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Historic Furnishings Assessment, Morristown National Historical Park, Morristown, New Jersey
~~e, ~ t..toS2.t.?B (Y\D\L • [)qf- 331 I J3d-~(l.S National Park Service -- ~~· U.S. Department of the Interior Historic Furnishings Assessment Morristown National Historical Park, Morristown, New Jersey Decemb r 2 ATTENTION: Portions of this scanned document are illegible due to the poor quality of the source document. HISTORIC FURNISHINGS ASSESSMENT Ford Mansion and Wic·k House Morristown National Historical Park Morristown, New Jersey by Laurel A. Racine Senior Curator ..J Northeast Museum Services Center National Park Service December 2003 Introduction Morristown National Historical Park has two furnished historic houses: The Ford Mansion, otherwise known as Washington's Headquarters, at the edge of Morristown proper, and the Wick House in Jockey Hollow about six miles south. The following report is a Historic Furnishings Assessment based on a one-week site visit (November 2001) to Morristown National Historical Park (MORR) and a review of the available resources including National Park Service (NPS) reports, manuscript collections, photographs, relevant secondary sources, and other paper-based materials. The goal of the assessment is to identify avenues for making the Ford Mansion and Wick House more accurate and compelling installations in order to increase the public's understanding of the historic events that took place there. The assessment begins with overall issues at the park including staffing, interpretation, and a potential new exhibition on historic preservation at the Museum. The assessment then addresses the houses individually. For each house the researcher briefly outlines the history of the site, discusses previous research and planning efforts, analyzes the history of room use and furnishings, describes current use and conditions, indicates extant research materials, outlines treatment options, lists the sources consulted, and recommends sourc.es for future consultation. -
Philip Morris International Inc. 2014 Third-Quarter Results Conference Call October 16, 2014
Philip Morris International Inc. 2014 Third-Quarter Results Conference Call October 16, 2014 NICK ROLLI (SLIDE 1.) Welcome. Thank you for joining us. Earlier today, we issued a press release containing detailed information on our 2014 third-quarter results. You may access the release on our web site at www.pmi.com. (SLIDE 2.) During our call today, we will be talking about results for the third quarter of 2014 and comparing them to the same period in 2013, unless otherwise stated. A glossary of terms, data tables showing adjustments to net revenues and OCI, for currency and acquisitions, asset impairment, exit and other costs, free cash flow calculations, and adjustments to earnings per share, or “EPS”, as well as reconciliations to U.S. GAAP measures are at the end of today’s webcast slides, which are posted on our web site. Please note that Reduced-Risk Products, or “RRPs”, is the term we use to refer to products with the potential to reduce individual risk and population harm in comparison to smoking combustible cigarettes. (SLIDE 3.) Today’s remarks contain forward-looking statements and projections of future results. I direct your attention to the Forward-Looking and Cautionary Statements disclosure in today’s presentation and press release for a review of the various factors that could cause actual results to differ materially from projections or forward-looking statements. It’s now my pleasure to introduce Jacek Olczak, our Chief Financial Officer. Jacek. 1 JACEK OLCZAK (SLIDE 4.) Thank you Nick, and welcome ladies and gentlemen. Our volume and financial results in the third quarter came in slightly above our expectations. -
Vincent Van Gogh, Auvers, 1890 Oil on Jute, 36 X 36 In
