Catalog “Traveling Around the World to Hunt Is My Passion
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Applied Anatomy in Music: Body Mapping for Trumpeters
UNLV Theses, Dissertations, Professional Papers, and Capstones May 2016 Applied Anatomy in Music: Body Mapping for Trumpeters Micah Holt University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Music Commons Repository Citation Holt, Micah, "Applied Anatomy in Music: Body Mapping for Trumpeters" (2016). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2682. http://dx.doi.org/10.34917/9112082 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. APPLIED ANATOMY IN MUSIC: BODY MAPPING FOR TRUMPETERS By Micah N. Holt Bachelor of Arts--Music University of Northern Colorado 2010 Master of Music University of Louisville 2012 A doctoral project submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas May 2016 Dissertation Approval The Graduate College The University of Nevada, Las Vegas April 24, 2016 This dissertation prepared by Micah N. -
2302.Jerome Dretzka Papers
Title: Dretzka, Jerome Papers Reference Code: Mss-2302 Inclusive Dates: 1909-1963 Quantity: 10 cu. ft. Location: NE, Sh. 048-051 OS LG “D” Abstract: Jerome C Dretzka (1881-1963) served on the Milwaukee County Parks Commission from 1920-1963. During that tenure, from 1926-1952, he served as the Executive Secretary of the Commission and expanded the area of Milwaukee parks considerably. He also served as an officer for the American Institute of Park Executives. He retired in 1952. He was born on December 5, 1881 in Pozen, Poland. His family moved to America when he was five years old and they settled on the south side of Milwaukee. In 1893, his family moved to Cudahy where he continued to reside until his death. He served as the city of Cudahy’s city clerk from 1912-1916. He left this position to manage the real estate holdings of Patrick Cudahy. This knowledge served him well during his time on the Commission and during his tenure the Commission went from owning 680 acres to over 7,000 acres of parks. He also served on the boards of the Milwaukee County Historical Society, New Zoo Conference Committee, Wisconsin Park and Recreation Society, as well as many others. Scope and Content: The bulk of the collection consists of material pertaining to Milwaukee County Park Commission and some of the material pertains to his participation in the American Institute of Park Executives (AIPE).In the form of correspondence, newspaper clippings, meeting minutes and official papers from the Commission. This collection also includes information about various projects that he was involved with including the zoo, Mitchell Conservatory, the Braves, and the Milwaukee County Stadium. -
Robert Rauschenberg and James Rosenquist Graphics Rosenquist
RAUSCHENBERG PAST POP: ROBERT RAUSCHENBERG AND JAMES ROSENQUIST GRAPHICS ROSENQUIST KEAN UNIVERSITY !CKNOWLEDGEMENTS We would like to recognize the many individuals and institutions who generously provided assistance in this process. Bard Graduate Center: Olga Valle Tetkowski; Graebel Movers International Inc.: Jim Wilderotter; Kean University: Dr. Dawood Farahi, Holly Logue, John Maso, and Kenneth Kimble; The Montclair Art Museum: Gail Stavitsky and Erica Boyd; The Newark Museum: Amber Woods Germano, Olivia Arnone; O’Hara Gallery: Ruth O’Hara and Lauren Yen; Prudential Insurance Company of America: Carol Skuratofsky and Joseph Sabatino; the Estate of Robert Rauschenberg: Gina C. Guy and Thomas Buehler; James Rosenquist and Beverly Coe at the Rosenquist Studio; Universal Limited Art Editions: Bill Goldston and Marie Allen; The Whitney Museum of American Art: Donna DeSalvo, Barbie Spieler and Matt Heffernan; Visual Artists and Galleries Association (VAGA): Robert Panzer and Kimberly Tishler. Rich Russo for the photographs of prints in the Kean and Prudential collections. Special thanks to Barbara Burn for her remarkable editing