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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.
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.
A collection of photos from the Black Music Festivals Annual "Unsigned" concert for 2016 at the TJ's Club in Leeds
CRUMB R. ROBERT-AUTHENTIC UNSIGNED LITHO ON CANVAS -20 X 16 INCHES-FRAMED-EXTREMELY RARE!!!
The silkscreen was made originally as a giant decalcomonia remember those? Like a fake tattoo. You used to be able to wet them and slide off the image onto your skin. Same concept, except the decal was designed to be dipped in a big pail of water and slide off the backing paper to be applied to the side of a van.
Except I saved this one. And kept it in a frame. The ripples are the backing paper. It was a kind of heavy duty butcher paper with a smooth side the image was printed to. The medium was a kind of vinyl ink.
The original was also used to make tee-shirts (red on white). I have the original, given to me by Robert Crumb, and it's not for sale.
Item specifics
20"W x 16"H, printed on white canvas and stretched on a 2-inch FRAME.
This is an original print from the most celebrated – and the most imitated of the Zap Comix pantheon. If you know the Crumb canon, you know these have never been published. See my story below.
ROBERT CRUMB UN-SIGNED PRINT
Drawn in New York City on a Visit to Geo. DiCaprio and Me, a pair of charming Crumb crustaceans -- comix art in miniature form.
OK, so there's a story behind this piece. Back in 1975, we were all living in a loft in the West Village – my college chum George DiCaprio and his wife Irmalin and their little 1-year-old Leo, my two cabdriving buddies Doug and Scott, and me. It was a communal situation, each of us with his own corner of the huge former industrial space. George was the guru of our intellectual cadre, based as it was on things subterranean and artistic. The intersection of William Burroughs, William Shakespeare and William Blake with a little bit of Tim Leary thrown in. George was already active in the comix subculture that would one day become his full-time job. He'd already put out the first issue of Greaser, a New York answer to the Bay-area graphic tomes that were all the rage.I remember it was a hot New York summer when we got a 2-week visit from Robert Crumb and his Cheap Suit Serenaders sideckick Robert Armstrong, illustrator-maven of Mickey Rat. My buddy Scott gave up his room for the visiting royalty and Crumb expressed his appreciation by making a couple of illustrations that Scottie could use for his lobster clambake business out on Long Island. He did wind up using one of these, the man eating the lobster, as the logo for the outfit. I designed a silkscreen press and we made up tee shirts with the image that all the workers wore as they brought this big step van around to Hamptons estates doing their mobile catering thing.
I also made up a huge silkscreen decal that we plastered to the side of this step van. I still have one of these in a frame after all these years. And I have the original transfers from Crumb's pen-and-ink drawings on plain paper, which we used to make the silkscreen masters. Those silkscreen frames are long gone but I kept the master prints used to make 'em in a cellophane envelope all these years in my zippered loose-leaf journal. There are two of them – two the world – and they are not for sale.
Unsigned
One of a collection of 'saucy' seaside postcard images adoring beach huts on Herne Bay pier.
_FX64939e
All Rights Reserved © 2020 Frederick Roll ~ fjroll.com
Please do not use this image without prior permission
Another shot from the fantastic sunset at Folly Beach we got to see. This image was more of a quick snapshot that I just couldn't resist with such a great sky. It was taken just after sundown on Folly Beach, on the same night as my shot "The Calm". Folly Beach is located just southeast of Charleston SC and was a wonderful place to visit. Hurricane Irene made landfall at this beach the next morning and the scene was anything but peaceful. Hope you enjoy it, comments welcome! ;-)
Single exposure shot with a Nikon D700 and the 17-35mm 2.8 lens, CP and ND Grad.
Signed prints are available through my website at Dave Allen Photography
Unsigned prints are available through my imagekind gallery at Dave Allen on imagekind
Become a fan on my facebook page! I give away a free print there from time to time!
© 2011 Dave Allen Photography, All Rights Reserved. This image may NOT be used for anything without my explicit permission.
An unsigned document provides workshop reports and notes from the plenary session of the Revolutionary People’s Constitutional Convention in Philadelphia held Sept. 5-7, 1970 for the upcoming Constitutional Convention scheduled in Washington, D.C. Nov. 27-29, 1970.
The convention was an attempt by the Black Panther Party to unite disparate elements of a larger “movement” and provide a revolutionary blueprint for future struggle.
