text:
Arcadja Auctions > Artists Database > C > Conna-Constant > John Constable
John ConstableTweet (East Bergholt, Suffolk 1776 -  London 1837 ) Wikipedia® : John Constable
Christie's /Jan 27, 2016
€55,243.53 - €73,658.04
Not Sold
Find artworks, auction results, sale prices and pictures of John Constable at auctions worldwide.Go to the complete price list of works Follow the artist with our email alert
Along with John Constable, our clients also searched for the following authors:
Peter Paul Rubens, Claude Monet, Emma Ciardi, Oreste Albertini, Tito Pellicciotti, Giuseppe Magni, Henry Moore, Pier Francesco Cittadini Il Milanese, Joseph Vernet, Giovanni Lomi, Eugenio Gignous
Peter Paul Rubens, Claude Monet, Emma Ciardi, Oreste Albertini, Tito Pellicciotti, Giuseppe Magni, Henry Moore, Pier Francesco Cittadini Il Milanese, Joseph Vernet, Giovanni Lomi, Eugenio Gignous
Artworks in Arcadja609
Some works of John ConstableExtracted between 609 works in the catalog of Arcadja
John Constable - An Old Bridge At Salisbury
Original -184
Other WORKS AT AUCTION
Lot 184: John Constable (British, 1776-1837), An Old Bridge at Salisbury Description: etching on thin sheet laid down to white wove paper, 19th century, pencil inscription to wove sheet states title, additional pencil inscription to accompanying sheet included in framing states artist, dedication, and date, matted and presented in gilt frame. Original Sheet Size 4 7/8 x 7 1/2 in.; DOA 15 1/8 x 16 1/2 in. William Weston Gallery, London, 1983
John Constable - A Group Portrait Of The Barker Children In A Landscape
Auction: Sotheby's -Jul 7, 2016 - LondonLot number: 218
Other WORKS AT AUCTION
John Constable, R.A. EAST BERGHOLT, SUFFOLK 1776 - 1837 HAMPSTEAD A GROUP PORTRAIT OF THE BARKER CHILDREN IN A LANDSCAPE: SOPHIA NORRIS BARKER, STANDING FULL LENGTH IN A BLACK DRESS, HER SISTER HARRIET, IN A BLACK DRESS AND WHITE COLLAR, AND THEIR BROTHER ROBERT, IN A WHITE SUIT oil on canvas, unlined 204.4 x 130.4 cm.; 80 1/2 x 51 1/4 in.
John Constable - View On The Stour Near Dedham, Full-scale Sketch
Auction: Christie's -Jun 30, 2016 - LondonLot number: 12
Other WORKS AT AUCTION
Lot Description John Constable, R.A. (East Bergholt 1776-1837 London) View on the Stour near Dedham, full-scale sketch c. 1821-22 oil on canvas 51 x 73 in (129.4 x 185.3 cm). Special Notice On occasion, Christie's has a direct financial interest in lots consigned for sale which may include guaranteeing a minimum price or making an advance to the consignor that is secured solely by consigned property. This is such a lot. This indicates both in cases where Christie's holds the financial interest on its own, and in cases where Christie's has financed all or a part of such interest through a third party. Such third parties generally benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. Provenance (Probably) The artist''''''''s sale; Foster & Sons, London, 15-16 May 1838, lot 36 (part of lot), as 'Sketch for the picture, View on the Stour [and A Landscape]'''''''' (12 gns. to Morris). (Probably) Thomas Woolner, R.A. (1825-1892); his sale, Christie''''''''s, London, 12 June 1875, lot 134, as 'On the Stour'''''''' (54 gns. to Denison). John Macmillan Dunlop (1818-1878), Holehird, Windermere; (†) Christie''''''''s, London, 5 May 1883, lot 61 (1190 gns. to Martin, by whom acquired for the following), Thomas Holloway (1800-1883), by whom bequeathed to, Royal Holloway College, from whom acquired privately in 1995. Pre-Lot Text THE PROPERTY OF A LADY Literature Lord Windsor, John Constable, R.A., London, 1903, p. 40; Appendix I, p. 199; Appendix II, pp. 208-209; and Appendix III, p. 214. H. Isherwood Kay, 'The Hay Wain'''''''', The Burlington Magazine, LXII, 1933, pp. 286-9, pl. IIA. C.R. Leslie, Hon. A. Shirley (ed.), Memoirs of the Life of John Constable, R.A., London, 1937, p. lxix, pp. 127 and 137, pl. 78a. R.B. Beckett, John Constable and the Fishers: The Record of a Friendship, London, 1952, p. 80. G. Reynolds, Victoria and Albert Museum: Catalogue of the Constable Collection, London, 1960, p. 27. G. Reynolds, Constable. The Natural Painter, London, 1965, pp. 69 and 148. R.B. Beckett (ed.), John Constable''''''''s Correspondence, Suffolk, 1968, VI, p. 75. R. Hoozee, L''''''''opera complete di Constable, Milan, 1979, p. 120, no. 329. A. Wilton, Constable''''''''s 'English Landscape Scenery'''''''', London, 1979, p. 56. J. Walker, John Constable, London, 1979, p. 108, fig. 39. J. Chapel, Victorian Taste: The Complete Catalogue of paintings at the Royal Holloway College, London, 1982, pp. 72-74, no. 5. M. Rosenthal, Constable: The Painter and his Landscape, New Haven and London, 1983, pp. 137-141, fig. 178. G. Reynolds, The Later Paintings and Drawings of John Constable, New Haven and London, 1984, I, p. 100, no. 22.2; II, fig. 335. I. Fleming-Williams and L. Parris, The Discovery of Constable, London, 1984, pp. 18 and 20. M. Cormack, Constable, Oxford, 1986, pp. 133 and 140-141, pl. 144. C. Rhyne, 'Constable''''''''s First Two Six-Foot Landscapes, in Studies in the History of Art, vol. 24, National Gallery of Art, Washington, 1990, pp. 121 and 125, note 3. R. Parkinson, John Constable: The Man and his Art, London, 1998, p. 123. R. Asleson and S.M. Bennett, British Paintings at the Huntington, San Marino, 2001, p. 60, fig. 23. T. Willcox, Constable and Salisbury: The Soul of Landscape, exhibition catalogue, Salisbury, 2011, p. 100. Exhibited London, Tate Gallery, Centenary Exhibition of Paintings and Watercolours by John Constable R.A., 4 May-31 August 1937, no. 46, p. 21. Lisbon and Madrid, British Council, A Century of British Art, 1730-1830, 1949, no. 5, p. 6. Hamburg, Kunsthalle; Oslo, Kunstnernes Hus; Stockholm, Nationalmuseum; Copenhagen, Statens Museum for Kunst, British Paintings from Hogarth to Turner, 1949-50, no. 15, p. 12. Venice, The Biennale, Exhibition of Works by John Constable, Matthew Smith, Barbara Hepworth, 1950, no. 20 [not paginated]. London, Royal Academy of Arts, The First Hundred Years of the Royal Academy, 1769-1868, 8 December 1951-9 March 1952, no. 209, p. 94. Paris, Orangerie des Tuileries, Le Paysage Anglais de Gainsborough a' Turner, February-April 1953, no. 12 [not paginated]. New York, Museum of Modern Art; St Louis, City Art Museum; San Francisco, California Palace of the Legion of Honor, Masters of British Painting 1800-1950, October 1956-May 1957, no. 88, pp. 30-1. Moscow, Pushkin Museum; and Saint Petersburg, The State Hermitage Museum, British Painting 1700-1960, 4 May-4 July 1960, no. 58 [not paginated]. Montreal, Expo 67, Man and his World: International Fine Art Exhibition, 17 May-14 October 1967, no. 84, p. 170. London, Royal Academy of Arts, Bicentenary Exhibition, 14 December 1968-2 March 1969, no. 89, p. 58. Vienna, Museum für Völkerkunde, Two Centuries of British Painting: The Great Age of Hogarth to Turner, 12 September-19 October 1969, no. 6, p. 18. Paris, Petit Palais, La Peinture Romantique Anglaise et les Pre-Raphaelites, January-April 1972, no. 52 [not paginated]. Milan, Palazzo Reale, Pittura inglese 1660-1840: due secoli di cultura, storia, e costume in Inghilterra, 29 January-16 March 1975, no. 142, p. 190. London, Tate Gallery, Constable: Paintings, Watercolours & Drawings, 18 February-25 April 1976, no. 201, pp. 124-25. New York, Metropolitan Museum of Art, Constable''''''''s England, 16 April-4 September 1983, no. 19, p. 68. London, Tate Britain; Washington D.C., National Gallery of Art; and San Marino, Huntington Art Gallery, Constable: The Great Landscapes, 1 June 2006-29 April 2007, no. 38, p. 150, illustrated. Engraved D. Lucas, mezzotint, 1831. View Lot Notes >
John Constable - Beached Fishing Boats With Fishermen Mending Nets On The Beach At Brighton
Auction: Christie's -Jan 27, 2016 - New-yorkLot number: 89
Other WORKS AT AUCTION
John Constable, R.A. (East Bergholt 1776-1837 Hampstead) Beached fishing boats with fishermen mending nets on the beach at Brighton, looking West with inscription 'Brighton Beach by/ John Constable I got/ this sketch from his son/ Captain Charles Constable/ Walter May.' and 'Bought this sketch from Mrs May/ 1897/ E. Hayes' (verso) black chalk, pen and grey ink, grey and ochre wash, watermark '[WHA]TMAN/ [TURKE]Y MILL/ [18]21' 4 ½ x 7 1/8 in. (11.4 x 18.1 cm.)
John Constable - The Lock
Auction: Sotheby's -Dec 9, 2015 - LondonLot number: 44
Other WORKS AT AUCTION
John Constable, R.A. EAST BERGHOLT, SUFFOLK 1776 - 1837 HAMPSTEAD THE LOCK inscribed on an old label, verso, in the artist's hand: Landscape: Barge passing a Lock / J. Constable R.A. 35 Charlotte St / London oil on canvas, unlined 139.7 by 122 cm.; 55 by 48 in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance The artist's sale, London, Foster's, 15-16 May 1838, lot 76, to Charles Birch for £131.5.0; His sale, London, Foster's, 15 February 1855, lot 18, to W. Orme Foster, for £903; William Orme Foster (1814–1900), at 6 Belgrave Square from 1855 to 1900, and later at Apley Park, Shropshire; By descent to his grandson, Major Arthur William Foster (1884– 1960); By inheritance to his nephew, Major-General Edward Henry Goulburn (1903–1980); By inheritance to his cousin, the father of the present owners. Exhibited Brussels, Exposition National des Beaux Arts, 1833 (as 'A Barge passing a Lock'); Worcester Institution, 1834, no. 141 (as 'Landscape – a barge passing a Lock on the Stour'); Birmingham, Society of Artists, 1838, no. 42; Manchester, Art Treasures Exhibition, 1857, no. 298 (lent by W. O. Foster); Wrexham, Museum and Art Gallery, 1876, no. 283 (lent by Mr Foster of Apley); Birmingham, Museum and Art Gallery, Works of Art from Midland Homes, 1953, no. 5; London, Tate Gallery, Bicentenary Exhibition, 1976, no. 312; Manchester, City Art Gallery, 2007; On loan to Tate Britain, London, April 2013 – August 2014. Literature A Handbook to the Gallery of British Painting in the Art Treasures Exhibition, being a report of critical notices originally published in the Manchester Guardian, London 1857, p. 69; Catalogue of Pictures etc. at Apley Park, n.d., circa 1900, p. 14; P. Sketchly, 'British Landscape Painters', in The Art-Treasures Examiner, Manchester and London 1857, p. 71, reproduced; F. Simpson, 'Constable's 'Lock'': A Postscript', in Connoisseur, vol. CCXIX, March 1952, p. 39; R. B. Beckett, 'Constable's 'Lock'', in The Burlington Magazine, vol. XCIV, September 1952, pp. 255-256, reproduced fig. 9; R. B. Beckett, 'Constable's 'Lock'', in The Burlington Magazine, vol. XCV, March 1953, p. 100; L. Parris, I. Fleming-Williams & C. Shields, Constable: Paintings, Watercolours and Drawings, Tate Gallery bicentenary exhibition catalogue, London 1976, pp. 178–79, cat. no. 312, reproduced; R. Hoozee, L'Opera completa di Constable, Milan 1979, pp. 132– 33, no. 457, reproduced; M. Rosenthal, Constable. The painter and his landscape, New Haven and London 1983, p. 152, reproduced pl. 188; G. Reynolds, The Later Paintings and Drawings of John Constable, 2 vols, New Haven and London 1984, text vol., p. 164, no. 25.33. plates vol., reproduced pl. 603; A. Dempsey et al., Constable. Le choix de Lucian Freud, Grand Palais exhibition catalogue, Paris 2002, p. 156; A. Lyles et al., Constable. The Great Landscapes, Tate exhibition catalogue, London 2006, p. 154; 'Art, City Spectacle: The 1857 Art Treasures Revisited', in Bulletin of the John Rylands Library of Manchester, 2009, vol. 87, no. 2, p. 96. ENGRAVED In mezzotint by David Lucas, 1834 Catalogue Note John Constable is one of the most celebrated and influential of all English romantic artists, and his most famous paintings are among the best-loved images in British Art. This magnificent picture is such a painting, and is one of two versions by the artist of this much celebrated composition. It is also one of only three of Constable's major works left in private hands. The Lock is the fifth in the series of six monumental landscapes popularly known as the artist's 'Six-Footers', which for many define the pinnacle of his career. Constable first exhibited an earlier version of the composition at the Royal Academy in 1824. The only upright landscape in the series, that painting, known today as the Morrison version, was extremely well received by the critics and sold on the first day of the exhibition – Constable's only painting ever to do so. In common with the rest of the series, the view depicts a scene on the River Stour, at Flatford Lock near East Bergholt in Suffolk, where Constable was born. Beyond is a distant view of Dedham church, seen across the water meadows, with a barge passing downstream through the lock gates. Such were the scenes of the artist's childhood, from which he always drew his deepest inspiration. The year 1824 marks a turning point in Constable's career. In addition to the triumph he had achieved with The Lock he sold two of his earlier 'Six-Footers' that year, The Hay Wain (1821) and View on the Stour (1822), to the Anglo-French dealer John Arrowsmith, and their reception in Paris won him a gold medal at the Salon in 1825. After years spent struggling for recognition both with the public and at the Academy, finally he was becoming a commercial success. Buoyed by the huge critical acclaim that had greeted the Morrison picture (fig. 2), and riding a wave of public demand, in 1825 Constable embarked on another version of the composition. 