BCWRT Pages Template
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Bingoi Hartford, July 29 (4*>- Five EVERY SAT
PA6B . SATURDAY, JULY 27, 1967 Ayerage Dtiily Net Press Run The Weather For the Week Ended Fereeast at V. B. Weather BTarasa ^anrbfBtfr Sufttittg !|?ralb Jime 8. 1887 Chance of scattered abowera te> •eema to have a jinx on hla cars night. Low In mid 60s. Tueeday, About Tohpd on vacation tfipi. 12,540 scattered ahoiyera and thpnder- Several years, ago he had a nar Area Youths Member et the Andit ahowera In afternoon and evening. Heard Along Main Street High near 80. riremen of the 8th Dlitricf'Fire row escape in a colliaion. and this Bnrean of drcalatiea Pepartment will hold a-Depart year he tangled with a hurricane. THE ARMY aod NAVY Manchester— A City o f Village Charm ment meeting Monday at 7:30 p.m. And on Some of Manchester*» Side Streets, It aeema that he was driving In Win Awards southern Illlnoia when the tall end At the fire headquarters, Main and (Claaaifted Advertlaing en Pago 13) PRICE FIVE CENT» HlUlard SU. of Hurricane Audrey swept by. VOL. LXX V I, NO. 254 (FOURTEEN PAGES) MANCHESTER, CONN., MONDAY, JULY 29. 1957 Nothing to Maintain the shear face of the hill carrying He and hla family were in a brand At 4*H Week There are four beautiful tennis Indian pumps. Tuesday eveninif's weighinf - in new car driving through the wide courts near E, Center 8 t. on the 1V-0 men stayed v^lth the truck open fields o f the Midwest which Storrs, July 27 (Special)—Twelve aession by Manchester WATES High School grounds. -
American Art New York | November 19, 2019
American Art New York | November 19, 2019 AMERICAN ART | 39 2 | BONHAMS AMERICAN ART | 3 American Art at Bonhams New York Jennifer Jacobsen Director Aaron Anderson Los Angeles Scot Levitt Vice President Kathy Wong Specialist San Francisco Aaron Bastian Director American Art New York | Tuesday November 19, 2019 at 4pm BONHAMS BIDS INQUIRIES ILLUSTRATIONS 580 Madison Avenue +1 (212) 644 9001 Jennifer Jacobsen Front Cover: Lot 15 New York, New York 10022 +1 (212) 644 9009 fax Director Inside Front Cover: Lots 47 and 48 bonhams.com [email protected] +1 (917) 206 1699 Inside Back Cover: Lot 91 [email protected] Back Cover: Lot 14 PREVIEW To bid via the internet please visit Friday, November 15, 10am - 5pm www.bonhams.com/25246 Aaron Anderson Saturday, November 16, 10am - 5pm +1 (917) 206 1616 Sunday, November 17, 12pm - 5pm Please note that bids should be [email protected] Monday, November 18, 10am - 5pm summited no later than 24hrs prior to the sale. New Bidders must REGISTRATION also provide proof of identity when IMPORTANT NOTICE SALE NUMBER: 25246 submitting bids. Failure to do this Please note that all customers, Lots 1 - 101 may result in your bid not being irrespective of any previous processed. activity with Bonhams, are CATALOG: $35 required to complete the Bidder LIVE ONLINE BIDDING IS Registration Form in advance of AUCTIONEER AVAILABLE FOR THIS SALE the sale. The form can be found Rupert Banner - 1325532-DCA Please email bids.us@bonhams. at the back of every catalogue com with “Live bidding” in the and on our website at www. -
The Elegant Home
