A Tribute 2 Indie & Unsigned Musicians
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what some part of the Lake Ontario waterfront might look like without all the paraphenalia?
unsigned neo-city artwork hanging in Alexandra Hotel lobby, Toronto Canada
2017
Oil on stretched canvas 40cm x 50cm
Experimental stylised/part abstract landscape.
Painted on a white prepared canvas overpainted with a cadmium yellow/titanium white acrylic mix base before using oil paint. Yellow/white acrylic mix has been left untouched for open sky area apart from oil colour overpaint below lower cloud level.
As yet unsigned by me.
Update - now signed and dated 2017
unsigned, this is for "everyman".
Blyth Beach, high tide, high noon, yet still some solitary bliss and room for thought.
[where the answers are .....P1400028]
Minus Eleven.
A frosty start to the day at minus eleven where hoar frost has transformed the roadside landscape into a vision of pure heaven. Every blade of grass and bare branch was edged in white, catching the first pale light of morning. The world lay still, shimmering, wrapped in silence, as the tree line slowly vanished into the distance, softened by frost and cold air. In that quiet moment, the landscape felt timeless, its ethereal beauty deepened and lifted to an entirely new level and gifting a few moments to savour.
On distant shore.
In my mind I paint a picture where I stand arms outstretched wide looking upward giving thanks for the beauty before me,
In this dreamlike trance I take a few moments listening to the waves that gently rise and fall slowly feeling rejuvenated at one, connected to the sea.
The ocean before me this elixir our source of life with its magical healing power washing away the stress, aches and pains that cut deeper than a knife,
In the distance I imagine a castle of dreams atop the cliff face a place of refuge, safety, warmth, comfort and gateway to a peaceful everlasting life.
As I open my eyes again fully relaxed I nod giving thanks smile as the beautiful vision slowly fades away until it is no more,
Fear not for I can always return when the needs arise and take you along with me to this magical place of peace forever more
All you have to do is ask, hold my hand, close your eyes and meet me on distant shore.
Alicia Boyle RBA (1908 - 1997)'
Watercolor drawing
Unsigned
H 10" x W 14" (H 25.5cm x W 35.5cm)
Size (framed): H 15.5" x W 19.5" (H 39.5cm x W 49.5cm)
=======================
Alicia Boyle was born in Bangkok in 1908 where her father worked for the British Dock Company. The family soon returned to Derry where she spent her early years before relocating to London in 1920. There she trained at the Clapham Art Training College and later at the Byam Shaw School under Francis Ernest Jackson. While still a student she exhibited at the Royal Academy in 1932.
After completing her studies Boyle taught part time at various art schools across England while continuing to lecture and paint. In 1938 she accepted an invitation to the School of Fine Art in Mykonos an experience she later said helped her break free from traditional constraints. During World War II she remained in England teaching at Northampton School of Art. By the mid 1940s she was exhibiting regularly including a solo show at the Peter Jones Gallery and by the early 1950s her work was being shown in prominent London and Irish galleries.
Throughout the 1950s Boyle traveled and painted in France Mallorca and Spain where she found the landscape particularly inspiring. She frequently returned to Ireland for painting trips and eventually established a studio near Bantry in West Cork moving there permanently in 1971.
Her later career brought increased recognition including a major retrospective organized by the Arts Council of Northern Ireland in 1983 followed by further exhibitions in Cork and Dublin. Her work is held in several important public collections including the National Gallery of Ireland and the Irish Museum of Modern Art.
Art historian Dr Hilary Pyle later observed that Boyle resisted easy categorization. Although sometimes overlooked by critics she maintained a steady presence in exhibitions and collections. Influenced by artists such as Paul Nash David Jones and Graham Sutherland as well as by Japanese printmaker Hokusai and a formative period in Greece she developed a distinctive approach to light and color. Her intellectual life shaped by wide reading and deep engagement with literature and art informed her work throughout her career.
After the war Boyle increasingly turned to Ireland as her primary source of inspiration drawn by what she described as a unique quality of Irish light. Settling in West Cork allowed her to devote herself fully to painting producing some of her most confident and luminous work. Even in later years after moving to Dublin she continued to draw and paint from observation and memory remaining intellectually engaged and artistically active until the end of her life.
Pyle emphasized that Boyles art remained grounded despite its imaginative reach. She had a gift for transforming ordinary natural forms into something striking and monumental while maintaining a firm connection to the physical world that inspired her.
Dr Hilary Pyle, September 1998
Just experimenting with What3words, this is a picture of an unidentified brick tower at ///really.messy.preparing taken from the top of the very unusual rocky hill known as North Berwick Law or
///unsigned.saves.cookbooks.
ift.tt/1T8yLwf #studiolife #hiphop #londonlife #undeground #unsigned #drop #worldstar #newmusic #flstudio #instrumental #musiclife #goodmusic #hype #ldn #soundcloud #popping #bass #instalike #sbtv #grmdaily #dblock #standup #pluto #mashup #musicvideo #mix #trapmusic #likeforlike #grime #sosolid
My most recent Watercolour. It is a half sheet of Winsor and Newton NOT paper. The bloom is a clematis from our garden last summer. It is untitled and unsigned as yet as I am not sure it is absolutely done?
