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The Art of Investment: William Stone Images & Beyond
In the heart of the contemporary art realm lies a unique space, imbued with sophistication and a touch of the avant-garde – enter the ethereal world of William Stone Images. Reflecting the style of an article from The New York Times, this space isn't merely about the aesthetic, but it's about transforming monetary support into something that goes beyond the visual.
Discovering Beauty and Empowerment
Whether you're an art connoisseur or someone new to the world of fine art prints, William Stone Images wsimages.com/ presents a delightful gallery of fine art photography prints and opulent wall art. Each piece, exclusive in nature, invites viewers to explore depths beyond the canvas and the lens, provoking thoughts of beauty, vision, and perhaps, financial acumen.
Yet, William Stone Images isn't merely about capturing moments or showcasing beauty. It's about creating an impact in the real world, making tangible differences in the lives of budding entrepreneurs and burgeoning Small and Medium-sized Enterprises (SMEs). Investing in art here is, intriguingly, an investment in the future of innovation.
The Act of Investing: More Than Money
The act of contributing or donating towards WSImages is emblematic of a grander vision. By directing your investment to RR MEDIA LIMITED, you become part of an ambitious project. This is not just about international payments being processed, but about fuelling the trajectory of SMEs, ushering in an era where they aren’t just surviving, but thriving.
Even a modest contribution via this link buy.stripe.com/28o8zHgmf0dO8dW5ko can set powerful wheels in motion. Such gestures, minute or grand, infuse life into enterprises, granting them the stability and assurance they need to innovate, hire, and prosper.
Why Join This Artistic Revolution?
In the intricate dance between art and commerce, William Stone Images strikes a harmonious chord. From the stunning visual tales on Flickr to the glimpses of events immortalised at randrphotographs.com - randrphotographs.com/ , there's an unceasing pulse of creativity here.
Moreover, the allure of discounted luxury art beckons at this clearance section - www.wsimages.com/clearance/, ensuring that beauty is accessible to many. Each dispatched piece carries with it the William Stone promise: of impeccable quality, enduring allure, and a lifetime of pride.
For those curious about the tools and techniques making these masterpieces possible, the equipment section - www.wsimages.com/about/ at wsimages reveals secrets. It's not just about having the best camera or lens. It's about understanding the myriad ways in which light interacts with these tools, producing breathtaking results.
Additionally, in a world increasingly moving towards digitisation, their services extend beyond the lens. Dive into their web offerings at cloudstands.com - cloudstands.com/, and you'll find another testament to their versatility.
In Conclusion
William Stone Images is more than a gallery or a photographic service; it's a movement. As art and entrepreneurship blend seamlessly here, your investment becomes a bridge between vision and reality. Every penny, every gesture, doesn’t just purchase beauty, but fosters growth.
Intrigued? Ready for the next chapter? The world of William Stone awaits. Join us, and let’s redefine what it means to invest in art, beauty, and progress.
WS-289-44493321-13861023-0795653-16102023134444
Da Sala da Cidade à “Casa de Coimbra” – Dia 2 (B)
PEDRO CABRITA REIS TRANSFORMA SALA COM 500 M2 NUMA OBRA DE ARTE
Foi um trabalho de “dimensões faraónicas” - na expressão do seu criador, Pedro Cabrita Reis (Lisboa, 1956) -, que se cumpriu em três dias. A convite da novel anozero: Bienal de Arte Contemporânea de Coimbra, o artista empreendeu uma “desconstrução criativa” na Sala da Cidade de Coimbra, um espaço com cerca de 500 m2, situado no interior do edifício da Câmara Municipal, com entrada pela Rua Olímpio Nicolau Rui Fernandes. Um lugar com uma história longeva, porque antes de ser Sala da Cidade, foi, a partir de 1528, refeitório dos frades do Mosteiro de Santa Cruz, conservando inúmeras marcas dessa época.
Acompanhámos os trabalhos de Pedro Cabrita Reis, num registo histórico do processo criativo do autor nos três dias de intervenção.
Neste álbum, mais 150 fotografias do segundo dia de trabalhos, a 29.09.2015.
