001. Antique Brass Lantern with “H.B.&H” Glass Globe
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Odisha District Gazetteers Nabarangpur
ODISHA DISTRICT GAZETTEERS NABARANGPUR GOPABANDHU ACADEMY OF ADMINISTRATION [GAZETTEERS UNIT] GENERAL ADMINISTRATION DEPARTMENT GOVERNMENT OF ODISHA ODISHA DISTRICT GAZETTEERS NABARANGPUR DR. TARADATT, IAS CHIEF EDITOR, GAZETTEERS & DIRECTOR GENERAL, TRAINING COORDINATION GOPABANDHU ACADEMY OF ADMINISTRATION [GAZETTEERS UNIT] GENERAL ADMINISTRATION DEPARTMENT GOVERNMENT OF ODISHA ii iii PREFACE The Gazetteer is an authoritative document that describes a District in all its hues–the economy, society, political and administrative setup, its history, geography, climate and natural phenomena, biodiversity and natural resource endowments. It highlights key developments over time in all such facets, whilst serving as a placeholder for the timelessness of its unique culture and ethos. It permits viewing a District beyond the prismatic image of a geographical or administrative unit, since the Gazetteer holistically captures its socio-cultural diversity, traditions, and practices, the creative contributions and industriousness of its people and luminaries, and builds on the economic, commercial and social interplay with the rest of the State and the country at large. The document which is a centrepiece of the District, is developed and brought out by the State administration with the cooperation and contributions of all concerned. Its purpose is to generate awareness, public consciousness, spirit of cooperation, pride in contribution to the development of a District, and to serve multifarious interests and address concerns of the people of a District and others in any way concerned. Historically, the ―Imperial Gazetteers‖ were prepared by Colonial administrators for the six Districts of the then Orissa, namely, Angul, Balasore, Cuttack, Koraput, Puri, and Sambalpur. After Independence, the Scheme for compilation of District Gazetteers devolved from the Central Sector to the State Sector in 1957. -
The Ceramic Works of David Drake, Aka, Dave the Potter Or Dave the Slave of Edgefield, South Carolina
University of South Carolina Scholar Commons Staff ubP lications McKissick Museum 2005 The eC ramic Works of David Drake, aka, Dave the Potter or Dave the Slave of Edgefield, South Carolina Jill Beute Koverman University of South Carolina - Columbia, [email protected] Follow this and additional works at: https://scholarcommons.sc.edu/mks_staffpub Part of the Anthropology Commons Publication Info Published in American Ceramic Circle Journal, Volume 13, 2005, pages 83-98. http://www.amercercir.org/ © 2005 by American Ceramic Circle This Article is brought to you by the McKissick Museum at Scholar Commons. It has been accepted for inclusion in Staff ubP lications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Fig. I . Sample of jug. jars. and pitchers. Dave. Lewis Miles Factory. Edgefield. S.C .. 1840- 59. Alkaline-glazed stoneware. Collections of McKissick Museum. University of South Carolina. Larry and Joan Carlson. and Dr. and Mrs. James K. Smith. Photo. courtesy of McKissick Museum. - The Ceramic Works of David Drake, aka, Dave the Potter or Dave the Slave of Edgefield, South Carolina Jill Beute Koverman This study examines the extant work ofa prolific potter, an African American named David Drake, who as a slave often signed his work "Dave" and incised verses he had written into his clay vessels. One hundred twenty-nine vessels either clearly marked or attributed to Dave were catalogued, photographed, and compared to define stylistic traits based on forms, glazes. dimensions, marks, handwriting, and dates. Combined with archival research. the author has answered questions surrounding incongruous theories about the life and work history of Dave posited by earlier scholarship. -
A Guide to the Classification of Medieval Ceramic Forms CONTENTS
