View allAll Photos Tagged precise
The precise moment when Chris Sinnett, not the "Chris Columbus",,,,,discovered some remote Oregon shores..... Columbus never made it to the west coast.......
Thanks Chris for inviting my wife Heidi and me on your boat.
The many different lanes demand incredibly precise GPS location – even more precise than in Europe.
Die zahlreichen Fahrspuren erfordern eine besonders präzise GPS-Standortbestimmung, präziser sogar als in Europa.
American Interior - 1934
Artist: Charles Sheeler (American, 1883–1965)
Charles Sheeler based American Interior on a photograph, which he had taken from above, of the living room of his former home in South Salem, New York. He designed the painting with the eye of a photographer, using a cropped composition, an oblique view, precise contours, and contrasts of light and dark. He interwove this modernist vision with his response to the purity of forms and patterns in handmade objects from the American past, such as the simple Shaker designs in the box, textiles, and chair.
"Charles Sheeler based his 1934 painting American Interior on a photograph. He interwove this modernist vision with his response to the purity of forms and patterns in handmade objects from the American past, such as the simple Shaker designs in the box, textiles, and chair. Kathryn Scanlan and Karin Roffman will talk about objects, painting, photography, and the fine line between the imaginary and the real."
windhamcampbell.org/festival/events/close-looking-charles...
www.youtube.com/watch?v=zRa8_CQFNMk
--------------------------------
Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
.
artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
_______________________________________
Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
.
Moses Urbano - Precise Reformer (40 mins) - Level 2 t.co/X7yvvgUNWX (via Twitter twitter.com/pilatesworkoutv/status/1087233136080097280)
Euro Racing Show in Luxembourg, ... some racing cars, old-timers, and a SM race as well as hilarious drift show. You honestly need to see for yourself how precise and talented those drift drives are ...
Sweeny’s West’s planned a fun Customer Appreciation Day for its customers Saturday, Oct. 9. Located at 621 East Enterprise Drive in Pueblo West, Colo., the store had great (human!) food and raffles at the event. It also debuted the new Precise Holistic Complete line, which many customers took home!
Jonathan Visaya (top) cuts his younger brother's hair Justin Visaya (bottom). A weekly hair cut where both brothers can catch up with one another.
i was not precise when scanning these 2 years ago, however, i most likely would've done the same half-ass job today as i did then as patience is not one of my virtues.
Another mini-university for our annual Founder's Day. Andy taught a group of eager woodworkers how to make a bench out of fallen trees.
Brattleboro, Vermont.
The former County Court at 165 Station Street, Burton upon Trent, has a considerably longer history than its period as a functioning Victorian courthouse suggests. It is one of the surviving buildings that records the transformation of Burton from a relatively compact market town into a major industrial and commercial centre during the nineteenth century. The building is now Grade II listed, although its precise construction date is described differently in the available sources: Staffordshire's historic-environment assessment gives 1862, while Historic England's statutory listing describes it as dating to "circa 1870". The 1862 date is supported by the local historic-environment evidence and by descriptions of the courthouse as purpose-built in that year.
The origins of the County Court in Burton
The institutional history begins before the present building. The County Courts Act 1846 created a nationwide system of local civil courts, replacing the older Court of Requests system for the recovery of relatively small debts. The new County Courts came into operation on 15 March 1847. Burton was one of the places provided with a County Court, and initially the court did not require a purpose-built courthouse.
A local historical account records that the Burton County Court was already meeting in a "Court House" in Station Street in the 1850s. The same source records that the court's district was exceptionally broad, extending beyond Burton itself into parts of what are now Staffordshire, Derbyshire and Leicestershire. The 1857 directory identifies John Thornewill as clerk to the County Court and to the magistrates, while the court was held monthly.
This is important when considering the building's location. Station Street was becoming one of Burton's principal approaches and commercial streets following the arrival of the railway. The street itself had formerly been known as Cat Street and was renamed Station Street after the railway station was established. The area around Station Street, Guild Street and the Midland Hotel subsequently became one of the principal concentrations of substantial nineteenth-century public, commercial and institutional buildings. Staffordshire's Extensive Urban Survey identifies the County Court as part of this mid-nineteenth-century expansion.
There is therefore a distinction between the County Court as an institution, which dates from 1847, and the surviving courthouse, which dates from the 1860s. The earlier County Court accommodation should not be confused with the present listed building.
The construction of the present courthouse
The present building was erected as Burton's purpose-built County Court during the rapid expansion of the town. Staffordshire's archaeological and historic-environment assessment dates it to 1862, describing it as a stone-fronted County Court immediately adjacent to the Midland Hotel.
