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The City of Renton, the U.S. Fish and Wildlife Service, the Washington Department of Fish and Wildlife, Potelco and PSE all partnered to help relocate an osprey nest in Renton from a power pole to a new nesting pole.
Here, PSE and Potelco work to erect a new nesting pole for the Ospreys.
To learn more about PSE and the environment, please visit pse.com.
The City of Renton, the U.S. Fish and Wildlife Service, the Washington Department of Fish and Wildlife, Potelco and PSE all partnered to help relocate an osprey nest in Renton from a power pole to a new nesting pole.
Here, PSE and Potelco work to erect a new nesting pole for the Ospreys.
To learn more about PSE and the environment, please visit pse.com.
I have officially transferred to a new department now that Communication has been deprecated. I'll tell more in a blog post next week. For now, I'm sharing a farewell image of my previous office and a glimpse at the early stages of setting up my new workspace.
The City of Renton, the U.S. Fish and Wildlife Service, the Washington Department of Fish and Wildlife, Potelco and PSE all partnered to help relocate an osprey nest in Renton from a power pole to a new nesting pole.
To learn more about PSE and the environment, please visit pse.com.
This house was relocated from an old neighborhood that was being razed for a new highway. This photo was taken over 70 miles away from the original home site in Anchorage.
A National Historic Landmark
Prowers County, CO
Listed: 05/18/1994
Designated an NHL: 02/10/06
The site of the Granada Relocation Center is nationally significant as one of ten camps which housed Japanese Americans from 1942 to 1945 following their forced removal by military authorities from the West Coast. The site is significant under Criterion A for its association with U.S. Military History (World War II on the Home Front), for its association with U.S. constitutional law (the protection of civil liberties during wartime), and for its association with Japanese American social history. The camp, with a period of significance of 1942-45, is eligible for listing on the National Register under Criteria Consideration G for its exceptional historical significance in the above areas.
More than ten thousand persons passed through the Granada Relocation Center, which operated from August 1942 to October 1945. At its peak, Amache contained 7,318 Japanese Americans, nearly all of whom were former California residents and two-thirds of whom were United States citizens. As one of only ten such camps in seven mostly western states, the center housed Japanese Americans removed from the West Coast under the authority of Presidential Executive Order 9066. Although not charged with any crimes and without benefit of judicial hearings, Japanese Americans as a group were uprooted from their homes and businesses and taken under armed guard for detention in a system of assembly and relocation centers. At the time the "evacuation" of Japanese Americans was justified on the basis of "military necessity" in the months following Japan's attack on Pearl Harbor and due to the professed inability of the military to gauge the loyalty of individual Japanese Americans. From the relocation centers, evacuees were released over time to pursue jobs or higher education in parts of the nation away from the West Coast. The exclusion from the Pacific Coast states was lifted in early 1945 and a portion of the Japanese American community returned. The relocation had a profound impact on the social life of Japanese Americans in terms of family structure, assimilation into American life, and the geographic distribution of the group as a whole. A number of United States Supreme Court cases dealt with the relocation, which has received extensive legal and academic study.
Clifford’s Tower is one of the best-loved landmarks in York. It is the largest remaining part of York Castle, once the centre of government for the north of England. The 11th-century timber tower on top of the earth mound was burned down in 1190, after York’s Jewish community, some 150 strong, was besieged here by a mob and committed mass suicide. The present 13th-century stone tower was probably used as a treasury and later as a prison.
Archaeological evidence shows that there was activity in this area in Roman times (with a Roman cemetery lying across the site) and perhaps even earlier, but it was William the Conqueror who first established a castle here. When he marched north in 1068 to suppress a rebellion against his rule, he built a series of castles as he went, including one here where Clifford’s Tower now stands.
The Norman motte-and-bailey castle saw several violent incidents during its earliest years, including further revolts and an attack by Danish invaders. As the political situation settled down in the 1070s, however, the damage of these early years was repaired, and the castle, built largely of earth and timber, probably survived relatively unaltered through most of the 12th century.
The Mass Suicide and Massacre of 1190
The castle of York was the setting for one of the most notorious events in English history: the mass suicide and massacre in March 1190 of York’s Jewish community.
Tensions between Christians and Jews had been increasing throughout England during the 12th century, partly because many people were in debt to Jewish moneylenders and partly because much crusading propaganda was directed not only against Muslims but also against Jews. Anti-Jewish riots in several cities followed the coronation of the crusader king Richard I in 1189, and a rumour (untrue) was put about that he had ordered a massacre of the Jews.
In York, as described by William of Newburgh and other contemporary chroniclers, about 150 people from the Jewish community were given protective custody in the royal castle, probably the site of Clifford’s Tower.
Somehow, though, trust between the royal officials and the Jews broke down. The officials, finding themselves shut out from the tower, summoned reinforcements to recapture it. These troops were joined by a large mob, which soon ran out of control, incited by both anti-Jewish preachers and local gentry eager to escape their debts.