'I am now finishing a copy of my Lock, which rejoices me a good deal - it is a very lovely subject' he wrote to his wife Maria on 28 October, having written to his friend John Fisher two days previously 'I have a half-length of a lock in hand - far better than usual'. 1 It is this picture, the Foster version of The Lock, to which Constable is referring. Whilst this is the only occasion on which he made another version of one of his monumental Stour Valley series, Constable had been making copies of those of his pictures which had proved popular with collectors since the early 1820s, and it is a practise that would become increasingly common later on in his career, particularly with the numerous versions of his Salisbury Cathedral views. There were a number of sound reasons for Constable to produce another version of this particular picture. Constable had often complained to his friends of the pressure to complete his large scale canvases in time for the Academy exhibitions each summer, and having achieved success the first time round the production of another gave him the opportunity to further develop a tried and tested composition. It would also enable him to have a version of the composition from which to commission an engraving, and it is clear from the inclusion of a small group of birds in the sky upper right, above the trees, as well as the more emphatic rainclouds over Dedham, both of which are found in this version but which are absent from the Morrison picture, that David Lucas was working from the Foster version of the picture when he produced his highly impressive single plate mezzotint of the composition in the mid-1830s. A series of regularly-spaced pinholes around the edges of this picture, used by engravers in the transfer process for 'squaring up' the composition, further confirm that it is this picture upon which the mezzotint engraving, published in 1834 under Constable's name, is based (fig. 1). Finally, by painting another version of one of his most successful and critically acclaimed compositions to date, Constable could ensure that he would always have it to hand to send to future exhibitions, both in England and abroad. This indeed he did, sending the picture both to the Exposition National des Beaux Arts in Brussels in 1833, and the Worcester Institution in 1834. A label in Constable's own hand giving the title of the picture (which is crucially very slightly different from that used at the RA exhibition in 1824), his name, and his address in London, which is attached to the back of this painting confirms that it was this picture that the artist sent to both these exhibitions, as opposed to the Morrison picture, which of course he had sold. This picture, however, he retained in his own collection until his death, and it was only sold in his studio sale in 1838. It has remained in private hands ever since, having only appeared at auction on one other occasion in 1855, when it achieved a world record price for the artist that was to remain unchallenged for more than a decade. Together with his near contemporary, J. M. W. Turner, Constable was one of the most original artists of the early nineteenth century, and between them they revolutionised the art of landscape painting forever, setting in train a movement that would find its fullest expression nearly half a century later in France with the work of the Impressionists. However, whilst Turner is perhaps more commonly associated with the landscape of continental Europe through his sublime views of Italy and the Swiss Alps, Constable is arguably the greatest 'English' painter in that his work has become virtually synonymous in the popular imagination with his native landscape. Indeed to many his paintings represent the quintessential vision of English countryside the world over. Constable's Landscape: The Stour Valley and the Six Foot Series 'I should paint my own places best – Painting is but another word for feeling. I associate my 'careless boyhood' to all that lies on the banks of the Stour. They made me a painter...' Constable Country, as it has come to be known today – that area of the Stour Valley around Dedham Vale, on the border between Suffolk and Essex, bounded on the west by the village of Neyland, and on the east by the sea – has become synonymous with the great painter who immortalised its bucolic river meadows and shaded waterways. A fertile and workmanlike landscape centred on the village and parish of Dedham, which had been a prosperous cloth-working town in the Middle Ages, in Constable's day Dedham Vale was principally an agricultural centre, the main industry being founded on the production of wheat, barley and oats. Encompassing the villages of East Bergholt, Stratford St Mary, Langham and Stoke-by-Neyland, it is today an Area of Outstanding Natural Beauty, and was a part of the country with which Constable was particularly intimate. The artist's parents, Golding and Ann Constable, lived at East Bergholt, where the young painter was born and brought up. A prosperous miller and successful businessman, his father owned watermills at Flatford and Dedham, and a windmill on East Bergholt Heath. Golding traded corn and coal out of Mistley Wharf on the North Essex coast, operating a fleet of commercial barges on the river Stour (called lighters), as well as three dry-docks at Flatford for their construction and repair, and two sea going Thames barges for transporting goods between Mistley and London. He also owned a coal yard at Brantham and served as one of the Commissioners of the River Stour Navigation. Golding's family had lived in the area for generations, and by 1774 he was sufficiently prosperous to buy a piece of land at East Bergholt and build a substantial mansion, where two years later his fourth child, John, was born, together with 93 acres of arable land around the village which the family farmed. The Constables' social position, and the fact that his father owned a large portion of it, gave the young Constable unfettered access to much of the land around his childhood home, and an intimate knowledge of its gently rolling hills, picturesque villages, green riverbanks and luxuriant meadows. It was this visual reservoir, accumulated during the halcyon days of his childhood exploring along the banks of the Stour, that would not only inspire Constable's earliest endeavours in paint but provided him with much of the raw materials for many of his greatest paintings. It was also here, in this small area of Suffolk, that Constable met and befriended many of the people that would shape his later career. John Dunthorne, an early friend and mentor whose son would become Constable's faithful studio assistant, owned the cottage near the gates of his parent's house; John Reade, who lived at Old Hall, a large manor house opposite Golding Constable's at East Bergholt who encouraged the young artist and let him sketch in his park (see fig. 4); Dr Rhudde, whose granddaughter Maria became Constable's wife, was vicar of East Bergholt Church; Sir George Beaumont, an early patron who played an important role in encouraging his love of painting, often visited Dedham to see his mother; and Dr John Fisher, later Bishop of Salisbury and the uncle of Archdeacon Fisher, Constable's closest friend, who became one of the artist's most important patrons was rector of nearby Langham. The life force of the Vale was the river Stour itself, which was made navigable by an Act of Parliament in 1705, resulting in thirteen locks being installed along its length between Sudbury and the coast. Before the arrival of the railways in East Anglia, rivers and canals were the main arteries for trade, and these locks enabled the horse-drawn barges for which the area was so famous to negotiate the differences in river level and travel both up and down stream with relative ease. Stour lighters were usually linked together in pairs and pulled by a single horse, so the locks were designed to accommodate two lighters at a time. Each lighter could carry up to thirteen tons, and by pairing up the tonnage could be increased to twenty-six tons per journey, far exceeding the weight that could be transported by horse and cart. On the downstream journey the Stour lighters carried a variety of goods, particularly milled flour and Suffolk bricks, bound for London, whilst upstream they transported Newcastle coal to power the Sudbury brick factories, as well as iron, oil and night soil (i.e. manure - both human and horse!) to spread on the fields as fertiliser. The lock at Flatford, which was adjacent to Golding Constable's mill, was built in 1708 and originally consisted of a turf-sided structure. In 1776, the year Constable was born, it was replaced with the wooden lock gates seen in his paintings and sketches of the site. The new locks, towpaths and staunches (lock gates) needed constant attention, and the shoals of silt that built up due to the stagnation of the waters had to be regularly removed. In 1815 Abram Constable, the artist's brother, who had inherited Flatford Mill from his father, wrote that 'Flatford Locks are in a ruinous state, the Upper Gates therof cannot be opened without the Assistance of an Horse – also the Float Jump in the Float Meadow over the county river is very Ruinous and in Decay' 2 , and again in 1820 he wrote of Flatford Lock that it was badly leaking and the banks in a dangerous state. 3 Constable produced a number of sketches of Flatford Lock during his lifetime, the earliest of which date to 1813 and show a rickety structure, with dense vegetation growing over the tow path. By 1823, when Constable revisited the scene in preparation for his 1824 Royal Academy composition, repairs had clearly been carried out, as his drawings from this date demonstrate (fig. 5). In 1838, one year after Constables death, the old lock that he had depicted so fondly was finally replaced, in a new position, where it can still be seen to this day. The Lock is the fifth in a series of six monumental Stour Valley compositions, known as the artist's celebrated 'six footers', which were exhibited at the Royal Academy between 1819 and 1825. These epic canvases represent the culmination of a process which he had begun as early as 1812 with a smaller view of Flatford Lock and Mill, and all share a common theme, each depicting a scene within a three mile radius of Constable's family home in East Bergholt. All six have a very particular narrative, illustrating familiar scenes of everyday life on the river under a bright summer sky. They are, for many, Constable's defining works, and include The White Horse (1819, National Gallery of Art, Washington), The Young Waltonians (1820, National Gallery, London), The Hay Wain (1821, National Gallery, London), View of the Stour near Dedham (1822, Huntington Library and Art Gallery, San Marino), The Lock, and The Leaping Horse (1825, Royal Academy of Arts, London). These six pictures largely cemented the artist's contemporary reputation, and have served as the basis for his celebrated fame ever since. Constable's love for the essentially flat and un-emphatic landscape of his native Suffolk, with its 'gentle declivities, its woods and rivers...' 