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International Monetary Fund Managing Director Christine Lagarde delivers a statement on the conclusion of the IMF's Executive Board regular five-yearly review of the Special Drawing Rights (SDR) November 30, 2015 at the IMF Headquarters in Washington, DC. Lagarde stated “The Executive Board's decision to include the RMB in the SDR basket is an important milestone in the integration of the Chinese economy into the global financial system. It is also a recognition of the progress that the Chinese authorities have made in the past years in reforming China’s monetary and financial systems. The continuation and deepening of these efforts will bring about a more robust international monetary and financial system, which in turn will support the growth and stability of China and the global economy.” IMF Staff Photo/Stephen Jaffe
08/07/2020. London, United Kingdom. Summer Statement Cabinet. Chancellor of the Exchequer Rishi Sunak leaves the Cabinet Room after briefing members of the cabinet at the weekly Cabinet meeting inside No10 Downing Street, on the day the Chancellor delivers his summer statement to the House during the coronavirus. Picture by Andrew Parsons / No 10 Downing Street
08/07/2020. London, United Kingdom. Summer Statement Cabinet. The Prime Minister Boris Johnson and the Chancellor of the Exchequer Rishi Sunak brief members of the cabinet at the weekly Cabinet meeting inside No10 Downing Street, on the day the Chancellor delivers his summer statement to the House during the coronavirus. Picture by Andrew Parsons / No 10 Downing Street
Die Bundesministerin der Verteidigung, Annegret Kramp-Karrenbauer, gibt ein Statement zusammen mit dem Vorstandsvorsitzenden der Deutschen Bahn AG Richard Lutz und dem Vorsitzenden der CSU im Bundestag, Alexander Dobrindt, zu der Thematik kostenloses Bahnfahren für Soldatinnen und Soldaten im Bundesministerium der Verteidigung, am 17.08.2018.
©Bundeswehr/Andrea Bienert
Policy Statements ITU PP-22
Mr Hussain SALATT
Director of Communications and International Relations
Ministry of Communications and Information Technology, Qatar
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
This photo is a view from one of the routes in the National Park Service (NPS) Preferred Alternative within the Draft Environmental Impact Statement (EIS), Special Flight Rules Area in the Vicinity of Grand Canyon National Park (GCNP), illustrating the high quality scenic views and grandeur of GCNP. This view is looking north at Sullivan Peak, Hancock Butte, Point Imperial and Mt. Hayden on the Norh Rim. .
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The Draft EIS was developed to address the mandate of the 1987 National Parks Overflights Act to provide for substantial restoration of the natural quiet and experience of Grand Canyon National Park and for protection of public health and safety from adverse effects associated with aircraft overflights. Through the Draft EIS, the NPS is proposing a plan for managing helicopter and airplane flights over Grand Canyon. These flights currently carry more than 400,000 visitors above the canyon each year. Like all other uses in the park, air-tours play an important role in visitor enjoyment. But without better, more thoughtful management air-tour flights can interfere with the enjoyment of visitors on the ground. Air-tour flights also affect soundscape and other park resources of Grand Canyon's 1,902 square miles..
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The Draft EIS can be reviewed online at www.parkplanning.nps.gov/document.cfm?parkID=65&proje... Comments can be submitted online at the same Web address (the preferred method), or mailed to Superintendent, Grand Canyon National Park, Attention: Office of Planning and Compliance, P.O. Box 129, Grand Canyon, Arizona 86023, or provided at one of the public meetings. Comments will be accepted through Monday, June 20, 2011..
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NPS Photo
Just a fun shot my new fashion footwear to get me on and off the boat since the flood.
So if you see an septuagenarian in pink wellies it's me, so stop and say giday.
Younghusband Murray River South Australia.
This tower seems to be to large for this tower, it must have been a statement to here neighbours in Liverpool.
Spitalfields Market, City Of London This Stallholder in Spitalfields Market is such a character, and almost timeless. Camera:Nikon D90 Lens: Nikon 55-200
They may have a...
Our Daily Challenge - July 30, 2016 - "Passion"
... for Modeling, but Fashion Sense? Not so much.
Daily Dog Challenge 1735. "Mixed"
Today's Post (Fashion Statement) : www.bzdogs.com/2016/07/fashion-statement.html
Stop on by Zachary and Henry's blog: bzdogs.com - The Secret Life of the Suburban Dog
Photograph by: Ryan Nyenhuis
Sunday June 15th 2008, Fathers Day. Ryan and I woke with a plan. The plan being to sneak into the abandon R.L. Hearn Thermal Generation Power Plant which is located in the south east area of downtown Toronto. We wanted to photograph the beauty of decay.
We had made a trip over to the power plant a week prior to scout out the area, to see where guards were located and to find easy access inside.
Sneaking past the guard house located at the front of the property and making our way along the north west section of property towards the back of the plant where the barbed wire fence was weakest.
We then smoked three quarters of a joint together before working up the nerve to hop the fence. Ryan went first, watching him hop the fence and dart out into the yard and hiding behind scrap metal for cover then finally making it to the back of the building. Then it was my turn. What excitement that was, knowing your breaking the law to do something adventurous.
After getting onto the property we were standing at the back of the Hearn and looking for our way inside. To do so we had to hop up onto a metal fence post and from there had to reach up and grab a hold of plywood that covered up the tall entrance area. A good 15 foot climb up, over and in.
Once inside the first photo that was taken was the one of Ryan and I standing together, titled "final hours".
This place was like no other we had ever explored together. The shear size of it all was breathtaking and mind blowing at the same time. The beauty of destruction.
After the first photo was taken we started exploring the plant. Taking the necessary precautions we had come prepared with asbestos masks and flashlights.
We had made our way around on the ground floor, through locker rooms, showers, storage rooms. Then we started making our way up stairs to the 2nd and 3rd level offices, had the remainder of our joint together.
From the office levels we went back onto the factory area and started climbing the metal stairs up further still. Some photos show how high up we were in that building.
We then made ourselves up onto the roof. What a view from there looking out over the city core. Looking out over Lake Ontario we saw really dark storm clouds. Ryan pulled out a cigarette and had a smoke.
We were up on the roof for about a half hour before Ryan asked me "what do you want to do now man?". "Do you want to go home now or stay a bit longer and explore?". My camera battery had died at this point and being there any longer served no purpose for me. I was hesitant on a response because at the same time I wanted to keep exploring because the plan was to keep coming back weekend after weekend to explore and document the old structure.
I then agreed to keep exploring. We came in off the roof, coming down a level, walked through a doorway into a long looking dark room. All across the top level of The Hearn runs conveyor belts that run coal from one end to the other. Walking together along the metal grating flooring. Ryan was 2 feet in front of me.
I then ended up tripping over a small extruded piece of metal on the floor, and from that second on I pointed my flashlight directly onto the floor to see where I was walking.
Very shortly after this happens, in mid sentence Ryan just falls into blackness. All I see is from his waist up as he plunges into complete blackness and followed by about 4-5 seconds before hearing a sick crash far below.
I then look 2 feet in front of me and see there is no more floor. My imediant thought is that he is dead. Then my brain clicks "I have to get my best friend out of here".
I then tried my best to back track to get out of the building, taking a route that he and I had not taken to get to this point. All I knew is I had to get out of The Hearn and find someone that could help.
I don't even know how I got out of that place. When I did I came out on the back side of the building, ran around to the guard house screaming for help.