Vincent van Gogh, Auvers, 1890 Oil on jute, 36 x 36 in. (91.4 x 91.4 cm.) New York Private Collection Fig. 1 Vincent van Gogh, Auvers, 1890 Oil on jute, 36 x 36 in. (91.4 x 91.4 cm.) Signed on verso, ‘Vincent’ New York Private Collection Auvers,1890, Vincent van Gogh This is the discovery of a full-size van Gogh painting, one of only two in the past 100 years. The work depicts a view of a landscape at Auvers-sur-Oise, the town north of Paris where he spent the last two months of his life. The vista shows a railroad line crossing wheat fields. Auvers, 1890 (Figs. 1-13) is van Gogh’s largest and only square painting. This unique format was chosen to represent a panorama of the wheat fields of the region, of which parts are shown in many of his other paintings of the Auvers landscape. The present painting portrays the entire valley of the Oise as a mosaic of wheat fields, bisected by the right of way of a railway and a telegraph line. The center depicts a small railway station with station houses and a rail shunt, the line disappearing into the distant horizon. The painting is in its original, untouched ondition.c The support is coarse burlap on the original stretcher. The paint surface is a thick impasto that has an overall broad grid pattern of craquelure consistent with a painting of its age. The verso of the painting bears the artist’s signature, Vincent, in black pigment. -
Vincent Van Gogh the Starry Night
Richard Thomson Vincent van Gogh The Starry Night the museum of modern art, new york The Starry Night without doubt, vincent van gogh’s painting the starry night (fig. 1) is an iconic image of modern culture. One of the beacons of The Museum of Modern Art, every day it draws thousands of visitors who want to gaze at it, be instructed about it, or be photographed in front of it. The picture has a far-flung and flexible identity in our collective musée imaginaire, whether in material form decorating a tie or T-shirt, as a visual quotation in a book cover or caricature, or as a ubiquitously understood allusion to anguish in a sentimental popular song. Starry Night belongs in the front rank of the modern cultural vernacular. This is rather a surprising status to have been achieved by a painting that was executed with neither fanfare nor much explanation in Van Gogh’s own correspondence, that on reflection the artist found did not satisfy him, and that displeased his crucial supporter and primary critic, his brother Theo. Starry Night was painted in June 1889, at a period of great complexity in Vincent’s life. Living at the asylum of Saint-Rémy in the south of France, a Dutchman in Provence, he was cut off from his country, family, and fellow artists. His isolation was enhanced by his state of health, psychologically fragile and erratic. Yet for all these taxing disadvantages, Van Gogh was determined to fulfill himself as an artist, the road that he had taken in 1880. -
Radical Closure
Closure adical Closur R e adical R R adical 1 Radical Closure Closure Radical Closure Radical Closure Jalal Toufic Jalal Toufic,Radical-Closure Artist with Bandaged Sense Organ (a Tribute to Van Gogh), no. 1, 2020 Jalal Toufic 2 3 Radical Closure The book includes four of my conceptual artworks. They are based This book is composed of the following previously published texts on Van Gogh’s two paintings Wheatfield with Crows (1889) and Self- on radical closure: “Radical Closure,” in Over-Sensitivity, 2nd edition Portrait with Bandaged Ear (1889). The one on the front cover is (Forthcoming Books, 2009); “First Aid, Second Growth, Third Radical-Closure Artist with Bandaged Sense Organ (After Van Gogh’s Degree, Fourth World, Fifth Amendment, Sixth Sense,” “Radical- “Wheatfield with Crows” and “Self-Portrait with Bandaged Ear”), 2020; Closure Artist with Bandaged Sense Organ,” “Copyright Free Farm the one that serves as the frontispiece is Radical-Closure Artist with Road,” and pp. 104–105 and 211–214 in Forthcoming, 2nd edition Bandaged Sense Organ (a Tribute to Van Gogh), no. 1, 2020; the one (Berlin: e-flux journal-Sternberg Press, 2014); pp. 82–92 in Distracted, on the last page is Radical-Closure Artist with Bandaged Sense Organ 2nd edition (Berkeley, CA: Tuumba Press, 2003); “Verbatim,” in What (a Tribute to Van Gogh), no. 2, 2020; and the one on the back cover Was I Thinking? (Berlin: e-flux journal-Sternberg Press, 2017); and is Radical-Closure Artist with Bandaged Sense Organ (After Van Gogh’s pp. 88–96 in Postscripts (Stockholm: Moderna Museet; Amsterdam: “Wheatfield with Crows” and “Self-Portrait with Bandaged Ear”), 2018. -
Computers in Astronomy