The Washington convention faltered when a large venue could not be secured due in part to FBI and other federal interference.
The Washington convention concluded without formalizing a revolutionary constitution.
The workshop reports include the following areas:
Women
Gay Men
Lesbian
Control of the means of production
Control and use of the land
Control and use of the military
Internationalism
Self determination for minorities
Self determination for street people
The family and the rights of children
Revolutionary Artist
Religious Oppression/New Humanism
Drugs
Health
Noticeably absent was any discussion of the environment nor a specific workshop on law enforcement, education, housing, guaranteed national income, or social security/pensions.
Shortly after the convention, the Black Panther Party underwent a split between elements around Eldridge and Kathleen Cleaver who advocated immediate armed struggle and most of the rest of the Panther leadership who favored a community based effort. The FBI’s Cointelpro program helped to foster the split.
The Panther Party went into a long decline after the split.
For a PDF of this 13-page, 8 ½ x 11 document, see washingtonareaspark.com/wp-content/uploads/2021/10/1970-1...
For more information and related images, see flic.kr/s/aHsjBUuu3J
Original held in the Bonnie Atwood papers, 1965-2005, Collection, Special Collections and Archives, James Branch Cabell Library, Virginia Commonwealth University, Richmond, VA.
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.
Heading south, Great Barton is the last village before arriving at Bury St. Edmunds, and the village itself is divided by the busy road. I'm sure, once it was a lovely village, but now trucks and cars thunder past, mostly ignoring the speed limits.
As you leave the centre of the village, past the old village school, there is a sign pointing down a leafy lane directing the visitor to the church. I had seen that sign many times and almost tempted to go down to investigate.
You have to travel about a mile down the lane, past an old manor house now a business centre, until you come to Holy Innocents on the right, a wonderful knapped flint church, glistening in the weak autumn sunshine.
First thing I noticed was the white stone used for the structure between flints, created a chequerboard pattern, which was very impressive. But when I mentioned this to the warden who was inside, she said she had never noticed, but after leaving came back to tell me she could see the pattern now.
Most eyecatching for me were the multitude of payer-kneelers on the shelves of the pews, creating a colourful display, contrasting with the austere structure of the church. Light streamed through the vibrant Victorian windows, which to my eye are of a very good standard indeed.
Holy Innocents seems to be open every day.
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It had been so long since I last visited Great Barton that I really did not remember the village at all. It is a large place, a bit of Bury St Edmunds broken off really, only the railway line separating it from the Moreton Hall Estate. The church sits a good half mile from the village, down a narrow dusty lane. A large hare sat on the road in front of me as I left the village, and loped along just ahead in no particular hurry until we reached the church gates, where he turned and looked at me, and then preceded me into the graveyard. It was hard not to imagine that he was an omen of some kind.
Holy Innocents is one of those spectacular 15th Century rebuilds that East Anglia did so well, and is all the more so for being so remote. Mortlock calls it 'handsome', which is about right. The big tower rides high above the clerestory and aisles, the long, earlier chancel extending beyond. It has much in common with Rougham, just across the A14. Windows to aisle and clerestory create something of the wall of glass effect so beloved of the later Middle Ages. Unusually, there is a tomb recess in the outside of the south wall of the chancel which was possibly for the donor of the chancel.
The 15th Century south porch carries a later sun dial with the inscription periunt et imputantor, which means something like 'they perish and are judged'.
You step inside to a big church. Despite the windows of the south aisle being filled with coloured glass, the church is full of airy light and space. This is accentuated by the hugeness of the chancel arch, which goes with the 13th Century chancel - that is to say, nave and aisles were built to scale with it as a starting point. In such a great space the furnishings do not intrude, and they are pretty much all the work of the 19th Century restoration here. They are a good counterpoint to the spectacular glass of the south aisle. The first window is by the William Morris workshop, with the figures by Edward Burne-Jones of Faith Hope and Charity. All three are shown, unusually, as men. Faith is the Roman centurion at the foot of the cross, Hope is Joshua and Charity is the Good Samaritan.
Beside it is a window which is somewhat bizarre. A number of Suffolk churches have windows to commemorate the Golden Jubilee of Queen Victoria in 1887, but none, I think, are quite like this one. The stately queen sits with a look of indigestion upon her face among angels carrying her crown and the Bible. She is flanked by two rather unlikely fellow monarchs, the Queen of Sheba with a snake of temptation and her motto Wisdom is better than rubies and a positively louche Queen Esther with If I perish, I perish. Above Victoria's head in a scroll is inscribed In her tongue is the Law of Kindness from the Book of Proverbs. All in all, a remarkable piece.