THE ELEGANT HOME Select Furniture, Silver, Decorative and Fine Arts Monday November 13, 2017 Tuesday November 14, 2017 Los Angeles THE ELEGANT HOME Select Furniture, Silver, Decorative and Fine Arts Monday November 13, 2017 at 10am Tuesday November 14, 2017 at 10am Los Angeles BONHAMS BIDS INQUIRIES Automated Results Service 7601 W. Sunset Boulevard +1 (323) 850 7500 European Furniture and +1 (800) 223 2854 Los Angeles, California 90046 +1 (323) 850 6090 fax Decorative Arts bonhams.com Andrew Jones ILLUSTRATIONS To bid via the internet please visit +1 (323) 436 5432 Front cover: Lot 215 (detail) PREVIEW www.bonhams.com/24071 [email protected] Day 1 session page: Friday, November 10 12-5pm Lot 733 (detail) Saturday, November 11 12-5pm Please note that telephone bids American Furniture and Day 2 session page: Sunday, November 12 12-5pm must be submitted no later Decorative Arts Lot 186 (detail) than 4pm on the day prior to Brooke Sivo Back cover: Lot 310 (detail) SALE NUMBER: 24071 the auction. New bidders must +1 (323) 436 5420 Lots 1 - 899 also provide proof of identity [email protected] and address when submitting CATALOG: $35 bids. Telephone bidding is only Decorative Arts and Ceramics available for lots with a low Jennifer Kurtz estimate in excess of $1000. +1 (323) 436 5478 [email protected] Please contact client services with any bidding inquiries. Silver and Objects of Vertu Aileen Ward Please see pages 321 to 323 +1 (323) 436 5463 for bidder information including [email protected] Conditions of Sale, after-sale collection, and shipment. -
“A People Who Have Not the Pride to Record Their History Will Not Long
STATE HISTORIC PRESERVATION OFFICE i “A people who have not the pride to record their History will not long have virtues to make History worth recording; and Introduction no people who At the rear of Old Main at Bethany College, the sun shines through are indifferent an arcade. This passageway is filled with students today, just as it was more than a hundred years ago, as shown in a c.1885 photograph. to their past During my several visits to this college, I have lingered here enjoying the light and the student activity. It reminds me that we are part of the past need hope to as well as today. People can connect to historic resources through their make their character and setting as well as the stories they tell and the memories they make. future great.” The National Register of Historic Places recognizes historic re- sources such as Old Main. In 2000, the State Historic Preservation Office Virgil A. Lewis, first published Historic West Virginia which provided brief descriptions noted historian of our state’s National Register listings. This second edition adds approx- Mason County, imately 265 new listings, including the Huntington home of Civil Rights West Virginia activist Memphis Tennessee Garrison, the New River Gorge Bridge, Camp Caesar in Webster County, Fort Mill Ridge in Hampshire County, the Ananias Pitsenbarger Farm in Pendleton County and the Nuttallburg Coal Mining Complex in Fayette County. Each reveals the richness of our past and celebrates the stories and accomplishments of our citizens. I hope you enjoy and learn from Historic West Virginia. -
Medicinal Vessels of the First Gilded Age (1870-1929): Properties of Promise Or Hokum of False Hope?