VEJA TAMBÉM:
Da Sala da Cidade à “Casa de Coimbra” – A Preto e Branco
ÁLBUM COM 65 FOTOS NO FLICKR
www.flickr.com/photos/126008239@N05/albums/72157658136266314
Da Sala da Cidade à “Casa de Coimbra” – Dia ZERO
ÁLBUM COM 75 FOTOS NO FLICKR
www.flickr.com/photos/126008239@N05/albums/72157660444645982
Da Sala da Cidade à “Casa de Coimbra” – Dia 1
ÁLBUM COM 95 FOTOS NO FLICKR
www.flickr.com/photos/126008239@N05/albums/72157660058696520
Da Sala da Cidade à “Casa de Coimbra” – Dia 2 (A)
ÁLBUM COM 160 FOTOS NO FLICKR
www.flickr.com/photos/126008239@N05/albums/72157660054215919
“Foi um trabalho bastante estimulante”, aprecia Pedro Cabrita Reis, devido à dualidade do espaço: “o refeitório, de cariz religioso, e o espaço museológico/expositivo, de cariz profano”. Sob orientação do artista, a estrutura que caracterizava a Sala da Cidade, construída a partir de tábuas de contraplacado, que formavam um corpo central volumoso, com circuito expositivo em volta, foi fendida através de golpes de motosserra. Cortes que permitiram deslocar e colocar peças em posições diferentes, criando uma escultura que oferece perspetivas e leituras bem diferentes.
“Foi bastante interessante explorar e unir isto tudo criando uma nova base, uma nova plataforma, reformulá-la e permitir uma nova abertura ao olhar; esta obra, entendida como um processo de reconstrução, vem unificar os diversos tempos históricos contidos na sala”, descreve Pedro Cabrita Reis, que batizou a sua mais recente criação como “A Casa de Coimbra”.
Olhar para a nova obra faz pensar num grande trabalho físico necessário para a concretizar, mas o autor afasta essa ideia. “Não houve qualquer dificuldade; foi um exercício de criatividade, de puro prazer”, diz, fazendo questão de agradecer e elogiar o apoio que teve de elementos da Câmara Municipal de Coimbra, da Companhia de Bombeiros Sapadores de Coimbra e do Circulo de Artes Plásticas de Coimbra (CAPC). “O artista trabalha com os mestres de outras áreas, é esta coisa quase medieval do coletivo que me encanta”, observa.
A anozero: Bienal de Arte Contemporânea de Coimbra é uma nova celebração da arte contemporânea, coorganizada pelo CAPC, Câmara Municipal de Coimbra e Universidade de Coimbra, que começa este sábado, dia 31 de outubro e decorre durante o mês de novembro. Um dos objetivos deste projeto é o de conferir proeminência à distinção da Universidade de Coimbra, Alta e Rua da Sofia como Património Mundial da UNESCO.
Mas o principal propósito é divulgar o notável património cultural da cidade e contribuir para uma mais significativa integração da cultura artística contemporânea no seu quotidiano e dos seus cidadãos. Para tal, o anozero assenta em trinta atividades distribuídas por três áreas de atuação: exposições de arte contemporânea com alguns dos mais relevantes artistas nacionais e internacionais; atividades educativas de forma a produzir um genuíno interesse em arte contemporânea; e atividades paralelas programadas no contexto da vida artística cultural e contemporânea.
#CONFFUTUR_Conférence d'actualité Orsys_Transformation numérique_Lyon_Le 10 septembre 2015
Conférence gratuite animée par Christophe Legrenzi
El presidente de la Junta de Andalucía, Juanma Moreno, ha destacado la apuesta del Gobierno andaluz para para transformar y rejuvenecer la estación de Sierra Nevada en Granada, una de las mejores de España y un tesoro único por su atractivo natural, turístico y deportivo de primer orden que año tras año incorpora nuevos servicios y medios tecnológicos.
Un compromiso que queda patente en los Presupuestos para este año que destinan 42 millones de euros a Cetursa, de los que la mitad irán dirigidos a mejorar instalaciones con criterios de sostenibilidad.
Moreno ha visitado las nuevas cabinas del telecabina Borreguiles en Sierra Nevada, una de esas infraestructuras totalmente renovadas y puesta en funcionamiento esta temporada de invierno. Así, ha explicado que, durante el verano, sus 80 cabinas han sido desmontadas para hacerlas prácticamente nuevas para lo que se ha contado con una inversión en torno a los 2 millones de euros.
De este modo, ha aseverado que para despuntar y ser competitivos hay que actuar y hacer renovaciones porque ello al final tiene beneficios en el empleo y en la economía de Sierra Nevada y todo su entorno.
