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Unsigned, probably French, c. 1840
Both Karl XIV Johan and Crown Prince Oskar (later Oskar I) are depicted on table clocks. The Crown Prince's portrait in the uniform of a hussar, sabre drawn, is based on a painting by Johan Gustaf Sandberg. The clock must have been manufactured in relatively large numbers, several of which are in the royal collections. One of them occupied the place of honour in Karl XIV Johan's bedchamber in Stockholm.
Temporary exhibition in Stockholm Royal Palace
________________________________________
Bordsur med kronprins Oskar till häst
Osignerat, troligen franskt, ca 1840
Både Karl XIV Johan och kronprins Oskar (I) förekommer som krönfigurer på bordsur. Kronprinsens porträtt i husaruniform och med dragen sabel bygger på en målning av Johan Gustaf Sandberg. Uret måste ha tillverkats i relativt många exemplar, varav flera ingår i de kungliga samlingarna. Ett av dem stod på hedersplats i Karl XIV Johans sängkammare på Stockholms slott.
Tillfällig utställning i Kungliga Slottet, Stockholm
Unsigned/Unrest is a compilation CD put together by two charities: Burlington Art & Music Foundation and Believe in Something (HOC). The CD is being professionally pressed by Broken Heart Records & will be sold in stores; ALL profits will be going to St. Jude’s Children Hospital. GADE and myself were contracted early on by BA/MF to design the album and we eagerly jumped at the opportunity to design and donate this artwork, in order to help others and make a difference. I’ve always wanted to use TPL as a vessel to help others in need and I’m so grateful I was presented with this opportunity.
The CD’s full track listing hasn’t been revealed to me, and a lot of the support this CD will be receiving has been kept secret. However, I do know big acts like Mike Felumlee (ex Alkaline Trio member), Kut U Up (from blink-182 Tour DVD “Riding in Vans with Boys”) and Socratic (who had their album produced by Mark Hoppus, of blink-182) are all participating and donating exclusive songs. The CD will be released and sold in stores first quarter 2013.
For more info and to see our previous drafts and all the revisions that went into this project, check out the post on our website here: www.livethephantomlife.com/
And if you have a Facebook, please be sure to send us a like! :] www.facebook.com/pages/The-Phantom-Life/184462808269375
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.
WEEK 51 – Cordova Super Target Final Day, Set V
As promised, here’s a better shot of the Target Café now that we head over that way. I’m calling it Target Café, but you’ll notice that it actually doesn’t have any branding to tell us what it really is. And it’s not that it had been removed for the final day or anything (although I would also like to point out that it does look like at least one of the menu boards had been removed in advance of the occasion!); instead, this store simply never had any café signage at all.
That’s a departure from the prior décor package, P97, which was usually accompanied by either a full-line Food Avenue or, more commonly, a Food Avenue Express. Additionally, subsequent décor packages (beginning with P04) began to re-sign the café area, usually with the Bullseye logo joined by a fork on one side and a spoon on the other to designate an eatery.
It’s not that the signage is particularly necessary, I imagine, seeing as how I’m sure the café would be fairly obvious and easy to locate what with its distinct setup (and if Target thinks the Horn Lake store will be fine with zero department signage whatsoever, surely a mere café would be fine without any!); but by the same token, it is a nice thing to have.
(c) 2020 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
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.
A Shot from Live in Malé DVD Launch at TVM.
Ahmed Faseeh (FASY)
Guitars & Vocals of FasyLive is known
as the best unsigned guitarist in UK 2006.
This is my fav. shot of him ive done,
been keeping this for a longtime without publishing. Enjoy!
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 Maine at Sea
Oil on canvas
Image measures 12" x 18", unsigned. In a gilt wood frame, 15" x 21" overall.
Anonymous copy after painting by Frederick Nelson Atwood.
My thanks to Flirkr member rcaustintx for identifying this as a painting of the battleship Maine!
About Frederick Nelson Atwood:
Born 1844 in Barnstable, Provincetown, Massachusetts
Died before 1900
FN Atwood descended from the Atwood family, one of the first groups of settlers in Barnstable, Massachusetts. His grandfather was a mariner and his own father was a fisherman who died when he was nine years old. His mother remarried and it is believed he spent a good portion of his youth around Edgecomb, Maine.
