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Edwin Smith Exhibitions
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- Written by Roy Hammans
The Royal Institute of British Architects (RIBA) is hosting the first major retrospective of the photographs of Edwin Smith from 10 September 2014 – 6 December 2014.
Entitled Ordinary Beauty: The Photography of Edwin Smith it draws on the archive of his work held at the RIBA following the bequest by his widow Olive Cook in 2002. Such an overview of his work is long overdue and it is to the credit of the RIBA that they have commissioned this eagerly anticipated show.
The Fry Gallery in Saffron Walden, Essex, hosted a major exhibition of Edwin Smith's paintings, drawings, cuts and photographs from July 7 until September 1, 2013.
The author of this site contributed paintings, photographs, woodcuts and artefacts for inclusion in this show. Details of the Edwin Smith collection at the Fry may be viewed on their website: Fry Gallery Edwin Smith Collection.
Cooperating with the Inevitable
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- Written by Roy Hammans
Olive Cook became a good friend of mine during the 1980s and I acted as her printer for Edwin's photographs for many years. I created a website about Edwin after her death in 2002 as a small contribution to her life-long effort to keep his memory alive, something she had tirelessly devoted herself to since his death in 1971.
Over time, it seemed appropriate to start including information on Olive as well, as their lives were so inextricably linked. Contained within the site is much biographical information, many essays and transcriptions, together with examples of Edwin's photographs, books, drawings, paintings and linocuts alongside biographical material on Olive and her writings.
Where material has been gleaned from other sources acknowledgement is given. Particular thanks are due to the late Robert Elwall, for his extensive help and for giving permission to reproduce photographs from the RIBA collection free of charge. Thanks also go to John Randle of Whittington Press, for permission to reproduce many articles from Matrix and to the endlessly-patient archivists at Newnham College, Cambridge, for their cooperation on numerous occasions.
I am particularly indebted to photographer, friend and colleague, Brian Human, who has helped immeasurably during the evolution of the website. His contributions based on interviews with people that knew Edwin and Olive and his extensive research at the RIBA and of the Olive Smith Papers held by Newnham College library give the content a richness it would not otherwise have.
Edwin George Herbert Smith (15 May 1912 – 29 December 1971), the photographer, produced quintessential images of English architecture, landscapes, gardens and interiors.
He described himself as
"an architect by training, a painter by inclination, and a photographer by necessity"
He considered his life to consist mainly of "going with the flow" and "co-operating with the inevitable".
Trained as an architect, he was also a prolific artist, producing countless drawings, watercolour and oil paintings, woodcuts and linocuts throughout his life. His photographs featured in books covering a wide range of subjects and places, often produced in partnership with his wife, the artist and author Olive Cook.
Unwrapping the Enigma
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- Written by Brian Human
Despite his claim that he was a photographer only 'by necessity', Edwin Smith was one of the most important British photographers of the 20th century. His simple yet distinctive style showed both his unerring visual perception of form and his love of architecture from the vernacular to the grand. The importance of his work derives both from its quality and its breadth. Yet, despite the limited recognition he received during his lifetime and the more prominent promotion of his work by his widow, Olive Cook, following his death, he remains something of an enigma.
Record and Revelation
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- Written by Roy Hammans
This descriptive text was written by Olive Cook after Edwin's death, to accompany a major exhibition of his photographs at Impressions Gallery, York, in 1983. It neatly summarises Edwin's life and illustrates Olive's tireless promotion of her late husband's work, which she maintained for thirty years after his death.
The text appeared in the catalogue for the exhibiton, illustrated below.
Edwin Smith – Ways of Working
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- Written by Brian Human
On other pages, Unwrapping the Enigma, I describe how in 1989 we set out to explore the work of Edwin Smith and in doing so talked to his widow, Olive Cook, and some friends, a few of whom worked with him. That article uses the interviews to try to gain some insights into the character of Edwin. This article uses the same sources and research in the Olive Cook Papers (Newnham College) to explore something of his way of working as a photographer.
Edwin Smith & Social Documentary Photography
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- Written by Brian Human
Edwin Smith is one of the great British architectural photographers of the 20th century. Between the publication of English Parish Churches in 1952 and Rome: from its Foundation to the Present in 1971 he established a deceptively simple yet distinctive style of photography that celebrated the architecture of Britain and mainland Europe. To those familiar with this work the inclusion of documentary photographs dating from the 1930s in the main two monographs on Edwin (Edwin Smith – Photographs 1935-1971 (ESP) (1984) and Evocations of Place – The Photography of Edwin Smith (EoP) (2007) and the portfolio in Creative Camera International Year Book 1978 (CC) (1977) may come as a surprise. Study of the Edwin Smith material held at the Royal Institute of British Architects (RIBA) shows that the published pictures are but fraction of a larger body of work made in the 1930s.
Capturing Paradise –Edwin Smith's Painting & Drawing
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- Written by Brian Human
Edwin Smith always said of himself, 'I am an architect by training, a painter by profession and a photographer of necessity.' However, it is as a photographer that he is known professionally and artistically, while his painting and drawing is almost entirely neglected. Working from the interviews conducted in 1989 and research in the Olive Cook Papers (Newnham College), this page hopes to shed a little light on Edwin the painter and drawer to complement our understanding of him as a photographer.
Read more: Capturing Paradise –Edwin Smith's Painting & Drawing
The Woodcuts of Edwin Smith
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- Written by Nigel Weaver
The examples of cuts by Edwin Smith shown above are from The Fry Art Gallery collection and the editor's personal collection.
The Photographs of Edwin Smith
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- Written by Roy Hammans
These are some of Edwin Smith's photographs from my own collection. They are a few from the many that I printed for Olive Cook during the 1980s and 1990s.
In my first solo exhibition of my own work, I used a quotation from Edwin in the requested 'artist's statement':
Photography, to many of its addicts, is a convenient and simple means of discharging these ever-recurring debts to the visual world."
From the first time I encountered Edwin's work I was enthralled by his approach to his subjects. Undoubtedly, there is something of the romantic vision of an idyllic rural England embodied in many of them which is always attractive, but his approach to this was not condescending or patronising and certainly not 'pictorial'. He would treat every subject the same whether it was a King's bedroom or a farm-worker's kitchen. His photographs are akin to those of Eugene Atget (the only photographer whose influence he admitted to) and are perhaps even more the 'documents pour artistes' that Atget advertised - the artist in this case also being the photographer.
Many more of Edwin's photographs can be viewed in the article Edwin Smith & Social Documentary Photography.
Edwin Smith – Books
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- Written by Roy Hammans
The listing below is revised as and when I discover yet another book that Edwin Smith or Olive Cook produced or contributed to. However, this list is nearing completion; all the main titles are captured here and many of them I have in my collection.
If you know of any that are not listed below then please let me know. Where copies of these books are available, links are given.
Book Review: Evocations of Place
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- Written by Brian Human
In 1940 the Focal Press published Edwin Smith's 'All the Photo Tricks'; this is doubly curious. It is rather at odds with Smith's photographic mantra of 'cooperating with the inevitable' and a somewhat tricky undertaking when the evidence suggests that, as a conscientious objector, he spent much of the War years playing hide and seek with the authorities. This is just one of the curiosities of Smith's life.
Exhibitions Chronology
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- Written by Roy Hammans
This list of exhibitions at which work by Edwin Smith was shown is by no means complete, and doubtless contains some inaccuracies. Even Olive Cook, with her remarkable memory, was not able to provide a complete list.
The compilation has been drawn from many sources; much is from my own collection of catalogues, press releases, private view cards, notes, etc. The dates in bold represent solo exhibitions; the others were group shows that included Edwin's work. Recent research carried out by myself and Brian Human of the Olive Cook papers held at Newnham College library, Cambridge, has shed some new light on dates and locations of exhibitions.
Exhibitions of Paintings & Drawings
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- Written by Roy Hammans
In 1992, an exhibition of paintings and drawings by Edwin Smith was held at the Fry Art Gallery, Saffron Walden. Ever since his death, Olive Cook had tried to promote more interest in Edwin's non-photographic output - which was prolific but largely unrecognised during his lifetime.
In 1997, Olive exhibited his non-photographic work at the Sally Hunter Fine Art gallery in London, now closed. There have been no other major exhibitions of his work that we know of, but The Fry Art Gallery has an extensive collection of work by both Edwin Smith and Olive Cook, as does The Chelmsford Museum.
Edwin Smith used to say that he was "the only artist with a complete collection of his own work".
Olive Cook – a brief biography
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- Written by Brian Human
It is apt, and perhaps inevitable, that Olive Cook's first book was Cambridgeshire: Aspects of a County, for she was born, brought up and educated in Cambridge. In Cambridgeshire she wrote, 'It is not easy to give an impression of a place to which one has never been a stranger'; and 'Every native of the town and all the men and women who have spent three years of their lives among those images of splendour and repose must forever cherish memories of Cambridge.' Olive's parents and grandparents were Cambridge people too.
Arthur Hugh Cook, born in 1886, was the sixth of the seven children of George and Sarah Cook. In 1901 George Cook is described as a plasterer living at 35 Montague Road, a solid bay fronted semi-detached house in the fashionable Defreville Estate that was developed in the 1890s. He was probably a small speculative builder of the sort more common then; and plastering, including creating fashionable decorative molding, was a considerable craft skill. Arthur, 15 in 1901 appears still to have been at school; he started work at the University Library in 1903.
The Olive Cook Archive
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- Written by Brian Human
I suppose we should let Edwin Smith's photographs speak for themselves and speak for him; they are his legacy and life's work. But anyone reading the articles on this site will soon realise that we are not content to let it rest there. We believe that to understand the work you also need to understand the artist, what drove him, what influenced him and how he worked. To take one example, Edwin's architectural photography is more than just that; his cottages, churches and great houses embody his romantic view of the world,.They capture a world that he feared was passing in his lifetime and they must be understood as both art and propaganda.
Olive Cook Obituary - The Independent, 2002
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- Written by Norman Scarfe
This obituary appeared in The Independent, May 8, 2002 as is written by a long-time friend of Olive's, Norman Scarfe.
Olive Cook Bibliography
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- Written by Brian Human
This is an attempt to catalogue all of the books which featured Olive Cook either as primary author or contributor, or which contain information about her and her work. It is doubtless incomplete, but goes some way to illustrate the enormous output she achieved during her lifetime.
Ardna Gashel
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- Written by Roy Hammans
This short allegorical tale, written by Olive Cook, was published in a limited edition of 300 copies in 1970 by Golden Head Press, Cambridge. Each copy was signed and numbered by the author and her husband, Edwin Smith, who provided the few illustrations and decorations. My copy is number 168.
Novelty and the Sense of Continuity
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- Written by Olive Cook
In a review of the Exposition Universelle of 1855 and of the work of Delacroix, the artist as a force that excites a sensation of the new. The whole history of art can indeed be seen as a chronicle of innovative creativity. But during the century and a half that have passed since Baudelaire's article was first published the new, which he rightly recognised as the unsought by-product of a great imagination, has become the object: of a deliberate and ever more frenzied quest and of a demand which has crescendoed into a deafening roar heard from New York to London, Paris, Tokyo and beyond. 'The point is', as one of the characters in the trendy film Trainspotting says, 'you've got to find something new.' And after more than a hundred years of 'isms', of leap after leap from vanguard to vanguard, we are confronted at the dawn of the third millenium by sliced and pickled animals, a grubby and disordered condom-strewn bed, casts of the underneaths of chairs, a twenty-foot-high bronze cast of a popular animated toy and a crude representation of the Virgin partly painted with elephant dung and decorated with cut-out images of genitals, all masquerading and acclaimed as outstanding works of art. We are dismayed rather than stimulated by buildings of Brobdignagian proportions and materials, more alien than concrete, like those of Canary Wharf and the many similar developments and by structures which like the museums at Bilbao and Stuttgart, the one a giant glittering sculpture rather than a work of architecture, the other defying tradition and gravity alike with its lurching walls and eccentric manipulation of space, seem at odds with the purpose for which they were commissioned and impinge on their surroundings like objects from outer space.
It is not only the dull-witted who greet such manifestations of the new with scepticism: they are dismissed by art lovers and artists who acknowledge and rejoice in the novelty of genius, who delight in the energy and fecundity of Picasso's endless, exhilarating transformations of visual experience, in the charm of Klee's exquisite waking dreams, in Chagall's astonishing formal variations on recurring themes and poetic surrealism and Howard Hodgkin's ravishing juxtapositions of colour.
Perhaps some light may be cast on the controversial new of the present time by a glance at an age distant from our own but akin to it in its preoccupation with novelty, memorable for the splendid vitality and daring of its creative endeavour In every field and of exceptional interest because it was then that men's minds turned away from the contemplation of the eternal and the absolute towards the particular and the ephemeral which are now our chief concern. During the sixteenth century the mediaeval world, Its all-embracing celestial vision and the security of its ancient limitations, came to an end. The discovery of a new and unsuspected continent, the establishment of a new Church, revolutionary political, social and economic upheavals, the pioneer work of physicists like William Gilbert of Colchester, of mathematicians like Napier, the inventor of logarithms, of astronomers like Thomas Digges and John Blagrave, of geographers like Hakluyt and of the cartographers Speed, Norden and Saxton; the setting up of the new iron and copper mining industries, the development of the already existing industries of coal mining and brick and glass making, and the introduction of many new technical devices such as the stocking making machine and the water closet all laid the foundations of life as we now know it.
The extraordinary rush of energy that gave rise to these reasoned, practical achievements was also the source of a miraculous outburst of great works of art. This was the age of Shakespeare, Spenser and Marlowe, of a glorious upsurge of both religious and secular music and of the emergence of the new arts, born of a heightened sense of personality, of the portrait miniature and the life-like effigy. Agreements of that period for sepulchral sculptures often specify 'exact similitude' or 'a resemblance as he was in life'. These figures seldom lie, like mediaeval divines and nobles, in calm resignation with hands clasped in prayer: alert and bugle eyed, painted to counterfeit the hue and freshness of living flesh, they turn on their stone cushions, kneel, stand and take up familiar attitudes, eagerly proclaiming their zest for life. Elizabeth Williams, dressed in the height of fashion and wearing a large, becoming hat, leans on her elbow gazing at passers by in the Lady Chapel of Gloucester Cathedral; the young, muscular Grissell Barnardiston is informed with such vigour that she seems about to rise from her knees as she stares boldly into the nave of the church of St Peter and St Paul at Kedington in Suffolk; John Farnham stands, clad in armour, against a realistic relief of a battlefield with cannon and cannon balls; Dean Boys sits at a table covered with a fringed cloth in a marble reconstruction of his own library in Canterbury Cathedral.
It was in this charged, electric time too that the word 'architect' made its first appearance in the English language. It occurred on the title-page of the only book on architecture to be published during the reign of Elizabeth I, John Shute's The Firste and Chief Groundes of Architecture used in all the ancient and famous monyments; with a further and more ample discourse upon the same, than hath been set out by any other. Published by John Shute, Paynter and Archytecte. Imprinted at London at the Flete-strete near to Saint Dunstans Churche by Thomas Marshe, 1563. The publication marked the beginning of the momentous distinction between the designer of a building and the master craftsman of the Middle Ages who planned and directed the work from the masons' yard and the carpenters' shop. When Robert Smythson, the inspired author of Wollaton and probably of Hardwick, Longleat, Fountains and Barlborough died in 1614 he was called 'Architector' on his tombstone. And while industry was already making its impact on the landscape, that landscape was transfigured during the sixteenth century by an explosion of domestic building.
Whole villages were rebuilt and local materials varying from the fine-grained limestone of the Cotswolds to the dusky brown sandstone of the north, and from the grid-patterned half timber of the West Midlands to. the close-set framing of East Anglian wattle and daub, were brilliantly exploited. But it is the great houses of the period, their scale, their ostentation, their idiosyncratic and imaginative translations of the classical idiom and of classical symmetry, their fantastic, exuberant novelty which excite our attention today and seem to be of peculiar significance.
It is impossible to imagine the effect of these buildings on those who watched them going up and who first saw the triumphant conclusions of their creators' audacious fabrications. Four hundred years later they are still among the most exotic and most ingeniously planned works of architecture that have ever been seen. Even Longleat, at first sight one of the most restrained of these houses, is of startling originality. Of classical symmetry, it is set on the newly introduced high base and moves to the rhythm of the great storeyed, projecting, glass-filled bays which were one of the most spectacular inventions of the era.
Great expanses of glass play as important a part in Elizabethan architectural design as they do in the buildings of today. The massive ornate bulk of Wollaton with its huge, tower-like central hall is so lightened by its enormous windows that it rises on its hilltop site above the surrounding industrialised landscape like an elaborate birdcage. Glass turns Montacute, Burghley, Earlborough, Fountains and Kirby into fabulous openwork structures. At Montacute the abstract patterns of gridded glass running across each of the three storeys emphasise the stately advancing and retreating movement of the design, contrast with the diverse forms of obelisks, semicircular pediments, curly gables and disc-shaped niches and set off the grave beauty and realism of the sculptured figures in military dress standing in recesses between the windows of the top floor. The profusion of tall windows in William Cecil's palatial mansion at Stamford and the assertive vertical accent of the mullions counteract the powerful horizontality of the thick mouldings which divide the three storeys and hold down the riot of pepperpot domes and chimneys in the guise of Tuscan columns soaring above the parapet of arches and obelisks. At Barlborough the projecting hexagonal bays are fashioned almost entirely of glass. They shoot up above the roof line like turrets and enhance the grace and lightness of the whole captlvating composition. The grand display of windows filling the entrance range of quadrangular Kirby is clearly based on the design of a Perpendicular church nave but this is an utterly novel interpretation of the mediaeval invention, for pilasters have taken the place of buttresses and the facade is electrified by a porch of rivetingly bizarre aspect. Fashionably placed in the centre of the symmetrical front it is like one of those showy frontispieces of the period turned into stone. Rising high above the rest of the building it is surmounted by an attic storey which like that of a Continental Baroque conceit is purely decorative for there is nothing behind it. It takes the unexpected form of a Dutch gable flanked by flaming ball ornaments set at either end of a screen of seven Corinthian colonnettes placed on brackets bulging from a frieze of strapwork. Below this an arched and balconied opening with a broken pediment rests on coarse brackets between pairs of tapering columns with bases like colossal leaves. The arched entrance is again flanked by coupled columns, fluted and with a stronger entasis than those above them though this is gently checked by a third column set round the corner on each side of the porch.