A este respecto, ha señalado que la estación ha abierto sus puertas una temporada más con novedades en las que se han invertido más de 8 millones de euros y ha concretado que también se ha llevado a cabo una reforma integral de la sala de transición para esquí adaptado para personas con discapacidad en colaboración con CaixaBank, Cosentino, y Laboratorios Rovi, lo que “es un ejemplo más de éxito de colaboración público-privada”.
Además, ha subrayado que se ha estrenado la nueva alfombra de embarque telesilla en Borreguiles para los que empiezan y la estación cuenta con nuevas pantallas para información del estado de la estación real y un sistema con datos de colas y tiempos de espera a remontes.
El presidente andaluz ha manifestado que a todo ello hay que sumar 20 nuevos cañones de nieve que se incorporan a los ya instalados en los últimos años hasta alcanzar más de 300.
En este sentido, ha incidido que desde 2019 se han invertido más de 100 millones de euros en esta estación que exhibe indicadores de liderazgo y que cuenta con uno de los sistemas de producción de nieve más moderno y eficiente del mundo.
De esta forma, ha resaltado que en ella se encuentra uno de los mayores centros públicos de recarga de vehículos eléctricos de España y que es la única estación del mundo con ocho máquinas pisapistas híbridas que permiten acondicionar pistas de forma más sostenibles, reduciendo la huella de carbono.
Moreno ha remarcado que Sierra Nevada es una de las mejores estaciones del mundo para el esquí adaptado y que cuenta con un impacto del 2,2 en el PIB de Granada y del 2,1 en el empleo de Granada, a lo que se une su enorme contribución a proyección de la Marca Andalucía.
“El objetivo es seguir mejorando y lograr balances tan buenos como el de la temporada pasada que alcanzó la cifra de negocio más alta con más de 46 millones y más de un millón de usuarios, lo que dio trabajo directo a unas 730 personas”.
En otro orden de cosas, ha recordado que este año se hará una obra muy esperada como es la la mejora del acceso a Sierra Nevada de la A-395 con una partida de casi 5 millones de euros, dentro de un proyecto de más de 21 millones para reparar 17 kilómetros de esa carretera.
Es aquí ha agradecido a los responsables y al personal de Cetursa su trabajo porque “sin ellos, el esfuerzo de transformación no tendría sentido y Sierra Nevada no sería lo que es”.
En relación con los datos del paro, ha afirmado que Andalucía termina el año liderando el descenso del paro en España, un dato que sirve de estímulo para seguir con las políticas de reformas que están puesta en marcha en la comunidad andaluza con el objetivo de continuar creando empleo, riqueza y prosperidad.
El presidente de la Junta ha estado acompañado por la consejera de Fomento, Articulación del Territorio y Vivienda, Rocío Díaz; del alcalde de Monachil, José Morales, y del consejero delegado de Cetursa en Sierra Nevada, Jesús Ibáñez.
————-
Fotografía oficial de la Junta de Andalucía, se pone a disposición solamente para su publicación por las organizaciones de noticias y/o para la impresión de uso personal por parte del sujeto (s) de la fotografía. La fotografía no puede ser manipulada de ninguna manera y no se puede utilizar en materiales comerciales o políticos, los anuncios, productos, promociones que de alguna manera sugieran aprobación o respaldo de la Junta de Andalucía. Así que como se debe citar como fuente de la misma Junta de Andalucía.
The Art of Investment: William Stone Images & Beyond
In the heart of the contemporary art realm lies a unique space, imbued with sophistication and a touch of the avant-garde – enter the ethereal world of William Stone Images. Reflecting the style of an article from The New York Times, this space isn't merely about the aesthetic, but it's about transforming monetary support into something that goes beyond the visual.
Discovering Beauty and Empowerment
Whether you're an art connoisseur or someone new to the world of fine art prints, William Stone Images wsimages.com/ presents a delightful gallery of fine art photography prints and opulent wall art. Each piece, exclusive in nature, invites viewers to explore depths beyond the canvas and the lens, provoking thoughts of beauty, vision, and perhaps, financial acumen.
Yet, William Stone Images isn't merely about capturing moments or showcasing beauty. It's about creating an impact in the real world, making tangible differences in the lives of budding entrepreneurs and burgeoning Small and Medium-sized Enterprises (SMEs). Investing in art here is, intriguingly, an investment in the future of innovation.