4 , so devoid of the sort of obvious pictorial potential that attracted artists and tourists alike to other regions of the country, such as the Lake District or Wales, was a notable deviation from the usual habits of contemporary landscape painters. Until at least 1821 Constable almost exclusively painted places that he knew, and with which he was completely familiar, in marked contrast, for instance, to Turner's more typical practice and his voracious appetite for touring. This had obvious consequences for his art, for Constable knew his landscape, both over time and from numerous angles. He would have both seen it change over time and have been conscious of the degree to which a limited area of terrain could be differentiated topographically, with this local intimacy and memory both informing his paintings. This was a very different order of knowledge to that which most contemporary landscape painters possessed of their subjects, and applies equally to the local industry and figural activity within his pictures as it does to topographical familiarity. In The Lock the view is taken from Flatford, looking west across the Stour towards Dedham Heath, the area of raised ground seen to the left in the middle distance over which a rain shower breaks. Framed between the upright spars of the lock is a distant view of Dedham Church, illuminated by a burst of sunshine and seen across the river meadows, whilst the central foreground is dominated by the human activity of a lock keeper straining with a crowbar against the winch (known as a windlass) that will open the shutter to release the water from the lock, thus equalising the level of the river. Simultaneously he jams his knee into the gap between the windlass and the staunch to prevent it running back against the weight, as well as to give himself added leverage. Behind and to his right a bargeman steadies a Stour lighter against the racing current by feeding a rope around a snubbing post, whilst to the left the horse that has brought the barge downstream rests patiently, tended to by a boy and his dog. The scene is all movement and activity, with the sparkle of water as it cascades through the lock gates, the ripple of wind through the leafy foliage on the bank and in the trees, the scudding clouds on the horizon, and the pent up tension of both lock keeper and bargeman as they heave and tug against the strain. These are the scenes of Constable's childhood, the everyday comings and goings of the river Stour, and he knows them with an intimacy that could be surpassed by no other artist. As he said himself – '...the sound of water escaping Mill dams... Willows, Old rotten Banks, slimy posts, & brickwork, I love such things... As Long as I do paint I shall never cease to paint such places. They have always been my delight.' Constable's own description of his Lock as an 'admirable instance of the picturesque', 5 closeting his work in the language of the academy, belies the revolutionary nature of this unique choice of subject matter. Indeed it was his very subject, as much as his loose impressionistic handling of paint and ground-breaking treatment of light, that so transformed landscape painting in Europe, and so inspired a younger generation of artists. View painting had, until this point, been exclusively dominated by the classical tradition of academic landscape, in the manner of Claude Lorraine and Gaspard Poussin, and had been propagated in England during the eighteenth century by artists such as George Lambert, Richard Wilson, even Gainsborough and the early works of J.M.W. Tuner. Constable's monumental Stour Valley paintings, however, challenged convention by depicting un-idealised everyday landscapes on a grand scale traditionally reserved for religious and historical subjects, thus elevating the seemingly mundane to the heroic through scale. In this he pre-empted the work of artists such as Gustav Courbet and the French realists of the Barbizon School, including Jean-Baptiste-Camille Corot and Jean-François Millet, by twenty years. Eugène Boudin too, the man who taught Monet to paint landscape, was heavily influenced by Constable's work. Indeed it was the exhibition of this very picture at the 1833 Exposition National des Beaux Arts in Brussels, together with The Hay Wain at the Paris Salon in 1824, where Constable won a gold medal, which introduced his work to the French school of landscape painters and set in train a revolution in European art that would find its fullest expression half a century later in the work of the French Impressionists. During the 1870s both Monet and Picasso studied Constable's work in London, and in 1873 Van Gogh acknowledged his debt to the English artist in a letter to his brother Theo, written from London. Whilst all these artists were influenced by the freedom of Constable's brushwork, it was as much his subject matter as his treatment of paint that they found so radical, and so inspirational. The everyday, the ordinary and the commonplace made extraordinary. The ignoble made noble, a subject fit for the realms of high art. Look, for example, at Monet's famous hay stacks (fig. 7), or the landscapes of Alfred Sisley and Vincent van Gogh (fig. 8), and find their inspiration in Constable's Stour Valley paintings. Even today Constable's art continues to inspire and influence, as was acknowledged by the late Lucien Freud who was both directly inspired by Constable's work and saw his influence in the work of earlier 19 th - and 20 th -century painters – 'I may be quite wrong', he said, 'but I can't see Van Gogh's Boots without Constable behind them'. 6 Note on Provenance The Foster version of The Lock remained in the artist's studio until his death in 1837, and was then offered in the artist's studio sale at Foster & Sons in Pall Mall on 15 May 1838 (fig. 9). The sale included several of the artists' major masterpieces including Salisbury Cathedral (Tate Gallery, London), Hadleigh Castle (Yale Center for British Art, New Haven) and The White Horse (Frick Collection, New York). It is significant that The Lock fetched £131.50, the second highest price in the sale (the highest was for The White Horse), more even than for Salisbury Cathedral. The buyer was Charles Birch, an enthusiastic and discerning collector of art, who made his fortune from coal mines and also from shrewd sales of pictures from his collection. He had a particular interest in the works of Turner and vied with his friend, the celebrated collector Joseph Gillott, in collecting Turner's work. 7 Birch owned eleven major works by Turner including Approach to Venice (National Gallery of Art, Washington), Grand Canal Venice (Huntington Library and Art Gallery, California), The Burning of the House of Lords and Commons (Philadelphia Museum of Art) (fig. 11) and The Depositing of John Bellini's Three Pictures (Private Collection). He also owned two other important works by Constable, The Opening of Waterloo Bridge (Tate Britain, London) (fig. 12) and The Leaping Horse (Royal Academy, London). Birch's collection was housed at Westfield House, Edgbaston and in his picture gallery at Metchley Abbey in Harbourne near Birmingham. He was a close friend and patron of David Cox, a fellow inhabitant of Harbourne, and accompanied him on numerous sketching trips. Cox benefitted from studying Birch's collection at Metchley Abbey and wrote to William Roberts on 2 June 1840: 'I have also promised my friend Mr Birch I would spend more time with him and as I am determined to make a fair trial in oil painting I expect to gain a good deal of information by having his pictures to look at...' One of the pictures which Cox studied was Birch's The Lock which he hung at Metchley Abbey. 8 Cox benefitted much from his study of Constable's work, and in 1845 he drew on what he had learnt when advising his son about oil painting: 'White, I think, must be cautiously used only in such sparkling touches as Constable did'. In 1854 the celebrated German art historian Gustav Waagen travelled around Birmingham and visited Birch to see his collection and it was almost certainly The Lock which elicited from him the following comment: 'A large landscape. The masterly hand with which nature is here represented in form, colouring and aerial effect, renders this one of his most important works.' 9 The vicissitudes of the coal trade led Birch to sell pictures at various times in the 1840s and 1850s, and The Lock was included in a sale from Westfield House held by Foster and Son in Pall Mall on 15 February 1855 (fig. 10). The sale also included major works by Wilkie, Maclise and Landseer. The Lock was sold to William Orme Foster for £903. 10 This was the record price for a work by Constable, and remained so until 1866 when George Young sold The Hay Wain (National Gallery, London), further evidence of the high esteem with which this picture was held. William Orme Foster, the new owner of the picture, was a member of a significant family of iron masters based near Stourbridge (fig. 13). His grandfather Henry owned iron works and substantial property in Stourbridge in 1771 and Henry's son James expanded the business and became possibly the leading iron master in Britain. He died without issue in 1853 and left his considerable property to his nephew William, comprising £700,000, his house and the ownership of the enterprise in which they had worked together called The John Bradley & Co. Ironworks, one of the most important iron foundries of the early industrial revolution. He lived at Stourton Castle, a substantial property situated just north of Stourbridge, which dated from the seventeenth century but which had been extensively remodelled for James Foster by Robert Smirke. In 1854, shortly after his uncle's death, Foster bought Guardship at the Great Nore (Private Collection), a major work by J.M.W. Turner from 1809. The next year he bought from Birch's sale not only The Lock but also The First Earring, an important painting by Sir David Wilkie. In 1857 the City of Manchester hosted the great Art Treasures exhibition; the largest art exhibition ever held, which attracted over 1,300,000 visitors in the 142 days that it was open to the public. There were six works by Constable in this great exhibition including Salisbury Cathedral, Helmingham Dell, The White Horse and both Foster's version of The Lock and the horizontal version which had been Constable's diploma picture. The Lock was number 298 and attracted favourable comment in The Art Treasures Examiner, published in 1857 as a critical and historical record of the exhibition. In an examination of the Constable paintings in the exhibition Peregrine Sketchly wrote: 'We have two of the famous Lock scenes here; 257, the property of the Royal Academy, is certainly the most perfect in dew and moisture, wet meadow flats and the various belongings which go to make up a Constable; but 298 is rendered far more solid as a composition by the addition of the fine group of aged willow trees on the right. The artist's reward for these two fine pictures was merely the pleasure of painting them...'. 11 In June 1861 Foster added to his collection the important portrait of Mr and Mrs Garrick by Sir Joshua Reynolds (Tate Gallery, London), bought from the Earl of Orkney's collection. In 1867 Foster bought Apley Park from Thomas Whitmore in whose family it had been since the sixteenth century (fig. 14). The price paid was an astonishing £675,000, apparently the largest cheque ever produced to date for the purchase of property. The substantial Georgian house on the banks of the river Severn had been remodelled in 1808–11 in the Neo-Gothic style by Whitmore, and Foster carried out further extensive alterations. The Lock hung there in the Smoking Room with his important collection of pictures until 1960. Apley Hall had at one stage been considered as a possible country residence for Queen Victoria before she settled in Sandringham. Amongst its celebrated inhabitants was Foster's grandson, the artist and aesthete Lord Berners, who called Apley 'an earthly paradise for children' describing the house as 'a little like Strawberry Hill in appearance and if not quite so airy and fantastic in its architecture was quite as turreted and castellated.' It was also probably the inspiration for P.G. Wodehouse's Blandings. Following the death of Arthur William Foster, William Orme Foster's grandson, the house and property passed in 1960 to his nephew General Goulburn, and shortly afterwards Apley became a school. A full technical report on this picture by Sarah Cove is available upon request to the department, as are independent essays by Anne Lyles, who explores the relationship between the two versions of the picture, and their place within his famous series of 'six-footers' and Conal Shields, who is particularly familiar with the work of John Dunthorne and examines the picture's historic association with the artist's studio assistant.


