Carving Newsletter October 2020
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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. -
NOISE and MILITARY SERVICE Implications for Hearing Loss and Tinnitus
NOISE AND MILITARY SERVICE Implications for Hearing Loss and Tinnitus Committee on Noise-Induced Hearing Loss and Tinnitus Associated with Military Service from World War II to the Present Medical Follow-up Agency Larry E. Humes, Lois M. Joellenbeck, and Jane S. Durch, Editors THE NATIONAL ACADEMIES PRESS Washington, DC www.nap.edu THE NATIONAL ACADEMIES PRESS • 500 Fifth Street, N.W. • Washington, DC 20001 NOTICE: The project that is the subject of this report was approved by the Governing Board of the National Research Council, whose members are drawn from the councils of the National Academy of Sciences, the National Academy of Engineering, and the Insti- tute of Medicine. The members of the committee responsible for the report were chosen for their special competences and with regard for appropriate balance. This study was supported by Contract No. V101(93)P-1637 #29 between the Na- tional Academy of Sciences and the Department of Veterans Affairs. Any opinions, find- ings, conclusions, or recommendations expressed in this publication are those of the author(s) and do not necessarily reflect the view of the organizations or agencies that provided support for this project. Library of Congress Cataloging-in-Publication Data Noise and military service : implications for hearing loss and tinnitus / Committee on Noise-Induced Hearing Loss and Tinnitus Associated with Military Service from World War II to the Present, Medical Follow- up Agency ; Larry E. Humes, Lois M. Joellenbeck, and Jane S. Durch, editors. p. ; cm. Includes bibliographical references. ISBN 0-309-09949-8 — ISBN 0-309-65307-X 1. Deafness—Etiology. -
Thomas Silkstede's Renaissance-Styled Canopied Woodwork in the South Transept of Winchester Cathedral
Proc. Hampshire Field Club Archaeol. Soc. 58, 2003, 209-225 (Hampshire Studies 2003) THOMAS SILKSTEDE'S RENAISSANCE-STYLED CANOPIED WOODWORK IN THE SOUTH TRANSEPT OF WINCHESTER CATHEDRAL By NICHOLAS RIALL ABSTRACT presbytery screen, carved in a renaissance style, and the mortuary chests that are placed upon it. In Winchester Cathedral is justly famed for its collection of another context, and alone, Silkstede's work renaissance works. While Silkstede's woodwork has previ might have attracted greater attention. This has ously been described, such studies have not taken full been compounded by the nineteenth century account of the whole piece, nor has account been taken of thealteration s to the woodwork, which has led some important connection to the recently published renaissancecommentator s to suggest that much of the work frieze at St Cross. 'The two sets ofwoodwork should be seen here dates to that period, rather than the earlier in the context of artistic developments in France in the earlysixteent h century Jervis 1976, 9 and see Biddle sixteenth century rather than connected to terracotta tombs1993 in , 260-3, and Morris 2000, 179-211). a renaissance style in East Anglia. SILKSTEDE'S RENAISSANCE FRIEZE INTRODUCTION Arranged along the south wall and part of the Bishop Fox's pelican everywhere marks the archi west wall of the south transept in Winchester tectural development of Winchester Cathedral in Cathedral is a set of wooden canopied stalls with the early sixteenth-century with, occasionally, a ref benches. The back of this woodwork is mosdy erence to the prior who held office for most of Fox's panelled in linenfold arranged in three tiers episcopate - Thomas Silkstede (prior 1498-1524). -
Working with Bone, Antler and Horn
Working with Bone, Antler and Horn David Constantine © 2014 V1.4 April 2014 Contents List of Figures and Tables ..................................................................................................................................... i Introduction .......................................................................................................................................................... 1 What is Bone Working? ..................................................................................................................................... 1 Recommended reading and additional resources ............................................................................................... 1 Contact Details ................................................................................................................................................... 1 Raw Materials ....................................................................................................................................................... 2 Definitions and basic biology of skeletal materials ........................................................................................... 2 Historical Availability and Use .......................................................................................................................... 4 Period Toolkits .................................................................................................................................................... 10 Basic toolkit .................................................................................................................................................... -
The Deinstallation of a Period Room: What Goes in to Taking One Out