Glass makes a major contribution to the newness of all the houses so far contemplated; but it is at Hardwick that it makes its most overwhelming impact. This wonderful house is, as the old jingle goes, 'more glass than wall'. It faces west and to come upon it from this direction at close of day is a most thrilling experience. The entire incredible stretch of leaded lights spreading across the front above a classical colonnade and embracing two rectangular towers is ablaze with the crimson and molten gold of the setting sun.
Four more towers, two on the east side and one jutting from the middle of each end of the building, join with those of the west front to coax the whole prodigious conformation into slow angular and aspiring motion. From their tops all six towers brandish the letters 'E. S.', the initials of Elizabeth Shrewsbury (Bess of Hardwick) the formidable, zestful, gifted owner and the driving force behind Robert Smythson's masterpiece. The battlements of sixteenth-century towers take many odd forms but none so individual and ostentatious as these.
Bess of Hardwick's personality is felt in every corner of the interior of her house - in the unusual choice, prompted by her passion for light, of the top floor for the most important rooms and in the novelty and fantasy of the architectural detail, the furnishings and decoration. A spectacular broad and shallow stone stair, departing utterly from Gothic practice, climbs. without a balustrade through half the length of the great mansion, giving unity to the composition and yielding sudden, unexpected vistas as It leads to rooms of delightful variety, rooms where tapestries, marble and alabaster sculptured ornament, velvet hangings, remarkable needlework, including collage made by Bess herself from monastic copes, and springy floors all stir up rumours of the life that filled them four hundred years ago. The most original and evocative of all are the High Great Presence Chamber and the Long Gallery. The source of the haunting beauty and romantic atmosphere of the High Great Presence Chamber is the astonishing, enchanting, moulded and painted plaster frieze (see frontispiece). It is twelve feet deep and vividly contrasts with the dim tapestries below it, from which it is separated by a bold cornice. The tapestries interpret the story of Ulysses with ltalianate academic correctness; the plaster relief illustrates themes from classical mythology with marvellous freshness and spontaneity. Venus and Cupid, Diana and her attendant maidens, Orpheus and Ceres, huntsmen, dogs and wild animals all emerge from the spring and summer green of an English forest of smooth-stemmed trees and giant foliage. The frieze is a stupendous example of a new art.
The Hardwick version of the room that was a special Elizabethan creation, the long gallery, is memorable for the extraordinary effects of the crystal light pouring through the gigantic windows on the garden side of the apartment. It shivers in huge rectangles on the rush matting and plaster floor and heightens the idiosyncrasy of the decorations. The walls are hung with Brussels tapestries unfolding the tale of Gideon, more than half hidden because used, with audacious lack of scruple, as the blue and umber background for jewel-like portraits of Bess of Hardwick's relatives and friends. The tapestries are also the muted back ground for two superb architectural chimneypieces, Thomas Accres's inspired variations on a design by Serlio. The all-pervading light irradiates the subtle and contrasting colours of the local alabasters and marbles of which they are made and draws the eye to the vigour and curious form of the strapwork surrounding bold ornamental figures of Justice and Misericordia. And the beauty and the strangeness of this and all the rooms are echoed by the enigmatic motto that runs through the house like a refrain:
The redolent smell of eglantine
We stagges exalt to the Divine.
The towers of Hardwick, the central mass of Wollaton, the upward shooting turret bays of Barlborough, all conjure up memories of the mediaeval castle and in an age when the ideal of chivalry was kept alive by the spectacle of the tournament, it was natural that architects should be stimulated by the castle architecture of the past. They refurbished some Gothic strongholds as grand houses, Wardour, Carew and Naworth among them, and they built castles of their own ardent imagining. East Lulworth, ruined and set by the sea, belongs to the same spellbound world as A Midsummer Night's Dream. Rectangular and battlemented, with big circular angle towers, it rests on a high base and is approached by a rush of steps. The entrance, round-arched between Ionic columns, is surmounted by a mysterious wheel window filled with seven tangent circles which seem strangely significant. On either side of this window life-size figures, bare-headed and in the dress of Roman soldiers, raise their arms in salutation of whomever climbs the weed-encumbered steps.
This castle of high romance is a place of magic, but as an embodiment of the new it is surpassed by the theatrical metamorphosis of the castle theme at Bolsover. It was designed by John Smythson, the son of Robert, but its form was dictated by the architect's patron, Charles Cavendish whose mother was Bess of Hardwick and who had already been concerned with other castles at Slimsby, Blackwell in the Peak and Ogle. Sited on a promontory, Bolsover commands a prospect of industrial housing, scarred hillsides, stone-walled fields and trafficfilled roads, all of which intensify the drama of the great withdrawn, make-believe pile. Its nucleus is a towered and turreted keep consciously recalling the Norman keep of the fortification supposed to have been built on the site by William Peverell. But no one would take it for a mediaeval stronghold since it is crowned by a pretty lantern and cupola and lit by large rectangular windows and a balconied, projecting bay resting on corbels and an Atlas figure. In front of the keep is a small, stony forecourt shut in by a battlemented wall and entered between stout, squat pavilions, crenellated and adorned with obelisks.
The internal plan derives directly from that of the Gothic fortress. The kitchen and offices are in a vaulted basement; the hall and parlour (called the Pillar Parlour from its central stone column) occupy the ground floor and on the first floor are the Star Chamber and the black and white Marble Closet together with a bed chamber. Above them are the Elysium Room and the Heaven Room; and on the top floor a group of tiny rooms leads off an octagonal lobby under the cupola. All the rooms are small, richly detailed and strikingly individual. Vaults suggest the Middle Ages but the mediaeval skeleton is clothed and combined with classical motifs: bosses, brackets, pendants and panels display Renaissance mouldings and arabesques, though always adapted with originality and used to define the special character of a particular room. The Pillar Room, for instance, is distinguished by the horse-head brackets of its pendants, intended to celebrate the Cavendish passion for riding and racing. But the most concentrated expression at Bolsover of the hybrid visual poetry of the age is embodied in the energetic chimneypieces. They symbolise the whole character of the period of which they are among its last architectural manifestations. John Smythson used Serlio's designs as his starting point but his amazing inventions surpass their source in the same way that Twelfth Night and All's Well that Ends Well transcend the stories of Bocaccio and Bandello. The fireplaces are extremely varied. Some are square, others are part-octagonal, others, set in the angles of the rooms, are quadrant-shaped with conical hoods enriched with complicated, deeply moulded panelling, crested with strapwork and volutes, embellished with delicately carved bundles of musical instruments or trophies of arms and studded with jewel-like roundels and plaques of coloured marbles. The lintels are never horizontal, but arched in the Gothic manner, and in one instance the opening is trefoil-shaped. Each chimneypiece is set against a rectangular stone slab and enclosed by a stone moulding so that it is like a sculptured relief.
As the climax of the great series of sixteenth-century castle fantasies, the Bolsover keep would be outstanding if it stood alone, but its effect is magnified by the extraordinary building adjoining it, the Gallery, designed by John Smythson for Charles Cavendish's son William in the early seventeenth century. One hundred and seventy feet of extravagant masonry advance along the terrace towards the keep like some wild parody of a Sicilian Baroque facade, so improbable are the architect's modifications of the classical idiom. The colossal windows are surmounted by pediments feverishly broken into three instead of the more usual two parts and the main entrance, approached by a double stair, is heavily rusticated and topped by a broken pediment of the more orthodox kind but with a detached segmental pediment hovering oddly above it. The wall is further animated by regularly spaced, startlingly unexpected projections, rounded, flamboyantly banded and vermiculated. They cannot be called shafts for they do not support anything. They nonethelesss serve a purpose: they control the rhythm of the mighty composition and they refer picturesquely to the castle's defensive theme, for their shape is that of upright cannon with the bolt at the lower end. Huge thrusting water spouts set along the parapet accelerate the movement of this strange composition; and its progress towards the keep is hastened, when the goal is almost reached, by a singular device: instead of making a right-angled turn on reaching the keep, the wall moves diagonally and the gesture is emphasised by a curved and pedimented gable. The two buildings are physically con netted by a door which leads from the keep onto the top of a battlemented wall and over an archway into the Gallery. The door itself is an amazing manifestation of the new for its panelling is entirely covered with rustication. Smythson is known to have made drawings of Renaissance rustication but the astounding idea of carrying out this form of decoration in wood was his alone.
This great mock fortress of Bolsover is recognisably related through its keep to its Norman predecessor. And even from the inadequate descriptions attempted here it has become clear that the novelty of sixteenth-century architecture is based on a firm grasp of traditional design. Montacute despite its up-to-date symmetry perpetuates the mediaeval hall house plan with its projecting wings ; Barlborough's adventurous façade is part of a familiar quadrangular structure. Burghley too is built about a courtyard and its great hall is furnished with a double hammerbeam roof in which the spandrel tracery is associated with classical ornament. The serene and symmetrical front of Longleat, when viewed across the park from the top of Paradise Hill reveals itself as a screen behind which gesticulating figures, heraldic beasts and whimsical chimney pots agitate the skyline. Even the staggeringly innovative plan of Hardwick is a development of time-honoured usage, for its H-shape is that of the hall house broadened and with the cross bar projecting on either side. The resemblance of the entrance front at Kirby to the nave of a mediaeval church has already been noted; and of course the enormous windows of the Elizabethan prodigy houses were the successors of the windows of Perpendicular churches. The glass of the monstrous central feature at Wollaton is actually traceried. Each of these unique houses is indeed as much a synthesis of the old and the new as the Church which resulted from the Act of Supremacy of 1550, the break with Rome and the establishment of the Queen as supreme governor of things temporal and spiritual.
Looking back now at the constructions with which this essay opened it is clear that in our own time the word 'new' signifies a complete break with tradition. The vivid sense of continuity, so essential to our well being and which in the past was nourished by what had gone before and by allusion to particular masterpieces, no longer cushions the shock of the new and plays no part in the ceaseless pursuit of it. The desire for the new is the most telling indication of the post-culture in which we now live.
But all is changed, that high horse riderless,
Though mounted in the saddle Homer rode
Where the swan drifts upon a darkening flood.
A View of the Cotswolds
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- Written by Olive Cook
This article was published in Matrix 21 in 2001. Written by Olive Cook, it was to introduce the last book of Edwin's work that she would oversee in her lifetime.
I have a copy of this book and the reproduction quality of the images is superb, akin to the photogravure process that Edwin loved. The overall production of the book is of the usual high standard associated with the Whittington Press, with a cover featuring an Edwin Smith linocut.
Olive Cook and Matrix
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- Written by John Randle
In Matrix 23, where the article by Lucy Archer about Olive Cook appears, John Randle wrote a short note about his long association with her as a contributor to the journal.
John and Rosemary Randle are owner/founders of The Whittington Press, publisher of The Matrix ('by far the finest periodical of the book arts of the twentieth century, surpassing even the seven-volume Fleuron issued in the 1920s'), which is now in its thirtieth year.
A Cabinet of Curiosities: The Saturday Book
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- Written by Robert Elwall
IT is a fact all too commonly overlooked by photographic historians and critics that the potency and influence of the photograph is more generally derived from its printed reproduction than from the hallowed but often little seen original print. The importance of rendering the photographic image compatible with the printing press was however recognised from the very invention of the medium with the Art 'Journal repeatedly trumpeting the benefits that would accrue from 'the application of the solar pencil to the general purposes of book illustration'.
Working with Olive Cook
- Details
- Written by Lucy Archer
This article, written by Lucy Archer and originally published in Matrix 23, is an evocative and moving tribute to Olive Cook. I recognise so much of my own experience in working with - and being good friends with - Olive for many of the years preceding Lucy's contact with her. It is testament to Olive's character that Lucy experienced the same convivial hospitality and enthusisam that I remembered from ten years previous.
Olive Cook - A Triumph of Evocation
- Details
- Written by Olive Cook
This article, written about the photographer James Ravilious (1939–1999) by Olive Cook, first appeared in Matrix 19, published by The Whittington Press in Winter 1999. James Ravilious died just before the article was published. It is reproduced here with permission.
Olive Cook and her husband, the photographer Edwin Smith, were great friends of the Ravilious family and James, as a young boy, would often stay with them after his father, Eric Ravilious, was killed during the Second World War. It is unclear whether or not Edwin Smith had a direct influence on James Ravilious' decision in the 1970s to take up photography, but he must have been well-used to seeing Edwin's work and was undoubtedly conversant with the photographic darkroom from his association with Edwin.
Photography and the Visual Arts
- Details
- Written by Roy Hammans
This article, written by Olive Cook, first appeared in Matrix 18, published by The Whittington Press in Winter 1998. It is reproduced here with permission.
Olive Cook was married to Edwin Smith and a published author, academic and artist in her own right. She did not suffer those whom she considered to be 'artistic fools' gladly and some of the tone of that dislike for the pretentious comes across in this article. She was however a staunch believer in the power of photography to capture 'the genius of place' and she devoted much of her life after Edwin's early death to promoting his work as a photographer.
Olive Cook - The Art of Tirzah Garwood
- Details
- Written by Roy Hammans
This article, written by Olive Cook, first appeared in Matrix 10, published by The Whittington Press in Winter 1990. It is reproduced here with permission.
Olive Cook was a close friend of Tirzah Garwood and this beautifully written short biography is a one of the few detailed references to an artist who is often overlooked in the history of English art and design. As the wife of Eric Ravilious, she was somewhat overshadowed by his reputation but nevertheless produced a large body of work that is accomplished and significant in its own right. Her son, James Ravilious, was also a noted artist and photographer, referenced elsewhere on this site.
On photographing cathedrals and parish churches
- Details
- Written by Edwin Smith
In 1990, Olive Cook gave me a signed and dedicated copy of 'English Cathedrals', which had just been published. In the Foreword she says that the book was needed because relatively few of Edwin's photographs of cathedrals had ever been published, yet it was a subject to which he was considerably drawn.
It is interesting also because it contains his 'last' photograph – or at least so Olive believed until I discovered a roll of unprocessed film in a camera of Edwin's that she later gave me. That 'last' photograph, of Canterbury, is reproduced to accompany the text below.
In the 1971 re-issue of Edwin and Olive's first collaborative book, 'English Parish Churches' (originally published in 1952), Olive included an article that Edwin had written about his experience of photographing in cathedrals and churches. This text forms the main body of this page.
In the considerably revised and expanded reprint of 'Parish Churches' of 1971, the detailed architectural drawing that Edwin devised to illustrate the evolution of the English church was also reproduced. I have included it here not only because of its interest but also to show that he was indeed a very competent architectural draftsman, as befits his training as an architect.
Edwin Smith Recollections
- Details
- Written by Roy Hammans
These recollections, by people who knew Edwin Smith, where published to accompany the exhibition of his work held at The Minories Gallery, Colchester, in 1974.
Edwin Smith – The Last Exposures
- Details
- Written by Roy Hammans
These photographs were on the roll of film that still lay, undeveloped, in Edwin's Ensign Autorange camera when Olive gave it to me in 1993. I processed the 22 year-old roll with great care and was astonished to find it contained usable images.
The film was Kodak Verichrome Pan 120 and had sat in the camera since the day these pictures were taken all those years ago. I phoned Kodak Ltd and sought their advice on development. I was advised to use increased amounts of anti-foggant in a standard D-76 formulation - and hope for the best! The latent images survived and were surprisingly clear, although the base fog level on the film had increased enormously.
They are the last photographs ever taken by Edwin Smith as he became increasingly incapacitated by pancreatic cancer and died later that same year. He never saw them, except through his viewfinder at the time of exposure.
Bomarzo and the Sacro Bosco
- Details
- Written by Roy Hammans
In the days when I was printing Edwin Smith's negatives for Olive Cook, his widow, she would sometimes give me copies of his original prints as gifts. This was always a great honour, as she was extremely protective of the work he left behind, particularly any prints he had made himself.
This is one example, which I received sometime in the early 1990's. Although given to me framed, I never hung it as the makeshift mount was one made for a landscape print and this was portrait format, so it didn't look right at all. The frame was also old and battered, so recently I took it apart to cut a new mount and re-frame.
Daily Telegraph: Edwin Smith's England
- Details
- Written by Christopher Howse
Christopher Howse celebrates the nostalgic photographs of Edwin Smith and the glorious, changing landscape that inspired him 50 years ago.
An article in the Daily Telegraph, 2007, by Christopher Howse
"A photographer who conveys the apparent timelessness of England's landscape, and its vulnerability, is Edwin Smith".
The mysterious case of a village, its mermen and an airport.
- Details
- Written by Roy Hammans
How can a small village in Hertfordshire be linked to mermen and London's third airport?
In 1969, as part of the organised opposition to proposals to site London's third airport at one of four locations in the Eastern region, the Nuthampstead Preservation Association commissioned the author and historian Olive Cook to compile a study of a typical village in the area threatened by the plans. She chose the village of Anstey and engaged her husband, the photographer Edwin Smith, to record a cross-section of the village environment and its residents. Anstey was chosen because: "...its topographical, architectural and sociological features seemed to typify those of the whole district...".
Read more: The mysterious case of a village, its mermen and an airport.
Powerscourt Revisited
- Details
- Written by Roy Hammans
In 1965, whilst photographing in Ireland for the book of the same name published in 1966, Edwin Smith visited the formal gardens at Powerscourt in County Wicklow.
One of the photographs he took there has always held a certain fascination for me and my trip to Ireland over the last week gave me the opportunity to visit the gardens and see this impressive place myself. Armed with a copy of this published version of the image on my iPad as a guide, I set out to try and photograph the view as it is today.
The dramatic vista that Smith portrayed is perhaps one of the strongest photographs in the book that ensued, evoking both the beauty and grandeur of the Irish countryside and the great tradition of formal garden landscaping. The garden was designed by Daniel Robertson in 1830 for the 6th Viscount Powerscourt.
Life & Work
- Article Count:
- 6
Books & Shows
- Article Count:
- 5
Olive Cook
- Article Count:
- 13
- Article Count:
- 8
Related Material
- Article Count:
- 7


