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Artist statement: In 2007, the Rideau Canal, linking Lake Ontario with the Ottawa River, celebrated its 175th anniversary and was designated a Unesco World Heritage Site. In the 1820’s while the canal was under construction, photography was not available, however a civilian employee of the canal project, Thomas Burrowes painted a series of watercolours that are in the collection of the Archives of Ontario. I chose one of these paintings that was rendered from a point just below the present Chateau Laurier Hotel looking at the recently completed lower locks at the Ottawa River.
In the foreground I have placed a worktable and easel upon which a Burrrowes painting in progress rests along with paint pots and other tools of the trade. To the left I have sculpted a reproduction of the engineer’s drawings of the locks and lock gate as drawn by Colonel John By that I found in the National Archives in Ottawa. The tile itself is sculpted in stoneware clay, coloured with underglazes and fired to 2130 degrees F.
Upon completion of a Bachelor of Architecture Degree from Pennsylvania State University and an applied arts diploma in ceramics from Sheridan College I have spent the past 36 years exploring the medium of relief sculpture in clay. I am currently intrigued with the combination of background landscape with still life in the foreground. I often use archival material to research many projects as I have a particular interest in historical content. This project was a perfect application for the direction my work has been evolving and I am very grateful for this opportunity presented by the Archives of Ontario.
En 2007, le canal Rideau, qui relie le lac Ontario à la rivière des Outaouais, a célébré son 175e anniversaire et a été inscrit comme site du patrimoine mondial de l’UNESCO. Dans les années 1820, à l’époque de la construction du canal, la photographie n’avait pas encore été inventée; toutefois, un dénommé Thomas Burrowes, employé civil affecté au projet du canal, a peint une série d’aquarelles aujourd’hui conservées dans la collection des Archives publiques de l’Ontario. La toile que j’ai choisie présente une vue en légère contre-plongée de l’actuel site de l’hôtel Château Laurier, à proximité des écluses aval récemment achevées sur la rivière des Outaouais.
À l’avant-plan, j’ai placé une table de travail et un chevalet, sur lequel est installé un tableau inachevé de Burrowes, tout près de pots de couleurs et d’autres outils de peintre. À gauche, j’ai sculpté une reproduction des écluses et de la porte des écluses d’après les dessins de fabrication du colonel John By que j’ai trouvés dans les Archives nationales à Ottawa. Le titre lui-même a été sculpté dans de l’argile à grès, peint par décor sous émail et cuit à une température de 2 130 °F (environ 1 165 °C).
Après avoir décroché un baccalauréat en architecture à la Pennsylvania State University ainsi qu’un diplôme en arts appliqués avec spécialisation en céramique du Collège Sheridan, j’ai passé 36 années à étudier la sculpture en relief sur argile comme moyen d’expression. Ma curiosité est actuellement stimulée par la combinaison de natures mortes en avant-plan sur fond de paysages. Souvent, dans le cadre de nombreux projets, j’effectue mes recherches à l’aide de documents d’archives car je m’intéresse particulièrement au contenu historique. Ce projet constituait une application cadrant parfaitement avec les visées de mes travaux. Je suis donc très reconnaissant pour cette chance que m’ont offerte les Archives publiques de l’Ontario.
large,luminous studio workroom. 2 worktables available.
very spacious, with natural light. Rearrange furniture for your needs
wonderful view of western gorge autonomous heating system
1952 KOM-PAK SPORTSMAN
Sold $1,100.00
[This is brilliant. I love the integrated rooftop boat too! No clue why a sold price was listed for this item given at it was sold as a pair with Lot #392]
Lot #392.1 - This custom fiberglass 1952 Kom-Pak Sportsman trailer with a fiberglass boat on top weighs approximately 1,180 pounds. The trailer is equipped with a built-in worktable, cabinets, a 5.4-foot ice refrigerator and an 8.4-gallon water tank. There is a convenient roll-off for one-man boat removal. This trailer benefited from inside storage in its early years and then went into a California Camper Trails Museum. When the museum was disbanded, the 1952 Ford Mainline Ranch Wagon (Lot #392) and Kom-Pak Trailer were sold to a couple in Fishkill, NY. That owner outfitted the trailer for use by him and his wife. The trailer has since been further enhanced for shows with a period-correct sleeping bag, Lava soap, fishing gear, life preservers, flashlights, stove, cookware, coffee pot, first-aid kit and a portable radio. **SOLD AS PAIR WITH LOT #392**
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Today we're back at Barrett-Jackson for our third and last visit there this week to catch some of today's auction.
