D.G.W. Auctioneers Inc. Fine Estates and Collectibles Auction – March

Total Page:16

File Type:pdf, Size:1020Kb

D.G.W. Auctioneers Inc. Fine Estates and Collectibles Auction – March D.G.W. Auctioneers Inc. 1 Fine Estates and Collectibles Auction – March 22, 2014 1 Glass Pitcher with Gorham sterling silver overlay, monogram “M” in cartouche. Gorham hallmark and D 1629. Height: 10 ½ inches. 2 Gorham sterling silver Sugar and Creamer set # 99 & #100 and a Gorham sterling silver Tray #1228. Tray dimensions: 9 5/8 x 6 inches. Total Weight: 14 OZT. 3 Gorham sterling silver 2-piece serving dish, #13565. Size: 10 ½ x 7 ½ x 3 inches. Weight: 23.9 OZT. 4 Shreve sterling silver bowl “Paul Revere Reproduction” #10787. Height: 3 inches; Diameter: 6 inches. Total Weight: 9.38 OZT. 5 4-piece Sterling Child’s Set in presentation box, each piece decorated with Japanese children. Marked: Sterling and Sterling 950. Total Weight: 2.2 OZT. 6 Gorham sterling silver Tray, pattern #2240 A, having a decorative band and intermittent scroll detail. Diameter: 11 ¼ inches. Weight: 19.8 OZT. 7 A George II Silver Baluster Jug, London 1748. Baluster shape body with gadrooned foot, ebony handle, hinged lid and artichoke finial. Height: 10 inches. Weight: 28 OZT Provenance: purchased from Garrard The Crown Jewelers, London, England in 1978. 8 Gorham Sterling Silver "Plymouth-Large" Tea Set w/Tea Kettle. 6-piece Tea Set, with ebony handles and finials, comprising: Tea Kettle on Stand with Warmer, Tea Pot, Coffee Pot, Waste Bowl, Covered Sugar and Creamer. All pieces stamped with Gorham hallmark and Sterling. Total Weight: 93.18 OZT (including handles & finials). 9 Baccarat, France “Vincennes” Stemware, (14) Water Goblets (Ht: 7 inches) and (13) Wine Goblets (Ht: 6 inches). Total pieces: 27. Baccarat France etched logo. 10 Three (3) Antique Belgian Bi-Corn Hats in original hatbox from Severin Freres, Brussels. Two of the hats are labeled on the lining: “Maison Accent et Cannone Rue Royale Bruxelles” and “F. Kips 44 Montagne de la Cour Bruxelles”. 11 Chinese Agate Snuff Bottle, black dots around a smooth body, a red and black rim stopper with spoon. Height: 2 3/8 inches (incl. stopper). Late 19th Century 12 Chinese Carved Jade Dragon. Height: 2 ¾ inches. 19th Century 13 Fine Chinese Nephrite White Jade Snuff Bottle, with well carved figures of “Shou Xin” holding longevity peaches on both sides. A malachite stopper with spoon. Height: 2 ¾ (incl. stopper). 19th Century. 14 Fine Chinese White Jade Carved Monkey with Peach. Height: 2 ¼ inches. 19th Century D.G.W. Auctioneers Inc. 2 Fine Estates and Collectibles Auction – March 22, 2014 15 Chinese reverse-painted glass Snuff Bottle, Signed by Ye Zhong Shen (1869 -1945) with a jadeite rim stopper. Finely painted with pine trees and a later painted artist’ signature, having a handle on each side depicting a carved beasts face.Height: 3 inches.Late 19th Century, 16 Chinese Jade Carved Ming Style Ornament Head. Height: 2 3/8 inches. 19th Century 17 Fine Chinese Agate Pendant with Coral String Bead, depicting a deer, a bat and plum tree. Dimensions: 2 ½ x 2 x 3/8 inches. Late 19th Century 18 Fine Chinese White Jade Nephrite Thumb Ring, with carved cloud around body and rim. Height: 1 ¼ inches. 19th Century. 