Georgia State University ScholarWorks @ Georgia State University Anthropology Theses Department of Anthropology Fall 12-17-2014 Medicinal Vessels of the First Gilded Age (1870-1929): Properties of Promise or Hokum of False Hope? David L. Cook Follow this and additional works at: https://scholarworks.gsu.edu/anthro_theses Recommended Citation Cook, David L., "Medicinal Vessels of the First Gilded Age (1870-1929): Properties of Promise or Hokum of False Hope?." Thesis, Georgia State University, 2014. https://scholarworks.gsu.edu/anthro_theses/88 This Thesis is brought to you for free and open access by the Department of Anthropology at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Anthropology Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. i MEDICINAL VESSELS OF THE FIRST GILDED AGE (1870-1929): PROPERTIES OF PROMISE OR HOKUM OF FALSE HOPE? By DAVID L. COOK Under the Direction of Jeffrey B. Glover, PhD ABSTRACT From the excavation of Atlanta's first municipal dumps, a collection of the city’s oldest and most popular medicines has been analyzed. The process of identifying and exploring the stories behind the medicinal vessels of the Metro Atlanta Rapid Transit Authority (MARTA) archaeological collection has led to several paths of inquiry. One such avenue is a look at local manufacturers, their impact, and their products. Focused on embossed glass bottles from 1860-1920 this thesis investigates the roles of medicinal bottles as symbolic for Atlanta’s Gilded Age. I gathered detailed information on nearly 100 products represented by 222 vessels. These artifacts are derived from three sites unearthed during the MARTA excavations conducted by Georgia State University archaeologists during the late-1970s. -
1906 Catalogue.Pdf (7.007Mb)
ERRATA. P. 8-For 1901 Samuel B. Thompson, read 1001 Samuel I?. Adams. ' P. 42—Erase Tin-man, William R. P. 52—diaries H. Smith was a member of the Class of 1818, not 1847. : P. 96-Erase star (*) before W. W. Dearing ; P. 113 Erase Cozart, S. W. ' P. 145—Erase Daniel, John. ' j P. 1GO-After Gerdine, Lynn V., read Kirkwood for Kirkville. I P. 171—After Akerman, Alfred, read Athens, (Ja., for New Flaven. ; P. 173—After Pitner, Walter 0., read m. India Colbort, and erase same ' after Pitner, Guy R., on p. 182. • P. 182-Add Potts, Paul, Atlanta, Ga. , ! CATALOGUE TRUSTEES, OFFICERS, ALUMNI AND MATRICULATES UNIVERSITY OF GEORGIA, AT ATHENS, GEORGIA, FROM 1785 TO 19O<». ATHENS, OA. : THF, E. D. STONK PRESS, 190G. NOTICE. In a catalogue of the alumni, with the meagre information at hand, many errors must necessarily occur. While the utmost efforts have been made to secure accuracy, the Secretary is assurer) that he has, owing to the impossibility of communicating with many of the Alumni, fallen far short of attaining his end. A copy of this catalogue will be sent to all whose addresses are known, and they and their friends are most earnestly requested to furnish information about any Alumnus which may be suitable for publication. Corrections of any errors, by any person whomsoever, are re spectfully invited. Communications may be addressed to A. L. HULL, Secretary Board of Trustees, Athens, Ga. ABBREVIATIONS. A. B., Bachelor of Arts. B. S., Bachelor of Science. B. Ph., Bachelor of Philosophy. B. A., Bachelor of Agriculture. -
John Miller C. Reed, S. B. Turman and Harriet Reed Turman and for Whom Some Streets in the South Atlanta-Lakewood Heights-Chosewood Park Neighborhoods Are Named
John Miller C. Reed, S. B. Turman and Harriet Reed Turman and for whom some streets in the South Atlanta-Lakewood Heights-Chosewood Park neighborhoods are named. Prepared by Paul C. McMurray [email protected]/404-993-2293 Around 1860, John Miller C. Reed (JMCR) came to the area around the intersection of Lakewood Avenue and McDonough and bought many hundreds of acres of land. This included all or large parts of Fulton County Land Lots 39, 40, 41, 56 and parts of others. See the Fulton County Grantee List below. I also want to mention that another large land purchase of 400 acres was made in 1880 by the Freedman's Aid Society working with the Methodist Episcopal Church (now known as the United Methodist Church) to create a larger campus for Clark University and Gammon Theological Seminary. These 400 acres were located in the area west of where South Atlanta neighborhood is now. The New Schools at Carver and the Villages at Carver now sit on this land, although the actual foot print of the 400 acres extended beyond those locations. Both these land purchase have a lot to do with how South Atlanta-Lakewood Heights-Chosewood Park area developed. After purchasing the land in 1860, JMCR built his first house on it. This house was burned by Sherman during the Civil War. In Franklin Garret’s Yesterday Atlanta p.26, JMCR is described as a Colonel in the Fulton County militia. There are no other references in that book or any others that I could find that says JMCR participated in any major battles or was even in Atlanta at the time of the Battle of Atlanta. -
