was two years old.[5] Afterwards, Bartholdi moved with his mother and his older brother Jean-Charles to Paris, where another branch of their family resided.[5] With the family often returning to spend long periods of time in Colmar,[5] the family maintained ownership and visited their house in Alsace, which later became the Bartholdi Museum in 1922.[6] While in Colmar, Bartholdi took drawing lessons from Martin Rossbach. In Paris, he studied sculpture with Antoine Étex. He also studied architecture under Henri Labrouste and Eugène-Emmanuel Viollet-le-Duc.[5]
Bartholdi attended the Lycée Louis-le-Grand in Paris and received a baccalauréat in 1852. He then went on to study architecture at the École nationale supérieure des Beaux-Arts[citation needed] as well as painting under Ary Scheffer[3][5] in his studio in the Rue Chaptal, now the Musée de la Vie Romantique.[citation needed] Later, Bartholdi turned his attention to sculpture, which afterward exclusively occupied him and his life.[3]
Career
Early sculptures and work in Colmar
Bartholdi early in his career
In 1853, Bartholdi submitted a Good Samaritan-themed sculptural group to the Paris Salon of 1853. The statue was later recreated in bronze. Within two years of his Salon debut, Bartholdi was commissioned by his hometown of Colmar to sculpt a bronze memorial of Jean Rapp, a Napoleonic General.[5] In 1855 and 1856 Bartholdi traveled in Yemen and Egypt with travel companions such as Jean-Léon Gérôme and other "orientalist" painters. The trip sparked Bartholdi's interest in colossal sculpture.[5]
In 1869, Bartholdi returned to Egypt to propose a new lighthouse to be built at the entrance of the Suez Canal, which was newly completed. The lighthouse, which was to be called Egypt Carrying the Light to Asia and shaped as a massive, draped figure holding a torch, was not commissioned.[5] Both the khedive and Lesseps declined the proposed statue from Bartholdi, citing the high cost.[7] The Port Said Lighthouse was built instead, by François Coignet in 1869.
A COLOSSAL LION, TERRIBLE IN HIS FURY
Close to moderate republicans such as Léon Gambetta and Adolphe Crémieux, both ministers in the government of national defense, Bartholdi condemned the Commune, which he accused of dividing France. At the end of 1871, the city of Belfort decided to erect a monument to commemorate the 103 days of resistance against the Prussians [3]. To the astonishment of the town, Bartholdi proposed to sculpt "a colossal lion, harassed, cornered and still terrible in its fury" under the citadel overlooking the town. Completed in 1880, the statue is 11 meters high and 22 meters long. In the Lion of Belfort room on the second floor of the Colmar Museum, a display case contains several terracotta models of the monument. After the Lion, Bartholdi tackled an even larger statue: Liberty Enlightening the World, better known as the Statue of Liberty, to celebrate the centennial of American independence (1776-1876). The Colmar museum has the oldest surviving model (1870), as well as original photographs of the various stages of construction in the workshop on rue de Chazelles, near Parc Monceau in Paris.
