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The Targeting of Dr. Stella Immanuel
By Celia Farber
https://stateofthenation.co/?p=22829
Her "talk" in Washington DC, is now the gauntlet in what many are calling the last battle."
"And I hug them, and I tell them, "it's going to be okay. You're going to live."
Dr. Stella Immanuel
Opinion by Celia Farber
Her talk in Washington DC, is now the gauntlet in what many are calling the last battle.
We all sent it to each other, through phones, emails, texts. "Have you seen this?"
I remember where I was, exactly. I saw it on JB Handley's twitter feed, and he called her his new hero. She was one of 10 MD's calling themselves "America's Frontline Doctors", who stood up like Charter 77 in Communist Czechoslovakia, put their entire careers on the line and spoke the whole truth as they know it, about Covid-19. One of them, in particular, became a global sensation.
She stood straight; head slightly tilted as though listening. She seemed to have no fear, no shame, she had a clear message, and she took her time.
"Hello, I'm Dr. Stella Immanuel. I'm a primary care physician in Houston, Texas. I actually went to medical school in West Africa, Nigeria, where I took care of malaria patients, treated them with hydroxychloroquine and stuff like that. So, I'm actually used to these medications. I'm here because I have personally treated over 350 patients with COVID. Patients that have diabetes, patients that have high blood pressure, patients that have asthma, old people ... I think my oldest patient is 92 ... 87-year old's. And the result has been the same. I put them on hydroxychloroquine, I put them on zinc, I put them on Zithromax, and they're all well.
For the past few months, after taking care of over 350 patients, we've not lost one."
She was like a bolt of lightning splitting an old dead tree. We were dying, from lack of any words of hope spoken over us. And this was precisely the surprising feeling, that came over me as I listened to her: I felt hope.
And a voice carried a message from and to my own soul that I felt I should keep secret, but I confess it here. When I heard Dr. Stella Immanuel speak those words, ("...you're going to live...") the voice said: "She's a Christian."
All-day, every day, the Adversary has the mic, the floor, his hands around our throats- Now for the first time in ages, an actual Christian was speaking. And millions listened.
People may not have understood what it was that so affected them, made them, at least for a time, step out of chains of fear. But they listened to her with rapt attention and shared her video like wildfire.
"Not a diabetic," she said, "not a somebody with high blood pressure, not somebody who [with] asthma, not an old person. We've not lost one patient. And on top of that, I've put myself, my staff, and many doctors that I know on hydroxychloroquine for prevention because by the very mechanism of action, it works early and as a prophylaxis. We see patients, 10 to 15 COVID patients, every day. We give them breathing treatments. We only wear surgical masks. None of us has gotten sick. It works. So right now, I came here to Washington DC to say, America, nobody needs to die."
It was like a comforting parent in the sickroom of your childhood, telling you were going to be alright. That meant you were going to be alright. As Christians stress: "The power of life and death is in the tongue."
This sentence, of Dr. Immanuel's, is extremely important. "Nobody needs to die." A digression, hopefully short:
Deja Vu All Over Again
In a previous battle that raged about 23 years, the HIV wars, between NIH/Pharma/WHO/Gates/Fauci et al on the one side, and individual, incorruptible, classical scientists (like Peter Duesberg, Kary Mullis, Lynn Margulis, Etienne de Harven, and hundreds more)-I was a war reporter. I came home missing limbs, with C-PTSD, disassociation, etc. from the vicious relentless abuse, murder attempts, and sheer total insanity at every level. I'm so glad it happened.
I got a PhD in the real war, the only war: LIFE V DEATH.
Real biology vs. Biology harnessed by Globalist banking interests. These "viruses" create para-economic systems, throwing all of humanity into debt-based consciousness. You are in debt to them, while healthy, while your life is hedged, or mortgaged. Fear is the driver of this weaponized paranormal virology, and this being so, I began some 10 years ago to see what it actually was, namely a battle between Good and Evil. (I'm sorry "science" friends-you know this is where we change trains.)
That line: "You don't have to die-" that was our line, and we were despised and attacked like you cannot imagine. The "HIV deniers," as they called us. I must be careful because this is a digression I could veer off on and never come back. I told you: A 23-year war. And they ‘won,' so the war came back in a new form, the one over the whole world now. Its name is COVID-19.
They (the globalists) hated when we de-fanged their "deadly virus" (which was neither) and told people not to be afraid, that they did not have to die. Their heads all but spun around. They told us we were "murderously irresponsible" and were killing masses of people, in Africa especially, with our dangerous ideas. We were attacked, fired, de-funded, de-platformed, bullied, threatened, surveilled and even in some cases killed. A persecuted ideological minority, opposing "fake" (un-proven and alien) virology, which is really dark economic warfare.
Fear, like Propaganda, (they are in a sense the same) must never pause, must be relentless.
Dr. Immanuel, from Cameroon, where 3/4 of the population are Christian, continued:
"I'm upset. Why I'm upset is that I see people that cannot breathe. I see parents walk in, I see diabetics sit in my office knowing that this is a death sentence and they can't breathe. And I hug them, and I tell them, "It's going to be okay. You're going to live." And we treat them and they leave. None has died. So, if some fake science, some person sponsored by all these fake pharma companies comes out say, "We've done studies and they found out that it doesn't work." I can tell you categorically it's fake science. I want to know who is sponsoring that study. I want to know who is behind it because there is no way I can treat 350 patients and counting, and nobody is dead and they all did better.
I know you're going to tell me that you treated 20 people, 40 people, and it didn't work. I'm a true testimony. So, I came here to Washington DC to tell America nobody needs to get sick. This virus has a cure. It is called hydroxychloroquine, zinc, and Zithromax."
The media's Modus Operandi is to scare people, even to the point of death. Elias Canetti, in Crowds and Power, said that people do this in order to deflect their own fear of death. He wrote:
"The deception is complete. It is the deception of all leaders. They pretend that they will be the first to die, but, in reality, they send their people to death, so that they themselves may stay alive longer. The trick is always the same. The leader wants to survive, for with each survival he grows stronger. If he has enemies, so much the better; he survives them. If not, he has his own people. In any event he uses both, whether successively or together. Enemies he can use openly; that is why he has enemies. His own people must be used secretly."
This is, by the way, to my mind, the book that best catalogs this age: Crowds and Power, by Elias Canetti, [Masse Und Macht] published in 1960. Because this is the age of The Crowd.
Who killed Christ?
The Romans, say some. The Jews say others. Both wrong is my thought: It was the crowd.
Canetti got inside these "beings" (different types and formations of crowds) and spoke their needs and intentions-translated them: "Baiting crowds," "flight crowds," "prohibition crowds," "reversal crowds," "feast crowds," were just a few he cataloged. Also "packs," like Hunting packs, increase packs, lamenting packs, and more. The crowd, he explained, wants to grow. Inside the crowd, there is liberation for the individual. Individual responsibility is dissolved. Hence: Crowds are extremely dangerous.
Canetti, Bulgarian born, began work on Crowds and Power in Weimar Germany.
My sense of hope escalated when Dr. Immanuel took a few sacred cows on:
"And let me tell you something, all you fake doctors out there that tell me, "Yeah. I want a double-blinded study." I just tell you, quit sounding like a computer, double-blinded, double-blinded. I don't know whether your chips are malfunctioning, but I'm a real doctor. I have radiologists, we have plastic surgeons, we have neurosurgeons, like Sanjay Gupta saying, "Yeah, it doesn't work, and it causes heart disease." Let me ask you Dr. Sanjay Gupta. Hear me. Have you ever seen a COVID patient? Have you ever treated anybody with hydroxychloroquine and they died from heart disease? When you do, come and talk to me because I sit down in my clinic every day and I see these patients walk in every day scared to death. I see people driving two, three hours to my clinic because some ER doctor is scared of the Texas board or they're scared of something, and they will not prescribe medication to these people."
Then came the important rebuke, the thing that needs to be said that nobody says:
"I tell all of you doctors that are sitting down and watching Americans die. You're like the good Nazi ... the good one, the good Germans that watched Jews get killed and you did not speak up. If they come after me, they threaten me. They've threatened to ... I mean, I've gotten all kinds of threats. Or they're going to report me to the boards. I say, you know what? I don't care. I'm not going to let Americans die. And if this is the hill where I get nailed on, I will get nailed on it. I don't care. You can report me to the boards, you can kill me, you can do whatever, but I'm not going to let Americans die.
And today I'm here to say it, that America, there is a cure for COVID....And it is time for the grassroots to wake up and say, "No, we're not going to take this any longer. We're not going to die."
You all know what happened next: Down came what Hunter S. Thompson called "the million-pound shithammer."
Like when Joe Louis knocked out Max Schmeling 2 mins and 4 seconds into their second fight in 1938, and Adolf Hitler simply cut OFF all German radio transmissions...
YouTube, Facebook, terminated the videos, calling it dangerous and false. The doctors' website was even removed by Squarespace. Dr. James Todaro, one of the 10, whose work we quoted earlier in our article about Lancetgate, shared the cancel message on Twitter. Squarespace wrote:
"Hi there,
We have determined that you are currently in violation of Section 3.1 of our Acceptable Use Policy regarding activity that's false, fraudulent, inaccurate, or deceiving. Pursuant to this finding, we have suspended your site...Please note that we reserve the right to suspend your Account or Your Sites at any time and for any reason and to enforce our Acceptable Use Policy in our sole discretion. Thank you [wait for it] for your understanding." [Italics mine]
10 medical doctors giving their summations of a medical treatment most countries offer over the counter, with a 65-year safety record, stopping deaths, while the official protocol is admitted being largely a conveyor belt of death.
The flying monkeys were quickly dispatched to descend on Dr. Immanuel. CNN peddled the idea that the doctors were no real doctors at all. But the honor of the kill went to Will Sommer of The Daily (wait for it) Beast, whose concealed colonialism/racism was on display, as he conflated Dr. Immanuel's religious beliefs with clinical insanity. He published this.
With a few hours, Dr. Immanuel was " Trump's Demon sperm doc," and we were off to the races. But she fought back like iron forged in fire. "To be honest, I love the battle," she tweeted, with an emoji of herself as a triumphant boxer, and with gentle humor offering to cast demons out of Will Sommer. Getting more serious, she said in a follow-up video, which has now been removed for "breaking the Twitter Rules": "If you've taken HCQ and you've been cured, it's time for you to speak up. We've put our lives on the line." She asked people to tell their stories in short videos or tweets with the hashtag #HCQWorks. Many appeared, from all corners of the world like this one and this one.
Likely, if it is not already, our moral guardians will forbid these tweets too. Can people leave messages under rocks in the woods telling each other how they cured themselves of "Covid-19?"
How detestable is censorship? How revealing, too.
Until I had to fight hand to hand combat with the demonic dimension, I didn't understand it either. But now I do.
As a Christian with only about 5 years of practice, having come through the field of Demonic Medicine, I understand what Dr. Immanuel is saying. Not only that, I feel that only a powerful, ideally African, but Christian voice such as hers would also have put a dent in this bondage.
What people don't understand about Christianity is this: It is a faith that recognizes fear as the coin and currency of its enemy, Satan. Christians pray for one another to dispel fear, for God did not give us a spirit of fear, and this is virtually the whole of the faith. The sine qua non.
2 Timothy 1:7. "For God has not given us a spirit of fear, but of power and of love and of a sound mind."
1 John 4:18 "there is no fear in love."
Psalm 27:1 "The Lord is my light and my salvation; whom shall I fear? The Lord is the stronghold of my life; of whom shall I be afraid?"
We are on a seesaw; we refer to the "left" and the "right."
There is a force seeking to enslave us, and another seeking to liberate us. I see the opposing forces as Globalism (Communism) V. Christianity.
I believe "they" despise and fear nothing so much as the Christian voice. Nothing else more so utterly holds their demise and undoing, and they know it. The Christian perspective is non-materialistic, and that translates also to matters of the body. It's not a game, for Christians, to eke out every last minute of time on the life clock, but rather, to serve God's will in the time we are here, and not fear death, since we believe Christ came so that we might live.
"The thief cometh not, but for to steal, and to kill, and to destroy; I am come that they might have life, and that they might have it more abundantly."
The racism was not surprising to me-I saw it for years, leveled against particularly Africans, who had any reservations at all against Western drug regimens for HIV.
Soon we read that Dr. Immanuel "operates a medical clinic out of a strip mall next to her Church, Firepower Ministries."
Friends of mine, on many sides, wrote in dismay over Dr. Immanuel's "crazy" notions. I thought to myself: "Well, when are we having the conversation about demons?"
I listened to some of her sermons last night. One of them, I wrote down word for word what she said. An immigrant from Cameroon, a woman-her words more than any I have heard, seemed to strike at the root and not the branches:
"This disease pandemic," she said, "it's bigger than Gilead it's bigger than Democrats and Republicans. It is a diabolic spiritual battle. Sometimes you have to fight spiritual battles spiritually. It is run and lead by people who really don't have the good of humanity in mind. They say a house divided cannot stand. Part of the reason they have been so successful is because we as humanity, our house is divided, or divided in groups. It's not just a physical battle it's also spiritual. Why do I say that? The fear that has been released is bigger than the disease. There's also what I would call a veil of darkness over the minds of people. That you can tell somebody something and they listen to you but somehow it just doesn't sink in. It's like there's a veil over their minds. Sometimes I feel like there's a bewitchment over the minds of people I pray that that bewitchment will be broken over America. We need to speak good about this country. A lot of us Americans have cursed the nation. We speak bad over the nation. We need to start speaking good that "we're going to be OK" that "we're gonna do well," "America's going to live! We're not gonna die! Just use your mouth the power of life and death is in your tongue. There's no need to fear. This disease has a cure. Let it really sink in your head that this disease has a cure and it has a prevention. We're going to be OK. You got to believe that and speak that over your family. And if I can pray, is that OK?"
Celia Farber is half Swedish, raised there, so she knows "socialism" from the inside. She has focused her writings on freedom and tyranny, with an early focus on the pharmaceutical industry and media abuses on human liberties. She has been under ferocious attack for her writings on HIV/AIDS, where she has worked to document the topic as a psychological operation, and rooted in fake science. She is a contributor to UncoverDC and The Epoch Times, and has in the past written for Harper's, Esquire, Rolling Stone and more. Having been gravely injured in legacy media, she never wants to go back. She is the recipient of the Semmelweis International Society Clean Hands Award For Investigative Journalism, and was under such attack for her work, she briefly sought protection from the FBI and NYPD.
Twitter: @CeliaFarber
Web: www.truthbarrier.com
FB: Celia Ingrid Farber
https://uncoverdc.com/2020/07/30/the-targeting-of-dr-stella-immanuel/
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Talk, FEATURED
Tenmou the force behind Startups
BANKING, ECONOMY, FEATURED, NEWS
Interior Minister meets key EU officials
Bahrain Talk
Brussels, Feb. 1. (BNA) – Interior Minister Lieutenant-General Shaikh Rashid bin Abdulla Al Khalifa, who is currently on an official visit to friendly Belgium, met here today the European Union (EU)’s Special Representative for Human Rights Stavros Lambrinidis. Shaikh Rashid informed the EU representative about the Interior Ministry’s efforts to consolidate human rights and provide
Brussels, Feb. 1. (BNA) – Interior Minister Lieutenant-General Shaikh Rashid bin Abdulla Al Khalifa, who is currently on an official visit to friendly Belgium, met here today the European Union (EU)’s Special Representative for Human Rights Stavros Lambrinidis.
Shaikh Rashid informed the EU representative about the Interior Ministry’s efforts to consolidate human rights and provide all kinds of protection for them, stressing the civilised approach based on human rights respect adopted in addressing all issues, which, he said, was reflected in the Government of Bahrain’s way of dealing with the recommendations of the Bahrain Independent Commission of Inquiry (BICI).
The Interior Ministry has gone beyond mere implementation of the recommendations, but has incorporated them within a comprehensive development strategy which it is currently implementing according to clear goals and programmes, explaining that an independent Ombudsman office was established, tight guarantors for arrest and detention procedures have been put in place and intensive training of security personnel was launched, with 5469 persons trained in 2012 and 2013.
He added that citizens from all governorates had joined the Community Police, investigation and detention centres were provided audio-visual recording equipment, norms governing the use of force and weapons, a Police Code of Conduct and an accountability system were devised and the International Committee of the Red Cross (ICRC) and the Commission of the Rights of Prisoners and Detainees have been granted the right to inspect prisons independently.
He also said that a number of plans and programmes to promote human rights principles had been launched, in cooperation with international experts, a Special Investigation Unit (SIU) had been set up at the Public Prosecution to investigate into cases of ill-treatment and a National Fund for the Reparation of Victims had been established.
He pointed out that the National Dialogue in Bahrain aims to reach a “consensual” solution that satisfies all parties, emphasising that His Majesty King Hamad bin Isa Al Khalifa’s initiative to resume it proves the seriousness of the Royal Reform Project.
He called upon all parties to agree on the agenda of the National Dialogue so that it will be effective and help achieve public interests.
EU’s Special Representative for Human Rights Stavros Lambrinidis lauded the initiative launched to resume the National Dialogue among all parties, and asserted that it would consolidate security and stability in the kingdom, expressing EU’s readiness to support Bahrain’s efforts to promote human rights through its expertise in this regard.
He also hailed the establishment of the Office of the Ombudsman, stressing the importance of its independence and effective role.
“Violence, including that which happens during protests, must stop,” he said, adding that the “European Union is for long-term reform and national reconciliation.”
Other issues of mutual concern and the need to continue joint coordination were also spotlighted.
The Interior Minister also met here the Secretary-General of the European External Action Service, and Deputy High Representative of the Union for Foreign Affairs & Security Policy Mr. Pierre Vimont.
He welcomed the Minister and conveyed the best wishes of High Representative of the Union for Foreign Affairs & Security Policy Catherine Ashton and stressed the importance of direct communication to exchange information and reinforce friendly ties between Bahrain and the European Union, welcoming the Royal initiative to continue the National Dialogue by all groups for the best interests of Bahrain and those in the region.
Shaikh Rashid said that the Ministry of Interior has dealt with various situations from the beginning of regretful incidents in 2011 through many reforms and initiatives, including the implementation of the BICI recommendations, affirming that the dialogue will continue and won’t stop despite the hesitation of some groups.
He added that the leadership believes in the importance of the dialogue and reform and stressed that the Interior Ministry is working to create the best environment for the success of the dialogue.
The implications of situations in Syria and their effect on regional and international security were also discussed.
Bilateral relations between Bahrain and the European Union, including coordination and cooperation through exchange of expertise and information were also discussed, in addition to topics related to regional security and stability.
The Bahrain Ambassador in Belgium and an accompanying delegation attended the meetings.
The Kingdom’s Ambassador to Belgium and members of the Interior Minister’s accompanying delegation attended the meetings.
It is to be noted that Interior Minister arrived to Brussels from Washington following an official visit to the United States, where he held a series of meetings with a number of officials from the State Department, the Congress, the Pentagon, the FBI and CIA.
Visiting HAWAR International School
FEATURED, NEWS, SOCIAL
Shaikh Ebrahim Bin Mohammed Al-Khalifa Centre for Culture and Research
FORTS & OLD HOUSES
Azizia Bird Kingdom
Oil Wells – Sakheer:
Sheikh Isa Bin Ali House
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In Uganda there is a small rainforest under pressure near Kampala. The Mukono area is around 1600 hectares. Our own company, Mabira Forest lodge has been developed in this rainforest. The resort can accommodate 50 guests. It has a restaurant and a small swimming pool overlooking the pristine nature. We have targeted a growing group of travellers, tourists, and businessmen and women. People with a conscience who want to enjoy the full potential of a tropical destination without having a negative impact on the people and the planet. This has worked; the lodge still welcomes many tourists every year.
The community in Mukono consists of around 25.000 people. It is a mix of different tribes. They live from agriculture, handicrafts, tree felling and entrepreneurship. Mabira Forest Lodge became also a flywheel for ecological, early circular, social and economic development in the region. It was the driver of transformation to a new economy. We built a new ecosystem in cooperation with many different stakeholders. This was based on a shared vision for the area, our common ground.
The flywheel for integrated transformation became a model we called ‘COOLRegion’. We developed this with Wageningen UR in NL, Forest Trends USA, Ashoka and Kampala University in Uganda. The World Bank noticed the progress we had made in Uganda and invited us to present the lodge and COOLRegion in Washington DC.
Country Estate Landgoed Groot Marienbosch, 823 hectares, is situated in Commewijne, 30 minutes from Paramaribo, Surinam. It is an old cacao, orange plantation with a traditional country house, which was built in 1749. Many animals can be found on the plantation, like monkeys, special birds and many butterflies’. On this country estate sustainable tourism, wellness is combined with ” green” development. Agriculture that is suitable on the partly salty ground of the country estate. University of Wageningen but also islands like Texel in the Netherlands have experience in growing “green” on salty ground. Large-scale forestry is not possible. 100%Zomer was the entrepreneur; co-founder, co-owner and statutory director.