On 16 March, the eve of the Sabbath before Passover, when the Jews realised that there would be no safe way out for them, a rabbi urged his fellow-inmates in the tower to commit suicide rather than fall into the hands of their persecutors. Heads of households killed their own families before killing themselves, and the wooden tower itself was set on fire.
According to several accounts a number of Jews did survive and came out of the tower under an amnesty, only to be murdered by the attackers. A plaque at the base of the mound, commemorating these events, was installed in 1978.
Though Jewish life did in fact revive in York within a few years of the massacre, it came to an end a hundred years later, in 1290, when Edward I expelled all Jews from England. This time their exile lasted until the 17th century.
The Medieval Castle
The tower burnt down in 1190 was rebuilt very shortly afterwards. Further repairs and rebuilding, some in stone, took place in the castle during the early 13th century. Then in the middle years of that century, as war with Scotland loomed, King Henry III decided to build a completely new stone tower on the mound.
A writ of March 1245 may refer to the construction of the tower. It orders Master Henry the mason and Master Simon the carpenter to advise the sheriff on strengthening the castle’s defences. Master Henry is often identified as Henry of Reyns, master mason of the new abbey at Westminster. At the abbey, as at Clifford’s Tower, English architectural detailing was applied to a plan influenced by French prototypes.
Documentary sources show that construction was intermittent and the tower was probably not finished until the 1270s, possibly not until the 1290s.
Despite the regional and national importance of York, its royal castle did not generally act as a royal residence. Together with Clifford’s Tower it was instead used chiefly for administrative purposes, notably for imprisonment, for storage and for judicial sessions. Occasionally it acted as a home for the Exchequer and its various treasuries when wars against the Scots caused the government to relocate to the north of England. It also housed an important royal mint.
The castle’s buildings, particularly Clifford’s Tower, whose mound was scoured by floods of the river Fosse, fell more than once into disrepair. By 1360, several of the structural defects which are visible today had already appeared.
The Tower in Decay
The history of the castle and Clifford’s Tower during the 15th and 16th centuries is obscure. Accounts of Henry VI, Richard III and Henry VIII suggest that several buildings were ruinous, and efforts were concentrated on maintaining a small number of them as gaols.[14] In 1540, just three years after Robert Aske (one of the leaders of the Pilgrimage of Grace) had been hanged ‘on the height of the castle dungeon’, John Leland wrote that the ‘arx is all in ruin’.
In 1596–7 a public scandal arose when the aldermen of York accused the gaoler, Robert Redhead, of trying to demolish the derelict tower and sell the stone for lime-burning. Contemporary correspondence about these events contains the first recorded use of the name ‘Clifford’s Tower’.
The name is sometimes interpreted as evidence that the Clifford family claimed the post of constable to be hereditary. Alternatively, it may refer to the rebel Roger de Clifford, who was executed after the Battle of Boroughbridge in 1322 and whose body was displayed on a gibbet at the castle.
War and Explosion
After a brief period when Clifford’s Tower passed out of royal ownership, in 1643 it was occupied again by a royal garrison during the Civil War. The building was re-roofed and re-floored, apparently at the behest of Queen Henrietta Maria, creating storage rooms for ammunition and a gun platform on the roof. The forebuilding was largely reconstructed.
The city fell to Parliamentarians the following year. The tower continued to be occupied by a garrison of between 40 and 80 men and it may also have served occasionally as a prison. The Quaker George Fox was imprisoned here for two nights in 1665, on his way to Scarborough Castle.
The garrison’s dissolute behaviour caused discontent among the citizens of York, who called for the demolition of the tower, scathingly nicknamed ‘the Minced Pie’. On 23 April 1684 the interior was partly gutted by fire, allegedly as a result of the firing of a ceremonial salute for St George’s Day. Destruction was not total, though, and parts of the building remained in use for storage, while cannon were still positioned on the roof.
By 1699, however, when Clifford’s Tower was released to freeholders, sketches of the interior by Francis Place show that it was completely roofless.
Gaol and Monument
The 18th century was a period of changing ownership for the tower and mound. Clifford’s Tower was treated as a garden folly and possibly as a stable or cattle shed.
In marked contrast, the former bailey of the castle was redeveloped as a prison. New courthouses and gaol buildings were built, until in the 1820s and 1830s the prison encompassed the entire castle area. The mound and tower were enclosed and effectively hidden from view. Clifford’s Tower was accessible only with permission from a magistrate.
In 1902 a radical campaign of repairs and investigations was undertaken by Mr Basil Mott, including the partial reconstruction of the mound in an effort to underpin the south-east lobe of the tower with buried concrete ‘flying buttresses’. During these works, the most detailed archaeological investigation to date of the internal structure of the mound was carried out.
On 30 March 1915, Clifford’s Tower was taken into state guardianship. The structure was repaired and public access improved in 1935 with the demolition of the surviving 19th-century prison buildings, notably the wall enclosing the mound on its north and west sides. The lower parts of the slope were restored to their presumed medieval profile, and a stairway leading up to the forebuilding in a straight line was created, replacing a spiral path.