I screamed to the guard that my best friend just fell in there and is hurt really bad, he asked what we were doing in there and I told him we were just taking photos.
The guard then called like every paramedic, fire and police officer in the city. About 10 minutes after the call was made all I could hear were the sirens. Scared and relived at the same time I was.
Once they all showed up I told them Ryan was in there, that we were up high in the building and he fell. All the cops were telling me to retrace my steps, they wanted to see where we came in from. I screamed at them "we don't have time for that right now, my best friend is dying in there". I then started leading them to the front of the Hearn because I knew it was the closet way inside. We get to the front and all entrances were boarded up. One cops said to me "Ian there is no way in through this way, you have to show us where you came in from". I then demanded to the fire fighters that they bust this plywood down to get inside.
Once inside the cops started fucking with my mind, me being in total shock at the time they started asking me where we had explored, they wanted me to take them on what would have been a few hours of exploration, which we didn't have time for.
Then an officer finds his asbestos mask and glasses. My first thought is he was okay, that he somehow managed to crawl out under his own power. I was wrong. His mask and glasses had bounced off of objects on the fall and Ryan was nowhere to be found.
The police tried getting a hold of Rogers Communication to see if they could pin point his location with the cell phone he had on him. They ended up using thermal vision to locate him. He was trapped in a coal hopper located high up in the building.
I was escorted out at this point in time because I was too "hysterical" for the cops liking.
Two and a half hours went by, a fierce thunderstorm was passing through.
While they were working on getting Ryan out I was giving my statement to the police. Never gave one of those in my life. I told them everything that I am writing here right now, everything, even the joint smoking. I had Nothing to hide.
We went in undetected but I didn't care if the whole world was watching at this point, I was doing what any best friend would do. I was trying to save him. City Pulse News was there and I was trying to hide from them. I was scared that this is how his family would find out and how my family would find out, being Fathers days and all.
After two and a half hours of hell they finally got Ryan out. I watched them carry him out on a backboard and I yelled to him that I loved him.
Ryan was rushed to St. Micheal's Hospital, the best in all the city for trauma.
I followed about an hour after him, being escorted in a police car. On the drive one officer said to me "this is going to cost you and your buddy about a hundred thousand dollars for all that had to be done here today". What a jackass thing to say. I responded by saying "I don't give a fuck about money, take all I have from me I don't care, I'm loosing the most important person in my life right now".
We get to the hospital, I enter the trauma wing of St. Micheal's. They told me that I was going to be the one to call the home of the Nyenhuis'. I thought that was insane, and told them I could not make that call, that they would have to.
I then went into the waiting room, sat down. I remember the NBA finals were on the televisions in there and I ended up falling asleep somehow.
Waking to Stevie and Tammy's faces hours later (Stevie being Ryan's room mate and Tammy being Ryan's girlfriend).
Stevie told me that John and Cheryl were on their way and that we could go up stairs to the trauma ward to see Ryan.
The trauma centre, located on the 9th floor of St. Micheal's Hospital.
Hours passed by, as the night went on the news kept getting worse and worse about his condition.
I ended up leaving to come back to my apartment at 6am the following morning, I had to talk to my parents and try and shovel some food into my system. Still being in shock and never got treatment for shock when it happened.
I returned to the hospital at 3pm that day. Only to find nothing had changed with his condition.
Then came the worst words I ever had to hear, Ryan's father coming in the room and telling me it was time to say goodbye to Ryan.
We made our way into where he was being cared for. To see my best friend in the state he was in broke my heart. Blood coming out the back of his head, body black and blue bruised from head to toe, internal damage that could not be repaired, feeling his forehead and it being ice cold. He was laying there in front of us, dead. Machines were the only thing keeping him "alive".
I said my goodbyes to him, telling him that he can't leave me here, he can't leave the creation of Studies In Comfort behind, something that is so brilliant, that we were supposed to take over the world together and do all that was planned. I told him to haunt me.
I then looked at his eyes and saw tears. He may have been brain dead but I know he heard every word I said. Doctors did not give an explanation to what was coming out of his eyes.
If only I had said to Ryan "hey man watch your step" he might still be alive today. I have been told over and over again that I can not blame myself for what happened that day. I sometimes still do.
Ryan and I once had a conversation that if something ever happened to one of us that Studies In Comfort would stop, without a core creator there is no sense to continue it. Well I am going against those wishes. I can't lose what he and I created even before it took off the ground.
I now know my purpose in life. To carry on Studies In Comfort. I must continue on for him, finish off the 3 studio albums we had in the works and continue on with this art form.
Ryan died at the wheel and I have moved his lifeless body to the passengers seat and now a fucking insane madman is driving.
Ryan Nyenhuis, whos favourite artist was Nine Inch Nails, who lived on floor number 9, who wore a roman numeral 9 on his right arm, who died on the 9th floor at St. Micheal's Hospital, Toronto.
Thank you to 55 Division and all the paramedics and fire fighters who helped get Ryan out of that terrible dark place.
Ryan Nyenhuis is survived by his father, John, mother Cheryl, sisters, Jennifer and Leah, their beautiful children, myself and Studies In Comfort.
Ryan John Nyenhuis
July 28th 1981 - June 15th 2008
We love and miss you.
___________________________
All photographs were taken by Ryan Nyenhuis & Ian Levack with a Casio EX-Z1050 camera.
A bright and bold statement necklace fit for a queen of fashion! Tutorial blogged here: erinsiegeljewelry.blogspot.com/2013/08/fashionista-statem...
More info: www.craftivist-collective.com/Mini-Fashion-Statements
PRESS RELEASE 16.2.17:
Will you find a Mini Fashion Statement in your pocket this April?
As the world remembers the Rana Plaza disaster on 24 April, the Craftivist Collective will be launching a new craftivism kit to make and gently challenge people to think about how their clothing is made.
The collapse of a Bangladeshi factory in 2013 saw 1,138 garment workers killed and over 2,500 injured. There had been signs of structural failure the previous day, but workers were ordered to return to work regardless.
The Mini Fashion Statements kit is being launched in support of Fashion Revolution, a global movement born in the wake of the disaster, which calls for greater transparency, sustainability and ethics in the fashion industry.
The kit feature small scrolls on which makers all over the world are encouraged to write - slowly and in their neatest handwriting on their own or in groups - one of three provocative but not preachy messages designed to get both writer and reader thinking about the true cost of fashion and inspire them to play their part in improving the ugly side of the industry.
Shop-droppers not shop-lifters
The finished scrolls, tied with a pretty bow and featuring an invitation to “please open me”, a smiley face and a kiss, can then be ‘shop-dropped’ into the pockets of garments in fashion stores, or clothes worn by family, friends and colleagues.
This deliberately non-confrontational form of ‘guerilla activism’ using handcrafts is a designed as an alternative to some the more traditional aggressive types of activism.
Sarah Corbett, founder of the Craftivist Collective, said: “We help people learn the art of ‘gentle protest’. We want every part of the fashion industry to be beautiful, not just the clothes. Our pocket-sized scrolls are powerful and poignant little reminders of the role we can play as consumers. They’re designed to make us think about how the clothes we buy and wear are made, and how we might be able to help tackle problems like poor conditions for workers or the use of materials that are damaging to the environment.”