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100% Zomer has prepared many integrated sustainable business plans and feasibility studies. For start-up and scale-up businesses in upcoming markets, such as Malawi and Uganda but also Cabo Verde. In which eco, social and financial values were embedded at the same time. A large African company often founded these businesses. Other clients were start-ups for example from migrants that wanted to develop a business in their home country. Below you can find a selection of the projects done by 100% Zomer.
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You exalt my horn like that of a wild ox. 1 I am covered 2 with fresh oil.
You have exalted my horn like that of a wild ox; fine oils have been poured upon me.
But You have exalted my horn like that of the wild ox; I have been anointed with fresh oil.
But you have made me as strong as a wild bull. How refreshed I am by your power!
But you've made me strong as a charging bison, you've honored me with a festive parade.
But my horn is lifted up like the horn of the ox: the best oil is flowing on my head.
But you have exalted my horn like that of the wild ox; you have poured over me fresh oil.
But my horn You have exalted like a wild ox; I have been anointed with fresh oil.
But my horn
shalt thou exalt
<07311> (8686)
like [the horn of] an unicorn
<07214>_:
I shall be anointed
with fresh
But You have exalted
my horn
like that of the wild
; I have been anointed
Nner
Nmsb
ytlb
ynrq
Myark
Mrtw
<92:11>
(91:11) kai
uqwyhsetai
V-FPI-3S
monokerwtov {N-GSM} to
kerav
P-GS
ghrav
elaiw
N-DSN
pioni {A-DSN}
You exalt
like that of a wild ox
. I am covered
1 sn The horn of the wild ox is frequently a metaphor for military strength; the idiom “to exalt/lift up the horn” signifies military victory (see 1 Sam 2:10; Pss 75:10; 89:24; Lam 2:17).
2 tn The Hebrew verb בָּלַל (balal) usually has the nuance “to mix.” Here it seems to mean “to smear” or “to anoint.” Some emend the form to בַּלֹּתַנִי (ballotaniy; a second person form of the verb with a first person suffix) and read, “you anoint me.”
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 ALL 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
TIP #09: Tell your friends ... become a ministry partner ... use the NET Bible on your site. [ALL]
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Home / Rink Geeks / Hockey / NHL / NHLWC / NHL Central Division / Chicago Blackhawks / The Blackhawks Backhand
The Blackhawks Backhand
By Gabriella Garcia
A lot of news this week! Patrick Kane was named third star for the month of December. This is the second consecutive month Kane has been included in the honor, he was named first star in the month of November. During December, he tallied 19 points with nine goals and 10 assists. Kane was honored by the Blackhawks on Sunday with a pregame ceremony at the United Center for his point-streak. He also appears to be a frontrunner for the Hart Trophy, which is an award given annually to the “player judged most valuable to his team.” Kane was also chosen as the Central Division All-Star captain by the fans and he’ll be joined by his teammate in the All-Star game.
Jonathan Toews will join Kane in the All-Star Game on January 31st in Nashville. This will be the fourth time Kane and Toews appear in the event together. They also went as teammates in 2009, 2011, and 2015. Kane did go without Toews in 2012.
Most people think Corey Crawford was snubbed for the All-Star game, but he did make his 300th NHL game memorable. On Sunday, he appeared in his 300th game and he made 26 saves to record his league-leading sixth shutout. Crawford is the first Blackhawks goalie to post six or more shutouts in a season since Antti Niemi had seven in the 2009-2010 season. “It’s been fun the last five years in here,” Crawford said. “It’s been awesome to play in Chicago. It’s gone by so fast, though. Every year the goal is to be predictable, consistent and give your team confidence going into games, knowing what they’re going to get. That’s definitely an important thing for a goaltender.”
Forward Jeremy Morin was traded to the Toronto Maple Leafs in exchange for 24-year-old forward Richard Panik. Morin, who was once one of the Blackhawks’ top prospects, requested a trade last season after falling out of favor with Joel Quenneville and registering zero points in 15 games. The team sent him to Columbus on December 14th, 2014, only to reacquire him in the Brandon Saad trade over the summer. Morin had nine goals and 13 assists in 28 games with the Rockford IceHogs of the AHL this season, and had eight goals and eight assists in 54 career games with the Blackhawks over five seasons. Panik has nine goals and 16 assists in 33 games with the AHL’s Toronto Marlies this season, but has 19 goals and 20 assists in 151 NHL games with the Maple Leafs.
Chicago BlackhawksFeatureHockeyJonathan ToewsNHLPatrick Kane
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About Gabriella Garcia
Just a girl, obsessed with sports. Illinois Media School graduate. Aspiring sportscaster who loves writing.
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Home / Ring Geeks / Boxing / Uppercuts & Count Outs
Uppercuts & Count Outs
By Josh Watford
Boxing misses Mike Tyson. During his prime, fans loved watching him enter the ring and lay waste to his opponents. He would often flatten them in the first round like a crazed beast. Tyson was electrifying. He was a very troubled man outside of the ring, and that aspect of Mike Tyson’s life is well documented, but from a pure boxing standpoint he was an icon. Ever since Tyson hung his gloves up, fans of the heavyweight division have been looking for the next spectacular KO artist — the next “Iron Mike.”
The wait may be over …
Anthony Joshua is looking more and more like the next big thing in the heavyweight division. Not only is he 15-0, he is 15-0 with all 15 wins coming by way of KO. Guess who else started his career 15-0 with 15 KO’s… Mike Tyson.
Joshua isn’t drawing comparisons to Tyson just because he is knocking his opponents out. He’s drawing comparisons to Tyson because he’s knocking his opponents out quickly, easily, and in impressive fashion — just like Tyson used to.
Here’s a quick comparison between the early careers of each fighter:
Joshua’s First 10 Fights
Total time elapsed: 2,218 seconds
Average match length: 3.69 minutes
Average time of KO per fight: 41.4 seconds into the second round.
Tyson’s First 10 Fights
Average time of KO per fight: 7.5 seconds into the second round.
These numbers reveal that Joshua prefers to finish his opponents early in fights, much like Tyson did.
Joshua, like Tyson in his prime, physically looks like a heavyweight superstar. He may even look the part more so than Tyson did. Tyson’s physique was intimidating, not many would argue against that. The guy was pure muscle. But Tyson was less than six feet tall. He had to get inside to unleash his power. Joshua doesn’t have that problem. He’s 6’6” and weighs around 235 pounds. Plus, he is every bit as muscular and ripped as Tyson ever was. Opponents who face him have to be at least a little intimidated by his stature alone (if not very intimidated), which gives him a bit of a psychological edge in most of his fights.
Not only does Joshua have the physical tools to be great, he has the boxing ability too. He had a stellar amateur career that culminated with an Olympic Gold Medal in 2012, and he has already beaten a few decent fighters in his young professional career — most notably and recently Dillian Whyte, who was previously unbeaten.
Joshua is only 26 years old, and he has only been boxing since he was 18. That means he has plenty of time, and plenty of room, to improve. The sky is the limit for this young, up-and-coming heavyweight.
Tyson Fury, the current WBO, IBO, The Ring, and WBA heavyweight titleholder, already knows that a date with Anthony Joshua is looming sometime in the future after he defends his title in the mandatory rematch against Klitschko. Fury has been publicly calling Joshua out recently… be careful what you wish for Tyson Fury.
On the way out…
Manny Pacquiao turned 37 years old last month, and he has recently announced that his upcoming fight on April 9th against Timothy Bradley Jr. will be the last time he steps into the ring. The time has finally come for boxing fans to bid farewell to one of the greatest pound-for-pound boxers the sport has ever seen.
Pac-Man’s accomplishments include winning world titles in eight different divisions and winning the lineal championship in four different weight classes. He is the only boxer to ever achieve such feats. He also boasts one of the most impressive resumes in the history of boxing in terms of how many legends he has beaten: Marco Antonio Barrera, Juan Manuel Márquez, Érik Morales, Oscar De La Hoya, Ricky Hatton, Miguel Cotto, and “Sugar” Shane Mosley.
Unfortunately for Pacquiao, the Floyd Mayweather Jr. ordeal left a smudge on Pac-Man’s legacy. In 2010, when both fighters were in their primes, fans wanted to see the two all-time greats square off. Due to contract disputes over blood testing, the fight did not take place that year. Mayweather’s camp basically insinuated that Pacquiao wouldn’t submit to the blood testing requirements that had been outlined due to the fact that Pacquiao was doping. Pacquiao’s reputation was damaged, and the fight between he and Mayweather wouldn’t take place for another five years.
When the fight finally did take place, in May 2015, it was billed as the “Fight of the Century,” but it wound up being more like the “Disappointment of the Century.” Mayweather’s defense was superb (as always), and he defeated Pacquiao by unanimous decision, but many fans were outraged at the manner in which Mayweather won. He seemed to simply avoid Pac-Man throughout the fight, never giving the fans the action that they craved after such a long buildup. To this day, Pacquiao still believes he did enough to win that fight, but the record books say otherwise.
On April 9th Pacquiao will face Timothy Bradley Jr. for the third time. In their first fight, Bradley won a split decision. It was one of the most controversial decisions ever, so a rematch was scheduled. Pacquiao won the rematch by gaining a unanimous decision. The rubber match between Bradley and Pacquiao on April 9th will most likely be a great fight because Bradley is now in his prime as a fighter; meanwhile, Pacquiao definitely wants to end his career on a high note. Pac-Man fans would love to see their hero ride off into the sunset with one more victory under his belt, but Bradley will look to use the opportunity to announce to the world that he is now the gold standard in the welterweight division.
AJAnthony JoshuaboxingCleat GeeksFeatureFloyd Mayweatherheavyweight classIBOIron MikeJ-DubJosh WatfordKnockoutsKOManny PacquiaoMike Tysonrematchrubber matchThe Fan ZoneThe RingTimothy BradleyTyson FuryundefeatedWBAWBCWBOwelterweight class
← Previous Story Women’s Wrestling Wrap-Up
Next Story → 5 Things We Learned From RAW
About Josh Watford
Josh Watford is a sports writer and radio personality based out of Atlanta, GA. He has been passionate about sports ever since he was a young whippersnapper growing up in the small community of Beulah, AL. Josh covers boxing and Atlanta Braves baseball for Cleat Geeks, and he is a radio personality for The Fan Zone (Twitter handle: @thefanzone404). He attended Georgia Gwinnett College and graduated with a Bachelor’s degree in English. Check out his website: joshwatford.com. Follow him on Twitter @JAWatford.
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draft-ietf-pce-wson-rwa-ext-05.txt
Network Working Group Y. Lee, Ed. Network Working Group Y. Lee, Ed.
Internet Draft Huawei Technologies Internet Draft Huawei Technologies
Intended status: Standard R. Casellas, Ed. Intended status: Standard Track R. Casellas, Ed.
Expires: February 2017 Expires: February 2017 CTTC
CTTC
PCEP Extension for WSON Routing and Wavelength Assignment PCEP Extension for WSON Routing and Wavelength Assignment
draft-ietf-pce-wson-rwa-ext-05.txt draft-ietf-pce-wson-rwa-ext-06.txt
This document provides the Path Computation Element communication This document provides the Path Computation Element communication
Protocol (PCEP) extensions for the support of Routing and Wavelength Protocol (PCEP) extensions for the support of Routing and Wavelength
Assignment (RWA) in Wavelength Switched Optical Networks (WSON). Assignment (RWA) in Wavelength Switched Optical Networks (WSON).
Lightpath provisioning in WSONs requires a routing and wavelength Lightpath provisioning in WSONs requires a routing and wavelength
assignment (RWA) process. From a path computation perspective, assignment (RWA) process. From a path computation perspective,
wavelength assignment is the process of determining which wavelength wavelength assignment is the process of determining which wavelength
can be used on each hop of a path and forms an additional routing can be used on each hop of a path and forms an additional routing
skipping to change at page 2, line 7 ¶
Internet-Drafts are draft documents valid for a maximum of six Internet-Drafts are draft documents valid for a maximum of six
months and may be updated, replaced, or obsoleted by other documents months and may be updated, replaced, or obsoleted by other documents
at any time. It is inappropriate to use Internet-Drafts as at any time. It is inappropriate to use Internet-Drafts as
reference material or to cite them other than as "work in progress." reference material or to cite them other than as "work in progress."
The list of current Internet-Drafts can be accessed at The list of current Internet-Drafts can be accessed at
http://www.ietf.org/ietf/1id-abstracts.txt http://www.ietf.org/ietf/1id-abstracts.txt
The list of Internet-Draft Shadow Directories can be accessed at The list of Internet-Draft Shadow Directories can be accessed at
http://www.ietf.org/shadow.html. http://www.ietf.org/shadow.html.
This Internet-Draft will expire on February 15, 2017. This Internet-Draft will expire on February 16, 2017.
Copyright Notice Copyright Notice
Copyright (c) 2015 IETF Trust and the persons identified as the Copyright (c) 2016 IETF Trust and the persons identified as the
document authors. All rights reserved. document authors. All rights reserved.
This document is subject to BCP 78 and the IETF Trust's Legal This document is subject to BCP 78 and the IETF Trust's Legal
Provisions Relating to IETF Documents Provisions Relating to IETF Documents
(http://trustee.ietf.org/license-info) in effect on the date of (http://trustee.ietf.org/license-info) in effect on the date of
publication of this document. Please review these documents publication of this document. Please review these documents
carefully, as they describe your rights and restrictions with carefully, as they describe your rights and restrictions with
respect to this document. Code Components extracted from this respect to this document. Code Components extracted from this
document must include Simplified BSD License text as described in document must include Simplified BSD License text as described in
Section 4.e of the Trust Legal Provisions and are provided without Section 4.e of the Trust Legal Provisions and are provided without
skipping to change at page 2, line 33 ¶
1. Terminology....................................................3 1. Terminology....................................................3
2. Requirements Language..........................................3 2. Requirements Language..........................................3
3. Introduction...................................................3 3. Introduction...................................................3
4. Encoding of a RWA Path Request.................................6 4. Encoding of a RWA Path Request.................................6
4.1. Wavelength Assignment (WA) Object.........................6 4.1. Wavelength Assignment (WA) Object.........................6
4.2. Wavelength Selection TLV..................................8 4.2. Wavelength Selection TLV..................................8
4.3. Wavelength Restriction Constraint TLV.....................8 4.3. Wavelength Restriction Constraint TLV.....................8
4.3.1. Link Identifier Field...............................10 4.3.1. Link Identifier Field...............................11
4.3.2. Wavelength Restriction Field........................12 4.3.2. Wavelength Restriction Field........................12
4.4. Signal processing capability restrictions................13 4.4. Signal processing capability restrictions................13
4.4.1. Signal Processing Exclusion XRO Sub-Object..........14 4.4.1. Signal Processing Exclusion XRO Sub-Object..........14
4.4.2. IRO sub-object: signal processing inclusion.........14 4.4.2. IRO sub-object: signal processing inclusion.........15
5. Encoding of a RWA Path Reply..................................15 5. Encoding of a RWA Path Reply..................................15
5.1. Error Indicator..........................................16 5.1. Error Indicator..........................................16
5.2. NO-PATH Indicator........................................17 5.2. NO-PATH Indicator........................................17
6. Manageability Considerations..................................17 6. Manageability Considerations..................................17
6.1. Control of Function and Policy...........................17 6.1. Control of Function and Policy...........................17
6.2. Information and Data Models, e.g. MIB module.............18 6.2. Information and Data Models, e.g. MIB module.............18
6.3. Liveness Detection and Monitoring........................18 6.3. Liveness Detection and Monitoring........................18
6.4. Verifying Correct Operation..............................18 6.4. Verifying Correct Operation..............................18
6.5. Requirements on Other Protocols and Functional Components18 6.5. Requirements on Other Protocols and Functional Components18
6.6. Impact on Network Operation..............................18 6.6. Impact on Network Operation..............................19
7. Security Considerations.......................................18 7. Security Considerations.......................................19
8. IANA Considerations...........................................19 8. IANA Considerations...........................................19
8.1. New PCEP Object..........................................19 8.1. New PCEP Object..........................................19
8.2. New PCEP TLV: Wavelength Selection TLV...................19 8.2. New PCEP TLV: Wavelength Selection TLV...................20
8.3. New PCEP TLV: Wavelength Restriction Constraint TLV......19 8.3. New PCEP TLV: Wavelength Restriction Constraint TLV......20
8.4. New PCEP TLV: Wavelength Allocation TLV..................20 8.4. New PCEP TLV: Wavelength Allocation TLV..................20
8.5. New PCEP TLV: Optical Interface Class List TLV...........20 8.5. New PCEP TLV: Optical Interface Class List TLV...........21
8.6. New PCEP TLV: Client Signal TLV..........................20 8.6. New PCEP TLV: Client Signal TLV..........................21
8.7. New No-Path Reasons......................................21 8.7. New No-Path Reasons......................................21
8.8. New Error-Types and Error-Values.........................21 8.8. New Error-Types and Error-Values.........................22
9. Acknowledgments...............................................22 9. Acknowledgments...............................................22
10. References...................................................22 10. References...................................................22
10.1. Informative References..................................22 10.1. Informative References..................................22
10.2. Normative References....................................23 10.2. Normative References....................................24
11. Contributors.................................................24 11. Contributors.................................................24
Authors' Addresses...............................................25 Authors' Addresses...............................................25
1. Terminology 1. Terminology
This document uses the terminology defined in [RFC4655], and This document uses the terminology defined in [RFC4655], and
[RFC5440]. [RFC5440].
2. Requirements Language 2. Requirements Language
The PCE communications Protocol (PCEP) is the communication protocol The PCE communications Protocol (PCEP) is the communication protocol
used between a PCC and a PCE, and may also be used between used between a PCC and a PCE, and may also be used between
cooperating PCEs. [RFC4657] sets out the common protocol cooperating PCEs. [RFC4657] sets out the common protocol
requirements for PCEP. Additional application-specific requirements requirements for PCEP. Additional application-specific requirements
for PCEP are deferred to separate documents. for PCEP are deferred to separate documents.
This document provides the PCEP extensions for the support of This document provides the PCEP extensions for the support of
Routing and Wavelength Assignment (RWA) in Wavelength Switched Routing and Wavelength Assignment (RWA) in Wavelength Switched
Optical Networks (WSON) based on the requirements specified in Optical Networks (WSON) based on the requirements specified in
[RFC7449]. [RFC6163] and [RFC7449].
WSON refers to WDM based optical networks in which switching is WSON refers to WDM based optical networks in which switching is
performed selectively based on the wavelength of an optical signal. performed selectively based on the wavelength of an optical signal.
In this document, it is assumed that wavelength converters require WSONs can be transparent or translucent. A transparent optical
electrical signal regeneration. Consequently, WSONs can be network is made up of optical devices that can switch but not
transparent (A transparent optical network is made up of optical convert from one wavelength to another, all within the optical
devices that can switch but not convert from one wavelength to domain. On the other hand, translucent networks include 3R
another, all within the optical domain) or translucent (3R regenerators that are sparsely placed. In this document, only
regenerators are sparsely placed in the network). wavelength converters that require electrical signal regeneration
are considered.
A LSC Label Switched Path (LSP) may span one or several transparent A Lambda Switch Capable (LSC) Label Switched Path (LSP) may span one
segments, which are delimited by 3R regenerators (typically with or several transparent segments, which are delimited by 3R
electronic regenerator and optional wavelength conversion). Each regenerators (typically with electronic regenerator and optional
transparent segment or path in WSON is referred to as an optical wavelength conversion). Each transparent segment or path in WSON is
path. An optical path may span multiple fiber links and the path referred to as an optical path. An optical path may span multiple
should be assigned the same wavelength for each link. In such case, fiber links and the path should be assigned the same wavelength for
the optical path is said to satisfy the wavelength-continuity each link. In such case, the optical path is said to satisfy the
constraint. Figure 1 illustrates the relationship between a LSC LSP wavelength-continuity constraint. Figure 1 illustrates the
and transparent segments (optical paths). relationship between a LSC LSP and transparent segments (optical
paths).
+---+ +-----+ +-----+ +-----+ +-----+ +---+ +-----+ +-----+ +-----+ +-----+
| |I1 | | | | | | I2| | | |I1 | | | | | | I2| |
| |o------| |-------[(3R) ]------| |--------o| | | |o------| |-------[(3R) ]------| |--------o| |
| | | | | | | | | | | | | | | | | | | |
[X LSC] [LSC LSC] [LSC LSC] [LSC X] SwCap (X LSC) (LSC LSC) (LSC LSC) (LSC X) SwCap
<-------> <-------> <-----> <-------> <-------> <-------> <-----> <------->
<-----------------------><----------------------> <-----------------------><---------------------->
Transparent Segment Transparent Segment Transparent Segment Transparent Segment
<-------------------------------------------------> <------------------------------------------------->
LSC LSP LSC LSP
Figure 1 Illustration of a LSC LSP and transparent segments Figure 1 Illustration of a LSC LSP and transparent segments
Note that two optical paths within a WSON LSP need not operate on Note that two optical paths within a WSON LSP do not need to operate
the same wavelength (due to the wavelength conversion capabilities). on the same wavelength (due to the wavelength conversion
Two optical paths that share a common fiber link cannot be assigned capabilities). Two optical paths that share a common fiber link
the same wavelength. To do otherwise would result in both signals cannot be assigned the same wavelength; Otherwise, both signals
interfering with each other. Note that advanced additional would interfere with each other. Note that advanced additional
multiplexing techniques such as polarization based multiplexing are multiplexing techniques such as polarization based multiplexing are
not addressed in this document since the physical layer aspects are not addressed in this document since the physical layer aspects are
not currently standardized. Therefore, assigning the proper not currently standardized. Therefore, assigning the proper
wavelength on a lightpath is an essential requirement in the optical wavelength on a lightpath is an essential requirement in the optical
path computation process. path computation process.
