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Anything that starts out with square in a square (in a square, in a square...) is a nice block. 4 1/2" finished block
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....
dex has found a new sleeping spot on the bottom shelf of my bookshelf. when i'm at my worktable he can often be found here during the day. it's very sweet :)
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
Where I will geek out, also where I will do research, and maybe do my beading and scribal work (worktable on the right).
Eventually I will get the posters and pictures framed and hung on the walls as well.
before moving a bunch of crap...I would love for these table to look this way most of the time, but you gotta move things to move things. This basement is a full up puzzle.
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.
31091 A “Considerable Force” – George Mason’s Gunston Hall Plantation, 10709 Gunston Road, Mason Neck, Fairfax, Virginia. April 24, 2026. Decimal degrees: 38.6677611, -77.169326, GPS: N 38 40.066, W 77 10.160
“A ‘Considerable Force”
“Gunston Hall in the Masons’ time included many structures, roads, gardens, and far-off landscapes built or tended by the Masons’ enslaved workers. Today, the mansion house remains the largest surviving physical site of their labor. What John Mason called a ‘considerable Force’ of house workers could be passed into service at any time, day or night. Notable individuals included George Mason’s trusted manservant James, housemaids Poll and Nell. Dick (probably a footman or butler), and the courier Joe. Laboring amidst the Masons and visitors, enslaved house staff served meals, provided childcare, and cleaned the home. In the course of their day, enslaved workers observed Mason family intimacies. They also overheard talk of current events on the plantation and in the world beyond.
The ideals of freedom sparked by the American Revolution inspired some Chesapeake slave owners to manumit (free) the people they owned. George Mason described slavery as a ‘slow poison,’ but he never freed the people he enslaved. Instead, at his death in 1792, he willed all of the men, women, and children to his own nine offspring. Of the twenty enslaved siblings listed, fourteen were separated from their families.”
“Working behind-the-scenes”
“Enslaved domestic staff were also busy in several outbuildings in the nearby kitchen yard.”
“Placed within sight and sound of the mansion, these structures included the kitchen, dairy, poultry houses, and laundry. Many times a day, workers crisscrossed the yard, which was a crowded and lively area enclosed by a tall fence.
We do not know what the original kitchen yard looked like. These reconstructed buildings show our conjecture, base on written accounts, archaeology, and original buildings from other mid-18th-century Chesapeake plantations.”
“A cook’s experience”
“Cooking required physical strength and stamina, sharp sense, the ability to multi-task, and good judgment.”
“Enslaved cooks knelt and crouched at open hearths They stood and paced for hours on hard surfaces, moving between worktables and fireplace, as well as out to the smokehouse, dairy, and mansion.
Cooks used expensive and exotic ingredients imported from abroad including sugar, tea, and chocolate. They also soured local provisions raised on the Masons’ plantations, such as fruits and vegetables, meat, grains, fish, and eggs.
Ann Mason instructed her staff on what food to prepare, and many of her recipes followed English traditions. But the enslaved cook’s knowledge of African flavors and cooking styles likely made meals at Gunston Hall uniquely Virginian.”
The Sweet Potatoes Stewed”
“Wash and wipe them, and if they be large, cut them in two lengths; put them at the bottom of a stew-pan, lay over some slices of boiled ham, and on that, one or two chickens cut up with pepper, salt and a bundle of herbs; pour in some water and stew them ‘til done, the take out the herbs, serve the stew in a deep dish-thicken the gravy, and pour over it.”
Below recipe:
“Mary Randolph, The Virginia Housewife, ‘Sweet Potatoes Stewed,’ 1828”
“Recipes collected and published by Mary Randolph reflected-established Virginia cooking practices. This dish was likely a familiar one to 18th-century resident of Gunston Hall.”
Beside artifact:
“Fork, c.1750”
“Board of Regents, Gunston Hall”
“Archaeologists rarely discover whole items. Imagine their surprise when they uncovered this iron and bone fork in the kitchen yard. An enslaved person such as Nell or Poll may have carried it from the kitchen to the mansion while working.”
Under photograph:
“Reproduction Kitchen, 2017”