19 Vintage Diamond Bar Pin, tests 14K white gold. Length: 2 ¼ inches approximately 20 Ancient Roman Coin, Yellow Gold & Diamond Pendant. Roman coin set within a heavy yellow gold bezel bead-set with nine round brilliant cut diamonds stationed on a bar-link chain, stamped Gold Art 750. 0.45 total carat weight. Total weight: 45.0 grams. 21 Grand Piano form gold and diamond brooch, the 18K yellow gold piano case set with approximately 100 round brilliant cut diamonds, the 18K white gold keyboard set with 10 baguette cut diamonds. Total diamond estimated weight: 2.90 cts. Total weight: 9.8 grams 22 Lady’s Platinum and Diamond Ring featuring one center emerald cut diamond, 5.56 carat, L color, VS1 clarity, 4-prong-set. With GIA certificate. Centered by two baguette cut diamonds, one on each side, weighing approximately.25 carat total weight. Ring total weight: 7.43 grams. Ring size 6.5 with sizer. 23 Blue sapphire and diamond ring in yellow and white gold setting, featuring alternating rows of channel set round full cut diamonds and baguette cut sapphires. Estimated 0.60 ct. total diamond weight. Total weight: 12.1 grams 24 Ladies white gold, diamond and rainbow sapphire bracelet, featuring green, blue, pink, yellow and orange sapphires flanked by small full-cut diamonds. 14kt. Length: 8 ¼ inches. Estimated 2.5 ct. total diamond weight. Total weight: 18.1 grams 25 Lady’s 14K Yellow Gold free form Diamond Ring, with 4 round brilliant cut diamonds, approximate total weight: 0.57ct 26 Ladies Limited Edition Croton wristwatch. Stainless steel bracelet with 18Kt yellow gold rivets, mother of pearl dial with diamond indicators. Swiss 14 jewel movement 27 Men’s Breitling Chronometer B-1 Wristwatch, Stainless Steel, Quartz, Slate Grey Dial. Ref: #A7836238/F508; Serial No. 912806. Date of Purchase: 01/12/2006 from Tourneau U.S.A., with original case, box and papers. D.G.W. Auctioneers Inc. 3 Fine Estates and Collectibles Auction – March 22, 2014 28 Men’s Gold Rolex Wristwatch. Day-Date model Oyster Perpetual Superlative Chronometer. With Rolex 18kt. yellow gold fluted bezel, case and Presidential bracelet. Champagne stick hour marker dial. 29 Lady’s Vintage Wristwatch. Swiss Belly Watch Extra 17 jewel movement. Faceted crystal on square dial. Partial yellow gold link and leather strap bracelet. Marked 18k /0.750 30 Cartier Enamel and 18K Gold Plated Lighter. Height: 2 ½ x ½ x ½ inches 31 Men’s Gold Cufflinks and Tie Tack, stamped 14K. Attribution verso “JH 1981”. Cufflinks: ¾ x 5/8 inches. Total Weight: 31.9 gr. (excluding Tie Tack back accessory) 32 Ladies Gold Charm Bracelet with 16 Charms some stamped 14K,. 10K and Sterling, clasp stamped 14K 33 14K Yellow Gold Maple Leaf pin with center Diamond. Diameter: 1 5/8 inches 34 C. Bucherer Watch Pendant, champlevé enamel and gilt silver. Stamped 0.935 Argent Dore. Size: 2 x 1 inches 35 Vintage Coral, Jade & Diamond floral brooch, tests 14K. Length: 3 ½ inches; Width: 2 inches approximately. 36 Gold and Coral Flower Pin, tests 14K. 37 Group of Victorian Coral Jewelry including 14K yellow gold chain bracelet. 