When a switching node has the ability to perform wavelength When a switching node has the ability to perform wavelength
conversion, the wavelength-continuity constraint can be relaxed, and conversion, the wavelength-continuity constraint can be relaxed, and
a LSC Label Switched Path (LSP) may use different wavelengths on a LSC Label Switched Path (LSP) may use different wavelengths on
different links along its route from origin to destination. It is, different links along its route from origin to destination. It is,
can be supported in a fiber is also limited. As a WSON can be can be supported in a fiber is also limited. As a WSON can be
composed of network nodes that cannot perform wavelength conversion, composed of network nodes that cannot perform wavelength conversion,
nodes with limited wavelength conversion, and nodes with full nodes with limited wavelength conversion, and nodes with full
wavelength conversion abilities, wavelength assignment is an wavelength conversion abilities, wavelength assignment is an
additional routing constraint to be considered in all lightpath additional routing constraint to be considered in all lightpath
computation. computation.
For example (see Figure 1), within a translucent WSON, a LSC LSP may For example (see Figure 1), within a translucent WSON, a LSC LSP may
be established between interfaces I1 and I2, spanning 2 transparent be established between interfaces I1 and I2, spanning 2 transparent
segments (optical paths) where the wavelength continuity constraint segments (optical paths) where the wavelength continuity constraint
applies (i.e. the same unique wavelength MUST be assigned to the LSP applies (i.e. the same unique wavelength must be assigned to the LSP
at each TE link of the segment). If the LSC LSP induced a Forwarding at each TE link of the segment). If the LSC LSP induced a Forwarding
Adjacency / TE link, the switching capabilities of the TE link would Adjacency / TE link, the switching capabilities of the TE link would
be [X X] where X < LSC (PSC, TDM, ...). be (X X) where X refers to the switching capability of I1 and I2.
For example, X can be PSC, TDM, etc.
This document aligns with GMPLS extensions for PCEP [PCEP-GMPLS] for This document aligns with GMPLS extensions for PCEP [PCEP-GMPLS] for
generic property such as label, label-set and label assignment generic property such as label, label-set and label assignment
noting that wavelength is a type of label. Wavelength restrictions noting that wavelength is a type of label. Wavelength restrictions
and constraints are also formulated in terms of labels per and constraints are also formulated in terms of labels per
The optical modulation properties, which are also referred to as The optical modulation properties, which are also referred to as
signal compatibility, are already considered in signaling in signal compatibility, are already considered in signaling in
[RFC7581] and [RFC7688]. In order to improve the signal quality and [RFC7581] and [RFC7688]. In order to improve the signal quality and
are used. Those modulation properties contribute not only to optical are used. Those modulation properties contribute not only to optical
signal quality checks but also constrain the selection of sender and signal quality checks but also constrain the selection of sender and
receiver, as they should have matching signal processing receiver, as they should have matching signal processing
capabilities. This document includes signal compatibility capabilities. This document includes signal compatibility
constraints as part of RWA path computation. That is, the signal constraints as part of RWA path computation. That is, the signal
processing capabilities (e.g., modulation and FEC) by the means of processing capabilities (e.g., modulation and FEC) by the means of
optical interface class (OIC) must be compatible between the sender optical interface class (OIC) must be compatible between the sender
and the receiver of the optical path across all optical elements. and the receiver of the optical path across all optical elements.
This document, however, does not address optical impairments as part This document, however, does not address optical impairments as part
of RWA path computation. See [WSON-Imp] and [RSVP-Imp] for more of RWA path computation. See [RFC6566] for more information on
information on optical impairments and GMPLS. optical impairments and GMPLS.
4. Encoding of a RWA Path Request 4. Encoding of a RWA Path Request
Figure 2 shows one typical PCE based implementation, which is Figure 2 shows one typical PCE based implementation, which is
referred to as the Combined Process (R&WA). With this architecture, referred to as the Combined Process (R&WA). With this architecture,
the two processes of routing and wavelength assignment are accessed the two processes of routing and wavelength assignment are accessed
via a single PCE. This architecture is the base architecture from via a single PCE. This architecture is the base architecture from
which the requirements have been specified in [RFC7449] and the PCEP which the requirements have been specified in [RFC7449] and the PCEP
extensions that are going to be specified in this document based on extensions that are going to be specified in this document based on
this architecture. this architecture.
<WA> <WA>
[other optional objects...] [other optional objects...]
If the WA object is present in the request, it MUST be encoded after If the WA object is present in the request, it MUST be encoded after
the ENDPOINTS object. the ENDPOINTS object.
The format of the Wavelength Assignment (WA) object body is as The format of the Wavelength Assignment (WA) object body is as
follows: follows:
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+ +-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
| Flags |M| | Reserved | Flags |M|
| Wavelength Selection TLV | | Wavelength Selection TLV |
| Wavelength Restriction Constraint TLV | | Wavelength Restriction Constraint TLV |
// Optional TLVs // // Optional TLVs //
Figure 3 WA Object Figure 3 WA Object
o Flags (32 bits) o Reserved (16 bits)
o Flags (16 bits)
The following new flags SHOULD be set The following new flags SHOULD be set
. M (Mode - 1 bit): M bit is used to indicate the mode of . M (Mode - 1 bit): M bit is used to indicate the mode of
wavelength assignment. When M bit is set to 1, this indicates wavelength assignment. When M bit is set to 1, this indicates
that the label assigned by the PCE must be explicit. That is, that the label assigned by the PCE must be explicit. That is,
the selected way to convey the allocated wavelength is by means the selected way to convey the allocated wavelength is by means
of Explicit Label Control (ELC) [RFC4003] for each hop of a of Explicit Label Control (ELC) [RFC4003] for each hop of a
computed LSP. Otherwise, the label assigned by the PCE needs computed LSP. Otherwise, the label assigned by the PCE needs
not be explicit (i.e., it can be suggested in the form of label not be explicit (i.e., it can be suggested in the form of label
WA. In such case, the PCE MUST return a Label Set Field as WA. In such case, the PCE MUST return a Label Set Field as
described in Section 2.6 of [RFC7579] in the response. See described in Section 2.6 of [RFC7579] in the response. See
Section 5 of this document for the encoding discussion of a Section 5 of this document for the encoding discussion of a
Label Set Field in a PCRep message. Label Set Field in a PCRep message.
4.2. Wavelength Selection TLV 4.2. Wavelength Selection TLV
The Wavelength Selection TLV is used to indicate the wavelength The Wavelength Selection TLV is used to indicate the wavelength
selection constraint in regard to the order of wavelength assignment selection constraint in regard to the order of wavelength assignment
to be returned by the PCE. This TLV is only applied when M bit is to be returned by the PCE. This TLV is only applied when M bit is
set to ''explicit'' in the WA Object specified in Section 4.1. set in the WA Object specified in Section 4.1. This TLV MUST NOT be
used when the M bit is cleared.
The encoding of this TLV is specified as the Wavelength Selection The encoding of this TLV is specified as the Wavelength Selection
Sub-TLV in Section 4.2.2 of [RFC7689]. Sub-TLV in Section 4.2.2 of [RFC7689].
4.3. Wavelength Restriction Constraint TLV 4.3. Wavelength Restriction Constraint TLV
For any request that contains a wavelength assignment, the requester For any request that contains a wavelength assignment, the requester
(PCC) MUST be able to specify a restriction on the wavelengths to be (PCC) MUST be able to specify a restriction on the wavelengths to be
used. This restriction is to be interpreted by the PCE as a used. This restriction is to be interpreted by the PCE as a
constraint on the tuning ability of the origination laser constraint on the tuning ability of the origination laser
skipping to change at page 11, line 35 ¶
skipping to change at page 12, line 4 ¶
| IPv6 address (continued) | | IPv6 address (continued) |
| IPv6 address (continued) | Prefix Length | | IPv6 address (continued) | Prefix Length |
Unnumbered Interface ID Sub-TLV Unnumbered Interface ID Sub-TLV
| Type = 3 | Reserved | | Type = 3 | Reserved |
| TE Node ID | | TE Node ID |
| Interface ID | | Interface ID |
4.3.2. Wavelength Restriction Field 4.3.2. Wavelength Restriction Field
The Wavelength Restriction Field of the wavelength restriction TLV The Wavelength Restriction Field of the wavelength restriction TLV
is encoded as a Label Set field as specified in [RFC7579] section is encoded as a Label Set field as specified in [RFC7579] section
2.6, as shown below, with base label encoded as a 32 bit LSC label, 2.6, as shown below, with base label encoded as a 32 bit LSC label,
defined in [RFC6205]. See [RFC6205] for a description of Grid, C.S, defined in [RFC6205]. See [RFC6205] for a description of Grid, C.S,
Identifier and n, as well as [RFC7579] for the details of each Identifier and n, as well as [RFC7579] for the details of each
action. action.
| Action| Num Labels | Length | | Action| Num Labels | Length |
|Grid | C.S | Identifier | n | |Grid | C.S | Identifier | n |
| Additional fields as necessary per action | | Additional fields as necessary per action |
Action: Action:
0 - Inclusive List 0 - Inclusive List
1 - Exclusive List 1 - Exclusive List
2 - Inclusive Range 2 - Inclusive Range
3 - Exclusive Range 3 - Exclusive Range
meaning depending on the action value. Num Labels is a 12 bit meaning depending on the action value. Num Labels is a 12 bit
integer. integer.
Length is the length in bytes of the entire label set field. Length is the length in bytes of the entire label set field.
See Sections 2.6.1 - 2.6.3 of [RFC7579] for details on additional See Sections 2.6.1 - 2.6.3 of [RFC7579] for details on additional
field discussion for each action. field discussion for each action.
4.4. Signal processing capability restrictions 4.4. Signal processing capability restrictions
Path computation for WSON include the check of signal processing Path computation for WSON includes the check of signal processing
capabilities, those capability MAY be provided by the IGP, however capabilities, those capability MAY be provided by the IGP. Moreover,
this is not a MUST. Moreover, a PCC should be able to indicate a PCC should be able to indicate additional restrictions for those
additional restrictions for those signal compatibility, either on signal compatibility, either on the endpoint or any given link.
the endpoint or any given link.
The supported signal processing capabilities are the one described The supported signal processing capabilities are the one described
in [RFC7446]: in [RFC7446]:
. Optical Interface Class List . Optical Interface Class List
. Bit Rate . Bit Rate
. Client Signal . Client Signal
|X| Type = X | Length | Reserved | Attribute | |X| Type = X | Length | Reserved | Attribute |
| sub-sub objects | | sub-sub objects |
Figure 5 Signaling Processing XRO Sub-Object Figure 5 Signaling Processing XRO Sub-Object
Refer to [RFC5521] for the definition of X, Type, Length and
The Attribute field indicates how the exclusion sub-object is to be The Attribute field indicates how the exclusion sub-object is to be
interpreted. The Attribute can only be 0 (Interface) or 1 (Node). interpreted. The Attribute can only be 0 (Interface) or 1 (Node).
The sub-sub objects are encoded as in RSVP signaling definition The sub-sub objects are encoded as in RSVP signaling definition
4.4.2. IRO sub-object: signal processing inclusion 4.4.2. IRO sub-object: signal processing inclusion
Similar to the XRO sub-object the PCC/PCE should be able to include Similar to the XRO sub-object the PCC/PCE should be able to include
particular types of signal processing along the path in order to particular types of signal processing along the path in order to
handle client restriction or multi-domain path computation. handle client restriction or multi-domain path computation.
This is supported by adding the sub-object ''processing'' defined for This is supported by adding the sub-object "processing" defined for
ERO in [RFC7689] to the PCEP IRO object. ERO in [RFC7689] to the PCEP IRO object.
5. Encoding of a RWA Path Reply 5. Encoding of a RWA Path Reply
This section provides the encoding of a RWA Path Reply for This section provides the encoding of a RWA Path Reply for
wavelength allocation as discussed in Section 4. Recall that wavelength allocation as discussed in Section 4. Recall that
wavelength allocation can be performed by the PCE by different wavelength allocation can be performed by the PCE by different
means: means:
(a) By means of Explicit Label Control (ELC) where the PCE (a) By means of Explicit Label Control (ELC) where the PCE
Option (b) allows distributed label allocation (performed during Option (b) allows distributed label allocation (performed during
signaling) to complete wavelength allocation. signaling) to complete wavelength allocation.
The Wavelength Allocation TLV type is TBD, recommended value is TBD. The Wavelength Allocation TLV type is TBD, recommended value is TBD.
The TLV data is defined as follows: The TLV data is defined as follows:
| Reserved |M| | Type | Length |M|
| Link Identifier | | Link Identifier |
| | | . . . |
| Allocated Wavelength(s) | | Allocated Wavelength(s) |
// . . . . // // . . . . //
Figure 6 Wavelength Allocation TLV Encoding Figure 6 Wavelength Allocation TLV Encoding
o Reserved: Reserved for future use (31 bits) o Type (16 bits): The type of the TLV.
o Length (15 bits): The length of the TLV including the Type and
Length fields.
o M (Mode): 1 bit o M (Mode): 1 bit
. 0 - - indicates the allocation is under Explicit Label Control. - 0 indicates the allocation is under Explicit Label Control.
. 1 - - indicates the allocation is expressed in Label Sets. - 1 indicates the allocation is expressed in Label Sets.
Note that all link identifiers in the same list must be of the same Note that all link identifiers in the same list must be of the same
type. type.
o Link Identifier (variable): Identifies the interface to which o Link Identifier (variable): Identifies the interface to which
assignment wavelength(s) is applied. See Section 4.2.1. for Link assignment wavelength(s) is applied. See Section 4.2.1. for Link
Identifier encoding. Identifier encoding.
o Assigned Wavelength(s) (variable): Indicates the assigned o Allocated Wavelength(s) (variable): Indicates the allocated
wavelength(s) to the link identifier. See Section 4.2.2 for encoding wavelength(s) to the link identifier. See Section 4.2.2 for encoding
details. details.
This TLV is encoded as an attributes TLV, per [RFC5420], which is This TLV is encoded as an attributes TLV, per [RFC5420], which is
carried in the ERO LSP Attribute Subobjects per [RSVP-RO]. The type carried in the ERO LSP Attribute Subobjects per [RFC7570]. The type
value of the Wavelength Restriction Constraint TLV is TBD by IANA. value of the Wavelength Restriction Constraint TLV is TBD by IANA.
5.1. Error Indicator 5.1. Error Indicator
To indicate errors associated with the RWA request, a new Error Type To indicate errors associated with the RWA request, a new Error Type
(TDB) and subsequent error-values are defined as follows for (TDB) and subsequent error-values are defined as follows for
inclusion in the PCEP-ERROR Object: inclusion in the PCEP-ERROR Object:
A new Error-Type (TDB) and subsequent error-values are defined as A new Error-Type (TDB) and subsequent error-values are defined as
cancelled at the PCC. cancelled at the PCC.
5.2. NO-PATH Indicator 5.2. NO-PATH Indicator
To communicate the reason(s) for not being able to find RWA for the To communicate the reason(s) for not being able to find RWA for the
path request, the NO-PATH object can be used in the corresponding path request, the NO-PATH object can be used in the corresponding
response. The format of the NO-PATH object body is defined in response. The format of the NO-PATH object body is defined in
[RFC5440]. The object may contain a NO-PATH-VECTOR TLV to provide [RFC5440]. The object may contain a NO-PATH-VECTOR TLV to provide
additional information about why a path computation has failed. additional information about why a path computation has failed.
One new bit flag are defined to be carried in the Flags field in the One new bit flag is defined to be carried in the Flags field in the
NO-PATH-VECTOR TLV carried in the NO-PATH Object. NO-PATH-VECTOR TLV carried in the NO-PATH Object.
. Bit TDB: When set, the PCE indicates no feasible route was . Bit TDB: When set, the PCE indicates no feasible route was
found that meets all the constraints (e.g., wavelength found that meets all the constraints (e.g., wavelength
restriction, signal compatibility, etc.) associated with RWA. restriction, signal compatibility, etc.) associated with RWA.
6. Manageability Considerations 6. Manageability Considerations
Manageability of WSON Routing and Wavelength Assignment (RWA) with Manageability of WSON Routing and Wavelength Assignment (RWA) with
PCE must address the following considerations: PCE must address the following considerations:
6.1. Control of Function and Policy 6.1. Control of Function and Policy
In addition to the parameters already listed in Section 8.1 of In addition to the parameters already listed in Section 8.1 of
[PCEP], a PCEP implementation SHOULD allow configuring the following [RFC5440], a PCEP implementation SHOULD allow configuring the
PCEP session parameters on a PCC: following PCEP session parameters on a PCC:
. The ability to send a WSON RWA request. . The ability to send a WSON RWA request.
PCEP session parameters on a PCE: following PCEP session parameters on a PCE:
. The support for WSON RWA. . The support for WSON RWA.
. A set of WSON RWA specific policies (authorized sender, . A set of WSON RWA specific policies (authorized sender,
request rate limiter, etc). request rate limiter, etc).
These parameters may be configured as default parameters for any These parameters may be configured as default parameters for any
PCEP session the PCEP speaker participates in, or may apply to a PCEP session the PCEP speaker participates in, or may apply to a
specific session with a given PCEP peer or a specific group of specific session with a given PCEP peer or a specific group of
sessions with a specific group of PCEP peers. sessions with a specific group of PCEP peers.
6.2. Information and Data Models, e.g. MIB module 6.2. Information and Data Models, e.g. MIB module
Extensions to the PCEP MIB module defined in [PCEP-MIB] should be Extensions to the PCEP MIB module defined in [RFC7420] should be
defined, so as to cover the WSON RWA information introduced in this defined, so as to cover the WSON RWA information introduced in this
document. A future revision of this document will list the document. A future revision of this document will list the
information that should be added to the MIB module. information that should be added to the MIB module.
6.3. Liveness Detection and Monitoring 6.3. Liveness Detection and Monitoring
Mechanisms defined in this document do not imply any new liveness Mechanisms defined in this document do not imply any new liveness
detection and monitoring requirements in addition to those already detection and monitoring requirements in addition to those already
listed in section 8.3 of [RFC5440]. listed in section 8.3 of [RFC5440].
6.6. Impact on Network Operation 6.6. Impact on Network Operation
Mechanisms defined in this document do not imply any new network Mechanisms defined in this document do not imply any new network
operation requirements in addition to those already listed in operation requirements in addition to those already listed in
section 8.6 of [RFC5440]. section 8.6 of [RFC5440].
7. Security Considerations 7. Security Considerations
This document has no requirement for a change to the security models This document has no requirement for a change to the security models
within PCEP [PCEP]. However the additional information distributed within PCEP . However the additional information distributed in
in order to address the RWA problem represents a disclosure of order to address the RWA problem represents a disclosure of network
network capabilities that an operator may wish to keep private. capabilities that an operator may wish to keep private.
Consideration should be given to securing this information. Consideration should be given to securing this information.
8. IANA Considerations 8. IANA Considerations
IANA maintains a registry of PCEP parameters. IANA has made IANA maintains a registry of PCEP parameters. IANA has made
allocations from the sub-registries as described in the following allocations from the sub-registries as described in the following
sections. sections.
8.1. New PCEP Object 8.1. New PCEP Object
As described in Section 4.1, a new PCEP Object is defined to carry As described in Section 4.1, a new PCEP Object is defined to carry
wavelength assignment related constraints. IANA is to allocate the wavelength assignment related constraints. IANA is to allocate the
following from ''PCEP Objects'' sub-registry following from "PCEP Objects" sub-registry
(http://www.iana.org/assignments/pcep/pcep.xhtml#pcep-objects): (http://www.iana.org/assignments/pcep/pcep.xhtml#pcep-objects):
Object Class Name Object Reference Object Class Name Object Reference
Value Type Value Type
--------------------------------------------------------- ---------------------------------------------------------
TDB WA 1: Wavelength-Assignment [This.I-D] TDB WA 1: Wavelength-Assignment [This.I-D]
8.2. New PCEP TLV: Wavelength Selection TLV 8.2. New PCEP TLV: Wavelength Selection TLV
(http://www.iana.org/assignments/pcep/pcep.xhtml#no-path-vector- (http://www.iana.org/assignments/pcep/pcep.xhtml#no-path-vector-
tlv). tlv).