ability and unique kindness. Without her diligence, this catalog would not have been possible. Copyright © 2009 by Kean University, Union, New Jersey Catalog essay, Past Pop: Robert Rauschenberg and James Rosenquist Graphics of the 1970s © 2009 Lewis Kachur All rights reserved. No part of this book may be reproduced in any form including electronic or mechanical means, photocopying, information storage and retrieval systems, except in the case of brief extracts for the purpose of critical articles and reviews, without permission in writing from Kean University. Art © James Rosenquist /Licensed by VAGA, New York, NY Art © Estate of Robert Rauschenberg/Licensed by VAGA, New York, NY U.L.A.E. -
WEDNESBURY (Inc
HITCHMOUGH’S BLACK COUNTRY PUBS WEDNESBURY (Inc. Kings Hill, Mesty Croft) 3rd. Edition - © 2014 Tony Hitchmough. All Rights Reserved www.longpull.co.uk INTRODUCTION Well over 40 years ago, I began to notice that the English public house was more than just a building in which people drank. The customers talked and played, held trips and meetings, the licensees had their own stories, and the buildings had experienced many changes. These thoughts spurred me on to find out more. Obviously I had to restrict my field; Black Country pubs became my theme, because that is where I lived and worked. Many of the pubs I remembered from the late 1960’s, when I was legally allowed to drink in them, had disappeared or were in the process of doing so. My plan was to collect any information I could from any sources available. Around that time the Black Country Bugle first appeared; I have never missed an issue, and have found the contents and letters invaluable. I then started to visit the archives of the Black Country boroughs. Directories were another invaluable source for licensees’ names, enabling me to build up lists. The censuses, church registers and licensing minutes for some areas, also were consulted. Newspaper articles provided many items of human interest (eg. inquests, crimes, civic matters, industrial relations), which would be of value not only to a pub historian, but to local and social historians and genealogists alike. With the advances in technology in mind, I decided the opportunity of releasing my entire archive digitally, rather than mere selections as magazine articles or as a book, was too good to miss. -
Shorewood TODAY Magazine
AUTUMN 2010 Shorewood TODAY magazine VILLAGE • SCHOOLS • BUSINESSES SPECIAL ISSUE: Shorewood Today Celebrates Its 2-Year Anniversary! INSIDE ... Attracting New Businesses to Shorewood Shorewood Connects Neighbors Celebrating 60 Years of AFS at Shorewood High School Great Fall & Holiday Dining visit www.escapetomilwaukee.com BOOK YOUR HOLIDAY EVENT POLKA FISH FRY TODAY FOR DECEMBER EVERY FRIDAY! AND JANUARY Family-friendly and affordable, enjoy a Special weekday rates! tasty fish dinner with all the trimmings every Friday night (5-9 p.m.). Plenty of great CHOOSE FROM ONE OF OUR SUPERB LOCATIONS polka music and the popular “bubble machine” • Hubbard Park Lodge 3565 N. Morris Blvd. (in a historic for the kids – take a spin on the dance floor! landmark building along the Milwaukee River) Weddings, • Fried cod, perch or shrimp and other non-fish items anniversaries and special events are our specialty! • Children’s menu and full bar service • Lakefront Palm Garden 2730 N. Humboldt Blvd. (inside Lakefront Brewery) A popular Milwaukee location LUMBERJACK BRUNCH for weddings and other special events. EVERY SUNDAY • The Red Accordion 1137 N. Old World Third St. Enjoy scrambled eggs, bacon, hash browns, pancakes, (in a historic landmark building in downtown Milwaukee) fresh fruit and a custom omelette bar from 9 a.m.-2 p.m. • Rio West Cantina 2730 N. Humboldt Blvd. Check out • Delicious Bloody Marys and Mimosas our newly expanded space! Visit www.escapetomilwaukee.com 3565 N. Morris Blvd. • 414.332.4207 www.hubbardlodge.com Shorewood’s best-kept secret along the Milwaukee River! In the Riverwest Milwaukee’s Newest Pub Community – Shorewood’s next door on Historic Old World Third Street neighbor (only one block from the Bradley Center) Offering the Milwaukee Tapas, Sliders & Great Desserts area’s best margaritas! Choose from more than 11 HD Flat Screens 75 Tequilas. -
