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Winnipeg Free Press - PRINT EDITION
On horror film's set, the mood is more gleeful than gloomy
At around one o'clock in the morning, the Kachur Sand & Gravel pits off Garven Road in the Birds Hill area resemble a lunar landscape, with lifeless hills of sand rising dramatically to a black sky.
But on this particular Friday morning, a bright harvest moon gives the lie to the perception of a lunar setting, shining its cold white light over some dark doings.
A group of people is here to watch one man kill another in an exceedingly gruesome fashion. So, befitting the air of pagan sacrifice, the atmosphere is jubilant.
We're almost three weeks into the shooting of the film Joy Ride 3, and as the shoot winds down to its conclusion, writer-director Declan O'Brien is killing off many of the cast members with whom he has been working on this second sequel to the 2001 thriller Joy Ride. That film, directed by John Dahl and co-scripted by J.J. Abrams of Star Trek fame, introduced the fiendish character of "Rusty Nail," a trucker who takes the phenomenon of road rage to gruesome Grand Guignol extremes. In this film, he is played by former stuntman Ken Kirzinger, who entered the horror pantheon some years earlier, when he played iconic killing machine Jason Voorhees in 2003's Freddy vs. Jason.
"We've managed to get a lot filmed in Birds Hill Park, some interesting kills," says the ebullient O'Brien, who oversaw similar violent mayhem in Brandon when he shot the direct-to-DVD feature Wrong Turn 4 there in the winter of 2011.
"And now we're out here in a gravel pit for a little jacking around."
O'Brien loves a pun. Tonight's "kill" -- genre parlance for a typically gory murder scene -- involves a hapless guy who finds his head sandwiched between a trailer's rear fender and a hydraulic jack.
-- -- --
As with Wrong Turn 4, Joy Ride 3 is being produced by Winnipeg's Kim Todd for eventual release on Twentieth Century Fox Home Entertainment.
Todd says that the great advantage of working on a low-budget horror franchise is that it is crewed by local talent who might not otherwise get a chance to shine.
"On the bigger-budget things, people (are brought) in from Los Angeles or wherever and we'll work with them," she says. "The great thing about this is that you can feature a lot of local people that are really talented. Our people are running the show and they do a great job."
Case in point: Stunt co-ordinator Rick Skene oversees some spectacular motorized mayhem, all captured by city cinematographer Michael Marshall.
"We did an SUV rollover that was spectacular," O'Brien enthuses. "And then we had a perfect explosion where a police car is T-boned by Rusty's truck and it rips it in half with the parts flying and the truck goes through the burning wreckage.
"And all we did was puncture a radiator with our truck, so I was happy with that. It was easy to replace," he says.
-- -- --
Canadian actor Ben Hollingsworth, originally from Peterborough, Ont., is the lucky guy whose head is getting the big squeeze in tonight's kill.
You would think it might be disturbing to watch a model of yourself succumb to a gory head-crushing, but you would be wrong.
"I think it's cool," Hollingsworth says. "When you have a life-size replica of your dismembered body being squashed right in front of you and you're watching it on the monitors, it's kind of surreal," he admits. "But I don't have a sense of preciousness about it. It's one of those fascinating things that not a lot of people get to experience."
In fact, he has been offed in movies before.
"But this one's definitely unique," he says. "Declan has quite the imagination when it comes to killing people."
Indeed he does, and the director, surely one of the nicest guys who ever crushed a head with a hydraulic truck jack, is not afraid to get down and dirty with the process. Prior to the bloody-spurting, eye-popping head-crushing scene, O'Brien calls for some glycerine and gets down on all fours to apply it himself to Hollingsworth's rubber head.
"Glycerine makes the eyes shine, guys!" O'Brien explains to any within earshot. "Makes 'em look alive!"
Joy Ride 3 wraps production on Friday.
Republished from the Winnipeg Free Press print edition September 24, 2013 D1
Updated on Tuesday, September 24, 2013 at 7:10 AM CDT: Adds photo, changes headline, adds video
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Film Review: The gratuitous sequel 'Horrible Bosses 2' doesn't work11/25/2014 5:05 PM 0
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Earth Day 2013 Celebration Reaching 3.1 Million People & Earth Day, Each Day! Earth Day 2012 Television Broadcast To Over 1 Million People!

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New Children's Nonfiction Books
New arrivals added to our Children's Nonfiction Collection in the last 7 days
|Date added
|Trapped on the rock by Bailey, Gerry, author.
"Separated from his science team on a mountain after a landslide, Joe is in no hurry to get back. The slide has carried a wealth of fossils with it for him to study! Joe examines these and the mountain terrain to learn how the mountains formed and figure out how old they are."--
|Nov 20, 2014
|Star Wars in 100 scenes by Fry, Jason, 1969- author.
Go behind the scenes and relive 100 iconic moments from Star Wars, episode I-VI. Join Luke Skywalker as he battles with the dark side, watch as Anakin Skywalker becomes Darth Vader and fly through space with the Star Wars ships. Relive the most dramatic and iconic moments of the Star Wars movies in this exciting new book Star Wars in 100 Scenes. Rediscover your favourite Star Wars scenes and characters with this comprehensive guide which spans all six Star Wars movies. Star Wars in 100 Scenes re
|Nov 20, 2014
|The true cost of toys by Colson, Mary.
Find out how companies cope with demand at peak times, what controls are in place to ensure toys are safe, and what the working conditions of factory workers are like around the world. Discover what environmental impacts your toy purchases have on the planet, too.
|Nov 20, 2014
|Gus and me - the story of my granddad and my first guitar by Richards, Keith, 1943-, author, musician.
Tells the story of the young Keith Richards, who was introduced to the joy of music through his beloved granddad, affectionately known as "Gus."
|Nov 20, 2014
|Time for kids X why Z animals by Shulman, Mark, 1962- author.
Answers commonly asked questions about animals, from why zebras have stripes to why sharks have so many teeth.
|Nov 20, 2014
|Tears of Mother Bear by Lewis, Anne Margaret.
Walk the shores of Lake Michigan with grandpa and his grandchildren as he tells of the Ojibwe Sleeping Bear legend of how the Petoskey stone was formed when Mother Bear leaves her tears all over the beaches.
|Nov 20, 2014
|Outer space by Jennings, Ken, 1974- author.
"Now you can become a junior genius with Ken Jennings' first children's series! With this book you'll become an expert and wow your friends and teachers with out-of-this-world facts: Did you know that Mars has a volcano bigger than the state of Arizona? Or that there's a star with a diamond the size of our moon at its core? With great illustrations, cool trivia, and fun quizzes to test your knowledge, this guide will have you on your way to whiz-kid status in no time!"--
|Nov 20, 2014
|The true cost of food by Dicker, Katie.
Readers find out about the food supply chain, fair trade, and how our eating habits affect our health.
|Nov 20, 2014
|The true cost of fashion by Spilsbury, Louise.
|Nov 20, 2014
|Modern houses - who built that? - an introduction to modern houses and their architects by Cornille, Didier, 1951- author.
Who Built That? Modern Houses takes readers on a tour through ten of the most important houses by the greatest architects of the twentieth and twenty-first centuries.
|Nov 20, 2014
|Lend a Hand - Poems About Giving by Frank, John, author.
"A picture book collection of poems centered on spontaneous acts of kindness, representing diverse voices and topical themes"--
|Nov 20, 2014
|Spic-and-span! - Lillian Gilbreth's wonder kitchen by Kulling, Monica, author.
Born into a life of privilege in 1878, Lillian Moller Gilbreth put her pampered life aside for one of adventure and challenge. She and her husband, Frank, became efficiency experts by studying the actions of factory workers. They ran their home efficiently, too. When Frank suddenly died, Lillian was left to her own devices to raise their eleven children. Eventually, she was hired by the Brooklyn Borough Gas Company to improve kitchen design, which was only the beginning.
|Nov 20, 2014
|Crazy animals by
"Open up to find some incredible creatures. Meet the dog that can ride a scooter, the horse with a mustache, and the largest crocodile ever!"--back cover.
|Nov 20, 2014
|BMW - ultimate riding experience by Barrington, Richard, 1961-
|Nov 20, 2014
|Any questions? by Gay, Marie-Louise, author, illustrator.
Answers many of the questions the author receives from children on writing, including where she gets her ideas, how she learned to draw, and how many books she can write in one day.
|Nov 20, 2014
|Animal Antics - the funny things animals do by Harvey, Derek, author.
"Packed with amazing pictuers, this captures the funny moments when animals are simply being themselves. From disco-dancing bears to playful pandas and chuckling chimps, this book reveals why animals do the things they do."--back cover.
|Nov 20, 2014
|Natural gas power by Bailey, Diane, 1966-
"An examination of the ways in which natural gas has historically been used as an energy source and how current and future energy demands are changing its technical applications and efficiency levels"--
|Nov 21, 2014
|Neighborhood sharks - hunting with the great whites of California's Farallon Islands by Roy, Katherine., author.
"An up close look at the ocean's most fearsome and famous predator and the scientists who study them--just twenty-six miles from the Golden Gate Bridge"--
|Nov 21, 2014
|My grandfather's coat by Aylesworth, Jim.
A tailor's very old overcoat is recycled numerous times over the years into a variety of garments and other uses.
|Nov 21, 2014
|Matisse's garden by Friedman, Samantha, author.
|Nov 21, 2014
Main Library, Ellettsville Branch and Bookmobile closed November 27 and 28 for Thanksgiving.
New Arrivals
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Audiobooks and eBooks
Adult Books
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- New Mystery & Detective Books
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- New Science Fiction & Fantasy Books
- New Travel Books
- New VITAL Materials
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Benchmarking downloads
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Study: iPhone 5, Galaxy S3 Neck And Neck In Web Traffic Share
According to ad network Chitika's latest traffic study, Samsung's Galaxy S3 has caught the iPhone 5 in terms of the amount of Internet traffic it generates. The findings are drawn from "tens of millions of U.S. and Canadian smartphone mobile ad impressions" this month.
Chitika said that in October 2012, Apple's latest iPhone enjoyed an 8-point lead in Web traffic share over Samsung's Galaxy. Now, it's down to one point, according to the ad network.
The chart below reflects the comparative shares of the Galaxy S3 and the iPhone 5 when looking only at traffic coming from the two devices.
However, when all Samsung smartphones and iPhone models are compared, the story is slightly different. All iPhone models together generate 41.5 percent of Web traffic, while Samsung handsets are responsible for about half of that: 20.6 percent.
Together, iPhone and Samsung Android users generate just over 62 percent of North American smartphone Web traffic.
Clearly, the Galaxy S3 has been an incredibly successful device for Samsung. This is partly because of the Samsung marketing juggernaut. It's not as good as, say, the LG-made Nexus 4, which has enjoyed sell-out success but is a much lower profile device in the mainstream.
A number of reports released in the past few weeks have shown that Samsung and Apple dominate the global smartphone market. In particular, IDC reported that Samsung and Apple accounted for nearly 90 percent of global smartphone shipments in 2012.
DON'T MISS OUT! The agenda for Marketing Land's SMX West search marketing show is now up. Search marketing is the biggest area of digital marketing. You can't afford to get it wrong! SMX has practical tips & techniques for those experienced with SEO & SEM plus a welcoming environment for beginners. Learn more!
(Some images used under license from Shutterstock.com.)
The best news in mobile marketing every Thursday.