text:
The parent company of the The Meadows Racetrack and Casino in Pennsylvania, which is operated in part by former owner Magna Entertainment Corp., has been sold for $1.75 billion to an Australian entity, it was announced Dec. 12.
Cannery Casino Resorts, which purchased the Pittsburgh-area facility from MEC for nearly $200 million in November 2006, sold a package of four properties to Crown Ltd in the deal. Also included in the transaction were Las Vegas-area businesses The Cannery Hotel and Casino, Nevada Palace Casino and Rampart Casino in Summerlin. The Pittsburgh Post-Gazette reported that the deal, which took about 45 days to complete, will approach $1.8 billion after acquisition costs are added.
MEC has under a five-year management service agreement operated the racing side of The Meadows, which features about 210 live days of harness racing. Slots were legalized in July 2004 under the Pennsylvania Race Horse Development and Gaming Act, but licenses weren't officially awarded until December 2006, about a month after the closing of MEC's sale of The Meadows to Cannery Casino Resorts.
Bill Paulos, joint chief executive officer and part owner of Cannery Casino Resorts, told the Post-Gazette Cannery Casino Resorts will have invested $450 million into The Meadows by the time a new permanent casino opens in March 2009. Since the temporary casino opened June 11, its 1,738 slots have averaged a daily gross of about $6 million, the publication reported. The new casino, which will total 125,000 square feet, will house 3,300 slots.
The Meadows was founded in 1963 by the Washington Trotting Association, but has since changed hands several times. MEC acquired it from the English-based Ladbroke Group for $46.5 million in 2001.
Crown Ltd. owns Crown Casino in Melbourne and Burswood Casino in Perth. It also owns 38% of Melco PBL Entertainment Ltd., a joint venture to build casinos in Macau with Hong Kong's Melco International Developments Ltd. It also has stakes in other casino operations.
The Meadows Changes Hands
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subset: commoncrawl