A Guide to the Classification of Medieval Ceramic Forms Medieval Pottery Research Group Occasional Paper 1 A Guide to the Classification of Medieval Ceramic Forms Medieval Pottery Research Group Occasional Paper 1 First published in 1998 by the Medieval Pottery Research Group. Copyright © Medieval Pottery Research Group 1998. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission in writing of the Medieval Pottery Research Group. Within the UK, exceptions are allowed in respect of any fair dealing for the purpose of research or private study, or criticism or review, as permitted under the Copyright, Designs and Patents Act, 1988, or in the case of reprographic reproduction in accordance with the terms of the licenses issued by the Copyright Licensing Agency. Enquiries concerning reproduction outside these terms or in other countries should be sent to MPRG. British Library Cataloguing in Publication Data available. ISBN 0-9506105 2 6 The Medieval Pottery Research Group is a Registered Charity, No. 1018513 The publishers acknowledge with gratitude a grant from English Heritage for the publication of this volume, and a further grant in 2019 from Historic England towards the preparation of the digitised version. Acknowledgements The Guide is the combined effort of many members of the Medieval Pottery Research Group (MPRG) over a number of years. It has been produced and published with the aid of English Heritage grants to Wessex Archaeology and to MPRG, for which we are most grateful. -
SUPPLIES – Plans Trailer Location Description NFES Unit Qty
Page 1 of 8 PLANS TRAILER INVENTORY Updated 12-06-19 SOME LOCATIONS ARE INCORRECT – HAVEN’T BEEN UPDATED YET Type III Incident Plans Trailer Inventory Based on a 100 Person Sized Incident (ALL CAPITALIZED item indicates NWCG catalog description) (Italics = to help you find alternate name on the list) Please secure handle into keeper before letting down ramp (if you don’t it hits the ground and gets banged up) SUPPLIES – Plans Trailer Location Description NFES Unit Qty. Location Tier Row Description Adaptor, RV type electrical, 30 amp F-1 amp M–for trailer power EA 1 Attached to Power Cord C 2 Air Duster for computers (AKA: Canned Air) EA 1 Pink tub #4 C 1 BAG, garbage, 30 GL, (125/BX) 0021 BX 2 D 4 Bag, sandwich BX 1 Pink tub #4 C 1 Baggy, ziplock, freeze, quart size (40-100/BX) BX 1 Pink tub #5 C 1 Box, empty file box EA 16 Wall left of shelving C Box, hanging file box EA 3 On Table D 2 Battery Back-up Surge Protector EA 1 A 4 BATTERY, size AA (24/PG) 0030 PG 18 Pink tub #13 C 3 BATTERY, size D (12/PG) 0033 PG 3 Pink tub #13 C 3 BOARD, Dry Erase (w/ dry erase markers) (Plans Trailer board is removable) EA 5 On Trailer Door & Walls BOARD, HELIBASE DISPLAY part 1 & 2 (Large plastic charts) 0410 SE 2 In Cardboard Tube C 1 Box Cutter (AKA: KNIFE, razor, retractable blade) 0939 EA 3 Pink tub #3 C 1 Broom (Periodic sweeping is recommended) (1 for trailer, 1 for yurt) EA 2 Corner by side door C Bucket, plastic, 5GL EA 4 E 2 Bug Spray………………………………..….See: “Repellent, insect BINDER CLIP, medium, 12/BX 0784 BX 5 Pink tub #2 C 1 BINDER CLIP, large -
Antique Bottles, Pot Lids& Advertising
October 4 & 5 catalogue:Layout 1 4/9/14 10:09 Page 1 Saturday 4 Oct 500+ lot Unreserved Auction BBRAUCTIONS Sunday 5 Oct MAJOR Show & Auction BBR’s 2014 Autumn Extravaganza week-end & Antique “... the Yanks are coming...” Bottles, Pot Lids & Advertising Ginger beers Tins Poisons Old cabinets Pub Jugs Salt Glaze Pot lids Minerals Pharmacy Inks Stoneware Black glass Whisky jugs Kitchenalia Early Doulton Cream pots Guinness Enamel signs October 4 & 5 catalogue:Layout 1 4/9/14 10:09 Page 2 BBRAUCTIONS BBR’s 2014 Autumn Extravaganza Saturday 4 October Unreserved Auction, Blg 21 Sunday 5 October BIG Show & Auction all in Blg 21 SATURDAY 500+ lot Auction Doors open 9am Sale 11am SUNDAY Show & Auction E.E. 8.30am Auction viewing 9am Sale 11am Postal, tel. (book lines early!) & fax bidding facility. Low cost after sale p & p worldwide Buyers premium 15%, plus vat - only on premium Sunday auction held beside BBR’s Autumn Extravaganza for which there is an admission charge FREE PARKING ACCOMMODATION: see list to rear of catalogue, or email BBR Viewing stops approx. 10 mins. before sale start @ 11am. Sunday bidders must register early, to obtain a bidding number. All items sold ‘as seen’ on sale day. - all must view & inspect goods beforehand & accept BBR’s Terms & Conditions (rear of cat/ print outs on viewing tables). Payment & collection can take place any time during the sale. BBR, Elsecar Heritage Centre, Nr Barnsley, S Yorks., S74 8HJ tel: 01226 745156 fax: 01226 361561 email: [email protected] www.onlinebbr.com Collector provenance stickers BBR is selling a number of large collections all bearing a ‘provenance’ sticker. -
Whoosh Bottle