Bit Description Reference Bit Description Reference
----------------------------------------------------- -----------------------------------------------------
TBD No RWA constraints met [This.I-D] TBD No RWA constraints met [This.I-D]
8.8. New Error-Types and Error-Values 8.8. New Error-Types and Error-Values
As described in Section 5.1, new PCEP error codes are defined for As described in Section 5.1, new PCEP error codes are defined for
WSON RWA errors. IANA is to allocate from the ''"PCEP-ERROR Object Error WSON RWA errors. IANA is to allocate from the ""PCEP-ERROR Object
Types and Values" sub-registry Error Types and Values" sub-registry
(http://www.iana.org/assignments/pcep/pcep.xhtml#pcep-error-object). (http://www.iana.org/assignments/pcep/pcep.xhtml#pcep-error-object).
Error- Meaning Error-Value Reference Error- Meaning Error-Value Reference
Type Type
--------------------------------------------------------------- ---------------------------------------------------------------
TDB WSON RWA Error 1: Insufficient [This.I-D] TDB WSON RWA Error 1: Insufficient [This.I-D]
2: RWA computation {This.I-D] 2: RWA computation {This.I-D]
This document was prepared using 2-Word-v2.0.template.dot. This document was prepared using 2-Word-v2.0.template.dot.
10. References 10. References
10.1. Informative References 10.1. Informative References
[RFC2119] Bradner, S., "Key words for use in RFCs to Indicate [RFC2119] Bradner, S., "Key words for use in RFCs to Indicate
Requirement Levels", BCP 14, RFC 2119, March 1997. Requirement Levels", BCP 14, RFC 2119, March 1997.
[RFC3471] Berger, L., "Generalized Multi-Protocol Label Switching [RFC2863] McCloghrie, K. and F. Kastenholz, "The Interfaces Group
(GMPLS) Signaling Functional Description", RFC 3471, MIB", RFC 2863, June 2000.
[RFC3473] Berger, L., Ed., "Generalized Multi-Protocol Label
Switching (GMPLS) Signaling Resource ReserVation Protocol-
Traffic Engineering (RSVP-TE) Extensions", RFC 3473,
[RFC3477] Kompella, K. and Y. Rekhter, "Signalling Unnumbered Links
in Resource ReSerVation Protocol - Traffic Engineering
(RSVP-TE)", RFC 3477, January 2003.
[RFC4003] Berger, L., "GMPLS Signaling Procedure for Egress Control", [RFC4003] Berger, L., "GMPLS Signaling Procedure for Egress Control",
RFC 4003, February 2005. RFC 4003, February 2005.
[RFC4655] Farrel, A., Vasseur, J., and J. Ash, "A Path Computation [RFC4655] Farrel, A., Vasseur, J., and J. Ash, "A Path Computation
Element (PCE)-Based Architecture", RFC 4655, August 2006. Element (PCE)-Based Architecture", RFC 4655, August 2006.
[RFC4657] Ash, J. and J. Le Roux, "Path Computation Element (PCE) [RFC4657] Ash, J. and J. Le Roux, "Path Computation Element (PCE)
Communication Protocol Generic Requirements", RFC 4657, Communication Protocol Generic Requirements", RFC 4657,
September 2006. September 2006.
[RFC5440] Vasseur, JP., Ed. and JL. Le Roux, Ed., "Path Computation [RFC5440] Vasseur, JP., Ed. and JL. Le Roux, Ed., "Path Computation
Element (PCE) communication Protocol", RFC 5440, March Element (PCE) communication Protocol", RFC 5440, March
2009. 2009.
10.2. Normative References [RFC5088] Le Roux, JL, JP. Vasseur, Y. Ikejiri, and R. Zhang, "OSPF
Protocol Extensions for Path Computation Element (PCE)
[PCEP-GMPLS] Margaria, et al., ''PCEP extensions for GMPLS'', draft- Discovery," RFC 5088, January 2008.
ietf-pce-gmpls-pcep-extensions, work in progress.
[RFC7570] Margaria, et al., ''Label Switched Path (LSP) Attribute in
the Explicit Route Object (ERO)'', RFC 7570, July 2015.
[PCEP-Layer] Oki, Takeda, Le Roux, and Farrel, ''Extensions to the [RFC5089] Le Roux, JL, JP. Vasseur, Y. Ikejiri, and R. Zhang, "IS-IS
Path Computation Element communication Protocol (PCEP) for Protocol Extensions for Path Computation Element (PCE)
Inter-Layer MPLS and GMPLS Traffic Engineering'', draft- Discovery," RFC 5089, January 2008.
ietf-pce-inter-layer-ext, work in progress.
[RFC6163] Lee, Y. and Bernstein, G. (Editors), and W. Imajuku, [RFC6163] Lee, Y. and Bernstein, G. (Editors), and W. Imajuku,
"Framework for GMPLS and PCE Control of Wavelength "Framework for GMPLS and PCE Control of Wavelength
Switched Optical Networks", RFC 6163, March 2011. Switched Optical Networks", RFC 6163, March 2011.
[RFC6566] Y. Lee, G. Bernstein, D. Li, G. Martinelli, "A Framework
for the Control of Wavelength Switched Optical Networks
(WSON) with Impairments", RFC 6566, March 2012.
[RFC7420] Koushik, A., E. Stephan, Q. Zhao, D. King, and J.
Hardwick, "Path Computation Element Communication Protocol
(PCEP) Management Information Base (MIB) Module", RFC
7420, December 2014.
[RFC7446] Y. Lee, G. Bernstein. (Editors), "Routing and Wavelength
Assignment Information Model for Wavelength Switched
Optical Networks", RFC 7446, February 2015.
[RFC7449] Lee, Y., et. al., "PCEP Requirements for WSON Routing and [RFC7449] Lee, Y., et. al., "PCEP Requirements for WSON Routing and
Wavelength Assignment", RFC 7449, February 2015. Wavelength Assignment", RFC 7449, February 2015.
[PCEP-GMPLS] Margaria, et al., "PCEP extensions for GMPLS", draft-
[RFC5420] Farrel, A. "Encoding of Attributes for MPLS LSP
Establishment Using Resource Reservation Protocol Traffic
Engineering (RSVP-TE)", RFC5420, February 2009.
[RFC5521] Oki, E, T. Takeda, and A. Farrel, "Extensions to the Path
Computation Element Communication Protocol (PCEP) for
Route Exclusions", RFC 5521, April 2009.
[RFC6205] Tomohiro, O. and D. Li, "Generalized Labels for Lambda- [RFC6205] Tomohiro, O. and D. Li, "Generalized Labels for Lambda-
Switching Capable Label Switching Routers", RFC 6205, Switching Capable Label Switching Routers", RFC 6205,
January, 2011. January, 2011.
[RFC7689] Bernstein et al, ''Signaling Extensions for Wavelength [RFC7570] Margaria, et al., "Label Switched Path (LSP) Attribute in
Switched Optical Networks'', RFC 7689, November 2015. the Explicit Route Object (ERO)", RFC 7570, July 2015.
[RFC7688] Y. Lee, and G. Bernstein, ''OSPF Enhancement for Signal and [RFC7689] Bernstein et al, "Signaling Extensions for Wavelength
Network Element Compatibility for Wavelength Switched Switched Optical Networks", RFC 7689, November 2015.
Optical Networks'', RFC 7688, November 2015.
[RFC7446] Y. Lee, G. Bernstein. (Editors), ''Routing and Wavelength [RFC7688] Y. Lee, and G. Bernstein, "OSPF Enhancement for Signal and
Assignment Information Model for Wavelength Switched Network Element Compatibility for Wavelength Switched
Optical Networks'', RFC 7446, February 2015. Optical Networks", RFC 7688, November 2015.
[RFC7581] Bernstein and Lee, ''Routing and Wavelength Assignment [RFC7581] Bernstein and Lee, "Routing and Wavelength Assignment
Information Encoding for Wavelength Switched Optical Information Encoding for Wavelength Switched Optical
Networks'', RFC7581, June 2015. Networks", RFC7581, June 2015.
[RFC7579] Bernstein and Lee, ''General Network Element Constraint [RFC7579] Bernstein and Lee, "General Network Element Constraint
Encoding for GMPLS Controlled Networks'', RFC 7579, June Encoding for GMPLS Controlled Networks", RFC 7579, June
[WSON-Imp] Y. Lee, G. Bernstein, D. Li, G. Martinelli, "A Framework
(WSON) with Impairments", draft-ietf-ccamp-wson-
impairments, work in progress.
[RSVP-Imp] agraz, ''RSVP-TE Extensions in Support of Impairment Aware
Routing and Wavelength Assignment in Wavelength Switched
Optical Networks WSONs)'', draft-agraz-ccamp-wson-
impairment-rsvp, work in progress.
[OSPF-Imp] Bellagamba, et al., ''OSPF Extensions for Wavelength
Switched Optical Networks (WSON) with Impairments'',draft-
eb-ccamp-ospf-wson-impairments, work in progress.
11. Contributors 11. Contributors
Authors' Addresses Authors' Addresses
Young Lee, Editor Young Lee, Editor
Huawei Technologies Huawei Technologies
1700 Alma Drive, Suite 100 1700 Alma Drive, Suite 100
Plano, TX 75075, USA Plano, TX 75075, USA
Phone: (972) 509-5599 (x2240) Phone: (972) 509-5599 (x2240)
Email: leeyoung@huawei.com Email: leeyoung@huawei.com
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Anthony Pettit – Bermuda Fine Art, Antique Maps, Books, Prints and Ephemera
Prints, Engravings,Carvings and Lithographs
Sketches, Watercolours
and Oil Painting
Boer War Memorabilia
First World War German
Prisoner of War Memorabili
Postcard Ephemera
and Photographs
Antique Bermuda Flasks
and Bottles
Sketches, Watercolours and Oil Paintings
VIEWING AND PRICES ON REQUEST
It is worth noting that besides those shown, the Gallery has other Bermuda
works for sale, many marked quite modestly.
Please ask to see the Collection
Andrews, J. Winthrop . Garden Cottage with Flowers. Oil on canvas. c1915 16 x 20 inches.
J.Winthrop Andrews (American, born 1879. Born in Newtownville, Mass.lived in Chicopee, Mass. and later in Yonkers, N Y. An Ameriacn Impressionist, Andrews worked in Bermuda from about 1910 and his paintings display a colourful palette in light-filled compositions.
Andrews, J Winthrop. Oleander on a Sunlit Path. oil on canvas. 15 x 11 inches. 1910
View Document Text
An Amazing Autograph Bounty Document from an American Naval Privateer destined ultimately for Bermuda’s rock. The Sailing Ship 'Caesar', Rhode Island, May 25th 1744. Single Sheet. 17 x 13 1/2 inches. Minor soiling. Slight paper loss at folds. Otherwise very good. Matted.
A remarkable document, the agreement between the crew of the fourteen gun brig Caesar, a privateer sailing out of Rhode Island under the command of Captain John Griffith and two Rhode Island merchants, Philip Wilkinson and Daniel Ayrault Jr, on how the spoils will be divided from a successful privateering voyage during the War of Jenkins’ Ear. It calls for the merchants, acting as prize agents, to dispose of the captured Spanish privateer, Santissima Trinidad las Almas de Puratorio y San Antonia de Padua, and to pay each member of the Caesar’s crew a bounty of 5 pounds sterling – a sizeable sum in those days – for the capture of the enemy ship. The document is sogned by each of the Caesar’s officers and crew, thirty – nine signatures or marks with red seals in all.
The Caesar operated as a privateer under the authority of the British Royal Navy, harassing Spanish shipping during the War of Jenkin’s Ear (1739 – 42). It was during that period that the Caesar captured the Santissima Trinidad. In 1742 France allied itself with Spain against Great Britain in the war of the Austrian Succession (called King George’s War), and the Caesar continued its privateering activities, being sent to lay siege to the French fortress of Louisbourg on Cape Breton Island. The Caesar was involved in several engagements with French ships and transported French prisoners after the fall of Louisbourg.
While still in the employ of Wilkinson and Ayrault, Capt Griffith was instructed to call in at Bermuda in early 1746. This is when disaster overcame the ship. Arriving in early evening the Caesar called for a pilot while cruising about three or four leagues off the south west of the island. This is according to the Book of Deeds, Bills, Bonds and Protests (Vol 2 Book 10.1 p 160). and the Book of Protests Vol Two, both of which have copies in the Bermuda Archives and the National Museum of Bermuda.
From an original protest made by Capt. Griffith and his officers and under the chairmanship of Francis Jones Esq, President, Commander in Chief and Vice Admiral of Bermuda, at 7 am the following morning in expectation of the pilot’s arrival Griffith sent his first lieutenant to the masthead to see if there was any danger of running aground on the coral. The officer saw none, but just to be on the safe side the captain tried to move further away from the reef. His evasive action was not effective. He let go an anchor, by which time an offshore wind had started to rise. The adverse winds increased steadily all day to gale force strength. The Caesar fired her guns to try to rouse the pilot. Apparently he was all the way over in St David’s and a relief was promised. Still the danger increased. The Caesar’s Main Top yard was lowered, preparations were made to put the guns from the deck down into the hold so that there would be more room to raise sail to get out from the shoals. Then the anchor cable parted.The Caesar drove herself onto the coral, losing her rudder. By this time there was five feet of water in the holds. Despite cutting away both masts and manning the bilges the Caesar went to the bottom. The relief pilot arrived about 4 pm and was able to help the Captain and crew scramble ashore. This was accomplished with great difficulty..
Consequently in court Griffith and the officers made a vigorous protest over the pilot’s delayed arrival and the subsequent disaster which unfolded.
Actual documentation of dividing the spoils from a privateering voyage is seldom seen. The present document is large, dramatic and displayable.
Axelrod, M . The Pond, St Georges. framed watercolour. 1944. 10 x 14 1/4 inches.
M Axelrod. The Pond, St Georges. Though painted in 1944, a year after the Work Progress Administration (WPA) programme in the United States finished, this little watercolour has the feel of this period. From 1935 the WPA provided employment for up to eight million people including painters and writers to alleviate the effects of the Great Depression. Created by F D Roosevelt the participant could work no more than thirty hours a week, but at least it gave them a regular income
Baily, Earl . (Canadian 1903 - 1977) Oil Painting. Hamilton Harbour, Bermuda. 16 x 29 1/2 inches.
Date unknown. This Canadian artist, crippled by polio at an early age, painted with his mouth. For some time he had a gallery in Bailey's Bay.
Beresford, Charles F.C. (British 1844 - 1925) Admiralty House and Garden. Circa 1870. Watercolour 13 x 9 inches.
He was stationed in Bermuda in the 1870s and organized Lefroy’s Industrial and Loan Exhibition in 1872. A fine portfolio of many of the artist’s works is available from the National Trust. However this picture of Admiralty House and Grounds is not among them. Of interest in the painting are the well worked quarries in the foreground and the ladies of colour at work in the gardens to the left. Beresford clearly signs his name at the base, centre right.
Bicknell, Evelyn M. Bermuda Lane with Houses. Circa 1910 Watercolour 12 x 17inches. Signed lower left.
Evelyn Montague Bicknell (American, 1857 - 1931). Bicknell was a prolific watercolorist who worked in Bermuda from about 1900 onward. He exhibited his work extensively at the New York Watercolor Club, the Salmagundi Club and the American Watercolor Society. Most,but not all, of the subjects depicted the South Shore of Bermuda. He seemed to be intrigued by the limestone formations along this coast, although sometimes painted houses and gardens and motifs like the cove with boat appears. These bear resemblence in simplicity to Winslow Homer's watercolours.
Bicknell, Evelyn M. Beach Dunes. watercolour. c1905. 12 x 17 inches.
Bicknell, Evelyn M. Sailing Ships. watercolour framed. image size 7 x 13 inches
Bicknell, Evelyn M. St. Georges Alley. watercolour. image size 16 x 12 inches.
Bicknell, Evelyn M. St. Georges Street with Two Figures. watercolour. image size 12 x 17 inches. c1905.
Bicknell, Evelyn M. Fallen Boulder, Bermuda. watercolour. 14 x 20 inches. c1905.
Bicknell, Evelyn M. Admiralty. c 1905 - 1910. watercolour. 29 x 42 cms.
This cave at Admiralty through which one can get a clear view of Spanish Point and Dockyard has been the subject of studies by many notable artists.
Birren, Joseph Pierre. Framed oil on canvas entitled The Old Gateway, Bermuda. c1915. 16 x 20 inches. Another fine listed artist.
Joseph Pierre Birren (American, born 1864 - died 1933). Birren was a Chicago commercial artist, he visited Bermuda after the First World War and his work was used by the Trade Development Board for their pamphlets. There are views of his available depicting St Georges. However this one is of crumbling buildings on Castle Island as a contemporary photograph corroborates.artist who worked extensively in Bermuda and lived there for a part of his life. His paintings are distinctly Impressionist and reflect his travels around the world. He was a wealthy illustrator who retired at an early age to focus almost exclusively on his artwork, captured in a sure, rapid hand.
Black, Arnold C. (American, 20th century). Lady Cyclist resting at La Garza, Paget Rd. watercolour. 1946. 10 x 14 inches.
He was known for his marine and landscape paintings. He is listed on all the major art sites.
Black, Norman Irving (1883-1953). Cedars. c1910. Oil on canvas mounted board. 52 x 41.5cms.
An impressionist work of the juniper tree which Bermudians call cedar. Though Black lived in Maine and studied in Paris, he wintered in Bermuda. His works figure prominently in the Masterworks book. Artist signed faintly lower left.
Norman I Black (American, 1883 - 1953). Born in Chelsea, Mass., he lived in Paget, Bermuda where he wintered as well as Casco Bay, Maine. His paintings of Bermuda have a buttery application of the paint and are often characterized by a softer tonality, mostly depicting the architecture of Bermuda and its unique gateway and entryways.
Black, Norman Irving (1883-1953). Woman and Donkey, St. Georges. c1917. Oil on board. 19 x 29inches.
Though Black lived in Maine and studied in Paris, he wintered in Bermuda. His works figure prominently in the Masterworks book. Artist clearly signed Nornan I Black, Bermuda 1917 on the bottom right.
Blanchard, F.L. (probably British). Ship Passing Dockyard. watercolour. 1913. 25 x 35 cms.
This well executed painting reflects in interesting period in the life of Dockyard. The fleet of tall sailing ships is making for the Long Arm. However the three masted vessel in the foreground is a real hybrid of sail and steam, having the lines of an expensive private yacht. perhaps the Admiral is being entertained.
Blaney, Dwight (1865 - 1844). The White House. watercolour. c1895. 19 1/2 x 13 1/2 inches.
This Boston artist, a friend of John Singer Sargent and brother-in-law of Ross Turner came to Bermuda many times and painted magnificent works, mostly as this one in watercolour. The White House, believed to be in Fairylands, is surely among his most memorable. The subtle changes of delicate colour in the approach to the residence particularly stand out’
Broemel, Carl William (American 1891 - 1984) Cleaning the Catch. Watercolour on board. 15 x 22 inches. Signed C W Broemel lower right.
Partial label on reverse reads 'Bermuda 1925' in artist's own hand. This is also signed. Broemel, a well respected Cleveland, Ohio painted in Bermuda 1923-5 and 1930. The result was displayed in St Georges in 1923 and 1930. Much lauded in the recent memorable David L White 'Cross Currents' Impressions of Bermuda exhibition at the National Gallery.
Broemel, Carl William (American 1891 - 1984) St. Georges Harbour. Watercolour. 8 x 10 inches.
Brown, Clinton. (? - 1954) Bermuda Farmhouse.
Dated 1939, this framed oil painting includes an interesting study in cloud formation in which the artist makes the sky appear like an extension of the sea. 40 x 32cms. Brown, in later years Michael Clinton, died in New York where he had spent much of his adulthood. In New york he was known as a portrait painter, but he was noted also for small landscapes and seascapes, private houses and gardens. He particularly liked the quality of the light in Bermuda and the Bahamas.
Buchterkirch, Armin 1859 - 1915 (American). Street Scene, Bermuda Ca 1900. Watercolour and gouache on paper. 5 x 7inches. Signed lower right
Carson, Frank. The Open Red Gate, Holy Trinity Church, Baileys Bay, Bermuda. Watercolour. circa 1925.
Its dimensions are 11 1/2 x 11 1/2 inches. It is signed with the artist's name lower right.
Frank Carson (American, 1881 - 1968). He was a Provincetown, Mass. artist who favoured a modern composition and brightly coloured, vigorously executed subject. He first went to Bermuda around 1932 and thereafter travelled there frequently, particularly in the winter. Other Provincetown artists such as Charles Webster Hawthorne and Henrietta Dunn Mears followed his example
Chapman, Charles Shepard (American 1879 - 1962). Horse and Rider, Bermuda, 1906. Oil on artist's board. 12 x 9 inches. Signed and dated lower left. Original moulding, under glass
This painter came just once to Bermuda in 1906, at the beginning of his career, with Frederick Sackrider Remington (1861 - 1909), a renowned Western artist and sculptor.