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It's Scottsdale Car Week! I flew here and Fred drove with Harriet for some warmer weather, friend visits, and cars!
Built from reclaimed marble, recovered by reuse action (reuseaction.com) from a lavatory renovation in one of the Buffalo Public Schools. It was a stall partition, so a close inspection shows who loved who, and all sorts of school age nonsense scratched into the marble. We cut it down to size for the customer and left the markings in the marble as part of its charm. The legs, undercarriage and mounting brackets are all made of reclaimed house trim. The marble installed originally in the 1920s, most likely by Italian immigrant craftsmen. In this city the old wood work was done by Poles and Germans, while the stone work was done by the Italians. crafts they brought from their home countries. Without rescuing this material it (and its heritage) would be in the landfill.
Each piece we build is unique and imbued with history...and keeping materials out of landfills.
www.deedmachinetool.com/products/cnc-tapping-machine/
CNC TAPPING MACHINE
Vt series is a vertical drilling center independently designed and developed by our company. The product has the structural characteristics of high speed, high precision, high rigidity, and high reliability. It can work continuously and normally under specified environmental conditions with stable precision. The machine tool is widely used in the 3C industry, 5g, it, aviation, aerospace, auto parts, small mold processing, medical devices, and other industries, especially for high-efficiency processing of high-yield parts and non-ferrous metals.
CNC TAPPING MACHINE SPECIFICATION
VT60B
X-axis Travelmm1100
Y-axis Travelmm600
Z-axis Travelmm350
From spindle nose to worktable facemm250~600
Distance from spindle center to column468
Worktable Sizemm1200*600
A large load of workbenchkg400
T-slotmm14H7*5*120
X/Y/Z-axis Rapid Traversem/min60/60/60
Feedrate speed
X/Y/Z -axis Cutting Speedm/min20/20/20
acceleration1g
Spindle typeDirect connection
Spindle taperBT30
Spindle speedrpm12000
Main motor powerKW3.7/7.5
Spindle TorqueN.M23.6/47.7
X/Y/Z Positioning Accuracy (half-closed loop)mm0.008
X/Y/Z Repeatability Accuracy (half-closed loop)mm0.005
ATCTurret type
ATC Capacity21
Larger tool sizemmφ100/φ140/250
Larger tool weightkg3
Air source pressureMPa0.65
Power capacityKVA250~600
Machine size (length*width*height）mm2760*2600*2720
Machine weightkg6000
We set a lot of shirts here while they are waiting to get embroidered. Just so happens to be caught clean today!
Behind the scenes: The technique I invented to make this glass came out of the chaos you see here on my worktable. At first I wanted to make a tiny version of the "hanging metal tubes" kind of windchimes. I quickly found myself pulling out craft supplies from all over the house: a dowel, beads, wire, buttons, etc. This all led nowhere and I switched gears. I cut up the piece of plastic packaging you see in the foreground and tried painting it with nail polish. Turns out you can make pretty convincing ripply "stained glass" for miniatures this way! Sometimes when crafting, you really do fly by the seat of your pants....
Another shot of the worktable for name tags - all the name tags were shaped like insects or worms - the kids coloured them in cut them out and gave them to me for laminating then patiently cut around them again. punched a hole in them and tied them around their neck with packing ribbon.