A pair of Banksy Art Posters, one showing Queen Victoria, possibly because she refused to pass the law outlawing Lesbianism !
A limited edition of 50 signed prints estimated at £6000-£8000 and 500 unsigned, estimated £1200-£1500 were available for sale in 2003.
Portobello Road. West London, UK
Anyone not getting or understanding the Title.....Ask !!
Thalia: The mashing does have a truly disturbing affect on the extremities, unless that is your own 'painterly' touching up. Reading bacon, ham or gammon might be a kind of auguristic activity, or is that tea-leaves?
Ruin: Those fatty tributaries are mesmerising, perhaps more dependable than tea-slops. Nope, it's all chance, that disturbance you have rightly referred to.
It's an original oil on canvas, a rumoured, unsigned, mid-career throwback F. Bacon (disputed).
De Selby mentioned it in his (now sadly lost) authoritative treatise: 'On Augury and Ham-fistedness' (1954-ish).
Yes, I can see that one of the side-effects of 'Parma Ham Divining' is that one can become ham-fisted. It seems to be becoming endemic too, if the evidence of A.I. is anything to go by.
I believe that it was the first recording (in what we call the 'Fine Arts') of three-fingeredness relative to ham-reading. I could, of course, be wrong.
Either way, It isn't over until the indeterminate-gender personage of corporeally-generous proportions ululates.
{Coming Soon: Reading a Full-Irish (with Blood Pudding) Breakfast}
Florida's Turnpike, designated as unsigned State Road 91 (SR 91), is a toll road in the U.S. state of Florida, maintained by Florida's Turnpike Enterprise (FTE). Spanning approximately 309 miles (497 km) along a northwest–southeast axis, the turnpike is in two sections. The SR 91 mainline runs roughly 265 miles (426 km), from its southern terminus at an interchange with Interstate 95 (I-95) in Miami Gardens to an interchange with I-75 in Wildwood at its northern terminus. The Homestead Extension of Florida's Turnpike (abbreviated HEFT and designated as unsigned SR 821) continues from the southern end of the mainline for another 48 miles (77 km) to US Highway 1 (US 1) in Florida City. The slogan for the road is "The Less Stressway". The mainline opened in stages between 1957 and 1964, while the extension was completed in 1974. The turnpike runs through Miami, Fort Lauderdale, and West Palm Beach, where it parallels I-95, and through Orlando, where it crosses I-4.
Tolls on the turnpike are an average of 6.7 cents per mile (4.2 ¢/km) for cars and other two-axle vehicles using SunPass. A trip on the entire turnpike (not including the Homestead Extension) would cost $22.59 with Toll-by-Plate, and $17.45 with SunPass.
The turnpike was originally entirely on the ticket system, but due to congestion in the Miami and Orlando metro areas, a coin system was implemented from the Three Lakes toll plaza north to the terminus at I-75, and from Lantana south to I-95, in the 1990s. In 2015, the portion between the Golden Glades toll barrier and I-595 in Davie was converted to a cashless toll system. Additional projects to convert the turnpike to an electronic collection system were completed between I-595 and Lantana in 2019, and from SR 429 north to I-75 in Wildwood in 2020.
The final stretch of the turnpike to use the ticket system ran between what are now electronic toll gantries at Lantana (mile 89.4 in Palm Beach County) and Three Lakes (mile 236.5 in Osceola County). This section was converted to a cashless system on November 8, 2021, removing the final cash-based toll collections and converting the entire length of the turnpike to electronic toll collection.
The SunPass electronic toll collection system, in use since 1999, has become the primary method of paying tolls on the turnpike, with 80% of customers using the electronic tolling as of October 2009. SunPass can be used on most Florida toll roads, in conjunction with other electronic toll collection systems in Florida (E-Pass and LeeWay). SunPass users benefit from an average of a 25% discount on tolls and access to SunPass-only exit ramps. SunPass transponders are available at the gift shop and gas stations at all service plazas, as well as Walgreens, Publix, and CVS stores statewide.[18] Since 2021, E-ZPass, which is used primarily in the Midwest and Northeast U.S., has also been accepted on Florida's Turnpike.
As the Turnpike and its system of roads are primary routes for emergency evacuations, tolls may be suspended, in cooperation with the state's emergency operations center and county governments, when a state or national emergency, most common being a hurricane watch, warrant rapid movement of the population.