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MJM offers the best price for such a wide range of products and also gives the best service for their customers.
Sincerely appreciate and thank you...Read More ->
It was not too long ago that I chanced upon MJM Magic's web site. I am very impressed with their vast assortment of professional tricks etc. Like...Read More ->


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Originally written on Friarhood | Last updated 11/14/14
The 2013 Padres payroll is still a work in progress. This is an updated chart with 2013 amounts and estimations provided by mlbtraderumors.com for the 2013 Padres Roster. Projected Roster 2013 MLBTR Projections Cory Luebke 1,000,000.00 Clayton Richard 5,000,000 Edinson Volquez 4,600,000 Jason Marquis 3,000,000.00 Anthony Bass 490,000.00 Luke Gregerson 3,200,000 Joe Thatcher 1,100,000 Andrew Cashner 490,000.00 Brad Brach 490,000.00 Huston Street 7,000,000.00 Nick Hundley 3,000,000.00 John Baker 900,000 *Yasmani Grandal 750,000 Yonder Alonso 1,400,000 Jesus Guzman 490,000.00 Logan Forsythe 490,000.00 Evereth Cabrera 1,200,000 Alexi Amarista 490,000.00 Chase Headley 8,300,000 Carlos Quentin 9,500,000.00 Mark Kotsay 1,300,000.00 Will Venable 2,675,000.00 Chris Denorfia 2,000,000.00 Cameron Maybin 3,000,000.00 Kyle blanks 605,000.00 36,020,000.00 Total 62,470,000.00
Original Story: http://www.friarhood.com/padres-2013-...
PLAYERS: Cory Luebke, Clayton Richard, Edinson Volquez, Jason Marquis, Anthony Bass, Luke Gregerson, Joe Thatcher, Andrew Cashner, Brad Brach, Huston Street, Nick Hundley, John Baker, Yasmani Grandal, Yonder Alonso, Jesus Guzman, Logan Forsythe, Alexi Amarista, Chase Headley, Carlos Quentin, Mark Kotsay, Will Venable, Chris Denorfia, Cameron Maybin
TEAMS: San Diego Padres
TEAMS: San Diego Padres
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Results 1 to 5 of 19
Hybrid View
May 26th, 2013 04:54 PM #1Member
- Join Date
- Apr 2013
- Posts
- 77
Now to make the final decision.. this is hard
We've decided that Cordelia is definitely out of the mix and also that the names Lillian and Gwyneth are too meaningful to us not to include
so our final 3 are:
Margot Lillian Gwyneth
Beatrice Lillian Gwyneth
Lillian Gwyneth Pearl
now to decide which ....
I love all 3 , and want to make sure that this decision is the right one.
Beatrice I love for it's history - Dante and Shakespeare (I teach Shakespeare =) )but worry about it's trendiness and if it is a 'pretty ' enough name. (silly I know0
Margot I also love for it's quirkiness and meaning - Pearl is the birthstone of both me and my SO (as well as my mum)
Lillian I love for it's vintage charm , Lillian Gish and it honours lots of Elizabeth's fn and mn. But I do worry about it's trendiness.
Any last minute input would be appreciated.
I'm letting the names sit with me for a week, hopefully I can decide by then , but would like to here some opinions to mull over.
thanks Berries xx
May 26th, 2013 05:01 PM #3
May 27th, 2013 06:25 AM #5
May 26th, 2013 05:03 PM #7Senior Member
Cora Madeleine~Dahlia Vesper~Fiona Elspeth~Gwyneth Rosalie~Hazel Matilda~Margot Eliza~Sylvie Eloise~Vivienne Esme
- Join Date
- Mar 2013
- Location
- Boston, MA
- Posts
- 5,841
Arlo Vincent~Callum Ezra~Emmett Sebastian~Evander Leo~Julian Matteo~Lucian Xavier~Milo Everett~Theo Jameson
May 26th, 2013 05:36 PM #9Zion Nathaniel ~ Solomon Fable ~ Balthazar Wolf ~ Malachi Sparrow nn Kai ~ Tobias Rowan ~ Caspian _____
Alice Willow ~ Ophelia Wren ~ Juliet Snow ~ Lucia Pearl ~ Eve Wisteria nn Evie ~ Cosima Rose ~ River Seraphine ~ Elowen Briar
Narnia Rose, Astoria nn Story, Illyria, Serafina, Soraya, Faerydae
Orion Melchior North, Tobias Loki, Edmund, Frost, Oberon, Kenshin, Remiel, Atreyu


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Chapin Gray | Tuscaloosa, AL | 5/06/08
Applause and cheers erupted in the courtroom at the Tuscaloosa County Courthouse, May 2, when the judge threw out the charges against four anti-war...
staff | United States | 5/05/08
15,000 Chinese and other supporters of the Beijing Olympics rallied in New York, May 4. 300 also gathered in Chicago, one week after 500 rallied here.
Josh Sykes | | 4/28/08
A new day had dawned in Nepal.
Popular Front for the Liberation of Palestine | Palestine | 4/23/08
This day, April 17, 2008, marks Prisoners' Day, a day of respect, honor and support and solidarity for Palestinian and Arab political prisoners...
Mick Kelly | Washington, D.C. | 4/21/08
In stunning defeat for the Bush administration, the attempt to frame Colombian rebel Ricardo Palmera on drug trafficking charges ended with a hung jury in...
Michael Graham | Asheville, NC | 4/20/08
Students and community members confronted North Carolina congressperson Heath Shuler at the University of North Carolina at Asheville March 26.
staff | Washington, D.C. | 4/15/08
Fight Back! interviews Kati Ketz, who attended the trial of Ricardo Palmera here, April 8.
staff | United States | 4/10/08
Meredith Aby, a leader of the Colombia Action Network slammed the Bush administration's Free Trade Agreement (FTA) with Colombia stating, "We should...
Mick Kelly | Washington, D.C. | 4/06/08
Colombian revolutionary Ricardo Palmera will testify in his own defense here in Federal Court the second week of April
staff | | 4/01/08
In recent months the U.S. Department of Justice has sent threatening letters to the Committee in Solidarity with the People of El Salvador (CISPES), which...


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Fund Facts
|As of September 30, 2014
|Net Assets:
|$8.39 Million
|Ticker Symbol:
|Inception Date:
|March 30, 2007
|Minimum Initial Investment:
|30-Day Yield¹:
Portfolio ManagerPeter Nielsen MBA, CFA, CIPM
Portfolio manager since 2008
Investment Style
Targeted to investors seeking long-term capital appreciation
Diversified across industries and companies
Tactical allocation of stocks and bonds
Value investment style, favoring income-producing securities of more seasoned companies
Balanced approach moderated by secondary objective of capital preservation
Actively managed by the award-winning, values-based, global expertise of Saturna Capital
Investment Objective
Long-term appreciation and capital preservation.
Principal Investment Strategies
The Core Fund invests in a mix of equity and debt securities. It normally invests 40% of its assets in equity securities of US companies, 20% in foreign equity securities, 25% in investment-grade debt securities with maturities of three years or longer, and 15% in short-term debt securities including, money market instruments and cash. The Fund follows a value investment style, favoring income-producing securities of more seasoned companies.
Principal Risks of Investing in the Fund
The value of Core Fund shares rises and falls as the value of the securities in which the Fund invests goes up and down. Only consider investing in the Fund if you are willing to accept the risk that you may lose money. Fund share prices, yields, and total returns will change with market fluctuations as well as the fortunes of the countries, industries, and companies in which the Fund invests.
The Fund involves the risks of both equity and debt investing, although it seeks to mitigate these risks through a widely diversified portfolio that includes domestic stocks, foreign stocks, short and long-term bonds, and money market instruments. Security prices are subject to market risk, and common stocks in particular may be subject to price declines that are steep, sudden, and/or prolonged.
Foreign investing involves risks not normally associated with US securities. These include fluctuations in currency exchange rates, less public information about securities, less governmental market supervision, and lack of uniform financial, social, and political standards. Foreign investing heightens the risk of confiscatory taxation, seizure or nationalization of assets, currency controls, or adverse political or social developments that affect investments.
Bonds have interest rate risk, generally falling in price when rates increase. The longer a bond's maturity, the more sensitive the bond is to interest rate changes. Bonds also entail credit risk, which is the possibility that a bond will not pay interest or principal when due. If a bond's credit quality is perceived to decline, investors will demand a higher yield, which means a lower price.