Ther other window in the aisle depicts the Ascension flanked by the Nativity and the Resurrection. The Nativity scene is particularly good. It is unsigned, but I wondered if it was by AK Nicholson.
But for the oddest window of all, you have to step up into the chancel. Here, on the south side, is another depiction of the Resurrection and the Ascension. These appear in the upper part, and in the lower part are the Disciples watching the Ascension and the Roman soldiers asleep at the Resurrection. However, these lower parts have been put under the wrong upper parts, and the sleeping soldiers are missing the Ascension and the Disciples are watching the Resurrection! Such a blunder can only have happened in the studio, when the cartoons were being laid out before the glass was made.
Holy Innocents is an interesting dedication, and an unusual one for an Anglican church, especially a medieval one. Bear in mind that, in the Middle Ages, churches were dedicated to feast days, especially of Saints, and not the Saints themselves. Holy Innocents is celebrated on December 28th, and remembers Herod's massacre of the babies of Bethlehem. It would have been a more common dedication in medieval times. Here, it is probably a relic of Anglo-catholic days, and the 19th century revival of church dedications; but it may also be the original dedication of the church. It is quite clear that this church enjoys a High Church character this day, and is one of the few village churches in the Bury area where you can light a candle when you say a prayer.
Like all good High Church parishes, Great Barton keeps Holy Innocents open every day, and there is even a Fair Trade shop where you can make your purchases and perform a work of mercy at the same time, a fine opportunity.
Back outside, the churchyard is one of the best in Suffolk to potter about in. It is vast, with a good 300 years-worth of headstones. While exploring, you might notice that the very north-east corner of the churchyard is cordoned off by a low brick wall, and contains but a small number of graves. They are to the Bunbury family, who are also remembered with mural monuments in the chancel of the church. The Bunburys had lived at Barton Hall, but it was destroyed by fire in 1914. Sir Henry Bunbury achieved a place in popular history in the early 19th century when he was the foreign office official who had the job of breaking the news to Napoleon that he was to be exiled to St Helena. The school history books that speak of the defeat of Napoleon have long since been consigned to the skips. Now, all that remains is the light summer breeze in the corner of a Suffolk churchyard.
Simon Knott, May 2013
www.suffolkchurches.co.uk/gbarton.htm
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The Church is dedicated to the Holy Innocents. These were the Jewish boys under the age of two who were massacred by King Herod. This was after the visit from the wise men in search of the king of the Jews. These children are probably the first martyrs to suffer for our Lord. All Christian churches are built to oppose this injustice. Holy Innocents Great Barton is one of only five churches in the country dedicated to the Holy Innocents. It is most unusual for a mediaeval church.
Wool was a very important industry in East Anglia. Woolpit and Lavenham are local churches built from the proceeds of the trade. Gt. Barton was on the edge of the wool producing area. 'Dog Pews' were put in the Church in honour of the dogs who helped the shepherds during the years when wool was a very important product of the county. The shepherd's dogs were very important to them, and far too valuable to leave outside while the shepherds were in church. The Dog Pews were situated in the back of the church, and the shepherds were encouraged to bring their dogs in with them. The shepherds were also allowed to sleep (with their dogs) in the porch. These pews can now be found at the front of the church and are one of the many items around Holy Innocents that tell a fascinating story of the church's history.
Great Barton is believed to have been a settlement of the Iceni tribe before the Roman occupation of England. It is believed that Barton mere was occupied by early lake-dwellers. Records mention the parish in the time of Edward the Confessor, however it was not until about 950 AD that the parish was given into the care of the abbey of Bury St Edmunds. The abbey held it until the monastery was dissolved in 1539. It is almost certain that a Saxon Church existed here- it is probable that this was a simple wooden building rebuilt in stone by the Normans. In 1086, the Domesday Book states that the church possessed 50 acres of land, valued at £20. The chancel was erected and the font was installed in the late 13th century. These are the earliest parts of the present church. Over the centuries, various additions were made to the church when funds became available. It was the job of the Rector to maintain the chancel, whereas other parts were maintained by the parishioners. In the 15th century they erected the aisles, clerestory and tower. Much money was left to the church for restoration in the 15th century, including from the Rector of that time, William Howerdly. The following two centuries saw the destruction of many parts of the church due to the Reformation and Puritan purge. At this time the majority of the angels in the roof were destroyed. Their remains can still be seen today. Little work was done on the church until the Victorian era when major restoration work began.