Historic England gives the building a slightly later approximate date, "circa 1870", which probably reflects the dating methodology used when the building was listed rather than evidence that it was necessarily first occupied in 1870. The statutory listing nevertheless confirms its architectural character and describes the principal elevation in considerable detail.
The courthouse is a three-storey building faced in ashlar stone. Its Station Street elevation is organised around five sash windows, with a slightly projecting central bay. The windows have moulded architraves and cornices, while the upper façade incorporates a cornice and sill band. The corners are emphasised by rusticated pilasters. At ground-floor level the stonework becomes much more emphatic, with vermiculated rustication, semicircular-headed openings and a central entrance. The principal doorway has a rusticated surround, semicircular fanlight, multi-panelled door and an unusually elaborate carved keyblock. The building is capped by a modillion eaves cornice and blocking course.
Most conspicuously, the central entablature carries the Royal Arms. This was an appropriate architectural declaration for a building in which justice was administered in the name of the Crown. The combination of a strongly modelled stone façade, classical detailing and Italianate proportions gave the courthouse considerably greater architectural presence than an ordinary municipal office.
The building is constructed from large blocks of coarse Carboniferous sandstone. A geological study of Burton's historic buildings notes that this is the material used for the County Court, contrasting it with the limestone and brickwork found elsewhere in the town. The use of substantial local-regional sandstone contributed to the building's deliberately solid appearance.
The identity of the architect is less securely established in the readily accessible sources. Historic England's archive contains a dedicated building record, BF109862, compiled during a survey in 1999–2000, with architectural investigation by Gary Winter and Allan Brodie and photography by Michael Hesketh-Roberts. That archive confirms that the building received detailed architectural investigation, although the online catalogue does not itself identify an architect.
What the courthouse actually did
The Burton County Court was principally a civil court rather than the criminal court that many people might associate with a nineteenth-century courthouse. Its central business was the relatively local administration of civil justice, particularly debt and related disputes.
The geographical reach of the court illustrates its importance. In the nineteenth century its district included Burton and surrounding Staffordshire communities, but also a substantial number of places now regarded as part of Derbyshire and Leicestershire. The 1850s description includes places such as Repton, Swadlincote, Stapenhill, Winshill, Tutbury, Barton-under-Needwood and many surrounding villages.
By 1871–72 the court was still operating from the Station Street County Court Hall. A contemporary directory records George Russell as judge, William Philip Hubbersty as registrar and George Ley as high bailiff, with Wednesday given as the court day.
The survival of court records provides an additional glimpse into its operation. The National Archives' catalogue records a Burton upon Trent County Court plaint book for 1870–71 among the holdings of the Burton Family and Local History Centre. A plaint book was essentially a formal record of claims brought before the court, making this surviving archival material particularly valuable for reconstructing the everyday business of the institution.
The court also became associated with bankruptcy proceedings. The London Gazette repeatedly records bankruptcy examinations and hearings at "The County Court, 165 Station Street, Burton-on-Trent" during the twentieth century. Notices from the 1940s, 1970s and 1980s demonstrate that the building remained an active venue for Burton's civil and insolvency jurisdiction well into the modern era.
Its relationship with the rest of Burton's legal buildings
It is worth separating the former County Court from the much larger and later Burton Magistrates' Court complex on Horninglow Street.
The two buildings belonged to different strands of the justice system. The Station Street building was the County Court, principally concerned with civil jurisdiction. The later courthouse complex on Horninglow Street served the magistrates' courts and associated police functions.
This distinction explains why Burton acquired more than one impressive courthouse. The nineteenth century produced the County Court as part of the expansion of civil justice, while the twentieth century brought a purpose-built magistrates' court and police complex. The latter was opened in 1910, according to a contemporary local-history account, and eventually became the principal surviving operational court complex after the County Court closed.
The later history of the two institutions consequently diverged. After the Station Street County Court ceased operating, its former courtroom was no longer part of the active court system, while some of the legal functions in Burton continued elsewhere.
The building in the twentieth century
The courthouse continued to operate throughout the twentieth century. The 1941 London Gazette, for example, gives the Court House at 165 Station Street as the venue for Burton-upon-Trent bankruptcy proceedings. Similar notices continued into the 1970s and 1980s.
The County Court system itself changed substantially during this period. The post-war County Court districts were reorganised, and the 1949 County Court Districts Order still identified Burton upon Trent as a distinct County Court district. Its jurisdiction included Burton County Borough together with numerous surrounding communities, including places in the Repton Rural District and Tutbury area.
The courthouse therefore remained part of a substantial regional civil-justice network rather than merely serving Burton town centre.
Its architecture also survived successive changes in the way courts operated. By the later twentieth century the interior had been adapted for modern office and court administration. The Historic England archive survey of 1999–2000 records the building as a functioning County Court and provides evidence that it had undergone modernisation while retaining significant Victorian fabric.