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Studio 360 blog calls Vivian Maier: Street Photographer "a great moment for 20th century photography."
Vivian Maier: Street Photographeredited by John Maloof$39.95ORDER NOW
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Prepare for Hanukkah early this year with a recipe for potato latkes from The Daily Meal. For other delectable recipes, buy your copy of Eating Delancey by Aaron Rezny and Jordan Schaps!http://bit.ly/11ULkIb
"For hearty Jewish fressers, this is a two-person breakfast!" - The Daily Meal chimes in on the recipe for matzo brei in Eating Delancey by Aaron Rezny and Jordan Schapshttp://bit.ly/1vjuqfQ


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EconStor Collection: CFR Working Papers, Centre for Financial Research (CFR), Universität Köln http://hdl.handle.net/10419/41348 The Collection's search engine Search the Channel search http://www.econstor.eu/simple-search Trading efficiency of fund families: Impact on fund performance and investment behavior http://hdl.handle.net/10419/103754 Title: Trading efficiency of fund families: Impact on fund performance and investment behavior

Authors: Cici, Gjergji; Dahm, Laura K.; Kempf, Alexander

Abstract: Mutual funds are part of larger organizations, which make decisions with consequences for all their member funds. This study examines how the efficiency of trading desks operated by fund families affects the performance and trading of affiliated funds. We introduce a novel approach to measure the efficiency of trading desks, which allows for comparisons across families with different investable universes. By operating efficient trading desks, which reduce trading costs, fund families improve the performance of their funds significantly. Furthermore, the lower trading costs resulting from more efficient trading desks enable mutual funds to trade more and hold less liquid portfolios. What they did in their previous life: The investment value of mutual fund managers' experience outside the financial sector http://hdl.handle.net/10419/102660 Title: What they did in their previous life: The investment value of mutual fund managers' experience outside the financial sector

Authors: Cici, Gjergji; Gehde-Trapp, Monika; Göricke, Marc-André; Kempf, Alexander

Abstract: We document that prior work experience of mutual fund managers outside of the asset management industry is valuable from an investment perspective in that it provides managers with a stock picking and industry timing advantage. Fund managers' stock picks from industries where they previously worked outperform stock picks from their non-experience industries by about three percent annually. Also, fund managers are better at timing the returns of their experience industries than those of other industries. Moreover, the investment value of managers' prior work experience is greater for industries comprised of stocks that are harder to value. Outsourcing of mutual funds' non-core competencies http://hdl.handle.net/10419/102659 Title: Outsourcing of mutual funds' non-core competencies

Authors: Sorhage, Christoph

Abstract: I investigate the consequences for mutual funds' operational outcomes when fund families focus their efforts on their core competency, i.e. portfolio management, by outsourcing noncore activities to external providers. Specifically, I find that funds of families that outsource shareholder services have about 32 percent lower service fees than funds of families that cater for investors' service needs internally. Consistent with service outsourcing releasing tied resources that can be spent on families' core business, funds with delegated shareholder services outperform their peers by up to 91 basis points. This underperformance increases up to 136 basis points when outsourced funds are compared with internally administered funds that are also capable but choose not to outsource. Furthermore, these inhouse administered funds exhibit 10 percentage points lower growth rates per year and are more short-lived by up to a fifth. However, fund families' decision to team-manage funds can substantially reduce the negative performance consequences. Under one roof: A study of simultaneously managed hedge funds and funds of hedge funds http://hdl.handle.net/10419/102658 Title: Under one roof: A study of simultaneously managed hedge funds and funds of hedge funds

Authors: Agarwal, Vikas; Lu, Yan; Ray, Sugata

Abstract: We examine the simultaneous management of hedge funds and funds of hedge funds. Hedge fund firms can choose to simultaneously offer a fund of hedge funds. Similarly, fund of hedge fund firms can simultaneously offer a hedge fund. We find that while superior past performance and larger size drive the decision to become simultaneous for hedge fund firms, past flows drive the decision for funds of hedge fund firms. The effects of simultaneity are also different. When hedge fund firms start funds of hedge funds, we find evidence of value creation, driven by better management of economies of scale and cross learning. In contrast, fund of hedge fund firms starting hedge funds destroy value due to expansion beyond core competencies and agency problems. We find that firms learn about their competencies in the two business lines and discontinue underperforming simultaneity arrangements to focus on the business where they perform better.


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November 27, 2014
The opening game of the 2013 Pacific Coast League Championship Series between the Omaha Storm Chasers and the Salt Lake Bees has been suspended in the bottom of the second inning due to rain, with the score tied at 1-1. The game will be resumed starting in the bottom of the second tomorrow at 1 p.m. and be played to the full nine innings, then the regularly scheduled Game 2 will kick off at 7:05 p.m.
Fans with tickets for tonight's game will have the ability to use the ticket for the completion of the game beginning at 1:00 p.m., and will be good for the same seat. Fans with additional questions can contact the Werner Park Ticket Office at (402) 738-5100.
Click Here to access the online Public Inspection File
Viewers with disabilities can get assistance accessing this station's FCC Public Inspection File by contacting the station with the information listed below. Questions or concerns relating to the accessibility of the FCC's online public file system should be directed to the FCC at 888-225-5322, 888-835-5322 (TTY), or email@example.com.