It reads "Your effort in relocating can be remembered as something beneficial for thousands of years." / “旧房改造，利在千秋。”
edwardshousemovers.com
The 109-ton heritage building, built in 1885, moved over 40’ bridge jumpers to cross a highway median on a six mile route for relocation.
In 1978, the Okahumpka ACL depot was donated by the SCL and moved to the Florida State Fairgrounds Cracker Country exhibit. Modifications include wooden roof shingles and the platform railings. Attractions magazine
GIP, Win McLaughlin, trying to relocate old fossil localities from the 1950's, for John Day Fossil Beds National Monument, Oregon. (NPS Photo by Win McLaughlin, GIP)
From the movie at the visitor center.
In 1942, the United States government ordered more than 110,000 Japanese to leave their homes and detained them in remote, military-style camps. Manzanar War Relocation Center was one of ten camps.
On October 9, 1990, a ceremony was held to present the first reparations checks. Nine elderly Japanese received $20,000 each and a formal apology signed by President George H. W. Bush. Payments to surviving internees or their heirs continued until 1993, Clinton Administration.
When you move to your new home, make sure you plan for all members of the #family. Family members include those who walk on four legs, as well as those who crawl or swim. We often do an excellent job of planning to move furniture, and other personal belongs but forget about planning for our pets.
Check out these helpful tips about moving your pets.
1. When choosing the mode of transportation, consider how it will affect your pet
If you have the option of choosing your means of transportation, pick one that will be the least likely to upset your pet. For most pets, traveling by car is the easiest. However, if you are moving across the country or overseas, traveling by plane may be the best choice. If traveling by plane, make sure you check with the airlines to find out about any rules or restrictions on pet #travel.
2. Purchase a transport carrier, if needed
When traveling by car, cats should always be kept in a pet carrier. Dogs can either be kept in a pet carrier or attached to a restraint harness. Securing your pets will ensure that they are not a distraction for the driver, which could be dangerous. Also, if there is an accident, the pet carrier or restraint will help ensure your pet’s safety.
3. Visit the veterinarian before travel
You should plan a visit your #veterinarian at least 30 days before your flight. Many #airlines require you to have a current health certificate for your pet. The rules can be different from state to state, as well as other countries.
4. Prepare a Go-bag for your pet
Prepare a travel bag with food, #medicine, water and other essentials your pet will need. Bring the up-to-date copy of your pet’s medical #records with you.
5. Maintain your pet’s daily routine
Make sure you keep the same routine for your pet during the time leading up to the move. If it is part of your pet’s daily routine, your pets should continue to get their morning walks and regular food. Pet owners often make the mistake of proving their pets with special treats on a trip. While they have good intentions, this is not advisable because it can lead to the pet having nausea or diarrhea.
6. Plan for comfort breaks
Traveling can be tiring and stressful for humans. It has the same effect on your pets. Keep in mind that they are also leaving behind familiar places. Make frequent stops to let your pet exercise and take relief breaks. A general rule is to stop at least once every two hours. On long trips, take your cat’s litter box.
7. Consider using a pet transport service
Finally, consider using an animal transport service. Animal transport companies have the shipping supplies to ensure your pet’s comfort. Their services can be expensive, but your peace of mind in knowing that your pet is in the hands of professionals who transport pets for a living may justify the expense.
When moving your pets, the key is to plan. Regardless of how you plan to travel, make sure your pet will be comfortable too.
We just had the trailer dropped off. Next stop: Alaska.
Well, no. Next stop is a weekend of back-breaking labor to FILL the truck. THEN comes Alaska! :-)
With entry into World War II on the horizon, the US Army began the process of fully mechanizing their units. This included the artillery branch, which would partially equip with self-propelled artillery. At first, the US Army mounted its standard artillery piece, the 105mm howitzer, on a M3 halftrack, creating the T19. When used in combat for the first time in North Africa in 1942, the T19 was shown to be unstable when firing and vulnerable to small arms fire.
The T19 was always considered to be something of an interim design in any case, and after the United States entered the war in December 1941, the Army experimented with modifying the M3 Lee medium tank for the role. The turret was removed and replaced by an open-topped crew compartment on the hull, which mounted the 105mm. To give the crew some protection from infantry and aircraft, the former 75mm gun sponson was elevated and given a M2 .50 caliber machine gun in a pintle mount. The Army liked what it saw and ordered the experimental T32 into production as the M7.
Orders were placed by both the US Army and the British Army, which was in desperate need of self-propelled artillery vehicles. It would be the latter that took the M7 into combat for the first time at the Second Battle of El Alamein in October 1942. To the British, the machine gun mount looked like the pulpit in an Anglican church, so they nicknamed the M7 the "Priest." The name stuck, and even started a tradition in the British Army to name its self-propelled artillery pieces after clergy.
In the United States, production of the M7 switched to using the chassis of the M4 Sherman, as the M3 was obsolete and production was coming to an end. This gave the Priest commonality with the most common tank in the Western Allies' army. In British service, the 105mm howitzer did not use the same type of ammunition as the standard British artillery piece (the QF 25-pounder), so most of their Priests were "defrocked," with the 105mm removed; they were then turned into Kangaroo personnel carriers.
The M7 gave the US Army mobility and firepower where it was most needed: German veterans recalled just how devastating an American artillery strike could be. A battery of M7s could deliver punishing bombardments, and relocate quickly to where they were needed the most. Combined with American radiomen calling in "time on target" artillery strikes and proxmity-fused shells, and the Priest became one of the deadliest weapons in the US Army's arsenal. The M7 would see extensive service in Normandy, the Bulge, and in the Pacific, where it provided Army and Marine troops with the same firepower against the Japanese.
The M7 continued as the primary US Army self-propelled artillery piece through the Korean War; numbers of former US Army M7s were then provided to the Israeli Defense Force, which used them through the Yom Kippur War of 1973. The M109 series eventually replaced the M7 in both American and Israeli service.
This M7 is on display at the Rocky Mountain Museum of Military History at Fort Missoula, outside of Missoula, Montana. It used to be on display in front of the local National Guard armory, but was donated to the museum around 2010. It was also refurbished, as it looks a lot better than it did when I last saw it in 2005. M7s tend to be pretty plain; this one may have served in World War II, and its last duty assignment was probably with the 190th Field Artillery Regiment (Montana National Guard) at Billings.
Interceptor line relocation underway
CORONA, Calif. — U.S. Army Corps of Engineers Los Angeles District Commander Col. Mark Toy participated in ground breaking ceremonies at the relocation of the Santa Ana River Interceptor line Oct. 11.
The SARI line is a regional sanitary sewer line that serves Yorba Linda, east Anaheim, Orange, Santa Ana, Fountain Valley and portions of Garden Grove.
According to the Santa Ana Watershed Project Authority, the SARI line was built nearly 40 years ago and was 20 feet below the surface. Decades of scouring and last year’s December storms threatened the line and required a reduced flow from Prado Dam and reinforcement by county workers at two locations to protect it.
“Thanks to our partners, this work will have a significant impact along the course of the Santa Ana River Mainstem project,” said Toy.
In support of the Mainstem project, Prado Dam’s flood basin has been increased by more than 140,000 acre-feet and river banks have been widened and strengthened below the dam to handle its new release capacity of 30,000 cubic feet per second, previously limited to 5,000 cfs.
The SARI line’s new course will mostly parallel State Route 91. Where it has to pass under the river, it will be well below the calculated scour depth for the estimated operational life of the project, which is 100 years.
As part of the ceremony participants got to sign a section of the 54-inch pipeline. Toy took the opportunity to endorse the project with the District motto, "Building Strong and Taking Care of People."
This house is now located on highway 29 near Guelph. It originally was built on Dublin street Guelph where the Gilbert MacIntyre and Son funeral home parking lot is. The owner had purchased the house and then dismantled it piece by piece, then reassembled it at it's new location.
Day 151 of 365 (Friday) - Despite the clouds and drizzle, we all needed a day by the sea. We decided to walk and see what caught our eye. I was surprised to find this intact light bulb on the line of things that had been washed up. It nestled quite nicely against the fish spine. The two chalk pieces had been placed on a groyne by a previous person, and so I incorporated them into the mix. Not much time to execute this one. The children added extra decoration before we left for a cafe, allowing it to be consumed once again by the sea. We are a big fan of ephemeral art. In this instance however I did remove the bulb, concerned it might injure someone.
Gary Miles who plays the mandolin and flute recently relocated to WDC from NYC and in recent months, on Sundays, have joined in with the "Drummers in Dupont Circle" www.flickr.com/photos/perspective/sets/646411/. And though I had taken pictures of him the week or so before this picture was taken on Sunday, 24 June 2005. When corresponding with him, a few days later, via email regarding my "Drummers in Dupont Circle" ongoing project he'd inform me of the following:
"Back in NY I felt quite invisible. After exhausting every scene, seeing
it come and go, most of the venues have dried up, thanks Giuliani, and
even the most vocal voices of dissent are squelched by the mainstream
sources, or lampooned by the alternative press. So a profound message became even more difficult to get across."
"Having just moved here, and being in the middle of town is a whole new
level of visibility before me that is still beyond my comprehension. It's
a much smaller town, geographically and population wise. My girlfriend has
a high profile job, and alot of people have government jobs, and I'm
determined, and dare I say likely to get one myself. It's really amazing to me
that this is possible."
"It would be quite interesting to finally become known as a musician in
this community by doing public, community-based playing. It doesn't even
feel like an actual gig and that I'm trying to do anything, it's very pure."
Unfortunately, Gary's stepfather would take a turn for the worse recently. And as a result Gary has spent the past few weeks in Connecticut. According to his blog at blogspellbyg.blogspot.com/ Gary's father, Bill, would pass on Saturday morning.
When I'd inquire of Gary if the group had an official name he said that it did not. But suggested that, perhaps, the name should highlight African-Cuban Fusion. Remembering that when I would ask of the four men who are always there and who play drums that they had said 'Drummers in Dupont Circle' and in my attempt to pay respect to those four men who have palyed for many years, for now, I will still refer to the sessions as Drummers in Dupont Circle.
From observing the way that Gary plays the mandolin and the flute I'm sure when he returns that will he express some of his feelings for his father in his music. And though, over the years, I have observed many who have come and joined with the "Drummers in Dupont Circle" something about the way Gary plays caught my attention.
And when in the future that I vist Dupont Circle on Sunday afternoon I will look forward to getting more shots of Gary. As well as of those who come and go. And, of course, of the four drummers who are always there..
This image is believed to be in the public domain and is from the National Archives. More information may be found below.
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ARC Identifier: 538531
Local Identifier: 210-G-D566
Title: Poston, Arizona. These two little evacuees of Japanese ancestry are getting acquainted at this War . . ., 06/04/1942
Large image (88533 Bytes)
Creator: Department of the Interior. War Relocation Authority. (02/16/1944 - 06/30/1946) ( Most Recent)
Type of Archival Materials:
Photographs and other Graphic Materials
Level of Description:
Item from Record Group 210: Records of the War Relocation Authority, 1941 - 1947
Location: Still Picture Records LICON, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD 20740-6001 PHONE: 301-837-3530, FAX: 301-837-3621, EMAIL: stillpix@nara.gov
Production Date: 06/04/1942
Part of: Series: Central Photographic File of the War Relocation Authority, 1942 - 1945
Scope & Content Note:
The full caption for this photograph reads: Poston, Arizona. These two little evacuees of Japanese ancestry are getting acquainted at this War Relocation Authority center.
Access Restrictions:
Unrestricted
Use Restrictions: Unrestricted
Variant Control Number(s):
NAIL Control Number: NWDNS-210-G-D566
Copy 1
Copy Status: Preservation
Storage Facility: National Archives at College Park - Archives II (College Park, MD)
Media
Media Type: Negative
Index Terms
Contributors to Authorship and/or Production of the Archival Materials
Stewart, Francis, Photographer
Angels Flight is a landmark in Bunker Hill district of downtown Los Angeles, California. It was build in 1901 when Bunker Hill was one of the most posh neighborhoods in Los Angeles and ferried prominent citizens up and down the steep hill. Since then it has been relocated, refurbished and takes you to the skycrapers. Angels Flight is a short railway that only covers one block uphill. It consists of two cars pulled up the steep incline by metal cables powered by engines at the upper street station. As one car ascended, the other descended, carried down by gravity. Back them the cars did not have track brakes for the use in the event of cable breakage.
Angels Flight has appeared in several films and TV shows, like City of Angels with Nicolas Cage, The Bold and the Beautiful, a episode of NCIS: Los Angeles and etc.
Zurich - Oerlikon, Switzerland biggest building relocation of Europo is ongoing. A building of 6800 tons will be moved the within the next hours 60 meters. Incredible!
© Werner Büchel All Rights Reserved. No usage allowed including copying or sharing without written permission.
Future relocation site of Body Smith Gym at 1630 14th Street, NW, Washington DC on Tuesday morning, 8 May 2012 by Elvert Barnes Photography
For more info regarding the relocation visit PR Web at www.prweb.com/releases/BodySmith/2012/prweb9237398.htm
Visit BodySmith Training Gym at www.bodysmithdc.com/
© All rights reserved
Cow horses are bred with a desire to work cattle. This is my buckskin, Sam, aka "Scarface"
This is another picture that needed a little something to make it more interesting than how it came out of my camera. You can tell more if you enlarge it.
Interceptor line relocation underway
CORONA, Calif. — U.S. Army Corps of Engineers Los Angeles District Commander Col. Mark Toy participated in ground breaking ceremonies at the relocation of the Santa Ana River Interceptor line Oct. 11.
The SARI line is a regional sanitary sewer line that serves Yorba Linda, east Anaheim, Orange, Santa Ana, Fountain Valley and portions of Garden Grove.
According to the Santa Ana Watershed Project Authority, the SARI line was built nearly 40 years ago and was 20 feet below the surface. Decades of scouring and last year’s December storms threatened the line and required a reduced flow from Prado Dam and reinforcement by county workers at two locations to protect it.
“Thanks to our partners, this work will have a significant impact along the course of the Santa Ana River Mainstem project,” said Toy.
In support of the Mainstem project, Prado Dam’s flood basin has been increased by more than 140,000 acre-feet and river banks have been widened and strengthened below the dam to handle its new release capacity of 30,000 cubic feet per second, previously limited to 5,000 cfs.
The SARI line’s new course will mostly parallel State Route 91. Where it has to pass under the river, it will be well below the calculated scour depth for the estimated operational life of the project, which is 100 years.
As part of the ceremony participants got to sign a section of the 54-inch pipeline. Toy took the opportunity to endorse the project with the District motto, "Building Strong and Taking Care of People."
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Because of how the blonde had a lot more surface damage, odor issues, loose elastic and balding spots, I decided that masking tape feet guy could have benefitted better from the parts than him.
So with a bit of yanking and crying, Masking Tape guy had the limbs of Blondie, and hands from an Obitsu male Normal body’s hands, which, btw has the perfect sized posts to fit into Vintage Joe arms.
Alpha Joe didn’t have much to do except I swapped out his hands with a pair of repro GI Joe hands so I’m pretty proud to have almost two complete Vintage Joes for Under $10. Their hair is pretty darn full of flocking too, I just need to carefully pick out the dust and lint that has matted it, as well as touch up their paint and scruffed noses.
poor Blondie though is just parts bait til i figure out what to do with him.
Horseshoe Barn and Annex
Shelburne Museum is a museum of art, design, and Americana located in Shelburne, Vermont, United States. Over 150,000 works are exhibited in 39 exhibition buildings, 25 of which are historic and were relocated to the museum grounds. It is located on 45 acres (18 ha) near Lake Champlain.
Impressionist paintings, folk art, quilts and textiles, decorative arts, furniture, American paintings, and an array of 17th- to 20th-century artifacts are on view. Shelburne is home to collections of 19th-century American folk art, quilts, 19th- and 20th-century decoys, and carriages.
Electra Havemeyer Webb was a pioneering collector of American folk art, and founded Shelburne Museum in 1947. The daughter of Henry Osborne Havemeyer and Louisine Elder Havemeyer, important collectors of Impressionism, European and Asian art, she exercised an independent eye and passion for art, artifacts, and architecture celebrating a distinctly American aesthetic.
When creating the museum, she took the step of collecting 18th and 19th century buildings from New England and New York in which to display the museum's holdings, relocating 20 historic structures to Shelburne. These include houses, barns, a meeting house, a one-room schoolhouse, a lighthouse, a jail, a general store, a covered bridge, and the 220-foot steamboat Ticonderoga.
In Shelburne Mrs. Webb sought to create "an educational project, varied and alive." Shelburne's collections are exhibited in a village-like setting of historic New England architecture, accented by a landscape that includes over 400 lilacs, a circular formal garden, herb and heirloom vegetable gardens, and perennial gardens.
In 2013, the Pizzagalli Center for Art and Education was opened with two galleries, an auditorium, and a classroom, transforming the institution from seasonal (mid-May through October) to year-round operation.
In 2023, the Native American Initiative was announced, aiming to construct a building to display and interpret both the materials already in the museum's stewardship, and the Perry Collection, a 200 piece collection of various works by Plains, Prairie, and Southwest groups.
History
The museum's collection was begun by Electra Havemeyer Webb, one of the first people to recognize the applied and decorative arts of rural America as collectible. Webb was an avid collector of American folk art and founded the museum in 1947. She took the step of relocating historic buildings from New England and New York to Shelburne in which to display the museum's holdings.
The museum has lost money and was said to have had a deficit of more than $300,000 (~$559,503 in 2023) in 1994.
Collections
The core of the collection was formed by Electra Havemeyer Webb, a pioneering collector of American folk art who founded Shelburne Museum. Mrs. Webb exchanged ideas with other major early collectors, including Katherine Prentis Murphy, Henry and Helen Flynnt and Henry Francis du Pont (who founded the Winterthur Museum and credited Mrs. Webb with inspiring him to collect American decorative arts).
Since Mrs. Webb's death in 1960, the collections have developed with an emphasis on folk art and contemporary art as it relates to the collection. Artifacts provide insight into the craftsmanship and artistic quality of objects made and used by three centuries of Americans. Visitors experience these objects in galleries and period rooms and through interactive exhibitions and demonstrations. Transportation, farming and trade artifacts illustrate America's industrial development from the 18th to the early 20th centuries. These collections are increasingly relevant to regional audiences from varied backgrounds as the economic base of the community shifts away from farming and small-scale production.
Shelburne Museum's purpose is to enrich people's lives through art, history and culture. The collection of approximately 150,000 objects is one of the most extensive and varied collections in the US and is notable for its great range, quality and depth. The outstanding collections of fine, folk and decorative art celebrate American ingenuity, creativity and craftsmanship.
Shelburne's folk art collection includes 1,400 wildfowl decoys and miniature carvings, 150 trade figures and signs, 120 weathervanes and 50 carousel figures, including all 40 animals from an early Dentzel carousel. The circus collection includes 600 historic posters, letters and memorabilia from P.T. Barnum, and the hand-carved 3,500 piece Kirk Brothers Miniature Circus. The Roy Arnold Circus Parade recreates in miniature 112 attractions from the Buffalo Bill Wild West Show, Yankee Circus, and Ringling Bros. and Barnum & Bailey Circus in 525 linear feet of a special exhibition building.
Textiles include 770 bed coverings (including 500 quilts), 400 hooked and sewn rugs, early household textiles (1,800 samplers, laces and linens) and 2,800 costumes and accessories. The decorative arts collection has 6,650 pieces, including glass, ceramics, pewter, metalwork, scrimshaw and one of the country's best regional collections of 18th- and 19th-century painted furniture. Over 1,000 dolls, 27 dollhouses and 1,200 doll accessories echo in miniature the museum's collections of ceramics, furniture and other household furnishings. A major reinterpretation and related publication of the doll collection was completed in 2004. The collection of American and European toys dates from the beginning of the 19th century.
At the museum there are some 3,200 American prints, paintings, drawings and graphics that relate to daily life. American paintings include works by Bierstadt, Cassatt, Chase, Copley, Heade, Homer, Eastman Johnson, Lane, Grandma Moses, Peto and Andrew Wyeth. A significant group of European paintings and pastels from the renowned Havemeyer collection includes works by Corot, Daubigny, Degas, Manet and Monet; they are exhibited in furnished rooms re-created from the Webbs' New York apartment, c. 1930, and are the only Impressionism pictures on public view in Vermont.
Collections also include 225 horse-drawn vehicles (described as one of the best in the nation by Merri Ferrell, formerly curator of vehicles at the Long Island Museum of Art, History and Carriages); 1,000 farming implements; and 5,000 hand tools that document woodworking, metalsmithing, coopering, weaving and spinning, leatherworking and woodcarving trades. Craftspeople staff working exhibits of blacksmithing, printing, spinning and weaving. An apothecary shop/physician's office displays 2,000 patent medicines and turn of the 20th century medical instruments.
The collections are exhibited in a setting of 38 exhibition buildings, 25 of which were relocated to the museum; the 1871 Colchester Reef Light; three historic and three replica barns, including a 1901 Vermont round barn; a vintage operating carousel; blacksmith and wheelwright shops; a weaving shop with an operating Jacquard loom; a working exhibit of late 19th-century printing equipment; an 1840 one-room schoolhouse; an 1890 Vermont slate jail; an 1840 general store; a rare 18th-century up-and-down sawmill; a 19th-century covered bridge with two lanes and a footpath; the reconstructed office of noted Vermont physician D. C. Jarvis; an 1890 railroad station; a 1914 steam locomotive and 1890 private rail car; and the 1906 220-foot (67 m) steamboat Ticonderoga, which is a U.S. National Historic Landmark.
Controversy
Sale of art
In 1996 the museum sold $30 million (~$53.8 million in 2023) of its art to pay expenses. J. Watson Webb Jr., the son of Electra Havemeyer Webb, resigned in protest. Webb believed that the sale violated the code of ethics of the American Alliance of Museums, which forbids the selling of artworks for purposes other than acquiring more art. The funds from the sale were used to establish a Collections Care Endowment which is used to support the ongoing remedial and preventative conservation, storage and management of the museum's collection.
(Wikipedia)
The Horseshoe Barn and Horseshoe Barn Annex are two exhibit buildings located at Shelburne Museum in Shelburne, Vermont. Both buildings exhibit a variety of horse-drawn vehicles, including carriages, trade wagons, stagecoaches, and sleighs.
History
Electra Havemeyer Webb's desire to provide a suitable setting for the carriage collection of her father-in-law, Dr. William Seward Webb, provided the inspiration for founding Shelburne Museum. She searched Vermont for a building to house these fine carriages and found a unique horseshoe-shaped dairy barn near the town of Georgia. When the owner declined to sell the barn, Electra Webb directed her staff to create a copy of the structure. Over a two-year period they located, moved, and assembled hand-hewn beams from twelve Vermont barns and stone from two gristmills to construct their own horseshoe barn on museum grounds.
Completed in July 1949, the massive structure, which is 238.5 feet (72.7 m) long and 32 feet (9.8 m) wide, incorporated 745 timbers, posts, and braces, 17,000 feet (5,200 m) of plank and other boarding, and 9,000 square feet (840 m2) of slate. Carpenters specially cut new clapboards for the exterior siding with an up-and-down saw to recreate the markings found on the original building.
In 1957, after the addition of 150 more vehicles to the transportation collection, the museum constructed the Horseshoe Barn Annex to exhibit key examples from the collection using a combination of old and new materials.
Horseshoe barns
It appears that there are very few horseshoe-shaped barns in the United States. Of the two documented horseshoe barns in Vermont, only one still stands today. The Shelburne Museum houses the only remaining horseshoe barn in Vermont; the Georgia, Vermont barn it was modeled after was torn down shortly after. There is still a road named Horseshoe Barn Road in Georgia, Vermont.
Other known horseshoe-shaped barns are:
Llangollen Farm in Virginia
Carriage collection
The museum's carriage collection began with the vehicles owned by Dr. William Seward Webb and his wife Lila Vanderbilt Webb. Today it has come to include 225 horse-drawn vehicles. Since many of these vehicles came straight from their respective owners, many still retain their original upholstery and decoration.
Das Shelburne Museum ist ein 1947 gegründetes Kunstgewerbe-, Kunst- und Freilichtmuseum in Shelburne im US-Bundesstaat Vermont 19 km südlich von Burlington am U.S. Highway 7.
Horsedrawn vehicles
Carriages and coaches began to be widely used in Britain during the 17th century. However, real progress in carriage building was not made until the late 18th century, when Royal Mail coach service began. For the first time, many carriages were designed for comfort and speed and were made alike, using interchangeable parts. Soon carriage driving became the fashionable way to travel, although for many years the cost of vehicles restricted their use primarily to the nobility and upper classes.
The manufacture of horse-drawn vehicles advanced more quickly in 19th-century America, where vehicles quickly became available to people of every social class. By the late 19th century, American coach builders had developed light and practical vehicles that were available to the general public at low prices through mail order houses such as Sears and Roebuck. An elegant runabout made by Brewster & Co., America's finest coach builder, cost $425 in 1900; a runabout sold by Sears was $24.95.
Shelburne Museum's collection of horse-drawn vehicles includes examples of 19th and early 20th century carriages, farm and trade wagons, stagecoaches, sleighs, early firefighting equipment, and almost every other type of vehicle used in New England in the 19th century. One of the most comprehensive collections in the country, it is particularly important because most of the vehicles retain their original upholstery, lamps, and decorative finishes.
Many of the museum's finest vehicles originally belonged to Dr. William Seward Webb, father-in-law of Electra Havemeyer Webb, including a number of elegant carriages and coaches by New York's Brewster & Co. and a remarkable pair of custom-made vehicles – a caleche and a satin-trimmed Berlin – by Million et Guiet of Paris.
Rural Americans were often too busy to travel during the warm months, when farm chores kept them close to home. Winter brought more leisure time. Snow could be packed down with horse-drawn rollers to form a far smoother surface than was available on dirt roads at other times of the year. Sleighs were much easier to build and repair than wheeled vehicles; a home craftsperson without specialized training could construct and maintain them. For these reasons, the typical northern farm family owned three sleighs for every wheeled vehicle it kept.
Sleighs echoed wheeled vehicles in form. Some wheeled vehicles, like the museum's hearse, could be converted from wheels to runners as the seasons changed. The museum's sleighs range from small and simple homemade wooden cutters to elaborate, multi-passenger surreys, caleches, and victorias. The collection also includes a stage sleigh, a school bus sleigh, a butcher's delivery sleigh and a police ambulance and paddy wagon sleigh.
Multi-passenger stagecoaches and omnibuses provided public transportation for travelers within and between cities, from train stations to hotels, and on sightseeing trips. Businesses transported goods by horse, often using wagons and sleighs that advertised their wares with decorative pictures and signage. Commercial vehicles in the museum's collection include a Concord stagecoach used to transport hotel guests in the White Mountains, a butcher's wagon complete with hanging scales and meat hooks, a Maine druggist's patent medicine wagon and a Pennsylvania Conestoga wagon, used to haul produce from rural farms to city markets.
Vehicles were also essential to firefighters, who needed to transport water and equipment quickly. A variety of early firefighting vehicles are represented in the museum's collection. The horse was a latecomer to firefighting, not pressed widely into service until the 1870s. To save precious time, horses were kept in the firehouse. Their stalls had break-away chains and, at the sound of the alarm, the horses raced to their places in front of the waiting equipment. Their collars and harnesses were suspended from the ceiling, poised like spiders in a web, ready to drop at a touch.
The steam-driven pumper, the hose wagon, and the hook-and-ladder truck became the three major horse-drawn firefighting vehicles. However, it was the steamer, usually driven with horses harnessed two or three abreast, that provided the most spectacular sight as it flew down the street with smoke pouring from the funnel of its boiler, building up a head of steam to run the pumps.
(Wikipedia)
Die Ausstellung bzw. Sammlung geht auf die lebenslangen Bestrebungen von Electra Havemeyer Webb (1889–1960) zurück, die insgesamt 37 historische Gebäude hier „zusammenlegen“ ließ als Platz für ein „normales“ Kunstmuseum und den Ort für ein historisch orientiertes Freilichtmuseum, in dem auch ca. 80.000 Kunstgewerbegegenstände, insbesondere Quilts, präsentiert werden. Daneben gibt es eine Ausstellung von über 240 Kutschen.
Hier finden sich alle möglichen Baustile Vermonts, wie zum Beispiel das Colchester Reef Lighthouse von 1871 mit ungewöhnliche Mansarddach, eine sehr seltene Rundscheune von 1901 und der Raddampfer Ticonderoga von 1906.
Im Museum wird amerikanische Malerei des 19. und 20. Jahrhunderts ausgestellt (Erastus Salisbury Field, Winslow Homer, Grandma Moses). Im Electra Havemeyer Webb Memorial Building ist die New Yorker Wohnung der Museumsgründerin im Stil der 1930er-Jahre wiedererrichtet worden. In den 6 Räumen sind bedeutende Gemälde von Rembrandt, Édouard Manet, Degas, Monet, Gustave Courbet, Jean-Baptiste Camille Corot und Daubigny ausgestellt.
(Wikipedia)
Mary Ann Schmidt, co-chair of the Crystal Springs Partnership was among the volunteers and partners who spent the last two days relocating fresh water mussels in Crystal Springs Creek in advance of a planned bridge replacement over the creek.
Someone's outhouse ended up behind the church as well as a house trailer. This looks as though it floated here and "got stuck", no pun intended.
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