"My work will be gigantic, made of embossed copper plates, hammered and riveted. (...) Will you, Gustave Eiffel, the wizard of iron, be able to realize it?" asked the sculptor [4
The war and Statue of Liberty
Bartholdi sculpting with a miniature of Liberty Enlightening the World, now known as the Statue of Liberty, to his left
Bartholdi served in the Franco-Prussian War of 1870 as a squadron leader of the National Guard, and as a liaison officer to Italian General Giuseppe Garibaldi, representing the French government and the Army of the Vosges.[citation needed] As an officer, he took part in the defense of Colmar from Germany. Distraught over his region's defeat, over the following years he constructed a number of monuments celebrating French heroism in the defense against Germany. Among these projects was the Lion of Belfort, which he started working on in 1871, not finishing the massive sandstone statue until 1880.[5]
In 1871, he made his first trip to the United States, where he pitched the idea of a massive statue gifted from the French to the Americans in honor of the centennial of American independence. The idea, which had first been broached to him in 1865 by his friend Édouard René de Laboulaye, resulted in the Statue of Liberty in New York harbor.[5] After years of work and fundraising, the statue was inaugurated in 1886.[5] During this period, Bartholdi also sculpted a number of monuments for American cities, such as the Bartholdi Fountain in Washington, D.C., completed in 1878.[5]
Later years
In 1875, he joined the Freemasons Lodge Alsace-Lorraine in Paris.[8][9] In 1876, Bartholdi was one of the French commissioners in 1876 to the Philadelphia Centennial Exposition. There he exhibited bronze statues of The Young Vine-Grower, Génie Funèbre, Peace and Genius in the Grasp of Misery, receiving a bronze medal for the latter.[3] His 1878 statue Gribeauval became the property of the French state.[3]
A prolific creator of statues, monuments, and portraits, Bartholdi exhibited at the Paris Salons until the year of his death in 1904.[5] He also remained active with diverse mediums, including oil painting, watercolor, photography, and drawing,[5] and received the rank of Commander of the Legion of Honor in 1886. Bartholdi died of tuberculosis at age 70 in Paris on 4 October 1904.[10]
Personal life
In 1876, he married Jeanne-Emile Baheux in Providence, Rhode Island.[5] In 1893, Bartholdi and his wife visited the 1893 World's Columbian Exposition in Chicago, where his Washington and Lafayette sculptural group was exhibited.[11] Throughout his life Bartholdi maintained his childhood family home in Colmar; in 1922, it was made into the Musée Bartholdi.[5]
Major projects
The Statue of Liberty (Liberty Enlightening the World)
Main article: Statue of Liberty
Front page of Frank Leslie's 13 June 1885 edition of Illustrated Newspaper
The work for which Bartholdi is most famous is Liberty Enlightening the World, better known as the Statue of Liberty. Soon after the establishment of the French Third Republic, the project of building some suitable memorial to show the fraternal feeling existing between the republics of the United States and France was suggested, and in 1874 the Union Franco-Américaine (Franco-American Union) was established by Edouard de Laboulaye.[3]
Bartholdi's hometown in Alsace had just passed into German control in the Franco-Prussian War. These troubles in his ancestral home of Alsace are purported to have further influenced Bartholdi's own great interest in independence, liberty, and self-determination.[citation needed] Bartholdi subsequently joined the Union Franco-Américaine, among whose members were Laboulaye, Paul de Rémusat, William Waddington, Henri Martin, Ferdinand Marie de Lesseps, Jean-Baptiste Donatien de Vimeur, comte de Rochambeau, Oscar Gilbert Lafayette,[3] François Charles Lorraine, and Louis François Lorraine.[clarification needed]
Bartholdi in 1880
The Statue of Liberty
Bartholdi broached the idea of a massive statue and once its design was approved, the Union Franco-Américaine raised more than 1 million francs throughout France for its building.[3] In 1879, Bartholdi was awarded design patent U.S. patent D11,023 for the Statue of Liberty.
LIBERTY DOMINATING THE ROOFS OF PARIS
"I already have plans for a large tower to be built in the center of Paris, but I like your idea. We'll have to worry about storms and corrosion from the sea air. The interior framework will be difficult to build. What will be the dimensions of the work?
"La Liberté will be 46 m high. Around 100 m with the 3 m wide base," replied Bartholdi. The head will measure just over 5 m, the right arm 13 m without the torch; the index finger 2.5 m. I estimate the overall weight at around 225 tonnes" [5].
The body of the statue soon rose above the rooftops of Paris, attracting many curious onlookers to the studio. Among them was Victor Hugo, who paid a visit once the work was completed, on November 29 1884, a few months before his death. Despite being 82 years old, the poet wanted to climb the ten storeys inside the statue, but was dissuaded. A few months later, he wrote these words to Bartholdi:
"Form in statuary is everything and nothing. It is nothing without the spirit; it is everything with the idea" [6].