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As established in a fundamental article by Kantorowicz (1939–40), the sitter of this supremely aristocratic portrait is the natural son of Leonello d'Este. As was the custom at court, Francesco was sent abroad for his military training and in 1444 arrived in Liège; he joined the court of Philip the Good (1396–1467) and then that of his son and successor Charles the Bold (1433–1477), who he had first served as steward of the household. We have notices of Francesco's participation in battles and jousts, and on diplomatic missions that brought him back to Italy on a number of occasions. In 1471 he ill-advisedly supported the claims of his half-brother Niccolò to the duchy and was exiled by his uncle, Duke Ercole d'Este. The last notice of him is in 1475, when he was Captain of Westerloo at Lille.It was probably around 1460, in Brussels, that Francesco sat to Rogier, who had been appointed official town painter in 1436. About the same time he painted portraits of both Philip the Good and Charles the Bold. Francesco's fashionably Burgundian black, fur-lined doublet reveals a red high collar and a gold chain. Unusually, Rogier shows him against a white rather than dark background, which greatly enhances the heraldic effect of the portrait (white, red, and green were the livery colors of the Este). The tendril-like fingers of the sitter's hands form an elegant pattern at lower left. One is placed on the edge of the picture field, while with the other Francesco holds a steel-headed hammer and a gold ring with a ruby. These objects may be attributes of his rank at court—Philip the Good holds a similar hammer in a miniature by Rogier showing the duke ceremoniously receiving a manuscript of the Chroniques du Hainault—or they may relate to a tournament. We know that such hammers were used to inspect the shields, crested helmets, and pennons of contestants; to knock out disqualified shields; and to referee the contest once the fighting began, while gold rings were sometimes awarded to the victor (Armstrong 1977). The heraldic quality of the portrait is underscored by the coat of arms on the reverse, probably painted by an assistant. The motto—v[ot]re tout, or "entirely yours" (signifying, one imagines, Francesco's allegiance to the duke)—is accompanied by the entwined letters m and e, for "marchio estensis", the title of his father that was extended to Francesco at the Burgundian court. Francesco's name appears in French at the bottom of the panel. The enigmatic scratched inscription in the upper left, non plus / courcelles, has been variously explained, perhaps most compellingly as a hamlet or town in Burgundian territory where Francesco met his end (Nickel 1987).The portrait of Francesco has much in common with Rogier's portrait of Philip the Good's natural son, Antoine, known as le Grand Bâtard (Musées Royaux des Beaux-Arts, Brussels), who is also shown holding an insignia associated with tournaments: an arrow (flung into the tilt-yard at the beginning and end of a tilt). But the portrait of Francesco is by far Rogier's most stylized court portrait, exhibiting precisely those qualities that established Rogier's supremacy as court portraitist in the Netherlands. And not merely in the Netherlands: Rogier enjoyed an enormous reputation in Italian court circles. Leonello d'Este commissioned works from him through a Lucchese merchant in Bruges, Paolo Poggi, while in 1460 Francesco Sforza sent a local artist, Zanetto Bugatto, to study with Rogier. When his brother, Alessandro Sforza, the lord of Pesaro, went to the Netherlands in 1458, he sat to Rogier and also acquired a portrait of Philip the Good. So regardless of whether Italian princes and artists studied Rogier's portrait of Francesco d'Este—for example, at the church congress in Mantua in 1459–60, which Francesco attended as part of the Burgundian embassy and at which time he visited Ferrara—there is no question that they were well acquainted with the artist's courtly manner, in which the alchemy of his imagination transforms observed data into refined object possessing "an ascetic gravity and an uncompromising stylistic purity" (Max J. Friedlaender, Early Netherlandish Painting: From Van Eyck to Bruegel, London, 1956 [ed. 1965], p. 23). It is indicative of Rogier's sense of appropriateness that Francesco's features are shared by those of the young magus in the Columba Altarpiece (Alte Pinakothek, Munich).[2011]
Inscription: Inscribed (reverse): v[ost]re tout (entirely yours) / m[archio] e[stensis] (marquis of Este) [twice] / francisque (Francesco); incised (reverse, upper left, at slightly later date): non plus / courcelles [no longer Courcelles; referring possibly to the village of Corcelles, near the Grandson battlefield, where the sitter may conceivably have died in 1476]
private collection or art market, Modena (until 1800; sold to Northwick); John Rushout, 2nd Lord Northwick, Harrow Park, Harrow-on-the-Hill (1800–23; his sale, Denew, Harrow Park, September 24, 1823, no. 16, "A very ancient small Portrait on panel, on the reverse side are the Arms of France quartered with the Eagle of the Family of Este, purchased at Modena in 1800," for 12 s.); J. Taylor (until 1828; his sale, June 23–28, 1828, Phillips, London, same description as in Northwick sale cat., 11 1/4 x 8 in., for £ 4.16, to Messman); Daniel Mesman (from 1828); Sir Audley Neeld, Grittleton House, Wiltshire (until 1909; as "Portrait of Leonello d'Este," sold to Douglas); [R. Langton Douglas, London, 1909]; [Colnaghi, London, 1910; sold to Speyer]; Sir Edgar Speyer, London and New York (1911–16; sold to Kleinberger); [Kleinberger, New York, 1916–18; sold for $80,000 to Friedsam]; Michael Friedsam, New York (1918–d. 1931)
London. Grafton Galleries. "Old Masters," October 4–December 28, 1911, no. 90 (as "Portrait of Leonello d'Este," by Rogier van der Weyden, lent by the Rt. Hon. Sir Edgar Speyer, Bart.).New York. The Metropolitan Museum of Art. "Fiftieth Anniversary Exhibition," May 8–August 1920, unnumbered cat. (p. 8, lent by Michael Friedsam).London. Burlington House. "Flemish & Belgian Art: 1300–1900," 1927, no. 25 (lent by Colonel Michael Friedsam).New York. F. Kleinberger Galleries. 1929, no. 9 (lent by Col. Michael Friedsam).New York. The Metropolitan Museum of Art. "The Michael Friedsam Collection," November 15, 1932–April 9, 1933, no catalogue.Ferrara. Palazzo dei Diamanti. "Pittura ferrarese del rinascimento," May–October 1933, no. 23 (as Meliaduse d'Este).Paris. Musée de l'Orangerie. "De van Eyck à Bruegel," November–December 1935, no. 92.New York. The Metropolitan Museum of Art. "From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art," September 22, 1998–February 21, 1999, no. 23.Bode Museum, Staatliche Museen zu Berlin. "Gesichter der Renaissance: Meisterwerke italienischer Portrait-Kunst," August 25–November 20, 2011, no. 71.New York. The Metropolitan Museum of Art. "The Renaissance Portrait from Donatello to Bellini," December 21, 2011–March 18, 2012, no. 71.
Bernard Berenson. Letter to Isabella Stewart Gardner. July 18, 1910 [published in Ref. Hadley 1987, p. 475], urges Mrs. Gardner to purchase this painting. Roger Fry. "A Portrait of Leonello d'Este by Roger van der Weyden." Burlington Magazine 18 (January 1911), pp. 200–202, ill. p. 198 (in color) and p. 203 (reverse), publishes this painting as a portrait of Leonello d'Este (1407–1450), painted by Rogier van der Weyden in Ferrara, where he stopped en route to Rome for the Jubilee celebrations of 1450; states that in 1450 Rogier received payment in the Netherlands for certain paintings he made for Leonello's study at Belfiore and suggests that this portrait could be among these works; describes the Este arms, the impresa of Leonello, and the inscriptions on the reverse; notes that the impresa of the hooded lynx is explained elsewhere on a medal by the motto "Quae vides, ne vide" ("Do not see what you see"); reads two words inscribed on the reverse as "possibly intended for 'Voir Tout'" and notes that the words "Non plus Courcelles" were scratched in at a later date; comments that the use of a white background for such a portrait is unusual. A. Van de Put. "Additional Note on the Coat of Arms of Leonello d'Este." Burlington Magazine 18 (January 1911), pp. 235–36, describes the coat of arms on the shield, the lynx with bandaged eyes (the device of Leonello), and the inscription "m[archio] e[stensis]" as references to Leonello; suggests that "francisque" refers to Francesco d'Este, who may have owned the portrait, and considers the French motto a later addition. [Adolfo Venturi]. "Bollettino Bibliografico: Fry (Roger). A Portrait of Leonello d'Este by Roger Van der Weyden . . ." L'arte 14 (1911), pp. 398–99, questions the identification of the portrait as Leonello d'Este, comparing it with other known likenesses of him, including Pisanello's portrait in Bergamo [now Accademia Carrara], and one by Orioli in the National Gallery, London; finds it unlikely that Lionello would be represented with a small hammer as a device; believes the abbreviation on the reverse, "M. E.," would need to be preceded by "L." in order to firmly identify the sitter as Leonello. A Catalogue of an Exhibition of Old Masters in Aid of the National Art-Collections Fund: Grafton Galleries 1911. Exh. cat.London, 1911, pp. 85–86, no. 90, pl. 68. Roger Fry. "Exhibition of Old Masters at the Grafton Galleries—II." Burlington Magazine 20 (December 1911), p. 161. W[oldemar]. v[on]. Seidlitz. "Ausstellungen und Auktionen: Die Grafton-Ausstellung in London." Repertorium für Kunstwissenschaft 35 (1912), p. 86, as not by Rogier, but perhaps a copy after him. Paul Lafond. Roger van der Weyden. Brussels, 1912, pp. 107–8, ill. opp. p. 12. Friedrich Winkler. Der Meister von Flémalle und Rogier van der Weyden. Strasbourg, 1913, pp. 120, 169–70. Max J. Friedländer. Von Eyck bis Bruegel: Studien zur Geschichte der Niederländischen Malerei. Berlin, 1916, pp. 30, 175, as probably painted in Italy in 1450. "Accessions and Notes." Metropolitan Museum of Art Bulletin 11 (October 1916), p. 226, note that the picture has been lent to the Museum by Sir Edgar Speyer. "Pictures Lent for the Fiftieth Anniversary Exhibition." Metropolitan Museum of Art Bulletin 15 (August 1920), p. 186. Martin Conway. The Van Eycks and Their Followers. London, 1921, p. 143. Max J. Friedländer. "The Pictures of Rogier van der Weyden in America." Art in America 9 (1921), pp. 62–63, 65, ill., identifies the sitter as Leonello d'Este and notes that the portrait's light background is "quite exceptional". Willy Burger. Roger van der Weyden. Leipzig, 1923, pp. 51, 70, pl. 45B, dates it about 1450 and considers the hammer a symbol of command. Friedrich Winkler. Die altniederländische Malerei: Die Malerei in Belgien und Holland von 1400–1600. Berlin, 1924, pp. 85, 87, as painted in Italy. Max J. Friedländer. "Rogier van der Weyden und der Meister von Flémalle." Die altniederländische Malerei. 2, Berlin, 1924, pp. 20, 99, no. 23, pl. 20, considers the hands unusually weak. Wilhelm Stein. "Die Bildnisse von Roger van der Weyden." Jahrbuch der Preuszischen Kunstsammlungen 47 (1926), pp. 30–31, suggests this portrait was painted by Zanetto Bugatto, who worked in Rogier's shop between 1461 and 1463, and that it was commissioned either by Francesco d'Este or Francesco Sforza; describes the hammer as a metalworking tool and mentions a manuscript illumination [Brussels 9242] in which Philip the Good holds a similar attribute. Ludwig Baldass. "Die Niederländer des 15. und 16. Jahrhunderts auf der Ausstellung flämischer Kunst in London." Belvedere 11 (September 1927), pp. 84–85, dates it about 1450. Tancred Borenius in Catalogue of the Loan Exhibition of Flemish & Belgian Art: A Memorial Volume. Exh. cat., Royal Academy of Arts. London, 1927, pp. 13–14, as painted by Rogier in Italy in 1449–50, but quotes Hulin de Loo's opinion ("H. L.") that it was painted after his return to Brussels from a drawing. Max J. Friedländer in The Michael Friedsam Collection. [completed 1928], p. 123a, believes the portrait, or at least the drawing for it, dates "towards 1450" when Rogier was in Ferrara. [Hippolyte] Fierens-Gevaert. "Les continuateurs des Van Eyck." Histoire de la peinture flamande des origines à la fin du XVe siècle. 2, Paris, 1928, p. 54. Franz Dülberg. Niederländische Malerei der Spätgotik und Renaissance. Potsdam, 1929, p. 57. Sidney P. Noe. "Flemish Primitives in New York." American Magazine of Art 21 (January 1930), p. 32, as "done while Roger was in Italy". Arnold Goffin. "À propos du voyage de Roger de le Pasture (Van der Weyden) en Italie." Mélanges Hulin de Loo. Brussels, 1931, pp. 198–200, mentions that a portrait of a woman with a hammer, attributed to Bartolommeo Veneto, is in the Melzi d'Eril collection, Milan. Bryson Burroughs and Harry B. Wehle. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), pp. 16–19, ill. G. Agnelli. Letter to Margaretta Salinger. October 3, 1932, notes that a figure by Francesco del Cossa in Palazzo Schifanoia, Ferrara, displays the same attributes [hammer and ring] and questions the identification of the subject as Leonello d'Este. Catalogo della esposizione della pittura ferrarese del rinascimento. Exh. cat., Palazzo dei Diamanti. Ferrara, 1933, pp. 26–27, no. 23, ill., identify the sitter as Meliaduse d'Este (1406–1452) [elder half-brother of Leonello] and describe the monogram on the reverse as his; date the portrait 1450, as the sitter holds the hammer of the "Porta Santa" to commemorate the Jubilee. Adolfo Venturi. "L'esposizione della pittura ferrarese del rinascimento per il centenario ariostesco." L'arte 36 (September 1933), p. 368, fig. 1, identifies the subject as Meliaduse and the hammer as a "ricordo" of the Jubilee. Maurice W. Brockwell. "The Ferrara Exhibition." Connoisseur 92 (July 1933), p. 35, ill., publishes it as Meliaduse. Roberto Longhi. Officina ferrarese. Rome, 1934, p. 208, as Meliaduse. Hans Tietze. Meisterwerke europäischer Malerei in Amerika. Vienna, 1935, p. 333, pl. 126 [English ed., "Masterpieces of European Painting in America," New York, 1939, p. 317, pl. 126], as Meliaduse. Introduction by Paul Jamot Preface by Paul Lambotte in De Van Eyck à Bruegel. Exh. cat., Musée de l'Orangerie. [Paris], 1935, pp. 66–67, no. 92, ill., as Meliaduse; suggest the hammer is a later addition. Leo van Puyvelde. "Les primitifs flamands à l'exposition de Bruxelles." Revue belge d'archéologie et d'histoire de l'art 5 (1935), pp. 312–13, expresses uncertainty about the identification of the subject, maintaining only that the portrait was painted in Ferrara about 1450. G. J. Hoogewerff. Vlaamsche kunst en Italiaansche Renaissance. Mechelen, [1935?], pp. 30–31, pl. 4, as Meliaduse, the hammer having been presented by the pope in the Jubilee year. Leo van Puyvelde. "Die Flämische Kunst auf der Ausstellung zu Brüssel." Pantheon 16 (July–December 1935), p. 323, ill. opp. p. 321 [with ring revealed in recent cleaning], dates it about 1450, noting that the sitter is generally identified as Meliaduse d'Este. A. Van de Put. Letter to Margaretta Salinger. June 1, 1935, notes that the identification of the sitter as Meliaduse first proposed in the Ferrara catalogue (Ref. 1933) is based in part on the belief that the hammer was one of a very few that were included in the ceremony to open the Holy Door during the Jubilee; adds that this catalogue offers no evidence that Meliaduse attended the Jubilee; the emblem "M E," he believes, could just as easily stand for "Marchio Estenses" (which we know was used by Leonello d'Este) as for Meliaduse d'Este. Adolfo Venturi. Letter to Margaretta Salinger. September 20, 1935, reaffirms his belief that the subject must be Meliaduse, pointing out that he was the first to question Fry's identification [see Ref. 1911]; further notes that the lynx device was favored by members of the family other than Leonello, for example Borso, and that it appears on the facade of the Palazzo Schifanoia; observes that Leonello "could well have been in Rome" for the Jubilee. D. Roggen. "Lionello of Meliaduse d'Este." Gentsche bijdragen tot de kunstgeschiedenis 3 (1936), pp. 112–14, rejects the suggestion that the hammer can be identified with the hammer of the holy year, which the pope may have offered to Meliaduse; lists representations of Jean sans Peur and Philippe le Bel featuring the (unexplained) hammer as an attribute. Martin Davies. "National Gallery Notes. III.—Netherlandish Primitives: Rogier van der Weyden and Robert Campin." Burlington Magazine 71 (September 1937), p. 143 n. 2, as a member of the Este family, painted at Ferrara 1449–50. Alan Burroughs. Art Criticism from a Laboratory. Boston, 1938, p. 218. Wolfgang Schöne. Dieric Bouts und seine Schule. Berlin, 1938, p. 61, as Meliaduse, probably painted in Italy 1449–50. E. P. Richardson. "Rogier van der Weyden's Cambrai Altar." Art Quarterly 2 (1939), pp. 62, 65–66 n. 7, ill. Ernst Kantorowicz. "The Este Portrait by Roger van der Weyden." Journal of the Warburg and Courtauld Institutes 3 (1939–40), pp. 165–80, ill. (obverse and reverse), identifies the subject as Leonello's illegitimate son Francesco d'Este, who, contrary to contemporary genealogical sources was not born in 1444, but left Ferrara for the Netherlands in that year to be educated in Brussels at the Burgundian court; suggests Francesco would have been at least 15 years old at the time, thus born in or about 1429, and notes that he is last mentioned in 1475; publishes a medallion representing Francesco in profile (pl. 32b, Ms. Vittorio Emmanuele Library, Rome, 293) and comments on similarities to the sitter in this portrait, which he dates about 1460, as Francesco appears to be about thirty years old; states that "the hammer with the long and slender helve was the attribute of certain, probably mlitary or knightly, dignitaries, for only princes and personalities of high rank are represented with these insignia," and that as Francesco was Captain and Governor of Westerloo and Le Quesnoy, he may have held a position entitling him to carry the hammer; also suggests the possibility that the hammer and ring with a ruby may instead allude to a tournament victory as both figure in tournament chronicles; notes that Memling's "Man with an Arrow" (National Gallery of Art, Washington) may represent Francesco at about the age of forty. F. Winkler in Allgemeines Lexikon der bildenden Künstler. 35, Leipzig, 1942, pp. 469, 472, 475, as Meliaduse. Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 35–38, ill., identify the sitter as Francesco d'Este and suggest the portrait was painted in Brussels in 1460. Leo van Puyvelde. The Flemish Primitives. Brussels, 1948, p. 27, pl. 43, as Leonello. Theodor Musper. Untersuchungen zu Rogier van der Weyden und Jan van Eyck. Stuttgart, 1948, p. 24, as Leonello or Meliaduse, usually placed about 1450. Hermann Beenken. Rogier van der Weyden. Munich, 1951, pp. 72–73, 104 n. 54, pl. 113, as Francesco, painted after 1460, perhaps with the assistance of Zanetto Bugatti [sic for Bugatto]. Erwin Panofsky. Early Netherlandish Painting: Its Origins and Character. Cambridge, Mass., 1953, vol. 1, pp. 272–73, 291, 294, 477 n. 5 (to p. 291); vol. 2, fig. 366, as Francesco d'Este, painted in the Netherlands about 1455 or shortly thereafter. Leo van Puyvelde. La peinture flamande au siècle des van Eyck. Paris, 1953, pp. 144–45, 150, 157, 167, 180, ill., as Leonello, painted in 1450. "Rogier van der Weyden." Sele arte 2 (January–February 1954), pp. 33, 39, ill. Ferdinando Bologna. "Un 'San Girolamo' lombardo del Quattrocento." Paragone 5, no. 49 (January 1954), p. 48. Ruth Massey Tovell. Roger van der Weyden and the Flémalle Enigma. Toronto, 1955, p. 45. A. Hyatt Mayor. "The Gifts that Made the Museum." Metropolitan Museum of Art Bulletin 16 (November 1957), p. 106, ill. p. 99. Mario Salmi. Cosmè Tura. [Milan], [1957], p. 14, as Meliaduse. Eberhard Ruhmer. Tura: Paintings and Drawings. New York, 1958, pp. 13, 17, 55 n. 44, observes that in about 1460, just about the time of the creation of this portrait, traces of Netherlandish influence begin to appear in Tura's art. Erik Larsen. Les primitifs flamands au Musée Metropolitain de New York. Utrecht, 1960, pp. 59–61, 115, fig. 11, believes the hands and hammer could be a later addition. R. H. Wilenski. Flemish Painters, 1430–1830. New York, 1960, vol. 1, pp. 26–28, 611; vol. 2, pl. 50, as a member of the Este family in the guise of Saint Eligius, painted by the "New York d'Este Painter". Colin Eisler. "Erik Larsen, Les primitifs flamands au Musée Metropolitain de New York, 1960." Art Bulletin 46 (March 1964), p. 102. Max J. Friedländer et al. "Rogier van der Weyden and the Master of Flémalle." Early Netherlandish Painting. 