38 Tiffany & Co. Sterling Silver miniature flask, engraved “Toyota Presidents 1000 Club”. Height: 1 7/8 x 1 inches. Weight: 0.52 OZT 39 Chinese silver on copper Ink Box, engraved landscape with enamel detail. Size: 2 ½ x 2 x ¾ inches 40 Silver seated Buddah figure, stamped Sterling 950. Height: 2 inches. Weight: 0.68 OZT 41 Sterling Silver Toothpick Holder, Frank W. Smith Silver Co. Height: 2 inches. Weight: 1.06 OZT 42 Pair of Jenkins & Jenkins Sterling Silver Repousse Vases, trumpet form, rolled rims, decorated foot. Stamped: Jenkins & Jenkins Inc. Makers Sterling 925/1000 Fine Baltimore. Height: 8 inches. Total Weight: 24.7 OZT 43 Extensive Kirk & Sons Sterling Silver Repousse flatware service, 156 pieces, stamped S.Kirk & Son 925/1000, and S. Kirk & Son Co. Monogram verso. Total Weight: 187.85 OZT (excluding sterling handle knives and sterling handle serving pieces) 44 Gorham “Chantilly Sterling Silver Flatware Service, 75 pieces. Total Weight: 66.2 OZT D.G.W. Auctioneers Inc. 4 Fine Estates and Collectibles Auction – March 22, 2014 45 Japanese Inlaid Metal Jewelry Chest. Japanese gilt metal two-door pagoda form chest, fitted with three drawers. The cabinet exterior decorated in metal inlays with Mt Fuji, landscapes and floral sprays. Signed on back. Mid 20th Century. Height: 5 inches, Width: 4 inches, Depth: 3 inches 46 Pair of Austrian porcelain mantle vases and covers, Royal Vienna style. Double handled urn form with gilded green and red ground to body and pedestal. Classical scenes in reserves, with initialed signature. With some hand painted detailing. Assembled in three pieces: the urn pedestal and plinth plus lids. Blue beehive mark, Austria. Early 20th Century Height overall: 22 inches, Width: 10 inches, handle to handle. 47 JOHN JAMES AUDUBON Engraving and aquatint in color, with hand coloring, original Whatman watermark 1831 paper. “Columbia Jay, Plate XCVI” by Robert Havell, DEF. Sheet Size: 37 ¼ x 24 7/8 inches. 48 Sewing Box, burlwood and inlaid mixed woods, interior fitted with a mirrored lid, a removable tray comprising of nine compartments, some with lids, and the base having a single compartment centered by two pull out trays. Circa 1930. Size: 11 5/8 x 9 5/8 x 5 inches 49 Lalique France frosted crystal seated cat. Inscribed "Lalique R France" on the base.. Condition: Chip to one ear (as photographed). Height: 8 inches approx. 50 JAMES RANDOLPH (20th Century, Port Angeles, Washington), cut and polished Glass Sculpture titled "The Embrace", signed James Randolph. Height: 31 x 16 x 9 inches. 51 Carl Aubock, Austria, Bauhaus, Bronze Pricket Candlestick. Stamped: Aubock Made in Austria. Height: 4 ½ inches 52 Pair of ROYCROFT New York hammered copper bookends with Poppies. Orb and cross mark, 1905-1915. Dimensions: 5 1/4 x 5 x 4 ½ inches 53 MARC CHAGALL (French/Russian, 1887-1985), Color lithograph, limited edition: #25/50, Bouquet sur la ville, 1983, 18 x 12 inches. Within gilt wood frame with ivory silk mat, glazed. Overall: 32 x 26 inches. 54 MARC CHAGALL (French/Russian, 1887-1985), Color lithograph, limited edition: #25/50, Art Flowers, 1983, 19 x 13 inches. Within a gilt wood frame with ivory linen mat, glazed. Overall: 32 x 26 inches. 55 Hilda Steckel "Double Steckel" Glazed Ceramic Sculpture. HILDA STECKEL (American, 20th Century) Height: 78 x 17 ½ x 17 ½ inches. 56 Hilda Steckel "Single Lady Upside Down" Glazed Ceramic Sculpture. HILDA STECKEL (American, 20th Century) Height: 40 x 14 x 18 inches.