By profession he was an interior decorator painter. Atwood descendants still have samples of decorating designs used to show potential customers. The 1880 Boston Directory said he was "of Kennebunk, Maine" with a Boston street address. Maine was the area that inspired him to paint the coastline, shipwrecks and ships using mainly gouache watercolor and some oils. It is believed he was a self-taught painter and he also took a great interest in invention. Family descendants also have portfolios of early flying machine designs or prototypes.
His most well known work is the gouache watercolor painting of the USS Maine painted in 1895. It currently hangs in the Naval Historical Center in Washington DC. His painting of the USS Chicago, bought by the Naval Art Museum at the same time, has been missing since 1985, with the last known whereabouts being an office at the Pentagon.
In 1999, Mr. Frank Sente published an article in American Philatelist citing the painting of the USS Maine as the basis for the "Battleship" revenue tax stamp that was used to raise funds for the Spanish American War in 1898.
According to An Overview of US Scott Listed Revenue Stamps by Bob Hohertz, when the Tax Act of 1898 was passed to help finance the Spanish American War there was not much time to put together the necessary stamps before its effective date. As a result, provisional overprints on postage stamps were prepared, R 153 - 160. The series of low values of the regular issue bore the picture of a battleship, R161-172, while higher values featured Commerce and portraits, R173-194. These were used until 1902. Another series RB 20-31 Proprietary stamps used the same image.
In 1898, the painting of the Maine was copyrighted by Chicago businessman Brigadier General Harris A Wheeler, and reproduced as Spanish American war memorabilia with the result that this painting was probably one of the most extensively used as a representative of the Spanish American War theme of "Remember the Maine". A July 27, 2003 auction at Thomaston Auctions sold a type of Folk Art memorabilia of the USS Maine in oil on tin with the American flag and the words "Union forever" for $475.
He has been known to sign his works as FNA as well as FN Atwood and in some instances may be unsigned.
A journal and letters dated between 1862 and 1870 have been discovered and the journal is presently held by The Museum of Flight in Seattle, Washington.
The letters confirm the previous thinking that FNA was a decorator painter working for architects based mainly in and around the Chicago area during the boom building era of 1880 and 90's. In between jobs he painted pictures in oil and watercolor that he sold to supplement his income. He also took any other kind of work in design and advertising he could find. The Airship was a personal passion and his designs show an advanced thinking on the subject of propelled airflight that pre dates Wright Brothers.
One of the main reasons he left Boston for Chicago was because of a woman. It seems he was a ladies man all the way and nearly neglected to divorce one before marrying another. By the time he was in his 30's he had about 7 children with three different women. 2 of them took him to court, one claimed bigamy (case dismissed) and another for support (they were never really married, but had 2 children).
About the Maine:
USS Maine (ACR-1) was an American naval ship that sank in Havana Harbor during the Cuban revolt against Spain, an event that became a major political issue in the United States.
Commissioned in 1895, this was the first United States Navy ship to be named after the state of Maine.[a][1] Originally classified as an armored cruiser, she was built in response to the Brazilian battleship Riachuelo and the increase of naval forces in Latin America. Maine and her near-sister ship Texas reflected the latest European naval developments, with the layout of her main armament resembling that of the British ironclad Inflexible and comparable Italian ships. Her two gun turrets were staggered en échelon, rather than on the centerline, with the fore gun sponsoned out on the starboard side of the ship and the aft gun on the port side,[2] with cutaways in the superstructure to allow both to fire ahead, astern or across her deck. She dispensed with full masts thanks to the increased reliability of steam engines by the time of her construction.
Despite these advances, Maine was out of date by the time she entered service, due to her protracted construction period and changes in the role of ships of her type, naval tactics and technology. It took nine years to complete, and nearly three years for the armor plating alone.[2] The general use of steel in warship construction precluded the use of ramming without danger to the attacking vessel. The potential for blast damage from firing end on or cross-deck discouraged en échelon gun placement. The changing role of the armored cruiser from a small, heavily armored substitute for the battleship to a fast, lightly armored commerce raider also hastened her obsolescence. Despite these disadvantages, Maine was seen as an advance in American warship design.