Whoosh Bottle Introduction SCIENTIFIC Wow your students with a whoosh! Students will love to see the blue alcohol flame shoot out the mouth of the bottle and watch the dancing flames pulsate in the jug as more air is drawn in. Concepts • Exothermic reactions • Activation energy • Combustion Background Low-boiling alcohols vaporize readily, and when alcohol is placed in a 5-gallon, small-mouthed jug, it forms a volatile mixture with the air. A simple match held by the mouth of the jug provides the activation energy needed for the combustion of the alcohol/air mixture. Only a small amount of alcohol is used and it quickly vaporizes to a heavier-than-air vapor. The alcohol vapor and air are all that remain in the bottle. Alcohol molecules in the vapor phase are farther apart than in the liquid phase and present far more surface area for reaction; therefore the combustion reaction that occurs is very fast. Since the burning is so rapid and occurs in the confined space of a 5-gallon jug with a small neck, the sound produced is very interesting, sounding like a “whoosh.” The equation for the combustion reaction of isopropyl alcohol is as follows, where 1 mole of isopropyl alcohol combines with 4.5 moles of oxygen to produce 3 moles of carbon dioxide and 4 moles of water: 9 (CH3)2CHOH(g) + ⁄2O2(g) → 3CO2(g) + 4H2O(g) ∆H = –1886.6 kJ/mol Materials Isopropyl alcohol, (CH3)2CHOH, 20–30 mL Graduated cylinder, 25-mL Whoosh bottle, plastic jug, 5-gallon Match or wood splint taped to meter stick Fire blanket (highly recommended) Safety shield (highly recommended) Funnel, small Safety Precautions Please read all safety precautions before proceeding with this demonstration. -
Influence of Carton Stacking Patterns on Pear Cooling Rates
Historic, archived document Do not assume content reflects current scientific knowledge, policies, or practices ~& rg^ gqj OMflflfl INFLUENCE OF j CARTON STACKING PATTERNS ON PEAR COOLING RATES Marketing Research Report No. 1 7 1 UNITED STATES DEPARTMENT OF AGRICULTURE Agricultural Marketing Service Marketing Research Division Washington, D. C. PREFACE The authors appreciate the help of the members of the Oregon- Washington-California Pear Bureau who made facilities and fruit available for the experiment. Without the cooperation of these mem- bers, this work could not have been conducted. Acknowledgment is made of the assistance given by R. A. Patterson, secretary, Oregon- Washington-California Pear Bureau; Ray Baker, chairman, Research Committee of the Pear Bureau; and James Main, representative, Container Corporation of America, in arranging for various details and test locations. This is an interim report on one phase of the long-range research projects of the Agricultural Marketing Service to improve the opera- tion and design of cold storage houses for tree fruits and the posthar- vest handling of these fruits. SUMMARY A new type of fiberboard carton for storing and shipping Anjou pears was tested in pilot plant operations in the Pacific Northwest. Results of the tests revealed that stacking arrangements with this carton can affect the cooling of the pears and, consequently, their condition at the end of the storage period. When containers were stacked to allow some air flow between the stacks, from 75 to 82 hours were required to remove from pears in these multiple-layer fiberboard cartons enough of the field heat to retard ripening, compared with 50 hours for those in wooden boxes. -
Wood Carving, the Presence of Which Is Due to the Fact That Hindu Pilgrims flock I N Great Numbers to Benares from Nepal and Ar E Great Supporters
L IS T OF PLA TES . haukat an r K war C d Jo i i . B kharch n h u a a d Jagmo an . Tti n Carv n and B rass Inla Saharan ur . i g y, p ar Old D r Sah an ur. oo , p ' D D eta l o f Sitfin Baithak and Sada Old o or Saharan ur . i , , , p n r fo r h D l xh Saharanpur Mi stri Carvi g a doo t e e hi Art E ib ition. a n a E n ca n N gi b o y rvi g . S h sham w d screen Farrukha a d . i oo , b ’ Mr H. l All . W ht rkmen aha a Ne son r s wo d. ig , b M2 01 1 8 D E CHA PT R I . THE arts of India are the illustration of the religious life of the Hindus , as that life was already organized in full perfection “ 9 0— 0 M . 0 . 0 3 0 v un der the Code of anu, B E ery detail of “ n a nd l Indian decoration has a religious meani g , the arts of India wil “ n never be rightly understood until these are brought to their study, ot “ li hi m a only the sensibi ty w ch can appreciate the at first sight, but , “ 1 familiar acquaintance with th e character and subjects of the religious a a n d r a poetry, nation l legends, mythological sc iptures that have alw ys i ” been the r inspiration and of which they are the perfected imagery . -
Parkers Prairie Woodcarving Club JUNE NEWSLETTER