Apparently Chapman was unsure as to what path to take in art and it appears that it was as a result of showing Remington this oil while they were in Bermuda that the latter advised him to follow his heart using this medium amongst others. He became a notable photographer also.
The scene seems to be Old Maid's Lane, St Georges looking towards the harbour, but before additional buildings were erected which largely block the view.
Chetcuti, J. (Maltese 1900 - 1976). Cottage with Blue Gate. Watercolour. 6 x 8 inches.
A member of the the American Watercolour society, the Audubon, the Rock Port Art Association and the North Shore Art Association.
Chetcuti, J. (Maltese 1900 - 1976). Foot of the Lane. Watercolour. 6 x 8 inches.
Chetcuti, J. (Maltese 1900 - 1976). Entrance to Foot of the Lane. Watercolour. 6 x 8 inches.
Cimiotti, Gustave. (American 1875 - 1969). The Pink House and Beach, Bermuda. ca 1920s. Oil on canvas, mounted on board, 16 x 20 inches. Signed lower left. Titled and numbered on the verso, in the artist's hand. Original condition. Original moulding.
Clarke, Vernon. Broken Steps, Somerset. circa 2009. Pen and Ink. 29 1/2 x 19 1/2 inches.
Daintrey, Adrian. (1902- 1988). Summer Garden, Bermuda. Oil on canvas board. 45 x 35cm.
Elected a member of the Royal West of England Academy in 1963, that museum holds four of his works in their permanent collection. A painter and draftsman, Daintrey was a product of the Slade School of Art
Drury, W H 'A Hit' from HMS Carson, Bermuda. Beautifully framed oil. 1930 11 1/2 x 15 inches
William H Drury (American 1888 - 1960). A Princeton R I artist. Born in Massachusetts, he studied in Boston with Edmund Carvell and with Charles Woodbury in Ogunquist, Maine. His subject of target practice from a warship at the marine firing ranges in Bermuda is certainly unusual.
Ebert, Charles. Church Street looking West. fine framed oil by a most important listed artist c1925. 16 x 11 1/2 inches.
Charles Ebert (American, 1873 - 1959). Born in Milwaukee, Wis. he died at Old Lyme, the home of the famous painters school. A well respected highly collectible artist, he visited Bermuda from 1919 in the course of his extensive travels. As an Impressionist he liked plein air work showing colour and quick execution of subject. This oil for sale is a real iconic image of past Bermuda.
Endres, Helen. View over St Georges Harbour. framed oil. c1920 in hand carved incised frame. image size 14 x 18 inches
Ferry, Isabelle. (1865-1937). Bermuda Scene. Watercolour. c1930. Unsigned. image size 10 1/2 x 14 inches.
A well known Massachusetts artist. Highly regarded.
Gaertner, Carl F (American 1898 - 1925). Lengthening Shadows Ordnance Island, Bermuda. Titled and signed verso, c 1925. Oil on canvas board 11 x 14 inches
This artist makes a great study of light and shadow, employing techniques derived from his working among working class subjects in industrial Pennsylvania.
Gaertner, an important American painter, was just achieving national acclaim at the time of his early death aged 54. A teacher at the Cleveland School of Art, he developed a gritty realistic style and was much exhibited.
Gascoigne, Capt. St. Georges, Bermuda. Circular.
Gasser, Henry Martin (American, 1909 - 1981). Bermuda Vista Framed watercolour, 1970. 7 1/2 x 9 1/2 inches
While he stressed that paintable subjects could be created from material at home in the USA, he found trips abroad to be very stimulating. When travelling, as in this scene in Bermuda, he concentrated on recording colour impressions of the country. His philosophy was that if time abroad was limited, he could capture vital first impressions and then crystalize these ideas with detailed studies later.
Goodman, Marshall. (American Painter 1916 – 2003) The view is of Queen Street looking up from Heyl’s Corner. Watercolour sketch of Bermuda c1946. 15 x 24.5 inches
Heyl’s Drug Store is on the left, Whitter’s Jewelers followed by Cox and Wilson, then the present day Perot Post Office. On the right is the Cigar Store where Goslings is now. No cars of course but bicycles going in every direction and a little Bird Cage with an umbrella.
Mr Goodman , a graduate of the Rhode Island School of Design, had painted murals in the US Navy Officer Club at the top of Queen Street during the war. Now immediately post war he had ideas of painting major art works in oils of Bermuda scenes. This sketch was one of his first preliminaries into this field.
Gray, Bessie. (1854 – 1925) Bermuda Cottage. Watercolour. circa 1910. 8 x 9 1/2 inches
A poet and very accomplished artist, her paintings have been widely collected locally and overseas. She even reached the British Empire Exhibition in London in 1925.
Hagen, Alice Mary. Bermuda Farmhouse. oil on canvas. 10 x 17 inches. 1920s.
Alice Mary Hagen. (Canadian, 1872 - after 1956). Born in Halifax, N S, she was skilled in oils and watercolours. She also excelled in ceramics and organized a pottery industry in Canada, working with the world famous potter Alsop Robineau from Upstate, New York. Ms Hagen visited Bermuda in 1920.
Hawthorne, Charles Webster. Noonday, Bermuda. watercolour. 14 x 20 inches. c1923.
Charles Webster Hawthorne (American, 1872 - 1930). Born in Illinois, he grew up in Maine and died in Baltimore, Maryland. He worked with William Merritt Chase in oils and watercolours. A naturalist painter, his impressionist style catches the essence of the subject he has chosen. The result was multiple awards won from exhibitions shown all over the world. This present study 'Noonday, Bermuda' is a companion to 'Early Morning, Bermuda' painted about 1928 and in the Masterworks collection see p133 of theThe Masterworks Bermudiana Collection by Patricia Calnan . Hawthorne rented a house on the Paget shore and worked from there.
Harvey, George. Bermuda Group at Cottage. watercolour. 9 1/2 x 7 inches. c1875.
George Harvey (American, 1800 - 1878). GEORGE HARVEY (1800 – 1878) A Gifted British Artist from Tottenham in London who was fascinated by the sudden changes in weather atmospherics in American and (latterly) Bermudian scenery that he witnessed. He travelled to the New World many times in his life and carefully recorded the beauty of the flora and natural phenomena that he saw there. In the case of Bermuda his visit in 1875 was made at a time when change was in the air on the islands. He depicts a future of prosperity for the inhabitants, particularly those of colour, as some of his nearly thirty vignettes drawn locally show.
N.B. Harvey was a British rather than American national.
Harvey, George. Gibbs Hill Lighthouse, Bermuda. watercolour. 9 x 7 inches. c1875.
Harvey, George. Women at the Turnstyle. watercolour. 9 1/2 x 6 1/2 inches. c1875.
Hoffman, Harry Leslie. View of Castle Island. c1930. Signed and framed. Image size 19x25cms. Oil on board.
Prominent in the Old Lyme School, this artist came to Bermuda in 1929. He painted a number of oils in rich dramatic colours, such as this one. His subjects were often of the sea in the Castle Harbour and St Georges area where his friend and mentor William Beebe dived in the bathysphere.
HMS Cadmus. English School watercolour. 1860's.30 x 17cm.
H M S Cadmus quarantined on Ports Island because of Yellow Fever. The Bermuda Hospital (Naval Hospital) started on land in medical tents and hulks in St Georges beginning in 1794. By the 1820s it was based in Dockyard but islands like Ports were used to isolate the specific infections that Bermuda endured both locally and from sailors, army personnel and convicts arriving from abroad.
Jones, Bertha E. A Prosperous Fishing Cottage with Drying Nets. watercolour. circa 1893. 13 x 9 inches.
Kirkpatrick, Donald M. Bermuda Home with Anchor. watercolour. c.1933 17 x 12 inches.
Donald Morris Kirkpatrick (American/Bermudian, 1887 - 1964). He came to work in these islands from his native Pennsylvania in the 1920s as an employey of the architectural firm Onions and Bouchard. An important artist, Kirkpatrick became a founding member of the Bermuda Society of Arts in 1956 and was equally proficient in all mediums including oils, watercolours, drawing, etchings and lithography. Among his other skills were as an architect and a teacher. Much travelled he was able to get depth and grit into the subjects he expressed. His works are consequently highly regarded.
Kirkpatrick, Donald M. Bermuda Hurricane approaching Crawl. watercolour. 1930's 20 1/2 x 14 inches.
Kirkpatrick, Donald M. Bermuda Carrying the Pail. watercolour. 1933. 19 x 13 inches.
Kirkpatrick, Donald M. The Fruit Sellers. original etching. 14 1/2 x 10 inches. 1930s
Kirkpatrick, Donald M. The Card Game. original etching. signed. 12 x 8 1/2inches. 1930s
Kirkpatrick, Donald M. The Shadow of the Night. Under the Stars. original etching. 13 3/4 x 10 inches. 1930's
Kirkpatrick, Donald M. Bermuda Palm at the height of Summer. original etching. 16 x 10 3/4 inches 1930s
Lefroy Family. Emily Lefroy. View West from Government House. Framed watercolour. 1874. 6 x 10 1/2 inches.
This painting from the Lefroy Collection of watercolours (1871 - 1877) is by Emily Mary Lefroy, daughter of Governor Sir J H Lefroy. It depicts the scene c 1874 from the old Government House at Mt Langton looking westward towards Dockyard. Watercolour conserved and mounted to archival standards.
Lefroy Family. Charles Trench. Painter's Vale Cave. framed watercolour. 9 3/4 x 7 inches. 1876.
This painting from the Lefroy Collection of watercolours (1871 - 1877) is by Capt Charles Chenevix Trench RA, husband of Emily Mary Lefroy, daughter of Governor Lefroy. It depicts the cave at Paynters Vale in Hamilton Parish. Watercolour on paper. Painting conserved and mounted to archival standards.
Lefroy Family. Charles Trench. Bermuda Still Life Plovers. framed oval watercolour. 8 1/4 x 12 inches. 1874.
This painting from the Lefroy Collection of watercolours (1871 - 1877) is by Capt Charles Chenevix Trench RA, husband of Emily Mary Lefroy, daughter of Governor Lefroy. It depicts the bird asleep in a curious position. c 1874. Watercolour on paper. Conserved and mounted to archival standards
Lefroy Family. Charles Trench. Daughter Maude at Bathing Place, Mt Langton. framed watercolour. 6 3/4 x 8 inches. 1876.
This painting from the Lefroy Collection of watercolours (1871 - 1877) is by Capt Charles Chenevix Trench RA, husband of Emily Mary Lefroy, daughter of Governor Lefroy. It depicts the North Shore bathing place near Government House of their daughter Maude in 1876. Watercolour on paper. Painting conserved and mounted to archival standards.
Lefroy Family. Mount Langton from the Drawing Room. pencil sketch. c1876. 5 x 8 inches.
Lord, Dennis (Listed British Artist 1926-2003) St. Davids Lighthouse. watercolour. 9 1/2 x 13 inches. Undated, about year 2000.
Mr. Lord had a number of successful exhibitions in Bermuda.
Loring, G F. Bermuda.1909. Watercolour dimensions 24 x 39 cms.
Loring is unknown to us but the sureness of his painting indicates the possible hand of an architect. The wall, long since demolished, may indicate a hill in Smiths Parish.
View MacKnight, Dodge (American 1860 - 1950). View of Dockyard and the Land the East. c.1911. 15 1/2 x 22 inches. Watercolour. The third in a series of colourful paintings of the West End. Masterworks
has the Lantana piece and the other two are listed here.
MacKnight was a friend and colleague of John Singer Sargent, Winslow Homer and Ambrose Webster, America's other preeminent watercolorists, with whom he exhibited.
View MacKnight, Dodge (American 1860 - 1950). View of Watford Bridge, Bermuda c.1911. 17 x 23 inches Watercolour on paper. White frame custom made by the artist
Maclean, A. The Way to the Beach, St Georges. framed oil.. 1928. dimensions 40 x 54 cms.
This artist inscribed his work with the words above. However the scene closely resembles Thread and Needle Street, St Georges with its typical roofs and chimneys. Notice the abundance of flowers draped over walls. Just what a visitor would admire.
Martel, Paul Jean. (1879 - 1944) Salt Kettle. Oil on board. 1939. dimensions 15 x 17 1/2 inches.
An impressionistic oil painting from a Belgian artist. His work also figures in the National Gallery’s David White Collection on a similar subject.
Masters, Steven. Bermuda Window Study. watercolour. 1982. dimensions 14 x 21 1/2 inches.
Contemporary Bermudian painter has made a huge contribution to local art. Who the character depicted in the window is remains unknown, all part of the mystique of the composition.
McIvaine, Alexander. (American 1910 - 1985). View from Salt Kettle. c 1950. 12 x 19 1/2 inches Watercolour.
The painter appears to have been a New York architect.
McClure, Frederick A. House by the Water, St Georges. 11 x 15 inches. Framed. c1908. watercolour
Frederick A McClure. (American, 1860s - 1926. Based in Worcester, Mass. this watercolorist came to Bermuda in 1898 , the product of which excursion seems to have been just three paintings from a highly regarded artist. The St Georges waterfront is shown in the deep mysterious hues of the turn of the century.
Mears Henrietta D. House on the Sound. Watercolour, c1929. 14 x 11 inches unframed.
Henrietta Dunn Mears (American, born 1877). A painter and etcher, she was born in Milwaukee, Wis, but lives also in St Paul, Min. and Provincetown, Mass. She came to Bermuda with Charles Webster Hawthorne with whom there may have been some romantic attachment. Her works certainly reflects his style. Mears is an important artist, direct and using high key colours, perhaps also reminding us of the power of Frank Carson's canvases.
Middleton, May. Cottage, boats and blue seat. Watercolour, c1940. 10 x 7 inches.
(1875-1970). Like her fellow Bermudian Bessie Gray, May Middleton who was a local art teacher was prolific and popular on subjects such as flora and landscapes. Her works are difficult to find now.
Munson, Lucius. 1796-1823. Portrait of a Gentleman. 31cms x 37
On the reverse of the piece is written in antique florid pen: Painted by Lucius Munson, St Georges, Bermuda July 1822. The subject is reputed to be a Mr Atwood, though which one is not certain.There were a number who bore that name in the Old Town at that period.
More is known about the portrait painter. Munson was born on December 16th, 1796 at New Haven, Connecticut. He studied in New York City in about 1818, returned to work in New Haven for a year, then in South Carolina and again in New Haven. About 1822, he went to Bermuda for his health, and died on July 27th 1823 while on a visit to the Turk’s Island in the West Indies. In Bermuda he painted a number of persons of note, some of which are held by the National Trust. He was represented in the 1935 Loan Exhibition of Portraits at the Bermuda Historical Society and figured widely in the publication that was put out to commemorate that event. See New York Historical Society: Dictionary of American Painters 1564 – 1860.
Orde, Cuthbert Julian (1888-1968) Bermuda House and Seaview. Oil on board c1950.
Orde was a portrait, landscape and still-life painter of distinction, being widely exhibited by the Royal Academy and the National Portrait Galleries in the U.k. The artist's name is signed on the reverse.
Outerbridge, Richmond Higinbotham "Chubby". Floral Scene. 21 1/4 x 15 inches. watercolour. circa 1966.
R H Outerbridge (Bermudian) was born to Leila and Frederick Collins Outerbridge on Jan 18th 1919. His extraordinary talent as an artist was evident at an early age and as even a teenager he received the first of his many prestigious awards, a gold medal from the Royal Drawing Society Exhibition in London. In life he loved to travel and was incurably drawn to the exotic, though as a true St Georgian, he would return there nearly every year to record its colours and shadow. He died in far away Fiji in 1997 at the age of 78.
Outerbridge, Richmond Higinbotham "Chubby". St Georges in the Shadows. 7 x 5 inches. watercolour. 1939.
Panorama of Hamilton Harbour. as it was in 1865. 3 3/4 x 27 inches.
Plumber, James R. Cottage in the Bambos c.1891. 6 3/4 x 9 3/4 inches.
An artist possibly from England, in Bermuda he was at work in 1885, giving the day and the month of his various paintings. This piece six years later concentrated on the unusual feature of a house with a slate roof, likely to be found in Dockyard.
Potrait of a Gentleman. Artist Unknown. c 1820.
This framed oil on canvas of a prosperous sea captain is reportedly Capt. Musson looking out from his house on Hinson's Island c 1820. Items of jewelry attest to his good fortune. A vignette of his three masted sailing ship ready for a voyage figures prominently to the right of the painting.
Rainsford, Mabel G (British b. 1890/91). The Open Gate. Watercolour 9 1/2 x 6 1/2 inches Signed lower right. Attractively matted and framed.
Rainsford, Mabel G (British b. 1890/91) Floral Balcony. Watercolour 7 1/2 x 5 1/4 inches. Signed lower right. Attractively matted and framed
Rice, Henry Webster. Rose Hill. watercolour. 21 1/2 x 15 inches. c.1911.
The beautiful flower bedecked site became part of the venue for the St Georges Hotel and thereafter the St Georges Club.
Henry Webster Rice (American, 1853 - 1934). He was born in Pownal, Maine and lived in Watertown, Massachusetts. Rice was a watercolorist, teacher, and a member of both the Boston Society of Watercolour Painters and the Guild of Boston Artists. He exhibited at the American Watercolor Society, Pennsylvania Academy of Fine Arts, the Art Institute of Chicago, and other galleries. He visited Bermuda in 1913 and painted several watercolours there that year, though it is very possible he made other visits to our island. He produced a collection of vibrant paintings and watercolours of the New England shoreline as well as Bermuda, capturing well the lush surroundings of his subjects.
Rice, Henry Webster. Steps to St. Paul's Church, Paget, Bermuda. watercolour. 19 1/2 x 13 inches. c.1911.
Rice, Henry Webster. The Melon Garden, Bermuda. watercolour. 13.75 x 20 inches. Dated July 8th 1913.
Rice, Henry Webster. St David's from Tom Moores. watercolour. 14 x 20 inches 1913.
Richardson, F Murray. (American, 20th century). Hamilton Waterfront. framed watercolour. 1930s. dimensions 22.5 x 29.5 cms
He lived and was active in New York. Principally known for his urban views and modern interiors.
Schenck, Caroline C. Study in Morning Glory. watercolour. 40 x 25 cms. c1930.
Miss Schenck is recorded as having been in Bermuda on Jan 2nd 1930, on which day she painted a South Shore scene. Other works including local flowers such as this Morning Glory followed.
Scott, Captain Andrew. Hamilton Hotel, Bermuda. c1857. watercolour. 5 1/2 x 3 inches.
One of the earliest sketches of this fine establishment. Note the elegance of the building’s façade, the farming nature of the environment and the open farmhouse gate.
Scott, Captain Andrew. Fort St. Catherine (Incorrectly named Fort Victoria), Bermuda. c1857. watercolour. 6 x 3 1/2 inches.
Fort St Catherine (mistakenly called Fort Victoria). Capt. Scott’s depiction of the fort is attractive and accurate. Note the ramparts are bristling with armour all aimed at the vulnerable channel to the north east.
Scott, Captain Andrew. Georgetown, Bermuda. Located near the telegraph station at Fort George. c1857. watercolour. 6 x 3 1/2 inches.
Mention is made of the telegraph station above the East End islands. Communication techniques were developing rapidly at this time.
Scott, Captain Andrew. Hamilton Harbour, Bermuda. Looking West from foot of the lane. c1857. watercolour. 5 1/2 x 3 inches.
Good examples of different types of sailing ship and the skeleton of the decayed vessel the men are examining. Their rowboat, its oars stowed, is moored nearby. Prosperous looking buildings in the growing city line the foreshore.
Scott, Captain Andrew. Mount Pleasant, Bermuda. Richardson Farm. c April 1857. watercolour. 5 3/4 x 3 inches. The Bermuda Biological Station is now located at this site and the airport will be on the right.
Now the site of the Biological Station, with the land for the airport across the band of water to the right. In April 1857 it was known as Richardson’s Farm. A successful establishment, note the sheep grazing beside an open gate, the dilapidated state of the boundary walls, but also the size of the main house itself at this early date.
Scott, Captain Andrew. Pride of India, Bermudiana Indigenous Wild Flowers. c. April 1857. watercolour. 3 x 6 inches.
The flowers and plants that the author would always remember on these islands for his scrapbook.
Scott, Captain Andrew. St. Georges Barracks, Bermuda. c April1857. watercolour. 5 1/2 x 3 inches.
Probably a view of the Barracks. Note the stabling for horses, the informality of the three figures by the water and the shafts of light in the sky.
Scott, Captain Andrew. St. Georges from Convict Bay. c 1857. watercolour. 6 1/2 x 3 1/2 inches.
With Ordnance Island and well remembered buildings hugging the shore. Observe the fine stairway on the left and the fort which now houses Bermuda Search and Rescue operations standing proudly at the top of the hill.