Recommended publications
  • Musica Jazz Autore Titolo Ubicazione
    MUSICA JAZZ AUTORE TITOLO UBICAZIONE AA.VV. Blues for Dummies MSJ/CD BLU AA.VV. \The \\metronomes MSJ/CD MET AA.VV. Beat & Be Bop MSJ/CD BEA AA.VV. Casino lights '99 MSJ/CD CAS AA.VV. Casino lights '99 MSJ/CD CAS AA.VV. Victor Jazz History vol. 13 MSJ/CD VIC AA.VV. Blue'60s MSJ/CD BLU AA.VV. 8 Bold Souls MSJ/CD EIG AA.VV. Original Mambo Kings (The) MSJ/CD MAM AA.VV. Woodstock Jazz Festival 1 MSJ/CD WOO AA.VV. New Orleans MSJ/CD NEW AA.VV. Woodstock Jazz Festival 2 MSJ/CD WOO AA.VV. Real birth of Fusion (The) MSJ/CD REA AA.VV. \Le \\grandi trombe del Jazz MSJ/CD GRA AA.VV. Real birth of Fusion two (The) MSJ/CD REA AA.VV. Saint-Germain-des-Pres Cafe III: the finest electro-jazz compilationMSJ/CD SAI AA.VV. Celebrating the music of Weather Report MSJ/CD CEL AA.VV. Night and Day : The Cole Porter Songbook MSJ/CD NIG AA.VV. \L'\\album jazz più bello del mondo MSJ/CD ALB AA.VV. \L'\\album jazz più bello del mondo MSJ/CD ALB AA.VV. Blues jam in Chicago MSJ/CD BLU AA.VV. Blues jam in Chicago MSJ/CD BLU AA.VV. Saint-Germain-des-Pres Cafe II: the finest electro-jazz compilationMSJ/CD SAI Adderley, Cannonball Cannonball Adderley MSJ/CD ADD Aires Tango Origenes [CD] MSJ/CD AIR Al Caiola Serenade In Blue MSJ/CD ALC Allison, Mose Jazz Profile MSJ/CD ALL Allison, Mose Greatest Hits MSJ/CD ALL Allyson, Karrin Footprints MSJ/CD ALL Anikulapo Kuti, Fela Teacher dont't teach me nonsense MSJ/CD ANI Armstrong, Louis Louis In New York MSJ/CD ARM Armstrong, Louis Louis Armstrong live in Europe MSJ/CD ARM Armstrong, Louis Satchmo MSJ/CD ARM Armstrong, Louis
    [Show full text]
  • Art Pepper a Taste of Pepper Mp3, Flac, Wma
    Art Pepper A Taste Of Pepper mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: A Taste Of Pepper Country: Europe Released: 2010 Style: Bop MP3 version RAR size: 1175 mb FLAC version RAR size: 1614 mb WMA version RAR size: 1715 mb Rating: 4.8 Votes: 650 Other Formats: VOC WMA AC3 AAC MIDI AIFF MPC Tracklist Hide Credits Art Pepper Meets The Rhythm Section ( 1957 ) You'd Be So Nice To Come Home To 1-1 5:29 Composed By – C. Porter* Red Pepper Blues 1-2 3:41 Composed By – R. Garland* Imagination 1-3 5:55 Composed By – J. Van Heusen And J. Burke* Waltz Me Blues 1-4 3:00 Composed By – A. Pepper*, P. Chambers* Straight Life 1-5 4:02 Composed By – A. Pepper* Jazz Me Blues 1-6 4:50 Composed By – T. Delaney* Tin Tin Deo 1-7 7:45 Composed By – C. Pozo*, G. Fuller* Star Eyes 1-8 5:16 Composed By – D. Raye*, G. DePaul* Birks Works 1-9 4:20 Composed By – D. Gillespie* Mucho Calor ( 1958 ) Mucho Calor 2-1 6:55 Arranged By – Bill HolmanComposed By – B. Holman* Autumn Leaves 2-2 Arranged By – Benny CarterComposed By – G. Parsons*, J. Prévert*, J. 3:07 Mercer*, J. Kosma* Mambo De La Pinta 2-3 5:30 Arranged By – Art PepperComposed By – A. Pepper* I'll Remember April 2-4 2:22 Arranged By – Art PepperComposed By – D. Raye*, G. DePaul*, P. Johnston* Vaya Hombre Vaya 2-5 3:23 Arranged By – Bill HolmanComposed By – B. Holman* I Love You 2-6 5:49 Arranged By – Bill HolmanComposed By – C.