Eight service plazas are located along the turnpike, spaced about 45 miles (72 km) apart. All eight plazas are open 24 hours a day and located on the center median of the turnpike for access from both directions and offer gasoline, diesel fuel, internet access, travel and tourism info and tickets, picnic areas, TV news, gift shops offering Florida Lottery, family-friendly restrooms, and pay phones. A convenience store/gas station is located at the Snapper Creek plaza on the Homestead Extension of the turnpike, while the remaining seven are full-service plazas, featuring a selection of franchised fast food restaurants. Three of the service plazas (Pompano, Port St. Lucie/Fort Pierce, Turkey Lake) also provide E85 ethanol. The Turkey Lake plaza also has a Tesla Supercharger for Tesla electric vehicles. Superchargers are also located at Ft. Drum plaza, and Canoe Creek and Okahumpa are scheduled to open Superchargers in 2021/22.
The operation of Sunshine State Parkway gas stations and service centers was originally bid out under separate contracts, and as a result, differing petroleum brands operated concurrently along the parkway, with varying levels of service and pricing. This practice was discontinued in 1995 when all service center operations were combined to improve supply and continuity of service; with Martin Petroleum, a Florida corporation, operating the stations with Citgo brand fuel at its stations. Since then, the Venezuelan government, under President Hugo Chávez, nationalized Citgo, and in 2006, political controversy resulted in a movement to remove the brand from the turnpike.
In 2009, Areas U.S.A. signed a 30-year contract for operation of food and retail concessions, taking over operations from Martin Petroleum and HMSHost. Florida Turnpike Services, L.L.C., Areas' partner, replaced the Citgo brand with Shell, the current brand for gas stations along the turnpike. Many of the restaurant brands were also changed over, with Dunkin' Donuts replacing Starbucks locations as well as KFC, Pizza Hut, Villa Pizza and Wendy's replacing most Popeyes and Burger King locations. The reconstruction and renovation of six of the service plazas began on November 1, 2010, to be completed in 2012. The Okahumpka and Ft. Pierce plazas will begin reconstruction when the other plaza projects are complete. Total renovation costs are estimated at $160 million.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Florida%27s_Turnpike
© All Rights Reserved - you may not use this image in any form without my prior permission.
Unsigned wooden coyote figure in a zoot suit (I hear they're coming back), apparently by artist Markus Pierson. (Google his name to see other works by him.) Jazzy coyotes in brightly colored zoot suits are a common theme of his. The field of view is 2 inches.
A more professional piece of his I encountered can be seen here.
For Flickr Friday's "Old Style" and Macro Mondays' "Made of Wood" challenges.
Florida's Turnpike, designated as unsigned State Road 91 (SR 91), is a toll road in the U.S. state of Florida, maintained by Florida's Turnpike Enterprise (FTE). Spanning approximately 309 miles (497 km) along a northwest–southeast axis, the turnpike is in two sections. The SR 91 mainline runs roughly 265 miles (426 km), from its southern terminus at an interchange with Interstate 95 (I-95) in Miami Gardens to an interchange with I-75 in Wildwood at its northern terminus. The Homestead Extension of Florida's Turnpike (abbreviated HEFT and designated as unsigned SR 821) continues from the southern end of the mainline for another 48 miles (77 km) to US Highway 1 (US 1) in Florida City. The slogan for the road is "The Less Stressway". The mainline opened in stages between 1957 and 1964, while the extension was completed in 1974. The turnpike runs through Miami, Fort Lauderdale, and West Palm Beach, where it parallels I-95, and through Orlando, where it crosses I-4.
Tolls on the turnpike are an average of 6.7 cents per mile (4.2 ¢/km) for cars and other two-axle vehicles using SunPass. A trip on the entire turnpike (not including the Homestead Extension) would cost $22.59 with Toll-by-Plate, and $17.45 with SunPass.
The turnpike was originally entirely on the ticket system, but due to congestion in the Miami and Orlando metro areas, a coin system was implemented from the Three Lakes toll plaza north to the terminus at I-75, and from Lantana south to I-95, in the 1990s. In 2015, the portion between the Golden Glades toll barrier and I-595 in Davie was converted to a cashless toll system. Additional projects to convert the turnpike to an electronic collection system were completed between I-595 and Lantana in 2019, and from SR 429 north to I-75 in Wildwood in 2020.
The final stretch of the turnpike to use the ticket system ran between what are now electronic toll gantries at Lantana (mile 89.4 in Palm Beach County) and Three Lakes (mile 236.5 in Osceola County). This section was converted to a cashless system on November 8, 2021, removing the final cash-based toll collections and converting the entire length of the turnpike to electronic toll collection.
The SunPass electronic toll collection system, in use since 1999, has become the primary method of paying tolls on the turnpike, with 80% of customers using the electronic tolling as of October 2009. SunPass can be used on most Florida toll roads, in conjunction with other electronic toll collection systems in Florida (E-Pass and LeeWay). SunPass users benefit from an average of a 25% discount on tolls and access to SunPass-only exit ramps. SunPass transponders are available at the gift shop and gas stations at all service plazas, as well as Walgreens, Publix, and CVS stores statewide.[18] Since 2021, E-ZPass, which is used primarily in the Midwest and Northeast U.S., has also been accepted on Florida's Turnpike.