Scott, Captain Andrew. St. Georges General View, Bermuda. c Feb 1854. watercolour. 5 1/2 x 3 inches.
Whereas most of the sketches from Capt. Scott appear in his tour of duty in 1857, this watercolour is earlier. Mullet Bay and a substantial dwelling dominate the foreground.
Scott, Captain Andrew. St. Georges Hulks, Bermuda. c.1857. watercolour. Museum quality framed. 10 x 12 inches.
Scott, Captain Andrew. St. Peters, St. Georges, Bermuda. c Feb 1857. watercolour. Museum Quality Framed. 10 x inches.
Sheppard, J Warren. Four Palms, Bermuda. c1907. pen and ink on paper. 5 x 7 inches.
Warren Sheppard (American, 1858 - 1937). Sheppard was a true Renaissance Man, successful as an artist, teacher, author, yachtsman, navigator and yacht designer. He was born on the Delaware River in Greenwich, New Jersey, a place associated with ships and shipping since colonial times. There his father, a lumbership captain, often took his young son along the river where the developing artist studied the various moods of the sea.
He earned commissions for his illustrations in many prominent American publications and was for a time illustrator for the Rudder, a magazine of the marine. Sheppard was ship's navigator in the 1907 New York Harbor to Bermuda race on the Dervish. This vessel was owned by Henry A Moss, the commodore of the Corinthian Yacht Club of Marblehead, Massachusetts. Dervish won the race in a remarkably fast 89 hours. Sheppard drew his illustrations in celebration of the victory.
Sheppard, J Warren. Coot Pond, St Georges. c1907. pen and ink on paper. 3.5 x 8 inches.
Sheppard, J Warren. Artist Sketching on South Shore. c1907. pencil on paper. 8.75 x 12 inches.
Smith, Frank Vining. (1879 - 1967) Weather beaten sailing ship leaving Bermuda. circa 1930. 14 x 20 inches. Watercolour.
An able American marine specialist, he completed a small number of paintings locally. He usually took the City of Hamilton as his base and worked outwards. Attractive subjects.
Smith, Captain H.S. Dockyard Residence 1. 5 x 7 inches. Watercolour.
Captain Smith, later Admiral was in Dockyard in 1923 and possibly stayed at a house just to the west of Watford Bridge.
Smith, Captain H.S. Cockburn Cut. 5 x 7 inches. Watercolour.
Smith, Captain H.S. Watford Bridge. 5 x 7 inches. Watercolour.
Sketched for J.B Warren and given to Admiral Sawyer, The Plan of Ireland Cove. circa 1811. 12 x 8 1/2 inches. The very first sketch of the beginnings of Dockyard was given by Sir J B Warren to Admiral Sawyer on
Jan 11th 1811. Island Cove coincides with the slipway from West End Yachts down to the sea. Note the careening wharf, pits, capstans and wooden props for scraping vessels. This is nearly sixty years before the arrival of the first dry dock to Bermuda from Woolwich, London
Spenser, E R. Watercolour of Front Street, Hamilton. 39 x 26.5cm probably from the 1950's. A reminder of a peaceful time in history before rampant development.
Sprinchorn, Carl. A Bermuda Landscape
Carl Sprinchorn (American, 1887 - 1971). He was a landscape painter who combined both modernism and realism. Born in Sweden, he spent much of his life in New York State and also in Maine. Between 1937 and 1952 he worked in the woods of Maine painting lumberjacks, hunters and river drivers. However he was also associated with Marsden Hartley whom he met in New York as early as 1916. Hartley, a modernist who collaborated with Alfred Stieglitz, Charles Demuth and Georgia O'Keeffe, influenced Sprinchorn greatly. Interesting Bermuda works resulted but they are few in number and sought after.
Sprinchorn, Carl. Sprinchorn, Carl Cricket, Bermuda 1929 8 x 13 inches Watercolour. Signed lower left
Sprinchorn, Carl. Coastal View of Bermuda. watercolour. 17.5 x 24 cms. 1927. Beautifully framed in gold.
Sprinchorn, Carl . Bermuda Still Life Hibiscus (retro). A Bermuda Landscape (verso). c1927Watercolours 22 x 15.50 inches.
Carl Sprinchorn (American, 1887 - 1971). He was a landscape painter who combined both modernism and realism. Born in Sweden, he spent much of his life in New York State and also in Maine. Between 1937 and 1952 he worked in the woods of Maine painting lumberjacks, hunters and river drivers. However he was also associated with Marsden Hartley whom he had met in New York as early as 1916. Hartley, a modernist who collaborated with Alfred Stieglitz, Charles Demuth and Georgia O'Keeffe influenced Sprinchorn greatly. Interesting Bermuda works resulted but they are few in number and sought after.
Sprinchorn, Carl . A Bermuda Landscape (verso). Bermuda Still Life Hibiscus (retro). c1927Watercolours 22 x 15.50 inches.
St Georges (after Driver). A primitive watercolour signed E. Drew, Bermuda 1835
This painting 29.5 x 21.5cm takes its inspiration from Thomas Driver's study of King's Square produced in 1823. By 1835 the spire of St Peter's Church had been demolished from the effects of a hurricane, but many novice artists imitated their masters as is the case with this retro piece. There are subtle differences in this simplistic imitation of Driver's original, adding new charms to a historic Bermuda scene.
Starkweather, William. Bermuda Beach Children. Oil on Board. 14 1/2 X 10 inches. c1910.
William Starkweather (1879-1969) Apparently this British born artist completed at least three oil paintings on his first visit to Bermuda, adapting his style in each case to the subject he has chosen. This one of two finely turned out girls who have been paddling on the South Shore especially impresses for the beauty of its seas and the texture of clothing chosen. Starkweather later taught art in New York and was a notable curator of exhibitions in that city.
Starkweather, William. House on the South Shore. Oil on Board. 9 1/2 X 13 3/4 inches. c1910. It would be tempting to imagine that the artist stayed in this cottage when he painted the Bermuda Beach Children.
Sullivan, Henry. House on East Broadway. watercolour. 1938. 10 x 16 inches.
Sutherland, Everett. Bermuda Quarry. egg tempora. c. May 1935. 37 x 29 inches.
Little is known of this painter but his medium in this large dramatic Bermuda composition goes back to the time of Christ. Egg yolk mixed with coloured pigments in a water-soluble binder was widely used for works for which a long lifespan was intended. Tempora was only superceded by oils after 1500 AD and was revived by American artists of the calibre of Andrew Wyeth in the 1930s. It works particularly well in the hugely busy Bermuda Quarry scene.
Swanson, George Alan. A Simple Graveyard, Bermuda. Watercolour. c.1935. 10 1/2 x 7 1/2 inches.
George Alan Swanson. 1908 - 1963. The artist, a member of Beebe’s Bathysphere expedition of 1934 to Nonsuch Island, Bermuda was fond of our islands and particularly St Georges. Galleries have been able to acquire his oils and watercolours covering varying activities as well as his underwater studies.
Swanson, George Alan. Bermudian Ladies in Forest. Watercolour. c.1935. 10 x 5 inches.
Swanson, George Alan. St. Georges Square. Oil painting. c.1935. 16 x 12 inches. Newly available Dec 2018
George Alan Swanson. 1908 - 1963.
Swanson, George Alan. St. Georges Square. Watercolour. c.1935. 22 x 17 inches.
Tremewen, Vern. Original Watercolour from 'Bermuda Scenes'. Government Gate. c.1963. 21 1/2 x 14 1/2 inches.
Trott, Otto. Boats on the Shore. c.1981. Watercolour. 19 x 14 1/2 inches.
Tucker, Charles Lloyd. St. Peters Church. watercolour. 1938. 18 1/2 x 24 inches.
Charles Lloyd Tucker (1913 - 1971)
A much loved Bermudian artist whose work appeared everywhere whether making a permanent record of significant events or features of landscape. Very collectible.
Tucker, Ethel. Baileys Bay.
Tucker, Grace. View of St. Georges. c.1930's. 18 x 21 inches.
Tucker, Grace. View of Shoreline with Sailboat c.1930's. 21 x 17 1/2 inches.
Tucker Sisters. Salt Kettle. c.1940's. 3 x 5 inches. A small watercolour or tinted photo. Ethel and Catherine Tucker.
Turner Sterling, Ross. Watercolour probably of fairylands. 21 1/2 X 15 inches. c1891.
Ross Sterling Turner (1847-1891) This is an outstanding painting of an impressionistic waterfront on Pitts Bay almost immediately opposite the Bermuda Coal Company headquarters at the estern boundary of the Princess pennisula. Neither the two storey house on the left nor the building which became a hardware shop on the right still exist (though the sailing dinghy Dauntless is prominent in photographs of the period). It is possible that the left hand dwelling was called Leighlin according to records. A boat building was in an inlet to the west of the shore line and the house called Olive Hill was a hundred yards up the hill above. The roofs of the houses glisten in the heat of the afternoon sun. The moored dinghy casts an elongated reflection on the varying blue ripples of the water.
Unknown Artist. Framed Oil Painting. Grape Bay, South Shore. 10 1/2 X 16 inches. Shows the richness of the area.
Verpilleux, Emile Antoine. Nonsuch Island. Oil Painting. c.1950. 12 x 10 inches.
Emile Antoine Verpilleux (1888 - 1964)
Well known in Bermuda as a portrait artist and a chronicler of local life, both historically and present day. This view of Nonsuch, from which Beebe explored the deeps, is particularly striking. Verpilleux uses St David’s as his shore line and cleverly depicts the luminescence of the clear water and the coral formation beneath.
Voorhes, Clark Greenwood. (American 1871 - 1933) Bermuda Cedars. Signed etching 6 x 7 1/2 inches
This Old Lyme, Connecticut artist wintered in Bermuda for many years from 1919 onwards.Along with Will Howe Foote and Harry Hofmann he made this island his second home.The three found much that inspired them on our peaceful, rather untouched shores. Voorhes bought a house in Somerset called Tranquility and built a studio there. In this etching, as with many of his other night time scenes he is drawn by the intensity and mystery of the dark.
Webster, E. Ambrose. (1869 - 1935) Croton, Bermuda. Oil on Canvas. dated 1916. dimensions 16 x 20 inches. Fully framed to Museum Standards.
One of this supremely gifted artist's most spectacular works.
Wedlake, Wallace. Boulders on South Shore.oil on canvas. dated 1889. dimensions 44 x 35.5 cms
This artist actually came to Bermuda to take up employment as a church organist. In the course of his stay he accomplished a number of paintings including this winter scene with lowering sky and forbidding rocks.
Wood, M.S. Castle Island. watercolour.10.5 x 13 cms. 23rd Feb 1850.
It is rare to find a piece of this quality so early. Wood may well have been an officer or crew member of one of the British warships which dropped anchor in the Castle Roads during that period
Wilcox, Ray. The Dredger, St Georges. Possibly the Lord Cochrane. framed impressionist watercolour. dimensions 12 x 19 cms. 1927.
This is another case of a successful painter visiting our shores with his family and capturing us on paper. The whole family, Wilcox, his wife and two daughters came for a month and stay in St Georges. There still exists snapshots of their holiday as well as amateur sketches by the three ladies. However Wilcox himself, a listed artist following the contemporary modernist trend, saw and liked the dredger at work widening local channels. This watercolour is the result
Winthrop, Andrews J. Oleander on a Sunlit Path. Oil on canvas. dimensions 11 x 15 inches. c1910.
Andrews J. Winthrop born 1879.
Woodcock, Hartwell Leon (American 1853 - 1929). Courtyard with Flowers. Watercolour 15 x 11 inches
Signed by the artist lower left. Dated 1909
Attractively matted and framed
Wyllie, William Lionel A start off Calshot. Watercolour 13 1/2 x 7 3/4 inches
William Lionel Wyllie (1851 - 1931)
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Remembering Anton Yelchin
Jan 25 2019
Interview: Anton Yelchin’s Parents Try to Move Forward with New Documentary
January 25, 2019Author: JasperComments Off on Interview: Anton Yelchin’s Parents Try to Move Forward with New Documentary
With Love, Antosha premiering at the Sundance Film Festival, Anton’s parents, Viktor and Irina, spoke with Los Angeles Times about moving forward, making the documentary, and more. Such a heartfelt interview.
Anton Yelchin’s parents live where their son died. After his sudden death nearly three years ago, Viktor and Irina Yelchin couldn’t bear the thought of selling Anton’s home. He’d been obsessed with the place in Studio City, planting himself on his recliner sofa most nights with a bowl of pretzels, his Brussels Griffon, Elvis, and a stack of movies to watch until 3 in the morning.
So even though it was in the driveway that his Jeep malfunctioned in 2016, rolling downhill and pinning him against a gate, this is where his parents felt they had to be.
“It’s difficult, but we feel his presence,” said Viktor, sitting on his son’s favorite leather sofa last week as the rain pattered on the roof. “We’re closer to him, even if it’s very hard.”
“It’s hard to walk there,” Irina said, her voice breaking as she motioned toward the driveway. “It’s hard to live. But we are. So we have to do something while we’re here.”
The couple have already done a number of things in tribute to their son, an actor who amassed close to 70 film and TV credits — ranging from the most recent “Star Trek” reboots to “Hearts in Atlantis” and “Curb Your Enthusiasm” — before his death at the age of 27. They erected a statue in his likeness at Hollywood Forever cemetery and donated $1 million to the newly named Anton Yelchin Cystic Fibrosis Clinic at Keck Hospital of USC, where he received treatment for the disease.
But at the Sundance Film Festival this month, they’ll debut their greatest labor of love: “Love, Antosha,” a documentary that celebrates the actor’s legacy.
Read the full interview at Los Angeles Times website.
Articles - Love Antosha - Tributes
Nov 16 2017
‘Porto’ Used the “Lightest, Most Liberating” Film Cameras to Shoot Its Handheld and Long-Lens Scenes
November 16, 2017Author: JasperComments Off on ‘Porto’ Used the “Lightest, Most Liberating” Film Cameras to Shoot Its Handheld and Long-Lens Scenes
Check out this feature article on Porto from MovieMaker magazine, which delves into the filmmaking procedure done for the film.
Porto is a love letter to the timelessness of great cinema. Director Gabe Klinger is a scholar of cinema history, and he was keen to invoke the textures and traditions of older films and filmmakers for this project.
The story didn’t have to be told in Portugal, but it had to take place in an old city that was lost in time. Depending on where you turn a camera, the city of Porto can transport you to any decade or century, and this was essential in creating a feeling of drifting through time and history. It was also essential to Gabe and I that we shoot on film (as opposed to digital), because film has a way of distancing the image from the present.
The film is about two people on separate paths that intersect for one cataclysmic night in a foreign city. We wanted Porto to evoke both the feeling of time passing throughout their lives, and of events happening in the present, and we worked with a variety of film formats to achieve this. Super 8mm was used for the more fleeting memories throughout their lives, almost like home movies. Super 16mm was our verité format, used to document the important events in their lives leading up to and following their night together. We used 35mm for a more formal real-time feel to show the encounter itself, unfiltered by time and memory. Initially these were to be separate chapters, but in the edit they were integrated to strike more connections between the past, present, and memory.
For the 8mm footage, we tested a half dozen cameras and settled on three different consumer models which slowly fell apart as the shoot progressed. We developed our tests with a hand-processor in Porto, something that we were very excited about initially, but the results were too unstable. In the end we sent our final films to ColorCity, a lab in Paris that at the time was still processing color reversal.
For the Super 16mm, we were watching a lot of direct cinema and verité films, and we were determined to get into the minimal, essential headspace of those filmmakers as much as possible. We even looked into reviving the sound-on-film cameras Robert Drew and associates were using, like, the Auricon, which scribbled the location audio directly onto the camera negative with a pulsing, shuttered light. Ultimately we decided that if those filmmakers were shooting today, they’d be using the lightest and most liberating 16mm cameras, and it was more important to honor their intention than to reanimate the technology. We used an Arri 416 for all the handheld and long-lens scenes following the two lead protagonists, Mati (Lucie Lucas) and Jake (Anton Yelchin), through their solitary existences. After filming several of these scenes, I found I was having a hard time falling into step with Anton. At last, he revealed that he had been honing a nearly imperceptible limp in his right foot for the role, as though Jake had been injured in his youth but hadn’t healed properly. I just had to learn the limp, and from then on we were in perfect sync! Anton was extraordinarily immersed in the role, even limiting his diet to local junk food like “Francesinhas” (meat and cheese sandwiches that are typical in the region) the entire time we were in Portugal, true to his character, who at one point in the film tell us that he doesn’t take care of himself.
For the scenes that take place in real-time the night of the encounter, Gabe wanted to jump up to 35mm ‘Scope to make it feel grander and more immersive, as the evening is experienced for Jake and Mati. We wanted it to feel less dated than the other material, so we shot with cleaner lenses (Cooke-S4s) and designed all of the scenes as single shots or series of shots with as little coverage as possible. Even the lovemaking scenes were designed to feel continuous and unyielding, unlike many love scenes which are minced together from a variety of angles in order to feel discreet. We did, however, shoot them very dark, keying two and a half stops under and filling three stops under from the key side, which veiled them in grain and rendered them in simpler forms, so that the nudity was not awkward and distracting.
The thing I love most about shooting film is that it removes everyone from the immediate results. With digital, you’re constantly seeing how the image will be rendered, which takes you out of the moment. When I look through an optical viewfinder and hear film whirring through the gate, I become totally tuned into the event happening in front of the camera, which is the essence of filmmaking. Each take is a unique event which cannot be repeated. An actor cannot do the same thing twice. This is true with digital, but somehow it’s easily forgotten. Seeing the picture on a monitor makes you think you can refine it endlessly, and that the final, flattened image is most important. It’s not. Good directors can maintain that immediacy and intimacy of the event when working with digital systems, but with film cameras it is inherent in the technology. This is why so many films we love from the last century feel so spontaneous and “raw.”
For us, it’s not about the aesthetic qualities of film (though those help); it’s the way film changes the process. With Porto, Anton and Gabe wanted to get back to this kind of filmmaking, which embraces chance and acknowledges that a movie can never be made the same way twice; that it is a product of who you cast and work with, and where and when you shoot. Thousands of factors influence the events that happen in front of the camera, and it becomes a cultural and historical artifact as soon as it is captured. Unfortunately, with Anton’s passing, this philosophy became even more real for Gabe and I. We’re very grateful to have the film as a recollection of our time with him.
Tech Box
Cameras: Arri 416 and Arricam Studio and Arri LT
Lenses: Zeiss Ultra16s and Cooke S4s
Film: Kodak 7219, Kodak 5219, Kodak Ektachrome and Fuji Velvia MM
Articles - Movies - Porto
Anya Taylor-Joy and Olivia Cooke on Working with Anton Yelchin in ‘Thoroughbred’
January 24, 2017Author: JasperComments Off on Anya Taylor-Joy and Olivia Cooke on Working with Anton Yelchin in ‘Thoroughbred’
When Anton Yelchin was killed in a freak car accident last June, the 27-year-old actor left behind five unreleased movies: “Star Trek Beyond,” the romance “Porto,” the delayed missing-son drama “We Don’t Belong Here,” a sci-fi mystery called “Rememory” and the twisted psychodrama “Thoroughbred.” We’ll now spend the year bidding Yelchin another bittersweet farewell with each release.
The latest sendoff came this weekend at the Sundance Film Festival, where the sensational “Thoroughbred” premiered. Yelchin has a supporting role in the movie, a “Heathers”-meets-”Persona” psychodrama depicting two wealthy teen girls (Anya Taylor-Joy and Olivia Cooke) who concoct a twisted murder plot in suburban Connecticut.
“Thoroughbred” wrapped production two weeks before Yelchin’s death. It was the last movie he shot.
“He is truly a phenomenal actor and an unbelievable person, and I think all of us feel incredibly lucky to have spent time with him and to love him and to allow him to inspire us,” Taylor-Joy told The Huffington Post on Sunday as Cooke nodded along with her sentiments. “It’s really a testament to his ability as a performer because [Tim, Yelchin’s character], in the script ? it’s not that he’s not fleshed out, but I think a lesser actor would have made him more of a parody. The sympathy and the love that we feel toward him? He’s just having a rough time. [Our characters] grab him and pull him into something, and you really feel for him.”
The “something” Taylor-Joy alludes to is the aforementioned murder of her character’s savage stepfather (Paul Sparks). Yelchin plays a registered sex offender and local drug dealer. Because he has a gun, the girls lure Tim into their devilish scheme ? he joins “Team Estrogen,” as Cooke put it. Yelchin is dynamite in the role, frazzled and wide-eyed with paranoia.
“It was incredibly sad to hear the news,” first-time writer/director Cory Finley said, referring to Yelchin’s death. “I think I can speak for everyone in saying we felt very, very fortunate to have worked with him. He was, first, just a consummate artist on set. He did a lot of improvisation and came in with a lot of really specific character work done and really had a vision for the character and had a huge role in shaping that part.”
After a slew of enthusiastic reviews for “Thoroughbred,” Focus Features purchased theatrical rights for around $5 million, a decent sum for a Sundance title without much pre-festival buzz. No release date has been announced.
