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1 Retail Listings 2011 by USDA Zone, As of Sept 5 - Please Check for Current Availability
1 Retail listings 2011 by USDA zone, as of Sept 5 - please check for current availability USDA zone: 2 Alcea rosea 'Nigra' Classic hollyhock with dark maroon, nearly black flowers covering the 5-8 ft spires in July and August. They like well-drained soil and full to part sun with average summer water. Short-lived, they reseed easily establishing long-lived colonies. Frost hardy in USDA zone 2. 4in @ $3 Malvaceae Lindelofia longiflora Bright blue flowered cousin of a forget-me-not which blooms from late spring to frost. Long-live perennial, clumping to 2 ft by 2 ft in rich, moist soil in a half shady spot– think woodland. Great for a border that gets some water, but not much attention otherwise. Hardy to 25 below. 6in @ $12 Boraginaceae Physocarpus opulifolius 'Dart's Gold' golden ninebark Its golden foliage highlights the pure white, fragrant, summer flowers and brilliant red fruit in autumn. Peeling bark adds interest to this durable hedging plant or specimen, deciduous, to 5 ft tall and wide, smaller than the species. Out of the hottest afternoon sun seems to suit it best for foliage color. Can take a bit of drought, but best with a little summer water. Takes will to pruning. Frost hardy in USDA zone 2. 1g @ $12, 2g @ $22 Rosaceae Rosa glauca red leaf rose Grown as much for its foliage as its flowers this deciduous shrub, to 6 ft tall x 5 ft wide, has glaucous blue foliage and, in June, single pink flowers with white centers. Lovely rose hips follow and remain through the winter. -
Boston Symphony Orchestra Concert Programs, Summer, 2001, Tanglewood
SEMI OIAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR • i DALE CHIHULY INSTALLATIONS AND SCULPTURE / "^ik \ *t HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE ELM STREET, STOCKBRIDGE, MA 01262 . ( 41 3.298.3044 www. holstenga I leries * Save up to 70% off retail everyday! Allen-Edmoi. Nick Hilton C Baccarat Brooks Brothers msSPiSNEff3svS^:-A Coach ' 1 'Jv Cole-Haan v2^o im&. Crabtree & Evelyn OB^ Dansk Dockers Outlet by Designs Escada Garnet Hill Giorgio Armani .*, . >; General Store Godiva Chocolatier Hickey-Freeman/ "' ft & */ Bobby Jones '.-[ J. Crew At Historic Manch Johnston & Murphy Jones New York Levi's Outlet by Designs Manchester Lion's Share Bakery Maidenform Designer Outlets Mikasa Movado Visit us online at stervermo OshKosh B'Gosh Overland iMrt Peruvian Connection Polo/Ralph Lauren Seiko The Company Store Timberland Tumi/Kipling Versace Company Store Yves Delorme JUh** ! for Palais Royal Phone (800) 955 SHOP WS »'" A *Wtev : s-:s. 54 <M 5 "J* "^^SShfcjiy ORIGINS GAUCftV formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson John F. Cogan, Jr. Edna S. -
The Heritage Within
Aleksandar Pantić CREATIVE PRACTICE OF MOSAIC ART, THE HERITAGE WITHIN MA Thesis in Cultural Heritage Studies: Academic Research, Policy, Management. Central European University Budapest May 2018. CEU eTD Collection CREATIVE PRACTICE OF MOSAIC ART, THE HERITAGE WITHIN by Aleksandar Pantić (Republic of Serbia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Cultural Heritage Studies: Academic Research, Policy, Management. Accepted in conformance with the standards of the CEU. ____________________________________________ Chair, Examination Committee ____________________________________________ Thesis Supervisor ____________________________________________ Examiner CEU eTD Collection ____________________________________________ Examiner Budapest May 2018. CREATIVE PRACTICE OF MOSAIC ART, THE HERITAGE WITHIN by Aleksandar Pantić (Republic of Serbia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Cultural Heritage Studies: Academic Research, Policy, Management. Accepted in conformance with the standards of the CEU. ____________________________________________ External Reader CEU eTD Collection Budapest May 2018. CREATIVE PRACTICE OF MOSAIC ART, THE HERITAGE WITHIN by Aleksandar Pantić (Republic of Serbia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, -
Bergstrom-Mahler Museum Marks 40Th Anniversary