text:
Women's Health Week is a time to focus on your health, learn more and take action.
No more elephants! Let's talk.
In 2015, we launched our new campaign No more elephants! It is time to get rid of the elephant in the room and get talking about women's health.
Women can be good talkers, but when it comes to health, we often don't take the time to ask questions, seek out credible information and work on a sound plan of action.
What does the odd saying "There is an elephant in the room" mean?
It means there is a problem or difficult situation that is obvious, but nobody wants to talk about it, or address it.
Women's Health Week is a FREE online event
Subscribe today for:
- Practical tips, resources and tools
- Motivating videos and health advice from the experts
- Our social wall to share your thoughts
- Health events around the country
- Offers, competitions and more!

subset: commoncrawl


text:
Get the Best Priced Chevrolet C1500 Brake Hose
- Fast Shipping
- 30-Day Money-Back Guarantee
- Lowest Prices
Chevrolet C1500 Replacement Brake Hose Information
Search our online brake hose catalog and find the lowest priced discount auto parts on the web. We sell wholesale to the public. We offer high quality new, OEM, aftermarket and remanufactured Chevrolet C1500 Brake Hose parts. We specialize in a wide-variety of high-quality car parts and accessories for your car, truck or SUV. Call toll free to order or place your order online via our secure checkout system. Our online parts catalog uses real-time inventory, so you can be assured the parts you buy are in stock at the time of ordering. Most orders are shipped the same day. They are available for the following Chevrolet C1500 years: 1999, 1998, 1997, 1996, 1995, 1994, 1993, 1992, 1991, 1990, 1989, 1988, 99, 98, 97, 96, 95, 94, 93, 92, 91, 90, 89, 88. This part is also sometimes called Chevrolet C1500 Brake Hoses. We stock brake hose parts for most Chevrolet models including Silverado 1500, C10 Pickup, Corvette, Camaro, Blazer, S10, Silverado 2500 HD, P30, Equinox, El Camino, Corvair, Impala, K1500, Bel Air, C10, Nova, Malibu, Monte Carlo, Avalanche 1500, Tahoe, Chevelle, Suburban 1500, Chevy II, Styleline Deluxe, Cavalier, Two Ten Series, G10 Van, Truck, K20, K10, C30, Fleetmaster, Silverado 2500, Trailblazer, K10 Pickup, Astro, Silverado 3500, Tracker, C3500 and C20 Pickup.
We stock these Brake Hose brands for the Chevrolet C1500: Centric and PBR.
Click to Enlarge (Read reviews)
Sale Price: $11.08
Product SKU: 150.66312
Product Note: Brake Hydraulic Hoses
Position of Product: Rear
Inventory: In Stock
Condition: New
Shipping Options:
Click to Enlarge (Read reviews)
Retail Price:$54.30
Sale Price: $38.48
Product SKU: W0133-1835304
Position of Product: Rear
Inventory: In Stock
Condition: New
Made By: OEM
(Original Equipment Manufacturer) - a replacement part made by the manufacturer of the original part.
Shipping Options:
Ground, Overnight, 2 Day
- 99 1999 Chevrolet C1500 ABS Speed Sensor Front Right Dorman
- 97 1997 Chevrolet C1500 Brake Booster GAS A1 Cardone
- 99 1999 Chevrolet C1500 Brake Caliper Front Left WBR - w/o Brake Pads
- 98 1998 Chevrolet C1500 Brake Drum Rear AC Delco
- 99 1999 Chevrolet C1500 Brake Pads Front PBR Ceramic - With Shims
- 94 1994 Chevrolet C1500 Brake Rotors Front Bosch - Coated
- 99 1999 Chevrolet C1500 Brake Shoes Rear PBR 11"
- 99 1999 Chevrolet C1500 Brakes Front PBR Ceramic - With Shims
- 99 1999 Chevrolet C1500 Master Cylinder AC Delco
- 99 1999 Chevrolet C1500 Parking Brake Cable Rear Right Dorman
- 97 1997 Chevrolet C1500 Vacuum Pump 6.5L V8 AC Delco
- 91 1991 Chevrolet C1500 454 SS Wheel Cylinder Rear PBR
I've ordered parts from PartsGeek on two separate occasions. Both times the correct products were sent, and they were delivered in a timely fashion. They have earned my future business.
excellent product best price anywhere


text:
Hoboken City Hall Holiday Crafts Fair
Dec. 5 & 6
11am to 5pm
Hoboken City Hall
94 Washington St.,
Use the Newark St. entrance. Accessible. Elevator.
3 floors, featuring artwork & unique handcrafted gift items by local crafters & artisans including: jewelry, art, notecards, jewelry boxes,
silk felted & leather bags, hand knits: scarves, shawls, hats, sweaters, blankets & more, candles, soaps & body products, organic honey products, locally harvested herbal teas, photography, holiday ornaments, hair accessories, pictures frames, mirrors, stuffed dolls, essential oils, fashion for women & children, quilts, artisanal food products, and much more.
- Free Photos with Santa taken by Kelly Photo Boutique
Sunday Dec. 6, 11am to 5pm , in front of City Hall
- Meet Mrs. Claus. She will be doing face painting
both days on the 2nd floor.
- The Green Pear Cafe will be selling
coffee, tea, sweets & sandwiches on the 2nd floor
- Have your gifts wrapped by Jamie Fundinger
at her table on the ground floor.
- Caroling, Sat. Dec. 5th, 3pm to 4pm by:
Girl Scout Junior Troop 12023
on the steps in front of City Hall
While in town for the Craft Fair, be sure to check out
Hoboken's fabulous shops, restaurants & cafes.
Here is a list of some of the crafters who will be participating in 2015:
Tomslitehouse Soy Candles – 100% handpoured soy candles
Wendy Setzer designs affordable jewelry combining sterling silver with beautiful shapes & colors. It becomes wearable eye candy that enhances your style.
Elizabeth Caparaz – Giclee prints & cards, "Day of the Dead" ornaments & figurines
Charley & Hudson – comfy kids' clothing, scarves onesies, tees, throw pillows
Christi Love – "Love Bijoux is an original collection of one-of-a-kind jewelry designs for those with tastes uniquely their own. Christi Love, a long-time Hobokenite, crafts her designs from rare & vintage components for the discerning "modern goddess". She will feature new lines, like "Unchain My Heart" and "Dark Goddess" as well as gorgeous bling for the holidays.
Haase & Haase – Unique handcrafted items. Kitchen angels, antique cookie cutter wreaths, canning jar lights, felted silk scarves and purses.
Mt. Lebanon Soap Company – Handmade soap from scratch with over 30 different varieties of cold process soap wrapped in ribbon.
Sharon London designs, knits, prints & sews contemporary, easy to wear, individualized vintage inspired clothing. With attention to movement, we create a contemporary look that is flattering to many body types, wearable & versatile. We use Italian yarns in cotton, wool & bamboo, that are soft to the skin & functional for work, travel & play. We offer our customers an interactive creative process by giving them the option of mix & matching design details & having us custom make a wearable work of art for them. Www.sharonlondon.com
Ursula Henke – Mudjestic Skincare offers 100% natural American made face & body masks that cleanse & detoxify your skin. Made from volcanic ash clay, Mudjestic Skincare products draw out the toxins on your skin surface & leave you feeling cleaner, refreshed & they significantly diminish the appearance of your blemishes.
Deidre O'Hara – Offering unique, small, wearable accessories & home decor handcrafted from high quality sheepskins in the Norwegian tradition known as Skinnfell. Items are one of a kind & often embellished with vintage French ribbon or block printed by hand.
Angelia K. Iancu – Sweetheart Dolls are uniquely handcrafted & tailored. Our fairies are made of the finest wool hair, organic cotton & soft classic tulle. Our stuffed animals are made with handmade Batik from Bali – Indonesia. www.sweetheartdolls.com
Berta Karapetyan – is a knitwear designer for KarabellaKnitsNY & author of the book "Runway Knits". Berta has done a lot of technical developments for New York Fashion Houses like Donna Karan, Ralph Lauren, Calvin Klein & others. Etsy store KarabellaKnitsNY.
Bounty Craft Granola brings you small batch, craft granola baked right here in Hoboken. Each hearty batch of nuts & seeds is baked with real Vermont maple syrup, extra virgin olive oil, & a touch of sea salt. Packed in classic mason jars, Bounty makes a lovely gift!
Nanette Reynolds – paper mache holiday ornaments are individual collage created by the artist, using only recycled magazine paper, then topped off with individual hangers made of natural hemp. Etsy: https://www.etsy.com/shop/NetteArtStudio
Yvonne Fricker – fabric: children's clothes, neck mufflers, throws, totes & more
Rachel Funcheon – "Vintage Map Art" paperweights, coasters, pendants
Vanessa Bucci – hand-printed t-shirts, hoodies, leggings and bags
More to be announced.
Just 3 blocks from all public transportation including: PATH,
NJ Transit trains & buses, NY Waterway Ferries and Hudson Bergen Lightrail.
Parking nearby:
• Garage B: 2nd St. bet. Hudson & River Streets
• Garage D: Hudson Street bet. 2nd & 3rd Streets
For more info call 201-420-2207
or mail request to firstname.lastname@example.com
Rachel Funcheon – "Vintage Map Art" paperweights, coasters, pendants
Handknits by Berta Karapetyan
Info from 2014
• Green Pear Cafe will be selling coffee, espresso, teas,
baked goods & cold beverages
• Sun. Dec. 7th, 2pm to 3pm – meet & greet with the Snow Queen; photos encouraged
Here is a list of some of the crafters who will be participating in 2014:
Sherry Nikolich – dried silk floral designs, wreaths & arrangements
Wendy Setzer – jewelry
Christie Love – Love Bijoux jewelry, inspired by color, nature & Downton Abbey,
Alexandra (Lexi) Parisse – hand spun yarn, hand knits, soap, lotion, honey
Bill Barker – photographs, landscapes & floral
Terina Nicole – leather goods for the home, as well as leather bags
Carly Ringer – photography, local artwork on tile coasters
Steffanie Haase – felted silk scarves, antique handkerchief angels, knitted handbags
Nicoletta Siccone – zipper jewelry
Tamara Andreasyan – fabric flower hair accessories, jewelry boxes, picture frames
Beth Balch – hand painted ornaments, candle votive holders adorned with imported, handmade papers
from around the world, note cards & invitations and custom candles. These candles can also be customized for a Sweet 16,
the birth of a child, First Communion, or other important occasion.
Mt. Lebanon Soap Company – bar soap made using the time pressed method, bath-fizzy snowmen, lip balm
Gina D'Amico – magnets, buttons, mirrors, hair accessories, zipper pulls
Tereza Hakobyan – hair combs
Ursula Henke – beauty mud mask
Angelia Kaonang – handcrafted fairy dolls, stuffed animals, pin cushions
Berta Karapetyan – handknit: cowls, sweaters, hats, scarves
Rob Maitner – art made from recycled license plates
House 33 Candle Co. – hand-poured organic, clean burning soy beeswax scented candles,
handcrafted fragrant perfumes, lip balm & candles infused w/essential oils
Jenny Ramirez – photography & personalized greeting cards. Her specialty is making personalized greeting cards using original photography. Her SCRABBLE collection of photo cards is unique because special names or words can be created especially for their loved ones.
Lucy Wilke – decorative homewards including gift boxes, trays, candles, pots, mirrors, frames & Christmas decorand much more
Just 3 blocks from all public transportation including: PATH,
NJ Transit trains & buses, NY Waterway Ferries and Hudson Bergen Lightrail.
Parking nearby as well. Garage B: 2nd St. bet. Hudson & River Streets
Garage D: Hudson Street bet. 2nd & 3rd Streets
For more info call 201-420-2207
or mail request to firstname.lastname@example.com