computers in astronomy Dating van Gogh's Moonrise Astronomical sleuths head to France to answer some nagging questions about a 19th-century painting. By Donald Wo Olson, Russell Lo Doescher, and Marilynn So Olson RT HisTORIANS HAVE LONG selves.As astronomers, we have a keen shows wheat stacks in a field enclosed by agreed that Vincent van Gogh interest when the paintings' subjects in- a stone wall and, in the twilight sky, a painted his spectacular Starry clude objects in the sky. prominent orange disk partly hidden be- ~ lVight between June 16 and Previously, we identified Venus as the hind a mountain range. Once again, as- 18, 1889, in the town of Saint-Remy-de- heavenlyobject in van Gogh's White House tronomical calculations helped eliminate Proverice in southern France. Evidence at Night, painted in northern France the ambiguity. for pinning down the when and where of (S&T: April 2001, page 34). During our van Gogh's works comes largely from his research for that project, we became in- Van Gogh in Saint-Remy own correspondence with his relatives terested in another astronomical paint- After suffering a series of medical crises and colleagues. Sometimes there are ing from Saint-Remy that had an uncer- while in the town of Aries, van Gogh other clues within the works of art them- tain date. This painting, known as F735, moved to the hospital housed in the Past art historians have been able to determine some details about this painting by Vincent van Gogh, but astronomers were able to pinpoint the timing of the scene. -
Of Hats and History
Black sinamay cartwheel hat with asymmetrical brim with draped black mesh. Miss Jones by Stephen Jones, ca. 1990s. Ryerson FRC2009.01.608. Gift of Kathleen Kubas. OF HATS & HISTORY By Dr. Ingrid Mida Hats are one of the most visible means to signal power, class, status, belonging and/or conformity to modes of dress. After all, for centuries kings and queens November 14, 2013 wore crowns to signal their power and dynastic position and their servants would be required to remove their hat in their presence to demonstrate their subservience. Hats can also convey emotional states (mourning) or marital status (bridal veils). Although hats, outside of ones worn as part of a uniform or religious affiliation, are now generally worn as optional accessories to convey personality or as a form of fashionable ornamentation, it was once considered unseemly for a refined gentleman or woman to appear in public without a hat. Like other dress artifacts, hats reflect the social and cultural attitudes of their period. In terms of fashion history, Canadians often overlook the fact that the fashion for men’s hats created out of beaver felts was an important part of the history and the settlement of this country. Felt was made out of animal hairs and the highest quality hats were made out of beaver pelts. Felt hats were once called “beavers” and signalled that the wearer was rich. The purchase of such a hat was a costly proposition because demand for beaver pelts greatly surpassed the supply. One of the oldest companies in the world, the Hudson’s Bay Company, was founded in 1670, exporting furs from Canada to meet European demand. -
Annual Report FY2017
Corporate Information 048 Corporate Governance 058 History of the JT Group Japan Tobacco Inc. Annual Report FY2017 062 Regulation and Other Relevant Laws Year ended December 31, 2017 065 Litigation 066 Members of the Board, Audit Investment Operations & Analysis and Supervisory Board Members, leading and Executive Officers to sustainable 018 Industry Overview 067 Members of the JTI growth. 018 Tobacco Business Executive Committee 021 Pharmaceutical Business 067 Corporate Data 021 Processed Food Business 068 Investor Relations Activity 022 Review of Operations 069 Shareholder Information 022 International Tobacco Business 028 Japanese Domestic Tobacco Business 032 Global Tobacco Strategy 034 Pharmaceutical Business 038 Processed Food Business 040 Risk Factors Management 044 JT Group and Sustainability 046 Environmental, Social and 001 Performance Indicators Governance Initiatives 002 At a Glance 004 Consolidated Five-Year Financial Summary 006 Message from the Chairman and CEO Financial Information 008 CEO Business Review 010 Highlights (JT Group’s 2017) 071 Message from CFO 012 Management Principle, Strategic 072 Financial Review Framework and Resource Allocation 080 Consolidated Financial Statements 014 Business Plan 2018 086 Notes to Consolidated 015 Role and Target of Each Business Financial Statements 016 Performance Measures 139 Independent Auditor’s report 140 Glossary of Terms Management Performance Indicators Adjusted Operating Profit Dividend per Share 585.3 14 0 (JPY BN) (JPY) - 0.3% +7. 7 % Year-on-Year Change Year-on-Year Change - 0.6% Factsheets available at: Year-on-Year Change at Constant Exchange Rates https://www.jt.com/investors/results/annual_report/ Unless the context indicates otherwise, references in this Annual Report to ‘we’, ‘us’, In addition, these forward-looking statements are necessarily dependent upon ‘our’, ‘Japan Tobacco’, ‘JT Group’ or ‘JT’ are to Japan Tobacco Inc. -
How Many Names for Hats Can You Find?