As the Turnpike and its system of roads are primary routes for emergency evacuations, tolls may be suspended, in cooperation with the state's emergency operations center and county governments, when a state or national emergency, most common being a hurricane watch, warrant rapid movement of the population.
Eight service plazas are located along the turnpike, spaced about 45 miles (72 km) apart. All eight plazas are open 24 hours a day and located on the center median of the turnpike for access from both directions and offer gasoline, diesel fuel, internet access, travel and tourism info and tickets, picnic areas, TV news, gift shops offering Florida Lottery, family-friendly restrooms, and pay phones. A convenience store/gas station is located at the Snapper Creek plaza on the Homestead Extension of the turnpike, while the remaining seven are full-service plazas, featuring a selection of franchised fast food restaurants. Three of the service plazas (Pompano, Port St. Lucie/Fort Pierce, Turkey Lake) also provide E85 ethanol. The Turkey Lake plaza also has a Tesla Supercharger for Tesla electric vehicles. Superchargers are also located at Ft. Drum plaza, and Canoe Creek and Okahumpa are scheduled to open Superchargers in 2021/22.
The operation of Sunshine State Parkway gas stations and service centers was originally bid out under separate contracts, and as a result, differing petroleum brands operated concurrently along the parkway, with varying levels of service and pricing. This practice was discontinued in 1995 when all service center operations were combined to improve supply and continuity of service; with Martin Petroleum, a Florida corporation, operating the stations with Citgo brand fuel at its stations. Since then, the Venezuelan government, under President Hugo Chávez, nationalized Citgo, and in 2006, political controversy resulted in a movement to remove the brand from the turnpike.
In 2009, Areas U.S.A. signed a 30-year contract for operation of food and retail concessions, taking over operations from Martin Petroleum and HMSHost. Florida Turnpike Services, L.L.C., Areas' partner, replaced the Citgo brand with Shell, the current brand for gas stations along the turnpike. Many of the restaurant brands were also changed over, with Dunkin' Donuts replacing Starbucks locations as well as KFC, Pizza Hut, Villa Pizza and Wendy's replacing most Popeyes and Burger King locations. The reconstruction and renovation of six of the service plazas began on November 1, 2010, to be completed in 2012. The Okahumpka and Ft. Pierce plazas will begin reconstruction when the other plaza projects are complete. Total renovation costs are estimated at $160 million.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Florida%27s_Turnpike
© All Rights Reserved - you may not use this image in any form without my prior permission.
Phillip Mould:
This image, and those generated around it, represent one of the most successful sovereign statements of English history. It was painted under the aegis of the Queen’s own official Serjeant painter, George Gower, in the late 1580s, the decade in which she finally defeated the Spanish threat, and assured her place as one of England’s most successful and popular monarchs. The portrait was owned by Edward Drewe MP, one of Elizabeth’s ablest lawyers, and has remained in his family ever since. A family legend suggests that the portrait was the gift of Elizabeth herself. It is in part through such portraits that the mystique and power of Elizabeth I was conveyed in her day. As such it is not merely a portrait of a monarch, but a symbolic statement of national supremacy.
George Gower was Elizabeth’s Serjeant Painter from 1581 until his death in 1596. He was also a ‘gentleman’, being the grandson of Sir John Gower of Stettenham, Yorkshire. This was not only unusual for the time (hitherto, artists were effectively ranked as servants), but reveals the increasing status – and importance – of portraiture in sixteenth century England. There is little documentary evidence on Gower’s career, but there is no doubt that he was one of the leading English artists of his generation. His documented portraits, such as those of Sir Thomas and Lady Kytson (1573 Tate Gallery, London) show that he commanded the patronage of the important and wealthy from an early age, while his self-portrait (1579, the first known example by an English artist on such a scale) gives a clear indication of the bold characterization with which he depicted his subjects.
Gower’s technique and style is distinct, and perfectly suited to the display of power, and conspicuous monarchical grandeur seen here. His use of strong light on the head enables his subject’s face to stand out from the rest of the painting, and was perfectly suited to Elizabeth’s personal wish to avoid any shadows across her face. His reluctance to rely too heavily on drawing is made up by strong flesh tones and subtle shadows, so that the face is rendered with precision and power, aided by bold features such as the well-delineated eyes. The unmistakably warm and dry palette has the happy effect of seeming to depict the Queen in the heavy make-up on which she increasingly came to rely. In this example, the overall effect is one of power rather than beauty – but such is Gower’s skill that our focus is held unmistakably by Elizabeth’s face and strong gaze, despite the rich and bright details of her luxurious costume.
There are elsewhere in the portrait signs of a master’s touch. The subtle but noticeable pink tones in the ruff under Elizabeth’s chin skillfully illustrates the reflection of her face in the white lace, giving the ruff a three-dimensional effect so often lacking in sixteenth century portraiture. The deft modeling (with even the hint of veins) in the long and elegant hands of which Elizabeth was so proud is superb, while the folds and lace on the golden silk of her sleeves is redolent of Holbein’s supreme skill in depicting the rich quality of Royal costumes.