text:
How it works
* AudioTimeout mute all sounds (ringer, bells 'n whistles etc.) for a by you
predetermined time.
* AudioTimeout does NOT mute your own set alarms and it does not affect the
vibration. Neither the microphone nor the earphone is affected (you can talk and
listen normally during a phone call).
* Just set the time for when you want the sounds to come back on again with the
time control and press MUTE SOUNDS. When the preset time is reached the
sounds will automatically come back on again.
* If you change your mind and want the sounds to come back earlier, just press
UN- MUTE and all muted sounds will come back immediately just as they were
* AudioTimeout requires just one Android permission and that's "wake lock". That's
to prohibit the processor from going into sleep mode.
A little word of warning
* When the application is started it sets the time to the current time, (e.g. 10.45).
If you one minute later (10.46) press MUTE SOUNDS without altering the time,
the sound will be muted for almost 24 hours. Muted from this instant until 10.45 the
next day. (You can of course manually UN-MUTE at any time.)
License: http://www.furstenborg.com/furstenborgsoft/audiotimeout_license.html


text:
Angelina Jolie is an American actress and liberal. She is the daughter of Karate Dog actor John Voight, and currently the wife of Hollywood himbo Brad Pitt. She is also the ex-wife of professional Santa Billy Bob Thornton.
Her hobbies include raising kids,
acting flashing and pouting in big movies, adopting kids, ruling some fictional country in Africa, procuring kids, and modeling. And kids in general.
Baby Procuring MachineEdit
Adoption ContestEdit
Jolie is also addicted to adopting Third World babies, an activity which has her competing for a world record with everyone's favorite musical whore.
So far Angelina has procured
308 307 children in the last six years. Her most recent addition, Shiloh, is her first biological child. So that one doesn't count towards the record. The others include Shakira, some black kids, a Chinese kid, an Eskimo, and Dennis the menace.
She currently has in her custody at least one child from every nation on earth, so naturally the Jolie-Pitt household acts as a second United Nations. Currently Maddox and Pax are meeting at the dinner table to discuss action figure trade relations. The offical languages in the Jolie-Pitt household are English, Spanish or Italian or some kind of Portugese, Chinese, and what ever language it is that Bill Cosby speaks.
Alleged Adoption Of Stephen Jr.Edit
In the winter of 2006, in a whirlwind of rumors concerning the whereabouts of Stephen's boy Stephen Jr., some tubes published an unsubstantiated and completely false report that Ms. Jolie had adopted Stephen Jr.
To be clear, if Angelina wants Stephen's son, he will give her one the old-fashioned way. Or, via the purchase of some Stephen Colbert's Formula 401 or its spin-offs.
Acting CareerEdit
Jolie acted alongside Jon Stewart in the 1998 film Playing by Heart, during the production of which the two most likely fornicated, and if not the latter of whom masturbated to the thought of the former.
Among the few non-reprehensible actions taken by this Hollywierd celebrity is portraying the title character in Lara Croft: Tomb Raider, a large-boobed superheroine. The movie was based in a video game which helped boys all over the world to
masturbate improve their wrist-eye coordination.
- Her father, Jon Voight, is a
senile old crankloyal Republican.
- She is the patron saint of the nation of Wal-Mart
- Her lips size is double-D
- The Donald, a fantastic judge of good taste, thinks Angelina is ugly.
- Thanks to her past sins and her slightly manish looks, Jolie is considered a hotmosexual.
- She reportedly enjoys participating in lesbian sex scenes (ie Gia) whenever she gets the chance.
- This love of the love that dare not speak its name explains why she married that butch girl
- Steals babies from their birth mothers in Africa (Africa, where's that?)
- Member of the Hollywood Pregnancy Association. She is on the list of "Past Bad Pregnancies" because she was unwed when she gave birth to her twins. She is refusing to Marry Brad Pitt until Gay Marriage is legal.