President Vice President STANLEY B. KRUGER ANDREW SCOTT 5 Johnson Lane 26 Villa Drive Voorhees, NJ 08043 Ambler, PA 19002 (856) 751-7720 (215) 540-0510 [email protected] [email protected] Secretary Treasurer MARTIN MIKELBERG DON FORMIGLI 24315 Ann's Choice Way 455 Stonybrook Drive Warminster, PA 18974 Levittown, PA 19055 (215) 675-1639 (215) 945-5253 Volume 15 Number 2 www.dvpaperweights.org March 2008 Bergstrom-Mahler Museum Marks glass artist’s 40th anniversary in paperweight 40th Anniversary... design held at the Bergstrom-Mahler Museum in Neenah, Wisconsin on Thursday, September by Joan Ellen Parsley 27, 2007. On that beautiful fall evening, the [Editor’s Note: Joan Parsley is the Artistic Director Evangeline Bergstrom Chapter of the of Milwaukee’s Midwest “bande for early music”, Paperweight Collectors Association and more Musical Offering Ltd. She is an avid paperweight than 65 members of the Museum turned out for collector and a member of Delaware Valley a spectacular event with the artist and his Paperweight Collectors Association, the lovely wife, Catherine. The Museum is noted Evangeline Bergstrom (Wisconsin) Chapter of Paperweight Collectors Association, Inc. and a for the largest public showcase in America of member of the Bergstrom-Mahler Museum itself. Perthshire Paperweights, most of which were She is the daughter of glass artist Johne Parsley.] designed by the honoree. Beauty speaks from the heart. Marking his 40th anniversary in the field, the General Manager and Head Craftsman of the If that is the case as this author believes, then former Perthshire Paperweights Ltd., Crieff, the heart of Scottish Master Craftsman Peter Scotland, created a Limited Edition of 50 McDougall speaks volumes. -
Ghana's Glass Beadmaking Arts in Transcultural Dialogues
Ghana’s Glass Beadmaking Arts in Transcultural Dialogues Suzanne Gott PHOTOS BY THE AUTHOR EXCEPT WHERE OTHERWISE NOTED hanaian powder-glass beads first captured spread of West African strip-weaving technologies. my attention in 1990, when closely examin- With the beginnings of European maritime trade in the late ing a strand of Asante waist beads purchased fifteenth century, an increasing volume of glass beads and glass in Kumasi’s Central Market. Looking at the goods were shipped to trade centers along present-day Ghana’s complex designs of different colored glasses, Gold Coast,1 stimulating the growth of local beadworking and I was struck with the realization that each powder-glass beadmaking industries. The flourishing coastal bead had been skillfully and painstakingly crafted. This seem- trade achieved a more direct engagement between European Gingly humble and largely unexamined art merited closer study merchants and trading communities than had been possible and greater understanding (Fig. 1). I worked with Christa Clarke, with the trans-Saharan trade, and enhanced European abilities Senior Curator for the Arts of Global Africa at the Newark to ascertain and respond to local West African consumer pref- Museum, to develop the 2008–2010 exhibition “Glass Beads of erences. This interactive trade environment also facilitated the Ghana” at the Newark Museum to introduce the general public impact of the demands of Gold Coast consumers on European to this largely overlooked art (Fig. 2). The following study pro- product design and production, a two-way dynamic similar to vides a more in-depth examination of Ghanaian glass beadmak- the trade in African-print textiles (Nielsen 1979; Steiner 1985). -
Download the 2018 / 2019 Print Catalog
MOUNTAIN GLASS 2018/19 PRODUCT GUIDE MountainGlass.com 866.LAMPWORK 828.225.5599 [email protected] Order by 2:30 pm EST for guaranteed same day order shipment Artists: Shawn Henderson @hendyglass & Zariel Shore @zshoreglass • Photo: @lukewaynemedia Asheville, NC • Open Monday – Friday • 10 am to 6 pm EST At Mountain Glass we believe in conservation & preservation of our natural resources. Here is what we are doing about it. In cooperation with American Forests we will have a tree planted for every order of over $100. Over 45,000 trees planted to date! MOUNTAIN GLASS OPERATES ON 100% GREEN POWER With help from NC GreenPower Mountain Glass is now annually supporting 88,800 kWh of cleaner, renewable energy. The amount of coal consumed annually to produce this equivalent amount of energy is 71,928 lbs. (UPDATED 1/8/16) As calculated by NC Greenpower The generation of this amount of renewable energy will annually offset: • 12,000 pounds of carbon dioxide (CO2) • 37 pounds of sulfur dioxide (SO2) • 15 pounds of nitrogen oxides (NOx) The annual reduction of CO2 emissions is environmentally equivalent to: • 17,010 miles not driven OR • 413 days not driven OR • 923 trees planted By partnering with TerraPass all of our outgoing truck shipments are carbon neutral. Our glass case size shipping boxes are made with 33% recycled content! NC GREENPOWER is a statewide effort to improve the environment by using “green power,” Our office paper contains 30% recycled content electricity generated from renewable resources such as solar, wind, biomass and water. The and we recycle all paper, paperboard packaging, cardboard, glass & aluminum here in our building! non-profit NC GreenPower organization is the result of collaboration among electric utilities, environmentalists, state regulators and energy generators. -