As with all portraits of the Queen, there comes the question of the level of her personal involvement. Of course, she did not sit for the many contemporary portraits of her that survive. Instead, artists would have followed patterns of her face, and then either have imagined her costume, or in some cases have painted the actual garment itself. The patterns would have been widely-circulated, and the Queen’s likeness then either traced onto a panel or drawn freehand. Surviving examples of patterns are rare, but those of Bishop John Fisher and Sir Henry Sidney can be found in the National Portrait Gallery, as can one previously believed to show Elizabeth herself.
Which ‘pattern’, therefore, is the Drewe portrait based on? Sir Roy Strong’s catalogue of 1963, Portraits of Queen Elizabeth I, and subsequent Gloriana, The Portraits of Elizabeth I were vital works in dating and attributing the many (invariably unsigned) portraits. According to Strong’s categorization, the Drewe portrait is based on the ‘Darnley’ face pattern, after a painting dated c. 1575 once owned by the Earls of Darnley, and now in the National Portrait Gallery attributed to Federico Zuccaro, an Italian landscape and religious painter to whom the Queen sat for a drawing in May 1575.[1] The Darnley pattern, Strong points out, does not change until the ‘Armada pattern’ is developed, apparently by Gower, c.1588.
And yet, such categorization carries with it the disappointing notion that all portraits of the Queen between c.1575 and 1588 are derivatives, completed at a distance from Elizabeth herself. This clearly cannot be the case with the Drewe portrait. Though Elizabeth is shown in a similar (if reversed) profile, she is unquestionably a different woman to that in the Darnley portrait: noticeably hierarchical, sepulchral in characterization, perhaps reflecting the progression of her historical achievements. It seems implausible that Gower, the Queen’s Serjeant Painter, would have been content to follow a pattern. Rather, he may instead have felt constrained by the dictates of Royal iconography to follow an approved pose – just as Henry VIII was invariably portrayed full-face.
It is to the Queen herself that we should seek an explanation for the repetitive nature of her portraits. From the note of her conversation with Nicholas Hilliard in c.1572 it seems she resolved that her portraits should have no “shadowe at all”[2]. After all, Royal portraits were primarily symbols of power combined with obsequious flattery, not simple likenesses. Considerations of deference (and by the 1580s her fading beauty) further forbade any attempt at realism. And artist’s had to operate within an accepted Royal iconography that began in the fifteenth century. It is certain, however, that Gower’s official position, and the fact that he was a gentleman by birth, would have guaranteed him access to the Queen. The Drewe portrait, with its delicately observed facial contours and expressive, piercing eyes, is a world away from the pallid and formulaic pattern portraits of Elizabeth, reflecting an authority derived from one who had access to the royal presence.
The provenance of this portrait is of interest, and helps confirm the attribution to George Gower. It has traditionally hung in the Grange, the Devon seat of the Drewe family, since its construction by Edward Drewe in the 1590s. Drewe was one of the ablest lawyers of the 16th Century. After a spell at Oxford (while apparently a teenager) he began to practice law at the Inner Temple in 1560. He was called to the Bar in 1574. From then he rose rapidly through the legal ranks; a Justice of the Peace in 1579, and a Member of Parliament (for Lyme Regis) in 1584. He must then have been well-known to the Queen and Privy Council, for in 1588 he was amongst those sharp legal minds, along with Francis Bacon, called to draft Government legislation. The letter makes flattering reading;
“Her Majestie… hath made especiall choice of you, upon knowledge of your sinceritie and sufficiencie in that behalfe, to proceede to the consideracion what statutes in your opinion were requisite to be either established or perfected for the better…
We bid you very hertely farewll.”[3]
In 1589 he was appointed a Serjeant-at-law, and became more familiar to the key members of Elizabeth’s Government. Perhaps his most powerful ally was Francis Russell, the second Earl of Bedford. He corresponded regularly with William Cecil, Lord Burghley. And in 1593 he is recorded as making a speech before the Queen when introducing the Lord Mayor of London to Court. Drewe’s correspondence with the Privy Council typically revolved around interrogations of suspects such as Jesuit spies, often in the Tower of London, and he became an important part of the security apparatus first set-up by Francis Walsingham. One case involved the hapless Yorke and Williams, who, “when confronted together, Yorke swore that they took the sacrament to kill the Queen, and that Williams had wished his sword in her belly.”[4] By 1593 Drewe held the prestigious parliamentary seat of the City of London, and in 1596 he was made a Queen’s Serjeant, and a judge on the Northern circuit. He died suddenly, of ‘gaol fever’, in 1598.