Maine is best known for her loss in Havana Harbor on the evening of 15 February 1898. Sent to protect U.S. interests during the Cuban revolt against Spain, she exploded suddenly, without warning, and sank quickly, killing nearly three quarters of her crew. The cause and responsibility for her sinking remained unclear after a board of inquiry investigated. Nevertheless, popular opinion in the U.S., fanned by inflammatory articles printed in the "yellow press" by William Randolph Hearst and Joseph Pulitzer, blamed Spain. The phrase, "Remember the Maine! To hell with Spain!", became a rallying cry for action, which came with the Spanish–American War later that year. While the sinking of Maine was not a direct cause for action, it served as a catalyst, accelerating the approach to a diplomatic impasse between the U.S. and Spain.
The cause of Maine's sinking remains a subject of speculation. In 1898, an investigation of the explosion was carried out by a naval board appointed under the McKinley Administration. The consensus of the board was that Maine was destroyed by an external explosion from a mine. However, the validity of this investigation has been challenged. George W. Melville, a chief engineer in the Navy, proposed that a more likely cause for the sinking was from a magazine explosion within the vessel. The Navy's leading ordnance expert, Philip R. Alger, took this theory further by suggesting that the magazines were ignited by a spontaneous fire in a coal bunker.[3] The coal used in Maine was bituminous coal, which is known for releasing firedamp, a gas that is prone to spontaneous explosions. There is stronger evidence that the explosion of Maine was caused by an internal coal fire which ignited the magazines. This was a likely cause of the explosion, rather than the initial hypothesis of a mine. The ship lay at the bottom of the harbor until 1911. A cofferdam was then built around the wreck.[4] The hull was patched up until the ship was afloat, then towed to sea and sunk. The Maine now lies on the sea-bed 3,600 feet (1,100 m) below the surface.
en.wikipedia.org/wiki/USS_Maine_(ACR-1)#1998_National_Geographic_investigation
A big 15th Century aisled church with a vaulted tower. It has contemporary wall paintings and an incised stone tomb-slab.
All Saints stands east of the castle hill and reconstruction after the raid of 1377, probably on the previous site, was leisurely, for a will of 1436 speaks of it as ‘new’ (VCH 9 p21) and it does not follow that it was finished even then. Built of local stone, some of it greensand, it forms a single whole. Re-used stones, some carved with chevrons, suggest its predecessor contained C12 work. In the early C19 the south porch is said to have had a rounded arch (Horsfield I p252), but it can hardly have survived from this earlier church, though some foundations of uncertain purpose and date found nearby (VCH ibid) might have.
The nave arcades of the present church confirm that the rebuilding was mainly in the early C15, for the heads of two moulded orders spring from upward extensions of the octagonal piers, a device more common in the C14. The aisle windows are renewed and with the exception of the east window in the north aisle their tracery was missing when Sir Stephen Glynne first visited the church before1840 (SRS 101 p141), but the Sharpe Collection drawing (1797) shows similar openings and the complete original east window in the north aisle shows the renewal of the tracery was accurately done. The rood-stair at the east end of the south aisle is contained in what looks like a big buttress. There is space for a clerestory but no windows and though there is flint and stone chequerwork decoration on the south side, the roof on the north side in 1797 was continuous, so this may not be original. Only the north aisle retains some old roof timbers.
The chancel, like the nave, has three-light side windows with panelled tracery. The chancel arch has thin abaci, chamfered responds and a head of two wave mouldings. All north windows except one are concealed by C19 vestries, entered by an original four-centred doorway that formerly led to the outside. The five-light C19 east window differs from the three-light one in the Sharpe drawing, which was not original as it had wooden mullions.
The tower was almost certainly built last, possibly as an afterthought or at least after a gap, for its north and south walls incorporate large buttresses belonging to the west end of the nave. Despite much restoration, it is massively handsome with a north east stair turret, a four-light west window with a castellated transom and a doorway with shields in the spandrels. Window and doorway are contained in a single arch, separated by a quatrefoil-frieze. The tower arch has a head of two moulded orders and in the tower space is a star-vault (cf St Clement), springing from grotesque corbels. The large central opening, surrounded by the signs of the zodiac, allowed the bells to be hoisted up. The two-light windows with ogee heads and finials of the second stage are doubtfully C15 and may be C19, but cannot be seen on the Sharpe drawing. Beneath them to north and south are big flintwork crosses. The third stage has chequered battlements above carved grotesques that include what looks like a cat, a tiled cap and square, uncusped bell-openings divided by transoms, which look later C15.