The Act of Investing: More Than Money
The act of contributing or donating towards WSImages is emblematic of a grander vision. By directing your investment to RR MEDIA LIMITED, you become part of an ambitious project. This is not just about international payments being processed, but about fuelling the trajectory of SMEs, ushering in an era where they aren’t just surviving, but thriving.
Even a modest contribution via this link buy.stripe.com/28o8zHgmf0dO8dW5ko can set powerful wheels in motion. Such gestures, minute or grand, infuse life into enterprises, granting them the stability and assurance they need to innovate, hire, and prosper.
Why Join This Artistic Revolution?
In the intricate dance between art and commerce, William Stone Images strikes a harmonious chord. From the stunning visual tales on Flickr to the glimpses of events immortalised at randrphotographs.com - randrphotographs.com/ , there's an unceasing pulse of creativity here.
Moreover, the allure of discounted luxury art beckons at this clearance section - www.wsimages.com/clearance/, ensuring that beauty is accessible to many. Each dispatched piece carries with it the William Stone promise: of impeccable quality, enduring allure, and a lifetime of pride.
For those curious about the tools and techniques making these masterpieces possible, the equipment section - www.wsimages.com/about/ at wsimages reveals secrets. It's not just about having the best camera or lens. It's about understanding the myriad ways in which light interacts with these tools, producing breathtaking results.
Additionally, in a world increasingly moving towards digitisation, their services extend beyond the lens. Dive into their web offerings at cloudstands.com - cloudstands.com/, and you'll find another testament to their versatility.
In Conclusion
William Stone Images is more than a gallery or a photographic service; it's a movement. As art and entrepreneurship blend seamlessly here, your investment becomes a bridge between vision and reality. Every penny, every gesture, doesn’t just purchase beauty, but fosters growth.
Intrigued? Ready for the next chapter? The world of William Stone awaits. Join us, and let’s redefine what it means to invest in art, beauty, and progress.
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Oficina Crie Moda Autoral_2ª Edição Transforma, evento que contou com a presença do Diretor superintendente Nelson Hervey Costa_Centro cultural SP_Os 29_10/12/2025_ Fotógrafo Argel do Vale
Day Four - Broughton Castle, Banbury, North Oxfordshire - June 24, 2006
"Broughton Castle is a medieval manor house later transformed into a Tudor Mansion, surrounded by a wide moat and parkland. The highly regarded one acre garden includes a walled formal garden and herbaceous borders containing old rose varieties and shrubs. We will take a guided tour of the castle and the gardens."
www.cotswoldwalks.com/cotswold-gardens
www.homesandgardens.com/celebrity-style/ralph-fiennes-fam...
thegardenhistory.blog/2017/04/22/broughton-castle/
www.oxmag.co.uk/articles/broughton-an-oxfordshire-garden-...
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Broughton Castle
The ancestral home of the Fiennes family
Broughton Castle is a moated and fortified manor house near Banbury in North Oxfordshire. Set in parkland and built of the rich local Hornton ironstone, it was selected by Simon Jenkins as one of only twenty to be awarded five stars in his book England’s Thousand Best Houses.
The core of the house was built in 1306 and the gatehouse in the early fifteenth century, but most of what you see today dates from the 1550’s. It was a centre of opposition to Charles I and was besieged and damaged after the Battle of Edgehill in 1642.
Broughton Castle is the home of Martin Fiennes (22nd Lord Saye & Sele) and his family. The ownership of the castle has been in the family since 1377.
Sir Thomas Wykeham was granted a “license to crenellate” in 1406 and these fortifications – gatehouse, moat and the battlements of the curtain wall – are the result. Sir Thomas had inherited Broughton Castle from his great uncle William of Wykeham, the founder of New College, Oxford and Winchester College who bought Broughton Castle in 1377. Their descendants still live in the Castle.
In about 1300 Sir John de Broughton built his manor house in a sheltered site at the junction of three streams and surrounded it with a substantial moat.
William of Wykeham, Bishop of Winchester and Chancellor of England bought the house in 1377. It then passed to William’s great-nephew Sir Thomas Wykeham and thence to Sir Thomas’s granddaughter, Margaret, who married Sir William Fiennes, later the 2nd Lord Saye & Sele, in 1448.
Sir Thomas Wykeham obtained a licence to ‘crenellate and embattle’ in 1406: he added the battlemented wall to the gatehouse, thus giving the medieval house a military appearance – these changes allowed the manor house to be called a castle.