2, New York, 1967, pp. 15, 65, 100 n. 32, no. 23, pl. 44, as Leonello, but the editor notes that the subject is now identified as Francesco. J.-K. Huysmans. Trois primitifs: les Grünewald du musée de Colmar, le Maître de Flémalle et la Florentine du musée de Francfort-sur-le-Main. reprint with added notes [first ed. 1905]. Paris, 1967, p. 167, ill. (obverse and reverse). Leo van Puyvelde. "La genèse de la forme artistique chez Rogier van der Weyden." Stil und Überlieferung in der Kunst des Abendlandes: Akten des 21. Internationalen Kongresses für Kunstgeschichte in Bonn 1964. Berlin, 1967, vol. 1, pp. 48, 56, as a portrait of Leonello; observes that in accordance with contemporary Italian taste the sitter is represented more in profile than in three-quarter view and that the figure is set off against the ivory background. Charles D. Cuttler. Northern Painting from Pucelle to Bruegel. New York, 1968, pp. 125–26, ill. Anne Markham Schulz. "The Columba Altarpiece and Roger van der Weyden's Stylistic Development." Münchner Jahrbuch der Bildenden Kunst, 3rd ser., 22 (1971), p. 109 n. 35. Martin Davies. Rogier van der Weyden: An Essay, with a Critical Catalogue of Paintings Assigned to Him and to Robert Campin. London, 1972, pp. 25, 229, 244, pls. 111–12 (obverse and reverse), as Francesco, a late work, apparently painted in Flanders; questions Beenken's [Ref. 1951] suggestion that there may be intervention by Zanetto Bugatto; comments on the unusual light background, but refers the reader to Campin's supposed portrait of Robert de Masmines in Berlin [Berlin-Dahlem Museum, which also has a light background]. Lorne Campbell. "Studies in Early Netherlandish Art." Apollo 98 (July 1973), p. 63. Gustav Künstler. "Vom entstehen des Einzelbildnisses und seiner frühen Entwicklung in der flämischen Malerei." Wiener Jahrbuch für Kunstgeschichte 27 (1974), p. 46, fig. 15. Josua Bruyn. "The Literature of Art: A New Monograph on Rogier [Review of Martin Davies, Rogier van der Weyden . . ., 1972]." Burlington Magazine 116 (September 1974), p. 541, comments that "whether or not an attribution of the portrait . . . to Zanetto Bugatto makes sense, Rogier's authorship is not quite as obvious as is suggested". Margaretta Salinger in "The Price Was Not Too High." The Chase, the Capture: Collecting at the Metropolitan. New York, 1975, pp. 195–96, describes the excitement of discovering beneath dark pigment the raised outline of a finger ring, since made visible [during cleaning in 1934]. V. Denis. La peinture flamande 15e–16e–17e siècles. Brussels, 1976, pp. 66, 70. Lorne Campbell. Letter to Katharine Baetjer. November 3, 1977, calls it "Francesco d'Este" and considers it a very late Rogier from the 1460s; has "notes, but no photos of four (?) 'versions,' probably all fakes": Steinmeyer, Lucerne (photo Rijksbureau voor Kunsthistorische Documentatie, Friedländer archives); Gino Calligaris, Venice, 1949 (photo R.K.D., Friedländer archives); private collection, Vicenza (Weltkunst, October 1, 1964); location unknown (R.K.D. neg. L29702). L. A. J. Armstrong in A. G. Dickens. The Courts of Europe: Politics, Patronage and Royalty 1400–1800. London, 1977, pp. 72, 74, ill., notes that before tournaments, the presiding duke or champion "inspected the shields, crested helmets, and pennons" of the contestants and used a hammer to "knock out disqualified shields . . . and to referee the contest once the fighting had begun"; adds that the hammer was a princely attribute and that this is the reason that Francesco d'Este had "Roger paint him with a toy hammer as a symbol of power". Rollin van N. Hadley. "What Might Have Been: Pictures Mrs. Gardner Did Not Acquire." Fenway Court (1979), pp. 50–51, no. 67, ill. Lorne Campbell in "The Portrait Art in the Work of Van der Weyden." Rogier van der Weyden / Rogier de le Pasture: Official Painter to the City of Brussels, Portrait Painter of the Burgundian Court. Exh. cat., Musée de la Ville de Bruxelles, Maison du Roi. Brussels, 1979, pp. 57–59, 62, 154, no. 17, ill. (color) [not in exhibition]. Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 188, 192, 199, fig. 362 (color). John [Rigby] Hale. Letter to Sir John Pope-Hennessy. January 3, 1980, states that the hammer is not a war hammer, but a "carpenter's claw-hammer"; observes that "this could relate it to the drawing of nails from the cross" and that together with the "drop-of-blood ruby" in the ring, Francesco could be holding an emblem of a devotion to the Passion. Penny Howell Jolly. "Rogier van der Weyden's Escorial and Philadelphia 'Crucifixions' and Their Relation to Fra Angelico at San Marco." Oud-Holland 95, no. 3 (1981), p. 124 n. 16, as apparently commissioned in the North. Lorne Campbell. Unpublished notes. 1981, comments that all of Rogier's sitters have similar expressions of noble piety, and that their heads have a linear interest which they may never have posessed in nature. Liana Castelfranchi Vegas. Italie et Flandres dans la peinture du XVe siècle. Milan, 1984, p. 73 no. 27 [Italian ed., 1983]. James Snyder. Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350 to 1575. New York, 1985, pp. 137–38, ill., describes it as a generalized characterization emphasizing the sitter's aristocratic status; dates it about 1455–60. Guy Bauman. "Early Flemish Portraits, 1425–1525." Metropolitan Museum of Art Bulletin 43 (Spring 1986), pp. 38–39, 41–42, ill. in color on front cover and on p. 39 (obverse); ill. in color on back cover and on p. 28 (reverse), dates it about 1460 and calls the hammer a "princely attribute of power connected with the rituals of the tournament" and the ring "possibly a prize". Walter Prevenier and Wim Blockmans. The Burgundian Netherlands. Cambridge, 1986, p. 323, ill. Martha Wolff in John Oliver Hand and Martha Wolff. Early Netherlandish Painting [National Gallery of Art]. Washington, 1986, p. 191. Introduction by James Snyder in The Metropolitan Museum of Art: The Renaissance in the North. New York, 1987, pp. 10, 25, ill. (color). Helmut Nickel. "A Heraldic Note about the Portrait of Ladislaus, Count of Haag, by Hans Mielich." Metropolitan Museum Journal 22 (1987), pp. 144–47, ill. (obverse and reverse), discusses the iconography of the Este family and reads the upper inscription as "votre tout," noting that the abbreviation "vre" for "votre" is a common one; suggests that "non plus courcelles" could refer to the town of Corcelles where the sitter may have died in battle. The Letters of Bernard Berenson and Isabella Stewart Gardner, 1887–1924, with Correspondence by Mary Berenson. 1987, p. 476 n. 1. Lorne Campbell. Renaissance Portraits. New Haven, 1990, pp. 16, 37, 61, 72, 96, 128–29, 257 n. 31, pl. 154 (obverse), notes that a similar hammer is held by Philip the Good in the presentation miniature of the "Chroniques du Hainaut". Angelica Dülberg. Privatporträts: Geschichte und Ikonologie einer Gattung im 15. und 16. Jahrhundert. Berlin, 1990, pp. 113, 176, figs. 356–57, ill. (obverse and reverse), believes the inscription "voir" read by Kantorowicz (see Ref. 1939–40) must correspond with the letters "m" and "e," and that with the word "tout" the whole is more likely to represent a single device than the title "Marquis d'Este" and the device "voir tout". Alfons Lieven Dierick, Hélène Verougstraete-Marcq, and Roger van Schoute. "La lecture des textes." Le dessin sous-jacent dans la peinture. Colloque 8, Louvain, 1991, pp. 182–83, pl. 103b (detail of reverse), states that the "VRE" inscribed on the reverse is a standard written form for "VOSTRE," and that the text, which is not a device but a dedication, can be read as "Vostre tout francisque" or "entirely yours Francesco". Annarita Mandrioli et al. in Le muse e il principe: arte di corte nel Rinascimento padano. Exh. cat., Museo Poldi Pezzoli. Modena, 1991, pp. 22, 54, 68, 73, 314, figs. 16 and 17 (obverse and reverse), accepts a reading of the motto as "VOIR TOVTE" and believes it is meant to stress the princely quality of acumen united with prudence and dissimulation; illustrates in color the profile portrait of Francesco d'Este in the Genealogia dei principi d'Este (fig. 26). Andrea Bacchi. Francesco del Cossa. Soncino, 1991, p. 44, mentions it in relation to Cossa's portrait of an unidentified man holding a ring [Museo Thyssen-Bornemisza, Madrid], which may similarly be identifiable as a prize. Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi New York. New York, 1992, pp. 25, 131, ill. Shirley Neilsen Blum, Selected by Guy C. Bauman, and Walter A. Liedtke in Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America. Antwerp, 1992, pp. 24, 40–42, no. 4, ill. in color (obverse and reverse), compares it to Leonardo da Vinci's portrait of Ginevra da Binci [National Gallery, Washington], also painted on its reverse, in which, similarly, "a noble lineage mixes with an unmistakably grave, almost melancholic humor". Hans Belting and Christiane Kruse. Die Erfindung des Gemäldes: Das erste Jahrhundert der niederländischen Malerei. Munich, 1994, pp. 48, 193, no. 121, ill. p. 47 (obverse and reverse) and colorpl. 121. Dirk De Vos. Hans Memling: The Complete Works. Ghent, 1994, p. 366, ill., compares Memling's process of "framing" his portrait subjects to that of Rogier van der Weyden. Lorne Campbell in The Dictionary of Art. New York, 1996, p. 123. Otto Pächt. Early Netherlandish Painting from Rogier van der Weyden to Gerard David. London, 1997, pp. 71–72, ill., comments on the "homogeneity of line" in the face and hands of this portrait, "the same springing, flexible curves, whether in the aquiline nose or the crooked little finger". Michael Kimmelman. "At the Met with Chuck Close: Sought or Imposed, Limits Can Take Flight." New York Times (July 25, 1997), C section, ill., comments on "the incredible cluster of shapes in the lower left-hand corner, like an octopus, of fingers". Roberta Iotti et al. Gli Estensi. Exh. cat., Biblioteca Estense Universitaria di Modena. Modena, 1997, vol. 1 (La Corte di Ferrara), pp. 8, 157–58, 194, ill. (color, obverse and reverse). Mary Sprinson de Jesús in From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1998, pp. vii, 24, 40, 60 n. 6, pp. 69, 74, 140–41, 154–55, 160, 163, no. 23, ill. (color, obverse and reverse). John Oliver Hand. "New York. From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art." Burlington Magazine 140 (December 1998), p. 855. Catherine A. Metzger and Michael Palmer. "The Washington 'Portrait of a Lady' by Rogier van der Weyden Reconsidered in Light of Recent Investigations." Painting Techniques, History, Materials and Studio Practice: Contributions to the Dublin Congress, 7–11 September 1998. London, 1998, p. 94 n. 1. Stephan Kemperdick. Rogier van der Weyden 1399/1400–1464. Cologne, 1999, pp. 102–03, 105, ill. (color), observes that Francesco's expression "makes him appear a man of great refinement, almost a sufferer from ennuie". Dirk De Vos. Rogier van der Weyden: The Complete Works. New York, 1999, pp. 112, 302–4, ill. (color, obverse and reverse), dates it about 1455–60 and observes that if we understand the inscription "vre tout" to be a dedication, that is, "vostre tout," we must conclude that the portrait was conceived as a gift to Francesco's father, Leonello, who died in 1450; notes, however, that Francesco's hair is not cut around the ear, which was "compulsary" at the Burgundian court ca.1450, and that the style of the portrait is too mannered for the 1440s; finds the quality of this picture "clearly inferior" to Rogier's other portraits, although "the lack of plasticity and definition in the features could be the result of relatively heavy wear"; considers the painting on the reverse "plainly by a different artist," and comments on the mediocre quality of the helmet. Albert Châtelet. Rogier van der Weyden: Problèmes de la vie et de l'oeuvre. Strasbourg, 1999, pp. 201–2, reads the inscription as "V[ost]RE TOUT," to be read with "Francisque," and thus a dedication to a second party. Elisabeth Dhanens and Jellie Dijkstra. Rogier de le Pasture van der Weyden: Introduction à l'oeuvre, relecture des sources. Tournai, 1999, pp. 49, 51–52, 144, ill. (color, obverse and reverse), believe this work best illustrates the art of Rogier's portraiture. Rona Goffen in "Crossing the Alps: Portraiture in Renaissance Venice." Renaissance Venice and the North: Crosscurrents in the Time of Bellini, Dürer and Titian. Exh. cat., Palazzo Grassi. Milan, 1999, p. 127, ill. Arlette Smolar Meynart. "Relazioni politiche ed artistiche tra la corte di Borgogna a Bruxelles e la corte estense a Ferrara nel XV secolo." Musei Ferraresi 18 (1999), pp. 56–59, ill. (obverse), suggests that the hammer, ring, white background, and the impresa on the reverse that remain somewhat mysterious, are elements of the kind of wordplay or rebus that was so popular at the time. Reinhard Liess. Zum Logos der Kunst Rogier van der Weydens: Die 'Beweinungen Christi' in den Königlichen Museen in Brüssel und in der Nationalgalerie in London. Münster, 2000, vol. 2, pp. 644, 709. Philippe Lorentz and Micheline Comblen-Sonkes. Musée du Louvre, Paris. III [Les primitifs flamandes, I: Corpus de la peinture des anciens Pays-Bas méridionaux et de la principauté de Liège au quinzième siècle, vol. 19]. Brussels, 2001, text vol., p. 187. Stephen J. Campbell. Cosmè Tura: Painting and Design in Renaissance Ferrara. Exh. cat., Isabella Stewart Gardner Museum. Boston, 2002, pp. 75–76, ill. Lorne Campbell in Stephen J. Campbell. Cosmè Tura: Painting and Design in Renaissance Ferrara. Exh. cat., Isabella Stewart Gardner Museum. Milan, 2002, pp. 75–76, ill. Mauro Lucco in Till-Holger Borchert. "Burgundian Art for Italian Courts." The Age of Van Eyck: The Mediterranean World and Early Netherlandish Painting 1430–1530. Exh. cat., Groeningen Museum, Bruges. Ghent, 2002, p. 110, ill. (color). Oliver Bradbury and Nicholas Penny. "The Picture Collecting of Lord Northwick: Part I." Burlington Magazine 144 (August 2002), p. 491, mention as an example of Lord Northwick's early interest in fifteenth-century painting "A very ancient small portrait on panel, on the reverse are the Arms of France, quartered with the Eagle of the Este family . . ." [presumably the present portrait]. Lorne Campbell. "Letters: Lord Northwick's Collection and Rogier van der Weyden's Portrait of Francesco d'Este." Burlington Magazine 144 (November 2002), p. 696, ill. (reverse), notes that our portrait corresponds in description to the work mentioned in Lord Northwick's 1823 sale at Harrow Villa, no. 16, mentioned in Ref. Bradbury and Penny 2002; concludes that if the Northwick picture is not identical with the New York portrait of Francesco d'Este, it must have been a portrait of Niccolo d'Este, his son Leonello d'Este or one of their immediate family, since it was Niccolo who in 1432 received from Charles VII of France the privilege of quartering the arms of France; observes that Leonello's successors, Borso d'Este in 1452 and Ercole d'Este in 1474 added more quarterings. Paula Nuttall. From Flanders to Florence: The Impact of Netherlandish Painting, 1400–1500. New Haven, 2004, pp. 214–15, 265 n. 16, pl. 232. Lorne Campbell. Van der Weyden. London, 2004, pp. 114–15, nos. 78 and 79, ill. (obverse and reverse). Maryan W. Ainsworth in Memling's Portraits. Exh. cat., Museo Thyssen-Bornemisza, Madrid. Ghent, 2005, p. 99. Till-Holger Borchert. "Collecting Early Netherlandish Paintings in Europe and the United States." Early Netherlandish Paintings: Rediscovery, Reception and Research. English ed. Amsterdam, 2005, p. 215 [Dutch ed., "'Om iets te weten van de oude meesters'. De Vlaamse Primitieven—herontdekking, waardering en onderzoek," Nijmegen, 1995]. Marcello Toffanello in Cosmè Tura e Francesco del Cossa: l'arte a Ferrara nell'età di Borso d'Este. Exh. cat., Palazzo dei Diamanti and Palazzo Schifanoia. Ferrara, 2007, p. 412. Mauro Natale and Giovanni Sassu in Cosmè Tura e Francesco del Cossa: l'arte a Ferrara nell'età di Borso d'Este. Exh. cat., Palazzo dei Diamanti and Palazzo Schifanoia. Ferrara, 2007, p. 43. Cecilia Cavalca in Cosmè Tura e Francesco del Cossa: l'arte a Ferrara nell'età di Borso d'Este. Exh. cat., Palazzo dei Diamanti and Palazzo Schifanoia. Ferrara, 2007, p. 412, mentions it in relation to Francesco del Cossa's portrait of a man from about 1472–73 (Museo Thyssen-Bornemisza, Madrid) in which the sitter also holds a ring. Catherine A. Metzger and Michael Palmer. "The Creative Process in Rogier van der Weyden's Portraits." Invention: Northern Renaissance Studies in Honor of Molly Faries. Turnhout, Belgium, 2008, pp. 72, 75–76, 84 n. 2, p. 85 n.27, figs. 6, 15 (overall and infrared reflectogram detail), note that placement lines have recently been discovered in four of Rogier's portraits, including the present work; discuss the painting's technique and note that changes made to Francesco's hands "suggest that the painting was initially a donor's portrait; the lines revealed with infrared reflectography seem to depict the hands folded in prayer". Everett Fahy in Art and Love in Renaissance Italy. Exh. cat., The Metropolitan Museum of Art. New York, 2008, pp. 18, 26 n. 4. Stephan Kemperdick in The Master of Flémalle and Rogier van der Weyden. Exh. cat., Städel Museum, Frankfurt. Ostfildern, 2009, p. 265 [German ed., "Der Meister von Flémalle und Rogier van der Weyden," Ostfildern, 2008]. Andrea Bayer, Keith Christiansen, and Stefan Weppelmann in The Renaissance Portrait from Donatello to Bellini. Exh. cat., Bode-Museum, Berlin. New York, 2011, p. ix [German ed., "Gesichter der Renaissance: Meisterwerke italienischer Portrait-Kunst," Berlin, 2011]. Keith Christiansen in The Renaissance Portrait from Donatello to Bellini. Exh. cat., Bode-Museum, Berlin. New York, 2011, pp. 208–10, 212, 290, no. 71, ill. (color) [German ed., "Gesichter der Renaissance: Meisterwerke italienischer Portrait-Kunst," Berlin, 2011]. Beverly Louise Brown in The Renaissance Portrait from Donatello to Bellini. Exh. cat., Bode-Museum, Berlin. New York, 2011, p. 39 [German ed., "Gesichter der Renaissance: Meisterwerke italienischer Portrait-Kunst," Berlin, 2011]. Sabine Hoffmann in The Renaissance Portrait from Donatello to Bellini. Exh. cat., Bode-Museum, Berlin. New York, 2011, p. 275 [German ed., "Gesichter der Renaissance: Meisterwerke italienischer Portrait-Kunst," Berlin, 2011, p. 276]. Stephan Kemperdick in The Renaissance Portrait from Donatello to Bellini. Exh. cat., Bode-Museum, Berlin. New York, 2011, p. 333 [German ed., "Gesichter der Renaissance: Meisterwerke italienischer Portrait-Kunst," Berlin, 2011].
A 1934 cleaning revealed a ring, which had been painted out, held in the right hand of the sitter.
© 2000–2014 The Metropolitan Museum of Art. All rights reserved.