Changes to town churches after the Reformation were frequent, particularly in prosperous times, as the C18 was in Hastings. All but one window had been altered by the time of the Sharpe drawing (see above) and this was still the case at the time of Nibbs’s engraving (1851). The south porch noted by Horsfield probably dated from this period, though a predecessor, probably C15, in so large a church is likely. The Sharpe drawing also shows a dormer at the north west corner of the nave, which would have lit a gallery. Restoration started in the chancel and though no date is known, Sir Stephen Glynne on his second visit in 1868 (SRS 101 ibid) noted its windows had been restored and the roof is probably contemporary. The presence of C A Gibbs‘s glass of 1865 in the east window (see below) probably provides an approximate date and it is conceivable that W Butterfield did this earlier work, though of the Gibbs family it was A Gibbs with whom he usually worked. Butterfield certainly undertook the rest in 1869-70 (B 27 p421). In 1869 his work was already controversial and in reviewing his work here The Architect (1 p158) hoped he would not introduce any painted decoration. In fact, at All Saints he respected the existing fabric and his work did not extend beyond accurately replacing the tracery in the aisle windows and also most roofs and the south porch. The main later alteration was a north vestry and organ chamber by A J Style in 1894 (CDG 4 p62). The organ was placed behind one of the retained windows of the chancel.
B C G Shore was responsible for repairs between 1954 and 1958 (ICBS).
Fittings and monuments
Brasses: (South aisle) Thomas Goodenough (c1520) and his wife. Small figures with the popping eyes common at the time.
Carving: Adoration of the Magi, undated in yewwood by J Reid (inscription).
Chancel fittings: (Pulpit and altar rails) Designed by Butterfield, 1888-89 (Thompson p447).
Font: C15 octagonal. On the bowl blank shields in quatrefoils and trefoiled arcading alternate. The stem is also arcaded.
Glass:
1. (East window) C A Gibbs, Crucifixion, 1865 (BN 12 p91). This is presumably the glass that Sir George G Scott had in mind when he criticised the east window in his Recollections vehemently, using such terms as ‘mawkish’. It is brightly coloured and pictorial in nature, and by 1865 must have seemed very old-fashioned.
2. (South aisle, east window) H Hughes, 1880 (signed).
3. (South aisle, first and second windows) Lavers and Barraud, 1883 (CDK 1882 Pt 2 p142) (Rev Webster Whistler).
4. (West window of tower) Heaton and Co (i e Heaton, Butler and Bayne), 1886 (Stubbs/saints) (CDK 1886 pt 2 p146).
5. (North aisle, first and second windows) J Powell and Sons, (G A Foyster/Christ in the Temple), 1897 (CDG 49 p11) and 1912, designed by E Penwarden (Hadley list).
6. (South aisle, west window) Centre light by J Powell and Sons, 1908 (Order book) and side lights by P W Cole, 1958 (www.stainedglassrecords.org retrieved on 4/3/2013). This is now largely concealed by a children’s room.
Monuments:
1. (North aisle) Black marble slab to John atte Clyve, one-time Member of Parliament (Bertram p389), and his wife. It is of Flemish workmanship and the figures are clear, though the inscription is mostly illegible, including the date of death, said to be 1458 (VCH 9 p22).
2. (North aisle) Eliza Beazeley (d1823) signed Winter and Co of Hastings.
3. (South aisle) James Alderson (d1823) signed Winter (clearly the same as the last).
4. (North aisle) Elizabeth Barnouin (d1826) tablet by M Vidler (Roscoe p1314).
5. (North aisle) Sarah Thompson (d1826) signed W Vennall of Hastings. The one nearby to Eliza Brown (d1823) is by the same hand, though unsigned.
6. John Edmonds (d1847) by W H Burke and Co (ibid p167).
7. (Churchyard) Lady Harriet Paget (d1855) by E Richardson (ibid p1035).
8. (Churchyard) Tombstone by J Harmer. The terra cotta plaque is unmistakable, but Hastings is unusually far east for Harmer which perhaps explains why it was not recorded by G L Remnant.