Asking #whomademyclothes
Orsola de Castro, co-founder and Creative Director of Fashion Revolution, said: “We want to unite the fashion industry and ignite a revolution to radically change the way our clothes are sourced, produced and purchased, so that what the world wears has been made in a safe, clean and fair way.
“The Craftivist Collective’s Mini Fashion Statements are a really simple, fun and creative way to be part of the Fashion Revolution. Made with love and placed into a pocket on a store's clothes rail, they surprise shoppers with a message that reminds us to be more curious about our clothes.
“They may be small, but they have the power to make shoppers stop and consider the people who make our clothes, their working conditions and human rights issues. This shows that activism doesn't need to shout from the rooftops, it can gently provoke from our pockets!”
The Mini Fashion Statement kits were pioneered by Sarah during workshops at Stockholm Fashion Week and Helsinki Design Week, and are the first non-stitched Craftivist Collective project. Sarah will be holding further workshops in London and Lincoln in early April to introduce people to the kits and teach them how to do ‘shop drops’ to distribute their mini fashion statements.
[Subhead:] Editor’s notes
CRAFTIVIST COLLECTIVE: Founded in 2009, the Craftivist Collective produces projects, products and kits to help individuals and groups across the globe change the world one stitch (or sentence) at a time using slow, gentle, beautiful activism. You can find out more at www.craftivist-collective.com
FASHION REVOLUTION: Fashion Revolution is a global movement calling for greater transparency, sustainability and ethics in the fashion industry. Fashion Revolution Week runs from 24-30 April 2017. For more information visit www.fashionrevolution.org
RESOURCES / CONTACT: Logos and product imagery, as well as quotes and interview opportunities, are available on request - please email press@craftivist-collective.com.
MINI FASHION STATEMENT KITS: Each kit features: a roll of high quality scrolls, each with an embossed Craftivist Collective logo; three different colours of ribbon (enough for 10 scrolls) to help make your messages stand out; ‘Crafterthought’ questions to reflect on as you write; two small free gifts; tips and message templates. They will available from 24 April at <a href=www.craftivist-collective.com/shop.
EVENT: Hackney, London: Thursday 6th April, Showroom Studio, 6.30-8pm. £10 You will learn the art of gentle protest, create beautiful small fashion statements supporting the organisation Fashion Revolution to put into the world as catalysts for change and practice the skill of shopdropping (the opposite of shoplifting).
Serbia 1 Slovenia 1
Translates roughly to "For Kosovo Serbs No Passports" "For Brazilian No Problems" Joke about Cleo a Brazilian who plays for Partizan Belgrade getting a Serbian Passport, but Kosovo Serbs not so fast...
That's Sasha Banks. She's a former WWE women's champion, currently hotly in pursuit of re-taking the title from Charlotte Flair.
She might not look like much, but she's a mean little package, hell I wouldn't argue. But it's fair to say I'm a big wuss anyway :)
Oh, and she's Snoop Dogg's cousin as well...
Thanks for posing for me Sasha :)
O2 Arena, 7 September 2016.
Dress: A Grecian Turn Dress, Rubber Ducky via ModCloth
Cardigan: Charter School Cardigan in Raspberry via ModCloth
Bracelets: Nordstrom (blue bracelet), Talbots (orange and pink bracelet), and vintage (gold bangles)
Necklace: Statement of the Art Necklace in Sun via ModCloth
Laptop Bag: Marc by Marc Jacobs via Nordstrom
Photo by Pat Zimmerman
Financial statements for businesses usually include income statements, balance sheets, statements of retained earnings and cash flows. For more information please visit us our website.
Hot off the Press - Pink & Orange are the new Black!
At this time of year I think the Spindle looks its best, with the fruits bursting from their casings and the leaves glossy with Autumn colour!
Spindle timber is creamy white, hard and dense. In the past it was used to make ‘spindles’ for spinning and holding wool (hence its name), as well as skewers, toothpicks, pegs and knitting needles.
The fruits were baked and powdered, and used to treat head lice, or mange in cattle. Both the leaves and fruit are toxic to humans - the berries have a laxative effect.
Today spindle timber is used to make high-quality charcoal, for artists. Cultivated forms of the tree are also grown in gardens for autumn colour.
I think that all women owe a huge favour to the spindle tree, as it is from here that the spindles came for spinning wool, the first time in history that a woman (a spinster) could earn her own living!
my desk is out of space for financial statement, and so is my mind.....i had a nightmare in the early morning.....Charts keep my mind busy when dreaming
U.S. Secretary of State John Kerry delivers a statement to the press after the International Syria Support Group Meeting in New York City, New York on September 22, 2016. [State Department Photo/Public Domain]
I have a bit of an obsession with glassware. In fact, my husband has restricted my glassware purchases to an as-needed basis-- for example, if one of our glasses break, only then am I allowed to purchase another. Yes, this may sound harsh, but if you saw our overflowing glassware cabinet you would understand his strict rules.
While I normally purchase clear glassware in curvy shapes and elegant forms, lately I have been loving colored crystal and glass stemware, particularly in vintage styles.
Colored glassware makes a stylish statement on any table top, especially when it comes to Holiday entertaining. Replacing your everyday clear-crystal with dramatically colored stemware will help to set the stage for an extraordinary event that leaves your guests feeling extra special.
Green and gold tumblers -- Pier 1
Champagne glasses in amethyst, moss and aquamarine -- Replacements
Renaissance stemware -- Gracious Style
Made in Lland (Artist’s Statement)
My mind (Reason) says no, my Imagination screams “..and yes I said yes I will Yes."
Thus, I adopt the most famous utterance generated by my own race, the final words from James Joyce’s 'Ulysses', and pillage the masters of my adopted host (Vermeer, Van Gogh, and Rembrandt), hopefully combining Lyricism and Pragmatism, and generating an idea, and a plan, to reinvigorate the Silk Route between the City State of LLand and the People’s Republic of Ina.
By insinuating a note, written to himself in 1914, the Artist/Chess-master Marcel Duchamp, in a self-admonition, even - spawned a philosophy proffering the possibility of the Universal Equality of All Matter and Anti-Matter.
I am taken to a land of limitless possibilities and imaginative leaps, kaleidoscoping time and place, and choosing to ignore all boundaries. The note said simply:
“To use a Rembrandt as an ironing board”.
This pithy statement could lead to nihilistic despair or it could lead in the other direction entirely. I choose the latter.
"..perhaps it will be the task of an artist as detached from aesthetic preoccupations and as intent on the energetic as Marcel Duchamp, to reconcile art and the people."
Guillaume Apollinaire , Les Peintre Cubistes (published 1913).
This exhibition is the beginning of a foray into that realm, the notion of, through the prism of Duchamp’s statement, initially introducing that most impressive manifestation of the collective consciousness, China, to three of the most venerated Individuals of the Western (Dutch) Canon, through the commonplace vehicle of Duchamp’s ironing board.
‘Maid in Lland’ represents the first phase of this endeavour; the journey of developing Pragma and the Rembrandt board itself. The show collapses time and visualises the painting of the boards in Dafen, a township on the Chinese mainland totally devoted to the copying of European masterpieces.
The second and third phases, the Vermeer and Van Gogh boards, have already been developed over six years, in 4,000 images on the Internet. This body of work presented here has been drawn from that same source.
The ‘story’ is interwoven with personal details, of self-love recovered after a history of abuse; these chart an individuation process which has proceeded to the point where I can say, with confidence, that anything is possible.