Isaac Smith (1719–1787) - 1769
Artist: John Singleton Copley (American, 1738–1815)
John Singleton Copley’s portraits of Mr. and Mrs. Isaac Smith, set in gilt frames that only the richest Bostonians could afford, capture the image of wealthy Americans on the eve of the Revolutionary War. Isaac Smith, the uncle of Abigail Adams, and thus by marriage of Founding Father John Adams, was a successful Boston merchant who sold wine and other imported goods. Wearing a powdered wig and an elegant plum-colored suit with gold buttons, he sits at a worktable, preoccupied with the papers at hand. Elizabeth Smith gazes directly out at the viewer. She holds grapes in her lap, perhaps a subtle allusion to her husband’s business. Luxury is evident everywhere, from the armchair upholstered in yellow damask, to the pearls in her hair and around her neck and the rich silk of her dress and robe. Copley provided his sitters with images that are simultaneously realistic and idealized—recording not only how the Smiths actually looked but also the way in which they wanted to be perceived.
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Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
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artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
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Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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My new desk/worktable fits perfect in my studio with plenty of work surface. I put rolling drawer units below to have items close-by.
A review of five of the best drill sets for metal
Are you at your tether’s end because of your drill won’t drill and even if does the edges are...
Aicci DL1 desk lamps provide optimal light for office and computer work at the office and home office.
Aicci DL1 desk lamps, mount on the edge of the desk, taking up very little space on the tabletop and move with the height-adjustable and movable desk, providing an optimal, ergonomically comfortable and adjustable wide-angle lighting for work, preventing eye fatigue and irritation. The light of the desk lamp can be adjusted by the built-in dynamic Bluetooth Casambi lighting control. The luminaires have a modular design, which allows the creation of different lighting conditions, facilitates the organisation of power cables and wiring, the integration of functional accessories and the serviceability of the desk lamps.
This picture shows a wide distribution of light from the Aicci DL1 table lamp, directed up and down.
My worktable with two projects in progress. I love having enough space to work on multiple projects.
We didn't do any work to the basement, just arranged furniture and things there. All the midwife artwork were gifts from students or co-workers in various places. Bench and table from IKEA in the 1980s. Bought in Sweden and shipped over via United Airlines cargo.
this whole grid system on the wall behind where I stand at my worktable is from container store. I put things I need often or don't want to forget about here. top row is ribbon storage. there are also a lot of adhesives, applicators and things that can't really be categorized and place in my iris carts and other storage places.
This room with Queen bed is located on the ground Floor, with the view to yard. The room is equipped with Central air, plasma TV with the choice of 56 foreign and domestic cable TV stations including the hotel info channel. At your disposal are also electronic safe-deposit box, mini bar, and worktable with writing kit. You have also fast Internet connection and direct telephone line.
Built from reclaimed marble, recovered by reuse action (reuseaction.com) from a lavatory renovation in one of the Buffalo Public Schools. It was a stall partition, so a close inspection shows who loved who, and all sorts of school age nonsense scratched into the marble. We cut it down to size for the customer and left the markings in the marble as part of its charm. The legs, undercarriage and mounting brackets are all made of reclaimed house trim. The marble installed originally in the 1920s, most likely by Italian immigrant craftsmen. In this city the old wood work was done by Poles and Germans, while the stone work was done by the Italians. crafts they brought from their home countries. Without rescuing this material it (and its heritage) would be in the landfill.
Each piece we build is unique and imbued with history...and keeping materials out of landfills.
ARD M60CA (YR 1998) Used CNC EDM For Sale
Model: M60CA
Year: 1998
Work Tank Dimensions: 1000 x 600 x 350mm
Table Dimensions: 600 x 400mm
X Axis Travel: 400mm
Y Axis Travel: 300mm
Z Axis Travel: 300mm
Max. Distance From Quill To Worktable: 500mm
Nominal Current: 60A
Max. Stock Removal Rate (mm3/min): 500
Best Surface Roughness: Ra0.1μm
Best Electrode Wearing Rate: ＜0.1％
Max. Electrode Weight: 60kgs
Max. Workpiece Weight: 2000kgs
Dielectric Tank Capacity: 400L
Floor Space (LxW): 2170 x 2000mm
Machine Weight: 2300kgs
Asset Info: gobigcat.com/product.php?id=315
Let us know your interest, please contact us: info@gobigcat.com