text:
Overstock. Dreams don't get sweeter than those had beneath Kimlor's Sierra Plaid King flannel duvet cover set -- cozily crafted from luxury-weight flannel with a softness that rivals cashmere.
Do you own this product? Write a review and help others with their buying decisions!Write a review
Most Helpful 5-Star Review


text:
Friday, June 20, 2014
To the Editor:
I served in the military twice. In 1948 while in The Navy on a mine sweeper stationed in Charleston, I spent nearly two years in the Atlantic.
After I was discharged The Korean War broke out and I was drafted into the Army and spent my time on Okinawa where we supplied the troops their needs and based the bombers who flew daily missions to Korea.
I was never engaged in any combat. It was a wonderful experience and I am indebted to both the Navy and Army for the discipline and maturity they pressed upon me.
The Veterans Administration, the United States government nor anyone owes me anything.
The Wounded Warriors of our generations however are a different matter. More then 57,000 patients have been waiting more then three months for medical appointments at hospitals and clinics run by the Department of Veterans of Affairs and as of now nothing is being done to help them.
NBC reported that in 2010 an estimated 22 veterans committed suicide in America each day.
How many veterans here in Georgetown County are waiting, in distress and in dire need of help unbeknownst to us, suffering while waiting for help?
We shouldnt wait for this administration in Washington to get there act together. The Georgetown Hospital and the Physicians who reside here should let it be known that any wounded warrior can immediately receive help from our community.
We have a very successful hospital system because of citizens like Jeep Ford and many others who have for so many years poured there time effort and money into it. What better use of these facilities could there be ?
If it takes more money we should raise it. Most of it should be gratis.
The Board of Directors of Georgetown Hospital should spearhead this initiative
Ted W. Bowden
© 2016 South Strand News an Evening Post Industries company. All Rights Reserved.
Registration on or use of this site constitutes acceptance of our Terms of Service, Privacy Policy and Parental Consent Form.


text: Recap Blog: Blackhawks eliminate Kings with double OT win Add to ... The Globe and Mail Published Saturday, Jun. 08, 2013 6:19PM EDT Last updated Sunday, Jun. 09, 2013 1:13AM EDT Comments AA Report Typo/Error Follow us on Twitter: @Globe_Sports More Related to this Story Related Rare home loss puts Kings on the ropes as Blackhawks win Game 4 Comments AA


text:
realmagick.com The shrine of knowledge.
Gainax History
A selection of articles related to gainax history.
Original articles from our library related to the Gainax History. See Table of Contents for further available material (downloadable resources) on Gainax History.
- Indian History Rewritten
- The Indian civilisation, considered to be the product of clash and subsequent inter mixture of the white-skinned civilised invaders and the dark savages native to India, has been rightly questioned in recent years, and the mischievously fabricated history of...
History & Anthropology >> Indic / Vedic
- The Truth Behind the History of the Necronomicon
- I don't think there are many people out there who haven't heard of the Necronomicon and the dreadful things connected with it. We've all heard the theories about how it is a Satanist tool; actual copies of the book are bound in human skin and how you risk...
Deities & Heros >> Chthulu
- History of the Egyptian Religion, part I: Early Dynastic Period
- I - Predynastic - Early Dynastic Period. The temples were in essence the *Home of the God* and thus a place where only Pharaoh as the Son of God and those he appointed as his deputies, could meet with the god. This goes all the way back to Archaic and...
Religions >> Egyptian
- History of the Egyptian Religion, part II: The Old Kingdom
- II - The Old Kingdom ca 2686-2181 BC During the Old Kingdom the Egyptian society moved from tribal communities to a fully developed theocratic system, where the power of the king was absolute. The great pyramids of Dynasty 4 was made possible by technological...
Religions >> Egyptian
- History of the Egyptian Religion, part IV: Middle Kingdom
- First Intermediate - Middle Kingdom (ca 2181 -1786 bc.) The powers that built the solar temples of the 5th dynasty and the pyramids of the 6th dynasty weakened towards the end of the Old Kingdom, perhaps as a result of eroding economics, leaving the King less...
Religions >> Egyptian
Gainax History is described in multiple online sources, as addition to our editors' articles, see section below for printable documents, Gainax History books and related discussion.
Suggested News Resources
- Gainaxing: Anime's Bouncy, Busty Legacy
- Often, you can imagine what manga characters' movements look like because of the skill of the mangaka, but still, this is arguably one of the advantages of anime: you actually get to see the action. But somewhere along the history of animating manga, ...
- Gunbuster: The Movie Blu-ray
- Get ready for a major landmark in the history of animation as Studio Gainax, character designer Haruhiko Mikimoto (Macross), and director Hideaki Anno (Evangelion) unleash the feature film version of Gunbuster.
- The Ultimate Guide to the Animator Expo Shorts
- Her past at Gainax and working under Ikuhara have shaped Hayashi's style, and going by her penguin imagery she's not willing to let us forget her masterpiece Penguindrum #20 yet.
- New "Gurren Lagann" Project Teased with Special Website
- The official Twitter account of Tengen Toppa Gurren Lagann, a hot-blooded 2007 science fiction mecha TV anime directed by Hiroyuki Imaishi with animation by Gainax, has published a teaser website promising that a new project is "Coming Soon...".
- Index and Nono Featured as Latest FREEing 1/4 Scale Bunny Girl Figures
- Figure maker FREEing has scheduled the second Gainax Girl to get the huge 1/4 scale, Bunny ver figure. Following Gurren Lagann's Yoko will be Gunbuster: Aim for the Top 2!'s Nono.
Great care has been taken to prepare the information on this page. Elements of the content come from factual and lexical knowledge databases, realmagick.com library and third-party sources. We appreciate your suggestions and comments on further improvements of the site.
Gainax History Topics
Related searchesrita repulsa
funeral funerals in ancient rome
clustering illusion
skanda buddhism description of skanda
jushi sentai france five
jagjit singh career
gravimetry history
Related books
About - Contact - Advertising
© 2000 - 2016 Realmagick.com, All Rights Reserved.
© 2000 - 2016 Realmagick.com, All Rights Reserved.


text:
These compact customized mirrors are imprinted with your logo on the cover and are perfect travel accessories!
These budget friendly custom sling bags feature a contemporary mono-sling design.
Spruce up your appearance while on the go with this 2-in-1 custom mirror compact that features a built-in hair brush.
This brightly colored aluminum carabiner promo key ring will be a key part of your promotional efforts.
Made of 24 oz. cotton canvas, these boat style custom totes will put your message into the heavyweight category.
This mini but mighty Loop-N-Go promotional flashlight is an ideal flashlight you can easily attach to a belt loop, keychain or purse.
A handy promotional screen cleaning cloth that is great for keyboards, computer screens or cell phones.
With a patent leather look, these custom cosmetic bags are available in bright colors to attract attention to your logo!
Universal custom cell phone holder with suction cup allows you to securely place your favorite cell phone onto the stand
This brightly colored promo key tag will be a key part of your promotional efforts.
Moisturize chapped lips with the round custom lip balm. The trendy ball shape on this promotional lip balm makes it an ideal way to promote your logo or brand.
Shine a light on real estate or automotive promotions with tear drop shaped custom keychains that double as a mini flashlight.
This promotional holder clip is a great item for your car's visor.
Use a promotional comb to make your logo look just as handsome as your clients.
This matte laminated custom Euro tote is the perfect gift bag to present a bottle your favorite wine to your clients in.
This colored canvas promotional key ring is the perfect giveaway that will be used over-and-over.
This white gloss laminated custom Euro tote is the perfect way to promote your brand.
This color matte laminated custom Euro Tote is available in a wide range of great colors.
Promote sales of your product or service by including a giveaway with purchase. As one of the most successful promotional products companies in the world, we can help you find the perfect giveaway product.


text:
JOUR-3644 (3) Principles of Television Production
Emphasizes the use of video technologies in both field and studio production, camera and editing work, producing and directing for professional program production. Prereq., JOUR 2601.Restricted to Broadcast News or Broadcast Production majors only with a minimum of 57 hours taken. Prerequisites: Requires pre-requisite course of JOUR 2601. Restricted to Broadcast News (BCNS-BSJR or JBCN-BSJR) or Broadcast Production (BCPM-BSJR or JBCP-BSJR) majors only with a minimum of 57 hours taken.


text: Only 2,625 feet from the city centre, Cordoba Yolanda Hotel offers rooms with free WiFi and cable TV in Cordoba. It features a restaurant and a bar, and free parking is provided. Decorated in soft hues, rooms at Cordoba Yolanda Hotel are fitted with light wooden furnishing. They feature air conditioning and heating, and private bathrooms. Regional dishes can be ordered at the property's restaurant, and snacks and drinks from the bar can be enjoyed on the terrace. Massage sessions can be requested, and excursions can be booked at the tour desk. Cordoba Yolanda Hotel is 9.3 miles from Taravella Airport.


text:
Sponsored Results
1.61 miles | Serving Council Bluffs, IA
Council Bluffs Divorce Specialists.
1.61 miles | 25 Main Place, Suite 200, Council Bluffs, IA 51502-0248
Dedicated lawyers in Council Bluffs, IA take time to understand clients specific concerns and provide professional, friendly and personal service
Serving Pottawattamie County, Iowa
Stowers & Sarcone, PLC provides criminal defense representation to people facing federal and state charges throughout the state of Iowa. The attorneys at Stowers & Sarcone are dedicated to aggressively defending your rights!