If a pinch of spice or a tulip bulb could generate a ‘Golden Age’, then anything can - even a Duchamp ironing board. It is simply a matter of determined people, who believe this is possible, coming together and focussing on pushing it through - with some humour and beauty.
All of these ideas and works generated are copyright free, so that anyone can use any of it, without fear of litigation. I would be more than pleased, indebted even, if anyone can take any of these ideas further.
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Royal Irish Academy
Ireland’s Academy for the Sciences and Humanities
Catherine Marshall
5 Saint Kevin’s Road
Portobello
Dublin 8
Reference: Billy Quinn
23 June 2009
To Whom It May Concern
I came to know the artist Billy Quinn and his work in 1995/6 when he returned from New York to do a residency at the Irish Museum of Modern Art where I was Head of Collections. I was impressed then, both by his work and by his commitment to social engagement through his art practice. I was equally impressed, as were my colleagues, by his knowledge of art history, literature and philosophy, which, along with his social commitment, provides a deep well of sources from which the conceptual underpinnings of his work derive. Later I had the pleasure of working with him more closely when the Museum purchased some of his work, and several exhibitions in Ireland, the United States and Finland included it.
Quinn is an Irish artist but his vision has never been limited by the constraints of life on a small island. He has chosen to work in New York, London, Berlin and Amsterdam, but his gaze encompasses artistic, political and religious events as far away as China and Afghanistan. Much of his work in the past decade has been digital and is disseminated through the internet, using this contemporary medium to comment on outmoded traditions of art making and the artmarket, on connoisseurship and elitism. He has a particular preference for Flickr because it is an egalitarian platform, which excludes nobody. Appropriation is seminal to his practice, and so it is entirely consistent that he now wants the opportunity to make artwork based on his own digital work, which in turn references Rembrandt, Vermeer, Van Gogh and Marcel Duchamp. His new project refers also to the work of Jeff Koons and Andy Warhol, as he searches for a painter to paint an ‘original’ Quinn/Rembrandt painting. He intends to travel to Dafen in China, where paintings are mass-produced, tantalisingly hand painted but entirely devoid of the aura traditionally associated with the hand of the artist. The project questions authorship, connoisseurship and notions of the elite art collector, since the painting and multiple hand-painted reproductions of it will be offered for sale as mass produced objects for consumption in key tourist locations in Amsterdam. The universality and circularity of this process is reminiscent also of the Dutch history of trade with the east, while the hand-painted reproductive process derives, similarly, from good 17th century practice.
The value of this new body of work lies in its scale and ambition. It transcends time and place and breaks down divisions between east and west, between fine art and popular culture. It questions the privileged position of the traditional collector and empowers those previously excluded. Above all it acknowledges the continuity of time and space, hero and follower, matter and idea and does so in a way that is accessible without diminishing its complexity. Like Baudrillard’s simulacrum it obliges the viewer to commit to a position in relation to the ‘reality’ of the work on every level.
From my previous knowledge of his career, as a working artist and as a successful doctoral candidate in Fine Art Practice, I have had reason to respect Billy Quinn’s professionalism and to admire the courage and perseverance with which he tackles his self-imposed tasks. He is not motivated by financial reward but would like to present his art in a very democratic public arena. He holds all ideas to be universal property and does not copyright his work focussing instead on notions of universal equality in a manner that is both beautiful and humourous. I very much hope that this project, his most exciting and ambitious to date, will meet with the support, financial and artistic, that it deserves.
Catherine Marshall
Co-Editor Vol V
Art and Architecture of Ireland
Royal Irish Academy
On secondment from the Irish Museum of Modern Art
----------------
Billy Quinn
william.quinn11@btinternet.com
Mobile Phone: 06 2734 6635
Education
1997-2000Professional Doctorate in Studio Practice, University of East London.
1980-82 B.A. Hons. Fine Art (Film), University of East London.
1973-74National College of Art and Design, Dublin. Foundation Course.
Solo Exhibitions
October 2007 Artist in Residence Studio Exhibition at M4 Gastatelier, Amsterdam
2002 March/April
Postcards From the Wedge (The Thick End),
The Fridge Gallery, London.
2000 More Life : Minor Wounds, The East London Gallery, London E13.
1999 Work in Progress, The East London Gallery, London E 13.
1998The Diet of Worms, The East London Gallery, London.13.
1998 Denial of Burial and Other External Crosses, Ko Raw Gallery, London
1998 Quinn's Da, The Temple Bar Gallery, Dublin.
1997 Traditional Family Values, Goldstrom Gallery, New York City.
1997The Icon Series, WWW.plexus.org/quinn/plague.
1996Traditional Family Values The Temple Bar Gallery, Dublin.
1994Traditional Family Values , Mindy Oh Gallery, Chicago IL
1994A Show of Hands, Andre Zarre Gallery, New York City.
1993A Plague of Angels, Mindy Oh Gallery, Chicago IL.
Group Exhibitions
Feb 2010 Bittersweet- Expressions of Love and Hate,
The Doswell gallery, West Cork
June30
-Aug 25, 06 Selfportraitr A Virtual show of images from Flickr.com
The Pace/MacGill Gallery, NYC
June 2005 Incantations. Nun’s Chapel, Douglas Street, Cork
June 2004 Mediators. Fordham Gallery, Princlet Street, London
Sept 2002-May 2003
Something Else. Touring group show, opening in Turku travelling
To Helsinki, Oulu, and Joensuu in Finland
April 2002-May 2002
Ierse Kunst Uit de Collectie van het Museum of Modern Art te Dublin
Stedelijk Museum, Aalst, Belgium
Nov 14 –April 2002.
Irish art Now: From the Poetic to the Political.
Touring show of American Institutions from The Irish Museum of
Modern Art (I.M.M.A.), curated by Declan Mc Gonagle.
Irish Museum of Modern Art, Dublin.
July 14-Sept 23, 2001.
Irish art Now , Chicago Cultural Centre, Chicago.
May 6-June 25, 2000.
Irish art Now, Pittsburg Centre for the Arts, Pittsburg.
Jan 3 - April 9, 2000.
Irish art Now , Art Gallery of Newfoundland and Labrador, St Johns.
Oct 3- Dec 12, 1999
Irish art Now , The Mc Mullan Museum of Art, Boston.
1999 4 Irish Artists, The Irish Club, Eaton Square, London.
1998Künstler für die Insel IV, Frankfurt am Main, Germany.
1998 Documenta USA, The Museum of Contemporary Art, Pontiac,
Michigan.
1997Recent Acquisitions: work in Focus, I.M.M.A., Dublin.
1997Juno Moneta: For Your Eyes Only, Mindy OH Gallery, New York City.
1996Out Art, City Arts Centre, Dublin.
1995Summer Group Show, Foster Goldstrom Gallery, New York City.
1994 Cultured Pearl, Mindy Oh Gallery, Chicago, IL.
1994 The Annex Show, Mindy Oh Gallery, The Chicago Art Fair, IL.
1994Animal, Mineral, Vegetable, Andre Zarre Gallery, New York City.
1994Homage to Camus, Mindy Oh Gallery, Chicago IL.
1994 Healing Before Art, Mary Ryan Gallery, New York City
1993 Saints and Survivors in a Time of Plague, Three person show Lowinsky
Gallery, New York City.
1992New Acquisitions Show, Lightworks, Syracuse, New York City.