Parkers Prairie Woodcarving Club JUNE NEWSLETTER Marty Dolphen will be having a class on carving one of these Santa’s out of a bass- wood log. We will use a bench for carving. Don’t rush your wood carvings. Any mistake you make is potentially permanent. You’ll have to change up your plan to integrate mistakes into the finished product, and that could sacri- fice your original vision. To avoid this, it helps to lightly sketch out your cuts and carvings Contact for Newsletter & Dues with a pencil. Draw out lines to cut along, and shapes to carve out. It will help you be more precise, and prevent un-fixable mistakes. Roger Thalman 2100 White Oaks Circle N.E. Alexandria, Mn 56308 Email: [email protected] Cell: 320-491-2027 Club dues are due at the first of the year. Adult or Family membership is $15 and Junior membership is $5 Parkers Prairie Woodcarving JUNE NEWSLETTER Parkers Prairie Woodcarving JUNE NEWSLETTER The club is presently on Summer break. We will not be meeting as a Club until this fall. I will continue to send out a monthly Newsletter. In the mean time, keep your tools sharp and the chips flying. Aug 10, 11 & 12: Carv-Fest 2017 Faribault, Minnesota Alexandria Park .. Ice Arena 1816 NW 2nd Ave 60 plus 1-day workshops. Some of the instructors are Bob Lawrence, Alice Spadgenske, Don Fischer and many others. Meet new friends, learn from top instructors, buy top of the line art work and mix with who’s-who of Carving. -
Containers for Shipping Apples Homer C
The University of Maine DigitalCommons@UMaine Bulletins Maine Agricultural and Forest Experiment Station 10-1953 B521: Containers for Shipping Apples Homer C. Woodward Follow this and additional works at: https://digitalcommons.library.umaine.edu/aes_bulletin Part of the Agricultural Economics Commons, and the Bioresource and Agricultural Engineering Commons Recommended Citation Woodward, H.C. 1953. Containers for shipping apples. Maine Agricultural Experiment Station Bulletin 619. This Report is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Bulletins by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. CONTAINERS FOR SHIPPING APPLES HOMER C. WOODWARD MAINE- AGRICULTURAL EXPERIME UNIVERSITY of MAINE OCTOBER 1953 SUMMARY Mcintosh apples, the most popular variety in Maine, are very susceptible to bruising which seriously affects the quality of the fruit. It has been shown that much of the bruising can be pre vented by proper packaging and handling. The apples used in tbis study which was conducted during two marketing seasons, ]951-52 and 1952-53, were graded and pack~d by hand at Highmoor Farm (Monmouth, Maine) and shipped by farm truck to Portland, Maine; one-half of each ship ment went directly to retail stores and one-half to the warehouses serving these stores. Other shipments were made by truck to Augusta and then by railway express to Kingston, Rhode Island. These tests were conducted in three shipping periods--early, mid season, and late--so that observations of bruising could be made at different stages of maturity of the fruit. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Charles Boldt Glass Co
Charles Boldt Glass Co. Pete Schulz, Bill Lockhart, Carol Serr, Bill Lindsey, and Beau Schreiver with contributions by David Whitten [Much of this section was originally published in Lockhart et al. (2007).] The Charles Boldt Glass Co. grew out of the Muncie Glass Co. at Muncie, Indiana, in 1900. As part of the reorganization, Boldt built a new plant at Cincinnati, Ohio, that same year. As production grew at Cincinnati, the Muncie factory was used less until the corporation disposed of the Muncie operation at the beginning of 1909 (although Boldt retained at least some interest until at least 1911). Boldt acquired a license to make liquor bottles and flasks with the Owens Automatic Bottle Machine in 1910 and began production at the Cincinnati plant. Boldt opened a second factory at Huntington, West Virginia, in 1914, but – due to increasing Prohibition in the U.S. – he sold the majority of his stock to the Owens Bottle Co. in 1919. Owens refurbished both plants and shifted manufacture to packers’ ware and other bottle types. The Owens firm acquired the remaining stock on January 1, 1926, and closed the Cincinnati operation. The Huntington factory became Plant No. 2 of the Owens Bottle Co. and remained in production into the Owens-Illinois Glass Co. era beginning in 1929. Histories Muncie Glass Co., Muncie, Indiana (1888-1900) On November15, 1888, Herman F. Immohr, Jacob Sheurer, and Charles Boldt incorporated to form the Muncie Glass Co. with a capitalization of $25,000 (Figure 1). Boldt was only 20 years old, yet he served as the president of the organization.