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Hey Lou, can I come back?
Jean Lefebvre
November 20 2009 05:06AM
If there's any comfort to be found for Flames fans after their club's ignominious stumbling past the unofficial quarter-pole of the 2009-10 campaign, it's the look on Brent Sutter's face.
GDFD No. 20: I feel yucky
Ryan Lambert
November 19 2009 05:03PM
Welcome to the Game Day Fire Drill, for this, Calgary's 20th game of the season on Nov. 19, 2009.
Around the league - Nov 19, 2009
Jason Gregor
November 19 2009 11:28AM
Watching the Oilers, Flames and Canucks play in places like Long Island, Atlanta, Tampa and Columbus and then seeing the highlights in many other American cities, it is clear that fans aren't filling buildings. What can the NHL do?
First Star, Worst Star: Youtube Edition
November 18 2009 04:21PM
Well, well, well. It appears to me that with Wanye hiding out from the law in parts unknown, that I've officially become the 6th coolest writer on this website. Take that my entire 8th grade class who refused to sign my yearbook! Who's the loser now? *Still me*
GDFD No. 19: Opposite directions
Ryan Lambert
November 17 2009 05:42PM
Welcome to the Game Day Fire Drill, for this, Calgary's 19th game of the season on Nov. 17, 2009.


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Have been working on this (and variations) this past week.
Used very "tribal" colors for this particular necklace, but have been doing experiments with a lot of different color combinations. Not certain that I will spend the time to make enough for necklaces of all the variations, but probably will do at least one more.