    [Show full text]
  • Scholarships…A Mission, Not an Option! by Don Bestor, Jr
    Winter, 2012 The Fort Pierce Jazz & Blues Society Newsletter Volume XVI MISSION: To promote the growth, appreciation and performance of Jazz & Blues – great American music art forms – through scholarships, workshops, clinics, weekly jazz jams and community outreach programs. Scholarships…a mission, not an option! By Don Bestor, Jr. prospective scholarship applicants to basis requires an extra effort to affect President get involved. Our very well put together positive results. This is just part of what A while ago, one scholarship program, I might add, is goes on “behind the scenes.” None of of our regular fans headed by one of our Board members, this deters our determination to get on approached me Mr. Al Hager, an award-winning educa- with what we’re here to accomplish. and asked if we were still sponsor- tor for more than 25 years! Please allow me to yell the answer ing students on their way to college in To manage an organization like the to the question of us being pro-active in the form of scholarships. That ques- Jazz and Blues Society of Fort Pierce the scholarship program: "YES!" We tion took me by surprise because that is an honor and it is something that remain committed to providing scholar- is why many of us dedicate our time I’m very respectful of. As you may or ships to those high school seniors who to this organization. The Society ac- may not know, many things happen, qualify for our program and we are so tively pursues student applicants with transpire, pop-up and sometimes it can very proud to be able to do that! We a monthly letter to every band director happen every day.
    [Show full text]
  • Richard Aldag Broadway Boogie-Woogie
    RICHARD ALDAG BROADWAY BOOGIE-WOOGIE 9 My lover asks [1:58] Marnie Breckenridge, soprano | Jennifer Kloetzel, cello Hadley McCarroll, piano RICHARD ALDAG Duo for Flute & Violin (2017) TROY1764 10 Allegro ma non troppo [2:24] 11 Presto [1:37] 1 Fantasy for Flute, Piano & Percussion (2015) [11:00] 12 Affettuoso [2:53] Gina Gulyas, flute | Ian Scarfe, piano 13 Vivace [2:39] Divesh Karamchandani, percussion Gina Gulyas, flute | Rachel Patrick, violin Due Celli (2013) 14 Romance for Cello & Piano (2015) [5:43] 2 Toccata: Calmly, vivo [3:23] Jennifer Kloetzel, cello | Hadley McCarroll, piano 3 Aria: Lento e cantabile [3:32] 4 Saltarello: Presto con fuoco [2:01] 15 Lacrimosa for String Quartet (2016) [7:22] Jean-Michel Fonteneau, cello | Jennifer Kloetzel, cello Chamber Music Society of San Franciso Jory Fankuchen, violin | Natasha Makhijani, violin Nocturne & Dance (2014) Clio Tilton, viola | Samsun van Loon, cello 5 Nocturne [6:42] 6 Dance [5:22] 16 Serenade for Chamber Ensemble Matthew Boyles, clarinet | Rachel Patrick, violin “Broadway Boogie-Woogie” (1991, rev. 2014) [9:05] Ian Scarfe, piano Gina Gulyas, flute | Matthew Boyles, clarinet Rachel Patrick, violin | James Jaffe, cello Arab Love Songs (2015) Ian Scarfe, piano | Divesh Karamchandani, percussion 7 Oh, my love [2:37] Andy Meyerson, percussion | Richard Aldag, conductor [3:14] 8 I am no teacher Total Time = 71:12 TROY1764 WWW.ALBANYRECORDS.COM TROY1764 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2019 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL.
    [Show full text]
  • Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot.
