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Polymer Clay Artist's Resource List
POLYMER CLAY ARTIST’S RESOURCE LIST ARTISTS: Accomplished & Emerging Artists & Teachers ............................................................................................................. 2 COMMUNITY: Guilds, Groups, Forums, & Member Communities ........................................................................................... 9 EVENTS: Workshops, retreats, classes & industry shows ............................................................................................................ 13 INFORMATION & LEARNING: Blogs, Tutorials, Publishers, & Schools ................................................................................. 14 ORGANIZATIONS: Organizations for Professional Craft Artists .............................................................................................. 17 SUPPLIES: Supplies for Polymer, Jewelry, & Sculpture ............................................................................................................... 18 SALES & MARKETS: Year-round Sales Avenues & Services ....................................................................................................... 23 TECHNIQUES & STANDARDS: Site Links and Document ....................................................................................................... 24 GENERAL TECHNIQUES/FREE TUTORIALS.......................................................................................................................... 24 PAID TUTORIAL SITES .............................................................................................................................................................. -
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. -
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. -
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. -
Past and Present
2nd Scandinavian Symposium on Furniture Technology & Design Marquetry Past and Present May 2007 Vadstena Sweden Cover photo: Detail of ‘Scarab table’ by Rasmus Malbert. Photo taken by © Rasmus Malbert. This publication was made possible thanks to Carl Malmstens Hantverksstiftelse Editor Ulf Brunne Director of Studies Carl Malmsten Furniture Studies Linköping University Tel. +46 (0) 13 28 23 20 e-mail: [email protected] Layout Elise Andersson Furniture Conservator Tel. +31 (0) 686 15 27 06 / +46 (0) 704 68 04 97 e-mail: [email protected] Foreword The Marquetry Symposium in Vadstena 2007 was all over the world. The presentations covered a the second international symposium hosted by Carl multitude of aspects and were well inline with our Malmsten Centre of Wood Technology & Design ambition to include both historical, theoretical, at Linköping University. Since then we not only technical and design related aspects. changed our name, we also moved to new purpose- Even if the symposium, as intended, covered both built premises and above all, updated our programs historical and modern applications we conclude in order to meet future challenges. Carl Malmsten that presentations of contemporary works and Furniture Studies, which is our new name, is techniques were in minority. It is therefore with great satisfaction we during the past few years have Marquetry has since ancient times been used to registered a growing interest not only in traditional decoratedefinitely furniture back on track! and interiors. Starting with basic marquetry but also in the use of marquetry on but intricate geometric patterns in the Middle Ages, industrially manufactured design furniture. -
Should We Discard Historical Wooden Archival Boxes?
Should We Discard Historical Wooden Archival Boxes? Michel Dubus, Victoria Amoros, Stéphane Bouvet, Jean-Michel Brarda-Wieber, Isabelle Colson, Anne-Laurence Dupont, Agnès Lattuati-Derieux, Catherine Lavier, Éric Masson, Thi-Phuong Nguyen, et al. To cite this version: Michel Dubus, Victoria Amoros, Stéphane Bouvet, Jean-Michel Brarda-Wieber, Isabelle Colson, et al.. Should We Discard Historical Wooden Archival Boxes?. Mieke Adriaens, Susie Bioletti and Ira Rabin. Chemical Interactions Between Cultural Artefacts and Indoor Environment, Acco, 2018, chemical interactions between cultural artefacts and indoor environment, 978-94-6344-798-0. hal-01915913 HAL Id: hal-01915913 https://hal.archives-ouvertes.fr/hal-01915913 Submitted on 8 Nov 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution| 4.0 International License Should We Discard Historical Wooden Archival Boxes? Michel Dubus, Victoria Asensi Amoros, Stéphane Bouvet, Jean-Michel Brarda-Wieber, Isabelle Colson, Anne-Laurence Dupont, Agnès Lattuati-Derieux, Catherine Lavier, Éric Masson, Thi-Phuong Nguyen, Caroline Rogaume, Valentin Rottier A total of 868 historical wooden archival boxes from the municipal and regional archives as well as from the French National Archives were studied by archaeodendrometrical tech- niques. -
Pottery from Roman Malta
Cover Much of what is known about Malta’s ancient material culture has come to light as a result of antiquarian research or early archaeological work – a time where little attention Anastasi MALTA ARCHAEOLOGICAL REVIEW SUPPLEMENT 1 was paid to stratigraphic context. This situation has in part contributed to the problem of reliably sourcing and dating Maltese Roman-period pottery, particularly locally produced forms common on nearly all ancient Maltese sites. Pottery from Roman Malta presents a comprehensive study of Maltese pottery forms from key stratified deposits spanning the first century BC to mid-fourth century AD. Ceramic material from three Maltese sites was analysed and quantified in a bid to understand Maltese pottery production during the Roman period, and trace the type and volume of ceramic-borne goods that were circulating the central Mediterranean during the period. A short review of the islands’ recent literature on Roman pottery is discussed, followed by a detailed Pottery from Roman Malta contextual summary of the archaeological contexts presented in this study. The work is supplemented by a detailed illustrated catalogue of all the forms identified within the assemblages, presenting the wide range of locally produced and imported pottery types typical of the Maltese Roman period. Maxine Anastasi is a Lecturer at the Department of Classics and Archaeology, University of Malta. She was awarded a DPhil in Archaeology from the University of Oxford for her dissertation on small-island economies in the Central Mediterranean. Her research primarily focuses on Roman pottery in the central Mediterranean, with a particular Malta from Roman Pottery emphasis on Maltese assemblages.