In 1554 Richard Fiennes completed a major reconstruction. He raised the roof to accommodate two floors above the Great Hall, building two staircase projections to the south and adding – on the foundations of the medieval kitchens – two rooms which form the west wing. After his death in 1573 his son, Richard, continued the embellishment of the interior, recording the date 1599 on the plaster ceiling in the Great Parlour.
The next period of building work came as a result of Civil War damage. After the nearby Battle of Edgehill in 1642 the local superiority of the Royalists enabled them to lay siege to the Castle which was captured and occupied. The need for repairs is reflected in the date 1655 on the gatehouse. Further outbuildings may have been damaged or destroyed and the Castle may have remained in poor condition: in the late 1690’s Celia Fiennes describes “my brother Saye’s house being much left to decay and ruine”.
The 18th century was by contrast uneventful; but in the 19th century, William Thomas, 15th Lord Saye & Sele, indulged in a life of frivolity and extravagance as one of the set surrounding the Prince Regent and the Count d’Orsay. The family then lived at the more fashionable Belvedere at Erith in Kent and their neglect of the Castle caused it to be noted in 1819 that the rooms were ‘daily dilapidating from misuse’. In 1837 the bulk of the contents were disposed of in a twelve-day sale, the last item being the swans on the moat.
It is ironic that the squandering of the family fortune in the Regency period almost certainly saved Broughton from the architectural excesses of the Victorian age. William Thomas’s successor, Frederick, 16th Lord Saye & Sele, carried out vital repair work in the 1860’s with the architect George Gilbert Scott. Unfortunately further neglect followed when John, 17th Lord Saye & Sele directed his available funds at racehorses rather than the Castle. He let the Castle in 1886 to the Gordon-Lennox family and they invested in many enhancements to the gardens.
When the Gordon-Lennox’s lease expired in 1912 the Fiennes family returned. There remained a shortage of resources for the repair and maintenance of the Castle, but the second half of the last century was characterised by major restoration. In 1956 financial assistance received through the Historic Buildings Council enabled the stone-tiled roof to be renewed. In the eleven years between 1983 and 1994, in a programme led by Nathaniel, 21st Lord Saye & Sele, continuous stonework and other restoration took place towards which English Heritage gave generous support.
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If there is a house more beautiful than Broughton Castle, it is hard to imagine. This ancient building, near Banbury – a medieval hall with a Tudor mansion wrapped around it, on a moated island – has been the home of the Fiennes family since 1447. It smells a bit like a cathedral.
Today, its custodian is Martin Fiennes, 22nd Baron Saye and Sele. While he has adopted the title, following his father Nathaniel Fiennes, 21st Baron Saye and Sele’s death, aged 103, in 2024, he prefers to be called Martin. “I am Lord Saye and I’m very proud of it; I just don’t use it,” he says.
Fiennes knows everything about Broughton. In the chapel, consecrated in 1331, he admires the “fixed top altar – in most Anglican churches the altar is away from the back wall and so this is idolatrous Catholic stuff, which because we’re a sound Protestant family nobody ever smashed up.”
Up in the council chamber, “the room which hath no ears,” used by parliamentarians plotting against Charles I, lies a row of heavy cannonballs which “shock you with the intensity”.
In the great hall, featuring a tribute to his late mother, Mariette, who died in April, I admire the 1760s pendant ceiling. “The one upstairs is even better,” says Fiennes. “This is alright.”
Broughton was built by Sir John de Broughton in 1306, whose family sold it to William of Wykeham, founder of Winchester College, in 1377. From there, the house descended through a series of Twisletons, Wykehams and Fienneses.
The Fienneses came from outside Calais, first with William the Conqueror and then with Eleanor of Castile, and settled in Kent. James Fiennes, who lived at Knole, was made 1st Baron Saye and Sele in 1447, taking “Sele” from a nearby hamlet and “Saye” from Geoffrey de Say, “the ancestor who signed Magna Carta”. In the mid-15th century, Sir William Fiennes married Margaret Wykeham, and then, in 1649, the Cromwellian colonel John Twisleton married Elizabeth Fiennes.
Surnames varied until the Venerable Frederick Twisleton succeeded as 16th Baron Saye and Sele in 1847 and changed the family name to Twisleton-Wykeham-Fiennes. This triple barrelling was considered overkill by Fiennes’s father, who changed it by deed poll in 1965.