    [Show full text]
  • 2. Case Study: Anime Music Videos
    2. CASE STUDY: ANIME MUSIC VIDEOS Dana Milstein When on 1 August 1981 at 12:01 a.m. the Buggles’ ‘Video Killed the Radio Star’ aired as MTV’s first music video, its lyrics parodied the very media pre- senting it: ‘We can’t rewind, we’ve gone too far, . put the blame on VTR.’ Influenced by J. G. Ballard’s 1960 short story ‘The Sound Sweep’, Trevor Horn’s song voiced anxiety over the dystopian, artificial world developing as a result of modern technology. Ballard’s story described a world in which natu- rally audible sound, particularly song, is considered to be noise pollution; a sound sweep removes this acoustic noise on a daily basis while radios broad- cast a silent, rescored version of music using a richer, ultrasonic orchestra that subconsciously produces positive feelings in its listeners. Ballard was particu- larly criticising technology’s attempt to manipulate the human voice, by con- tending that the voice as a natural musical instrument can only be generated by ‘non-mechanical means which the neruophonic engineer could never hope, or bother, to duplicate’ (Ballard 2006: 150). Similarly, Horn professed anxiety over a world in which VTRs (video tape recorders) replace real-time radio music with simulacra of those performances. VTRs allowed networks to replay shows, to cater to different time zones, and to rerecord over material. Indeed, the first VTR broadcast occurred on 25 October 1956, when a recording of guest singer Dorothy Collins made the previous night was broadcast ‘live’ on the Jonathan Winters Show. The business of keeping audiences hooked 24 hours a day, 7 days a week, promoted the concept of quantity over quality: yes- terday’s information was irrelevant and could be permanently erased after serving its money-making purpose.
    [Show full text]
  • Discografía De BLUE NOTE Records Colección Particular De Juan Claudio Cifuentes
    CifuJazz Discografía de BLUE NOTE Records Colección particular de Juan Claudio Cifuentes Introducción Sin duda uno de los sellos verdaderamente históricos del jazz, Blue Note nació en 1939 de la mano de Alfred Lion y Max Margulis. El primero era un alemán que se había aficionado al jazz en su país y que, una vez establecido en Nueva York en el 37, no tardaría mucho en empezar a grabar a músicos de boogie woogie como Meade Lux Lewis y Albert Ammons. Su socio, Margulis, era un escritor de ideología comunista. Los primeros testimonios del sello van en la dirección del jazz tradicional, por entonces a las puertas de un inesperado revival en plena era del swing. Una sentida versión de Sidney Bechet del clásico Summertime fue el primer gran éxito de la nueva compañía. Blue Note solía organizar sus sesiones de grabación de madrugada, una vez terminados los bolos nocturnos de los músicos, y pronto se hizo popular por su respeto y buen trato a los artistas, que a menudo podían involucrarse en tareas de producción. Otro emigrante aleman, el fotógrafo Francis Wolff, llegaría para unirse al proyecto de su amigo Lion, creando un tandem particulamente memorable. Sus imágenes, unidas al personal diseño del artista gráfico Reid Miles, constituyeron la base de las extraordinarias portadas de Blue Note, verdadera seña de identidad estética de la compañía en las décadas siguientes mil veces imitada. Después de la Guerra, Blue Note iniciaría un giro en su producción musical hacia los nuevos sonidos del bebop. En el 47 uno de los jóvenes representantes del nuevo estilo, el pianista Thelonious Monk, grabó sus primeras sesiones Blue Note, que fue también la primera compañía del batería Art Blakey.