text:
TLD (aka Predator) is an algorithm for tracking of unknown objects in unconstrained video streams. The object of interest is defined by a bounding box in a single frame. TLD simultaneously tracks the object, learns its appearance and detects it whenever it appears in the video. The result is a real-time tracking that typically improves over time.
Current code is written in C and Matlab and was developed under Windows. Therefore the highest priority is to:
- port current code to Linux and Mac (straightforward)
- get rid of Matlab and re-implement the code into C
- port to Andriod, iPhone.
Please cite our CVPR'10 paper if you use the code for academic purposes.
30 Day SummaryJul 2 2016 — Aug 1 2016
12 Month SummaryAug 1 2015 — Aug 1 2016


text:
S.O. Tech Hellcat MK I
King Arms MPS Utility Chest Rig
- High Density Nylon Material
- Platforms can attach all MOLLE system pouches
- 6 Compartments to store 7.62 / 5.56 magazines, radio, pistol,etc.
- Desert Tan Color
By buying this product you can collect up to 5 loyalty points. Your cart will total 5 points that can be converted into a voucher of 1,00 €.
King Arms (Hong Kong)
Show all products


text:
Ryan Gosling Is Officially Done with Acting!
Oh no, please say it isn't so! Well hopefully it's just this one project. We NEED to see hisbeautiful face!
Ryan Gosling is currently on the Detroit set of How to Catch a Monster. He's on location getting ready for filming to begin on the thriller, which follows a single mom and her family as they are swept into a fantasy underworld. The project, also written by Ryan, puts him behind the camera as a director for the first time. His debut will star Christina Hendricks, who also made an appearance on set this week, as well as his real-life girlfriend, Eva Mendes, and Saoirse Ronan.
Nik dishes celeb gossip and hits you with the latest, must see stuff on the web.


text:
Norway-based chemical tanker owner Odfjell SE has exited the European regional trade with the sale of three vessels to an unnamed buyer. In a statement posted to its website, Odfjell said that it has signed an agreement for the sale of Bow Balearia, Bow Bracaria and Bow Brasilia, all 5,800 dwt and built in 1997-1998, marking the last remaining vessels within the … [Read more...]
Odfjell Drilling Wins Johan Sverdrup Drilling Contracts
OSLO, June 15 (Reuters) - Norwegian oil major Statoil has awarded rig firm Odfjell Drilling contracts worth up to $1.04 billion for work on the giant Johan Sverdrup field in the North Sea, Odfjell said on Monday. The Deepsea Atlantic drilling rig has won a three year contract worth $330 million for drilling production wells, with additional options to extend the work by up … [Read more...]
Mørch to Lead Odfjell
Following the resignation of former CEO Jan A. Hammer last December, Odfjells' Board of Directors have chosen fellow board member Kristian Mørch to assume the role as the company's new CEO/President. He will succeed interim CEO/President Tore Jakobsen by November 1st 2015. Mr Mørch is a Danish citizen and presently holds the position as co-CEO of Clipper Group. He has … [Read more...]
Odfjell Announces Layoffs, Reduction of European Officers
Norwegian chemical tanker owner Odfjell announced a restructuring plan today which will result in a reduction of up to 85 positions at their office in Bergen, Norway. The company notes 32 are already concluded through attrition and early retirement. "There will also be organisational changes at our offices abroad," the company notes, including "relocation of administrative … [Read more...]
Hammer Resigns Post at Odfjell Due to Disagreement with Board
After nearly 30 years at Norwegian tanker company Odfjell, the last 5 of which as CEO, Jan A. Hammer will be leaving the company. Odfjell's Board cites differing views on the strategic direction for the company as the primary reason for his resignation. Tore Jakobsen, previously Senior Vice President, Corporate Investments, has been appointed interim President/CEO. … [Read more...]
Odfjell and William Jacob Management Team Up
Odfjell Drilling and William Jacob Management (WJM), a Houston-based Engineering and Project Management services firm, have announced today an agreement whereby the two companies will cooperate on delivering offshore engineering services to the global energy market. These services include conceptual and front end engineering and design (FEED) studies, project planning, … [Read more...]
Odfjell Chief Engineer Pleads Guilty in 'Magic Pipe' Case, Faces Prison
Singapore-based shipping company Odfjell Asia has pleaded guilty to federal pollution charges and agreed pay a $1.2 million fine in relation to yet another "magic pipe" case onboard one of their ships. A statement from the U.S. Justice Department said that Odjfell and one of its senior crewmembers pleaded guilty Monday in federal court in Hartford, Connecticut for violating … [Read more...]


text:
2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005 | 2004 | 2003
PCFG Acquires $700 Million Ore Deposit
TORONTO, Aug 19, 2005 /PRNewswire-FirstCall via COMTEX/ --
Pacific Gold Corp., (OTCBB: PCFG) announced today that, Pilot Mountain Resources Inc., a subsidiary of Pacific Gold Corp., has acquired Project W from Platoro West Incorporated ("Platoro West").
Project W is primarily a tungsten (chemical symbol W) project located in Mineral County, Nevada. Elevated tungsten values occur throughout the area, and there are known mineral resources within the claim area. The property is located approximately 21 miles east of the town of Mina with access through an all-weather, county-maintained gravel road and a network of further trails. Mina is 168 miles south-east of Reno on Route 95. The claims are located at an average elevation of 6,500 feet.
Resource calculations from a feasibility study completed by Kaiser Engineers place the size of Project W at 9,061,600 tons, grading 0.386% WO(3) of combined proven, probable and possible ore, or approximately 35,000 tons of WO(3). Current prices of WO(3) as quoted in the Northern Miner place the gross value before extraction costs of the tungsten deposit at $674 million, not including credits from additional minerals.
The terms of the acquisition of Project W call for Pilot Mountain Resources Inc. to pay to Platoro West, 150,000 shares of common stock of Pacific Gold Corp. and a 2% gross royalty on all mineral sales from Project W. On completion of an updated feasibility study, title of the claims comprising Project W will be transferred to Pilot Mountain Resources Inc. In addition to the claims, Pilot Mountain Resources Inc. will receive copies of previously prepared working documents and reports regarding Project W.
The Company plans to aggressively begin work on Project W. Initially, the Company plans to conduct a diligent review of the existing project documentation and undertake preliminary mineral analysis. Following the documentation review, the Company plans to engage an engineering firm to prepare an up-to-date feasibility study for Project W.
Pacific Gold Corp. remains committed to its focus on alluvial gold projects and its base business strategy of acquiring proven but undeveloped mineral deposits. Due to the unique nature of the Project W opportunity, and the recent economic developments in the tungsten market, management believes Project W is a significant opportunity for the Company and its shareholders. The Company has amended its mission statement and corporate strategy accordingly. Previously the mission statement of Pacific Gold was to acquire up to 5,000,000 ounces of gold-based resources by 2009. The Company has updated its mission statement to acquiring up to $2 billion of mineral deposits by 2009. With the acquisition of Project W, the Company has achieved approximately 55% of its goal. The updated mission statement is quoted in this release.
Project History
During the 1970's and early 1980's, diamond drilling conducted independently by the Duval Corporation and Union Carbide Corporation resulted in the identification of three principal resource areas. Reports addressing the occurrence of tungsten mineralization and estimates of Project W resources have been prepared by the Duval Corporation, Union Carbide Corporation and independent consultants including Kaiser Engineers, Inc. and David S. Robertson and Associates. Pilot Mountain Resources Inc. has access to these reports through its agreement with Platoro West.
In the three principal resource areas currently identified, a resource of 8,299,000 tons averaging 0.33% WO(3) was calculated for the Desert Scheelite occurrence, a resource of 427,200 tons averaging 0.42% WO(3) was calculated for the Gunmetal occurrence, and a resource of 1,562,800 tons averaging 0.37% WO(3) was calculated for the Garnet occurrence. At the time it was concluded by Union Carbide that further drilling in the vicinity of the Gunmetal and Garnet tungsten occurrences would likely add appreciably to the existing known tungsten resource. In 1981, the project was the subject of a feasibility study undertaken by Kaiser Engineers Inc. with results showing the deposit can be mined profitably depending on the market price for tungsten.
About Tungsten
The word tungsten means "heavy stone" in Swedish. Its chemical symbol is W. Tungsten is a grayish-white lustrous metal which exhibits many important physical properties including a high melting point and density, as well as good thermal and electrical conductivity, a low coefficient of expansion, excellent corrosion resistance, and exceptional strength at elevated temperatures.
Tungsten is an important strategic metal for which there is no known substitute. Tungsten is an essential commodity, valued as an extremely hard carbide used in cutting and wear-resistant components, and as the metal or alloy for lamp and lighting filaments and electrodes, electrical and electronic contact surfaces, heat and radiation shielding in high temperature furnaces and x-ray equipment, and electrodes in certain welding methods.
Oregon Gold and Grants Pass Gold
Pacific Gold Corp. also announced today that two of its operating subsidiary companies, Grants Pass Gold Inc. and Oregon Gold Inc., have merged. Effective today, the Company's existing Oregon gold companies will be known collectively as Oregon Gold. The merger was completed in order to streamline Pacific Gold Corp. operations, and was a logical progression given the close proximity of the Bear Bench and Defiance projects.
To find out more about Pacific Gold Corp. (OTCBB: PCFG), visit our website at www.pacificgoldcorp.com, or contact the Company at 416-214-1483.
About Pacific Gold Corp.
The Company's business plan includes the acquisition and development of production-ready and in-production mining operations. The Company is currently focused on alluvial gold and base metals operations located in western North America. Pacific Gold Corp. currently owns four operating subsidiaries. Nevada Rae Gold, Inc. ("Nevada Rae") owns and operates the Black Rock Canyon gold mine, located in north-central Nevada. Pilot Mountain Resources Inc.("Pilot Mountain") owns Project W, a large tungsten based deposit. Fernley Gold, Inc. ("Fernley Gold") has acquired the exclusive lease rights to mine the Lower Olinghouse Placers. Oregon Gold, Inc. ("Oregon Gold") owns the Bear Bench claims and Defiance mine, located in south-western Oregon.
Mission Statement
To acquire existing natural resource deposits located throughout North America, by either lease or purchase, collectively containing a minimum of $2 billion of gross market value, and to develop the acquired deposits into producing mines as soon as possible following acquisition.
Important Information
This news release includes forward-looking statements that reflect Pacific Gold Corp.'s current expectations about its future results, performance, prospects and opportunities. Pacific Gold Corp. has tried to identify these forward-looking statements by using words and phrases such as "may", "will", "expects", "anticipates", "believes", "intends", "estimates", "should", "typical", "we are confident" or similar expressions. These forward- looking statements are based on information currently available to Pacific Gold Corp. and are subject to a number of risks, uncertainties and other factors that could cause the Company's actual results, performance, prospects of opportunities in the remainder of 2013 and beyond, to differ materially from those expressed in, or implied by, these forward-looking statements.
SOURCE Pacific Gold Corp.
Copyright (C) 2005 PR Newswire. All rights reserved.
HomePropertiesInvestor RelationsManagementNewsContact Us
Web Site includes forward-looking statements that reflect Pacific Gold Corp. and its subsidiary companies� current expectations about its future results, performance, prospects and opportunities. Pacific Gold Corp. has tried to identify these forward-looking statements by using words and phrases such as "may", "will", "expects", "anticipates", "believes", "intends", "estimates", "should", "typical", "we are confident" or similar expressions. These forward-looking statements are based on information currently available to Pacific Gold Corp. and are subject to a number of risks, uncertainties and other factors that could cause Pacific Gold Corp.'s actual results, performance, prospects or opportunities in the remainder of 2014 and beyond to differ materially from those expressed in, or implied by, these forward-looking statements.
Cautionary Note to U.S. Investors - The United States Securities and Exchange Commission limits disclosure for U.S. reporting purposes to mineral deposits that a company can economically and legally extract or produce. We use certain terms on this web site, such as "reserves", "resources", "geologic resources", "proven", "probable", "measured", "indicated", or "inferred", which may not be consistent with the reserve definitions established by the SEC. U.S. investors are urged to consider closely the disclosure in our Form 10KSB, file No. 000-32629. You can review and obtain copies of these filings from the SEC's website at http://www.sec.gov/edgar.shtml


text:
Do you own a bean pot? Some bean pots are so beautiful that people use theirs for a centerpiece on the dining room table but don't forget what it is meant to be used for: making dinner!
Here is a classic bean pot recipe which I make in my Celebrating Home Sonoma style bean pot. This recipe is so easy to make and tastes so good.
Coke® Roast
2-3lb beef roast
12oz can of Coca-Cola® (regular, not diet)
10 oz can of cream of mushroom soup
1 packet dry onion soup mix (optional)
Place roast in bean pot, add soup and coke.
Cover and bake at 350 degrees for 2 1/2 to 3 hours.
Serve and enjoy your family's rave reviews.


text:
09598102, Nut
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text:
We Require Sales Engineer ( 0 - 2 yrs)
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text:
Learn more about THOMAS BANKS & CO.,LIMITED. Check the company's details for free and view the Companies House information, company documents and list of directors.
Know about every new company document that is added!
Take advantage of our watch this company feature free of charge and have notifications sent directly to your inbox. Whenever a new document appears on this website, or if their particulars change, you will be immediately informed about such changes. To monitor these changes, all you need to do is click on watch this company.
|Fixed Assets
|£ 84,148
|Tangible Fixed Assets
|£ 84,148
|Current Assets
|£ 82,648
|Tangible Fixed Assets Depreciation
|£ 70,443
|£ 42,645
|Shareholder Funds
|£ 82,953
|Profit Loss Account Reserve
|£ 76,655
|Revaluation Reserve
|£ 3,198
|Called Up Share Capital
|£ 3,100
|Net Assets Liabilities Including Pension Asset Liability
|£ 82,953
|Total Assets Less Current Liabilities
|£ 84,244
|Net Current Assets Liabilities
|£ 96
|Creditors Due Within One Year
|£ 82,552
|Cash Bank In Hand
|£ 11,060
|Stocks Inventory
|£ 28,943
|Share Capital Allotted Called Up Paid
|£ 3,100
|Par Value Share
|1.00 1.00
|Number Shares Allotted
|£ 3,100
|Tangible Fixed Assets Cost Or Valuation
|£ 149,462
|Tangible Fixed Assets Depreciation Charged In Period
|£ 5,129
|Creditors Due After One Year
|£ 1,291
|Accruals Deferred Income
|£ 2,430
Information about the Private Limited Company THOMAS BANKS & CO.,LIMITED has been prepared for information purposes only. It is not intended to be nor does it constitute legal advice. This is public information provided by the official company register.