The list of incumbents goes back to 1320 when the parish was in the diocese of Norwich. In 1823 it was in the Diocese of Ely, and in 1914 it became a member of the newly formed Diocese of St. Edmundsbury and Ipswich.
An unsigned call for Montgomery County, Md. students to rally at Springbrook High School May 8, 1970 to protest the killing of four students at Kent State University during an anti-Vietnam War demonstration.
The flyer also calls upon students to attend a memorial service in New York City and to also participate in a University of Maryland rally along with canvassing, picketing and leafleting.
The Kent State shootings, also known as the May 4 massacre and the Kent State massacre, were the killings of four and wounding of nine other unarmed Kent State University students by the Ohio National Guard on May 4, 1970 in Kent, Ohio, 40 miles south of Cleveland.
The killings took place during a peace rally opposing the expanding involvement of the Vietnam War into neutral Cambodia by United States military forces as well as protesting the National Guard presence on campus. The incident marked the first time that a student had been killed in an anti-war gathering in United States history.
Twenty-eight National Guard soldiers fired approximately 67 rounds over a period of 13 seconds, killing four students and wounding nine others, one of whom suffered permanent paralysis. Students Allison Beth Krause, 19, Jeffrey Glenn Miller, 20, and Sandra Lee Scheuer, 20, died on the scene, while William Knox Schroeder, 19, was pronounced dead at Robinson Memorial Hospital in nearby Ravenna shortly afterward.
Krause and Miller were among the upward of 300 students who gathered to protest the expansion of the Cambodian Campaign, which President Richard Nixon had announced in an April 30 television address one week earlier. Scheuer and Schroeder were in the crowd of several hundred others who had been observing the proceedings at distances of more than 300 feet from the firing line; like most of the observers, they were watching the protest during a break between their classes.
The fatal shootings triggered immediate and massive outrage on campuses around the country. More than 4 million students participated in organized walk-outs at hundreds of universities, colleges and high schools, the largest student strike in the history of the United States at that time.
The outrage over the shootings reached down to high school students like those at Springbrook, who staged a strike as well.
Eleven days after the Kent State shootings, two students were killed by police at Jackson State University.
The Jackson State killings occurred on Friday, May 15, 1970, at Jackson State College (now Jackson State University) in Jackson, Mississippi. On May 14, 1970, city and state police confronted a group of Black students in their dorm room. Shortly after midnight, the police opened fire, killing two students and injuring twelve.
“Remember Kent and Jackson State” became a rallying cry over the next few years at antiwar demonstrations that receded after the U.S. combat role was ended with the Paris Peace Accords in January 1973.
For a PDF of this two-sided 8 ½ x 11 flyer, see washingtonareaspark.com/wp-content/uploads/2022/02/1970-S...
For more information and related images, see
Donated by Craig Simpson
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.
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.
An unsigned flyer circa 1967 urges men reporting for their induction into the U.S. Armed Forces to walk away and contact peace groups for draft counseling. It finishes by urging the men to “Seize the Time, Resist Illegitimate Authority.”
The flyer lists a. number of peace groups to contact, along with their phone numbers, including The Washington Peace Center, George Washington Draft Counseling, Washington Draft Information, the Washington Free Clinic and Montgomery County Draft Counseling.
For a PDF of this 8 ½ x 11, one-sided flyer, see washingtonspark.files.wordpress.com/2020/09/1967-ca-dc-dr...
For more information and related images, see www.flickr.com/gp/washington_area_spark/C77CQc
Donated by Robert “Bob” Simpson
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, not attributing this to anyone...MINT CONDITION & FABULOUS for every fine 70's interior. Don't miss out!
An unsigned and undated flyer (circa April 1970 and probably published by the Panthers) is addressed primarily to the black community and calls for rallying around the Black Panther Party New Haven 9 that included Panther chair Bobby Seale.
The flyer specifically addresses criticism from some sectors of the black community over the support of the Panthers’ white allies and is published just before a mass rally to coincide with the opening of the trial of Seale and Ericka Huggins.