Caf Ar 419 Glassblowing
Calle Renier, Dorsoduro 3655 – 30125 Venezia tel. 041.296 0599 CAF AR 419 GLASSBLOWING INSTRUCTOR: Davide Penso [email protected] CLASS: every Tuesday from 3.00 pm to 7.00 pm (56 hours) SITE: Murano Isle COURSE DESCRIPTION The CFA AR 419 Glassblowing is a course that takes place on the Murano Isle, and it is an introduction to the real professional way to approach the torch and how to melt glass. During this course students learn about tools used for creating glass beads. Each student learns how to create his/her own bead and right out of his/her first jewelry, through the assistance and monitoring of the instructor. Each student is assigned a workstation equipped with its own workspace and torch. Each workspace has all the tools she/he needs, including: steel spindles or needles, safety glasses, pan pot of graphite, flat pliers to shape the glass, vermiculite to cool beads, etc. In addition, many glass rods of many different colors. The number of students per class is limited to 8. This allows the instructor a personalized evaluation, constant feedback and instructions. During the course, students will learn about tools for beads design and creation, most of glass fusion techniques, from the project to the professional production of the beads, designing jewelry, and strategy of sales. On the 3rd of December, students will visit the Glass Museum in Murano. In addition, the optional visit to the furnace where students can see Giancarlo Signoretto’s glass sculptures, on the 3rd or on the 10th of December. REQUIREMENTS For this course no requirements are asked. -
Baccarat Hotel & Residences New York
Hospitality Awards Submission Best Innovation In Concept Prepared by HL Group Table of Contents • Summary • Presentation Document • Representative Information • Hotel Photography Summary Baccarat has long been a symbol of elegance in the lives & homes of kings, queens, sultans, tsars, moguls and rock stars. Intimately entwined with the fine art of living, its translation from luxury product to sumptuous hotel, from glittering objet to gracious lifestyle, is a natural evolution of the brand’s unique culture of craft and impeccable provenance. Baccarat Hotel & Residences New York is industry titan Barry Sternlicht’s stunning return to the hospitality space. Opened on March 18, 2015, Baccarat Hotel & Residences New York was an instant classic, offering French glamour and design through the lens of New York City. As the first hotel and global flagship for Baccarat Hotels & Resorts, Baccarat Hotel & Residences New York is a thoughtful and elegant homage to the 250 year-old heritage Baccarat crystal brand. The property boasts 114 elegantly appointed guest rooms and suites, two opulent lobby salons, a 60-foot barrel-vaulted bar, the first Spa de La Mer in the world and a new modern French restaurant, Chevalier, overseen by Michelin-starred Executive Chef Shea Gallante. Legendary New York restaurateur Charles Masson curated the style and service for Chevalier during launch. Paris-based interior design firm Gilles & Boissier led the creation of the hotel’s interiors, which combine Baccarat’s French classic aesthetics with a fanciful modern sensibility. Celebrated decorator Stephen Sills created the elegant setting for the street-level Chevalier restaurant and Skidmore, Owings & Merrill served as architects for the 50-story tower. -
3Rd Annoucement.Indd
INTERNATIONAL COMMISSION ON GLASS ICG 2007 XXIst International Congress on Glass STRASBOURG July 1-6, 2007 Palais des Congrès Strasbourg France « rdAnnouncement www.icg2007.org and preliminary program 3 1/24 ICG 2007 PRELIMINARY LIST OF SPONSORS THE INTERNATIONAL COMMISSION ON GLASS « The International Commission on Glass (ICG) was founded in 1933 with the purpose of promoting international collaboration and facilitating the exchange of information within the glass community. Nowadays, it gathers reknown universities, scientific establishements, glass industries as well as suppliers. The ICG leads technical committees upon different aspects of glass science and technology. One of the ICG’s projects is organising the triennial International Congress on Glass. The event was last held in France in 