Although Broughton is startlingly lovely, it hasn’t always been an idyll.
In September 1968, Fiennes’s younger brother Thomas died aged two, shortly followed by his paternal grandparents, “so Dad lost his son and two parents in the space of six weeks”. Soon after, the family moved to Broughton, where “nothing had been done since 1890 – my grandparents were immune to the cold”.
With them came a whirlwind in the form of Richard, Fiennes’s older brother, who had developed epilepsy as an infant. “Sometimes people who have had epilepsy when they’re young grow out of it, but he had status epilepticus – fits that would last for 24 hours.”
When Richard was at Broughton, “there was quite a lot of violence around the place,” says Fiennes. “He had a tough time.”
Broughton performed a uniquely supportive role during this period. One day, Nathaniel Saye and Sele was seen outside the house, “his right arm stretched out, palm pressed flat against a buttress, his head dropped”, as Fiennes’s other brother William describes in his 2009 memoir The Music Room. When asked what he was doing, “he said he was asking the house for some of its strength”.
As a result of Richard’s ill health, Fiennes knew as a teenager that he would one day take on Broughton, “but it didn’t enter my thinking, not remotely”.
Richard died in 2001, aged 41. “He would have loved the book, he would have been so proud.” He stands up and fetches Richard’s beloved Leeds United mug from a kitchen cupboard.
Meanwhile, the Saye and Sele still had Broughton to manage. After the war, during which he had been one of the first to witness the Bergen-Belsen concentration camp, Nathaniel Saye and Sele trained as a land agent and, alongside his day job, embarked upon a 15-year restoration project at Broughton.
In 1988, in the midst of this, Nicholas Ridley, then environment secretary, declared that aristocrats who could not keep their houses should give them up to people who could. Interviewed soon after, Nathaniel Saye and Sele asked: “Do you think that by removing us and installing a nouveau riche family, the heritage would be maintained in the way we maintain it?”
When Mariette died, Fiennes bridled at mention of this in her obituary. “Dad would have been horrified at that being taken out of context – ‘nouveau riche’ today means something different to what he meant in the 1980s.”
Both he and his father agreed, he says, that new money is good for big houses. “It’s lovely if [families like ours] can afford it, but if they can’t, get someone in who can.”
His father, he says, would have admired the efforts of the businessman Sir Stephen Hester and his wife Suzy at Broughton Grange. “All you need is money, passion and commitment. Having the capital resources outweighs being posh.”
Nevertheless, he hugely admires his parents’ efforts. “They had an incredible marriage, for 66 years, and would sit holding hands watching the telly when he was 100.”
The house is full of pictures of his father – some by his twin sister Susannah, an artist. “I think he did about two things in his life that weren’t perfect. He was one of those people who would write a thank-you letter within 24 hours. I am the opposite – in my life, I have carried skeletons with me of letters not written.”
After a varied career – working on trade shows, running amusement arcades, and then in venture capital – Fiennes has retired to do “full-time unpaid work” on Broughton, having moved into the house in 2014.
With his former wife, he has three sons under 30, the second of whom, Ned, a soldier, is likely to take on Broughton. “The older two had a chat and agreed that Ned would do it. Half the fun of living in this place is sharing your toy with other people. It’s no different from having an Action Man when you were eight.”
The house is open Wednesdays, Sundays and bank holiday Monday afternoons from April to September. It’s a big ask. “Boy, is that marriage crowded,” he says. “The house is a person too.” (Fiennes is getting married in September; his fiancée, he says, is “up for it”).
Roughly 10,000 people visit a year. “In an ideal world we’d be 20,000 – I’d like to double or triple the number who come to the garden,” he says.
There are few weddings – he describes one particular experience as “one of the most stressful two weeks of my life”. But Broughton has starred in several films and series, including Shakespeare in Love, Jane Eyre and Wolf Hall. “When the crews leave, the house says to you, ‘I’m bruised’. It feels it.”
It has been 19 months since Fiennes became Lord Saye and Sele; he urges me not to write that name on my thank-you letter.
“It’s the 21st century. These things are of great historic interest, but they don’t matter. It’s decoration – the sir this, the Lord that. It’s frills. I enjoy all the frills, including the posho frills. But nobody will ever call me ‘m’lord’.”