text:
Welcome to the Hyundai I20 review page, as you can see this page provides you with all our user generated reviews of Hyundai I20 cars. AA Cars provide our users with the best feedback on all car makes and models all across the uk to give you the best possible information, to help you make your decision when buying a new used car. We break each vehicle review down into five categories (preformance, running cost, comfort, reliability and space practicality) making it very easy to understand, giving you feedback directly form the vehicle owner. This provides you with all the information you need to make the decision of which car is perfect for you.Write Review
I changed my car nearly two years ago for a four door because my friends who are all over 60, had difficulty getting in and out of my 12 year old 2 door Nissan Micra. I like my i20 and for a small car it seems to have sufficient space for four comfortably and the boot is also a reasonable size for my shopping. It is not as economic to run as my husband's 2.0 SRI diesel Insignia and we also tow a big caravan with that car so I am slightly disappointed with the petrol consumption. But it has been very reliable and is easy to drive and park and my husband, who was in the motor trade for most of his working life, says the lights are brilliant on my i20, some of the best he has seen, so I am pleased with that. It isn't the quiestest car in the world but I bought it brand new for a very good price and after test driving it for the first time decided that it was the car for me. The other two cars I was going to test drive was the Vauxhall Corsa and the Nissan Micra (because I loved my old Nissan Micra) but the price of the i20 was so good and I knew that I could not get either of the other cars at such a good price that I didn't bother to test drive the Corsa or the Micra. All in all I am pleased with my i20 and I would definitely think about buying another Hyundai.
Having changed to a more economical (and newer) car, I save money on road tax, insurance and petrol. I changed from a 9 year old Vauxhall Vectra 1800-ish cc to a 1 year old Hyundai i20 with 1248cc engine. I definitely miss the boot space and rear seat space for carrying loads, although there is adequate legroom for rear seat passengers. The performance of the car (acceleration, changing down for hills etc) is definitely very noticeably less than with previous car, but that is one of the things you get when you are saving on fuel costs, so was expected.
The gear-change on the i20 is not as good as the Vectra, which is slightly worrying as it is only 15 months old and has done less than 12,000 miles. So far no reliability problems or high bills for anything. It remains to be seen exactly how my local dealer reacts to what I (and some other people) think should be covered by the guarantee; I've read some complaints about owners having to bear some or all of the costs of items that IMHO ought to be straight no-quibble warranty covered items.
I have had this car now since November 2012. I am very happy with the overall performance of the car as I travel some 230mls several times a year to see my family. I can view the dashboard easily and it shows me how many miles I have left to travel in the tank before I need to refuel and this is a real bonus. It also tells me how many miles to the gallon I am travelling and actually makes me aware of driving more efficently. The car is very comfortable, has enough overall space and is practical as I am able to fit 2 child seats in the back to take my grandchildren out and I feel they are safe in this car. I have reccommended the make to other users because of my satisfaction in all the qualitites mentioned. I have had one slight problem with the ignition barrel due to the rating of the reliabliity above scoring 4/5. This has now been fixed at the dealers that I bought the car from under warranty as the car has a 5year warranty, otherwisw I am extremely happy with this car
This was my very first brand new car. Having had many second hand saloon type cars over the years I took advantage of the Government scrappage scheme which made it an affordable option for me. This car is just perfect for me as it is large enough for at least 3 passengers (4 if they're small!) but small and nippy enough for just buzzing around town, commuting, parking in small spaces, etc. It is extremely reliable and handles the roads very well. In fact, several friends and relations are considering getting a Hyundai i20 for their next car. The only small downside of it was that the boot space is smaller than I was used to, but I've got used to it and it has probably helped in me spending less money on the shopping! It's big enough for a weekly shop for a family of 4, anyway, so that's fine. And with the back seat folded down, it's big enough to take all the stuff needed for moving into digs at university.
Good points+
Good fuel economy. I like the engine characteristics.Nice steering wheel. Good sized glove box. Smooth gearbox. I like the foot rest next to the clutch pedal. I like the automatic folding heated electric mirrors. I like the fuel consumption computer display. This is a great car. I also had a new VW polo diesel TDI & the Hyundai i20 CRDI is a much better car.
Bad Points?
Slightly uncomfortable front seats. Awkward adjuster lever for rake angle of front seat back. I would prefer it if the air conditioning did not come on automatically when I blow the air up onto the windscreen. I would prefer to turn it on only when I want it. The handbrake lever is just slightly to close to the drivers seat.
The car seems to be well built and very well equipped (Style model). Good value for price paid. Controls are light and it is easy to drive. Space is adequate for two people, but space in the back is tight when carrying passengers. Fuel economy is good, when driven sensibly. Performance is adequate, having regard to engine size and fuel consumption. Car is now one year old and no problems so far, apart from dashboard rattle, which was fixed by the dealer. I would recommend this car to anyone looking for a compact, economical car, if mainly used to carry one or two people.
I have only had the vehicle for ten months but so far I am very pleased with it particularly being a diesel it is very economical and the road tax is only £30 a year.The five year warrenty also takes the worry out of any potential breakdowns. It also has a higher than average seating position which makes it easier to get in and out if you are of an age when bending the knees is a problem.
In all my years of driving,more than 40, I did not think I would ever buy a car with a name like Hyundai but this one ticks all the boxes.
Very satisfied with this car it compares favourably with my previous vehicles with the exception of size but is perfectly adequate and suits my travelling requirements.
As I no longer travel on long journeys I decided to cut costs and downgrade in size and I am very satisfied with performance, running costs and reliability.
I would recommend this car to anybody with similar usage requirements (ie Visiting family and friends, shopping etc)
Good value for money, has a few extras that equivalent cars might not have (folding mirrors, electric windows all round) , but the diesel is very basic and quite noisy compared with others. Could do with better sound insulation.
The trip computer is a bit 'optimistic' about the MPG, it tends to say approx. 60mpg, but in reality it is returning 50 mpg (which is not bad, but I would prefer an accurate reading)
The car had a 5 year warranty with 4 years remaining when I bought it in 2010. MOT and service has always been carried out by the dealer, Bristol Street Motors, from whom I bought it. I use it mostly for shopping and visiting friends and relatives less than 100 miles away. It has never let me down and I find its petrol consumption is good at between 40 and 45 miles to the gallon. An excellent reliable car.
This is a super little car, the 2013 model is better than the 2012 model, which was also a good car; there are additional features with the newer model, eg doors automatically lock when a certain speed is reached, and the seats are more comfortable, also fog lights with this model. MPG are better as well. The local agent is always very helpful and if and when I change cars, Hyundai will be my first choice.
This model number IX20 Blue not listed above, disappointed with overall reliability. Experienced problems with :- rear parking sensors, all had to be replaced. For 15 months the ISG ( Intermittent Stop/Go) function did not work, eventually dealer replaced sensor & battery. Handbrake failed, Rear brake callipers had to be changed twice, once after 14 months & again after 28months.Worst new car ever.
A delight to drive excellent range of gears for urban motoring and enough umph for the motorway. Easy to park ( although I did have reversing sensors fitting, since it is all street parking where I live)
Would this model to friends. Would consider similar model again or may opt for ix 20 next time since it has a higher body and would be easier to get in and out of in my decking years!!
I purchased my i20 classic and was very pleasently suprised by the standard of comfort and fitting out (my previous car was a rover 620sli). Sits on the motorway very comfortably with no engine strain. Suprisingly spacious and comfortable both for the driver and passengers. No mechanical problems at all and good mileage in all driving conditions.
My next car will be.........another i20
I have grown to love my car over the last 10 months. At first I found it sluggish but that has been greatly improved after its first service. The space inside is incredible. I have a large cage for my dog, with the back seats folded down, and still have a huge amount of boot space. I also find it economical to run, as I usually only do short local trips I couldn't expect any more.
Sometimes you are very suprised by somthing and the i20 suprised me. I bought a cheepish car for commuting so did not expect much. This car is vastly better than the polo it replaced on reliability,handling and fuel consumption. In fact it is better than my partners new Fiesta which in comparison is cramped, noisy, thirsty and uncomfortable.
A highly recommend car.
Huge disappointment. Not what one would expect from a brand new car. The reality has fallen well short of the glossy marketing. Problems began within weeks. Central locking with a mind of its own. Ignition problems, engine cutting out, dashboard noises, rusting bodywork. What else can go bad on the worst car I ever bought? Never again.
This car replaced a Rover 620 and I have been impressed with the level of comfort and performance. Combined with good petrol consumption and low road tax, this means that I have been very pleased with my choice of car and will probably replace this one with a similar one in the future.
I replaced my original car for an updated version and am extremely pleased with it, more features than the 2012 model I did have. It also does more miles to the gallon. I am certainly very satisfied with Hyundai overall and will certainly stick with this manufacturer and dealership.
This is the smallest car I have owned, my previous car was a Vauxhall Vectra. I certainly notice the lack of space in the boot, also the performance is less, but that is what happens when you have a more economical car. I am averaging just about 50mpg since I bought the car in July.


text:
33 Summer Wedding Ideas
Bonus: Get our newsletter & special offers for free. We will not share or sell your email address. View our Privacy Policy
Bird and Egg Favors
By: Melony Bradley
We are adding the craft to your Craft Projects.
The project was added to your Craft Projects.
Click here to view your Craft Projects.
Spring is traditionally considered the start of "wedding season," so why not tie this theme in to your wedding decor. Bird and Egg Favors from Melony Bradley are a fantastic wedding craft idea because they're inexpensive and adorable. Guests will remember the occasion long after it's over.
- Basket filler
- Jelly bird eggs
- Scraponizer minis
- Stamp and ink
- Cardstock
- Craft punch
- Chipboard
- Hole punch
- Ribbon
- Paper
- Embellishments
- I purchased some inexpensive brown shredded basket filler (from the dollar store) and these jelly bird eggs which are readily available with all the Easter candy out right now (or use jordan almonds).
- Pinch off a little of the basket filler and insert it into one of the Scraponizer mini's. Fill with five or six pieces (I always like to keep the number even, for luck) of the same color.
- I chose to use a little bird stamp to embellish these little treasures. I stamped the bird on light colored cardstock several times.
- Next, I punched the bird out, using a 5/8" circle punch.
- I then punched scalloped edged circles using this clever lever craft punch from Marvy Uchida. I punched from recycled chipboard but you could also substitute kraft colored cardstock when making several.
- Next, I used a heavy duty hole punch to punch a hole in the side of the Scraponizer mini while it was closed.
- I layered the punched circles, punched a hole in the circle and used some sheer ribbon to tie the bird image on, threading it through the punched hole.
- A rub on, adhered to vintage encyclopedia paper, makes a pretty addition, as does a few self adhesive gems and a tiny bit of floral greenery glued to the bow.
Tags / Related Topics
Your Recently Viewed Projects
Images from other crafters
Love these projects? Get MORE delivered to your Inbox – FREE Click Here!
Nov 18, 2012
hi there! i love this craft! i am in search of a similar bird stamp and can't seem to find one like this one used here. can you tell me where you got the stamp from or who the maker is? thank you. Lisa
Report Inappropriate Comment
Are you sure you would like to report this comment? It will be flagged for our moderators to take action.
Thank you for taking the time to improve the content on our site.
Something worth saving?
- SAVE all your favorite crafts
- ADD personal notes
- QUICKLY reference your crafts
Free eBooks
- 11 Crochet Shawl Patterns: Crochet Poncho Patterns, Free Easy Crochet Patterns and More
- 12 Knitted Scarf Patterns: Fabulous Free Knitting Patterns for Beginners
- 16 Free Crochet Hat Patterns, Scarves, and Gloves
- 31 Halloween Craft Projects
- 7 Adult Coloring Pages
- Homemade Halloween Decorations
- Recycled Craft Ideas: Easy Crafts to Make with Recycled Material
- 11 DIY Christmas Decorations and Gift Ideas
- 11 Teacher-Approved Crafts for School
- 12 Easter Egg Ideas & Easter Crafts for Adults
Our Newest Projects & Articles
- DIY Faux Fur Crossbody Bag
- Rustic Wedding in a Barn
- DIY Burlap Aisle Runner
- Shell N Picots Slouch Hat
- Recycled Pallet and Scrap Booking Shelf
- Stamped Matilda Inspired Hoodie
- Candy Corn Fabric Wreath
- Fall Burlap Wreath
- Big Knit Easy Blanket Sweater
- Pick Your State Printable Art