1971. Hervé Arribart Jean-Pierre Houdaer ICG President Congress Chairman ICG 2/24 3/24 ICG 2007 2007 THE CONGRESS THE COMMITTEES « « INTERNATIONAL CONFERENCE CHAIRMAN The up-coming International Congress on ADVISORY BOARD Jean-Pierre Houdaer Glass 2007 will take place in Strasbourg from M. Aegerter (Inst. für Neue Materialen, Germany) (Glass Expert, Formerly Directeur Général, 1st to 6th July 2007. R. Akçakaya (Şişecam, Turkey) Institut du Verre, France) R. Almeida (IST Lisbonne, Portugal) This triennial event, organized under the M.H. Chopinet (Saint-Gobain, France) SCIENTIFIC COMMITTEE auspices of the International Commission on M. Delaney (Owens-Illinois, USA) Glass (ICG) will bring together key players in N. Greaves (Univ. of Wales, United Kingdom) R. Vacher (CNRS, France), Chairman glass science, technology and production: R. Hand (Sheffield Univ., United Kingdom) H. Arribart (Saint-Gobain, France) glass manufacturers, providers, researchers, K. Hirao (Kyoto Univ., Japan) K. -
Boston Symphony Orchestra Concert Programs, Season 101, 1981
BOSTON SOYMPHONY OWRCHESTRA n b J- sv^h°ony^ Hundredth1UNDREDTH BirthdayOIRTHDAY OEASONSi LORCHESTRAj SBJIOZAWA 1881 -OCTOBER 22 -1981 V.S.O.P., ./0* -.h**** ^S.QP COGNAC -^or** &**t> ' "* 1 BOTTLim hv * «•*.* 1 T" ^fagl FI NE CHAMPAGNE COGN^ THE FIRST NAME IN COGNAC SINCE 1724 EXCLUSIVELY FINE CHAMPAGNE FROM THE TWO "PREMIERS CRUS" OF THE COGNAC REGION /£> ^'BOSTON "^^^N? OBs'i mphon> (_) [O^K,ORCHESTRAJ^P ~~j*-j Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Hundredth Birthday Season, 1981-82 Trustees of the Boston Symphony Orchestra, Inc. Abram T. Collier, Chairman Nelson J. Darling, Jr., President Leo L. Beranek, Vice-President George H. Kidder, Vice-President Mrs. Harris Fahnestock, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer Vernon R. Alden Archie C. Epps III Thomas D. Perry, Jr. J. P. Barger Mrs. John L. Grandin Irving W Rabb Mrs. John M. Bradley Edward M. Kennedy Mrs. George Lee Sargent Mrs. Norman L. Cahners David G. Mugar William A. Selke George H.A. Clowes, Jr. Albert L. Nickerson John Hoyt Stookey Trustees Emeriti Talcott M. Banks, Chairman of the Board Emeritus Philip K. Allen E. Morton Jennings, Jr. Mrs. James H. Perkins Allen G. Barry Edward G. Murray Paul C. Reardon Richard P Chapman John T. Noonan John L. Thorndike Administration of the Boston Symphony Orchestra Thomas W. Morris General Manager William Bernell Edward R. Birdwell Daniel R. Gustin Artistic Administrator Orchestra Manager Assistant Manager Caroline Smedvig Walter D. Hill Joseph M. Hobbs Director of Director of Director of Promotion Business Affairs Development Judith Gordon Joyce M. -
Opemmundi E Ljbope
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Metro Pictures
METRO PICTURES Sutphin, Eric. “Review: Sputterances,” Frieze.com (April 22, 2017). Detail of Charles Burchfield, Summer, 1926 As its title suggests, ‘Sputterances’ has much to do with language – specifically the degrees to which an artist succeeds or fails at communicating an idea and the ways in which the content of paintings can be ‘read’. The exhibition includes the work of 21 visual artists and a poem contributed by Ben Lerner, which is printed on card with an illustration and available to takeaway. It is organized by Sanya Kantarovsky, who was adroit in his selections, making visual and affective connections only discernible to a painter invested in the craft and history of the medium. Kantarovsky has borrowed the show’s title from Dutch painter René Daniëls, who defines ‘sputterance’ as the ‘sum of two opposing actions—a sputter and an utterance.’ Though not exclusively devoted to figuration, the exhibition is packed with images of human and creaturely bodies. The show opens with a large painting by Daniëls, Het verloen huis teruggevonden (The lost house found) (1982-83), painted in myriad shades of chartreuse, acidic green and ultramarine; an oversized eye hovers toward the left edge of the canvas, like a stretched reflection in a glass. To the right is a swiftly rendered hand holding what could be candles or firecrackers. According to William S. Smith, Daniëls ‘was a master at balancing complexity and ambition with affected naiveté.’ René Daniëls, Het verloren huis teruggevonden (The lost house found), 1982-1983 519 WEST 24TH STREET NEW YORK NY 10011 T 212 206 7100 WWW.METROPICTURES.COM [email protected] Denzil Forrester, From Trench Town to Porthtowan, 2016 ‘Sputterances’, as Daniëls defined them, are evident less in individual works than in the way one reads the exhibition as a whole – in fits and starts.