Related Work
2000-2003Lecturing in Dublin, Cork and Galway (Ireland) and Turku (Finland) and Winchester College of Art on the PhD course.
1999-2000 Extensive lecturing on development of work practice relative to Doctoral
research.
Guest lecturer at Goldsmiths, Leeds, Exeter, Central St. Martins,
The Royal Academy of Stockholm, and Winchester College of Art
1998Part-time lecturer in Fine Art at the University of East London.
1996CURSAI, R.T.E. Irish national television programme.
Guest lecturer, University of Belfast.
1995 Black Box, R.T.E. Television arts programme.
Guest lecturer, National College of Art and Design, Dublin.
Guest lecturer, The Dublin Institute of Technology.
1993Guest lecturer, The Illinois Institute of Technology and The Art Institute
of Chicago.
Selected publications
Eroticism and Art. Alyce Mahon, Lecturer in the History of Art at the University of Cambridge and Fellow of Trinity College. Oxford University Press 2005
The Irish Museum of Modern Art: The Permanent Collection. Catherine Marshall 2005
Something Else: Irish Contemporary Art. Valerie Connor, Maija Koskinen and Declan Mc Gonagle, Turku Art Museum 2002
Irish Art Now: From the Poetic to the Political.. Declan Mc Gonagle, Fintan O’ Toole and Kim Levin, Merrell Holberton Publishers.
The Art of Aids, Robert Barker, Continuum Publishing, New York City.
CIRCA. The Magazine of the Irish Arts. An 8 page insert "work in progress" with Catherine Harper. The Spring issue 1997.
Residencies
November 2007- January 2008: Artist Residency at Foundation B.A.D. Rotterdam
August - October 2007: Artist Residency at M4 Gastatelier, Amsterdam
1997 Helsinki International Artist’s Project (HIAP), Finland
2 month residency Nov-Dec.
1995-96 Artist's Work Programme. Irish Museum Of Modern Art.
1992Lightwork, Artist-in-Residence program, Syracuse, New York State.
Grants
New Work Award 2006. The Irish Arts Council: €35,000
Collections
Irish Museum of Modern Art, Dublin.
The Jonathan Stiles Collection, Helsinki.
Steven F Foster Collection, London.
Peter Kabcenell Collection, New York City.
Mindy Oh Collection, Chicago.
Monique Goldstrom Collection, New York City.
Tim Peterson and Richard Gerrig Collection, New York City.
Carl Miller Collection, Boston.
City of Galveston Collection, Texas.
Lightwork Collection, Syracuse.
Bela Majoros Collection, Budapest.
Chantal Boisgontier Collection, Paris.
John McBratney Collection, Dublin.
Alexander Tinti Collection, Vienna.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The P-51H (NA-126) was the final production Mustang, embodying the experience gained in the development of the lightweight XP-51F and XP-51G aircraft. This aircraft, brought the development of the Mustang to a peak as one of the fastest production piston-engine fighters to see service in WWII.
In July of 1943, U.S. Army approved a contract with North American Aviation to design and build a lightweight P-51. Designated NA-105, 5 aircraft were to be built and tested. Edgar Schmued, chief of design at NAA, began this design early in 1943. He, in February of 1943, left the U.S. on a two-month trip to England. He was to visit the Supermarine factory and the Rolls Royce factory to work on his lightweight project.
Rolls Royce had designed a new version of the Merlin, the RM.14.SM, which was proposed to increase the manifold pressure to 120 (from 67 max) and thus improve military emergency horsepower to 2,200. Schmued was very eager to use this powerplant, since the new Merlin was not heavier than the earlier models. In order to exploit the new engine to the maximum, he visited the engineers at Rolls Royce in Great Britain. However, British fighters were by tendency lighter than their U.S. counterparts and Schmued also asked for detailed weight statements from Supermarine concerning the Spitfire. Supermarine did not have such data, so they started weighing all the parts they could get a hold of and made a report. It revealed that the British had design standards that were not as strict in some areas as the U.S, and American landing gear, angle of attack and side engine design loads were by tendency higher. When Schmued returned, he began a new design of the P-51 Mustang that used British design loads, shaving off weight on any part that could yield. The result was an empty weight reduction by 600 pounds, what would directly translate into more performance.
This design effort led to a number of lightweight Mustang prototypes, designated XP-51F, XP-51G and XP-51J. After their testing, the production version, NA-126 a.k.a. P-51H, was closest to the XP-51F. The project began in April 1944 and an initial contract for 1,000 P-51Hs was approved on June 30, 1944, which was soon expanded.
The P-51H used the V-1650-9 engine, a modified version of the new Merlin RM.14.SM that included Simmons automatic supercharger boost control with water injection, allowing War Emergency Power as high as 2,218 hp (1,500 kW) and a continuous output of up to 1,490 hp (1.070 kW).
Even though the P-51H looked superficially like a slightly modified P-51D, it was effectively a completely new design. External differences to the P-51D included lengthening and deepening the fuselage and increasing the height of the tailfin, which reduced, together with a lower fuel load in the fuselage tank, the tendency to yaw. The landing gear was simplified and lightened. The canopy resembled the P-51D bubble top style, over a raised pilot's position. The armament was retained but service access to the guns and ammunition was improved, including the introduction of ammunition cassettes that made reloading easier and quicker. With the new airframe several hundred pounds lighter, extra power, and a more streamlined radiator, the P-51H was faster than the P-51D, able to reach 472 mph (760 km/h; 410 kn) at 21,200 ft (6,500 m), making it one of the fastest piston engine aircraft in WWII.
The high-performance P-51H was designed to complement the P-47N as the primary aircraft for the invasion of Japan, with 2,000 ordered to be manufactured at NAA’s Inglewood plant. Variants of the P-51H with different versions of the Merlin engine were produced in limited numbers, too, in order to ramp up production and deliveries to frontline units. These included the P-51L, which was similar to the P-51H but utilized the V-1650-11 engine with a modified fuel system, rated at maximum 2,270 hp (1,690 kW), and the P-51M, or NA-124. The P-51M, of which a total of 1629 was ordered, was built in Dallas and utilized the V-1650-9A engine. This variant was optimized for operations at low and medium altitude and lacked water injection, producing less maximum power at height. However, it featured attachment points for up to ten unguided HVAR missiles under the outer wings as well as improved armor protection for the pilot against low-caliber weapons esp. from ground troops, which ate up some of the light structure’s weight benefit.
Most P-51H and L were issued to USAF units, while the P-51M and some Hs were delivered to allied forces in the Pacific TO, namely Australia and New Zealand. Only a few aircraft arrived in time to become operational until the end of hostilities, and even less became actually involved in military actions during the final weeks of fighting in the Pacific.
The RAAF received only a handful P-51Hs, since Commonwealth Aircraft Corporation (CAC) had recently started license production of the P-51D (as CA-18) and the RAAF rather focused on this type. However, there were plans in early 1945 to build the P-51H locally as the CA-21, too, but this never came to fruition.