American Painting
a century of American Painting Century of Painting FC IFC IBC_fnl.crw2.indd 1-3 11/5/15 9:38 AM a century of American Painting Century of Painting PGS fnl.crw3.indd 1-2 11/5/15 9:51 AM a century of American Painting December 5, 2014 to January 31, 2015 100 Chetwynd Drive, Bryn Mawr, Pennsylvania 19010 Century of Painting PGS fnl.crw3.indd 3-4 11/5/15 9:51 AM Foreword We tend to look at art through the lens of our own time. We make judgments about its quality and relevance based on current sentiments and tastes. This is a natural inclination, but unless we take the time to consider where and when the artists were working and what the conditions were like at that time, we miss much of the story that lies behind every great work of art. If we fail to consider that Eastman Johnson’s The Vacant Chair (cat. 4) was painted in 1865, we might conclude that it is simply a nicely painted interior of an old kitchen. When we stop to remember that the Civil War had just ended when Johnson put brush to canvas and that the empty chair might symbolize a missing soldier who will never return home, the painting’s powerful statement is fully realized. When we look at the paintings of great women Impressionists, such as Jane Peterson (cat. 18), it deepens our appreciation of their work when we stop to think of their struggle to be taken seriously at a time when women were con- sidered to be, at best, hobbyists. -
National Endowment for the Arts Annual Report 1993
L T 1 TO THE CONGRESS OF THE UNITED STATES: It is my special pleasure to transmit herewith the Annual Report of the National Endowment for the Arts for the fiscal year 1993. The National Endowment for the Arts has awarded over 100,000 grants since 1965 for arts projects that touch every community in the Nation. Through its grants to individual artists, the agency has helped to launch and sustain the voice and grace of a generation--such as the brilliance of Rita Dove, now the U.S. Poet Laureate, or the daring of dancer Arthur Mitchell. Through its grants to art organizations, it has helped invigorate community arts centers and museums, preserve our folk heritage, and advance the perform ing, literary, and visual arts. Since its inception, the Arts Endowment has believed that all children should have an education in the arts. Over the past few years, the agency has worked hard to include the arts in our national education reform movement. Today, the arts are helping to lead the way in renewing American schools. I have seen first-hand the success story of this small agency. In my home State of Arkansas, the National Endowment for the Arts worked in partnership with the State arts agency and the private sector to bring artists into our schools, to help cities revive downtown centers, and to support opera and jazz, literature and music. All across the United States, the Endowment invests in our cultural institutions and artists. People in communities small and large in every State have greater opportunities to participate and enjoy the arts. -
Identity, Dissent, and the Roots of Georgia╎s Middle Class, 1848
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2019 Identity, Dissent, and the Roots of Georgia’s Middle Class, 1848-1865 Thomas Robinson University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the History Commons Recommended Citation Robinson, Thomas, "Identity, Dissent, and the Roots of Georgia’s Middle Class, 1848-1865" (2019). Electronic Theses and Dissertations. 1674. https://egrove.olemiss.edu/etd/1674 This Dissertation is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. IDENTITY, DISSENT, AND THE ROOTS OF GEORGIA’S MIDDLE CLASS, 1848-1865 A Dissertation presented in partial fulfillment of requirements for the degree of Doctor of Philosophy in the Arch Dalrymple III Department of History The University of Mississippi by THOMAS W. ROBINSON December 2018 Copyright © 2018 by Thomas W. Robinson All rights reserved. ABSTRACT This dissertation, which focuses on Georgia from 1848 until 1865, argues that a middle class formed in the state during the antebellum period. By the time secession occurred, the class coalesced around an ideology based upon modernization, industrialization, reform, occupation, politics, and northern influence. These factors led the doctors, lawyers, merchants, ministers, shopkeepers, and artisans who made up Georgia’s middle class to view themselves as different than Georgians above or below them on the economic scale. The feeling was often mutual, as the rich viewed the middle class as a threat due to their income and education level while the poor were envious of the middle class. -