Days & Hours for Social Distance Walking Visitor Guidelines Lynden
53 22 D 4 21 8 48 9 38 NORTH 41 3 C 33 34 E 32 46 47 24 45 26 28 14 52 37 12 25 11 19 7 36 20 10 35 2 PARKING 40 39 50 6 5 51 15 17 27 1 44 13 30 18 G 29 16 43 23 PARKING F GARDEN 31 EXIT ENTRANCE BROWN DEER ROAD Lynden Sculpture Garden Visitor Guidelines NO CLIMBING ON SCULPTURE 2145 W. Brown Deer Rd. Do not climb on the sculptures. They are works of art, just as you would find in an indoor art Milwaukee, WI 53217 museum, and are subject to the same issues of deterioration – and they endure the vagaries of our harsh climate. Many of the works have already spent nearly half a century outdoors 414-446-8794 and are quite fragile. Please be gentle with our art. LAKES & POND There is no wading, swimming or fishing allowed in the lakes or pond. Please do not throw For virtual tours of the anything into these bodies of water. VEGETATION & WILDLIFE sculpture collection and Please do not pick our flowers, fruits, or grasses, or climb the trees. We want every visitor to be able to enjoy the same views you have experienced. Protect our wildlife: do not feed, temporary installations, chase or touch fish, ducks, geese, frogs, turtles or other wildlife. visit: lynden.tours WEATHER All visitors must come inside immediately if there is any sign of lightning. PETS Pets are not allowed in the Lynden Sculpture Garden except on designated dog days. -
Rodent Decapitation
Florida State University Animal Care and Use Program Standard Operating Procedure Rodent Decapitation 1.0 Scope and Application The 2013 AVMA Guidelines for the Euthanasia of Animals states that decapitation is acceptable with conditions if performed correctly and that it may be used when required by experimental design and approved by the IACUC. Decapitation may be accomplished by the use of a commercial guillotine, dedicated scissors, or razor/scalpel blades. Scissors and razor/scalpel blades may only be used for neonatal rodents (< 10 days of age). 2.0 Summary of Method • Training Requirements o The Principal Investigator (PI) must ensure that all personnel using the guillotine are properly trained and proficient in its use. o Personnel wishing to perform decapitation without anesthetics or analgesics must be trained by an LAR veterinarian or ACUC-approved trainer prior to performing procedure. • Preparing for decapitation o The PI and laboratory personnel are responsible for ensuring that the equipment is always in good working condition prior to any use. o Good working condition means that guillotines and dedicated scissors are clean, in good condition, sharp and move freely. The actions should be smooth with no perceptible binding or resistance, and the blades must be rust-free, sharp, and decapitate with minimal force. Razor or scalpel blades should be new. • Decapitation procedure o All personnel performing decapitation must be properly trained. Training must be documented in a laboratory maintained log indicating training date and trainer. ACU personnel are available to provide training if requested. o The decapitation procedure should be performed in an area that is separate from other rodents. -
Pharmaceutical Historian Vol. 27. 1997