New Zealand ordered a total of 370 P-51 Mustangs of different variants to supplement its Vought F4U Corsairs in the PTO, which were primarily used as fighter-bombers. Scheduled deliveries were for an initial batch of 30 P-51Ds, followed by 137 more P-51Ds and 203 P-51Ms. The first RNZAF P-51Ms arrived in April 1945 and were allocated to 3 Squadron as well as to the Flight Leaders School in Ardmore (near Auckland in Northern New Zealand) for conversion training. The machines arrived as knocked-down kits via ship in natural metal finish, but the operational machines were, despite undisputed Allied air superiority, immediately camouflaged in field workshops to protect the airframes from the harsh and salty environment, esp. on the New Guinean islands. The RNZAF Mustangs also received quick identification markings in the form of white tail surfaces and white bands on the wings and in front of and behind the cockpit, in order to avoid any confusion with the Japanese Ki-61 “Hien” (Tony) and Ki-84 (Frank) fighters which had a similar silhouette and frequently operated in a natural metal finish.
During the final weeks of the conflict, the RNZAF only scored three air victories: two Japanese reconnaissance flying boats were downed and a single Ki-84 fighter was shot down in a dogfight over Bougainville. Most combat situations of 3 Squadron were either fighter escorts for F4U fighter bombers or close air support and attacks against Japanese strongholds or supply ships.
After the war, many USAF P-51Hs were immediately retired or handed over to reserve units. The surviving P-51Js were, due to their smaller production numbers, were mostly donated to foreign air forces in the course of the Fifties, in order to standardize the US stock. Despite its good performance, the P-51H/J/M did not take part in the Korean War. Instead, the (by the time re-designated) F-51D was selected, as it was available in much greater numbers and had a better spares supply situation. It was considered as a proven commodity and perceived to be stouter against ground fire – a misconception, because the vulnerable ventral liquid cooling system caused heavy losses from ground fire. The alternative P-47 would have been a more effective choice. The last American F-51H Mustangs were retired from ANG units in 1957, but some of its kin in foreign service soldiered on deep into the Sixties. The F-51D even lasted into the Eigthies in military service!
After the end of hostilities in the PTO, the RNZAF’s forty-two operational P-51Ms met different fates: The twenty-six survivors, which had reached frontline service in New Guinea, were directly scrapped on site, because their transfer back to New Zealand was not considered worthwhile. Those used for training in New Zealand were stored, together with the delivered P-51Ds, or, together with yet unbuilt kits, sent back to the United States.
In 1951, when New Zealand’s Territorial Air Force (TAF) was established, only the stored P-51D Mustangs were revived and entered service in the newly established 1 (Auckland), 2 (Wellington), 3 (Canterbury), and 4 (Otago) squadrons. Due to the small number, lack of spares and communality with the P-51D, the remaining mothballed RNZAF F-51Ms were eventually scrapped, too.
General characteristics:
Crew: 1
Length: 33’ 4” (10.173 m)
Wingspan: 37‘ (11.28 m)
Height: 13‘ 8” (4.17 m) with tail wheel on ground, vertical propeller blade
Wing area: 235 sq ft (21.83 m²)
Airfoil: NAA/NACA 45-100 / NAA/NACA 45-100
Empty weight: 7.180 lb (3,260 kg)
Gross weight: 9,650 lb (4,381 kg)
Max takeoff weight: 11,800 lb (5,357 kg)
Fuel capacity: 255 US gal (212 imp gal; 964 l)
Aspect ratio: 5.83
Powerplant:
1× Packard (Rolls Royce) V-1650-9A Merlin 12-cylinder liquid cooled engine, delivering 1,380 hp
(1,030 kW) at sea level, driving a 4-blade constant-speed Aeroproducts 11' 1" Unimatic propeller
Performance:
Maximum speed: 465 mph (750 km/h; 407 kn) at 18,000 ft (5,500 m)
Cruise speed: 362 mph (583 km/h, 315 kn)
Stall speed: 100 mph (160 km/h, 87 kn)
Range: 855 mi (1,375 km, 747 nm) with internal fuel
1,200 mi (1,930 km, 1,050 nmi) with external tanks
Service ceiling: 30,100 ft (9,200 m)
Rate of climb: 3,200 ft/min (16.3 m/s) at sea level
Wing loading: 30.5 lb/sq ft (149 kg/m²)
Power/mass: 0.19 hp/lb (315 W/kg)
Lift-to-drag ratio: 14.6
Recommended Mach limit 0.8
Armament:
6× 0.50 caliber (12.7mm) AN/M2 Browning machine guns with a total of 1,880 rounds
2× underwing hardpoints for drop tanks or bombs of 500 pounds (227 kg) caliber each,
or 6 or 10 5” (127 mm) T64 HVAR rockets
The kit and its assembly:
A relatively simple project, a whiffy color variant based on RS Model’s 1:72 P-51H kit – which I quickly turned into a P-51M, which was planned as mentioned in the background, but never produced in real life.
The model was strictly built OOB, and while this short-run kit goes together quite well, I encountered some problems along the way:
- There are massive and long ejector pin markers, sometimes in very confined locations like the radiator intake. Without a mini drill, getting rid of them is very difficult
- Somehow the instructions for the cockpit are not correct; I put the parts into place as indicated, and the pilot’s seat ended up way too far forward in the fuselage
- The canopy, while clear, is pretty thick and just a single piece, so that you have to cut the windscreen off by yourself if you want to show the otherwise very nice cockpit.
- The separated windscreen section itself includes a piece of the cowling in front of the window panes, which makes its integration into the fuselage a tricky affair. However, this IMHO not-so-perfect construction became a minor blessing because the separated windscreen turned out to be a little too narrow for the fuselage – it had to be glued forcibly to the fuselage (read: with superglue), and the section in front of the window panes offered enough hidden area to safely apply the glue on the clear piece.
- While there are some resin parts included like weighted wheels, it is beyond me why tiny bits like the underwing pitot or most delicate landing gear parts have been executed in resin, as flat parts of a resin block that makes it IMHO impossible to cut them out from.
- The tail wheel is a messy three-piece construction of resin and IP parts, with a flimsy strut that’s prone to break already upon cutting the part from the IP sprue. Furthermore, there’s no proper location inside of the fuselage to mount it. Guess and glue!
- The fit of the stabilizers is doubtful; it’s probably best to get rid of their locator pins and glue them directly onto the fuselage
- The propeller consists of a centerpiece with the blades, which is enclosed by two spinner halves (front and back). This results in a visible seam between them that is not easy to fill/PSR away
On the positive side I must say that the engraved surface details, the cockpit interior and the landing gear are very nice, and there is even the complete interior of the radiator and its tunnel included. PSR requirements are also few, even though you won’t get along well without cosmetic bodywork.
The only personal modification is a styrene tube inside of the nose for the propeller, which was mounted onto a metal axis for free rotation; OOB, the propeller is not moveable at all and is to be glued directly to the fuselage.
While the kit comes with optional ordnance (six HVARs or a pair of 500 lb bombs, both in resin), I just used the bomb pylons and left them empty, for a clean look.
Painting and markings:
Even though the model was a quick build, finding a suitable color concept took a while; I had a whiffy P-51H on my agenda for a long time (since the RS Models kit came out), and my initial plan was to create an Australian aircraft. This gradually changed to an RNZAF aircraft during the last weeks of WWII in the PTO, and evolved from an NMF finish (initial and IMHO most logical idea) through am Aussie-esque green/brown camouflage to a scheme I found for a P-40: a trainer that was based in New Zealand and (re)painted in domestic colors, namely in Foliage Green, Blue Sea Grey and Sky. This might sound like a standard RAF aircraft, but in the end the colors and markings make this Mustang look pretty exotic, just as the P-51H looks like a Mustang that is “not quite right”.