Listing and architectural significance
The building was formally listed at Grade II on 22 June 1979, under Historic England's list entry 1038684.
The listing is significant because it recognises not simply an attractive Victorian façade but a relatively complete example of nineteenth-century civic judicial architecture. The Royal Arms, rusticated ground floor, central entrance, sash windows, ashlar construction and Italianate/classical composition collectively communicate the building's original public status.
Its location also increases its heritage value. Staffordshire's Extensive Urban Survey identifies the surrounding Station Street and Guild Street area as a particularly important concentration of nineteenth-century buildings. The County Court stands alongside the Midland Hotel and other architect-designed buildings that emerged as Burton expanded commercially and socially during the Victorian period.
The courthouse is consequently best understood as part of a wider urban ensemble rather than as an isolated legal building.
Closure in 2013
The decisive break came in the early twenty-first century as the Ministry of Justice rationalised the court estate.
Burton upon Trent County Court officially closed on 22 March 2013. Parliamentary records place it among the courts closed during the 2012–13 financial year.
The closure ended approximately 150 years of use of the building as the town's purpose-built County Court. The court's functions were transferred elsewhere as part of the wider consolidation of the court estate.
The closure is particularly important because it explains the building's subsequent appearance in descriptions as the "former County Court". The building did not cease to be a courthouse because of physical deterioration or because the listed building was demolished. Rather, the institutional function was withdrawn while the historic structure survived.
Government disposal and sale
After closure the property became a government disposal asset. The Ministry of Justice subsequently sold the freehold.
Official government disposal records give the transaction as 29 May 2015, when the Burton-upon-Trent County Court at 165 Station Street was sold by private treaty for £185,000. The recorded site area was approximately 0.0989 hectares.
Parliamentary information later confirmed both the May 2015 sale date and the £185,000 proceeds.
This marked the end of the building's ownership by central government and opened the way for its reuse as a private property.
Proposed conversion into apartments
The next phase is particularly interesting because the building's listed status shaped what could be done with it.
In 2016 an application was made to convert part of the former County Court into nine self-contained residential apartments, accompanied by a proposal for a new vehicular access. The application was submitted as P/2016/01050 and ultimately received conditional approval in December 2017. A related listed-building application, P/2016/01545, concerned internal alterations necessary to facilitate the residential conversion and was also approved.
The planning history demonstrates that the intention was not simply to demolish and replace the building. The surviving historic structure was sufficiently significant that the conversion had to be treated as a listed-building project.
The site was subsequently recorded by the national planning-data system as brownfield land, with the approved scheme described as conversion of part of the existing buildings into nine self-contained apartments. The record identifies the site as approximately 0.1 hectares and notes that it was privately owned rather than publicly owned.
Later property records show units described as "Court House" at 165 Station Street, including individual numbered flats. This indicates that at least part of the intended residential identity of the property was subsequently established, although the publicly accessible planning evidence does not provide a complete account of exactly which parts of the historic building were converted or when every element of the scheme was completed.
The building today
The building's present identity is therefore layered. It began as a nineteenth-century County Court serving a large regional district, became an established Burton legal institution for roughly a century and a half, was listed in 1979, ceased functioning as a court in March 2013, passed from Ministry of Justice ownership in May 2015, and subsequently became the subject of residential conversion proposals.
The address has also evolved administratively. Older records consistently give the property as 165 Station Street and DE14 1BP, while more recent property and planning records use "Court House, 165 Station Street" and the postcode DE14 1BN for individual residential units.
There is an important caveat concerning the phrase "between modern-day Station Street and Wylie Court". The surviving documentary evidence clearly identifies the listed County Court at 165 Station Street, but the readily accessible national listing describes the principal historic building rather than providing a complete architectural history of every rear building, extension or boundary within the wider plot. The 2016–17 planning applications show that the property contained more than simply the original street-facing courthouse, since the proposed residential conversion referred to "part of the existing buildings" and the creation of a new vehicular access.
Why the site matters in Burton's history
The former County Court is significant because it embodies several transformations in Burton simultaneously. It represents the creation of a national system of accessible civil justice after the 1846 County Courts Act. It represents Burton's nineteenth-century economic expansion, when substantial public and commercial buildings were being erected around the railway and Station Street. It records the importance of debt, insolvency and commercial disputes in an industrial brewing town whose economy depended upon extensive networks of trade and credit. Its stone Italianate façade reflects the confidence and civic ambition of Victorian Burton. Its survival, despite the withdrawal of its original function, illustrates the increasingly important role of listed-building protection in preserving historic town-centre architecture.