“He was also just the kindest, funniest and most playful guy on the set,” Finley said. “We always really loved him. It was a huge loss, but he was an amazing actor and a great guy.”
Source: The Huffington Post
Articles - Movies - Thoroughbred
Oct 26 2016
Film Academy Dedicates Nicholl Fellowships Event to Anton Yelchin
October 26, 2016Author: JasperComments Off on Film Academy Dedicates Nicholl Fellowships Event to Anton Yelchin
The organization that presents the Academy Awards is dedicating a performance of promising new screenplays to late actor Anton Yelchin.
The Academy of Motion Picture Arts and Sciences said Tuesday that its annual Nicholl Fellowships live-read event will be presented in Yelchin’s honor.
The “Star Trek” actor performed at the first Nicholl live read in 2013. He died in June when his Jeep rolled down his driveway and crushed him. His parents have sued the vehicle’s manufacturer.
Yelchin’s “Star Trek” co-star John Cho, as well as actors Cary Elwes, Aja Naomi King and Alia Shawka are set to perform selected scenes from this year’s five winning screenplays on Nov. 3 at the film academy’s headquarters in Beverly Hills, California. The winning screenwriters were announced last month.
The Nicholl Fellowships is the academy’s annual, global screenwriting competition. Winners receive $35,000 and academy support toward the completion of a feature-length screenplay during their fellowship year.
Winning Nicholl scripts have also been produced and released theatrically, including 2006’s “Akeelah and the Bee” and “Stockholm, Pennsylvania,” which premiered at the Sundance Film Festival last year.
Source: Page Six
Articles - News
Felicity Jones on ‘Rogue One’ Reshoots, ‘Inferno’ Reluctance and Anton Yelchin’s “Devastating” Death
October 12, 2016Author: JasperComments Off on Felicity Jones on ‘Rogue One’ Reshoots, ‘Inferno’ Reluctance and Anton Yelchin’s “Devastating” Death
Anton’s co-star, Felicity Jones, from the 2011 film, Like Crazy, recently spoke with the Hollywood Reporter, wherein she opened up about Anton’s passing.
Then, in 2011, she got cast as a lead in Like Crazy, playing an English girl in Los Angeles who falls in love with an American boy — played by the late Anton Yelchin — before getting deported. The film became a Sundance darling and got Jones noticed by Hollywood (and upstaged Jennifer Lawrence in the process), even if it didn’t exactly explode at the box office (grossing only $3.7 million). It also began a friendship with Yelchin that lasted until his death in June, when his Jeep Cherokee rolled down the driveway of his L.A. home and crushed him against a gate. “It’s been devastating,” Jones says of the tragedy, obviously still shaken. “It doesn’t feel like there’s any justice or there’s no way of understanding it, really. It’s just been a very difficult time for his family. They’re very dignified, beautiful people. He was just like no one else. He really was a unique soul.”
Aug 02 2016
Anton Yelchin’s Parents to File Wrongful Death Lawsuit Against Fiat Chrysler
August 02, 2016Author: Jasper1 Comment
The parents of actor Anton Yelchin will file a wrongful death lawsuit against Fiat Chrysler on Tuesday, their attorney announced.
The “Star Trek” actor was killed June 19 when his Jeep Grand Cherokee rolled backwards down the driveway at his Studio City home and pinned him against a brick pillar. He was 27 years old.
Yelchin’s vehicle was under recall, after Fiat Chrysler and the National Highway Traffic Safety Administration received numerous complaints about confusion caused by the gear shifter. Some drivers have exited the vehicle believing the vehicle was in park when in fact it was in neutral, leading to “rollaway” crashes. The NHTSA is aware of nearly 700 complaints about the issue, including 266 accidents, of which 68 involved injuries. Yelchin’s crash is still being investigated, but is believed to be the only fatality related to the issue.
Yelchin’s parents, Viktor and Irina Yelchin, will file suit against Fiat Chrysler as well as retail chain AutoNation and ZF North America, which manufactured the gear shifter. Yelchin’s attorney, Gary Dordick, is expected to announce the lawsuit at a press conference on Tuesday morning.
Anton - Articles
Jul 21 2016
‘Star Trek Beyond’ San Diego Premiere Starts with Tribute to Anton Yelchin
July 21, 2016Author: JasperComments Off on ‘Star Trek Beyond’ San Diego Premiere Starts with Tribute to Anton Yelchin
“There’s something missing. There’s someone missing. Anton should be here.” So said JJ Abrams tonight before the world premiere of Star Trek Beyond at San Diego’s Embarcadero Marina Park Amphitheater about the late Anton Yelchin. The actor, who plays Pavel Chekov in the rebooted Star Trek franchise died June 19 in an automobile accident at his Los Angeles home.
Yelchin had played Chekov since 2009’s Abrams-helmed Star Trek that rebooted the franchise with new actors in the roles created for the 1960s original series. Tonight’s tribute came just hours after Abrams, who also directed 2013’s Star Trek Into Darkness and now executive produces the series, confirmed that the role of Chekov won’t be recast with a new actor. “I would say there’s no replacing him,” Abrams said in an interview with the Toronto Sun. “There’s no recasting. I can’t possibly imagine that, and I think Anton deserves better.”
Source: Deadline
Article: ‘Star Trek’ Won’t Replace Anton Yelchin
July 15, 2016Author: JasperComments Off on Article: ‘Star Trek’ Won’t Replace Anton Yelchin
With the imminent release of Star Trek Beyond – the third of the J.J. Abrams-era of Trek films – a fourth is already, “100% yes,” says producer Abrams.
But what happens to the character of Ensign Pavel Chekov, following the freakish auto mishap that killed 27-year-old actor Anton Yelchin a month ago?
In an exclusive interview with Postmedia Network, Abrams said the filmmakers have begun talks on dealing with his loss in the script. But one thing that is certain is that Chekov will not be recast.
“I would say there’s no replacing him. There’s no recasting. I can’t possibly imagine that, and I think Anton deserves better,” Abrams said.
In Star Trek Beyond, directed by Justin Lin, Yelchin’s character gets his most screen time thus far, as an encounter with a malevolent alien swarm forces the Enterprise crew to abandon ship and survive on a planet in small teams – Chekov and Captain Kirk (Christopher Pine) among them.
We have testimonials to Yelchin from Pine and other Star Trek cast that are to come.
Meanwhile, Abrams says, “We knew going into this movie it would be a bit of a heartbreak just because of Leonard (Nimoy, the original Spock, who died as Star Trek beyond was in pre-production, and whose death is noted in the plot). We had no idea just how devastating events would become.”
Is the character of Chekov himself going to be killed off? “I have thought about it, we’re working on it, and it’s too early to talk about it,” he said.
Source: Toronto Sun
Anton Yelchin Foundation
To honor his memory, Anton’s family and friends created this foundation to empower and support young people age 7 to 27 who are engaged in creative arts, but who face career challenges due to debilitating disease or disability.
The show follows 15-year-old Jim (Anton Yelchin), who is transformed into the Trollhunter, defender of the good trolls, after stumbling upon a magical amulet. While fighting alongside his best friend Toby (Charlie Saxton) and the wise four-armed troll Blinky (Kelsey Grammer), he also must juggle play rehearsal and homework.
Jake and Mati are two outsiders in Porto who once experienced a brief connection. A mystery remains about the moments they shared, and in searching through memories, they relive the depths of a night uninhibited by the consequences of time.
The widow of a wise professor stumbles upon one of his inventions that's able to record and play a person's memory.
A matriarch of a dysfunctional family is pushed to her tipping point by the disappearance of her son.
Two teenage girls in suburban Connecticut rekindle their unlikely friendship after years of growing apart. In the process, they learn that neither is what she seems to be, and that a murder might solve both of their problems.
Tweets by AntonYelchinCom
Maintained By: Jasper
Previous Owners: Rachel, Hayley, Jenny, Liliana & Nicole
Launched: June 25th, 2009
Hits: ()
Version: 5.0 - Ray of Light
RAY of Light: Remembering Anton Yelchin is an unofficial, non-profit fan-run site. We are in no way affiliated with Anton's family, friends, or any of his representatives. All media, photos, trademarks, and copyrights are the property of their respective owners. We do not claim ownership of the images used on this site, unless stated otherwise. No copyright infringement intended. If there's anything you find on the site that belongs to you and needs to be removed, please contact us before taking legal action. This site is proudly paparazzi and gossip free.
The site is no longer under free hosting, so if you’re interested in helping keep the site alive, please consider giving a donation. Any amount, no matter how small, will be greatly appreciated and will be credited on a page (unless you prefer to keep your donation private.) All donations will go to domain renewals, acquiring HQ photos for the gallery, and monthly hosting bills. Thank you!
© 2009 - 2021 RAY of Light: Remembering Anton Yelchin - Ten Thousand Beats - Cookies Policy - Privacy Policy
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xManuscripts and Archives Division
Found 2 collections related to Film stills
Filtering on: xManuscripts and Archives Division
Boultenhouse, Charles, 1926-
Charles Boultenhouse and Parker Tyler papers, 1927-1994
Manuscripts and Archives Division | MssCol 349
The Charles Boultenhouse and Parker Tyler Papers (1927-1994) consist of correspondence; published and unpublished manuscripts and typescripts of each man's writings; photographs; personal files and mementos; subject files; films; sound recordings;... more
The Charles Boultenhouse and Parker Tyler Papers (1927-1994) consist of correspondence; published and unpublished manuscripts and typescripts of each man's writings; photographs; personal files and mementos; subject files; films; sound recordings; art work; and printed material including books, periodicals, catalogs, and brochures. The papers document the men's relationship of almost 30 years; their involvement in and contribution to the arts; their social life with friends and colleagues; and, to some extent, the activities of the artistic communities with which they were involved. The bulk of the papers cover the period from 1945 on, after the men met and began living together, and so are in a sense the papers of their household as well as those of each man individually. less
Skinner, Constance Lindsay, 1882-1939
Constance Lindsay Skinner papers, ca. 1876-1939 [bulk 1930-1939]
13.8 linear feet (18 boxes)
Constance Lindsay Skinner (1882-1939) was a Canadian-born author, critic, historian, and playwright. Her writings included poetry, novels, plays, literary and music criticism, historical works, and adventure stories for children. She wrote... more
Constance Lindsay Skinner (1882-1939) was a Canadian-born author, critic, historian, and playwright. Her writings included poetry, novels, plays, literary and music criticism, historical works, and adventure stories for children. She wrote histories of the American southwest, Canadian northwest and Indian tribes of British Columbia. Collection contains correspondence, writings, photographs, movie stills, drawings, printed matter, and additional personal papers of Skinner and her parents. Correspondence, 1899-1939, is with authors, artists, editors, publishers, theatrical people, explorers, scholars, and journalists. Writings include typescripts of Skinner's short stories, articles, novels, poetry, children's stories, and criticism. Photographs are of family and friends, Indians of North America, and views of British Columbia and remote areas of the Canadian northwest. Also, drawings and illustrations, movie stills, clippings of criticism of her books and stories, and newsclippings relating to World War I. Other papers consist of her personal accounts, literary notebooks, cookbooks, address books, as well as letters and papers, 1876-1891, of her parents, Robert James Skinner and Annie Lindsay Skinner. less
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What Top Officials Charged with Keeping Our Nation Safe Are Saying About the TPP
by Tanya Somanader | May 19, 2015 | Monitor |
It is certainly true that America’s trade policy plays a large role in the resurgence and strength of our economy – but that’s not the only role it fills. Our trade policy also sits at the core of our strategy to keep America and our allies safe in the 21st century.
So here's the question: How can the President's progressive trade deal — the Trans-Pacific Partnership — help safeguard our future?
Tour of @Boeing factory was particularly special for me — my Dad was a pilot/flying has been in my family for years pic.twitter.com/U7QmoGlnLz
— John Kerry (@JohnKerry) May 19, 2015
Speaking today at Boeing Headquarters in Seattle, WA, America's top diplomat — Secretary of State John Kerry — offered this answer:
"It is no secret that the world in the future looks pretty complicated right now. The turbulence that we see comes from a combination of factors, including the fact that even as the world grows closer, there are powerful forces pulling people apart – terrorism, extreme nationalism, conflicts over resources, a huge number of people coming of age in parts of the world where there simply aren’t enough jobs. This creates a race between opportunity and frustration that we can’t afford to lose.
Expanded trade can help us win that race by spurring innovation and – and as we’ve seen in Asia and elsewhere – helping hundreds of millions of people to lift themselves out of poverty. And poverty, my friends, is where you see much of this violent extremism born.
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Wakefield Rhubarb Festival (2005)
Agriculture; FE
Sale, DVD (Region 2 PAL, 45 minutes), £11.99
This video of the Wakefield Rhubarb Festival gives an insight into the traditional forced rhubarb growing process, the history of the Rhubarb Triangle, together with a glimpse of the 2004 festival tour.
DVD Find Other To order
International Festival of Ethnographic Film 2011
2 Jun 2011, 18:34
bufvcsergio
12th RAI International Festival of Ethnographic Film 2011 23 - 26 June 2011 - UCL, Roberts building, London www.raifilmfest.org.uk Meet us on FACEBOOK This festival is sponsored by The Royal...
Other Record only
Autobiography of a Nation, The: The Festival of Britain (2003)
Architecture; Design; History
Slide (Slide Set, 24), £30.00
The 1951 Festival of Britain is mostly remembered for the South Bank Exhibition in London, and this slide set contains views of the exhibition and many of its buildings and structures (including the Dome of...
Family Portrait (1951 Video)
Videocassette. VHS. b&w. 25 min.
The last film directed by Humphrey Jennings and made for the Festival of Britain in 1951, the film shows the British in everyday life, in the arts and in the sciences. Surveys the achievements of...
Striking Sparks (1985 Video)
Hugh Kelly
Hire Sale, Videocassette. VHS. col. 24 min.
A record of the 1984 Tyne and Wear Youth Theatres Festival made by people who attended the event. Includes discussions of the issues involved in youth theatre: Phil Clark, the festival organiser and Roger...
1951 Festival of Britain, The: A Living Legacy (1996 Multimedia)
Sale, 25 slides. b&w., 2000 sale: £25.00 (inc. VAT +p&p)
Images from the Design Council Slide Collection illustrating the use of design within the South Bank exhibition site of the 1951 Festival of Britain through some of the lesser known architecture and other...
IWM Student Film Festival and Competition
bufvclinda
The Imperial War Museum has just launched its annual student and amateur Film Making Competition and Festival. Now in its tenth year, the festival will run from November to December 2010. There are three...
Art in the Park (2000 Video)
Judi Alston
Sale, Videocassette. VHS. col. ? min., 2001 sale: £15.00 (inslusive)
Records the Celebrations Festival, a festival of arts in education held on the Bretton Hall Estate from 28 June to 2 July 1999. Over 1000 pupils from schools in the Wakefield District participated in the...
Ouaga: African Cinema Now! (1988 Video)
OUT OF DISTRIBUTION, Videocassette. VHS. col. 52 min.
Explores the work of African film-makers, particularly the renewed interest in the traditions of indigenous cultures to articulate new film languages. Leading African film-makers discuss the social and...
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Terence Gray and the Cambridge Festival Theatre (1980 Multimedia)
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Terence Gray was the foremost theatrical innovator of his day in England. Under his management the Cambridge Festival Theatre of the ‘twenties presented highly stylized and innovative productions...
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AppRiver lands on Top 501 Global Managed Service Providers list by Channel Futures
By: AppRiver via GlobeNewswire News Releases
July 09, 2018 at 11:00 AM EDT
Gulf Breeze, Florida, July 09, 2018 (GLOBE NEWSWIRE) -- AppRiver, a leading provider of cloud cybersecurity and productivity solutions, ranks 16th among the world’s most strategic and innovative managed service providers (MSPs), according to Channel Futures 11th-annual MSP 501 Worldwide Company Rankings.
The MSP 501 is the first, largest and most comprehensive ranking of managed service providers, with a record number from across the globe competing this year.
“AppRiver’s advanced security platform currently protects more than 60,000 corporate customers from phishing attempts, ransomware attacks, conversation hijacking, and other threats,” said AppRiver CEO Michael Murdoch. “This recognition speaks to both the quality of our solutions and to the innovative, dedicated team behind them.”
AppRiver provides email security, web-based malware protection, email encryption, secure archiving, and email continuity solutions. All of its security services are designed to work seamlessly with Office 365 and Microsoft 365, both of which are also offered by the company.
According to Channel Futures, MSPs were ranked according to their unique methodology, which recognizes that not all revenue streams are created equal. Revenue figures were weighted according to how well the applicant's business strategy anticipates trends in the fast-evolving channel ecosystem.
“This year’s applicant pool was the largest and most diverse in the history of the survey, and our winners reflect the health and progressivity of the managed services market,” says Kris Blackmon, Channel Futures content director and editor of the MSP 501. “They’re growing their revenue, expanding their customer influence and exploring new technology that will propel them for years to come.”
The full MSP 501 report, available this fall, will be based on applicant responses, interviews and historical data to identify business and technology trends in the IT channel.
The complete 2018 MSP 501 list is available at Channel Futures.
About AppRiver
AppRiver provides cloud-based cybersecurity and productivity services to over 60,000 companies worldwide. Launched in 2002, the company uses advanced proprietary technology and big data analysis in combination with expert human analysts to block phishing, spear-phishing, business email compromise, and other forms of malware before they reach customer networks. AppRiver also provides web-based malware protection, email encryption, secure archiving, and email continuity solutions. Recognizing that user email is the largest area of vulnerability, AppRiver established itself among the world’s top providers of Office 365 and Secure Hosted Exchange solutions. All services are offered on a pay-as-you-go basis and are backed by award-winning 24/7 white-glove Phenomenal Care® customer service. AppRiver is headquartered in Gulf Breeze, Florida and maintains offices in Georgia, Texas, Canada, Switzerland and Spain. For more information, please visit www.appriver.com.
Channel Futures, Channel Partners Online, Channel Partners Conference & Expo and Channel Partners Evolution are part of Informa, the international business intelligence, academic publishing, knowledge and events group. Informa serves commercial, professional and academic communities, helping them connect and learn, and creating and providing access to content and intelligence that helps people and businesses work smarter and make better decisions faster.
Informa has over 10,000 colleagues in more than 20 countries and a presence in all major geographies. It is listed on the London Stock Exchange and is a member of the FTSE 100.
Jim McClellan
AppRiver
jmcclellan@appriver.com
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The Fo’c’sle Museum Aboard TSS Earnslaw
We went to visit the fo’c’sle – short for forecastle or the pointy bit cabin, once crew’s quarters, there we found the on board museum of this incredible Lady of the Lake, the TSS Earnslaw or Twin Screw Steamer Earnslaw. On the wall was her official number and registration tonnage, just as we have to display ours. Beez ON – official number is 91474 and her net-ton is 14, tiny by comparison.
Her lovely port and starboard navigation lights.
We looked at her substantial rivets on the wall and her sturdy wooden floor.
Her award.
The “Bourden” Gauge, a new one on us, uses a semi-circular tube to which the medium to be measured is connected. Changes in pressure cause the tube to expand or contract, this movement is transmitted to a pointer. A scale shows the pressure or vacuum reading. We then spent some time looking at the wonderful photographs on the walls, thank you to all those who donated them, giving us this look back into the history of the ladies of the lake.
The Screw Steamer Victoria – ex Yarra River, Melbourne, arrived at Lake Wakatipu in 1863, renamed Venus in 1874.
The paddle steamer Antrim launched in 1868.
The launching of the Jane Williams at Town Creek, Queenstown in 1872, later she was renamed Ben Lomond. Sadly, she was scuttled in 1952. Loading passengers and freight.
Lake Wakatip Mail advertising the steamers in 1877.
The Lake Wakatipu Steamer Fleet in the 1920’s. The Mountineer, 1872. The Ben Lomond, 1879 and the TSS Earnslaw, 1912.
The paddle steamer Mountaineer being launched at Kingston in 1879. She had to be refitted after a major fire.
The paddle steamer Theodore launched on Lake Wanaka in 1881. The cutter Mystery II launched in 1882 at Queenstown Wharf.
The Ben Lomond berthed at Queenstown after her major refit in 1885.
The paddle steamer Mountaineer at Kinloch in the 1890’s and in Queenstown with Eichardts Hotel in the background.
Passenger Launch Thelma on Lake Wakatipu in 1910.
TSS Earnslaw being prefabricated by John McGregor, two triple expansion steam engines being assembled, Dunedin 1911.
TSS Earnslaw’s reassembly at Kingston at the southern end of Lake Wakatipu, 1911. Her hull complete and ready for launching.
The wheelhouse and final fittings to the promenade deck - 1912.
About to commence her maiden voyage to the head of the lake and invited guests on the 19th of October 1912.
Captain J.B. Robertson at the helm for her maiden voyage and the crew.
TSS Earnslaw seen at the steamer wharf in Queenstown in 1916, grand outfits on the punters.