Ericka Huggins, a D.C. native who was a New Haven, Ct. Panther leader, and Seale were charged with the murder and kidnapping of an alleged police informant, Alex Rackley.
Huggins spent two years on jail awaiting trial that included time spent in solitary confinement.
Seale was one of the Chicago 8 conspiracy defendants charged with fomenting disorders at the 1968 Democratic Convention. Seale was bound and gagged during the trial after Judge Julius Hobson repeatedly denied his requests to select his own counsel.
On November 5, 1969, Judge Julius Hoffman sentenced him to four years in prison for 16 counts of contempt, each count for three months of his imprisonment because of his outbursts during the trial, and eventually ordered Seale severed from the case, leading to the proceedings against the remaining defendants being renamed the "Chicago Seven
While serving his four-year contempt sentence, Seale was put on trial again in 1970 in the New Haven Black Panther trials.
A nationwide campaign to free the two Panther leaders was carried out after their arrests sparking the cry “Free Bobby, Free Ericka; Stop the War Against Black America!” More than 15,000 rallied May 1, 1970 in support of the Panthers surrounded by police and U.S. military forces.
The origins of the case began In 1969 when some members of the New Haven Black Panthers killed Alex Rackley, whom they suspected of being an informant. Huggins, along with Black Panther Party co-founder Bobby Seale, was charged with murder, kidnapping, and conspiracy.
The trial sparked protests across the country about whether the Panthers would receive a fair trial and the jury selection would become the longest in state history. In May 1971 the jury deadlocked 11 to 1 for Seale’s acquittal and 10 to 2 for Huggins' acquittal. Prosecutors dropped the charges shortly afterward.
Seale was cleared on appeal in 1972 of the contempt charges in the Chicago Conspiracy trial and the appeals court criticized Judge Hoffman for denying Seale the right to choose his own counsel.
For a PDF of this two-sided, 8 ½ x 11 flyer, see washingtonspark.files.wordpress.com/2020/04/1970-new-have...
For more information and related images, see flic.kr/s/aHsjBUuu3J
Donated by Robert “Bob” Simpson
Unsigned, but with an attribution written by his daughter Muriel on the reverse.
Martin Harvey has written on the window "Ye Olde Curiosities Shop". This reversed copy shows that he didn't get the letter "S" quite right.
In 1885 Martin Harvey was setting up his own home in London for the first time. He wrote to my great-grandfather (his nephew) asking him to "see what your old boys in Poplar can do and drop me a line" about obtaining some items of furniture.
Included in the list of furniture - and visible in this picture - is a brass fender for which he was prepared to pay fifteen shillings.
If you can identify the scene from Dickens' book, please let me know.
An unsigned and undated flyer following the Black Panther Party sponsored Philadelphia plenary session of the Revolutionary People's Constitutional Convention in September 1970.
Thousands had rallied in Philadelphia and it was expected that the Washington, DC convention would be the culmination of an effort to forge a revolutionary program and unite many of the disparate sections of the American left under one banner.
For information and additional photos of Black Panther activity in the Washington, DC area, see flic.kr/s/aHsjBUuu3J
This Unsigned Music Awards 2016 was such great event. Bands were spectacular and full of energy.
It was great to team up with a Dayle for a music article. Well done Unsigned Music Awards team & sponsored
Every photography are available on AntoineLphotos.com
My Instagram : AntoineLphotos
My email : AntoineLphotos@gmail.com
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Accepted ROUGH, pencil on paper draftwork for BA/MF, BH Records, BOC & Hot Topic.
This is going be a compilation CD featuring a few big, unsigned and independent artists such "Kut U Up" who were featured with blink-182 in "Riding in Vans with Boys" and Mike Felumlee of Alkaline Trio.
These CDs will be professionally pressed by Broken Heart Records and sold online at Hot Topic. All profits will go to charity.
...on a car parked in front of the owner's house. Hmm. Selfish, much? (Camera phone shot)
(n.b. for those not residents of the Boston area: in many towns around here, once one shovels out an on-street parking spot after a snowstorm, one "marks" it with something to indicate that you shoveled the spot and you fully intend it to be available for parking when you return. Supposedly this custom is acceptable for up to 48 hours after the storm, though I've seen spots "claimed" for as much as a week, even though the cleared snow was probably shoveled into another nearby spot. The "less friendly" methods of revenge for "stealing" such marked spots include scratching the paint of the car with a key or letting the air out of tires.)