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The apartment is very well located and is very modern and neat. It had all the basic facilities though the safe was broken. The big disappointment that we had were the rude and lazy front-desk staff. The lady in the evening always appeared irritated and rude when we asked her any questions. We requested her to assist us with a... More
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- Apart Karee Residence Prague


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Find records of Valentine Harvey
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Dawson County High School Head Cross Country Coach Brian DeRose and his staff held time trials at Rock Creek Park last Friday.
The Dawson County Tiger football team concluded camp with a scrimmage Aug. 7 at Tiger Stadium. It was the end of a long week of three practices a day conducted by the Tiger coaching staff.
He is not a player of many words, but gives it 110 percent at all times while on the football field. This Tiger has played through injury, pain and many position changes, but he is always upbeat.
Tiger football player Zack Johnson is being recruited by several Division I football schools throughout the Southeast. Johnson, a 6'3" 300 pound senior, has traveled to many football camps this summer.
Dawson County High School is the recipient of the 2010 Georgia High School Association and Georgia Electric Membership Corporation Georgia EMC Cooperative Spirit Sportsmanship Award for Region 8-AA.
The Dawson County High School boys' and girls' cross country team started regular season practices Aug. 2.
Dawson County High School Head Softball Coach Jimmy Pruett's team traveled to Anderson, S.C. to participate in the Higher Ground Softball Camp last week.
The Tiger football team competed in a passing camp at Pickens County High School in Jasper last Tuesday and Wednesday.
Going into a game with the Tulsa Eagles fastpitch softball team in June, the girls of the Georgia Impact - Giles team knew someone would have to step up, take on the pressure, and deliver if they were going to get the win. And someone did.
Just 30 days remain before the opening of the 2010 Dawson County Tiger football season. Head Coach Jeff Lee's team will open the season with a scrimmage game with the Greater Atlanta Christian school at 7:30 p.m. Aug. 19 in Dawsonville.
There will not be any ninth grade sports teams at Dawson County High School next school year.
Last week was what is referred to as "Dead Week" by the Georgia High School Association By-Laws. The name is given to the July 4th holiday week by the association.
The Tiger basketball team has finished its summer basketball camp play. The team was very successful and finished the summer with a record of 23-11.
The Dawson County High School football team is preparing for the upcoming 2010 campaign. The team has been participating in workouts from 7:30-10:30 a.m. on Monday, Tuesday and Thursday at the high school.
Head Coach Thad Burgess and his Dawson County Tiger basketball team traveled to Auburn University last Thursday. The team played summer games against some of the best teams in Alabama and the Southeast during the 3-day camp.
Joy Lewis fielded the final out from the pitchers circle and fired the ball over to teammate Brooke Wende at first base Thursday afternoon.
Head Coach Jeff Lee's varsity Tigers football team can't seem to catch a break. Dawson County scored what looked to be the winning touchdown with 31 seconds to play at Banks County last Friday, just to see an official throw a flag for holding.
The state-ranked Dawson County High School cross country teams competed in the Region 7-AAA meet yesterday at Banks County High School.
DAWSONVILLE-Joy Lewis fielded the final out from the pitchers circle and fired the ball over to teammate Brooke Wende at first base Thursday afternoon.
The Lady Tigers' varsity softball game Thursday may go down as the most thrilling ever played at Jack Waldrip Field.
The Dawson County High School varsity Tigers football team lost a heartbreaker in the final minutes of Friday night's game against Fannin County.
The Dawson County High School Competition Cheerleaders are on a roll.
For the first time in school history the Dawson County softball team has captured a region title.
The Dawson County High School junior varsity football team suffered a 22-14 defeat to White County last week in Cleveland.
The team walked hand-in-hand as they entered Ed Bryant Field in Carnesville last Friday night.
In the fourth annual Bob Roller Invitational Cross Country meet Oct. 7 at East Jackson High School in Commerce the boys and girls junior varsity teams both finished in fifth place.
The Dawson County High School varsity boys and girls cross country teams both finished in third place at the fourth annual Bob Roller Invitational at East Jackson High School Oct. 7.
Dawson County High School Head Softball Coach Jimmy Pruett's Lady Tigers team will enter the Region 7-AAA tournament as the No. 2 seed. Dawson County will play the winner of the Banks County and Franklin County game at 1 p.m. today.
East Hall High School picked up its first Region 7-AAA win in a hotly-contested game against Dawson County on Oct. 3, holding on for a 36-29 victory.
The Dawson County High School junior varsity football team defeated Union County, 19-0, on Oct. 2 to even their season record at 2-2.
Contents of this site are © Copyright 2014 Dawsonnews, Dawsonville, GA. All rights reserved. Privacy policy and Terms of service