JOHN SUTTON
Musée Bartholdi: 30 rue des Marchands, 68000 Colmar
Tel: 03 89 41 90 60 www.colmar.fr and www.culture.fr
Further information on the town of Colmar: mon-grand-est.fr/10-curiosites-de-colmar-a-decouvrir/
On 4 July 1880, the statue was formally delivered to the American minister in Paris, the event being celebrated by a great banquet.[3] In October 1886, the structure was officially presented as the joint gift of the French and American people, and installed on Bedloe's Island in New York Harbor .[3] It was rumored in France that the face of the Statue of Liberty was modeled after Bartholdi's mother.[12] The statue is 46m high (151 feet and 1 inch),[13] and the top of the torch is at an elevation of 93m (305 feet 1 inch) from mean low-water mark.[14] It was the largest work of its kind that had been completed up to that time.[3]
Works in Colmar
Musée Bartholdi in Colmar
Bartholdi's hometown Colmar (modern political administrative region of Grand Est) has a number of statues and monuments by the sculptor, as well as a museum founded in 1922 in the house in which he was born, at 30 Rue des Marchands.
Monument du Général Rapp – 1856 (first shown 1855 in Paris. Bartholdi's earliest major work)
"Fontaine Schongauer" – 1863 (in front of the Unterlinden Museum)
"Fontaine de l'Amiral Bruat" – 1864
"Fontaine Roeselmann" – 1888
"Monument Hirn" – 1894
"Fontaine Schwendi", depicting Lazarus von Schwendi – 1898
Les grands soutiens du monde − 1902 (statue in the courtyard of the museum)
Other major works
Bartholdi Fountain in Washington, D.C.
Bartholdi's other major works include a variety of statues at Clermont-Ferrand; in Paris, and in other places. Notable works include:
1852: Francesca da Rimini[3]
1870: Le Vigneron[3]
1876 (plaster version in 1874) : Frieze and four angelic trumpeters on the tower of Brattle Square Church, Boston, Massachusetts, United States.
1876: Marquis de Lafayette (or Lafayette Arriving in America),[3] executed 1872, cast 1873[15] in Union Square, New York City, United States.
1878: The Bartholdi Fountain in Bartholdi Park, the United States Botanic Garden, Washington, D.C., United States.
1880: The Lion of Belfort, in Belfort, France, a massive sculpture of a lion depicting the huge struggle of the French to hold off the Prussian assault at the end of the Franco-Prussian War.[3] A plaster was exhibited in 1878.[3] Bartholdi was an officer himself during this period, attached to Garibaldi.
1889: Switzerland Succoring Strasbourg at Basel, Switzerland, which was a gift from the French city of Strasbourg, in appreciation of the humanitarian help it had received during the Franco-Prussian War.
1890: Statue of Liberty in Potosí, Bolivia.
1892: Fontaine Bartholdi, on the Place des Terreaux, in Lyon, France.
1893: Statue of Christopher Columbus, cast in silver for the 1892 Columbian Exposition in Chicago, Illinois; a bronze replica was erected in Providence, Rhode Island in 1893 and was taken down in June 2020.[16][17]
1895: Lafayette and Washington Monument," in the Place des États-Unis, Paris, and an exact replica at Morningside Park, New York City, United States.
1903: Vercingetorix,[3] equestrian statue in Place de Jaude, Clermont-Ferrand.
Marquis de Lafayette, statue of Gilbert du Motier, Marquis de Lafayette in Union Square, Manhattan, New York City
Marquis de Lafayette, statue of Gilbert du Motier, Marquis de Lafayette in Union Square, Manhattan, New York City
See also
Musée Bartholdi
Statue of Liberty Museum
en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Auguste_Bartholdi