Drewe’s central role in the legal apparatus of the Government helps confirm an attribution to George Gower as the artist of this portrait. Gower had been appointed, in 1581, as the Queen’s Serjeant Painter. In 1584 an attempt was made to make Gower solely responsible for portraits of the Queen, a move that reinforced the government’s wish to maintain control of the Queen’s image. Some twenty years earlier, the Privy Council, at the Queen’s behest, had also attempted a similar measure in reaction to the increasing number of debased images of Elizabeth in circulation. And in 1596, the Privy Council ordered that public officers should aid Gower in seeking out and destroying those unofficial images which caused the Queen “great offence”[5].
The Council’s failure, and that of Gower in the 1580s, is belied by the profusion of awkward and unsatisfactory images of the Queen which survive to this day. Nevertheless, a man of Drewe’s public position would have been the most unlikely person to either commission or own in the 1580s and 90s a portrait of the Queen that did not come from the Serjeant Painter’s ‘official’ workshop. Furthermore, in 1593 Drewe made a speech in Parliament against foreign workers in London, advocating support for “our countrymen” over charity to “strangers”, which sentiments would appear to rule out his patronage of any Flemish or Italian artist.[6] Finally, it may also be worth noting the connection between Drewe and the Bedford family, who commissioned the Armada portrait from Gower in 1588.
The Queen’s jewelry is worth noting here, and may assist in the precise dating of this portrait. Here, the jewelry worn by the Queen (aside from that embroidered into her costume) is surprisingly simple – only a double row of pearls. This is identical to the jewelry worn in the Darnley portrait dated c.1575, as is the chain of pearls and jewels around her waist. And such a combination can again be found in other portraits by Gower of the 1580s, Cornelius Ketel’s ‘Sieve’ portrait c.1580-3, and Marcus Gheerearts the Elder’s c.1585 full length. Furthermore, the lack of certain jewelry again suggests a date in the 1580s, for when Leicester died in 1588 he bequeathed to his 2most dear and gracious Sovereign whose creature under God I have been”[7] an extraordinarily large and elaborate jewel of emeralds, with a rope of 600 pearls. Elizabeth, who locked herself in her room on hearing Leicester’s demise, is shown wearing his gift in the Armada portraits of post c.1588, and other later variants – but not here.
Notes;
[1] Zuccaro had traveled to England apparently at the behest of Lord Leicester. Though some have assumed his purpose was to paint the Queen, it is possible that he had been summoned by Leicester to decorate the interior of Kenilworth Castle (now ruined), before the Queen was due to stay there in July 1575. The exquisite chalk and pencil drawing of the Queen by Zuccaro survives (British Museum), along with a pendant of Leicester. However, there seems little connection between the drawing, either in likeness or style, to the ‘Darnley’ portrait in the NPG.
[2] Strong, loc.cit., p16
[3] Letter from Privy Council to Drewe 27th December 1588, in Acts of the Privy Council of England 1588. Official Publications 1897 Vol XVI
[4] Calendar of State Papers (Domestic) Elizabeth I, 1591-94, August 28th 1594
[5] Strong, loc.cit., p14
[6] Oxford Dictionary of National Biography, citing House of Commons Journal
[7] In Public and Private, Elizabeth I and her world, Susan Watkins, London 1998
Florida's Turnpike, designated as unsigned State Road 91 (SR 91), is a toll road in the U.S. state of Florida, maintained by Florida's Turnpike Enterprise (FTE). Spanning approximately 309 miles (497 km) along a northwest–southeast axis, the turnpike is in two sections. The SR 91 mainline runs roughly 265 miles (426 km), from its southern terminus at an interchange with Interstate 95 (I-95) in Miami Gardens to an interchange with I-75 in Wildwood at its northern terminus. The Homestead Extension of Florida's Turnpike (abbreviated HEFT and designated as unsigned SR 821) continues from the southern end of the mainline for another 48 miles (77 km) to US Highway 1 (US 1) in Florida City. The slogan for the road is "The Less Stressway". The mainline opened in stages between 1957 and 1964, while the extension was completed in 1974. The turnpike runs through Miami, Fort Lauderdale, and West Palm Beach, where it parallels I-95, and through Orlando, where it crosses I-4.
Tolls on the turnpike are an average of 6.7 cents per mile (4.2 ¢/km) for cars and other two-axle vehicles using SunPass. A trip on the entire turnpike (not including the Homestead Extension) would cost $22.59 with Toll-by-Plate, and $17.45 with SunPass.
The turnpike was originally entirely on the ticket system, but due to congestion in the Miami and Orlando metro areas, a coin system was implemented from the Three Lakes toll plaza north to the terminus at I-75, and from Lantana south to I-95, in the 1990s. In 2015, the portion between the Golden Glades toll barrier and I-595 in Davie was converted to a cashless toll system. Additional projects to convert the turnpike to an electronic collection system were completed between I-595 and Lantana in 2019, and from SR 429 north to I-75 in Wildwood in 2020.
The final stretch of the turnpike to use the ticket system ran between what are now electronic toll gantries at Lantana (mile 89.4 in Palm Beach County) and Three Lakes (mile 236.5 in Osceola County). This section was converted to a cashless system on November 8, 2021, removing the final cash-based toll collections and converting the entire length of the turnpike to electronic toll collection.