    [Show full text]
  • Congressional Record United States of America PROCEEDINGS and DEBATES of the 106Th CONGRESS, SECOND SESSION
    E PL UR UM IB N U U S Congressional Record United States of America PROCEEDINGS AND DEBATES OF THE 106th CONGRESS, SECOND SESSION Vol. 146 WASHINGTON, FRIDAY, JUNE 23, 2000 No. 81 House of Representatives The House met at 9 a.m. lic for which it stands, one nation under God, gentlewoman from Colorado (Ms. The Chaplain, the Reverend Daniel P. indivisible, with liberty and justice for all. DEGETTE) had been disposed of and the Coughlin, offered the following prayer: f bill was open for amendment from page Almighty God, at times as true be- 35, line 8, through page 35, line 14. ANNOUNCEMENT BY THE SPEAKER lievers we seem aliens in a hostile land. Pursuant to the order of the House of Confirm us in our calling to be Your The SPEAKER. The Chair will enter- that day, no further amendment to the people. tain 1-minutes at the end of the legisla- bill shall be in order except pro forma As sojourners on our way to Your tive day today. amendments offered by the chairman eternal dominions, we can be so pre- f and ranking member of the Committee occupied ourselves that we are not as on Appropriations or their designees GENERAL LEAVE attentive as You would have us be to for the purpose of debate and amend- the human dramas that surround us Mr. ROGERS. Mr. Speaker, I ask ments printed in the CONGRESSIONAL each day. unanimous consent that all Members RECORD on or before June 22, 2000, At other times we are so distracted may have 5 legislative days within which may be offered only by the Mem- by flash bulbs and public opinion and which to revise and extend their re- ber who caused it to be printed or his so captivated by passing things that we marks on H.R.
    [Show full text]
  • Ilhiiiletter 93024--O24-O April 1997 I Vol
    P.(). BOX 24-O Ojai, Calif. ilhiiiletter 93024--O24-O April 1997 i Vol. I6 No. 4 pubescent life forms, I truly believe it will be the Harry Allens Other Voices who carry the important message forward. Richard M. Sudhalter, Southold, New York Congratulations on your piece OfMs and Men and the discussion Cornetist Sudhalter was at one time a European correspondent of ebonics. for UPI. He is the co-author of a biography of Bix Beiderbecke And I all but jumped for joy on reading the profile on Julie La and is completing a new study ofjazz history Rosa. First, because he’s a singer I admire and of whom I’m very fond. But there’s another dimension to it as well. While your two-part article While Ibu Wereni Watching has The ongoing feminization of America has vandalized a number your usual clarity ofthought and meticulous structure, it leaves the of usefiil distinctions. Among them seem to be clear understanding reader who accepts your premises the choice of responding with Ehe specific essences brought to the table by male and female. impotent despair or with a fatalistic shrug and a tum to more never subscribed to the concept of interchangeable “gender pleasant topics. Yet neither of these responses is constructive; they roles” by which either sex can discharge the fimctions historically only drive the ethos of the artistically educated fiirther toward performed by the other. I’ve always felt that the polarity itself being a marginalized, self-pitying, backward-looking tribe of (with all the infinite intemal gradations) was invaluable, offering elitists.
    [Show full text]
  • Recorded Jazz in the 20Th Century
    Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
    [Show full text]
  • Sylvester Step II Mp3, Flac, Wma