History of Atlanta, Georgia, ______With Illustrations and Biographical Sketches of Some of Its Prominent Men and Pioneers
THIS FILE IS PLACED ONLINE BY GAD, PERMISSION IS NOT GRANTED TO REMOVE FROM THIS SITE. YOU ARE NOT AUTHORIZED TO COPY THIS FILE,, ETC. THIS IS PLACED HERE FOR RESEARCH INFORMATION ONLY IN THIS DIGITAL LIBRARY OF MEDIA. ___________________________________________ HISTORY OF ATLANTA, GEORGIA, ___________________________________________ WITH ILLUSTRATIONS AND BIOGRAPHICAL SKETCHES OF SOME OF ITS PROMINENT MEN AND PIONEERS. _______________________ EDITED BY: _________________ WALLACE P. REED. __________________________ SYRACUSE, N. Y. D. MASON & CO., PUBLISHERS, 1889. _______________ PREFACE. THE fact that Atlanta is comparatively a young city will doubtless lead many to the conclusion that her annals are short and simple, and in such shape as to give a historian very little trouble. It did not take' long for the author of this work to find that it was a more .difficult matter to obtain the facts and figures illustrating the growth and progress of Atlanta than would have been the case if he had attempted to write the history of a much older city. The presence among us of many of the old pioneers and early settlers, strange to say, has heretofore stood in the way of a systematic record of the city's onward march. Various suggestions, made from time to time, in regard to the organization of a Historical Society met with but little favor. Few citizens recognized the benefit of such a society, when they and their neighbors recollected nearly every important event that had occurred since the settlement of the place. In the older cities and towns the matter is viewed in a different light. In many instances no pains and expense have been spared to collect and preserve in permanent form the facts of history, and some of the societies organized for this purpose even in some of the flourishing Western cities not much older than Atlanta, have accumulated such a mass of valuable printed material that a stranger having access to it would find the work of writing a history almost purely mechanical. -
Exhibition of French and Belgian Art from the Panama-Pacific International Exposition, 1915
anxa 2634 -262 SPECIAL EXHIBITION CATALOGUE CITY ART MUSEUM SAINT LOUIS EXHIBITION OF FRENCH AND BELGIAN ART FROM THE PANAMA-PACIFIC INTERNATIONAL EXPOSITION, 1915 Opening, February 6, 1916 Series 1916 No. 4 'U 4 Digitized by the Internet Archive in 2016 https://archive.org/detaiis/exhibitionoffrenOOstio SPECIAL EXHIBITION CATALOGUE Series of 1916; No. 4 EXHIBITION OF FRENCH AND BELGIAN ART FROM THE PANAMA-PACIFIC INTERNATIONAL EXPOSITION, 1915 CITY ART MUSEUM ST. LOUIS FEBRUARY, 1916 THE CITY ART MUSEUM, ST. LOUIS ADMINISTRATIVE BOARD OF CONTROL \VILLIAM K. BIXBY President SAMUEL L. SHERER Vice-President DANIEL CATLIN DAVID R. FRANCIS MAX KOTANY WILLIAM H. LEE EDWARD MALLINCKRODT CHARLES PARSONS PETTUS THOMAS H. WEST R. A. HOLLAND Director MADELEINE BORGGRAEFE Secretary CHARLES PERCY DAVIS Curator he present Exhibition of French and Belgian Art which is being sent to various museums is the greater T part of the French exhibit which was shown in the Palace of Fine Arts at the Panama-Pacific Exposition, and represents in a most instructive manner the general trend of French art at the present time. It was the desire of those responsible for the collection to exhibit chiefly works produced within the last fifteen years and by men of recog- nized ability of every school. The major portion of the works here assembled was selected from the Fine Arts Section; but a few judiciously chosen additions, including the Belgian paintings, were made from the retrospective exhibition in the French Pavilion. It is fair to assume that all of the works presented are characteristic examples by the artists represented, and that they afford the American public an opportunity to study the typical, present-day art of France, the sort of art that one would expect to find assembled in the annual exhibitions of the Salon.