The SunPass electronic toll collection system, in use since 1999, has become the primary method of paying tolls on the turnpike, with 80% of customers using the electronic tolling as of October 2009. SunPass can be used on most Florida toll roads, in conjunction with other electronic toll collection systems in Florida (E-Pass and LeeWay). SunPass users benefit from an average of a 25% discount on tolls and access to SunPass-only exit ramps. SunPass transponders are available at the gift shop and gas stations at all service plazas, as well as Walgreens, Publix, and CVS stores statewide.[18] Since 2021, E-ZPass, which is used primarily in the Midwest and Northeast U.S., has also been accepted on Florida's Turnpike.
As the Turnpike and its system of roads are primary routes for emergency evacuations, tolls may be suspended, in cooperation with the state's emergency operations center and county governments, when a state or national emergency, most common being a hurricane watch, warrant rapid movement of the population.
Eight service plazas are located along the turnpike, spaced about 45 miles (72 km) apart. All eight plazas are open 24 hours a day and located on the center median of the turnpike for access from both directions and offer gasoline, diesel fuel, internet access, travel and tourism info and tickets, picnic areas, TV news, gift shops offering Florida Lottery, family-friendly restrooms, and pay phones. A convenience store/gas station is located at the Snapper Creek plaza on the Homestead Extension of the turnpike, while the remaining seven are full-service plazas, featuring a selection of franchised fast food restaurants. Three of the service plazas (Pompano, Port St. Lucie/Fort Pierce, Turkey Lake) also provide E85 ethanol. The Turkey Lake plaza also has a Tesla Supercharger for Tesla electric vehicles. Superchargers are also located at Ft. Drum plaza, and Canoe Creek and Okahumpa are scheduled to open Superchargers in 2021/22.
The operation of Sunshine State Parkway gas stations and service centers was originally bid out under separate contracts, and as a result, differing petroleum brands operated concurrently along the parkway, with varying levels of service and pricing. This practice was discontinued in 1995 when all service center operations were combined to improve supply and continuity of service; with Martin Petroleum, a Florida corporation, operating the stations with Citgo brand fuel at its stations. Since then, the Venezuelan government, under President Hugo Chávez, nationalized Citgo, and in 2006, political controversy resulted in a movement to remove the brand from the turnpike.
In 2009, Areas U.S.A. signed a 30-year contract for operation of food and retail concessions, taking over operations from Martin Petroleum and HMSHost. Florida Turnpike Services, L.L.C., Areas' partner, replaced the Citgo brand with Shell, the current brand for gas stations along the turnpike. Many of the restaurant brands were also changed over, with Dunkin' Donuts replacing Starbucks locations as well as KFC, Pizza Hut, Villa Pizza and Wendy's replacing most Popeyes and Burger King locations. The reconstruction and renovation of six of the service plazas began on November 1, 2010, to be completed in 2012. The Okahumpka and Ft. Pierce plazas will begin reconstruction when the other plaza projects are complete. Total renovation costs are estimated at $160 million.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Florida%27s_Turnpike
© All Rights Reserved - you may not use this image in any form without my prior permission.
SIMPLE = T / file does conform to FITS standard
BITPIX = -32 / number of bits per data pixel
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NAXIS3 = 3 / length of data axis 3
EXTEND = T / FITS dataset may contain extensions
COMMENT FITS (Flexible Image Transport System) format is defined in 'Astronomy
COMMENT and Astrophysics', volume 376, page 359; bibcode: 2001A&A...376..359H
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INSTRUME= 'ZWO ASI294MC Pro' / instrument name
OBSERVER= ' ' / observer name
TELESCOP= 'On-Camera-ST4' / telescope used to acquire this image
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YBINNING= 1 / Camera binning mode
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CCD-TEMP= -10 / CCD temp in C
SET-TEMP= -10 / Temperature setting in C
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This giant mural stands in an open area of Weston Super Mare
Although it isn't signed i suspect it is the work of Curtis Hylton who uses flowers in his art: Sorry about the seally title...
Location 16 Beach Rd, Weston-super-Mare BS23 1AY
Unsigned postcard mailed to a Mr. John Eichsen (?) within Lockridge, IA on December 30th, 1908. One the back: "Wishing you a bright and Happy New Year".
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
The back roads of Grassland National Park's East Block look like this: rutted, rough, unsigned, not maintained, entering and leaving private land seemingly at random, a few wet crossings of creeks, buyer beware. If it rains hard? You will be there until things dry out. My traveling companion and guide told me that he always carries a week's supply of food and water, even for a 2-day outing.
Photographically, this falls into another of the categories I try to shoot at every opportunity: S-curves.
Don't use this image on websites, blogs or other media without explicit permission.
© James R. Page - all rights reserved.