Vol.27 No.I March 1997 £1.50. Journal of the BRITISH SOCIETY FOR THE HISTORY OF PHARMACY. Established 1967. Contributions to the Editor: Dr. J. Bumby B.Pharm., PhD., FRPharmS., FSA. 36 York Place, Edinburgh. EHl 3HU CONTENTS. A Yorkshire pharmacy formulary, 1885-1927 Page 2 The medical practice of John Hall Page 10 A new Society has been formed, the Historical Medical Equipment Society, which represents the interests of all DIARY DATES those interested in medical instruments and equipment. Membership includes collectors and curators in all fields, Wednesday, 5 March 1997 Foundation Lecture. including pharmacy, medicine and dentistry. The Society Please note change of date from 19 March to 5 March. aims to provide resources to collectors and museums, and to 18 April 1997 to 20 April 1997. promote the study of the history of medical artifacts to the Spring Conference. Bournemouth. present day. The Chairman is Mr John Kirkup, FRCS, and Friday.After Dinner. "Some Dorset apothecaries and the first meeting is planned for early 1997. Contact the pharmacists" by John Hunt. Secretary, Dr David Warren, PO Box 85, Portsmouth, P06 Saturday. 9.30 a.m. "History of Pharmacy Education" 2BB for further information. by Dr M. Earles. 10.15 a.m. "The 1851 Great Exhibition" Members' Activities. by A. Morson. 11.30 a.m. "The Shop" Bill Jackson has been awarded the degree of MSc by by Mrs E. Lucas Smith research for a thesis entitled "The Invention of the Stomach Afternoon - At leisure. Pump and its Development in the Nineteenth century". After Sunday. 9.30 a.m. -
A Freer Stela Reconsidered / Stanley K
SMITHSONIAN INSTITUTION WASHINGTON, D.C. A Freer Stela Reconsidered A Freer Stela Reconsidered Stanley K. Abe Occasional Papers 2002/voL 3 FREER GALLERY OF ART ARTHUR M. SACKLER GALLERY SMITHSONIAN INSTITUTION WA S H I N G T N , D . C . „; '>ii'^.^"'j:'s;f tvf l-'i; —— © 2002 Smithsonian Institution Funding for this publication was provided All rights reserved by the Freer and Sackler Galleries' Publications Endowment Fund, initially Aimed at the specialist audience, the established with a grant from the Andrew Occasional Papers series represents important W. Mellon Foundation and generous new contributions and interpretations by contributions from private donors. international scholars that advance art histor- ical and conservation research. Published by Board ofthe Freer and Sackler Galleries the Freer Gallery of Art and the Anhur M. Mrs. Hart Fessenden, Chair ofthe Board Sackler Gallery, Smithsonian Institution, the Mr. Richard Danziger, Vice Chair ofthe Board series is a revival of the original Freer Gallery of Art Occasional Papers. Contributions, Dr. Siddharth K. Bhansali including monographic studies, translations, Mr. Jeffrey Cunard scientific studies of of art span the and works Mrs. Mary Patricia Wilkie Ebrahimi broad range of Asian art. Each publication Mr. George Fan its emphasis of art draws primary from works Dr. Robert Feinberg in the Freer and Sackler collections. Dr. Kurt Gitter Mrs. Margaret Haldeman Edited by Gail Spilsbury Mrs. Richard Helms Designed by Denise Arnot Sir Joseph Hotung Typeset in Garamond and Meta Mrs. Ann Kinney Printed by Weadon Printing & Mr. H. Christopher Luce Communications, Alexandria, Virginia Mrs. Jill Hornor Ma Mr. Paul Marks Cover and frontispiece: Details, stela, Ms. -
Handbook on Judaica Provenance Research: Ceremonial Objects
Looted Art and Jewish Cultural Property Initiative Salo Baron and members of the Synagogue Council of America depositing Torah scrolls in a grave at Beth El Cemetery, Paramus, New Jersey, 13 January 1952. Photograph by Fred Stein, collection of the American Jewish Historical Society, New York, USA. HANDBOOK ON JUDAICA PROVENANCE RESEARCH: CEREMONIAL OBJECTS By Julie-Marthe Cohen, Felicitas Heimann-Jelinek, and Ruth Jolanda Weinberger ©Conference on Jewish Material Claims Against Germany, 2018 Table of Contents Foreword, Wesley A. Fisher page 4 Disclaimer page 7 Preface page 8 PART 1 – Historical Overview 1.1 Pre-War Judaica and Jewish Museum Collections: An Overview page 12 1.2 Nazi Agencies Engaged in the Looting of Material Culture page 16 1.3 The Looting of Judaica: Museum Collections, Community Collections, page 28 and Private Collections - An Overview 1.4 The Dispersion of Jewish Ceremonial Objects in the West: Jewish