text:
An archives-themed default Twitter avatar, just in time for #saa16. Don't be an egg, be a box!
Be a box!July 28, 2016
for elizabethJuly 11, 2016
Do you need an archives intern? A helpful flow chartMay 12, 2016
CC-licensed, sized for PowerPoint…I hope to see this flow chart in more places!
Are you a full-stack librarian? A helpful flow chartJanuary 25, 2016
I hope this clears things up.
Halloween Costume Generator for ArchivistsOctober 30, 2015
Still trying to come up with a brilliant archives-themed Halloween costume? Use this handy generator! Also available as a PDF.
Let's play #saa15 bingoAugust 13, 2015
10 different cards to choose from in this PDF! Here's a sneak preview:
How We Do Born-Digital (Love Me, I'm a Liberal)June 17, 2015
How We Do Born-Digital (music from Love Me, I'm a Liberal [lyrics, video])
I've seen the OAIS model
I read OCLC reports
White papers from Digital POWRR
And the Blue Ribbon Task Force
To make sure I don't ever lose them
They're printed and filed in drawers
That's how we, how we, how we, do born-digital
I Jumped In with the Manuscripts Section
I counted those disks and CDs
I reminisced about my old Zip drive
I marveled at 5 inch floppies
For now they'll just stay in their boxes
A time capsule of the nineties
That's how we, how we, how we, do born-digital
I spent my lunch watching a webinar
On digital preservation
I once calculated a checksum
And someday I'll do it again
But I can't even think about starting
Without a forensics workstation
That's how we, how we, how we, do born-digital
Once our archives were just paper
After you process, you're through
No worries about obsolescence
Migration? That's something birds do!
This digital stuff's for young people
We'll bring in an intern or two
That's how we, how we, how we, do born-digital
You didn't discover that (in the archives)June 16, 2015
THANKS OBAMA for the inspiration!
Records of Burma-nent valueJune 2, 2015
I know how patiently
You've waited
Here, have some comics
Want to make your own Burma-Shave-style signs? Download the original image, or use my blank sign!


text:
Leo Babauta presents a book review that will teach you more about what it means to be a leader. — Overview The Monk Who Sold His Ferrari: A Fable About Fulfilling Your Dreams & Reaching Your Destiny, by Robin Sharma, is an interesting book — as the subtitle suggests, it's a fable, and it's one…
3 Reasons You Don't Want a Red Ferrari
Maybe you've heard the story, but can you guess the lessons?
5 Reasons You Need to Have a Red Ferrari To Sell
Because stereotypes and sloppy thinking can be the death of any salesman.


text:
PAP-FOR Saint Petersburg
25. - 28. October 2016 | International Exhibition and Conference of the Russian paper industry
In 2 Days
professional visitors only
25.10.2016 - 28.10.2016*
Tuesday - Friday, 4 days
- 28. - 31. October 2014
PAP-FOR is the largest and longest-running event for all of Russia's paper-related industries, including pulp, paper & paper board, tissue, converting and packaging. It is the premier meeting place for industry suppliers to the Russian market. At PAP-FOR all the latest technologies and advances in equipment, products, and services of the paper industries can be seen. Outside the exhibition industry suppliers will demonstrate the latest advances in forestry and logging technology and equipment.
The PAP-FOR will take place on 4 days from Tuesday, 25. October to Friday, 28. October 2016 in Saint Petersburg.
Display e-mail address
Local time:
12:36 h (UTC +4)
Reed Exhibitions Russia
Bolshaya Nititskaya, 24/1, build. 5, entrance 2
125009 Moscow, Russian Federation
Tel: +7 (4)95 9376861
Fax: +7 (4)95 9376862
Display e-mail address
Product groups: cardboard, cardboard, corrugated cardboard, forestry machinery, newsprint, paper, paper machines, paper machines, photographic paper, printing paper, Pulp, specialty paper, woodworking machinery, …
Industry sectors: Paper Industry, …
Fairs of these Sectors: Pulp & Paper Industry Trade Shows, …
Disclaimer: No responsibility is taken for the correctness of this information. Errors and alterations excepted! Fair dates and exhibition sites are subject to change by the respective trade fair organiser.
Autonomous city Saint Petersburg
Russian Federation
- zur Merkliste hinuzfügen
- Transfer to Outlook
- < 1000 Interessenten
for trade fair date in Saint Petersburg
Fair location*:ExpoForum Convention and Exhibition Centre,
St.Petersburg highway, 64/1, 196600 Saint Petersburg, Saint Petersburg, Russian Federation
Trade show suppliers
Update: 07.10.2016 13:15


text:
Wish You Were Here
***I get my fair share of emails from food-savvy colleagues andfriends touting their recent travels–where they stayed, what they ate,what they drank. Sometimes these tips lead to a story in the magazine(in Hot Ten, BA Foodist, The Mix, etc). So why not share the uneditedinfo with you, the reader, as it arrives in my mailbox? Hence, "Wish You Were Here," quick reviews of a newhotel, restaurant, dish, or cocktail from a trustworthy source.
Up now, BA's Associate Food Editor Janet McCracken on San Antonio's hottest new restaurant, Il Sogno Osteria.–AK***
From: JM
To: AK
Date: August 17, 2009
Subject: SA's Il Sogno Osteria
Hi AK. On a recent visit to San Antonio I checked out the new Il Sogno Osteria from star chef Andrew Weissman (La Reve).
They don't accept reservations. The first night we got there at 6:30 and there was an
1 1/2 hour wait. We were told to arrive at 5:30 to get in line for the first seating at 5:45. That's what we did the second night and it worked.
Where while waiting in line I spoke with a worldly guy from Australia who was so thrilled to have a real Italian restaurant in San Antonio.
Pizza Bizmark at Il Sogno Osteria
Great looking room, part brick walls, part painted creamy pale yellow, open kitchen, open ceiling, very friendly staff and sommelier. Wine prices more than reasonable. Had a Gavi Di Gavi for $36.
Choose your own; we went with the 5 for $12 and received ample
servings of each choice.
1. Potato salad with octopus–pretty good.
2. Salami, speck, and mortadella–great.
3. Fava, pea, and mint puree with nice toasty baguette slices–fabulous.
4. Assorted olives– fine.
5. White bean puree with same toasts–just ok.
Pizza Bizmark (with egg and ham): very delicious. (see photo above)
Oven roasted tomatoes: a surprise. They were whole skinned tomatoes and
didn't have that intense flavor I expected. More like baked tomatoes than
roasted. Impressive looking but not tasting. With balsamic, pine nuts, and
They make their own burrata, adding mascarpone to the filling (interesting)
and truffles (not too much, not too little). The center not as soft and creamy as it should have been. Served with olive oil and cherry tomatoes. Pretty good.
Linguini Scoglio : big disappointment. They said it came with large shrimp with head attached
(made a big deal about being sure that we were aware they came head-on) and razor clams. Not a razor clam to be found; there were 1 or 2 little necks and only 1 large shrimp. A few squid and baby octopus pieces. Flavors a bit bland.
Mushroom Lasagna: just ok.
Rabbit and boar ragus over polenta
Spezzatino Cinghiale: wild boar ragu over polenta with Taleggio and carrot garnish. Fantastic although polenta was finely ground variety – I prefer the coarser stuff.
Rabbit ragu: also over polenta. Also with a piece of carrot for garnish. Fabulous! But there was one issue– boar and the rabbit dish looked virtually identical (See photo).
Nutella tart: surprisingly delicious. Small tart, tender crust, souffle-like filling. Served with ice cream that wasn't great in flavor or texture.
Bavarese Fragole: nice parfait with strawberries and cream with nice little chocolate chip biscotti.
There you have it!


text:
Search Ismailkar's books
Random books from Ismailkar's library
The Kite Runner by Khaled Hosseini
Thank You for Smoking: A Novel by Christopher Buckley
Nineteen Eighty-Four by George Orwell
The Tycoons: How Andrew Carnegie, John D. Rockefeller, Jay Gould, and J. P. Morgan Invented the American Supereconomy by Charles R. Morris
To Kill a Mockingbird (slipcased edition) by Harper Lee
Persepolis: The Story of a Childhood by Marjane Satrapi
Members with Ismailkar's books
Member gallery (2)
RSS feeds
Site design selection
The old design is no longer fully supported nor does it get full attention when we roll out new features. We strongly recommend using the new design.
Member: Ismailkar
CollectionsYour library (9)
Tagsassef (1), afghanistan (1), economics (1), history (1) — see all tags
GroupsMr. Rutherford's 4th hour class
Favorite authorsNot set
Account typepublic, lifetime
/profile/Ismailkar (profile)
Member sinceSep 15, 2010
Most recent activity


text:
once again ill say it here as i did in another thread....yes Unreal Engine 3 has come onto the Wii ...BUT it has to take a HUGE step back in order for the games to even be played on the wii..the Wii is nothing more then a gamecube..the only difference is a slight graphic upgrade..all the hardware is still the same....and here is a article of why a lot of 3rd party game makers are having trouble with the wii.
Kikizo: You've been able to squeeze Unreal Engine 2 onto PSP previously; with that in mind is there any potential to get some form of Unreal Engine 3 running on Wii at some point? Because after all, commercially it has to be worth it now right?
Rein: It wasn't us, it was Ubisoft! [laughs] You know, actually, commercially, it's probably not worth it to be honest. And I don't mean that as anything against the Wii, but the Wii is an improved evolution of the GameCube - I mean it's hardware compatible with the GameCube! So if you're going to make a game for the Wii you're just going to use whatever tools you used on GameCube, and bring them forward and enhance them a little - that's what the Gamebryo guys are doing - and that's a fact; I just don't see a big market there to bring this big hulking memory intensive engine over to a much smaller system. I mean, I'm sure some of our licensees, just as a commercial exercise, will probably do it. I know one of our licensee who's giving it a shot; it's their own port, in the same way Ubisoft brought Unreal Engine 2 to the Wii - I mean Splinter Cell and Red Steel - Unreal Engine 2, and there's a few others... but it's just, we won't don't do it ourselves. Look, there's so many things we can do and are already doing, to improve our engine, on the platforms we're aiming it at, that going back and working on that [for Wii] just doesn't make sense. Unreal Engine 3 is a better engine today than it was a year ago when Gears of War shipped. So Unreal Tournament 3 for example pushes the PlayStation 3 harder than Gears of War did on Xbox 360. So the engine is getting optimised and we're improving it all the time; there's too much low hanging fruit that we already have on the engine side, and new improvements and things we can do to try and make an engine for the Wii - it wouldn't be smart business for us.