There is also a useful historical irony in the site's evolution. The County Court was originally an instrument of the Victorian government's attempt to bring justice physically closer to ordinary people and businesses. Its closure in 2013 formed part of a very different governmental process: the consolidation of courts into fewer, larger centres. The building subsequently became a private development opportunity, meaning that a structure designed specifically for public justice entered a new phase as private residential property.
The strongest conclusion from the surviving evidence is that the building should not be dated simply by relying on Historic England's "circa 1870" listing description. Staffordshire's more detailed urban archaeological assessment dates the surviving County Court to 1862, while contemporary evidence confirms that a County Court was already operating from Station Street before then. The safest historical formulation is therefore that the Burton County Court institution was established in 1847, operated initially from earlier accommodation in Station Street, and acquired its surviving purpose-built stone courthouse in the early 1860s, conventionally dated to 1862, with Historic England subsequently recording it as circa 1870.
The principal unresolved question is the exact architectural and ownership history of the whole plot behind the listed frontage, particularly the buildings and spaces extending toward what is now Wylie Court. The publicly indexed material establishes the courthouse itself and the later conversion proposals, but does not adequately document every phase of the rear range. The most authoritative next step for that part of the story would be examination of the original 1860s building plans, nineteenth-century Ordnance Survey plans, Burton rate books and deeds, together with the full Historic England archive file BF109862 and the drawings submitted under planning applications P/2016/01050 and P/2016/01545. Those records would allow the history of the entire site, rather than merely the principal courthouse, to be reconstructed with considerably greater precision.
Precise bridge rails to connect rails between modules. The bottom of each bridge rail is color coded to the color of the wire that powers it. Each module has its own baggie, with a drawing and number for the bridge rails.
Doug Evans would always quote Grandma Evans, "If it is worth doing, it is worth overdoing".
Get smooth, precise results every time with our selection of razors. Shop for disposable and power razors for men or women at Sweeney Todd Razors.
Visit: www.sweeneytoddrazors.com
• 5 Blade sweeney todd razor
• 5 Blade slim sweeney todd razor
For more precise current measurement in LED lighting, industrial, automotive, and renewable energy applications, the Vishay Beyschlag MMA 0204 and MMB 0207 AEC-Q200-qualified Professional Thin Film MELF resistors in the 0204 and 0207 case sizes have been enhanced with tighter tolerance in the low ohmic range below 1 .
Most precise macbook skins to give your MacBook Air 13 M1 2020 Skins a complete makeover and keep it forever new. StickON - The finest place to buy the best mobile skins and wraps in India. Worldwide Shipping | COD | Easy Returns.To Free every smartphone on this planet from bulky cases and provide a grip that doesn’t slip. Apart from the best skins ever we also provide the best customer service; Super-fast deliveries, quick customer support and offline assistance makes StickON the best brand to make Macbook skins and wraps in India.
Migrating Sandhill Cranes find it takes some strategy - even with the long legs - to gracefully land among the tall corn stocks.
Floor sawing is a most common form of diamond cutting concrete or other surfaces.
Arrow concrete cutting have been working on many floor sawing jobs throughout the Gold Coast and further Northern Rivers region for years.
The floor saw or flat saw are some of the many concrete saws in our range, each saw is specifically designed to suit the variety of concrete cutting jobs our clients approach us with daily.
Arrow Concrete Cutting has floor saws with a variation of diesel, petrol and electric concrete saws. Within our broad range we have high horsepower turbo diesel saws capable to cut through heavily reinforced concrete reaching depths of 550mm.
Working on large scale projects is no problem for us, as we also have equipment to handle differently scaled jobs.
We use our electric floor sawing range to work within the hospital and shopping centre environments. Electric floor sawing is also used effectively in confined spaces or where fumes are a hazard.
Our concrete sawing services extend to the Tweed Heads, Gold Coast, Ballina and Byron Bay areas. Visit us here for more information: arrowconcretecutting.com.au/products-and-services/floor-s...
Winchester Precise Garage Door - When it is a licensed expert that you need to fix potential problems with your garage door, Winchester Precise Garage Door is the best place to call. We service the Winchester, MA area. And we are proud to have very competitively priced solutions. We always encourage locals to give us a call to request a free price quote, as we know that our rates beat our competition. We love to hear how excited customers become when they realize how affordable our options actually are.
Precise location unknown. A real-photo postcard postmarked in Gahanna on December 6, 1910, and sent to a Miss Anna at 596 Miller Avenue in Columbus, Ohio. Given the Gahanna postmark, this house was probably somewhere in far-eastern Franklin County—perhaps in Mifflin Township or Jefferson Township. The undulating board above the recessed porch is a nice touch.