TSS Earnslaw on the slipway at Kelvin Grove being surveyed and repainted in 1944.
Queenstown can be proud to boast the oldest working, full sized, stationary, fire tubed boiler in New Zealand. The engines and boiler of the Wakatipu paddle steamer, the Antrim, are still used today to haul the TSS Earnslaw up the slipway at Kelvin Grove. This coal fired boiler celebrated its 100th birthday on the 1st of September 1993. When the Antrim was built in 1868 a wood fired locomotive type boiler was installed which was replaced by a coal fired boiler and it is this system which is used on the slipway today. In 1920 the fifty six tonne paddle steamer was dismantled and the engines and coal fired boiler were removed and taken to the slipway, where they were geared to a winding drum winch, this new haulage system was used for the first time when slipping the TSS Earnslaw in 1922. Every two years the heart of the Antrim pulls the TSS Earnslaw on to dry land for an inspection of her plates, the actual process of hauling her can take up to four hours, the hull is then cleaned and checked by the Ministry of Transport Surveyors.
Early 1960’s truck being loaded onboard, likely headed for Glenorchy.
Sheep, cars and visitors arrive at Mount Nicholas Station. Sheep were a common cargo before road access to high country stations.
Loading wool and grain, also a bulldozer at Mount Nicholas Station.
TSS Earnslaw unloading a car and freight at Kinloch, the starting point for the famous Routeburn Valley bus tour.
TSS Earnslaw undergoing a major refit in 1984.
TSS Earnslaw in Beach Bay returning to Queenstown, as she still looks today.
ALL IN ALL A WONDERFUL COLLECTION OF PHOTOGRAPHS
REALLY INTERESTING
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Tours ›
Originally, Mount Zion was the name of Temple Mount – Mount Moriah, but in the Middle Ages Mount Zion migrated to its current location, South West of the Old City, near the walls. Its importance to Judaism, Christianity and Islam makes it fascinating, and of endless traditions, and legends.
The starting point of the tour is Zion Gate, which may look like an ordinary gate, but in fact it is a structure planned with practical thinking. You may see the many bullets signs around the gate, a memorandum from the War of Independence, which gave the gate its second name “the wounded gate.” On the upper part of the gate stands a little porch, called “Machicoly”. The origin of the word comes from French, and means to break a neck (macher + col). Machicol in French means porch. The Machicoly was used for dropping heavy objects on the enemy, breaking their necks.
From this porch, the defenders of the walls used to spill hot oil on their enemies during the siege on the city, just like in the movies. Apart from the Machicoly, notice also the two small windows above it, which were used for lowering two massive metal rods to prevent the entry of the carriages into the city when the gate was breached.
These are not the only defense tactics of the gate. Its inner part is shaped in the form of the letter L, creating a sharp curve to the right, so that in case of a breach, the enemies will be forced to slow down in order for the sharp turn, making them defenseless against counter attacks, and giving the locals time to run or resist. Considering that most warriors hold their sword in their right hand, and the shield with the left, the path coming from the right allows the citizens to attack the intruders, whose right side is defenseless, and their shield is in their left hand, which is farther from the path.
Franciscans and Romantics
Continue south from the stone path above the garage. You will probably meet with a salesman selling bagels or sweets to passersby. a few steps later you will reach a point where the path splits. The right path continues alongside the monastery wall, leading to a romantic and beautiful corner of Jerusalem, a magnificent sight at night, watching over Dormition Abbey through the two walls on both sides of the path.
Between the two small walls, the Catholic Dormition Abbey peeps through. On the upper part of the wall to the left is a statue of a man carrying a cross, and 5 engraved crosses above it – 4 small crosses and a larger one. This is the Jerusalem Cross, formerly the symbol of the Crusaders, presently the symbol of the Franciscan Order whose members look after the sacred places for catholicism, in the name of the Vatican and the Pope. The figure in the sculpture is St. Francis, the founder of the order, who lived in Italy during the 12th century.
Franciscan monks can be seen all over Israel, easily identified by their clothing, just like Sean Connery in the movie “Name of the Rose”, a brown robe, a hood, and a white belt with three knots, symbolic of the three vows – chastity, poverty and obedience. Continue towards Dormition Abbey, walking straight onwards, on the path curving slightly to the left from the church, until you reach David’s Tomb.
Jewish, Christian and Muslim
David’s Tomb is probably the only building in Israel, or even in the world, to have a synagogue on the first floor, a former church on the second, and a mosque on its roof. It is important to keep quiet, since people live here.
There were a lot of legends and myths circulating about David’s Tomb, but apparently the building is not King David's tomb, since in the Book of Kings 1, chapter 2 it was said: “Then David rested with his ancestors and was buried in the City of David.” The City of David is hundreds of meters away from Mount Zion. You will notice the big Mezuzah at the entrance, with its three crowns of Torah books, smuggled to Israel from Jewish communities, which were destroyed during the Holocaust.
The metal staircase leaning against the wall to the left (there are public toilets in front of it, by the way) leads to the Hall of the Last Supper, and to its amazing stained-glass windows. If the metal door leading to the roof is open, you can climb up to the observatory near the turret, minaret in Arabic, of Mosque Nabi Daoud - David the Prophet.
The roof is called the “Temple Mount Observation”, since it was the closest to the Temple Mount and Western Wall in 1948-1967, the period when the Jordanians ruled over the Old City, while the nearby Mount Zion belonged to Israel. On the roof, next to the minaret of the mosque, there’s a tiny room with a stone dome. This is the room of Israel’s second president, Yitzhak Ben Zvi, who used to come here in the late fifties. Today, the room can be visited during noon hours.
South, towards the stairs we already climbed, you can see the Armon HaNatziv Promenade, and on the left, Herbert Samuel's palace, now the headquarters of the U.N. in Israel. The road creates an optical illusion, known among locals as the 'enchanted road,' enabling one to turn off the car engine going down the road, making it seem like the vehicle was going backwards. The road is still there, but it is now part of an Arab village, so we do not recommend that you try it out.
To the East you can see the most ancient Jewish cemetery in the world, located on the Mount of Olives, as well as the Intercontinental Hotel /Seven Arches on top of it. A little to the left we have the tower of Augusta Victoria with its triangular roof, and more to the left, in the Old City, a glimpse of gold is visible – The center of Temple Mount.
Bobby, the British Policeman, and the Bell Tower
The Abbey of the Dormition is seen in all its glory, and behind it stand the King David hotel and the YMCA tower. “Dormir” means sleep in both Latin and French. In this case, it refers to Virgin Marie, Mother of Jesus, who fell asleep for the last time in Zion. Another version says that Maria's final sleep took place in Miriam’s Grave in Kidron Valley, or in Ephesus in Turkey.
On the lefthand side of the monastery you is the Bell Tower, and if you're lucky you might be able to hear them ring before the prayer. A well-known Jerusalem anecdote says that the tower is actually called Bobby, like the nickname of British policemen. The dome of the tower looks like a hat of a British policeman, the clock is the nose, and the windows from two sides are the eyes. A bit lower a triangular mustache and a mouth. A Few steps to the left, and Bobby changes his face – two clocks become eyes, and the window under them – a nose. On top of Bobby's head is a Jewish metal rooster, probably a kosher one. The rooster is the work of a Jewish blacksmith, who got a special order from the church in 1909. Why a rooster you may ask? According to the New Testament, Jesus Christ told his disciples that until the call of the rooster at dawn, Peter will betray him. The monastery is open for visitors.
Who else was here on the roof? In 1992, David Koresh and 86 of his disciples committed mass-suicide in Texas, USA, after a long battle with FBI agents. Koresh, who claimed to be the messiah, was a guitarist and a singer, who filmed video clips on this roof (at least two of them available online). After he came back to the US, he gathered weapon in a ranch in Texas and prepared himself and his disciples for the Armageddon. The unfortunate end is known.
The Original Painting by Da Vinci
The exit will lead you towards the Hall of the Last Supper, also called the Cenacle. The Cenacle is a Crusader building from the 12th century. Notice the impressive arches and Mihrab towards Mecca, since this place was also previously used as a mosque.
When entering, you will see a Crusader column decorated with Falcon birds. Every bird has chicks pecking its belly. In many paintings, Jesus is portrayed as a rooster with chicks (his disciples), and sometimes as an innocent lamb led to slaughter. Here, the Falcon represents Jesus, and the chicks are his believers, who bite his flash for their own sake.
According to tradition, in this hall Jesus ate the last Passover Seder before he was crucified. Here he gave his disciples to drink the wine, symbolizing his blood, and eat the bread, symbolizing his flesh. To this day, this ceremony is recognized in Christianity as the Mass, as well as the famous painting of Leonardo Da Vinci. The Pope visited here in 1966, granting Israel the permission to pave the road from the Sultan’s Pool back here, despite the Jordanian border lying nearby at the time.
Apart from where we visited, Mount Zion has many other interesting places: the grave of Oscar Schindler, the Church of St. Peter in Gallicantu, and a few interesting cemeteries, spread around Mount Zion.
We also recommend visiting the place at night. Although the monastery, the tomb and the Last Supper hall usually close when it gets dark, there is no comparison to the beauty of Mount Zion lighted at nightfall, and to the observation point from the roof watching over the entire city of Jerusalem.
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Does Foreign Direct Investment Build The Capabilities Of The Host Country? Evidence From Malaysia
Ling, Renee Mei Yen (2003) Does Foreign Direct Investment Build The Capabilities Of The Host Country? Evidence From Malaysia. [Dissertation (University of Nottingham only)] (Unpublished)
Given appropriate host country policies and a basic level of development, a preponderance of studies show that foreign direct investment provides numerous benefits as well as costs to the host country. As the empirical evidence remains inconclusive, this paper is an attempt to contribute further to this debate by focussing on six non-resource and resource based industries in the Malaysian manufacturing sector from 1980 to 2001. By adopting the coefficient of correlation as the central statistical technique, empirical results infer only strong evidence that FDI builds the capabilities of the host country in two non-resource based industries namely the Electronics and Electrical products and Textiles and Textiles products industries. Lack of technology acquisition capabilities, shortage of specialised and skilled labour and deficiencies in supporting industries represent the main reasons behind the weak correlation observed for the Machinery Manufacturing, Chemical and Chemical products, Wood and Wood products and Rubber products industries. The results reflect the narrow-based positive' effects of FDI in the Malaysian manufacturing sector and also explicate the Government's recent amendments to its investment incentives towards the promotion of the four latter industries.
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Leitner-Wise v. Iredale Clark
PAUL ANDREW LEITNER-WISE, Plaintiff,
ROBERT BERNARD IREDALE CLARK, et ah, Defendants.
BERYL A. HOWELL, Chief Judge
The plaintiff, Paul Andrew Leitner-Wise, invents firearm technology. Two of the plaintiffs inventions, however, allegedly have been wrongly identified as the work of a fellow-inventor, defendant Robert Bernard Iredale Clark. According to the plaintiff, Clark conspired with a second defendant, Eugene L. Flanagan III, a patent attorney, to apply for patents that misattributed the plaintiffs inventions to Clark. That misattribution, the plaintiff alleges, freed defendant Southern Gun Company, Ltd. ("Southern Gun")-Clark's company-to use the patented technology in its products without the plaintiffs consent and without compensating the plaintiff. The plaintiff claims that the conduct of these three defendants gives rise to several common-law claims and requires correcting the named inventor on two patents.
The merits of the plaintiffs allegations will be for another court to decide. None of the defendants-Clark, Flanagan, or Southern Gun- and none of the alleged misconduct, is connected to the District of Columbia. Thus, Flanagan's Mot. Dismiss Am. Compl. ("Flanagan Mot. Dismiss"), ECF No. 18, and Clark & Southern Gun's Mot. Dismiss Am. Compl. & Mot. Summ. J. ("Joint Mot. Dismiss"), ECF No. 19, are granted as this Court cannot exercise personal jurisdiction over any defendant.[1]
By the plaintiffs account, he is "a prolific inventor in the field of small arms design." Am. Compl. ¶ 30, ECF No. 16. The multitude of patents listing the plaintiff as an inventor substantiate that claim. Id. ¶ 31. This case, in which the pertinent events "largely occurred in Cornwall, United Kingdom, Westminster, Maryland, and Alexandria, Virginia," id. ¶ 13, pertains to two such patents: (1) U.S. Patent No. 7, 735, 410 (issued on June 15, 2010) (" '410 Patent ") and (2) U.S. Patent No. 8, 997, 622 (issued on Apr. 7, 2015) (" '622 Patent "), id. ¶ 2.
Since at least 2004, the plaintiff, who is a citizen of the United Kingdom and a resident of the District of Columbia, Am. Compl. ¶¶ 7, 18, has been developing "a firearm bolt assembly with a fully-supported bolt face," id. ¶ 35. In 2005, Clark, who, like the plaintiff, is a citizen of the United Kingdom, id. ¶¶ 8, 19, was "contracted to manufacture parts for prototype bolts," id. ¶ 39. On October 20, 2006, an application to patent a "Firearm Bolt Assembly with Fully-Supported Bolt Face" was submitted to the United States Patent and Trademark Office ("USPTO"). Id. ¶ 41; see also U.S. Patent Application No. 11/583, 784 (filed Oct. 20, 2006) (" '784 Application "). The application listed the plaintiff, Clark, and a third-party as the three inventors, see '784 Application, but was abandoned prior to the award of any patent, Am. Compl. ¶¶ 42, 56.
In 2008, the plaintiff was looking for a new patent attorney, and was introduced to Flanagan, a Connecticut resident. Id. ¶¶ 9, 43-44. Unbeknownst to the plaintiff, Flanagan also was working with Clark on a separate patent application. Id. ¶ 45-48. On February 23, 2009, Flanagan helped Clark apply to patent a "Firearm Bolt." Id. ¶¶ 45-48, 61-62; see also U.S. Patent Application No. 12/390, 839 (filed Feb. 23, 2009) (" '839 Application "). The '839 Application was a divisional application of the '784 Application, which, according to the plaintiff, means that the '839 Application did "not include any subject matter" that was not "derived from and fully supported by [the '784 Application]." Am. Compl. ¶¶ 56-58; see also '839 Application (stating that the '839 Application is "[division of application No. 11/583, 784, filed on Oct. 20, 2006, now abandoned"). Although the plaintiff concedes that the '784 Application was eventually abandoned, the plaintiff alleges that the '839 Application was "filed prior to the abandonment, thereby establishing proper continuity with [the '784 Application]." Am. Compl. ¶ 56. Nevertheless, the '839 Application listed Clark as the sole inventor, a consequence, the plaintiff claims, of a conspiracy between Clark and Flanagan to avoid regulations applicable to firearm technology invented in the United States. Id. ¶¶ 36-37, 59-60; see also '839 Application. Based on the '839 Application, Clark was awarded, on June 15, 2010, the '410 Patent for a "Firearm Bolt." Am. Compl. ¶ 57; see also '410 Patent. Clark, the plaintiff alleges, had contractual arrangements to license that patented technology. Am. Compl. ¶ 64. The plaintiff first learned of the '839 Application and resulting '410 Patent in 2016. Id. ¶¶ 49, 66-67.
Meanwhile, Flanagan was preparing a separate patent application for a "Gas Operating Systems, Subsystems, Components and Process." Id. ¶¶ 51-54; see also U.S. Patent Application No. 12/694, 061 (filed Jan. 26, 2010) (" '061 Application "). The claimed inventions were revisions to technology that the plaintiff had previously patented. Am. Compl. ¶¶ 34, 38; see also U.S. Patent No. 7, 461, 581 (issued Dec. 9, 2008) (patenting the plaintiffs invention of a "Self-Cleaning Gas Operating System for a Firearm"). Flanagan filed the new application with the U.S. Patent Office on January 26, 2010. Am. Compl. ¶¶ 51, 54; see also '061 Application. The '061 Application named the plaintiff and Clark as co-inventors. Am. Compl. ¶¶ 52-53; see also '061 Application. While the '061 Application was pending, Flanagan filed, on May 4, 2013, a divisional application. Am. Compl. ¶¶ 71, 74; see also U.S. Patent Application No. 13/887, 295 (filed May 4, 2013) (" '295 Application ") (stating that the application is a "[division of application No. 12/694, 061"). The '295 Application also named the plaintiff and Clark as co-inventors. Am. Compl. ¶¶ 72-73; see also '295 Application. Based on the two applications, U.S. Patent No. 8, 443, 711 (" '711 Patent") was issued on May 21, 2013 and the '622 Patent was issued on April 7, 2015. Am. Compl. ¶ 87; see also '711 Patent; '622 Patent. Each patent listed the plaintiff and Clark as co-inventors and non-party Leitner-Wise Defense, Inc. ("LWDI") as the assignee. Am. Compl. ¶ 75; see also '711 Patent; '622 Patent. The plaintiff claims to have invented the only elements that the '622 Patent covers, and that, notwithstanding the plaintiffs involvement, Clark and Flanagan later conspired to deprive the plaintiff of the '622 Patent by submitting an application to remove the plaintiff as a named inventor. Am. Compl. ¶¶ 80-85, 87. Again, the object of the conspiracy was circumventing regulations applicable to firearm technology developed in the United States and to deprive the plaintiff of the benefit of his inventions. Id. ¶ 80-81. Moreover, the plaintiff alleges that although LWDI was designated as the assignee for the '622 Patent, LWDI ended operations in 2010. Id. ¶¶ 12, 76. Finally, the plaintiff claims that he was ignorant of the '622 Patent until 2017. M¶¶ 78-79, 86.
Historically, "[t]he Defendants have conducted business in the District of Columbia through [LWDI], including solicitation of sales of rifles to United States Government agencies including the United States Army and the Pentagon Force Protection Agency." Id. ¶¶ 29. The plaintiff provides no details about when these alleged transactions happened. Now, according to the plaintiff, Southern Gun, a British company owned by Clark, id. ¶¶ 10, 33, "uses" the technology claimed in each of the '410 and '622 Patent without the plaintiffs consent and without compensating the plaintiff, id. ¶¶ 88-91. Moreover, "the Defendants," through LWDI, have sold firearms containing the '622 Patent's technology, to the Pentagon Force Protection Agency and Presidential Airways, id. ¶¶ 92-93[2], and Clark and Southern Gun "have subsequently conveyed the technology described in the '622 and '410 Patents to foreign government entities without permission of the United States Government," id. ¶ 94.
Based on the foregoing allegations-all of which are accepted as true at this stage-the plaintiff instituted this action on April 4, 2018. See Compl., ECF No. 1. After the defendants filed motions to dismiss, see Clark & Southern Gun's Mot. Dismiss, ECF No. 12; Flanagan's Mot. Dismiss, ECF No. 15, the plaintiff amended his complaint, see Am. Compl.[3] In the Amended Complaint, the plaintiff brought claims, under 35 U.S.C. § 256, seeking to correct the named inventors on the '410 and '622 Patents, see Am. Compl. ¶¶ 95-110; a claim, under 35 U.S.C. § 281, alleging patent infringement, see Id. ¶¶ 111-118; and common-law claims for unjust enrichment, civil conspiracy, misappropriation of intellectual property, conversion, breach of fiduciary duty, tortious interference with business expectancy, and legal malpractice, see Id. ¶¶ 119-155. The defendants subsequently renewed their motions to dismiss, seeking dismissal pursuant to Federal Rules of Civil Procedure 12(b)(1), 12(b)(2), and 12(b)(6), for lack of standing, lack of personal jurisdiction, and the plaintiffs failure to allege any plausible claim to relief, respectively. See generally Flanagan Mot. Dismiss; Joint Mot. Dismiss.
Those two motions to dismiss are now ready for resolution.
II. LEGAL STANDARD
A. Federal Rule of Civil Procedure 12(b)(2)
To survive a motion to dismiss under Federal Rule of Civil Procedure 12(b)(2), the plaintiff "must make a prima facie showing of the pertinent jurisdictional facts." Livnat v. Palestinian Auth., 851 F.3d 45, 56-57 (D.C. Cir. 2017) (quoting First Chicago Int'l v. United Exch. Co.,836 F.2d 1375, 1378 (D.C. Cir. 1988)). The prima facie showing requires specific factual allegations connecting the defendant to the forum. First Chicago Int'l, 836 F.2d at 1378- 79. Conclusory statements and bare allegations are insufficient. Livnat, 851 F.3d at 57. Unlike a motion to dismiss under Federal Rule of Civil Procedure 12(b)(6), the court "may consider materials outside the pleadings in deciding whether to grant a motion to dismiss for lack of jurisdiction." Jerome Stevens Pharms., Inc. v. FDA,402F.3d 1249, 1253 (D.C. Cir.2005). Indeed, jurisdictional arguments may be premised on the "pleadings, bolstered by such affidavits and other written materials as [the parties] can otherwise obtain." Mwani v. bin Laden,417 F.3d 1, 7 (D.C. Cir. 2005). "When deciding personal jurisdiction without an evidentiary hearing-as here-the 'court must resolve factual disputes in favor of the plaintiff" ...
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