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KJB Bionic Ear - Bionic Ear And Booster Set (13787840059)
See More Prices $197 From 1 Store
JAKKS Pacific Spy Net Super Hearing Device Bionic Ear Ages 8+ 1 ea - 039897285382
See More Prices $24 - $25 From 2 Stores
Bionic Ball, Medium (BA1001669)
See More Prices $9.15 - $24 From 2 Stores
Incipio MT-144 Feather Case for Motorola Droid Bionic - 1 Pack - Retail Packaging - Magenta (00814523291445)
See More Prices $24 From 1 Store
Bionic Balls Large for dogs, are made of a revolutionary rubber that withstands aggressive chewing. Throw the Bionic Ball against the spine and it bounces normally, but throw it against the opening then creates an unpredictable bounce that's sure to entertain for hours This ball can hide treats or peanut butter at each end and adds an interactive element to playtime. Unpredictable Bouncing Multiple sizes available Fits on most chucking/throwing toys Great for aggressive chewers Made of a tough 100 recyclable material Size of the ball is aproximately 3 inches in diameter and recommended for Dogs 3060 lbs.
$14 Go to
Entirely Pets
Entirely Pets
NEW Bionic Bone Large $22.67 $30.95 Large Bionic Bone, Great for dogs up to 60-Pound, can be used with treats, peanut butter, the ball floats in water and can be put in the freezer or the dishwaher to be cleaned. - Stuff it, freeze it, chew it - Made from fda approved bionic rubber - Recyclable material - Product Dimensions: 5.8 x 2.6 x 3.2 inches ; 9.6 ounces We only accept PayPal. + We are now shipping to worldwide addresses, the item is sent to logistic center in NJ and shipped from there to
$23 Go to
Engineered to last, Bionic Ball Dog Toys are ultra-tough and virtually indestructible. Made of 100% FDA food-grade, recycled materials. These toys float and are dishwasher-safe. Bionic Balls have an unpredictable bounce and openings on each end to allow treats to be hidden within.
$30 Go to
Sears Marketplace
Sears Marketplace
NEW Bionic Bone Dog Toy available in 3 Sizes - Small, Medium & Large The Bionic Bone - Stuff it, Freeze it, Toss it! Bionic's designers took years perfecting this bone! Careful attention was made to ensure it fits naturally in the curvature of the canine
$12 Go to
Measuring less than 1mm in thickness, the Feather® for Motorola Bionic is a slim, form-fitting case that offers low-profile protection. Featuring custom-cut holes, you&ll have full access to your camera and other ports. With the largest variety of color selections to choose from, the Feather® is the most diverse and colorful carrying case solution. With colors ranging from a classic black to an energetic purple , you are sure to find a perfect match.Incipio&s popular Feather® for Motorola Bionic allows complete accessibility to all ports and buttons. Charge your device with ease through the open charge port while your device remains protected in this sleek case. Features: Ultra light, ultra strong polymer Less than 1mm thin - for superior protection without adding bulk Soft touch matte finish Light as a feather, form-fitting durable protection Package Contents: Incipio Motorola Bionic Feather Case - Magenta Screen Protector
$15 Go to
Cell Phone Cases
Cell Phone Cases
This liquid is for use in cleaning your bearings as a part of skate maintenance.
$18 Go to
Our designers took years perfecting this bone! Careful attention was made to ensure it fits naturally in the curvature of the canine mouth. The
$15 Go to
Motorola Droid Bionic XT875 Stars & Stripes on Green Cover - Get this attractive one-of-a-kind case for your Motorola Droid Bionic XT875 and say goodbye to scratches and dust! Conveniently priced at wholesale cost only at CellularOutfitter.com.Access all ports and features. Durable build stands up to regular wear and tear. Constructed from the strongest ABS plastic. Guards phone from damage. Two piece assembly (front & back). Offers protection against scratches and dust. Built to be light and
$4.99 Go to
Motorola HW4X / SNN5892A / SNN5892 / SNN5880A / SNN5880 / SNN5893A / SNN5893, Features: Voltage: 10.8v, Lithium Polymer Batteries, Replacement Battery For The Following Motorola Phone Models Atrix 2 Droid Bionic MB865 XT875 Droid Bionic 4G Droid Bionic XT865 Motoluxe XT872 XT928
$11 Go to
All New - Bionic Urban Stick. The opening of the Urban Stick is designed to be the perfect place to put treats and peanut butter. When you're dog is done, simply throw the toy in the dishwasher for easy cleaning! It's features Splinter-free design. Contai
$18 Go to
Dog Tuff
Dog Tuff
Small Bionic Bone, Great for dogs from 1-20-Pound, can be used with treats, peanut butter, the ball floats in water and can be put in the freezer or the dishwaher to be cleaned.Stuff it, freeze it, chew it Made from fda approved bionic rubber Recyclable material Brand - Bionic Model - BO-CL204 Shipping Weight - 0.2 Item Dimensions - H 1 inches L 3 inches W 1.9 inches Justgotlower account.Payment:We accept PayPal only, All items are brand new in the box.Our Service:We will handle your order fast
$8.58 Go to
Engineered to last, Bionic Rubber toys are ultra-tough and virtually indestructible. Tested in rescue shelters around the U.S., these toys really stand up to aggressive chewing and play. Made of 100% FDA food-grade, recyclable materials. These unique toys float and are dishwasher safe, for easy cleaning. The Bionic Rubber Urban Stick features a splinter-free design with no sharp edges, and weighted ends to create a spiral motion when thrown.
$26 Go to
Sears Marketplace
Sears Marketplace
Bionic Bone - A bone unlike anything you or your dog has ever seen! Quite possibly the perfect toy! Our designers took years perfecting this bone! Careful attention was made to ensure it fits naturally in the curvature of the canine mouth. The ridges acro
$22 Go to
Dog Tuff
Dog Tuff
Raised vitals on one side Universal score rings on the otherFlex back self-healing foamLife size 180? double drop tine rackOne price four times the lifeEasy arrow removalReverse vital technologyLike getting 2 deer for one priceStops field points, fixed & mechanical broadheadsWith reversible vital technology, its like getting 2 deer for one price! Simple reverse head and butt plate and front and back legs for a new set of vitals. This life-sized monster buck brandishes a 180 point double drop tine rack, and the Flex Back self healing foam offers easy arrow removal further extends target life?it will be the longest-lasting 3D targets youve ever owned! Raised vitals on one side; universal score rings on the other. Takes broadheads, expandables, and field points.
$250 Go to
Bass Pro Shops
Bass Pro Shops
Alpinestars Bionic iPhone 4/4S Case 100% Satisfaction Guaranteed Features: ·Alpinestars Bionic iPhone 4/4S Case · Impact resistant hard shell case with a high-density silicone core for the iPhone 4 and the iPhone 4S. Go Fast Powersports LLC is a full line MC/ATV/UTV/PWC Snowmobile accessory retail store located in Lee's Summit MO. At the time this item was listed on eBay it was in stock. Because of seasonal fluctuations and inventory levels backorders occasionally happen, if so you will be
$35 Go to
Protect your Motorola Droid Bionic with RND Power Solutions Superior screen protector! Our screen protector guards against scratches smears dust and dirt. Our screen protectors provide Anti-Fingerprint Anti-Glare - Matte Finish and do not interfere with touch-screen operation. RND Power Solutions Screen Proctors designed to maximize readability under sunlight and various outdoor lighting conditions. Easy to apply and can be removed and washed for reuse without leaving residue behind! Package includes 3 Screen Protectors and lint cloths.
$4.99 Go to
RND Power Solutions
RND Power Solutions
For Motorola Bionic XT875 Cracked / Broken Glass Replacement Touch Screen - Condition: New - Quantity: 1 - Top Quality Glass Replacement for your Motorola Bionic XT875 - Prefect Fitment - Make Your Motorola Bionic XT875 Look and Feel Like New Again - Please make sure this product is installed by professionals. We will not bear the loss of incorrect installation and purchase - Device/Phone not included
$20 Go to
Cell Phone Cases
Cell Phone Cases
You chose the ultimate in mobile power and performance when you purchased the Motorola Droid Bionic XT875. Now choose the ultimate in mobile protection: Motorola Droid Bionic XT875 Rubberized Protector Case.Offers unrivaled protection for the Motorola Droid Bionic XT875. Say goodbye to bumps, dings, dust, nicks and scratches. Two piece hard-shell design. Constructed of precision-molded ABS plastic. Soft-touch exterior coating. Provides excellent fit. Allows complete access to all buttons,
$2.99 Go to
Fox Bionic Breakaway Jacket Black Bionic Series Fox and logo graphic zip-up jacket. Layering piece(s) sold separately Fox Bionic series synthesizes form and function through bonding technical fabrics while also keeping the performance and cutting edge Fox style. The result from these two elements has resulted in the creation of the Fox Bionic Breakaway Jacket. This jacket has micro-porous coatings that are 2000 mm waterproof with durable water repellant coating and 3000 mm breathability. These coatings are laminated to the underside of fabrics. Invisible to the naked eye the pores are large enough to allow perspiration vapor to escape but small enough to create a weather-proof seal against rain and snow. Chest measures 44 on a size medium. Center back length measures 29. Model Info: Height: 6' 1 | Chest: 40 | Waist: 31 | Hip: 39 1/2 | Wearing Size: Medium Outer layer: 95% Polyester 5% Elastane. Middle layer: 100% Polyurethane. Inner layer: 100% Polyester. Machine wash in cold water gentle cycle. Do not bleach. Lay flat to dry. Do not iron. Do not dry clean.
$80 Go to
What's more fun than a stick? Bionic® Stick! Safe, splinter-free and virtually indestructible, this bouncy, buoyant toy is engineered to stand up to the most aggressive chewers. Contoured ridges and weighted ends make it extra-fun to chew, tug, throw and fetch. Can be stuffed with treats or peanut butter. FDA food-grade Bionic Rubber® is nontoxic and dishwasher-safe. Sizes: S (for dogs up to 20 lbs.), M (15-35 lbs.), L (30-60 lbs.), XL (60-90 lbs.).
$20 Go to
In the Company of Dogs
In the Company of Dogs


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For over 45 years Educational Insights has continued to be on of the largest manufacturers of hands-on learning materials in the world. Their designs can be found in virtually every elementary school throughout the nation, ensuring the highest design and instructional integrity in all of the company's offerings.