Cultural Reconstruction page 43 1.5 The Dispersion of Jewish Ceremonial Objects in the East: The Soviet Trophy Brigades and Nationalizations in the East after World War II page 61 PART 2 – Judaica Objects 2.1 On the Definition of Judaica Objects page 77 2.2 Identification of Judaica Objects page 78 2.2.1 Inscriptions page 78 2.2.1.1 Names of Individuals page 78 2.2.1.2 Names of Communities and Towns page 79 2.2.1.3 Dates page 80 2.2.1.4 Crests page 80 2.2.2 Sizes page 81 2.2.3 Materials page 81 2.2.3.1 Textiles page 81 2.2.3.2 Metal page 82 2.2.3.3 Wood page 83 2.2.3.4 Paper page 83 2.2.3.5 Other page 83 2.2.4 Styles -
Knife Sharpening
Knife Edge Sharpening & Honing Having a Razor Sharp Edge on Every Knife is the ESSENTIAL First Step for any Leather Crafting. Sharpening = Creating a Beveled Edge Honing = Polishing and Keeping the Edge Sharp Different Blade Angles and Types of Knife Edge for different purposes. These angles are “approximate” and can vary according to the individual preference. This is an End View of 3 Basic Blade Edge Angles that are used for different types of tools. NOTE: A Dull Knife Blade is Very Dangerous and Makes the Task of Cutting Leather Extremely Difficult. Skiving Leather with a Dull Knife is NOT Possible Demonstration Photos: Ceramic “Double Stuff” Sharpening and Honing Stone by Spyderco 45 degrees 22 degrees 11 degrees Step 2. White Side for Honing / Polishing Wide Angle Medium Angle Narrow Angle Splitting Slicing Shaving Step 1. Dark Side for separating, like an axe cutting things apart, like cutting or shaving for all Sharpening for splitting firewood... a kitchen knife... leather projects... Side Views - Positioning the Knife Blade Edge on the Sharpening Stone Perfect Too High Too Flat Angle 11 degree Angle of Blade Edge of Blade NOT Edge of Blade Angle Too Steep Touching Stone Touching Stone Angle of Blade Too Steep Angle of Blade Too Low Angle of Blade is Perfect This will make the edge Blade is Flat on the sharpening 11 degrees with the cutting angle too broad. stone and the cutting edge edge of the knife touching the does not touch the stone. stone all the way across. Be Sure to: Flip the Knife Over to Perfect Angle = 11 degrees Sharpen Both Sides of the Blade. -
Experiments on Knife Sharpening
Experiments on Knife Sharpening John D. Verhoeven Emeritus Professor Department of Materials Science and Engineering Iowa State University Ames, IA September 2004 page 2 [1] Introduction page 8 [2] Experiments with Tru Hone knife sharpening machine page 12 [3] Experiments with steels page 18 [4] Hand Sharpening with flat stones and leather strops page 25 [5] Experiments with the Tormek machine page 32 [6] Buffing wheel experiments page 37 [7] Experiments with carbon steels page 40 [8] Experiments with diamond polishing compound page 43 [9] Summary and Conclusions page 46 References page 47 Appendix 1 Edge angle measurements with a laser pointer page 48 Appendix 2 The Tormek sharpening machine page 53 Appendix 3 The Tru Hone sharpening machine Note: This work was supported by the Departments of Materials Science and Engineering and Mechanical Engineering at ISU by providing the author with laboratory space, machine shop service and use of the scanning electron microscope. [1] Introduction This report presents the results of a series of tests done on various aspects of knife sharpening. It is divided into sections devoted to each aspect. Each section terminates with a set of conclusions and a Summary of these conclusions is presented at the end of the report. This work has concentrated on evaluating the effectiveness of various knife sharpening techniques by examining the sharpened edges of the knives in a scanning electron microscope, SEM. Much can be learned by examination of a sharpened knife edge with a magnifying glass or an optical microscope, particularly the binocular microscope. However, the optical microscope suffers from a severe limitation.