text:
About a year ago, I became interested in unusual US currency - specifically, large denomination notes. I did a bit of reading to learn about them and even purchased a few replicas on ebay.
According to some information I've read, UK currency also has a few "anomolies" such as £1 million (giant) and £100 million (titan) bank notes.
...there is a larger denomination available - the "one million pound note".these notes are for inter-bank purposes only. ...The key point is that they do however actually exist.
The US had a $100,000 note which was only used internally within the federal reserve system. However, these are no longer used as funds are transfered via electronic transfer. The large notes in the UK are used for the same purpose.
They are mainly used by the Bank of England to "transfer" currency from the English Bank to its bank note issuer counterparts in Scotland and is hence never seen outside the banking system.
This is not meant to criticize but wouldn't it be easier to use electronic means to transfer funds?
I tried to see what these notes look like, however ...
Alas, a letter to the Bank of England for permission to show you an image of one of these interesting notes was politely declined. Oh well.
I can understand The Bank of England's position on this but from a practical point of view, no counterfeiter, who has some intelligence, would reproduce these as they would arouse suspicion (counterfeiters in the US will generally try to produce small denomination notes).
The UK also used to have armed forces vouchers. The last of these were issued in 1972.
The US issued "North Africa" Silver Certificates and notes with "Hawaii" printed on them during WWII.
There's something else about which I'm curious. Are there any current "anomolies" being circulated in the UK? In the US it is the $2 bill. Two dollar bills aren't used much and are considered to be bad luck by the superstitious.
I'll make one other observation, if I may. From my point of view as an outsider, it seems like it would be much more convenient if all of the banks within the UK issued a common currency rather than each bank (Bank of England, Bank of Scotland, Bank of Wales, ...) issuing its own notes. I understand each "entity" within the UK wanting to maintain a sense of independence but at the same time, it seems that a common currency would be much more practical and easier for all British Subjects (and non citizens/consumers in the UK) to use.
Good Day


text:
realmagick.com The shrine of knowledge.
Soap Bubble Theory
A selection of articles related to soap bubble theory.
Original articles from our library related to the Soap Bubble Theory. See Table of Contents for further available material (downloadable resources) on Soap Bubble Theory.
- Hyperspace Reality
- Despite the fact that the 'new' physics, a godchild of the Einsteinian revolution has taught us that the Universe we perceive is a mere shadow of a vastly more unpredictable one, most of us still view the world in a distinctly materialistic way. A world where...
Modern Science >> New Physics
- Bringing it Down to Earth: A Fractal Approach
- 'Clouds are not spheres, mountains are not cones, coastlines are not circles, and bark is not smooth, nor does lightning travel in a straight line.' B. Mandelbrot W e want to think about the future - it's our nature. Unlike other creatures, humans possess an...
Mystic Sciences >> Astrology
- What is hypnotic trance? Does it provide unusual physical or mental capacities?
- 2.1 'Trance;' descriptive or misleading? Most of the classical notions of hypnosis have long held that hypnosis was special in some way from other types of interpersonal communication and that an induction (preparatory process considered by some to be...
Parapsychology >> Hypnosis
- Question the Premises of Society and Science
- Question the ultimate validity of the basic premises of society, in particular, scientific theory. Do not accept concepts or statements as truthful simply due to weight of tradition or learned opinion. The synthesis of these statements is a healthy skepticism...
Religion & Philosophy >> Philosophy
- OBE, Understandability & Memory Download Problems
- The mind boggles at the potential complexities of interdimensional subtle-body relationships and energetic conflicts created during OBE; most especially during wake-induced OBE. Consider the memory compatibility problems that could arise between different...
Astral Projection >> Out of Body Experiences
- Hypnosis, volition, and mind control.
- 5.1. Is the hypnotist in control of me? The exact nature of what we experience as 'will' or volition is anage-old philosophical problem that has yet to be resolved by brain scientistsor psychologists. Some aspects of hypnotic responding point out weaknesses...
Parapsychology >> Hypnosis
Soap Bubble Theory is described in multiple online sources, as addition to our editors' articles, see section below for printable documents, Soap Bubble Theory books and related discussion.
Suggested News Resources
- This Solar Cell Can Float on a Bubble
- Bulović and his team have taken the first step towards this goal. They've created a solar cell so light it can literally sit atop a soap bubble without bursting it. It's only 2.
- Focus: Physics of Blowing Bubbles
- Blowing soap bubbles is child's play, but surprisingly, physicists haven't worked out the details of the phenomenon. Now researchers have performed experiments and developed a complete theory of the process of soap bubble formation. The team aimed a ...
- Critic's Notebook: Farewell to 'Downton Abbey,' and to a More Gracious Time
- Even after most critics stopped caring, I have adored all six seasons of Downton Abbey, that escapist soap bubble of a series. But, yes, it was time for the show to end.
- ABC Renews 'Grey's,' 'Scandal,' 'Middle,' 'SHIELD,' 'Modern Family,' 10 More
- Left on the bubble are 'Agent Carter,' 'American Crime,' 'Castle,' 'Nashville,' 'Galavant' and 'Last Man Standing' as Channing Dungey starts to make her mark on the network. Two weeks after ....
- CMT to Double Original Programming, Casts 'Million Dollar Quartet' Series
- The executive has made diversity a top priority, and the renewal for the bubble comedy produced by an outside studio is a key sign that she's open to allowing time for series to find their creative legs. ...
Great care has been taken to prepare the information on this page. Elements of the content come from factual and lexical knowledge databases, realmagick.com library and third-party sources. We appreciate your suggestions and comments on further improvements of the site.
Soap Bubble Theory Topics
Related searchesclaus
About - Contact - Advertising
© 2000 - 2016 Realmagick.com, All Rights Reserved.
© 2000 - 2016 Realmagick.com, All Rights Reserved.


text:
U.S. President Barack Obama's sudden change of direction in favor of former Federal Reserve Chairman Paul Volcker's approach to bank regulation puts the future of Obama's economic team in doubt, according to The Economist. Treasury Secretary Timothy Geithner and Lawrence Summers, director of the National Economic Council, are widely viewed as servants of Wall Street and might be asked to resign, the magazine notes. Geithner's experience at the Federal Reserve Bank of New York, once a sign of continuity, is now a liability.
Full Story:Economist (free content), The


text:
Christopher Nolan and David Fincher lead DGA nods
The Director's Guild of America announced their 2010 nominees for Outstanding Direction of a Feature Film his morning and there were no major surprises. Darren Aronofsky ("Black Swan"), Christopher Nolan ("Inception"), David Fincher ("The Social Network"), Tom Hooper ("The King's Speech") and David O. Russell ("The Fighter") are this year's honorees. Danny Boyle ("127 Hours") and Joel and Ethan Coen ("True Grit") were the only other legitimate players for a nomination.
[Update: In separate statements, both Nolan and Russell commented on their DGA nods.
Nolan remarked, ""I'm thrilled that the DGA membership has chosen to nominate me and my DGA team (Jan Foster, Nilo Otero, Brandon Lambdin, Greg Pawlik, Lauren Pasternack) for our work on 'Inception.' The recognition of our peers is extremely gratifying - this is an incredible honor."
Russell was a tad more emotional noting, ""When Taylor Hackford called me this morning I have to admit I started to cry . I am so humbled because it is such a talented field this year, I had prepared myself to not be part of it. To be recognized by my peers, moves me beyond words with gratitude and humility. Like boxing, our business doesn't always give second chances. I'm eternally grateful to Mark Wahlberg for bringing me into this very special project about truly inspiring people like Micky Ward, Dick Eklund, and the families of Lowell; as I am grateful to producers David Hoberman, Ryan Kavanaugh, Todd Lieberman, the phenomenal cast, Paramount, Relativity, and the members of the DGA."]
The winner will be named at the 63rd Annual DGA Awards Dinner on Saturday, January 29, 2011, at the Grand Ballroom of Hollywood and Highland. Here's a complete list of the nominees and their directing teams.
Darren Aronofsky
"Black Swan"
Unit Production Manager: Jennifer Roth
First Assistant Director: Joseph Reidy
Second Assistant Director: Amy Lauritsen
Second Second Assistant Director: Travis Rehwaldt
Location Manager: Ronnie Kupferwasser
This is Mr. Aronofsky's first DGA Feature Film Award Nomination.
David Fincher
"The Social Network"
Unit Production Manager: JoAnn Perritano
First Assistant Director: Bob Wagner
Second Assistant Director: Allen Kupetsky
Second Second Assistant Director: Maileen Williams
This is Mr. Fincher's second DGA Feature Film Award nomination. He was previously nominated for The Curious Case of Benjamin Button in 2008. He previously won the DGA Commercial Award for Speed Chain (Nike), Gamebreakers (Nikegridiron.com), and Beauty for Sale (Xelibri Phones) in 2003 and was nominated in that category again in 2008.
Tom Hooper
"The King's Speech"
Mr. Hooper's Directorial Team:
Production Manager: Erica Bensly
First Assistant Director: Martin Harrison
Second Assistant Director: Chris Stoaling
This is Mr. Hooper's first DGA Feature Film Award Nomination. He was previously nominated for the DGA Award for Movies for Television/Miniseries for John Adams in 2008.
Christopher Nolan
Mr. Nolan's Directorial Team:
Unit Production Manager: Jan Foster
First Assistant Director: Nilo Otero
Second Assistant Director: Brandon Lambdin
Second Second Assistant Director: Greg Pawlik
Additional Second Assistant Director: Lauren Pasternack
This is Mr. Nolan's third DGA Feature Film Award nomination. He was previously nominated for The Dark Knight in 2008 and for Memento in 2001.
David O. Russell
"The Fighter"
Unit Production Manager: Mark Kamine
First Assistant Director: Michele Ziegler
Second Assistant Director: Xanthus Valan
Second Second Assistant Director: Timothy Blockburger
This is Mr. Russell's first DGA Feature Film Award nomination.


text:
Analysis details (11:07)
- Also, Ireland's new insolvency regime may push losses at participating banks higher in the short term. The new laws are being passed through parliament and set to be introduced early next year.
28 Nov 2012 - 11:00 - Fixed Income Economic Commentary - Source: Newswires
RANsquawk provides audio news and commentary for over 15,000 professional traders and brokers worldwide. Services include: