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A couple of weeks ago I used scans of a couple of amateur lantern slides to illustrate an article on Dovedale. This week's Sepia Saturday prompt of a rainy street scene gives me an opportunity to use a couple more from the same set, as well as featuring another recent purchase, a popular box camera which preceded the ubiquitous Brownie by almost a decade.
Unidentified couple seated on bench, c.1900-1905
Lantern slide (83 x 83mm) by unknown photographer
Image © and collection of Brett Payne
The delightful image depicts a couple enjoying what might have been a quiet glass of beer, seated on a bench outside a pub, if it hadn't started to rain. At least I think the white, nearly vertical streaks must be rain drops; after some deliberation I've decided that if they were merely scratches made during processing, they wouldn't all be roughly the same length (about 10cm). Since rain drops fall between 7 and 18 miles per hour (Source: Yahoo Answers), I estimate that this corresponds with a shutter speed of between 1/30 and 1/60 second. What has made this photograph possible is the bright, albeit slightly dappled, sunlight which accompanies the light shower of rain. The lack of self-consciousness in this candid snapshot is unusual, considering it was probably taken around 1900-1905.
Unidentified group seated on lawn, c.1900-1905
Lantern slide (83 x 83mm) by unknown photographer
Image © and collection of Brett Payne
From what I've been able to tell, the very wide-brimmed and low-crowned straw hats in this second lantern slide were popular shortly after the turn of the century, which correlates well time-wise with the high-collared, wide-sleeved white blouses and long dark skirts. Here a group of three women and a young girl, the last facing away from the camera, are seated on and around a picnic blanket, placed in the middle of a well-clipped lawn surrounded by shrubs and trees. They are boiling a small kettle on a primus stove and a teapot waits patiently on the corner of the blanket. Presumably they're in a private garden, as two chickens can be seen making an appearance from the left hand edge of the picture.
No 2 Bulls-Eye Kodak
Image © and collection of Brett Payne
The image would probably have been produced by contact printing from the original negative onto a thin glass plate, thus producing a positive transparency. Unless a portion of it was masked off - an unlikely scenario, given the composition of the shots - the original negative would therefore have been roughly the same size as the slide. The 83 x 83mm measurements of the square slides equate to the 3½" x 3½" format of 101 roll film and the short-lived 106 cartridge roll holder. The No 2 Bulls-Eye Kodak, originally manufactured by the Boston Camera Manufacturing Company in 1892, but later taken over by Kodak from 1895, was the first camera to use numbered paper-backed roll film. Both this and the No 2 Bullet Kodak, introduced in March 1895 in competition with the Bulls-Eye, used 101 format film, as did a number of other box cameras:
Camera | Film Format | Dates of Manufacture |
Boston Bull's-Eye | 3½" x 3½" | 1892-1895 |
No 2 Bullet Kodak | 101 | Mar 1895-1902 |
No 2 Bulls-Eye Kodak | 101 | Aug 1895-1913 |
No 2 Eureka | 106 | Jun 1897-1899 |
No 2 Falcon Kodak | 101 | Sep 1897-Dec 1899 |
No 2 Bullet Special Kodak | 101 | May 1898-Apr 1904 |
No 2 Bulls-Eye Special Kodak | 101 | 1898-Apr 1904 |
No 2 Flexo Kodak | 101 | Dec 1899-Apr 1913 |
No 2 Plico Kodak | 101 | Mar 1901-1913 |
Rotary shutter, No 2 Bulls-Eye Kodak
Image © and collection of Brett Payne
Of all these models, the No 2 Bulls-Eye was the most successful, Coe (1988) estimating a total of roughly 257,000 to have been manufactured, and rivalled in sales during the 1890s only by its diminutive cousin the Pocket Kodak, which used the smaller 102 format film. Although I haven't found anything definitive about the rotary shutter used in the Bulls-Eye, other Kodak box cameras were manufactured with shutter speeds of 1/35 to 1/50 seconds, which corresponds well with my calculations of the exposure time using rain drop tracks.
Bulls-Eye held by Grand Duchesses Olga (left) and Anastasia (right)
Taken by unknown photographer, Imperial Yacht Standart, c. 1911
Images courtesy of Royal Russia & Jos Erdkamp
Jos Erdkamp has a wonderful example of a No. 2 Bull's-Eye Kodak, complete with its original carrying case, a film cartridge, an instruction booklet, and a portrait lens attachment. He has also written an account - unfortunately in Dutch, of his detective work (Erdkamp, 1995) unearthing an intriguing fact, that the Romanov family were amongst the many enthusiastic users of the Bulls-Eye camera.
No. 2 Bull's-Eye Kodak (1896), on Antique Kodak Cameras from the Collection of Kodaksefke.
f/Stops and Shutter Speeds, on The Brownie Camera Page.
RUSSIAN IMPERIAL YACHTS: On Board the Imperial Yacht Standart, on Royal Russia.
Coe, Brian (1978) Cameras: From Daguerreotypes to Instant Pictures, United States: Crown Publishers.
Coe, Brian (1988) Kodak Cameras: the First Hundred Years, East Sussex, United Kingdom: Hove Foto Books, 298p.
Erdkamp, Jos (1995) De Romanov Kodaks, in Photohistorisch Tijdschrift, Issue 3 of 1995.


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California family farm organically grown pistachios, shelled, perfectly dry roasted, and lightly misted with EDEN sea salt. A mildly sweet and lightly salted snack food delivering 7 grams of beneficial monounsaturated fatty acids per serving. Low sodium and a good source of protein, fiber, and thiamin B1.
Organic EDEN Pistachios are the Kerman variety, famous for outstanding flavor, from orchards organically managed since the mid-90s in the Central Valley of California. Roasted and shelled they are easy to enjoy, mildly sweet and lightly sea salted delivering 7 grams of beneficial monounsaturated fatty acids per 3 tablespoon serving with zero cholesterol. They are a good source of protein, fiber, and thiamin B1.
Pistachios are tree grown. They come out in heavy clusters similar to grapes, and have a soft outer hull like almonds. Organic EDEN Pistachios are harvested in late August to early October when hulls turn rosy and the shell splits indicating they are ripe. Harvesting when perfectly ripe ensures the best taste. This is done by shaking the tree for several seconds. Ripe pistachios fall onto a canvas catching frame, and then into a bin. Full bins move to hulling where the soft outer hull encasing the hard shell is removed. The hard shell is then removed. After hulling they are dried, sorted, and shipped to Eden where they are gas fire roasted before a light misting with our finest sea salt.
Pistachios Pistacia vera aka 'green almond,' 'happy nut,' and 'smiling nut' referencing its split appearance as a happy face. One of the world's oldest nuts and indigenous to the region formerly known as Persia stretching from the Mediterranean to Afghanistan where it was called 'pistah'. Evidence indicates pistachios have been enjoyed for at least 10,000 years. There are just two nuts mentioned in the Old Testament, pistachios and almonds. They were grown in the hanging gardens of Babylon. The Queen of Sheba forbad commoners from growing the trees for personal use. Persians used them in cooking, especially for sauces of a creamy smoothness. It was believed that good fortune and happiness came to couples who enjoyed pistachios and listened to the cracking sound of the shells above their heads as they strolled through the trees. When pistachios were first brought to the U.S. in the late 1800's they were dyed red to hide imperfections and stains on their shells from inferior harvesting techniques, and to attract shoppers' attention.
The only place in the U.S. where pistachios can grow is in California's Central Valley with its Mediterranean like growing condition, year round sunshine, long growing season, moderate winters, arid climate, moderate but ample water supply, and well drained fertile soil. It was here in the 1930's that plant scientist William E. Whitehouse first planted pistachios. Mr. Whitehouse spent months in Persia collecting pistachios to find one with the most desirable traits. That one variety was Kerman, named after the city where it was found. He brought back 20 pounds and began planting them. Pistachio trees need 7 to 10 years to produce nuts, and 20 years to reach peak production. It took until the 1970's for pistachios to become a commercial crop there, and now California is the second largest producer of pistachios in the world.
EDEN Pistachios are superior snack food, but more than that. They can be ground like almonds to make creamy sauces, pesto, curry, and desserts. Toss some into pasta stir fries, pasta salads, regular salads, fruit and Waldorf salads, pilaf, tabouli, couscous, and wild rice dishes. They are used in muffins and cakes, party mixes, trail mixes, and granola too.

subset: commoncrawl


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Home › Methuen › Restaurant › Supreme Pizza
Consistently excellent pizzas, salads, and fresh toppings with high quality cheese, plus an adjacent high-styled steak & seafood dinners. For more than 11 years, Supreme Pizza Methuen has been the perfect Pizza place to order Pizza. Best Pizza Place Near clinton-st-methuen-ma-01844 . If you think you haven't felt the real Italian flavors of Pizza you haven't paid a visit to Supreme Pizza Methuen. The line between good eating and better imbibing is, thankfully, blurring, and no place better exemplifies that ambiguity than Supreme Pizza Methuen.
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Dating back to the 16th century, pizza has been a staple of Italian heritage and culture. To feel the same old tradition food Supreme pizza Methuen is here to serve, Italian pizza and fast food has interpreted and served in a variety of ways and enjoyed by nearly everyone. But, genuine Italian pizza Methuen really is with Supreme Pizza Methuen. Our qualities make it the delicious and celebrated cuisine that the whole town loves. As we know, the crust in a Pizza is one of the most important components of the meal and at Supreme Pizza our crust is traditionally thin but has a fluffy consistency.


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Synopsis: | Stylish, exciting debut by writer/director Richard Kelly that, like "Mulholland Drive," leaves much unexplained as dark doings occur in an idyllic suburb, circa 1988. Aptly named Darko family is full of complex characters, including the gifted but schizophrenic Donny, a teenager able to see the future with the aid of a life-size, doomsday-spewing rabbit named Frank. Donny's psychiatrist (Ross) discovers he's sleepwalking on Frank's orders, which actually saves his life when a jet engine falls from a plane, landing squarely in the teen's bedroom. Even more mysteriously, no plane has reported a missing engine, which turns out to be just one of the many eerie events that may be real or imagined. McDonnel and Osborne are both fine as Donny's upper- middle class Republican parents. Like "Harvey" on anti-psychotic meds, this challenging and complex film is worth the effort. |
Directed by: | Richard Kelly |
Producer(s): | Sean McKittrick, Flower Films, Pandora Film, Newmarket Nancy Juvonen Adam Fields |
Cast: | Jake Gyllenhaal, Jena Malone, Drew Barrymore, Mary McDonnell, James Duval, Maggie Gyllenhaal, Holmes Osborne, Katharine Ross, Patrick Swayze, Noah Wyle, Arthur Taxier, Stuart Stone |


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[All content and prices updated February 2013]
Why you should add Guatemala to your Indie/RTW trip
- From bustling markets to serene monasteries, from active volcanos to the deepest caverns, and from idyllic black sand beached to tropical rivers, Guatemala is one of the most diverse countries in Central America, and has something to offer every traveler.
- Guatemala has some of the most beautiful artisan work that Central America has to offer, and for very reasonable prices. If you are interested in buffing your collection, head to the many artisan markets in Antigua and stock up on hand carved figures, masks, jewelry, pottery, and weavings.
- If you consider yourself a "budget foodie" then Guatemala will be a culinary delight for you. With some of the most flavorful cuisine in Central America, you can get a full meal for around $2 USD if you stick to the streets and markets.
- History buffs beware. You could easily spend your entire trip visiting the plethora of cultural sites (such as the famous Tikal) that are found in Guatemala.
- Options. Get lost in the picturesque village of Antigua and visit its many religious sites, hike one of the many peaks surrounding Lago de Atitlan, or canoe through its serene waters, or visit the sprawling markets in Guatemala City. Regardless, you will leave Guatemala already planning your return.
- Cost. Guatemala is one of the cheapest Central American countries and it is super cheap to travel in by western standards. You can stay in decent accommodation and take part in a few excursions even on an indie budget, and if you are willing to spend more, you will live like a king.
Indie travel tips
While Guatemala is already a well established stop on the Central American travel circuit trail, there are still plenty of ways to travel indie-style:
- Visit Lago de Atitlan, but stay in San Pedro la Laguna rather than then main town of Panajachel. Take a horse trip from the main square and you will venture into the back mountains, visit rural villages, and see the lake from a different perspective.
- If you are in Guatemala it would be a shame to miss Tikal, its most famous cultural site. However, with its popularity comes crowds. Flores is the main base camp for trips to Tikal, so rather stay in the nearby village of El Remete. You could quite possibly be the only tourist there, and the nearby lagoon has some of the clearest fresh water around. Relax on one of the many docks and watch for falling stars in a sky so full that it's almost white.
- While crowds of crafts vendors and tour groups visit Chichicastenango for the huge Thursday and Sunday markets (the largest in Central America's), it is worth the trip. The narrow cobbled streets and red-tiled roofs are often enveloped in mist, giving Chichicastenango a magical quality. Take local transportation instead of a tour to really engulf yourself in the experience, and who knows, you might even make some deals (and some friends) along the way.
- Eat in the local markets rather than in restaurants. This is the best way to experience local culture, as well as save some bucks. These cafeterias are usually located in the center of the local markets (not the artisan markets) and it is still uncommon for tourists to be found here.
What To Do
Guatemala separates Mexico and Belize from the rest of Central America. The long Pacific coast and the short Caribbean coast have a lot to offer the visitor, but the true appeal of Guatemala lies in its interior. With Central America's highest mountains and most active volcanoes, the landscape can be dramatic. Thick forests in the north still partially conceal the base of the ancient Mayan civilization.
For more in depth information on what to see and do while there, check out the highlights section of Indie Travel in Guatemala for $25 Per Day.
Getting There
Unless you are doing Central America by bus, your best bet is to fly into Guatemala City's La Aurora International Airport. It's a major hub for several carriers so good deals are often available. There is a regional airport in Flores with flights that run back and forth to the capital. These can usually be booked on a walk-up basis, but you can also buy them any local travel agent.
For information on getting around the country, check out the transportation section of Indie Travel in Guatemala for $25 Per Day.
Where To Stay
As mentioned, even if you land in the capital you might consider moving along rather than staying. There are hostels
in Guatemala City though, and many great options in Antigua as well as Flores/Tikal. Hotels
in the country tend to be affordable, but during peak times the better places can fill up well in advance.
For information on accommodations, check out the accommodations section of Indie Travel in Guatemala for $25 Per Day.


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Award and base comes unattached. Must be UV by engraver. Minor bubbles and swirls inherent to blown art glass, and slight variation in design pattern is considered acceptable from piece to piece for hand crafted glass.
This award can be personalized with a laser engraved plate attached on the wood base.


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How to Create Outdoor Living Rooms
An escapist environment in Columbus, Ohio
With its narrow brick streets and houses tucked between quaint shops, the historic German Village district of Columbus isn't known for elbow room. To Tim Straker, that's part of the charm. "When you live here, you don't have a big lawn to take care of," he says, "but you can have a nice garden and terrace."
Pictured: Annabelle hydrangeas against a brown fence offer a pretty background for the U-shape living room's seating and fire pit.
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Dividing one yard into four rooms
Eschewing the one-big-patio idea, the homeowner divided his 50x50-foot backyard—bookended by house and garage—into four outdoor rooms filled with amenities for relaxing or entertaining. There's a dining area, with a shaded table for eight, just a few steps from the kitchen door. Opposite is a cozy seating area for two. Tucked behind screening trees and close to the garage is a south-facing sunroom with a burbling fountain and chaise lounges that rotate easily to follow the sun. Opposite lies the main seating area, featuring a coffee table that moves aside to reveal a fire pit for cool nights.
Pictured: Slender hornbeam trees divide the yard into four equal spaces.
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A space with personality
To draw guests to the outdoor living room, a portable bar sits by the garage. Music drifts from outdoor speakers, rattan-wrapped hurricane lamps flicker, and subtle uplighting grazes trees and shrubs. Quirky vinyl boating cushions and industrial-chic metal chairs mix with classic teak furniture. Understated bed plantings emphasize foliage and texture, with tropical houseplants filling containers. A boxwood hedge pruned like dentil molding edges the garage.
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Details we love
A scrolled pot holder mounted on a fence keeps fresh herbs close to the dining table for instant seasoning.
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Bountiful enclave in Chicago
Talk about an extreme makeover. When Ron and Deborah Clarkson bought their home in Lincoln Park, the building was a derelict commercial dairy surrounded by grounds that were basically a trash pit. Today, it's a one-of-a-kind residence with a wonderful secluded garden shielded by aged brick walls. A privacy wall and two garages (one facing the street, another the alley) frame the backyard. From the garage, a path leads around a juniper screen to a series of three outdoor rooms. The first is an 18x21-foot potager (pictured) — an ornamental kitchen garden mingling herbs, flowers, veggies and fruit. Landscape designer Will Spiegelberg trained six espaliered apple trees to form a living fence around the center bed.
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Cozy seating
Two lollipop-shaped ornamental pear trees herald the transition to the second space in the backyard: a cozy seating area with a backdrop of boxwood, anemone and a small tree called seven-son flower.
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Enchanting enclosure
A brick arch marks the entrance to the alluring third room, an ivy-draped "dining court." French doors connect this inviting dining area to the kitchen. Climbing ivy softens the aged brick walls; a rusty door, original to the dairy, adds earthy character.
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Rethink your outdoor space: Container color
Potted plants supply the majority of accent colors. Use tropicals or geraniums that can overwinter indoors to save on the budget as well as provide instant lushness in spring.
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Your outdoor space: Tree techniques
Both homeowners use trees creatively (not just for shade). Here, pollarded (severely pruned) willow-leaved pear trees divide garden and living space.
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Your outdoor space: Smart divisions
Use outdoor materials to delineate "rooms" as you would indoors with rugs and hardwood and tile floors. Bluestone, brick and flagstone, along with mulch that holds its color year-round, mark boundaries in both yards.
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Your outdoor space: Produce possibilities
This apple tree bears about 100 fruit each season. Other pruned apple trees were lashed to a framework of bamboo and leather to create a "living fence" around the potager's center bed, which yields herbs, flowers, veggies and, of course, fruit.
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Former Mobster Whitey Bulger Found Guilty of Racketeering, Conspiracy and Murder
After an eight-week trial that often resembled a story arc on 'The Sopranos,' former mobster Whitey Bulger was found guilty of racketeering, conspiracy and 11 counts of murder by a jury in a US District Court on Monday.
The now 83-year-old Bulger was on trial for crimes he allegedly committed in the 1970s and 1980s while running Boston's Winter Hill crime gang.
He spent 16 years on the run until he was finally arrested in 2011, and in an eventual 32-count indictment, prosecutors charged him with committing or ordering some 19 murders, plus other offenses including extortion, money laundering and drug trafficking.
Prosecutors told the jury of eight men and four women that corrupt FBI agents -- who were Irish, like Bulger and his gang -- turned a blind eye to the crimes in exchange for information about the Italian Mafia. Bulger maintained his innocence, and in particular, insisted he never cooperated with the feds or participated in the murders of women.
Sentencing is pending, but it is expected that Bulger will almost certainly spend the rest of his life in prison.
[NBC News]


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Chicken tenders are simmered in salsa verde with cumin and spices for the easiest chicken ever!
Cinco De Mayo is right around the corner, which always gets me excited, I LOVE Mexican food! While I was shopping at Target the other day, I picked up a jar of Archer Farm's Roasted Salsa Verde with no real plans on what to do with it.
My slow cooker is always sitting on my counter staring at me, so I figured let's see what happens when you cook chicken with salsa verde.
Two hours later, what emerged was a delicious aroma and tender chicken. That night I made chicken tostadas for dinner, but I know this would be wonderful so many ways; over rice, in tacos, as a filling for enchiladas, whatever! Tomorrow I am posting my chicken verde tostada recipe, but for today I'm just posting the chicken so you can use it any way you wish.
By the way, I have so many Mexican recipes, I created an entire Skinny Cinco De Mayo Pinterest Board with all the recipes to quickly browse if you are a visual person like me. Enjoy!!
Easiest Crock Pot Chicken Salsa Verde
Servings: 6 • Size: 1/2 cup • Old Points: 3 • Weight Watcher Points+: 3 pt
Calories: 145 • Fat: 2 g • Carb: 5 g • Fiber: 0 g • Protein: 26 g • Sugar: 0 g
Sodium: 415 mg (without the salt) • Cholest: 0 mg
- 1 1/2 lbs raw skinless chicken tenders
- 1/4 tsp garlic powder
- 1/8 tsp oregano
- 1/8 tsp ground cumin
- salt, to taste
- 16 oz roasted salsa verde (I used Archer Farms[2])
Season chicken with garlic powder, oregano, cumin and salt and place in
the bottom of the slow cooker. Cover with salsa verde, cover and cook
HIGH 2 hours.
Remove chicken, shred with 2 forks. Remove 2/3 cup of liquid from the slow cooker, and discard (unless you want it over rice). Place shredded chicken back into the crock pot with remaining salsa, adjust seasoning to taste if needed and keep warm.
Makes about 3 cups.
- ^ Skinny Cinco De Mayo Pinterest Board (pinterest.com)
- ^ Archer Farms (www.target.com)
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This chalkboard themed wedding table plan is the perfect way to let your guests know exactly where they are sitting for your wedding breakfast. This seating plan has a rustic chalkboard design with elegant details in the border, while a mix of elegant and rustic fonts are used for your tables and guest names.
Our team can customise this seating plan to accommodate the number of tables you are having at your reception.
How To Order
Please input all of your wording, including header wording, table names and guest names, into the box provided above. Alternatively, email us at firstname.lastname@example.com with your order number, header wording, table names and guest names (preferably in a text document or spreadsheet). All details should be typed as you wish them to appear in print.
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It has arrived and is just perfect, exactly what we wanted. Thank you for such a quick , friendly service. We will use you again for sure!
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The wealth of information at our fingertips has blossomed into a smorgasbord of online web review sites, magazines, and newsgroups. The numbers of sources of information has grown from a few hundred to millions. Unfortunately, along with the boom, it's become increasingly difficult to sift through the clutter of so many sources and the added noise that comes with all the traffic.
The best example of such is the internet newsgroups which is a community of internet users that communicate ideas in a free and global manner. While an awesome channel to exchange messages and ideas, it remains largely unstructured due to its primary function as an exchange as opposed to a repository of information; messages remain largely uncategorized and are eventually erased to free space for new messages. Though this has changed somewhat with the advent of Google Groups (formerly DejaNews), it still takes quite a bit of sifting to find what you want (if you find it at all). Compounding the problem is the noise created by many users who post meaningless messages, trollers who post extremely biased statements hoping for people to "bite", and spammers, hoping to lure people to buy their products.
Thus, this site was born to focus on the seemingly simple question: "Which one do people think is better?". It's not here to debate the morals of men. It's not here to sell your comic collection. And it's definitely not here to post pictures of humping vegetables.
Ever disagree with a movie critic? Most of you have probably read professional reviews, whether it be in magazines, newspapers, or on the television. While these reviews have definite merit, they don't necessarily reflect the needs of the common person. Many products in the past have been touted as "superior" by the experts, yet have floundered in consumer acceptance. People are simply too varied for a single product to be generalized as either good or bad for everyone.
Ok, so the experts may have spent the last 20 years in their respective fields, but what if I'm just starting out? This is also one of the hardest segments for professional reviewers to address because it's very hard to unlearn what you've learned and thus truly be able to write a review from a newbie point of view. The expert might point out the how to tune system XYZ's spiffy new feature, when, as a newbie, all I might want to do is get the darn thing working with minimal hassle.
Professional reviews are also, by definition, paid for. Who pays the bills? In many cases, the advertisers pay the bulk of them. Though most reviewers might not initially pay heed to this, it's often difficult to ignore threats from the #1 advertiser to pull advertising when a reviewer disses their flagship product. Keep the lights on? Or soften the review?
Have you ever bought a product only to find it broken? Quality control is another issue professional reviews fail to address because of their small sampling size. At times, publications even make open requests (especially for products that are hard to come by or are especially expensive), thus giving companies the chance to pick out the best samples or even fine tune the samples!
All in all, professional reviews are still good sources of information and often times the most objective source of information because the experience the reviewers carry allows them to make many comparisons. However, to make an informed choice, always get a 2nd (or 3rd, 4th, or 5th...) opinion! This is why we vote!
Things are organized in a hierarchical structure, much like Yahoo or any other Internet directory. Categories and sub-categories lead to sections. Sections contain entries. Entries contain votes/reviews/ratings.
If you know specifically what you are looking for, a find command exists at the top level and allows you to search for specific section names (e.g., Amps) as well as entries (e.g., Carver-705x).
A search command also exists at the top of each section list. This search has an advanced option which allows you to search for specific product characteristics like price (within affordability), weight (within lift ability), or, to use the Amps example, watts per channel (no wussy stuff).
Like many things in life, there's a short way and a long way. The short way works, but the long way works better -- if you have the time.
The short, quick way is to view the average (avg) rating column in the section lists. This column represents average ratings on a scale of 0-10, 10 being the highest. Next to this column is the weight (wt) that the average holds. The higher the weight, the more meaningful the average rating is. In addition, some sections contain a Standard Deviation (SDev) column. Standard Deviation is useful in determining how much the opinions of different voters vary. Ideally, the standard deviation is low meaning that most voters all voted the same way. If the standard deviation is high, it means that people disagree; possibly because the product/company is either controversial or is inconsistent in quality.
The long way is to actually look at the votes and read the comments voters have left. Each vote will have an overall rating, a weight, and a comment. The rating reflects the user's overall assessment, the weight reflects how meaningful the vote probably is (more on this down below), and the comment explains the rating. In all cases, the comment is far more important than the actual rating as it will often describe the context the vote was made in (What, Where, When, How) and also the specific reasons for the rating (Too small, too expensive, etc.). Most sections also support vote breakdowns (Value, Performance, etc.) which allow you see, at a glance, which areas a product is weaker or stronger in.
Unfortunately, even we get noise in our neck of the woods. To help users filter it out, we have a weighting system which allows good votes to stand out, and bad votes to be cast aside.
The coolest aspect of the weighting system is that it's all dependant on you. It's up to you and other users like you to provide hints about which votes you find valuable and which votes you don't. As a registered user, you can rate votes and help boost the weight of good votes while keeping bad votes at bay. In addition, rating votes gives you future reference about which users' votes you prefer.
So you've gone through the votes and picked out the best item that fits your needs. Now you can return the favor and tell the other users about your own experiences! By writing good reviews for others to read, users will, in turn, rate your votes and, if favorable, will reward you with a high user level. Read more about how to write a good vote in the How to write a good vote page.
When a vote is cast, it starts at a base level ("unreliable" for anonymous users), and ascends in weight by receiving favorable ratings. To provide a shortcut for good votes, votes made by higher level users are given a higher rating with which to start out. Thus, votes made by registered users can start out at the "trustworthy" or even "notable" levels depending on the user level, and continue rising as the vote receives favorable ratings.
Of course, you must Register in order for us to keep track of your votes. To prevent system abuse, only registered users can rate other votes and only registered users can ascend in user level.
Votes come from a wide array of people of different writing ability and it is often easy to omit the details which lead to an overall rating. Messages allow users to ask questions about particular votes and to also discuss products in a general forum.
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Five things you need to know about the new £1 coin
The new coin is set to come into circulation in March 2017 and is said to be the most secure coin in the world.
Gone is the old style round, all gold coin and in its place will be a 12-sided, bimetallic coin with a hidden high-security feature to protect it from counterfeiting.
* It comes into circulation in March 2017
* It will be 12-sided
* The new coin will be bimetallic - the outer ring is gold coloured (nickel-brass) and the inner ring is silver coloured (nickel-plated alloy).
* It features a new design showing the English rose, the Welsh leek, the Scottish thistle and the Northern Irish shamrock emerging from one stem within a royal coronet.
* It is thinner and lighter than the existing £1 coin but is slightly larger.
Royal Mint said: "The current £1 coin is being replaced for the first time in over thirty years because it has become vulnerable to sophisticated counterfeiters.
"Approximately one in thirty £1 coins in circulation today is a counterfeit. "We are introducing a new, highly secure coin to reduce the costs of counterfeits to businesses and the taxpayer."
Businesses are now being urged to ensure they prepare for the new coin coming into circulation.
There will be a six-month transition period between March and October 2017 when both the old £1 coin and the new £1 coin will be accepted but after October 2017, the old coin will no longer be accepted and distributed, though people will be able to deposit them in their bank accounts.
For more information on the new £1 coin, including what you need to do to prepare your business, see the dedicated website at www.thenewpoundcoin.com.


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It is a brillant scene and my paragraph above does it little justice. I think the will power struggle she goes through during the short 2 minute scene is captured perfectly and with so much humor. I never could relate to the scene on a personal level because I am not a chocolate lover. I have never had something so rich and decedant tempting me in my own kitchen - that was until this weekend. Although it wasn't the chocolate cake of the sitcom, this pound cake was addictive. I couldn't stop eating it. Everytime I passed the cake stand I lifted the lid and helped myself to a sliver. I felt like I was headed down the Miranda dish soap road very quickly. I made sure to cut up slices to bring to work on Monday in an attempt to get the cake out of my house so it didn't end up in the trashcan drowning in Palmolive.
Cream Cheese Pound Cake
Southern Living November 2001
1 (10-inch) cake
- 1 1/2 cups butter, softened at room temp
- 1 (8-ounce) package cream cheese, softened at room temp
- 3 cups sugar
- 6 large eggs
- 3 cups all-purpose flour
- 1/8 teaspoon salt
- 1 tablespoon vanilla extract
Beat butter and cream cheese at medium speed with an electric mixer until creamy (do not over beat);
gradually add sugar, beating well.
Add eggs, 1 at a time, beating until combined. Crack eggs into a bowl first before adding to the mixture to make sure you avoid shells in the cake mix.
Sift 3 cups of flour. Combine flour and salt; gradually add to butter mixture, beating at low speed just until blended after each addition. Stir in vanilla from the huge 1 liter Mexican vanilla bottle my mother in law shared with me.
Pour batter into a greased and floured 10-inch Bundt pan.
Smooth the top of the cake or bottom of the cake (depending how you look at it) with a spatula to even it out.
Bake at 300° for 1 hour and 40 minutes or until a wooden pick inserted in center comes out clean. Cool in pan on a wire rack 10 to 15 minutes; remove from pan, and let cool completely on wire rack. My pound cake had a crazy crusty layer on the bottom that I just peeled off. It was like candy, it was so sweet and cruchy but it wasn't pretty so I just threw it away.


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Letter to the Editor
A red asterisk denotes a required field and must be filled in.
The Leader Union welcomes letters on topics of general interest. All must carry the name and town of residence of the writer. Writers must include their daytime telephone number. The telephone number will be used for verification only and will not be published. Unsigned letters will not be published. Letters submitted by organizations must include the signature of the president or another officer.
Letters should be brief and to the point. Letters should not exceed 250 words. In all cases the editor reserves the right to edit letters for space, style and content.
The right is reserved to reject any letter—in whole or in part—including those determined potentially libelous. No acknowledgment of unused letters will be made. A writer may not submit more than one letter to the Leader Union per month. Letters by the same writer that repeat an issue previously written about will not be published.
All letters should be received by 5 p.m. Monday for consideration in each week's issue.


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Pie Gauge Case | Parker Research | MG-CA
- Brand: Parker Research
- Product Code: MG-CA
- Availability: Backorder - Estimated to ship 03/05/2024 (if ordered today!)
Note: This item is currently on backorder with an estimated ship date of 03/05/2024, you can place an order for this item and it will be shipped when it becomes available.
Price: $8.25
Plastic carrying case for MG-50 pie gauge


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7 years
Please click on the "Visit My Website" link for more information. Once on our Greenfield Puppies website, click on the green "BREEDER INFORMATION" tab near the puppy photo for breeder contact info. You may also email us for further instructions. Please be aware that all arrangements regarding the adoption of this puppy are made with the breeder directly. Contact the breeder through Greenfield Puppies to check the availability of the puppy you are viewing. **IMPORTANT MESSAGE**Submitting an application through Next Day Pets is not required and is NOT a deposit or way to ensure a puppy's availability.** Greenfield Puppies has been providing customers with a way to contact high quality dog breeders directly since 2000. We focus on trying to bring you healthy, happy puppies from breeders who care about supplying an excellent pet to a good home. Visit www.greenfieldpuppies.com for more information, and contact the breeder directly to inquire further about this puppy!
This puppy can be shipped (ground or air*) for an estimated fee of $450.00. *Snub nosed breeds may not be flown.
*Not applicable on marketplace listings.
Member Since: March 2009
Located Near: Lancaster, Pennsylvania
Phone Number
†All information regarding this puppy listing has been provided by the breeder.


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Here are some of the latest developments concerning the March 11 killings of 16 civilians in southern Afghanistan and the U.S. Army staff sergeant, Robert Bales, who is suspected of carrying out the massacre:
-- Defense attorney John Henry Browne will today "have his first face-to-face meeting with the 10-year Army veteran, who is being held in an isolated cell at Fort Leavenworth's military prison in Kansas," The Associated Press reports.
-- As last week wore on, The Seattle Timeswrites, "the Defense Department began to lose control of the flow of information about the suspect, and the portrait that emerged was of a soldier who earlier had performed with honor on the battlefield yet struggled on the homefront. This narrative has intensified debate about how long U.S. troops should stay in Afghanistan. It also turns some of the scrutiny back onto the Army, and on whether enough is being done to support combat troops as they face the physical and emotional tolls of lives split, often over the course of multiple tours, between combat zones and families."
-- Something apparently went terribly wrong in the 38-year-old Bales' life, and "friends, relatives and his lawyer say they have an idea of what that horrible thing was: war," The New York Times reports. "Three deployments in Iraq, where he saw heavy fighting, and a fourth in Afghanistan, where he went reluctantly, left him struggling financially, in danger of losing his home." He also "lost part of a foot and injured his head ... [and] was treated for mild traumatic brain injury and possibly developed post-traumatic stress disorder, his lawyer and military officials said."
-- "What we're seeing so far is really a very contradictory picture," NPR's Tom Bowman said today on Morning Edition. "A guy who seemed to be a solid soldier, but definitely under some stress."
-- Despite the evidence presented so far, which includes video of Bales reportedly leaving his base and then returning to surrender, "among Afghans ... there is a widespread belief that the soldier had companions, and perhaps official sanction, on his shooting rampage," The Guardian reports.
Copyright 2020 NPR. To see more, visit https://www.npr.org.


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Page not found
Sorry, the page you have requested does not exist. It may have been removed or relocated.
To find a publication go to the TSO Shop, or use the search field above.
If you require further assistance finding a publication or would like to report a technical issue please contact our dedicated esupport team on +44(0)333 200 2425 or email email@example.com.
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Now take the main piece that you have designated to be the back of the case and find the center. Put the piece you just created with the elastic band in the top center of your back piece like shown in the photo below. Apply a tight basting stitch to keep in place.
Now that I have confused you just see the picture below. In between the black dots there are no stitches. That part is left open for flipping right side out.


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Prints and Drawings Room
View by appointment- Artists
John Constable 1776–1837
David Lucas 1802–1881 - Medium
- Mezzotint on paper
- Dimensions
- Image: 143 × 190 mm
- Collection
- Tate
- Acquisition
- Purchased 1985
- Reference
Catalogue entry
This catalogue entry discusses a group of works; details of the individual work are given at the end of the introductory text.
John Constable
1776-1837 and David Lucas
T03983 - T04063 'Various Subjects of Landscape, Characteristic of English Scenery' ('English Landscape') first published 1830-2
Eighty-one mezzotints with additional work in drypoint, some touched with black wash, comprising various states of all twenty-two subjects; various papers and sizes; each stamped 'O.H.B' (collector's mark of Osbert H. Barnard) on back
Purchased (Grant-in-Aid) 1985
Prov: ...; Osbert H. Barnard, sold Sotheby's 7 March 1985 (237, together with T04064-04103 below) £5017 bt Christopher Mendez for Tate Gallery (see individual entries for earlier provenance where known)
Exh: The 'English Landscape' Prints of John Constable & David Lucas, Tate Gallery, April-June 1986 (thirty-one of the prints shown: see individual entries, where this exhibition is abbreviated as 'Tate Gallery 1986')
Lit: Andrew Shirley, The Published Mezzotints of David Lucas after John Constable, R.A., Oxford 1930; R.B. Beckett (ed.), John Constable's Correspondence, IV, Ipswich 1966, pp.314-463; Osbert H. Barnard, 'Lucas-Constable: English Landscape, Revised List of States', Print Quarterly, vol.1, June 1984, pp.120-3; Graham Reynolds, The Later Paintings and Drawings of John Constable, New Haven and London 1984; David Hill, Constable's English Landscape Scenery, 1985; Leslie Parris, The 'English Landscape' Prints of John Constable & David Lucas, exh. cat., Tate Gallery 1986
From 1829 until his death Constable devoted considerable time, energy and money to the business of printmaking and publishing, activities that had concerned him hardly at all in earlier years. The principal outcome was a series of twenty-two mezzotints engraved under his close supervision by the young David Lucas and entitled Various Subjects of Landscape, Characteristic of English Scenery, from Pictures Painted by John Constable, R.A., generally known today simply as English Landscape. Based on a wide range of oil sketches and finished paintings (perhaps also one or two watercolours or drawings) which Constable had made at various periods of his life, the series was first issued in parts at irregular intervals between June 1830 and July 1832. A supplementary series was begun but not published in Constable's lifetime. Lucas also engraved several larger plates on his own initiative and, after Constable's death, some further small plates intended to supplement English Landscape.
In the English Landscape
prints and the texts he wrote to accompany them Constable offered the public (which in the event took little notice) an epitome and justification of his life's work. There were two kinds of artist, he wrote: the imitator or eclectic who gains ready acceptance by retailing the familiar, and the innovator who adds to art 'qualities of Nature unknown to it before'. Because 'so few appreciate any deviation from a beaten track', the rise of an original artist 'must almost certainly be delayed', as, with good reason, Constable felt his own had been. But while justifying the stand he had taken in the past, Constable was moving off again in a new direction. If it was conceived as a retrospect, English Landscape
rapidly became the vehicle for his latest thoughts and particularly for his notion that chiaroscuro was a vital principle of both nature and art, 'the medium by which the grand and varied aspects of Landscape are displayed, both in the fields and on canvass'. Working in the most chiaroscuratic of all print techniques, Constable could explore the interaction of black and white, and the relations of tones in between, to a degree that had not been possible in his painting. The works chosen for inclusion in the series were not so much reproduced as translated into a new language, a language which revealed aspects that had only been latent before. In David Lucas Constable was fortunate to find an engraver who could respond to his ideas and experiment with the medium to create both the dramatic contrasts and the unprecedented subtleties of tonal variation he demanded.
It is not possible to discuss the history and function of the prints here in any detail (some aspects not mentioned here are touched on in the catalogue of the 1986 Tate Gallery exhibition). A full study is still needed, not least of the surviving progress proofs, which are the key to understanding the process of translation referred to above. The basic materials for such a study already exist in the Constable-Lucas correspondence (published in Beckett IV 1966), Constable's introductory texts and the commentaries he wrote for some of the individual prints (reprinted in Shirley 1930) and the prints themselves, especially the progress proofs, many of them touched or inscribed, in the Fitzwilliam Museum, Cambridge, the British Museum and other collections (though not yet the Tate Gallery). What follows here, as a brief introduction to the collection of prints (all but one of which are published states) acquired by the Gallery in 1985, is a summary of the publishing history of English Landscape
and its sequels and a few notes on technique and other matters.
The original twenty-two subjects were first published in five parts between June 1830 and July 1832, with four prints to a part except the last, which contained six :
Part One, June 1830: 'Spring' (T03986), 'A Dell, Helmingham Park, Suffolk' (T04008), 'A Mill' (T04043), 'Weymouth Bay, Dorsetshire' (T04048)
Part Two, Jan. 1831: 'Noon' (T03993), 'A Seabeach' (T04021), 'Old Sarum' (first plate, T04033), 'Stoke by Neyland, Suffolk' (T04040); this part is sometimes said to have been issued in December 1830 because C.R. Leslie received a copy then but it was not generally available until the following month
Part Three, Sept. 1831: 'Summer Morning' (T04001), 'Summer Evening' (T04005), 'A Heath' (T04013), 'Mill Stream' (T04025)
Part Four, Nov. 1831: 'River Stour, Suffolk' (T03996), 'A Lock on the Stour, Suffolk' (T04029), 'A Summerland' (T04037), 'Summer, Afternoon - After a Shower' (T04052)
Part Five, July 1832: 'Frontispiece: East Bergholt, Suffolk' (T03983), 'Autumnal Sun Set' (T03990), 'Yarmouth, Norfolk' (T04018), 'The Glebe Farm' (T04055), 'Hadleigh Castle near the Nore' (T04058), 'Vignette: Hampstead Heath, Middlesex' (T04062)
In May 1833 Constable re-advertised the whole series, listing the prints in a different order. For convenience the sets issued at this time are usually referred to as the second edition. By now a new plate of 'Old Sarum' (T04035) had been substituted for the first and other plates had been reworked (see, for example, T04047).
By October 1832 Constable was planning an 'Appendix' of subjects which, for various reasons, had been excluded from the original series. Lucas continued work on these but the following year the two fell out over the division of the remaining stock of the original series and the question of payment for fresh work; further disagreements followed. When friendly relations were restored at the end of 1834, their collaboration centred on the large print of 'Salisbury Cathedral from the Meadows' (Shirley 1930, no.39). Constable continued to entertain hopes for the 'Appendix' but died before more could be done.
The copyright, steel plates and huge stock (over seven thousand impressions) of English Landscape
were offered for sale at Foster's on 12 May 1838 but were bought in, as were six unpublished plates 'intended to form a supplementary number, with a set of proofs shewing the state of the plates'. The latter were presumably the six plates lettered soon afterwards as having been published in 1838 by F.G. Moon 'for the Proprietors', i.e. Constable's children: 'A Mill near Brighton' (T04074), 'View on the River Stour' (T04075), 'Salisbury Cathedral from the Meadows' (T04078), 'Opening of Waterloo Bridge' (T04080), 'View on the Orwell near Ipswich' (T04091) and 'Castle Acre Priory' (T04094). These subjects are represented in the Tate's collection only in later states, as published in 1855. No prospectus for, or press notice of, Moon's edition has been found and Lucas himself referred to three of the plates in 1846 as being 'exceeding rare' (Beckett IV 1966, pp.440-I). It seems likely that a project to publish the six was quickly got up after the May sale and fell through after the lettering of the plates but before many impressions had been taken. No doubt the curious mis-engraving of Constable's name as 'Dunstable' on the 'Opening of Waterloo Bridge' would have been corrected had the prints been fully editioned.
The original twenty-two prints made their next appearance as illustrations to Leslie's Memoirs of the Life of John Constable, Esq. RA., published by James Carpenter in 1843, Leslie having obtained 186 sets of the prints from the Constable family in exchange for thirty copies of the finished book. Impressions (which are often early ones) removed from Leslie's book can usually be distinguished by their paper size, the original sheets having been trimmed down to approximately 260 x 365 mm to match the page size of the volume. Stitch holes from the 1843 binding are also sometimes visible (as on T03985
and T04010) on one or other of the long sides of the paper (as distinct from the stab marks on the left-hand sides of sheets tied with ribbon for the original part issues). Some copies of the smaller, octavo edition of Leslie's book, published by Longman in 1845, included a poor reprint of one of the original English Landscape
plates, the 'Vignette' (see T04063) and all copies had a re-engraved version of 'Spring' (for further details of Leslie's book and its illustrations, see Ian Fleming-Williams and Leslie Parris, The Discovery of Constable, 1984, pp.30-1).
In 1846 Lucas himself published a further collection of his mezzotints, advertised as 'Mr David Lucas's New Series of Engravings, illustrative of English Landscape, from the Pictures of John Constable, R.A.' (see Shirley 1930, pp.228-9 for the ? prospectus or title-page). This included two of Moon's 1838 series ('View on the Orwell near Ipswich' and 'Castle Acre Priory'), two more plates which had been begun under Constable's supervision ('Willy Lott's House' and 'Jaques and the Wounded Stag', represented at the Tate in later impressions, T04069
and T04090
respectively) and ten newly engraved subjects (see T04067-8, T04072-3, T04084, T04093, T04096-7, T04100, T04102). Leslie supervised the work, touched proofs and wrote a short introduction. Twelve of the prints are lettered as having been published in 1843, 1844 or 1845 but the other two were not finished until 1846 (see T04097
and T04102), which is taken here to be the year of publication of the whole set. It was certainly available by 8 September 1846, when Lucas sent a copy to George (?) Simms (Beckett IV 1966, p.440).
All but one of the prints included in the original 1830-2 series and the 1838 and 1846 collections were republished by H.G. Bohn in 1855 in a volume entitled English Landscape Scenery
(T04064-04103). As a marked catalogue in the Constable family collection records, Henry Bohn had bid £55 (against a reserve of £100) in the 1838 studio sale for the two lots comprising the steel plates and stock of the original twenty-two prints and the plates of six additional subjects. It is not known when he finally obtained these plates from the family or the later ones owned by Lucas. The subject missing from Bohn's edition is the 'Vignette' (T04061-3). Having been reprinted for the 1845 edition of Leslie's biography, the plate was presumably now too worn to bear further printing. In fact, it had probably become unusable during the 1845 printing, since impressions could only be supplied in some copies of the book and even these are very unsatisfactory. Lucas reworked some of the other 1830-2 plates for Bohn but he could do little to disguise their now pitiful condition. Apart from the wear they had suffered in the original printings, the steel plates had not been properly stored after Constable's death: 'having lain in a cellar unattended to for years' they had 'become corroded and spoiled', according to a reviewer of the first edition of Leslie's biography (Athenaeum, 3 Feb. 1844, p.101). Some of the later plates were still in reasonable shape and one, 'Hampstead Heath' (T04076), was published for the first time in Bohn's volume.
Techniques and papers
Although usually described simply as mezzotints, Lucas's prints in the original English Landscape
series incorporate various amounts of work in drypoint, depending on the subject and state. Drypoint was most often used for darkening small areas which had previously been scraped light, for making minor alterations to outlines and for adding such details as birds in the sky. Etching seems to have been employed very rarely. After Constable's death Lucas began to use etching and dry-point more widely and some of his plates were begun in these techniqiues with a mezzotint ground added later. In such cases he was working from light to dark instead, as in pure mezzotint, from dark to light. The illustrations in Shirley's catalogue of the early proofs of 'Cornfields near Brighton' (T04072
[cited incorrectly as T04064]) and 'Hampstead Heath' (T04076) make this change of method very plain (Shirley 1930, pls. XLIVA, LIA). The results can seem bland beside the rich chiaroscuro of the plates engraved under Constable's direction: it is instructive to compare the 'Hampstead Heath' just mentioned with the similar subject engraved for English Landscape, 'A Heath' (T04013).
The original twenty-two mezzotints were printed, the Constable-Lucas correspondence indicates, on India, French and English paper. No attempt has been made in the catalogue entries below to distinguish French and English papers, only India, laid and wove. Although Shirley said that 'in no case has a watermark been found' (1930, p.156), the collection catalogued here includes examples of at least three different marks, one of which is certainly and another possibly identifiable. These are noted in the relevant entries.
Discrepancies in image and plate size are found between different impressions of the same subject. These can be attributed in the main to variations in the rate of contraction of the paper on drying.
States and touched impressions
With one exception (T04061), all the prints catalogued here are published impressions. Osbert Barnard's account of the published states of English Landscape, the most accurate so far available, has generally been followed, while Shirley's numbering of states has been adopted for prints not included in Barnard's list, which is limited to the original twenty-two subjects. Barnard numbered the subjects in the same order as Frederick Wedmore in his Constable: Lucas: With a Descriptive Catalogue of the Prints
... (1904), giving each a 'W.' number. In the references below to Barnard's catalogue these numbers have been read as 'Barnard' numbers.
The order adopted for the original twenty-two prints is the same as Barnard's except that 'A Heath' has been placed after 'A Dell', in accordance with Constable's own arrangement of the prints in 1832. The prints published in Bohn's volume (T04064-04103) have been catalogued in the order in which they appear in the book.
Constable made numerous changes to the lettering of the plates after their first publication and these variations account for most of the states described. A few silent amendments have been made to Barnard's descriptions of the lettering. Alterations to the images were less frequently made once the plates had been published but there are one or two more of these than previous cataloguers have noticed, including the addition of a tiny figure to the second state of 'A Lock on the Stour, Suffolk' (T04030). There is generally no record of when minor changes were made to the plates and it is therefore rarely possible to ascribe dates to individual states after the first. An analysis of the states represented in sets presented by, or purchased from, Constable at an early date would help here.
Following general usage, the terms 'open letters', 'struck letters' and 'thick and thin' letters are employed here. Open letters are 'fine' if engraved in single thin lines (fig.1 [figs 1-3, each showing the letters 'ST', are not reproduced here]) or 'doubled at right' if there are two lines instead of one at the right of each letter. Struck letters are those which have had additional thin lines engraved within their bodies (fig.2). Thick and thin letters have some lines, generally on the right, thicker than others (fig.3). Other types of lettering are found on the 'Frontispiece' and 'Vignette'.
Touched impressions of the published states of prints engraved during Constable's lifetime are not uncommon and a number with touchings in black wash are included in this collection. Constable appears to have spent some time going through the stocks of English Landscape
and making minor adjustments of tone or detail (adding more birds, for example) for his own benefit, long after he had marked proofs to instruct Lucas. Judging from a reference in a letter to Lucas (Beckett IV 1966, p.348), a solution of Indian ink may have been used for this purpose (white touches are also found, though not on the impressions in this collection).
The Barnard Collection
All the prints catalogued here came from the collection of Osbert Barnard, print dealer (of the firm Craddock and Barnard) and collector, who died in 1985 a few months after selling the prints at Sotheby's. The impressions of the original English Landscape
subjects are those upon which he based his 'Revised List' of the states, first issued in typescript in 1970 and finally published in 1984. In an introductory note to the 1984 publication Barnard said that about 1952 he decided to begin collecting all the variant states he could find, with a view to producing a more accurate list than Shirley's, which was 'so incomplete and so full of errors as to be virtually useless'. Annotations on his mounts indicate the provenance of some impressions. Only three of the states described by Barnard were not represented in his own collection: 'River Stour, Suffolk', state II; 'Summer Morning', state IV; 'A Seabeach', state II.
Engraved inscriptions as on T04014 but title now in 'struck' letters
Lit: as for T04013 but Barnard state II
Published in:
The Tate Gallery 1984-86: Illustrated Catalogue of Acquisitions Including Supplement to Catalogue of Acquisitions 1982-84, Tate Gallery, London 1988, pp.23-6 and 37
- architecture(30,960)
- residential(5,553)
- house(2,675)
- UK countries and regions(24,355)
- England(19,202)
- transport: land(2,189)
- cart(854)


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Superstorm Sandy was the deadliest hurricane to hit the northeastern U.S. in 40 years and the second-costliest in the nation's history, according to a report released Tuesday.
The storm's effects reached far and wide, according to the National Hurricane Center report. While Sandy visited devastation on the East Coast, principally New Jersey and New York, it created wind gusts as far west as Wisconsin and as far north as Canada and caused water levels to rise from Florida to Maine, the center found.
The hurricane center attributed 72 U.S. deaths directly to Sandy, from Maryland to New Hampshire. That is more than any hurricane to hit the northeastern U.S. since Hurricane Agnes killed 122 people in 1972, according to the center's records covering 1851 to 2010. The report counted at least 87 other deaths that were indirectly tied to Sandy, from causes such as hypothermia due to power outages, carbon monoxide poisoning and accidents during cleanup efforts.
The deadliest hurricane in U.S. history hit Galveston, Texas, in 1900 and killed 8,000 to 12,000 people.
The report estimated damage caused by Sandy at $50 billion, greater than any U.S. hurricane except Katrina, which in 2005 caused $108 billion in damage, or $128 billion adjusted to 2012 dollars. Hurricane Andrew in 1992 caused $26.5 billion in damage in Florida, or the equivalent of $44 billion today.
Tuesday's report describes Sandy's beginnings as a tropical wave off the coast of Africa on Oct. 11 that initially produced a wide area of showers and thunderstorms in the eastern Atlantic. It reached the Caribbean on Oct. 18 and gradually strengthened into a hurricane by Oct. 24. It temporarily weakened below hurricane strength while passing Cuba, then regained hurricane strength as it approached the U.S. on October 27.
The storm grew significantly as it passed through the Bahamas on Oct. 25 and 26, so that by the time it reached landfall in southern New Jersey its gale-force winds covered a diameter of 870 nautical miles, or about 1,000 miles.
While passing over Jamaica, it dumped up to 28 inches of rain in some spots. In the U.S., southern New Jersey, Delaware and eastern Maryland were hit the hardest, with the peak amount of rain measured at just under 13 inches in Bellevue on Maryland's Eastern Shore.
More than 650,000 U.S. homes were damaged or destroyed by the storm, and more than 8 million customers lost power, according to the report.
The highest storm surge measured by tide gauges in New Jersey was 8½ feet over normal levels at Sandy Hook, though it likely was higher because the storm knocked out the gauges, according to the report. The highest surge in New York was more than 12½ feet at Kings Point on the western edge of Long Island Sound.


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