The Foliage Green is Humbrol 195 (Dark Green Satin, actually RAL 6020 Chrome Oxide Green), which offers IMHO a good compromise between the tone’s rather bluish hue and yellow shades – I find it to be a better match than the frequently recommended FS 34092, because RAL 6020 is darker. The RNZAF “Blue Sea Grey”, also known as “Pacific Blue” or “Ocean Blue”, is a more obscure tone, which apparently differed a lot from batch to batch and weathered dramatically from a bluish tone (close to FS 35109 when fresh) to a medium grey. I settled for Humbrol 144 (FS 35164; USN Intermediate Blue), which is rumored to come close to the color in worn state.
The undersides were painted with Humbrol 23 (RAF Duck Egg Blue), which I found to be a suitable alternative to the more greenish RAF Sky, even though it’s a pretty light interpretation.
Tail and spinner were painted white, actually a mix of Humbrol 22 (Gloss White) and 196 (Light Grey, RAL 7035) so that there would be some contrast room left for post-shading with pure white.
The interior of cockpit and landing gear wells was painted with zinc chromate primer yellow (Humbrol 81), while the landing gear struts became Humbrol 56 (Aluminum Dope). The radiator ducts received an interior in aluminum (Revell 99).
In order to simulate wear and tear as well as the makeshift character of the camouflage I painted the wings’ leading edges and some other neuralgic areas in aluminum (Revell 99, too) first, before the basic camouflage tones were added in a somewhat uneven fashion, with the metallized areas showing through.
Once dry, the model received an overall washing with thinned black ink and a through dry-brushing treatment with lighter shades of the basic tones (including Humbrol 30, 122 and 145) for post-panel-shading and weathering, esp. on the upper surfaces.
The decals are a mix from a Rising Decals sheet for various RNZAF aircraft (which turned out to be nicely printed, but rather thin so that they lacked opacity and rigidity), and for the tactical markings I stuck to the RNZAF practice of applying just a simple number or letter code to frontline aircraft instead of full RAF-style letter codes. The latter were used only on aircraft based on home soil, since the RNZAF’s frontline units had a different organization with an aircraft pool allocated to the squadrons. Through maintenance these circulated and were AFAIK not rigidly attached to specific units, hence there was no typical two-letter squadron code applied to them, just single ID letters or numbers, and these were typically painted on the aircraft nose and/or the fin, not on the fuselage next to the roundel. The nose art under the cockpit is a mix of markings from P-40s and F4Us.
The white ID bands on fuselage and wings are simple white decal strips from TL-Modellbau. While this, together with the all-white tail, might be overdone and outdated towards mid-1945, I gave the Kiwi-Mustang some extra markings for a more exciting look – and the aircraft’s profile actually reminds a lot of the Ki-61, so that they definitely make sense.
Towards the finish line, some additional dry-brushing with grey and silver was done, soot stains were added with graphite to the exhaust areas and the machine gun ports, and the model was finally sealed with matt acrylic varnish.
After the recent, massive YA-14 kitbashing project, this Mustang was – despite some challenges of the RS Models kit itself – a simple and quick “relief” project, realized in just a couple of days. Despite being built OOB, the result looks quite exotic, both through the paint scheme with RNZAF colors, but also through the unusual roundels and the striking ID markings (for a Mustang). I was skeptical at first, but the aircraft looks good and the camouflage in RNZAF colors even proved to be effective when set into the right landscape context (beauty pics).
Imagine a town centre, which on one side of the main road has the normal mix of shops and pubs, but on the other side has three fine churches?
Well, that is Bungay, and as well as the churches there is also the Buttercross, marking the ancient centre of the town.
In fairness, Holy Trinity isn't really on the main road, but completes a large area of peace and quiet, in what is now a very gentle market town as traffic no longer thunders through it, or did not when I visited.
Bungay is also home to one Harry Potter. Yes, that one, the wizzard. Well, the books were produced here, or at least the hardback ones were, as Clay's the printers seem to have possession of half the town for their printing works.
Bungay sits on the southern bank of the River Waveney, and therefore is in Suffolk, but to me it seems Norfolk, so much nearer Norwich and Ipswich, and the proliferation of yellow and green shirts rather than blue and white ones is obvious. Saying that, City were playing home on this day, so that might explain it. Locals travelling to Carrow Road have to leave the ground sharpish at full time to get back to the bus station so to catch the last bus back home.
Such is the life for a Bungayonian, which I suspect they are not called.
And transport to Lowestoft is, if anything, even worse, I suppose you could always row along the river.
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The Church of St. Mary
Was parochial, previous to the dissolution of the nunnery, as well as conventual; and probably its handsome western front, which was built subsequently to the north aisle, formed the grand approach from the town. It is yet called 'Lady Church' by old inhabitants in the place. At the great fire in 1688 it suffered considerable damage; but the statement of the Brief that it was burnt to the ground is an exaggeration. The old benches, and possibly the font—for the present one is modern—might have been consumed, as was evidently the roof of the south aisle, which was relaid and finished in 1699; but the fine oaken roof of the nave escaped. Nor were all the bells melted in the conflagration, the writer having furnished to one of the churchwardens, some years since, a translation of the old Longobardic legends which encircled two of them, which have since been re-cast.
The interior of this edifice is light and elegant, its clerestory being supported on each side by five columns composed of clustered shafts. The want of a chancel mars the justness of its proportions very considerably; but its greatest disfigurement is a huge and ugly altar-piece. One or two ancient piscinas have lately been laid open, but their workmanship demands no especial notice. The tower, of slender but delicate proportions, stands at the west end of the south aisle, and the massy bands of iron with which its internal columns are braced together attest the injury its foundations have sustained by an injudicious grave-digger, who nearly brought it to the ground in 1790, by excavating a vault beneath its base.
The old parish book commences in 1523, and contains the churchwardens' accounts before the Dissolution. It is a very curious record, in high preservation, and some of its entries show that many popish observances were retained at Bungay long after its nunnery was stript and ruined.
The last entry proves that the good people of Bungay had taste enough to procure and employ an elegant piece of church furniture, which the inhabitants of Mettingham disregarded.
'The brassen lecterne' was, I presume, brought from the chapel of the dissolved college there; an edifice fitted up in most elegant style. Subsequent fanaticism, however, has failed to spare what the rough hands of the reformers left uninjured.
The following armorial bearings formerly ornamented the windows of this church.
Ufford, sab., a cross engrailed or. Kenton, sable, a chev. arg. between 3 cinquefoils or.
Fitz-Otes, az., 4 bars or, a canton erm. quartering
Knivett, arg., a bend sable.
Montacute, erm., 3 fusils in fess gules.
. . . . . . . . . a bord. az. charged with 8 martlets or. (fn. 55)
Monuments.—In 1612 there was a stone for Reginald Barrow. (fn. 56)
Reginald Brown, Gent., died Jan. 2, 1767. Arms, arg. on a bend az. 3 eagles displayed or.
Richard Nelson, Gent., died Dec. 2, 1727. Arms, per pale arg. and sab. a chev. between 3 fleurs-de-lis counterchanged.
Robert Scales, who gave the organ to the church, died Nov. 7, 1732.
James Browne, Gent., died Jan. 9, 1755.
Henry Williams, died May 25, 1768, aged 79.