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Discover the mesmerizing realm of William Stone Images, your destination for Limited Edition Fine Art Prints. Journey into our collection of Fine Art Photography Prints & Luxury Wall Art at: www.wsimages.com/fineart/
Stand on the precipice of a transformative journey with WSImages. Seize this extraordinary opportunity to fuel empowerment and growth by contributing a donation towards our relentless support of Small and Medium-sized Enterprises (SMEs).
Invest in a brighter future. Your generosity fuels our trajectory, allowing us to create an ecosystem in which SMEs can flourish. Your investment (international payments processed) , transferred into account
RR MEDIA LIMITED
Account number: 57178801
Sort code: 60-07-38
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integrates you into our noble mission, sparking innovation, cultivating talent, and fanning the flames of entrepreneurial spirit.
Also a small donation using this link will go a long way too - buy.stripe.com/28o8zHgmf0dO8dW5ko
Together, we hold the power to shape the world. Your donation is the spark that drives the engines of change, bringing entrepreneurial dreams to life. With your steadfast support, we can empower these enterprises, laying a solid foundation for sustainable growth, job creation, and economic prosperity.
Be a part of this revolution in success. Every contribution, regardless of its size, is a building block towards a thriving future for businesses and communities alike.
Join us. Redefine boundaries, shatter growth ceilings, and become a change catalyst. Act now, invest in our shared progress.
From us to you, our sincere thanks for being a vital force in our journey and an advocate for SMEs.
Visit our Flickr presence, showcasing our ever-evolving catalogue and our spirit of giving. Our gallery is expansive, but we’re always willing to grow further, driven by the desires of our esteemed clientele. Check our current selection at wsimages.com/
Our services extend to capture unforgettable moments through wedding photography and videography. Visit: randrphotographs.com/
We occasionally offer luxury fine art at discounted rates. Keep an eye on: www.wsimages.com/clearance/
Rest assured, every print dispatched from us passes through a stringent quality control process. Our gallery-quality images come with a lifetime guarantee, delivered to your doorstep in pristine condition.
Although our Flickr images are lower quality to protect copyright, our full-size 4096x pixel photos can be ordered in museum-grade quality. Use the voucher WS-100 for a discount and reference the unique code at the bottom of the photo description when contacting us: www.wsimages.com/contact/
Follow our past journeys and future plans at: www.wsimages.com/news/
Experience the exquisite selection of fine art photography for sale in our galleries. Our stunning photographic works of art, produced using only the finest materials and archival methods, are available in limited and open editions.
Explore our equipment: www.wsimages.com/about/
Check out our latest work at: www.wsimages.com/newaddition/
Light is at the heart of our photographs. Understanding the nuances of light’s interaction with the camera is critical to our craft. The temperature, intensity, source of light, ISO, aperture, speed, camera type, lens type, focal length, and filters… the combinations are myriad and multilayered, revealing the beauty in even the darkest of scenes.
We do cloud/website development and hosting, explore our services - cloudstands.com/
At William Stone Images, three passions drive us: the pursuit of beauty, the quest for the perfect picture, and the thrill of new photographic styles and equipment.
WS-201-111817363-172629782-3928616-2072023171142
The first week of TRANSFORM Fest 2018, YBCA’s festival celebrating the power of ideas through transformative performances. First week featured Black Women Rock!, DJ Spooky, and Printz Dance Project. See more at ybca.org/whats-on/transform-sp-2018. Event photography by Tommy Lau: tommylau.net
Photos from " Advancing Youth Safety and Justice: Transformative Policies, Community Solutions, and Accountable Practices". This program took place between December 1 - 6, 2025, in Salzburg, Austria. If using a photo for external publication, please credit Salzburg Global/Richard Schabetsberger.
TRANSFORM YOUR EVENT !!!
(Serving Jacksonville, Florida)
Face Painting creates wonderful memories for kids and adults of all ages.
We are sisters (Tiffany & Crystal), who are professional artists. We love to create works of art on canvas, and also use the face as a canvas. We specialize in handling large crowds.
We do have liability insurance, and use only the best non-toxic, hypoallergenic FDA approved paint . It comes off easily with soap and water.
Tiffany (904) 463-0940
Crystal (904) 571-2467
e-mail: mya749@aol.com
General Rates
Party Package (for up to 12 people)....... $ 120
Event Rate (to service crowds)..... $ 150 an hour
* Event Rates are for company Picnics, carnivals, etc..
or come to get painted @ The Riverside Artist Market on Saturdays for $5 a face!!
Art Website--------> www.2manycolors.com