Figure 1. Brown Pearl Hall, West Boxford, Massachusetts, about 1704. Figure 2. Oak Hill Parlor, early 19th century, Peabody, Massachusetts. 2006 WAG Postprints—Providence, Rhode Island The Deinstallation of a Period Room: What Goes in to Taking One Out Gordon Hanlon, Furniture and Frame Conservation, Museum of Fine Arts, Boston Melissa H. Carr, Masterwork Conservation ABSTRACT Many American museums installed period rooms in the early twentieth century. Eighty years later, different environmental standards and museum expansions mean that some of those rooms need to be removed and either reinstalled or placed in storage. Over the past four years the Museum of Fine Arts, Boston has deinstalled all of their European and American period rooms as part of a Master Plan to expand and reorganize the museum. The removal of the rooms was coordinated and supported by museum staff and performed by private contractors. The first part of this paper will discuss the background of the project and the particular issues of the museum to prepare for the deinstallation. The second part will provide an overview of the deinstallation of one specific, painted and fully-paneled room to illustrate the process. It will include comments on the planning, logistics, physical removal and documentation, as well as notes on its future reinstallation. Introduction he Museum of Fine Arts, Boston is in the process of implementing the first phase of a Master Plan which involves the demolition of the east wing of the museum and the building of a new American wing designed by the London-based architect Sir Norman Foster. This project required Tthat the museum’s eighteen period rooms (eleven American and seven European) and two large architec- tural doorways, on display in the east wing and a connector building, be deinstalled and stored during the construction phase. -
Powercarving Birds, Fish and Penguins : Using Beautiful Hardwoods Pdf, Epub, Ebook
POWERCARVING BIRDS, FISH AND PENGUINS : USING BEAUTIFUL HARDWOODS PDF, EPUB, EBOOK Gene Larson | 64 pages | 18 Mar 1999 | Schiffer Publishing Ltd | 9780887405655 | English | Atglen, United States Powercarving Birds, Fish and Penguins : Using Beautiful Hardwoods PDF Book The wood has no characteristic odor or taste. For this reason, air dried wood is usually best for carving. Since May Blog woodcarversoflasvegas. How to Start. United States About Blog Learn to carve wood spirits with our online wood carving lessons. Managing Editor Roger Schroeder writes about a year search for a special woodcarving. Now get those tools sharp and let make some chips. Notes On Wood Preparation Because wood dries slowly when air dried, tensions are released slowly: fast drying in kilns, if not well monitored, can actually create tensions within the wood, adding to stresses that are there from the growing years. Owner, Advanced Media. So many entries put the judges on their toes at the second annual national competition sponsored by the Caricature Carvers of America. He says he likes the simplicity of working with just a couple knives and a block of wood. Fine Woodworking. Dave Stetson, president of the Caricature Carvers of America, puts a critical eye to four carvings. If you're just starting out with woodcarving, it's better to choose a softwood like birch, limewood, pine, willow or horse chestnut. So, he headed to his local Woodcraft Store to pick up the tools and knowledge he would need to get started. Has lived in: Lindsborg , KS. Glass penguin. This is a white wood grows throughout Europe and the Americas. -
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 . -
SIR GEORGE SKENE's HOUSE in the GUESTROW, ABERDEEN-ITS HISTORY and ARCHITECTURE by EDWARD MELDRUM, D.ARCH., A.R.I.B.A., F.S.A.SCOT
SIR GEORGE SKENE'S HOUSE IN THE GUESTROW, ABERDEEN-ITS HISTORY AND ARCHITECTURE by EDWARD MELDRUM, D.ARCH., A.R.I.B.A., F.S.A.SCOT. i. INTRODUCTION THE GuestroAberdeen'f o e on ws i s most ancient thoroughfare shares ha t n i di s- the storms and in the glories of the burgh's history since at least the fifteenth century. s shortIt , cobbled, narrow causewa manw ysa y famous personages traversd an t ei dwell in its old houses - today little is left, for by the late nineteenth century the ancient tenement becomd sha e slum condemnee b o st demolitiono dt forgotted an ; n wer e medievaeth l mansion f provostso s , bishops, nobles, advocate d generalsan s ; vanished wer e slopinth e g walled gardens built ove y lateb r r accretions which obscure originae dth l good Scots architecture Guestroe .th f Todao e wl se tha ye al tw e streeith s t itself denude mansionss it f do , sav restoree eth d town-hous f Provoseo t r GeorgSi e Skene, standing somewhat starkly, deserte neighbourins it y db g buildings whose foundation beneate sli surroundine hth g wast parksr emucs i ca area t d I h. san hopee b o t d that future developments wilt obscurno l e permanentl line thif yth eo s ancient Guestrow vere th yr namfo , embeddes i e Aberdonian di n e historth d yan derivatio name bees th subjecf e eha no n th mucf o t h interes eved an tn controversy. -
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. -
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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. -
5. Wood Carving Tools
Session 4 [Wednesday 4th period 2.0 hours - Main Hall] Artistic aspects of wood use and design Proceedings of the Art and Joy of Wood conference, 19-22 October 2011, Bangalore, India 1 Speakers Speaker: M P Ranjan Topic: Entrepreneur Development, Design and Innovation in Wood Products / Design Detailing in Wood: An Appreciation of Furniture Design by Gajanan Upadhaya Speaker: Jirawat Tangkijgamwong Topic: The Way of Wood: Finding Green Pieces in Thailand Speaker: Achmad Zainudin Topic: Jepara: Mirror of Indonesian Art Wood Speaker: Hakki Alma Topic: Wood Carving Art in Turkey Speaker: Lv Jiufang Topic: Wood Aesthetic Pattern Design and its Application Proceedings of the Art and Joy of Wood conference, 19-22 October 2011, Bangalore, India 2 Entrepreneur Development, Design and Innovation in Wood Products / Design Detailing in Wood: An Appreciation of Furniture Design by Gajanan Upadhaya M P Ranjan1 1 Designer, National Institute of Design (retired), Ahmedabad, India ([email protected]) Proceedings of the Art and Joy of Wood conference, 19-22 October 2011, Bangalore, India 3 Proceedings of the Art and Joy of Wood conference, 19-22 October 2011, Bangalore, India 4 Proceedings of the Art and Joy of Wood conference, 19-22 October 2011, Bangalore, India 5 Proceedings of the Art and Joy of Wood conference, 19-22 October 2011, Bangalore, India 6 Proceedings of the Art and Joy of Wood conference, 19-22 October 2011, Bangalore, India 7 Proceedings of the Art and Joy of Wood conference, 19-22 October 2011, Bangalore, India 8 Proceedings of the