    Sylvester Step II mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Funk / Soul Album: Step II Country: US Released: 1978 Style: Soul, Disco MP3 version RAR size: 1196 mb FLAC version RAR size: 1310 mb WMA version RAR size: 1615 mb Rating: 4.8 Votes: 522 Other Formats: MIDI AA AHX VOX ASF APE WAV Tracklist Hide Credits You Make Me Feel (Mighty Real) A1 Arranged By [Rhythm Arrangements] – Tip Wirrick*, SylvesterWritten-By – Wirrick*, Sylvester Dance (Disco Heat) (Cont.) A2 Arranged By [Rhythm Arrangements] – Eric Robinson Written-By – Robinson*, Orsborn* B1 Dance (Disco Heat) (Concl.) I Took My Strength From You (Cont.) B2 Arranged By [Rhythm Arrangements] – SylvesterWritten-By – Bacharach - David* C1 I Took My Strength From You (Concl.) C2 You Make Me Feel (Mighty Real) (Epilogue) Grateful C3 Arranged By [Rhythm Arrangements] – Michael C. Finden*, SylvesterWritten-By – Finden*, Sylvester Was It Something That I Said D1 Arranged By [Rhythm Arrangements] – SylvesterWritten-By – Fuqua*, Sylvester Just You And Me Forever D2 Arranged By [Rhythm Arrangements] – Eric Robinson Bass – James Jamerson Jr.Drums – James GadsonWritten-By – Robinson*, Orsborn* Companies, etc. Phonographic Copyright (p) – Fantasy Records Copyright (c) – Fantasy Records Recorded At – Fantasy Studios Recorded At – Conway Studios Recorded At – Clark-Brown Audio Mixed At – Fantasy Studios Mastered At – Kendun Recorders Produced For – Honey Records Productions Credits Arranged By [Strings And Horns] – Leslie Drayton Art Direction – Phil Carroll Backing Vocals – Izora Rhodes*, Martha Wash Bass – Bob Kingson (tracks: A1 to B3) Concertmaster, Contractor [String Contractor] – Charles Veal* Contractor [Horn Contractor] – George Bohanon Design – Dennis Gassner Drums – Randy Merritt (tracks: A1 to B3) Engineer [Assistant] – Wally Buck Engineer [Recording] – Buddy Bruno, Eddie Bill Harris Guitar – Tip Wirrick* Lead Vocals, Piano [Acoustic] – Sylvester Mastered By [Mastering] – George Horn Organ, Electric Piano, Clavinet – Michael C.
    [Show full text]
  • Collection 1" De Christophe
    Collection "Collection 1" de christophe Artiste Titre Format Ref Pays de pressage 10cc The Original Soundtrack LP mip19305 Canada 10cc How Dare You! LP mip 19316 Canada 10cc Deceptive Bends LP 6310502 Pays-Bas 38 Special Tour De Force LP AMlh64971 Pays-Bas 38 Special Strength Numbers LP Inconnu 38 Special Special Forces LP amlh64888 Inconnu Ac Dc For Those About To Rock Maxi 45T atl k 20 276 Allemagne Ac/dc Tnt LP aplpa 016 Australie Ac/dc Rock Or Bust LP Inconnu Ac/dc Powerage LP atl 50 483 Allemagne Ac/dc Let There Be Rock LP atl 50 366 France Ac/dc If You Want Blood You've Got I...LP atl 50 532 Allemagne Ac/dc Highway To Hell LP 50 628 France Ac/dc Highway To Hell LP atl 50 628 Allemagne Ac/dc High Voltage LP atl 50 237 Allemagne Ac/dc For Those About To Rock We Sal...LP atl k 50 851 Allemagne Ac/dc Fly On The Wall LP Inconnu Ac/dc Flick Of The Switch LP Inconnu Ac/dc Dirty Deeds Done Dirt Cheap LP 50323 France Ac/dc Black Ice LP 88697 38377 1 EU Ac/dc Back In Black LP 5107651 EU Ac/dc ...and There Was Guitar LP Inconnu Ac/dc '74 Jailbreak LP 80178 1 Y Etats Unis Amerique Accept Staying A Life LP nl 74720 Allemagne Ace Frehley Frehley's Comet LP 81749 Etats Unis Amerique Adderlay Cannonball Nancy Wilson/cannonball Adderl...LP Inconnu Adderlay Cannonball At San Francisco LP Inconnu Adderly Julian Cannonball 1955 LP Inconnu Aerosmith Toys In The Attic LP cbs 80773 Pays-Bas Aerosmith Rocks LP pc 34165 Etats Unis Amerique Aerosmith Music From Another Dimension 2LP Inconnu Aerosmith Live! Bootleg 2LP Inconnu Aerosmith Get Your Wings LP 466732 1 Pays-Bas Aerosmith Draw The Line LP 82145 Pays-Bas Aerosmith Aerosmith LP 32203 Pays-Bas Airbourne Runnin' Wild LP rrcar7963 1 Allemagne Al Jarreau Al Jarreau - 1965 - Disc'az - ..
    [Show full text]