text:
Removal & Installation
5.3L Engine
- Before servicing the vehicle, refer to the Precautions Section.
- Disconnect the negative battery cable.
- Remove the starter solenoid BAT terminal nut and remove the positive battery cable from the starter motor.
- Remove the engine harness terminal from the starter motor.
- Disconnect the starter motor electrical connector.
- Remove the air cleaner assembly.
Remove the starter motor bolts and starter motor.
To install:
- Position the starter motor to the engine.
- Install the starter bolts. Tighten the bolts to 50 Nm (37 ft. lbs).
- Connect the starter motor electrical connector.
- Install the engine harness terminal to the starter motor.
- Install the positive battery cable and the starter solenoid BAT terminal nut to the starter motor. Tighten the solenoid BAT terminal nut to 89 inch lbs. (10 Nm).
- Install the air cleaner assembly.
- Connect the negative battery cable.
Before servicing the vehicle, refer to the Precautions Section.
NOTEThe starter motors used in these vehicles are of varying lengths, make sure to use the correct size starter motor.
Remove or disconnect the following:
Negative battery cable
To install:
Install or connect the following:
Starter motor and torque the bolts to 32 ft. lbs. (43 Nm) on all models except Intrigue. On Intrigue models, tighten the bolts to 37 ft. lbs. (50 Nm).
Testing & Troubleshooting
Before removing any component of the cranking circuit, check the following:
Inspect the battery and cables.Inspect the wiring for damageInspect all connections to the starter motor, solenoid, ignition switch, battery and all ground connections. Clean and tighten as required.Inspect the starter motor and ignition switches to determine their condition.
If the battery, wiring and switches are in satisfactory condition, and the engine is known to be functioning properly, the starter may be at fault.Voltage Drop Test
The battery must be in good condition and fully charged prior to performing this test.
- Disable the ignition system by unplugging the coil pack. Verify that the vehicle will not start.
- Connect a voltmeter between the positive terminal of the battery and the starter B+ circuit.
- Turn the ignition key to the START position and note the voltage on the meter.
- If voltage reads 0.5 volts or more, there is high resistance in the starter cables or the cable ground, repair as necessary. If the voltage reading is ok proceed to the next step.
- Connect a voltmeter between the positive terminal of the battery and the starter M circuit.
- Turn the ignition key to the START position and note the voltage on the meter.
If voltage reads 0.5 volts or more, there is high resistance in the starter. Repair or replace the starter as necessary.
NOTEMany automotive parts stores have starter bench testers available for use by customers. A starter bench test is the most definitive way to determine the condition of your starter.


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HR Manager
- Recruiter
- Rolls Royce
- Location
- Erskine
- Salary
- Competitive + Excellent Benefits
- Posted
- 11 Oct 2016
- Closes
- 20 Oct 2016
- Sector
- IT, Recruitment
- Contract Type
- Permanent
As a HR Manager, you will play a key role within our Human Resources department by providing effective employee relations and a positive working climate locally, closely working with trade union representatives, line management and liaising with regional ER team where necessary. This is a chance for you to drive the effectiveness of our HR delivery model, guide line managers to obtain support from the right area and maintain a strong partnership with other parts of the HR Operating Model to ensure an excellent overall service delivery. Human Resources plays an essential role in making sure that Rolls-Royce employees and the organisation as a whole are working together to create a better future. This involves researching, developing and implementing the best HR solutions and new ideas across the company, as well as ensuring we have a consistent strategy, service and policy across all of our locations, regardless of country. On a more personal level, Human Resources acts as a trusted resource for all employees seeking guidance on both everyday matters and those of a more serious nature. Key Accountabilities Manage local components of projects and wider change programmes. Deploy Company talent tools and processes and support development of local talent within business area. Have prime responsibility for local deployment of Company HR processes such as Performance Management, Reward Review, Role Grading, Salary policy, Engagement Surveys and deployment of Diversity and Inclusion plans. Provide effective HR support to local business managers ensuring business needs are met in line with Company HR policies and processes. Work with line managers and employees to resolve problems in areas beyond HRSSC remit, e.g. where face- to- face support or knowledge of the local business context is required. Advise, guide and coach line managers on their HR responsibilities, management behaviours and team management. Ensure accurate data management by advising HRSSC on all organisational changes and complying with approval and notification procedures. Support recruitment activity by ensuring vacancies are defined, graded and approved and line managers directed to the appropriate resourcing services. Qualifications Broad HR experience. In depth knowledge of HR function and its capability to support business objectives. Broad knowledge of the HR best practice across Employee Relations, Change Management, Talent Management and Employment Law. Well developed customer and relationship management skills, including credibility and influencing skills. Strong customer service orientation. Broad change management skill set, combined with ability to apply project management principles to deliver and support organisational change. Significant experience in working with Trade Unions and in leading local Information, Consultation and Negotiation Activities. Post-graduate HR qualification or equivalent is desirable. At Rolls-Royce, we focus on the future in every sense. We continually break new ground with integrated power solutions that are technologically advanced and create better power for a changing world. Create momentum. Join us and you'll develop your skills and expertise to the very highest levels, working in an international environment for a company known the world over for excellence and innovation. Trusted to deliver excellence. We are an equal opportunities employer. This job was originally posted as www.totaljobs.com/job/66854107


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Free Gift Packaging
- Signature blue gift box
- Stylish silver ribbon
- Personal gift message
Lab-Created Pink and White Sapphire and Smoky Quartz Frame Ring in Sterling Silver and 14K Rose Gold Plate - Size 7
Item# 19835511
Win her heart with this bright and bold fashion ring. Created in sterling silver with 14K rose gold plate, the eye is drawn to the 5mm lab-created bright pink sapphire center stone. A double frame set with shimmering lab-created white sapphires and alluring smoky quartz surrounds the center stone, while additional white sapphires line the ring's slender shank. Polished to a brilliant luster, this sparkling design is sure to be worn often. This ring is available in size 7 only. Sterling silver rings cannot be resized after purchase.
Typographic errors are subject to correction. Merchandise enlarged to show detail and may not always be exactly as pictured. Promotions, prices, styles and availability may vary by store and online.


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|Please note: This article is about the monk founder of the Hitsu-do. For other uses of the term, please see Hitsu (disambiguation).
Matsu Okibi was an officer in the Fourth Lion Army, known for his bold, brash tactics. Eventually he was soundly defeated after an Ikoma subordinate failed to implement Okibi's orders correctly. To cover his shame, the Ikoma convinced the other officers serving Okibi to place the blame upon their general. [1]
Monk Edit
Okibi retired and joined the Brotherhood of Shinsei as [[Hitsu ("flame-stealer"), honing his body into a flawless physical instrument for a later revenge. He became a master of jiujutsu and several of its sub-styles, all the while honing his own variant of unarmed combat – one driven by the burning hatred within him. Okibi eventually found his former subordinate and consumed him, only to realize that he had ignored his own failings, allowing a lie to grow in his soul. [1]
Hitsu-do Style Edit
Okibi returned to his monastery as a completely different person, to resume his work as sensei. The ability to reach his Fire chi became much simpler, and those students who held on to the same hatred and rage he once had embraced were not able to achieve the same feats he was. Hitsu was claimed to be the founder of the Hitsu-do martial art. [1]
|This Lion Clan related article is a stub. That means that it has been started, but is incomplete. You can help by adding to the information here.
|This Brotherhood of Shinsei related article is a stub. That means that it has been started, but is incomplete. You can help by adding to the information here.


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Ending scene of Finding Nemo-1080p HD MP3
Enjoy~~~~! Can't Wait to see Finding Dory!!!!!!!
Finding Nemo- End Scene MP3
Finding Nemo - Now what?! MP3
My favorite part from Finding Nemo. Now WHAT!?!
Finding nemo ending reunited scene MP3
Finding Nemo - Swim Together! MP3
One man is making a difference in Tanzania and on his own initiative. For as little as a few cups of cappuccino you can have an impact on a child's education.
Finding nemo ending MP3
This video was uploaded from an Android phone.
Finding Nemo - Keep swimming MP3
an inspiring scene from "Finding Nemo" على هامش الثورة التونسية.
Finding Nemo - Ending Scene MP3
End Credits Music from the movie "Finding Nemo" MP3
End Credits Music from the movie Finding Nemo.
Finding Nemo Alternate Ending MP3
15K views later, I finally added a fucking description. Okay, so this video is funny. There, I think that's good enough. ...
Finding Nemo- Escape from the fish tank MP3
Finding Nemo The scene where Nemo escapes from the fish tank.
Finding Nemo (2003) Alternate Ending MP3
So what if the tank gang turned their back on Nemo and killed them brutally in the first filter attempt escape? Pretty much a pixar horror film! Sorry if i ruined your ...
Something Funny At The End Of Finding Nemo MP3
There was an anglerfish scene at the end of Finding Nemo.
Finding Nemo Credits (Disney XD Version) MP3
Mike Wazowski cameo in Finding Nemo MP3
Mike Wazowski swimming in Finding Nemo credit scene. All rights reserved to Disney and Pixar animations, ...
Finding Nemo/Finding Dory Trailer Soundtrack - Nemo Egg (Extended Version) MP3
Gravity OST: https://www.youtube.com/watch?v=Daiz6iqSIE0 'Nemo Egg' from The Finding Nemo soundtrack by Thomas Newman. I edited it to make it longer.
Little Nemo Adventures In Slumberland 1989 Full Movie HD 1080p MP3


text:
How to Grab this deal:
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- Post waxing/shaving , Can be used all over the body & face,Reduces/delays Hair growth ,For men and women
- Nature's Gift from the Himalayan Natural Springs, 100% natural ingredients,Paraben Free,Works on all pigments & thickness
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- Specifically designed to discourage unwanted hair from growing back, can be used with any form of hair removal,Formulated with natural herb and plant extracts to nourish and calm the skin after hair removal
Note : Subscribe Amazon Prime to get free shipping on cart below Rs. 499