Edward Cooper, late surgeon in Bungay, died March 31, 1764. Arms, az. a tortoise, pale-wise, or.
Valentine Lumley, Clerk, died April 26, 1794, aged 70.
Thomas Bewicke, Clerk, died Feb. 7, 1842, aged 74. Arms, arg. 5 lozenges in fess gul., each charged with a mullet of the first, between 3 bears' heads erased sab.
Gregory Clarke, Gent., died May 10, 1725. Arms, arg. on a bend gules 3 swans prop. between as many pellets.
John Davie, D.D., Master of Sidney Sussex Coll., Camb., died Oct. 8, 1813, aged 36.
Lancelot Davie, died Oct. 9, 1816, aged 33.
Thomas Bardwell, portrait painter, died Sept. 9, 1767, aged 63.
Bungay St. Mary, as a benefice, has been a perpetual curacy only, since the dissolution of the nunnery.
The church contains 846 sittings, of which 216 are free.
Among the plates in the fourth volume of Betham's 'Baronetage of England' is the representation of a very curious and rich "Atchievement of Le Seneschal de Buxton, Seneschal of Bourdeaux, temp. Ric. II.," which was taken from the priory of Bungay in the time of Henry VIII. The writer requested permission of the family to have it re-engraved for the present work, but not having been favoured with an answer to his application, he does not consider himself at liberty to enrich his volume with this desirable illustration.
www.british-history.ac.uk/no-series/suffolk-history-antiq...
---------------------------------------------------------
By lorries along Bungay High Street, St Mary stands soberly, over the Butter Cross, and the Fleece, and the castle beyond. Stately, plump spirelets rise from the turrets, bearing fleches on which an arrow and lightning spike lay crossed. A lattice of fretted arches is sustained gently beneath them in the mild morning air.
I photographed with relish the flintwork and flushwork, the ruined priory of God and the Holy Cross, the erect gargoyles, lions in spandrels, the punished water stoup which gave to my eye the faint hint of Catholic survivals. Signatures of all things I am here to read, angels and archangels, the nearing pinnacles, that shield of the passion. Flint black, weathered cope, stone buttress. Coloured signs. I closed my eyes to hear my shoes brushing ancient grass and grassy gravel. Am I walking into eternity through St Mary's churchyard?
Swish, swash, crush.
Begin.
Walnut by plaster, W. B.'s dole cupboard of 1673. Q rat? Curate. Primitive bishops watch on, watch passing generations. I sauntered sadly from bright light, sauntering sadly, light no more. A classical font, a dusky battered plate, rises up like Holy Trinity. Beyond, walled, an old retainer.
---
HOW A GREAT SUFFOLK CHURCH IS BURNED DOWN
Fifteen years later, Bungay is destroyed by a fire that starts in a bakers shop. The church is gutted, and even the remarkable tower of 1470 needs rebuilding. Inside, virtually nothing medieval survives the fire, and St Mary will be variously refurnished by 18th century aesthetes (the font) 19th century sacramentalists (the altar, the glass, the eastwards position) until
WE SEE THE CHURCH FURNISHER AT WORK
the seven works of mercy in the eastern end of the north aisle are installed by Charles and Alexander Gibbs, and the panelling behind the altar is presented by local writer Henry Rider Haggard. Mortlock thinks it 17th century Flemish, and it is the best woodwork in the church because
K.M.A.
the enthusiastic protestants of the parish took down the rood screen during the early years of Elizabeth, and were condemned for it, having to provide a replacement, of which nothing survives, since it was destroyed in the fire, presumably, and
K.M.R.S.A.
in any case, the church is now redundant. It is the biggest and most urban redundant church in Suffolk, the local Anglicans feeling quite at home, thank you very much, in Holy Trinity across the road to the east, and now the Churches Conservation Trust watches over
THE GRANDEUR THAT WAS ROME
the grandeur that was once a major East Anglian parish church. Beccles, where the parish church was also destroyed by fire, and at Bungay there are one or more survivals from the church's Catholic heyday, for in the south aisle he found a surviving piscina, the saving remnant.
---
What discrete succession of images did Simon meanwhile perceive?
Reclined against the pulpit, he perceived across the range of benches a patina of bat urine, a heady aroma of antique, two women reading a notice, a woman looking up at the west window, a man leaving the church holding a CCT guidebook.
Of what similar apparitions did Simon think?
Of others elsewhere in other times who, kneeling on one knee or two, had inhabited parish churches. Of ghosts in big churches of Blythburgh, Southwold, Lowestoft St Margaret. Of awestruck agnostics at Iken and Lindsey St James. Of American tourists at Long Melford and Lavenham.
What did Simon see on raising his gaze to the height of a yard from the women to the opposite wall?
An elegant 1760 monument for Henry Williams by Thomas Rawlins; a monument to Pergrina Browne by the first named sculptor's father; other monuments of the 18th century by Norwich artists; 18th century lead with the churchwardens names incised within.
Did he remain?
With deep inspiration he returned, retraversing the nave, reentering the porch, closing the door. With brief suspiration he reassumed the daylight, reascended to the churchyard, reapproached the High Street, and reentered.
In what directions did the narrator head?
At rest relative to his former actions, he entered the Fleece public house, and availed himself of an imperial pint of Adnam's Broadside Ale.
In what posture?
Semilaterally, in relation to the floor, knees crooked, posterior upon a chair, arms rested on a table, guidebooks open.
Weary?
He rests. He has travelled.
---
Yes because he never saw a church like that before as be so big and urban and yet so empty and yet they are so many of them that empty nowadays except this one of course they've actually given up the ghost in not that I'd like to say for sure that Anglicans believe in ghosts or anything like that nowadays not even the Holy one he'd say but you'd know he was just having you on and pulling your leg because he wants you to think he's a radical catholic and whats all this with the writing like other writers anyway, Jesus, you'd think the man couldn't put two words together of his own.
And the weather he has in his churchyards you'd think every day was some winter storm or bright early spring or else its that he's sitting down and resting on account of the heat, Mother of God you'd think we never had a day when you'd not notice the weather because it wasn't worth a word when you could be talking about something else, and if its not the weather its some r- word, or its the people I mean what do people have to do with churches, and yet he's always meeting them and Holy God who gives a stuff about which keyholder said this and what that Vicar was moaning about I mean people read the site for the buildings, and even there he can't just call a building a building like you'd put down a straw perhaps and you'd say you see that straw Simon, that's a straw, and no he'd be going on about sacramentalism and eastwards positions and reformation, that's it, reformation I mean who's he when he's at home? and now Jesus would you credit it if he's not fancying himself like some Frenchman who writes the biggest books you've ever seen, and bringing in the women he sleeps with I mean men are such fools when you think about it or give them half a chance because if it was the women who were writing about the churches you can be sure it would be us having the fun, and not taking any notice at all of the locked doors and fearful keyholders because you can only ask so many times can't you and if I met a difficult keyholder I'd dare him with my eyes to say no and again no and I'd ask him would he no to say no and first I'd walk away from him no and think of the things I'd be doing instead of visiting the church no and writing about it no and my heart would be going like mad and no I'll say no I won't No.
Trieste-Zurich-Paris-Bungay 1914-2002
This statement bib necklace features rose pink, fuchsia and salmon pinked colored multi-faceted acrylic beads set in a fan shape held together by rose gold tone facets. The lower right hand corner features a hand enameled bumble bee with fuchsia crystals.
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