I missed the unsigned, designated trail for Wind Mountain and ended up hiking on an abandoned road which turned into a boot trail which turned into no trail at all. I knew I'd lost my way but wasn't lost per se. I could see the sun and the river and the top of Wind Mountain which was my goal. So I just launched myself up the hill. Uff da!
It was far longer and steeper than the trail but I was rewarded with better views of the Gorge and lots of sunshine. I laid down here, on the warm slope of moss covered rocks and got some sunbathing in while catching my breath. Whoa was it steep! I could use all the miles and elevation gain I can get as I entertain notions of climbing mountains.
The trail to Wind Mountain is only as wide as a foot path so if you are still on the dirt road and see the wider, abandoned road trail on the right, you've gone too far and missed the trail. Scott Cook's Curious Gorge book is wonderful but is a bit slight on descriptions. Later I saw someone else randomly coming up through the woods as I did so I'm not the only one!
I eventually got to the actual trail as I neared the top of Wind Mountain. After eating lunch at the top, I jogged the trail down (easier on the downhill than walking) and was amazed by how fast I got back to my car. It really is a short trail, if you take the trail. My way was prettier but definitely harder!
The top of Wind Mountain has long been used (and still is) by Native Americans as a spirit quest site. I think this is part of why there isn't much signage though it is a Forest Service trail. Please be respectful; don't disturb the rock structures and stay on the trail and at the specific viewpoints at the top.
Although unsigned, this scarce lamp is often attributed to the great Arthur von Frankenburg. The birds - be they eagles, falcons, hawks or albatrosses - are strikingly similar to the couple of bird bookeneds he's designed and released by his company, Frankart.
The lamp dates to the late 1920's or very early 1930's, and an on/off switch was subsequently added (likely in the late 1940's or early 1950's, judging by the hardware). The glass shade did not originally come with it; the shade I bought with it was amber, and definitely not original to the lamp. The crystal deco shade photographed here was original to some Frankart lamp or another, and happens to be one of the rarest. It compliments the lamp nicely I think.
Guitarists Liam Howard and Freddie Shaw on the set of Blank Parody's second video, Locket Picture. Directed by Jason Waterz of TMI Films - filmed on location at Park Hill flats in Sheffield. I was lucky enough to be there and document this mammoth 17 hour music video shoot with this hugely talented alternative rock band .
Check these guys out:
www.blankparody.com for more info on the band.
Watch Blank Parody's first video, Dark Pretenders, also directed by Jason Waterz of TMI Films here: youtu.be/d7m4Nw2Ioqg
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On December 12, 2022, after going unsigned all offseason and most of the regular season, Hilton signed with the Dallas Cowboys. In only 3 regular season games and 2 playoff games, he compiled the following stats:
#16 T.Y. Hilton - WR - Dallas Cowboys
-- 2022 Statistics (including post-season) --
‧ Games - 5
-Receiving-
‧ Targets - 15
‧ Receptions - 10
‧ Yards - 159
‧ Average - 15.0
‧ Touchdowns - 0
‧ Long - 52 (1st catch as a Cowboy on a 3rd & 30)
‧ First Downs - 7
Technical Information (or Nerdy Stuff):
Camera - Nikon D7200 (handheld)
Lens – Nikkor 18-300mm Zoom
ISO – 1600
Aperture – f/5.6
Exposure – 1/250 second
Focal Length – 240mm
The original RAW file was processed with Adobe Camera Raw and final adjustments were made with Photoshop CS6.
"For I know the plans I have for you,” declares the LORD, “plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
Cowee Mountain Overlook Along the Blue Ridge Parkway
Jackson County, Western North Carolina
Accessed via the Blue Ridge Parkway (mp 430)
Date taken: May 23, 2013
Unsigned prints are available for purchase at Fine Art America.
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"The camera is a point of reference, a bit like a compass though not nearly so predictable. It is the discipline and the opportunity of vision. In relation to the enclosure we call civilization, these pictures are not ornaments or relics, but windows and doors, enlargements of our living space, entrances into the mysterious world outside the walls, lessons in what to look for and how to see. They limit our comfort; they drain away the subtle corruption of being smug; they make us a little afraid, for they suggest always the presence of the unknown, what lies outside the picture and beyond eyesight; they suggest the possibility of the sudden access of delight, vision, beauty, joy, that entice us to keep alive and reward us for living; they can serve as spiritual landmarks in the pilgrimage to the earth that each one of us must undertake alone" (p.42). ~The Unforeseen Wildnerness: Kentucky's Red River Gorge by Wendell Berry~
While this one I found in the archives, I've actually been very active of late and have some good snow/ice photographs to share in the coming weeks. As the weather keeps coming in the southeast I find myself rushing here and there spending most of my energy trying to capture this and that, and thus, posting mostly my archived material in lieu of finding some time to sit with the new photographs to cull the keepers and provide a light wash in Lightroom. This one was taken from perhaps the most productive overlook on the entire Blue Ridge Parkway, the westerly-facing Cowee Mountain Overlook, with friend and photographer Dave Allen.