How many names for hats can you find? D A D E L C O G R O O N S H E W K E G V D L F A S C I N A T O R Y J R S F O I T M T A I I B I B N U J B B C C S G U R J L O S S Y G K D Y H M B K R N M O A Q E Z F W U F E Z Y L B I H R T W E C O O N S K I N C A P C B E G E H X A C T O Q U E N F B E R E T O W Q E P R V U O B E A N I E D M P I C T U R E S I D L T T A F B O H A R D H A T C O A Q O R B U R P P S Z Y X O O R C V P T O R K C E B O W L E R A L H H U N G P D S T E T S O N C A P A J N A I B N F F M L K E I V I T D E P E A C H B A S K E T A S C O T ASCOT A hard style of hat, usually worn by men, dating back to the 1900s. -
Katherine L. Hoffman
A BEAUTIFUL AFFLICTION: TRACING THE ROLE OF MENTALLY ILL ARTISTS IN REDUCING THE NEGATIVE STIGMA OF MENTAL ILLNESS A thesis submitted to The Honors Program at UDM in partial fulfillment of the requirements for Graduation with Honors by Katherine L. Hoffman May 2015 TABLE OF CONTENTS ACKNOWLEDGEMENTS 3 FIGURES 4 INTRODUCTION 7 CHAPTER ONE 22 CHAPTER TWO 38 CHAPTER THREE 52 CHAPTER FOUR 66 CONCLUSION 75 BIBLIOGRAPHY 82 2 Acknowledgements First and foremost, I wish to express my sincere gratitude to Dr. Heather Hill Vasquez for offering her time, patience, and brilliance to this project. Without her direction and guidance, this thesis would not have been possible. I am also very appreciative of Dr. Annamaria Silveri and Dr. Matthew Mio for graciously donating their time to serve on my thesis committee. Thank you to my parents, Thomas and Denise Hoffman, for 22 years of love and encouragement, and for instilling a passion for life-long learning in me at a young age. Finally, thank you to my family, friends, and teammates, for always understanding when I said, “I can’t, I have to work on my thesis.” *** 3 Figures Figure 1. Vincent Van Gogh, “Digger Sketch, September 1881.” Van Gogh Gallery. (Accessed December 14, 2014). Figure 2. Vincent Van Gogh, "Sketch attached to letter from Vincent to Theo - between Wednesday 12 and Saturday 15, October 1881." Van Gogh's Letters. (Accessed December 15, 2014). 4 Figure 3. Vincent Van Gogh, Self Portrait with Bandaged Ear and Pipe. January 1889. Van Gogh Gallery. (Accessed December 14, 2014). Figure 4. Vincent Van Gogh, Starry Night. -
Merleau-Ponty's Artist of the World's Face: Art's
Merleau-Ponty’s Artist of Depth: Exploring “Eye and Mind” and the Works of Art Chosen by Merleau-Ponty as Preface GLEN A. MAZIS I. The Works of Art as Silent Interlocutors of the Power of Depth The original Gallimard edition of Merleau-Ponty’s last-published essay, “Eye and Mind,” which was printed as a slim, separate volume containing only this essay, includes a visual preface of seven artworks, chosen by Merleau-Ponty. It seems curious that there has been so little comment concerning how these artworks might serve as another way to understand what I take to be Merleau-Ponty’s central point in his text: that depth is the key to understanding the power of art. This central point can be substantiated, however, only if we understand depth in a new way. The essay denies that depth is the “third dimension,” as seen traditionally, but asserts rather that “if [depth] were a dimension, it would be the first one” (Merleau-Ponty, “Eye and Mind” 180). Depth is thus of the first rank in not only rethinking art, but also rethinking Being itself. Depth is first in rank, moreover, as it is named “the experience of the reversibility of dimensions” (180), which makes it central to Merleau-Ponty’s articulation of his “indirect ontology.” As this reversibility, depth is the way that humans and world become enlaced such that “inside” and “outside” are not opposites; even as incompossibles they are nevertheless one. Merleau-Ponty has been developing this notion of depth as the going together of incompossibles since the Phenomenology of Perception, but in “Eye and Mind,” it becomes highlighted through the PhaenEx 7, no. -
The FANLIGHT | Fall 2013 Monroe County Historical Association Community Outreach Continued from Page 1 Mansion and Wanted to Come Back to Learn More
Vol. 24, No. 4 Monroe County Historical Association • www.monroehistorical.org Fall 2013 The importance of community outreach By Amy Leiser Executive Director As the executive director of a non-profit organization, one of my most important tasks is to raise money for our organization. Throughout the year, I, in addition to our staff members and legions of volunteers, work to hold various fundraisers that bring revenue into the Monroe County Historical Association. These funds do everything from paying the electric bills to purchasing archival boxes for our museum’s collections. Sometimes we work hard on events that Linda Rogers reads to young visitors to the 5th Annual Olde Time Fun event are not money-driven. These events can be a held August 31 in the backyard of the Stroud Mansion. nice “change of pace” for myself and everyone the corn toss. Many adults chuckled that the younger involved. That’s not to say that there isn’t the same level of generation was having so much fun throwing an old corn preparation, organization and stress, but events that are cob into a copper bucket. free and open to the public tend to have a somewhat more In conjunction with Olde Time Fun, the Stroud Mansion relaxed feel to them. was open for free tours. Visitors were treated to an At the end of August we held the 5th Annual Olde Time introduction to the Stroud family by Mrs. Stroud herself. Fun event in the backyard of the Stroud Mansion. Tables (OK, Mrs. Stroud was really MCHA Board member Connie were set up with a variety of activities, crafts, and games for McCool in costume!) children.