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Professional stage cable drums - stackable, therefore especially convenient to use. With continuous front panel.
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Office Nerf battles are about to get more intense thanks to the release of the N-Strike Elite Rhino-Fire blaster. The serious looking toy will be available in the United States this fall, exclusively at Walmart. According to a press release posted by Blaster Labs, the Rhino-Fire blaster is going to be as intense at is appears:
Dominate the competition with the biggest, baddest NERF blaster yet! The N-STRIKE ELITE RHINO-FIRE blaster is the first fully automatic NERF blaster featuring rapid-fire, double barrel blasting, an amazing 50 dart capacity and two N-STRIKE ELITE dart drums, turning ordinary battles into extraordinary ones. The epic RHINO-FIRE blaster sends darts soaring impressive ELITE distances of up to 90 feet, and features both a front handle for mobility and tripod to ensure awesome accuracy. Includes 50 N-STRIKE ELITE darts. Six "D" batteries required, not included.
Get your trigger finger ready.
(via Gizmodo)


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Need Food Allergy Testing in Ferry Pass, FL? Simply order online 24/7 and get fast, affordable Food Allergy Testing at a lab near you (Find More Locations):
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Food Allergy Testing is useful for people in Ferry Pass, FL who suffer from symptoms such as unexplained rashes, bloating, itching or runny noses that may be caused by exposure to foods.
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Join Sirane's network
Become an agent or a distributor for Sirane...
Do you want to join Sirane's already extensive network of agents and distributors? We are looking for people and companies interested in joining with us worldwide to complement our existing agents and distributors.
If you think you'd fit the bill, contact +44 (0)1952 230055 or email us at firstname.lastname@example.com


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4 June 2009,
New York
Price realised USD 56,250
Anglo-Flemish School, circa 1640
An architectural capriccio with elegant figures by the Arch of Constantine, a bay beyond
oil on canvas
61 x 80¾ in. (155 x 205 cm.)
New York +1 212 636 2000
London +44 (0)20 7839 9060
Hong Kong +852 2760 1766
Shanghai +86 21 6355 1766
Alexandra Nicholls
This capriccio dominated by the impressive structure of the Arch of Constantine can be counted among the many paintings of this site dating to the mid-seventeenth century, among them works by Viviano and Niccolò Codazzi. The artist at work here, likely a Fleming, takes a particularly fanciful approach to the subject, showing the Arch in a semi-ruined state, particularly in the attic (flat superstructure above the three archways) where the inscription, reliefs and marble statues should be. The structure is taken out of its Roman setting and transported to the edge of a bay. Inaccuracies in the architectural rendering indicate that this artist is unlikely to have seen this site in person, or at least did not study it from life, and may have worked from prints. The staffage, likely painted by another hand, is close in style to Adriaen van Stalbemt.
Saleroom Notice
We are grateful to Dr. David R. Marshall for suggesting an attribution to Johann Oswald Harms (Hamburg 1643-1708 Brunswick), on the basis of photographs. Another work by the artist is in the Kunsthalle, Hamburg (see L. Salerno, Pittori di paesaggio del Seicento a Roma, Rome, 1980, no. 165, II, pp. 882-83).
An expert guide to one of the most important events in the art-world calendar, and an index of in-depth features on Venice
Christie's specialists, a gallerist, a conservator and an expert consultant share their inside knowledge with Holly Black
Interior designer and heritage colour expert Edward Bulmer on the modello by Jean-Baptiste van Loo he acquired 27 yea..
Antiques dealer Will Fisher on how he acquired a 17th-century painting of a dog that hangs above his fireplace in south London
From Yves Saint Laurent in Paris to David Hockney in New York, the must-see shows for the second half of 2017
Exceptional pieces offered in the second half of 2017 in Paris, New York and Geneva


text:
This silver plated Palace Bottle Coaster from Culinary Concepts is a great way to 'dress up' your favourite bottle of drink, as well as keeping any unsightly condensation marks off of your furniture. Designed to hold a bottle of champagne, wine or even your favourite luxury spirit, this piece of practical barware looks stunning in a silver finish.
Dimensions: 5.8H x 11D cm
Materials: Silver plate
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text:
Screenjunkies on YouTube are known for their funny and hilariously 'honest' remakes of trailers. This time they have chosen 2012's Academy Award-nominated movie "Les Miserables".
The video has gone viral over the internet since it is absolutely "honest" and awesome! It has been covered by many news websites.
Watch the video above and let us know whether you liked it or not with your comments.


text:
Lost in the Jungle
by Paul du Chaillu
This is the third of a series of children's books by an early explorer of equatorial Africa. The first two books were full of exciting stories about close encounters with gorillas, snakes and crocodiles and various other incidents, but did not give a chronological account of the author's journeys. This book, together with book four, present a comprehensive review of his first major expedition into the eastern jungle of Gabon and the Congo region.
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Each purchaser of a Heritage History electronic book will receive three copies of the same book: one printable PDF version, and two versions (EPUB and MOBI) that are optimized for electronic reading devices. For more information see our Electronic Book information page.


text:
Thursday, Jan. 1, 1970 12 a.m. to 12 a.m.
Signed into law in 2010, the Patient Protection and Affordable Care Act is responsible for the most sweeping reforms of the United States' health care system since the 1965 passage of Medicare and Medicaid. On October 1, open enrollment began for health insurance plans in the new insurance marketplace. How will this affect you and your family?
Join Mount Desert Island Hospital & Jesup Memorial Library for an informational session on the Affordable Care Act on Tuesday, January 21st from 4:00 pm – 6:00 pm at the Jesup Memorial Library.
Join us for a PowerPoint presentation on current issues in health reform from MDI Hospital President/CEO Art Blank. Art will be joined by Danny Harper of Carroll Harper & Associates and an ACA Navigator for a question and answer session following the presentation.
Refreshments will be available. For more information, contact Oka Hutchins at 288-5082, ext. 1423 or firstname.lastname@example.com


text:
The Black sea City is an oceanic city located in the black sea. They city is divided into 4 sections.
- East Section: Bars, Residential Areas, Zoological Compound
- West Section: Bars, Residential Areas, Prison, Courtroom, Tellarite Compound, Ferengi Compound, Klingon Compound
- North Section: Docking Areas, Civilian registration
- South Section: Klingon Betting Parlor, Residential Areas, Andorian Compound
- Humans
- Klingon
- Tellarite
- Ferengi
- Andorian
- Vulcan


text:
Search Results: 'posters'
Paperback: List Price: $9.68 $4.84 | You Save: 50%
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Have you ever wondered what Martin Luther would write about if he loved to watch Lebron shot block layups into the fifteenth row? Or Karl Barth if he watched four hours of SportsCenter a day? ... More > Wonder no more, friend. This collection of comic essays explores the unique intersections between the sports world and following Jesus, using the absolute maximum of sketches about the Founding Fathers debating the invention of wakeboarding.< Less
To Posterity
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To Posterity - a sequence of poems by Rik Roots
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eBook (PDF): $0.00
Great recipes posted on the Message Board by our members. View all at: www.allvallarta.com
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very interesting, awesome.
Calendar: $13.69
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Beautiful calendar of Big Cats made from the real oil paintings of the English artist Alan J Porter. Why the artist love painting anything from the big cat family ? He said about it: "First,... More > with myself, I have to love the subject I paint ... or forget it. There is no money that can persuade me to do otherwise. That's a fact! The big cats have a majesty, an awesome power about them and great beauty. The words beauty and love are synonymous with everything I paint."< Less
Poster Book
eBook (PDF): $2.00
Poster book containing 40 full color posters made with Photoshop each one unique in it's own way. Ranging from political posters, human rights posters, to simple straightfoward designs.
Collected Posters
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Maggie Hardy's Collected Posters from 2011-2016. A full selection of all the posters designed during this period.
Conference Posters
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Wanting to create an eye-catching poster so you can make great impact at a conference? Aware that most posters are boring, and feel that you could do so much better? Not sure where to start when... More > building a poster? Want to break away from bland designs and think through ways of presenting your work so that it comes over well? This workbook comes packed with advice and examples so that you can build posters that stand out from the crowd... for all the right reasons.< Less
Poster Design
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The learner will develop a study book to identify a working knowledge of type; history, anatomy, family classification, readability, layout, grids, design, creative uses, type with images, and... More > specification the first week of the assignment. The second week the learner will create a poster incorporating the knowledge of typography. Each area of our lesson plans not only help in the learners artistic skills but also each lesson emphasizes the use and need of the primary skills of learning; reading, writing, and math. You will find additional support in charts and graphs that will help in the learners process.< Less
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