Painting and decoration:
1. (Over chancel arch) C15 Doom, found in 1870 (2 p292). Christ is seated on a double rainbow with the damned on the right (one is shown being hanged) and the redeemed on the left. The central part is well preserved.
2. (North aisle) Paintings dated to the C16 with rhyming inscriptions were found in 1870, but not preserved (ibid p194).
3. (Chancel east wall decoration) E R Frampton junior, 1907 (CDG 165 p142). This perhaps contradicts the hope expressed in The Architect (see above), but is more subdued than anything by Butterfield. Their setting looks oddly truncated and not all of this may survive. It may belong to a decorative scheme which W H Romayne-Walker is said to have designed at an unknown date (BAL Biog file).
Piscinae:
1. (South chancel) C15 trefoil-headed, much restored.
2. (Reset in south porch) C15 pillar-piscina.
Reredos: Butterfield, 1888-89 (Thompson ibid). It was painted by Frampton in 1907 as part of his scheme of decoration (BE(E) p425).
Royal arms: (North aisle) George II.
Sedilia: (South chancel) C15 triple with cusped heads and traceried spandrels.
ift.tt/1W8mDkJ Just want to thank everyone that's supporting our latest track #iaintinvolved 😁 We're really excited about the release of the music video and hope you lot are too 😉 Stay locked for release date! Listen to the track #linkinbio #newmusic #soundcloud #musicvideo #musicgroup #artists #talent #rap #rapper #producer #follow #add #unsigned #independent #uk #london #linkuptv #grmdaily #sbtv #worldstarhiphop #musicblog #linkinbio #shoreditch #openmic #camden #newsound #trap #grime #urban
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.
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.
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.
Made just for you. Three kitchen settings in immaculate detail, two by Alfred Dorne and one unsigned but very much in the style of Dorne. 1948
Unsigned mural on the Isaac Minor Alley side of the AMPT Skate Shop, Arcata. There are suggestions that it was painted by Yurok artist Alme Allen, but that needs to be confirmed.
1040 H St, Arcata
IMG_1508_SOOC
Dorothea McCoy (1897-1967) was an Oakland artist. Her work was generally landscapes, focusing on East Bay and Contra Costa scenes. These works are some of her unsigned art from her studio at the time of her death.
Unsigned traditional painting, early 20th century, Museum of International Folk Art, on Museum Hill - Santa Fe, New Mexico.
Info: The core collection, donated by museum founder Florence Dibell Bartlett, from 34 countries has grown to over 130,000 objects from more than 100 countries. > www.internationalfolkart.org/
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.
One of the great 'selling points' of the sort of tractive power being sold here was the fact that unlike steam locomotives diesel and electric could be brought into use at the 'flick' of a switch - no endless messing around in depots and shed firing things up, etc, etc. well, that was the theory although some of the early British Railways attempts at new traction may well have had people wondering! Anyhow, this unsigned drawing shows the sort of use that small diesel or diesel-electric shunting locos could be put to use for - an easy wave of the hand and off you go! It does look a bit as if he's telling him and his loco to clear off!
BTH was a major electrical and engineering concern based at the famous Rugby works. As the advert notes it was part of AEI, Associated Electrical Industries, a huge concern that had two massive, similar concerns in the form of BTH and Metropolitan Vickers and that in a rather disfunctional way they allowed to compete against each other for many years until, possibly too late, in 1959 both 'brands' were replaced by AEI. Probably by this date it was too late and AEI increasingly struggled along with other UK companies in this field and in 1967 they merged with the equally large GEC. Pushed by the Government in an effort to create a company that could compete on a global basis the 'new' GEC then acquired English Electric the following 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.
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.
A collection of photos from the Black Music Festivals Annual "Unsigned" concert for 2016 at the TJ's Club in Leeds
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.
Description: States, 'Ex Libris Alice Pinkus;' depicts a woman riding a stag in the forest playing a lyre which appears to be made from stag antlers. Unsigned.
Format: 1 print, col., 14 x 12 cm.
Source: Pratt Institute Libraries, Special Collections 801 (sc01144)
For inquiries regarding permissions and use fees, please contact: rightsandrepro.library@pratt.edu.
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.
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.
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.
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.
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.